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Connections

OUTPUT jacks

Connect these jacks toyour guitar amp or to PA

(LINE).

* If your system is monaural,

use only the L/MONO jack.

AUX IN jack

Use a stereo mini-plug cableto connect your audio player

here.

* To adjust the input level of the

AUX IN jack, adjust the volume

of the connected device (audio

player, etc.).

PHONES jack

Connect a set of headphones (soldseparately) here.

* When you connect a stereo-mini plug

to this jack, the internal guitar amp

simulator will be automatically on so

that you can also enjoy the powerful

guitar sound with your

headphones. In this case,

the sound from OUTPUT

jacks will have the same

effect.

* To prevent malfunction and equipment failure, always turn down the volume, and turn offall the units before making any connections.

DC IN jack

Connect the included ACadaptor here.

* Use only the included

AC adaptor. Using any

other adaptor may cause

overheating and malfunction.

Turning the Power On/Off

This turns the power on/off.

* After youve made connections correctly, be sure to turn on

the power in the order of the GP-10 rst, and then the

connected system. Powering-on in the incorrect order may

cause malfunctions or damage When turning the power off

Connect the GK-compatible

guitar only with dedicated GK

cable (supplied with Roland GK-

compatible devices and optional

GK cables). Use of any other

cable may result in damage or

malfunction.

To prevent the inadvertent disruption

of power to your unit (should the plug

be pulled out accidentally), and to avoid

applying undue stress to the DC IN jack,

anchor the power cord using the cord hook,

as shown in the illustration.

Security slot (N)

http: //www.kensington.

com/

GUITAR IN jack

Use this control if youre directly inputting a conventional guitar.

* If you use a 1/4 phone plug to make connections, the modeling and alternate tuning functions will

not operate. Only the effect functions will operate.

GUITAR OUT jack

GK IN connector

Connect a guitar equippedwith a GK pickup (Roland

GK-3/GK-2A) or a GK-

compatible guitar such as the

Roland V-Guitar GC-1 to this

connector.

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http://www.roland.com/GK/

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Modeling Settings (Mdl: )

Press the [MODELING/ALT TUNE] button to edit.

* The parameters shown depend on the modeling type youve selected.

MEMO

For details on+/,marks, refer toBasic Procedure for Editing the Settings (p. 5).

Parameter Explanation

On/Off Turns the Modeling on/off(mute).

Type

Type of Modeling

E. GTR Electric guitar

ACOUSTIC Acoustic

E. BASS Bass

SYNTH Guitar synthesizer

POLY FX Poly FX

Electric Guitar (EG: )Parameter Explanation

Type

Type of Electric Guitar

CLA STThis models a Fender Stratocaster, a guitar with three

traditional single-coil pickups.

MOD STThis models a guitar with three EMG active single-coil

pickups.

TEThis models a Fender Telecaster, a guitar with two single-coil

pickups often used in blues and country music.

LPThis models a Gibson Les Paul Standard, a guitar with two

humbucking pickups often used in rock.

P90

This models a Gibson Les Paul Junior, a guitar with two

single-coil pickups affectionately referred to as dog ear or

soap bar pickups.

335This models a Gibson ES-335 Dot, a well-known semi-hollow

body guitar with two humbucking pickups.

L4

This models a Gibson L-4 CES, a hollow body guitar suitable

for jazz, equipped with two humbucking pickups and strung

with at-wound strings.

RICKThis models a Rickenbacker 360, a semi-hollow body guitar

with two unique single-coil pickups.

LIPSThis models a Danelectro 56-U3, a guitar with three pickups

with a distinctive silver lipstick-style appearance.

WIDE

RANGE

This produces the fat sound typical of a larger number of coil

windings than on a conventional single-coil pickup.

BRIGHT

HUM

A conventional humbucking pickup places two coils side

by side, causing the high frequencies to be cancelled;

however this model produces a tone that preserves these

Acoustic (AC: )


Type

Type of Acoustic

MA28The sound of a Martin D-28. Older model known for its

exquisitely balanced sound.

TRP-0The sound of a Martin 000-28. This model features a full low-

end resonance and crisp, distinct contour.

GB45The sound of a Gibson J-45. This vintage model features a

unique, seasoned tone with good response.

GB SMLThe sound of a Gibson B-25. Featuring a compact body, this

vintage model is often used in blues.

GLD40

The sound of a Guild D-40. This model features warm

resonance from the body along with a delicate string

resonance.

NYLON This models a nylon-string guitar.

RESO This models a Dobro-type resonator guitar.

BANJO This models a conventional

ve-string banjo.SITAR

This models a Coral electric sitar. The sitars distinctive buzz

and tonal change are modeled.

Body *1

Adjusts the body resonation. Raising the value produces more of a sense

of the guitar body in the sound. Lower the value in conditions where

feedback is prone to occur.

Attack *2

Species the strength of the attack when you pluck the string strongly. As

this setting is increased, the attack will be sharper, and the sound will be

crisper.

PU Select *3

Selects the pickup position.

FRONT Front pickup

R+F Rear and front pickups

REAR Rear pickup

PIEZO Piezo pickup

Sens *3 Adjusts the input sensitivity.Color *3 Adjusts the overall tone quality of the sitar.

Decay *3 Adjusts the time it takes following the attack for the tone to change.

BUZZ *3Adjusts the amount of characteristic buzz produced by the buzz bridge

when the strings make contact with it.

Attack Level *3 Adjusts the volume level of the attack

Resonance *4Adjusts the body resonation. The resonation increases as the value is

raised.

Sustain *5

You can specify how the resulting volume will be affected by changes

(loud/soft dynamics) in the guitar string vibrations that are input.

Adjusts the range (time) over which low-level signals are boosted. Larger

values will result in longer sustain.

ToneAdjusts the tone of the body. The standard value is 0; raising the value

boosts the high range.

Volume Sets the volume With a setting of 0 there will be no sound

Modeling/Poly FX/Alternate Tuning Settings

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Synthesizer (Synth: )


Type

Type of Synthesizer

GR-300This models the Roland GR-300, the famed analog

polyphonic guitar synthesizer of yesteryear.

OSC SYNTHThis is an analog synth modeling sound generated by a DSP

oscillator.

WAVE

SYNTH

This algorithm creates synth sounds by directly processing

the string signal from the Divided pickup. It allows a natural

feeling of playability.

GR-300 (GR300: )


Mode

This setting determines whether the HEXA-VCO (sawtooth wave) or the

HEXA-DISTORTION (rectangular wave) is played, or if both are played.

VCO The HEXA-VCO sound is played.

V+D The HEXA-VCO and HEXA-DISTORTION sounds are playedsimultaneously.

DIST The HEXA-DISTORTION sound is played.

Volume Sets the volume. With a setting of 0, there will be no sound.

Comp Sw When this is set to ON, the HEXA-VCOs decay time is extended.

CutoffAdjusts the cutofffrequency, setting the brightness (hardness) of the

sound.

Resonance Adjusts the resonance (distinctiveness of the sound).

EnvModSw

This automatically changes the VCF cutofffrequency according to the

amplitude of the string vibration. This allows you to change the tone with a

wah-like effect each time you pick a string.

ON

This causes the VCF cutofffrequency to change from a

high to low frequency each time the string is picked. This

produces a wah-like effect, with the sound going from high

frequencies to low.

INV

As opposed to the ON setting, this allows you to have the

VCF cutofffrequency change from a low to high frequency

each time the string is picked. This produces a reverse

wah-like effect, with the sound going from high frequencies

to low.

EnvModSens

Adjusts the input sensitivity for the envelope modulation function. As the

value is raised, the change from the envelope modulation broadens with

even weaker picking.

EnvModAtckAdjusts the attack time for the change in the envelope modulation

produced by picking. Raising the value slows the attack for this change.

Pitch Sw

This setting allows you to switch A, B and OFF the pitch shift, which

enables the pitch of the HEXA-VCO sound to shift in response

* PITCH SHIFT is applied only to the HEXA-VCO, not the

HEXADISTORTION Set MODE to VCO or V+D when using the pitch shift


Waveform 1/2

Selects the waveform that is the basis of the sound.

SIN RSine wave

SAW TSawtooth waveTRI STriangle wave

SQR USquare wave

PW VPulse width

NOISE Noise

Pitch 1/2 Adjusts the pitch.

Pitch Fine 1/2 Adjusts the pitch more nely than the Pitch parameter.

PW Width 1/2 Species the pulse width.

PW Mod Rate 1/2 Species the amount (depth) of LFO applied to Pulse Width.

P. Env Attck 1/2

P. Env Decay 1/2

Species the attack/decay time of the pitch

envelope.

P. Env Depth 1/2 Species the depth to which the envelope will modulate the pitch.

Level 1/2 Adjusts the volume of the OSC.

Filter Type

Type oflter

BYPASS The lter is not used.

LPFThis type of lter cuts the frequency range that is above the

cutofffrequency, making the sound more mellow.

HPFThis type of lter cuts the frequency range that is below the

cutofffrequency, emphasizing the high-frequency range.

BPFThis type of lter passes only the range of frequencies in the

region of the cutofffrequency, cutting the other frequencies.

PKGThis type of lter boosts the range of frequencies in the

region of the cutofffrequency.

Filter Slope

-12 dBSelects the slope (steepness)

of the low-pass lter.

ex. LPF

-24 dB

Filter Cutoff Species the cutofffrequency.

FltrCtOffFlw Species how the cutofffrequency will be affected by the note position.

Fltr Reso

Resonance emphasizes the sound in the region of the lter cutoff

frequency.

Increasing the resonance setting will increase this emphasis, producing a

distinctive sound that is characteristic of synthesizers.

FltrVeloSensSpecies how the lter envelope depth is affected by your picking

dynamics.

FltrEnvAttck

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Hold Mode

Species the Hold effect controlled by the [CTL 1] [CTL 2] pedals.

* In order to use the Hold effect, make settings for Patch: CTL (p. 11) or

Sys: CTL (p. 13).MODE 1

Notes that are newly played while Hold is on will also be

held.

MODE 2 Newly played notes are not accepted while Hold is on.

MODE 3While Hold is on, notes newly played on a string thats being

held are accepted.

LowVeloCutAdjust this if simply touching a string causes a note to be unintentionally

triggered. Raising this value will make it more difficult to trigger notes.

Wave synth (WAVE: )


Type

Selects the wave type on which the synth sound is based.

SAW Creates a synth sound with a sawtooth waveform.

SQUARE Creates a synth sound with a square waveform.Volume Sets the volume. With a setting of 0, there will be no sound.

CutoffAdjusts the cutofffrequency at which the lter cuts offthe sounds

harmonic components

Resonance Adjusts the resonance (distinctiveness of the sound).

Octave If this is on, the pitch is one octave lower.

Poly FX (PolyFx: )

Pa rameter E xplanation

Type

DISTORTIONDistortion that allows chords to resonate clearly and

beautifully

CRYSTALA sound with a metallic resonance and a transparent

characterRICH MODULATION Rich and spacious modulation sound

SLOW PAD Deep, fantasy-like pad-type sound

TOUCH WAHYou can produce a wah effect with the lter changing in

response to the guitar level.

DISTORTION/CRYSTAL/RICH MODULATION/SLOW PAD

(PFxDist: /PFxCrystal: /PFxRichMod: /PFxSlowPad: )


GtrVol Adjusts the volume of the guitar input.

Gain *1 Adjusts the amount of distortion.

GainBal *1

Adjusts the distortion balance between the low and high strings.

Higher settings make the lower strings distort more.

Alternate Tuning Settings (AltTune: )


* If the Modeling Type is SYNTH or POLY FX, the Alternate Tuning/12-String

Guitar/String Bend function cannot be used.


On/Off Turns the Alternate Tuning function on/off.

Type

OPEN D, E,

G, A

Tuning that produces a major chord when you play the open

strings.

DROP DA

DROP-D is a tuning in which only the 6th string is dropped

to D. The other tunings are the variations that are transposed

downward parallel to Drop D.

D-MODALTuning that drops the 6th, 2nd, and 1st string by a whole step

to create an ethnic feel.

NASHVL

Tuning that raises the 6th, 5th, 4th, and 3rd strings by one

octave; like a 12-string guitars supplementary strings by

themselves.

-12+12STEP

Raises/lowers the tuning of all strings in semitone steps.

USER User tuning in which each string can be specied individually.

Shift 16 *1 Species the amount of shift in semitones for each string.

Fine 16 *1Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is

half a semitone up.

*1 USER only

12-String Guitar Settings (12Str: )



On/Off

Turn this on if you want the sound of a 12-string guitar. It transforms the

sound of a 6-string guitar into the sound of a 12-string guitar equippedwith an additional course of strings.

Type

NORMAL The conventional tuning of a 12-string guitar.

USERA user tuning that species the pitch of each supplementary

string.

PitchShft 16 *1 Species the amount of shift in semitones for each string.

PitchFine 16 *1Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is

half a semitone up.

Level 16 *1 Adjusts the volume level for each secondary string.

Delay 16 *1Adjusts the time the sound of each secondary string is delayed relative to

the respective main string.

*1 USER only

String Bend F nction Settings (StrBend: )

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Effects/Patch Settings

Effects Settings

Press the [EFFECTS] button to edit.

* The parameters shown depend on the type of effect that you select.

MEMO

For details on+/,marks, refer to Basic Procedure for Editing the Settings (p. 5).

Preamp (Amp: )

COSM technology is used to simulate the response of the preamp, the size of the

speakers, and the type of cabinet.

Parameter E xplanation

On/Off Turns this effect on/off.

Type

Type of Amp

NATURL

CLEAN

An unembellished, clean sound that minimizes the amps

idiosyncrasies, such as its trebly character and boomy low end.

FULL RANGEAn amp with a broad frequency range and an extremely atresponse.

Good for acoustic guitar.

COMBO

CRUNCH

Crunch sound that allows the nuances of your picking to be

expressed even more faithfully than on conventional combo amps.

STACK

CRUNCH

Great-feeling crunch sound that responds well to picking dynamics

while retaining all the dening characteristics of a 4 x 12 speaker

cabinet.

HiGAIN

STACK

High-gain sound of a vintage Marshall specially revamped in a way

that is possible only with COSM modeling technology.

POWER

DRIVE

A straight drive sound that works well in a broad range of situations,

from backing to lead. A sound like this cannot be obtained from any

existing combo amp or stack amp.

EXTREME

LEAD

A new type of sound that smoothes out the uneven frequency

response that is typical of existing large stack amps.

CORE METALA large stack sound that has been tweaked extensively in the pursuit

of the ultimate metal sound.

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

PRO

CRUNCHThis models a Fender Pro Reverb.

TWEED This models a Fender Bassman 4 x 10 Combo.

DELUXE

CRUNCHThis models a Fender Deluxe Reverb.

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

This is a sound that it suited to sixties-style British rock.

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

MATCH This models the sound input to left input on aMatchless D/C 30


Mic Type *1

Selects the simulated mic type.

DYN57This is the sound of the Shure SM-57. General dynamic mic used for

instruments and vocals. Optimal for use in miking guitar amps.

DYN421This is the sound of the Sennheiser MD-421. Dynamic mic with

extended low end.

CND451This is the sound of the AKG C451B. Small condenser mic for use

with instruments.

CND87This is the sound of the Neumann U87. Condenser mic withat

response.

FLAT

Simulates a mic with perfectly at response. Produces a sonic image

close to that of listening to the sound directly from the speakers

(on site).

Mic Distance

*1

Simulates the distance between the mic and speaker.

OFF MIC Microphone is placed at a distance from the speaker.

ON MIC Microphone is placed so its near the speaker.

Mic Position *1

This simulates the mic position.

CENTER Simulates the condition that the mic is set in the middle of thespeaker cone.

110 cmSimulates the condition that the mic is moved away from the center

of the speaker cone.

Mic Level *1 Adjusts the volume of the mic.

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

*1 This is enabled when the Sys: Output parameter is set to LINE/PHONE.

FX (FX: )

You can select the effect to be used from the following.



Type of FXOD/DS This effect distorts the sound to create long sustain.

COMPRESSOR

This is an effect that produces a long sustain by evening out the

volume level of the input signal. You can also use it as a limiter to

suppress only the sound peaks and prevent distortion.

LIMITER The limiter attenuates loud input levels to prevent distortion.

EQ This adjusts the tone as a equalizer.

T. WAH A wah effect is produced according to your picking dynamics.

PITCH SHIFTERThis effect changes the pitch of the original sound (up or down)

within a range of two octaves.

HARMONIST

Harmonist is an effect where the amount of shifting is adjusted

according to an analysis of the guitar input, allowing you to

create harmony based on diatonic scales.

PEDAL BEND This lets you use the pedal to get a pitch bend effect.

By adding varied phase portions to the direct sound the phaser

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Type

METAL ZONE

This models the sound of the BOSS MT-2.

It produces a wide range of metal sounds, from old style to

slash metal.

60S FUZZThis models a Fuzz Face.

It produces a fat fuzz sound.

MUFF FUZZ This models an Electro-Harmonix Big Muff.

Drive Adjusts the depth of distortion.

Tone Adjusts the tone.

Level Adjusts the volume of the effect sound.

Bottom Adjusts the tone for the low frequency range.

D. Level Adjusts the volume of the direct sound.

Solo Sw Switches the tone to one suitable for solos.

Solo Lv Adjusts the volume level when the Solo Sw is ON.

About the Other FX Parameters

Ref.

For details on all FX (effects) parameters, refer to the Parameter Guide (PDF

le) which you can download from the Roland website ( http: //www.roland.

com/manuals/).

Wah (Wah: )

You can control the wah effect in real time by adjusting the expression pedal.

* Assign a controller to the expression pedal. Set the Patch: Controller setting EXPPDL ON Func (p. 11)

to WAH. If you operate the expression pedal when its on, it functions as a wah.



Type

Type of wah

CRY WAHThis models the sound of the Cry Baby wah pedal popular in

the 70s.

VO WAH This models the sound of the VOX V846.

FAT WAH This is a wah sound featuring a bold tone.

LIGHT WAH This wah has a rened sound with no unusual characteristics.

7-STRING WAHThis expanded wah features a variable range compatible with

seven-string and baritone guitars.

RESO WAHThis completely original effect offers enhancements on the

characteristic resonances produced by analog synth lters.

Pedal Position Adjusts the position of the wah pedal.

P d l Mi S l t th t d d h th h l f th i P d l i d d


Type

Type of Delay

SINGLE This is a simple monaural delay.

PAN

This delay is specically for stereo output. This allows you to

obtain the tap delay effect that divides the delay time, then

deliver them to L and R channels.

STEREOThe direct sound is output from the left channel, and the effect

sound is output from the right channel.

DUAL-S

This is a delay comprising two different delays connected in

series. Each delay time can be set in a range from 1 to 1000 ms.

D1 D2D1: DELAY 1

D2: DELAY 2

DUAL-P

This is a delay comprising two delays connected in parallel. Each

delay time can be set in a range from 1 to 1000 ms.

D1

D2

DUAL-L/R

This is a delay with individual settings available for the left and

right channels. Delay 1 goes to the left channel, Delay 2 to the

right.

D1

D2

L

R

REVERSEThis produces an effect where the sound is played back in

reverse.

ANALOGThis gives a mild analog delay sound. The delay time can be set

within the range of 1 to 2000 ms.

TAPE

This setting provides the characteristic wavering sound of the

tape echo. The delay time can be set within the range of 1 to

3400 ms.

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

Time

Determines the delay time.

* When set to BPM, the value of each parameter will be set according to the

value of the Patch: Tempo specied for each patch. This makes it easier to

achieve effect sound settings that match the tempo of the song.

FeedbackSets the amount of delay sound returned to the input. A higher value will

increase the number of the delay repeats.

High CutSets the frequency at which the high cut lter begins to take effect. When FLAT is

selected, the high cut lter will have no effect.

E. Level Adjusts the volume of the effect sound.

D Level Adjusts the volume of the direct sound

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EQ (EQ: )

This adjusts the tone as a equalizer.



Low Gain Adjusts the low frequency range tone.

Hi Gain Adjusts the high frequency range tone.

Low Mid FreqSpecies the center of the frequency range that will be adjusted by the Low-Mid

Gain.

Low Mid QAdjusts the width of the area affected by the EQ centered at the Low-Mid

Frequency. Higher values will narrow the area.

Low Mid Gain Adjusts the low-middle frequency range tone.

Hi Mid FreqSpecies the center of the frequency range that will be adjusted by the High-Mid

Gain.

Hi Mid QAdjusts the width of the area affected by the EQ centered at the High-Mid

Frequency. Higher values will narrow the area.

Hi Mid Gain Adjusts the high-middle frequency range tone.

Low Cut This sets the frequency at which the low cutlter begins to take effect. WhenFLAT is selected, the low cut lter will have no effect.

Hi CutThis sets the frequency at which the high cut lter begins to take effect. When

FLAT is selected, the high cut lter will have no effect.

Level Adjusts the overall volume level of the equalizer.

Noise Suppressor (NS: )

This effect reduces the noise and hum picked up by guitar pickups.



Threshold

Adjust this parameter as appropriate for the volume of the noise. If the noise level

is high, a higher setting is appropriate. If the noise level is low, a lower setting is

appropriate. Adjust this value until the decay of the guitar sound is as natural aspossible.

* High settings for the threshold parameter may result in there being no sound

when you play with your guitar volume turned down.

ReleaseAdjusts the time from when the noise suppressor begins to function until the

noise level reaches 0.

Foot Volume (FV: )

This is a volume control effect. Normally, this is controlled with the Expression Pedal.


MinSets the volume when the heel of the EXP Pedal is

depressed.

Sets the volume when the toe of the EXP Pedal is

Patch Settings (Patch: )

Press the [EFFECTS] button to edit.

MEMOFor details on+/,marks, refer toBasic Procedure for Editing the Settings (p. 5).

Patch Volume (Patch: Level)


Level Species the volume of the patch.

Patch Tempo Settings (Patch: Tempo)


Tempo Species the tempo for tempo-synchronized effects.

GK Set Selection for the Patch (Patch: GK Set)


GK Set

If you swap guitars depending on the patch, set SYSTEM GK: Setting to

Patch Setting, and select the GK Set (13) you specied for the guitar that

you use.

Pedal and Switch Settings for Each Patch (Ctl: )

For each patch, you can individually specify the functions that are assigned to the [CTL 1], [CTL

2] pedals and the expression pedals. If you want these pedals to always have the same function

regardless of the patch, you can specify this using the system setting Sys: Controller (p. 13).

* This is available if the Sys: Controller (p. 13) is set to PATCH SETTING.


CTL 14 Func

GKSW 12 Func

EXPSW Func

Settings for the GP-10s [CTL 1], [CTL 2] pedals, external footswitches (CTL 3,

CTL 4), the GK pickups [S1], [S2] buttons, and the expression pedal switch.

OFF Off

PU SEL UP *1

PU SEL DOWN *1Switches the pickup of the modeling guitar.

12-STRING ON/OFF Switches the 12-string guitar function on/off.

ALT TUNE ON/OFF Switches the alternate tuning function on/off.

MODELING ON/OFF Switches the modeling function on/off.

NORMAL PU ON/OFF Switches the normal pickup input on/off.

AMP SOLO SW

FX ON/OFF

EQ ON/OFF

WAH ON/OFF S it h AMP h ff t / ff

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Example setting

When a specic patch is selected, use the expression pedal to control the

volume of the modeling

Select the patch whose settings you want to edit, then make the followingparameter settings.

Button Parameter Value

[SYSTEM] SysCtl: EXP1on Fnc PATCH SETTING

[EFFECTS] Ctl: EXP1on Func MODELING VOL

Assign Settings (Asgn 18: )

For each parameter, you can specify, in detail, which controller will control which parameter.

You can use Assign 18 to make eight different sets of settings.

* This is available if the Sys: Controller (p. 13) is set to PATCH SETTING.


On/Off Turns Assign 18 on/off.

TargetSelects the parameter that will be controlled. For details on the parameters,

refer to the explanations of each parameter in this manual.

Target Min

Target Max

Species the range of change for the parameter. The values will depend on

the parameter thats assigned by Target.

Source

Selects the controller to which the function will be assigned.

CTL 1CTL 4[CTL 1] [CTL 2] pedals of this unit and external footswitch

(CTL 3, CTL 4)

GK S1,

GK S2[S1] [S2] buttons of the GK pickup

GK VOL Volume knob of the GK pickup

EXP1 SW Expression pedal switch

EXP1 ON Expression pedal when the expression pedal switch is on

EXP1 OFF Expression pedal when the expression pedal switch is offEXP2 External expression pedal

INT PDL

Internal pedal

The virtual expression pedal will begin

operating when started by the specied

trigger (Int Pedal Trig), modifying the

parameter specied by Target.

For details on the parameters that can be assigned to the

internal pedal, refer to Int Pedal Time and Int Pedal Curve.

WAVE PDL

Wave pedal

The virtual expression pedal will cyclically modify the

parameter specied by Target in a xed wave form.


W Pd Wa vFr m * 2 SAW, TR I, S IN

Select one of the following to specify the change produced

by the wave pedal.

SAW TRIANGLE SINE

*1 Source=INT PDL only

*2 Source=WAVE PDL only

Example setting

Make smoothly bend up one octave when you press the [CTL 1] pedal

Select the patch whose settings you want to edit, and then make the following

parameter settings.


[SYSTEM] SysCtl: CTL1 Func PATCH SETTING

[EFFECTS]

Fx: Type PEDAL BEND

Asgn1: On/Off ON

Asgn1: Target FXP.BND: POSITION

Asgn1: Target Min 0

Asgn1: Target Max 100

Asgn1: Source INT PDL

Asgn1: Src Mode MOMENTARY

Asgn1: S. Range Min 0

Asgn1: S. Range Max 127

Asgn1: Int Pdl Trig CTL 1

Asgn1: Int Pdl Time20

(Adjust the time over which the pitch rises an octave.)

Asgn1: Int Pdl Curve

LINEAR

(You can select a different curve to modify the way inwhich the change occurs.)

For guitar solos, you want to be able to step on the [CTL 1] pedal to switch

AMP to solo mode


[SYSTEM] Sys: CTL 1 Func PATCH SETTING

Asgn1: On/Off ON

Asgn1: Target AMP: SOLO SW

Asgn1: Target Min OFF

Asgn1: Target Max ON

Asgn1: Source CTL 1

Asgn1: Src Mode TOGGLE

Asgn1: S Range Min 0

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Deutsch

English

Franais

System Settings

Press the [SYSTEM] button to edit.

MEMO

For details on+/,marks, refer to Basic Procedure for Editing the Settings (p. 5).

Specifying the Output System (Sys: Output)


Output Refer toSpecifying the Output System (Sys: Output) (p. 3).

Settings of the GK Pickups (GK: )


Connect

The GP-10 comes equipped with a function that automatically determines

whether or not a GK connection exists and switches the internal settings

accordingly. This makes it possible for you to all functions other than a

Modeling/Alternate Tuning (effects, tuner, etc.) when youve connected only

to the G UITAR INPUT. You should ordinarily use AUTO (default). In cases wherethe auto-detect function does not operate correctly, (for example, when you

are using a Divided pickup other than the GK-3), change the setting.

AUTOThe presence of a GK connection is detected automatically and the

internal settings are switched accordingly.

OFF Settings appropriate for a GUITAR INPUT connection are always used.

ON Settings appropriate for a GK connection are always used.

SettingRefer toMEMO: GK settings (p. 3)andGK Set Selection for the Patch (Patch:

GK Set) (p. 11).

Settings of the GK set 13 (GK 13: )


Type Refer toSetting Up the GK Pickups (p. 3).

Scale *1 Refer toSpecifying your guitars scale length (p. 3).Distance 16 *3 Refer toSpecifying the distance from the bridge (p. 3).

Sens 16 Refer toAdjusting the pickup sensitivity (p. 3) .

PU Phase *1This sets the phase for the divided pickup and normal pickup. Set this to

NORMAL, and if the low-frequency range is cut, set this to INVERSE.

PU Direction *1

This sets the direction for the divided pickups installation.

NORMAL Positioned such that the cable exits near the 6th string.

REVERSE Positioned such that the cable exits near the 1st string.

Piezo Tone L *2 Adjusts the low-frequency range.

Piezo Tone H *2 Adjusts the high-frequency range.

Sw Position *1This exchanges the function for the GK-3s, GK-2As or GC-1s [S1], [S2] buttons

(REVERSE).

Dwn Tune Shift

If the guitar youre using has been tuned down, specify the number of

chromatic steps by which it has been down tuned

Example setting

In all patches, switch delay on/offby pressing the [CTL] pedal

Make the following parameter settings.

Buttons Parameter Value

[SYSTEM] SysCtl: CTL 1 Func DELAY ON/OFF

In all patches, use the [CTL 1], [CTL 2] pedals to increase/decrease the patch

number by ten

Buttons Parameter Value

[SYSTEM]

SysCtl: CTL 1 Func PATCH DOWN

Sys Ct l: CTL 2 Fu nc PATCH UP

SysCtl: C1 Pat. Down 10

SysCtl: C2 Pat. Up 10

USB Audio Settings (USBAudio: )Parameter Explanation

In Lv Adjusts the volume of the digital audio signal from USB (computer).

Out Lv Adjusts the volume of the digital audio signal output to USB (computer).

Routing

Species the routing for USB audio. You can record the sound of the GP-10

into your DAW, play back the recorded sound from your DAW and monitor

it on the GP-10, or re-guitar/re-amp your recording. For details, refer to the

Parameter Guide (PDF).

What does it mean to Re-Guitar/Re-Amp?

This is the technique in which an original signal unprocessed by modeling or

effects is recorded on the DAW, allowing you to modify the modeling sound

or amp sound later to create the nal result. This gives you the f reedom to

change the sound after youve nished recording.

Guitar Performance MIDI Output Settings (MIDI: )


On/Off If this is OFF, guitar performance data will not be transmitted from MIDI OUT.

Mode

MONOIn this mode, one channel per string is used, thus using a total of six

channels.

POLYIn this mode, the messages for all six strings are transmitted over a

single channel.

Chromatic

When using string bending or other such techniques to gradually change the pitch

with the guitar or bass, you can set the GP-10 so that the pitch of the MIDI messages

being output changes in semitone increments.

Species the pedal to which the Hold function is assigned.

OFF Th H ld d l i t i d

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USING THE UNIT SAFELY

IMPORTANT NOTES

WARNINGTo completely turn offpower to the unit, pull out

the plug from the outletEven with the power switch turned off, this

unit is not completely separated from its

main source of power. When the power

needs to be completely turned off, turn

offthe power switch on the unit, then

pull out the plug from the outlet. For this reason, the

outlet into which you choose to connect the power

cords plug should be one that is within easy reach and

readily accessible.

Concerning the Auto OfffunctionThe power to this unit will be turned

offautomatically after a predetermined

amount of time has passed since it was last

used for playing music, or its buttons or

controls were operated (Auto Offfunction).

If you do not want the power to be turned off

automatically, disengage the Auto Offfunction (p. 14).

WARNINGUse only the supplied AC adaptor and the correct

voltageBe sure to use only the AC adaptor

supplied with the unit. Also, make

sure the line voltage at the installation

matches the input voltage specied on

the AC adaptors body. Other AC adaptors

may use a different polarity, or be designed for a

different voltage, so their use could result in damage,

malfunction, or electric shock.

CAUTION

Take care so as not to get ngers pinchedWhen handling the following moving

parts, take care so as not to get ngers,

etc., pinched. An adult should always be in

charge of handling these items.

Expression pedal (p. 4)

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Troubleshooting

Problem Items to check Action Page

No sound/Low volume

Is the [OUTPUT LEVEL] knob turned down completely? Adjust the knob to an appropriate setting.

Could the volume of the GK pickup be turned down? Raise the volume of the GK pickup to an appropriate level.

Could the select switch of the GK pickup be set to

GUITAR? Set the switch of the GK pickup to MIX.

Could the expression pedal be released? Depress the expression pedal.

Co ul d t he Pa tch: Le ve l b e t ur ne d d ow n? Tr y r ais ing t he Pa tch: Le ve l. p. 4, p. 11

Are the GP-10 and other devices connected properly? Check the connections with the other devices. p. 2

If there are no sounds through USB, are the USBAudio:

settings correct?Adjust the settings to the appropriate values. p. 13

The volume level of the instrument

connected to AUX IN jack is too low

Could you be using a connection cable that contains

a resistor?Use a connection cable that does not contain a resistor.

Volume is uneven among the strings

Was the GK pickup sensitivity setting adjusted correctly

for each string?Perform the adjustment. p. 3

Is the GK pickup attached correctly?

Refer to the manual of your GK pickup, and attach the GK pickup correctly.

On the Roland website, the GK-3 Installation Tips page provides an explanation and photos

on how to attach a GK pickup. Be sure to take a look!

http: //www.roland.com/GK/

When using the GP-10s pedal effects or

expression pedal, the result is different for

each patch

The effect produced using the expression pedal is

different for each sound (patch).Check the effect of each patch beforehand.

Oscillation occursIn the effect settings, could a gain value or volume-

related parameter be set too high?Decrease the value. p. 9

Patches not switchingIs some screen other than the Play screen shown in

the display?

With the GP-10, you cannot switch patches in any screen other than the Play screen. Press the

[EXIT] button one or more times to return to the Play screen.

[PATCH/VALUE] knob does not workCould Sys: Knob Lock be ON? If it is ON, patch

selection using th e [PATCH/VALUE] knob is disabled.Turn Sys: Knob Lock OFF. p. 14

Cant enter Tuner mode

Could Tuner: Function be set to Disable? If it is set to

Disable, pressing the [I] and [H] pedals simultaneously

does not enter Tuner mode.

Set Tuner: Tuner Function to Enable. p. 14

Cant use a controller (pedal or button) to

vary a parameter

Could you be using the internal pedal as the

assignments Source parameter?

If you specify INT PDL or WAVE PDL as the Source parameter of the assignment, the Targeteffect parameter youve assigned will vary automatically. If you want to use a controller to

vary a parameter, temporarily turn the Switch parameter OFF for that assignment to stop

the internal pedal.

p. 12

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Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in yourcountry as shown below.

AFRICA

REUNIONMARCEL FO-YAM Sarl25 Rue Jules Hermann,Chaudron - BP79 97 491Ste Clotilde Cedex,REUNION ISLAND

TEL: (0262) 218-429

SOUTH AFRICAPaul Bothner(PTY)Ltd.Royal Cape Park, Unit 24

Londonderry Road, Ottery 7800Cape Town, SOUTH AFRICA

TEL: (021) 799 4900

ASIACHINARoland Shanghai Electronics

Co.,Ltd.5F. No.1500 Pingliang Road,Yangpu Shanghai 200090, CHINA

TEL: (021) 5580-0800Toll Free: 4007-888-010

Roland Shanghai Electronics

Co.,Ltd. (BEIJING OFFICE)

3F, Soluxe Fortune Building63 West Dawang Road,Chaoyang Beijing, CHINA

TEL: (010) 5960-2565/0777

Toll Free: 4007-888-010

HONG KONGTom Lee Music

11/F Silvercord Tower 130 Canton Rd

Tsimshatsui, Kowloon,

HONG KONGTEL: 852-2737-7688

Parsons Music Ltd.8th Floor, Railway Plaza, 39Chatham Road South, T.S.T,

Kowloon, HONG KONGTEL: 852-2333-1863

THAILANDTheera Music Co. , Ltd.100-108 Soi Verng

Nakornkasem, New Road,Sumpantawong, Bangkok10100, THAILAND

TEL: (02) 224-8821

VIET NAMVIET THUONG CORPORATION386 CACH MANG THANG TAM ST.

DIST.3, HO CHI MINH CITY,VIET NAM

TEL: (08) 9316540

OCEANIA

AUSTRALIA/NEW ZEALANDRoland Corporation

Australia Pty.,Ltd.38 Campbell Avenue, Dee WhyWest. NSW 2099, AUSTRALIA

For AustraliaTEL: (02) 9982 8266

For New ZealandTEL: (09) 3098 715

CENTRAL/LATINAMERICA

ARGENTINAInstrumentos Musicales S.A.Av.Santa Fe 2055(1123) Buenos Aires, ARGENTINA

TEL: (011) 4508-2700

BARBADOSA&B Music Supplies LTD12 Webster Industrial ParkWildey, St.Michael, BARBADOS

TEL: (246) 430-1100

BRAZILRoland Brasil Ltda.Rua San Jose, 211

P I d i l S J

GUATEMALACasa InstrumentalCalzada Roosevelt 34-01,zona

11 Ciudad de Guatemala,GUATEMALA

TEL: (502) 599-2888

HONDURASAlmacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona3 Ave.11 Calle S.O

San Pedro Sula, HONDURASTEL: (504) 553-2029

MARTINIQUEMusique & SonZ.I.Les Mangle

97232 Le Lamentin,MARTINIQUE F.W.I.

TEL: 596 596 426860

MEXICOCasa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivarde los Padres 01780 Mexico D.F.,MEXICO

TEL: (55) 5668-6699

Faly MusicSucursal Capu Blvd. Norte N.3213Col. Nueva Aurora Cp.72070Puebla, Puebla, MEXICO

TEL: 01 (222) 2315567 o 97FAX: 01 (222) 2266241

Gama Music S.A. de C.V.

Madero Pte. 810 Colonia CentroC.P. 64000 Monterrey, Nuevo

Len, MEXICOTEL: 01 (81) 8374-1640 o 8372-4097

www.gamamusic.com

ProsceniaMorelos No. 2273

Col. Arcos SurC.P. 44120 Guadalajara, Jalisco,MEXICO

TEL: 01(33) 3630-0015

NICARAGUABansbach Instrumentos

Musicales Nicaragua

Al i D'E C ll P i i l

EUROPE

BELGIUM/FRANCE/HOLLAND/LUXEMBOURGRoland Central Europe N.V.Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUMTEL: (014) 575811

BOSNIA ANDHERZEGOVINAMix-AP Music78000 Banja Luka, VeselinaMaslese 3,BOSNIA AND HERZEGOVINA

TEL: 65 403 168

CROATIAART-CENTARDegenova 3.

HR - 10000 Zagreb, CROATIATEL: (1) 466 8493

EUROMUSIC AGENCYK. Racina 1/15HR - 40000 CAKOVEC, CROATIA

Tel: 40-370-841

CZECH REPUBLICCZECH REPUBLICDISTRIBUTOR s.r.o

Pod Bn 8180 00 Praha 8, CZECH REP.

TEL: 266 312 557

DENMARK/ESTONIA/LATVIA/LITHUANIARoland Scandinavia A/SSkagerrakvej 7, DK-2150

Nordhavn,DENMARKTEL: 39166200

FINLANDRoland Scandinavia As, Filial

FinlandVanha Nurmijarventie 62

01670 Vantaa, FINLANDTEL: (0) 9 68 24 020

GERMANY/AUSTRIA

POLANDROLAND POLSKA SP. Z O.O.ul. Katy Grodziskie 16B

03-289 Warszawa, POLANDTEL: (022) 678 9512

PORTUGALRoland Iberia SL.

Branch Office Porto

Edifcio Tower PlazaRotunda Eng. Edgar Cardoso 23,4-B4400-676 Vila Nova de Gaia,

PORTUGALTEL: (+351) 22 608 00 60

ROMANIAPro Music Concept SRL440221 Satu Mare

B-dul Independentei nr. 14/a.,ROMANIA

TEL: (0361) 807-333

RUSSIARoland Music LLCDorozhnaya ul.3,korp.6117 545 Moscow, RUSSIA

TEL: (495) 981-4967

SERBIAMusic APSutjeska br. 5 XS - 24413 PALIC,SERBIA

TEL: (0) 24 539 395

SLOVAKIADAN Distribution, s.r.o.Povazsk 18.SK - 940 01 Nov Zmky,SLOVAKIA

TEL: (035) 6424 330

SPAINRoland Systems Group EMEA, S.L.

Paseo Garca Faria, 33-3508005 Barcelona, SPAIN

TEL: 93 493 91 00

SWEDENRoland Scandinavia A/S

SWEDISH SALES OFFICE

M b k 31 4

IRANMOCO INC.Jadeh Makhsous Karaj (K-9),

Nakhe Zarin Ave.Jalal Street, Reza Alley No.4

Tehran 1389716791, IRAN

TEL: (021)-44545370-5

ISRAELHalilit P. Greenspoon &

Sons Ltd.8 Retzif Ha'alia Hashnia St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

JORDANMUSIC HOUSE CO. LTD.

FREDDY FOR MUSIC

P. O. Box 922846

Amman 11192, JORDANTEL: (06) 5692696

KUWAITEASA HUSAIN AL-YOUSIFI &

SONS CO.Al-YousiService CenterP.O.Box 126 (Safat) 13002,KUWAIT

TEL: 00 965 802929

LEBANONChahine S.A.L.George Zeidan St., Chahine Bldg.,

Achraeh, P.O.Box: 16-5857Beirut, LEBANON

TEL: (01) 20-1441

OMANTALENTZ CENTRE L.L.C.

Malatan House No.1Al Noor Street, RuwiSULTANATE OF OMAN

TEL: 2478 3443

QATARAL-EMADI TRADING &

CONTRACTING CO.

P.O. Box 62, Doha, QATARTEL: 4423-554

SAUDI ARABIAAd li hU i l

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Alternate Tuning (AltTune: Type)

The strings of the guitar are tuned as follows depending on the type you select.

Type 6 5 4 3 2 1

OPEN

OPEN D D A D F|G A D

OPEN E E B E G|A B E

OPEN G D G D G B DOPEN A E A E A C|D E

DROP

DROP D D A D G B EDROP D C|D G|A C|D F|G A|B D|E

DROP C C G C F A DDROP B B F|G B E G|A C|D

DROP B A|B F A|B D|E G C

DROP A A E A D F|G BD-MODAL D A D G A D

NASHVL E (+1 OCT) A (+1 OCT) D (+1 OCT) G (+1 OCT) B E-12 STEP E A D G B E-11 STEP F A|B D|E G|A C F

-10 STEP F|G B E A C|D F|G

-9 STEP G C F A|B A|B G

-8 STEP G|A C|D F|G B D|E G|A

-7 STEP A D G C E A-6 STEP A|B D|E G|A C|D F A|B

-5 STEP B E A D F|G B

-4 STEP C F A|B D|E G C

-3 STEP C|D F|G B E G|A C|D

-2 STEP D G C F A D-1 STEP D|E G|A C|D F|G A|B D|E

+1 STEP F A|B D|E G|A C F

+2 STEP F|G B E A C|D F|G

Owners Manual p. 8

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FX Parameter

FX (Fx: )You can select the effect to be used from the following.



Type

Type of FX

OD/DS Distorts the sound to create long sustain.

COMPRESSOR

Produces a long sustain by evening out the volume level of theinput signal. You can also use it as a limiter to suppress only thesound peaks and prevent distortion.

LIMITER Attenuates loud input levels to prevent distortion.

EQ Adjusts the tone as a equalizer.

T. WAH A wah effect is produced according to your picking dynamics.

PITCH SHIFTERChanges the pitch of the original sound (up or down) within arange of two octaves.

HARMONIST

An effect where the amount of shifting is adjusted according toan analysis of the guitar input, allowing you to create harmonybased on diatonic scales.

PEDAL BEND Lets you use the pedal to get a pitch bend effect.

PHASERBy adding varied-phase portions to the direct sound, the phasereffect gives a whooshing, swirling character to the sound.

FLANGER Gives a twisting, jet-airplane-like character to the sound.

TREMOLO Creates a cyclic change in volume.

PAN

With the volume level of the left and right sides alternatelychanging, when playing sound in stereo, you can get an effectthat makes the guitar sound appear to y back and forthbetween the speakers.

ROTARY Produces an effect like the sound of a rotary speaker.

UNI-V

Models a Uni-Vibe.

Although this resembles a phaser effect, it also provides aunique undulation that you cant get with a regular phaser.

CHORUSA slightly detuned sound is added to the original sound to adddepth and breadth.

DELAYAdds delayed sound to the direct sound, giving more body tothe sound or creating special effects.

OD/DS (FxODDS: )Parameter Explanation

Type of OD/DS

A booster with unique characteristics in the midrange.

COMPRESSOR (FxComp: )

Paramet er Ex pl anat ion

Type

BOSS COMP Models a BOSS CS-3.

Hi-BAND A compressor that adds an even stronger effect in the high end.LI GHT A compre ssor wi th a l ight effect.

D-COMP Models a MXR DynaComp.

ORANGE Modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.

FATWhen applied heavily, this compressor effect provides a fat tone witha boosted midrange.

MILDWhen applied heavily, this compressor effect produces a sweet tonewith the high end cut.

STEREOCOMP

Selects a stereo compressor.

SustainAdjusts the range (time) over which low-level signals are boosted. Larger values willresult in longer sustain.

AttackAdjusts the strength of the picking attack when the strings are played. Highervalues result in sharper attack, creating a more clearly dened sound.

Tone Adjusts the volume.

Level Adjusts the tone.

LIMITER (FxLmtr: )Paramet er Ex pl anat ion

Type

BOSSLIMITER

Selects a stereo limiter.

RACK 160D Models a dbx 160X.

VTG RACK U Models a UREI 1178.

AttackAdjusts the strength of the picking attack when the strings are played. Highervalues result in sharper attack, creating a more clearly dened sound.

ThresholdAdjust this as appropriate for the input signal from your guitar. When the input

signal level exceeds this threshold level, limiting will be applied.Ratio Selects the compression ratio used with signals in excess of the threshold level.

Release Adjusts the release time.

Level Adjusts the volume.

EQ (FxEQ: )Paramet er Ex pl anat ion

Low Gain Adjusts the low frequency range tone.

Hi Gain Adjusts the high frequency range tone.

LowMid FreqSpecies the center of the frequency range that will be adjusted by the LowMidGain.

LowMid QAdjusts the width of the area affected by the EQ centered at the LowMid Freq.Higher values will narrow the area.

d f

For an explanation of the parameters other than the FX parameters, refer to theowners manual.

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FX Parameter

PITCH SHIFTER (FxPS: )Paramet er E xp lanat io n

Voice

1-VOICE One-voice pitch-shifted sound output in monaural.

2-MONO Two-voice pitch-shifted sound (PS1, PS2) output in monaural.2-STEREO

Two-voice pitch-shifted sound (PS1, PS2) output through left andright channels.

Mode1

Mode2 *1

FAST,MEDIUM,SLOW

The response is slower in the order of FAST, MEDIUM and SLOW, butthe modulation is lessened in the same order.

MONO

MONO is used for inputting single notes.

* You may be unable to produce the intended effect when playingchords (two or more notes played simultaneously).

Pitch1

Pitch2 *1Adjusts the amount of pitch shift (the amount of interval) in semitone steps.

Fine1

Fine2 *1

Make ne adjustments to the interval. The amount of the change in the Fine 100 isequivalent to that of the Pitch 1.

P. Delay 1

P. Delay2 *1

Adjusts the time from when the direct sound is heard until the pitch shifted sounds

are heard. Normally you can leave this set at 0 ms.* When set to BPM, the value of each parameter will be set according to the value

of the MASTER BPM specied for each patch. This makes it easier to achieveeffect sound settings that match the tempo of the song.

* If, due to the tempo, the time is longer than the range of allowable settings, it isthen synchronized to a period either 1/2 or 1/4 of that time.

F. Back1 Adjusts the feedback amount of the pitch shift sound.

E. Level1

E. Level2 *1Adjusts the volume of the pitch shifter.


*1: Setting not available when Voice is set to 1-VOICE.

HARMONIST (FxHrm: )Paramet er E xp lanat io n

Voice

1-VOICE One-voice pitch-shifted sound output in monaural.

2-MONO Two-voice pitch-shifted sound (PS1, PS2) output in monaural.

2-STEREOTwo-voice pitch-shifted sound (PS1, PS2) output through left andright channels.

Harm1

harm2 *1

Determines the pitch of the sound added to the input sound, when you are makinga harmony.

It allows you to set it by up to 2 octaves higher or lower than the input sound.When the scale is set to USER, this parameter sets the user scale number to be used.

P. Delay 1

Adjusts the time from when the direct sound is heard until the pitch shifted soundsare heard. Normally you can leave this set at 0 ms.

* When set to BPM, the value of each parameter will be set according to the value

PHASER (FxPhasr: )Parame ter Exp lanatio n

Type

4STAGE A four-phase effect. A light phaser effect is obtained.

8STAGE An eight-phase eff

ect. It is a popular phaser eff

ect.12S TAGE A twel ve -ph ase effect. A deep phase effect is obtained.

BiPHASE The phaser with two phase shift circuits connected in series.

Rate

Sets the rate of the phaser effect.

* When set to BPM, the value of each parameter will be set according to the valueof the MASTER BPM specied for each patch. This makes it easier to achieveeffect sound settings that match the tempo of the song.


Depth Determines the depth of the phaser effect.

Manual Adjusts the center frequency of the phaser effect.

ResoDetermines the amount of resonance (feedback). Increasing the value willemphasize the effect, creating a more unusual sound.

Step Rate

Sets the cycle of the step function that changes the rate and depth. When it is set

to a higher value, the change will be ner. Set this to Off when not using the Stepfunction.



E. Level Adjusts the volume of the phaser.


FLANGER (FxFlngr: )Parame ter Exp lanatio n

Rate

Sets the rate of the

anging eff

ect.* When set to BPM, the value of each parameter will be set according to the value

of the MASTER BPM specied for each patch. This makes it easier to achieveeffect sound settings that match the tempo of the song.


Depth Determines the depth of the anging effect.

Manual Adjusts the center frequency at which to apply the effect.

ResoDetermines the amount of resonance (feedback). Increasing the value willemphasize the effect, creating a more unusual sound.

Separatn Adjusts the diffusion. The diffusion increases as the value increases.

Low CutSets the frequency at which the low cut lter begins to take effect. When Flat isselected, the low cut lter will have no effect.

E. Level Adjusts the volume of the anger.

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FX Parameter

ROTARY (FxRot: )Parame te r E xp lanatio n

SpeedSelct Changes the simulated speakers rotating speed (SLOW or FAST).

Rate Slow Adjusts the Speed Select of rotation when set to SLOW.

Rate Fast

This parameter adjusts the speed select of rotation when set to FAST.



Rise TimeAdjusts the time it takes for the rotation Speed Select to change when switchedfrom SLOW to FAST.

Fall TimeAdjusts the time it takes for the rotation Speed Select to change when switchedfrom FAST to SLOW.

Depth Adjusts the amount of depth in the rotary effect.

E. Level Adjusts the volume.

UNI-V (FxUni-V: )Parame te r E xp lanatio n

Rate

Adjusts the rate of the UNI-V effect.



Depth Adjusts the depth of the UNI-V effect.

E. Level Adjusts the volume.

CHORUS (FxChorus: )Parame te r E xp lanatio n

Mode

MONOThis chorus effect outputs the same sound f rom both L channel andR channel.

STEREO1A stereo chorus effect that adds different chorus sounds to L channeland R channel.

STEREO2This stereo chorus uses spatial synthesis, with the direct soundoutput in the L channel and the effect sound output in the R channel.

Rate

Adjusts the rate of the chorus effect.



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Stereo/Mono Support for Each Effect

: This effect sound is mono.

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

: This effect sound is output with two channels.

Type

AMP (

FX

OD/DS ( COMPRESSOR except STEREO COMP STEREO COMP onlyLIMITER (EQ (T. WAH (

PITCH SHIFTER except 2-STEREO 2-STEREO only HARMONIST except 2-STEREO 2-STEREO only PEDAL BEND (

PHASER (

FLANGER (TREMOLO (PAN (ROTARY (

UNI-V ( CHORUS MONO STEREO 1, STEREO 2 DELAY MONO PAN

WAH ( CHORUS MONO STEREO 1, STEREO 2 DELAY except PAN, STEREO, and DUAL-L/R PAN, STEREO only DUAL-L/R onlyREVERB (

EQ (MIXER (

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In Pedal and Switch Settings for Each Patch (Ctl: ) (Owners Manual p. 11) and System Settings for the Pedals and Switches (SysCtl: ) (Owners Manual p. 13), you can use the EXP 1offFunc, EXP 1 on Func, EXP 2 Func, and GKVOL Func settings to assign the following parameters and control them.

Type ParameterFOOT VOL FV: LevelPATCH LEVEL Patch: Level

MODELING VOL

E. GTR EG: Volume

ACOUSTIC AC: VolumeE. BASS EB: Volume

SYNTH

GR-300 GR300: VolumeOSC SYNTH OSC: VolumeWAVE SYNTH WAVE: Volume

PolyFx

DISTORTION

PolyFx: GtrVolCRYSTAL

RICH MODULATION

SLOW PADTOUCH WAH PFxTWah: Volume

NORMAL PU VOL NrmlPU: VolumeMIXER BALANCE Mixer: BalanceSTRING BEND CTL StrBend: Control

MODELING CTL

E. GTR EG: ToneACOUSTIC AC: ToneE. BASS EB: Tone

SYNTH

GR-300 GR300: CutoffOSC SYNTH OSC: FilterCutoffWAVE SYNTH WAVE: Cutoff

PolyFx

DISTORTION PFxDist: Gain

CRYSTAL PFxCrystal: ColorRICH MODULATION PFxRichMod: ColorSLOW PAD PFxSlowPad: ColorTOUCH WAH PFxTWah: Peak

OD/DS FxODDS: DriveCOMPRESSOR FxComp: Sustain

LIMITER FxLmtr: Threshold

EQ FxEQ: Hi Mid FrqT. WAH FxT. Wah: PeakPITCH SHIFTER FxPS: E. Level1 FxPS: E. Level2HARMONIST FxHrm: E. Level1 FxHrm: E. Level2PEDAL BEND FxP. Bnd: Position

Control Function List

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Assign Target List (Asgn 18: Target)

Category Target

MDL:ON/OFFTYPE

EG:

TYPECLST PU SELMDS PU SELTE PU SELLP PU SELP90 PU SEL335 PU SELL4 PU SELRICK PU SELLIPS PU SELWIDERNG PUSELBRGHTHM PUSEL

FRTLS T. TYPEFRTLS SENSFRTLS DEPTHFRTLS ATTACKFRTLS RESOFRTLS D. LEVELVOLUMETONE

AC:

TYPEBODYATTACKSITR PU SEL

SITAR SENSSITAR COLORSITAR DECAYSITAR BUZZSITR ATTCK LVBNJ RESONANCERES RESONANCERESO SUSTAINTONEVOLUMETYPEJB REAR VOL

Category Target

OSC:

MODEVOLUME

WAVEFORM1PITCH1PITCH FINE1PW WIDTH1PW MOD RATE1P. ENV ATTCK1P. ENV DECAY1P. ENV DEPTH1LEVEL 1WAVEFORM2PITCH2PITCH FINE2

PW WIDTH2PW MOD RATE2P. ENV ATTCK2P. ENV DECAY2P. ENV DEPTH2LEVEL 2FILTER TYPEFILTER SLOPEFILTERCUTOFFFLTRCTOFFFLWFLTRRESOFLTRVELOSENS

FLTRENVATTCKFLTRENVDECAYFLTRENVSUSTNFLTRENVRELSFLTRENVDEPTHAMPVELOSENSAMPENVATTCKAMPENVDECAYAMPENVSUSTNAMPENVRELSLFO1 SHAPELFO1 RATE

Category Target

POLYFX:

TYPEGTRVOL

PFXDIST: GAINPFXDIST: GAINBALPFXDIST: COLORPFXDIST: TONEPFXDIST: LEVELPFXCRYSTAL: COLORPFXCRYSTAL:TONEPFXCRYSTAL: LEVELPFXRICHMOD: COLORPFXRICHMOD: TONEPFXRICHMOD: LEVELPFXSLOWPAD: COLOR

PFXSLOWPAD: TONEPFXSLOWPAD: LEVELPFXTWAH: MODEPFXTWAH: POLARPFXTWAH: SENSPFXTWAH: FREQPFXTWAH: DECAYPFXTWAH: PEAKPFXTWAH: TONETYPEPFXTWAH: COMP SWPFXTWAH: COMPSUSPFXTWAH: COMPATK

PFXTWAH: VOLUME

ALTTUNE:

ON/OFFTYPESHIFT 6SHIFT 5SHIFT 4SHIFT 3SHIFT 2SHIFT 1FINE 6FINE 5FINE 4

Owners Manual p. 12

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Assign Target List (Asgn 18: Target)

Category Target

MDL: STRING LV

65

4321

MDL: STRING PAN

654321

AMP:

ON/OFFTYPE

GAINLEVELBASSMIDDLETREBLEPRESENCEBRIGHTGAIN SWSOLO SWSOLO LEVELT-COMPSPEAKER TYPE

MIC TYPEMIC DISTANCEMIC POSITIONMIC LEVELDIRECT LEVEL

FX:ON/OFFTYPE

FXODDS:

TYPEDRIVETONELEVELBOTTOM

Category Target

FXLMTR:

TYPEATTACK

THRESHOLDRATIORELEASELEVEL

FXEQ:

LOW GAINHI GAINLOWMID FRQLOWMID QLOWMID GAINHI MID FRQHI MID QHI MID GAIN

LOW CUTHI CUTLEVEL

FXCHORUS:

MODERATEDEPTHPRE DLYLOW CUTHI CUTE. LEVELD. LEVEL

FXPS:

VOICE

MODE1PITCH1FINE1P. DELAY1F. BACK1E. LEVEL1MODE2PITCH2FINE2P. DELAY2E. LEVEL2D. LEVEL

Category Target

DELAY:

ON/OFFTYPE

TIMEFEEDBACKHIGH CUTE. LEVELD. LEVELPANTAPTIMED1 TIMED2 TIMED1 F. BACKD2 F. BACKD1 HICUTD2 HICUT

D1 E. LEVELD2 E. LEVELMOD RATEMOD DEPTH

REVERB

ON/OFFTYPETIMEPRE DELAYLOW CUTHIGH CUTDENSITYSPRINGSNS

E. LEVELD. LEVEL

EQ:

ON/OFFLOW GAINHI GAINLOWMID FRQLOWMID QLOWMID GAINHI MID FRQHI MID QHI MID GAINLOW CUT

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Sound List /

No. Name Modeling Type TYPE Modeling ON/OFF Normal PU ON/OFF PREAMP CTL1 CTL2 EXP1 SW EXP1 OFF EXP1 ON

01 DUAL SYNC SYNTH OSC SYNTH ON ON BG DRIVE OSC PITCH1 FLANGER ON/OFF WAH ON/OFF FOOT VOL WAH

02 DropD H iGAIN E. GTR LP ON OFF CORE METAL ALT TUNE ON/OFF ALT TUNE TYPE STR BEND ON/OFF FOOT VOL STRING BEND CTL

03 GR -30 0 LEAD SYNTH GR-300 ON OFF NATURAL CLEAN GR-300 PITCH SWNORMAL PU ON/OFF

CHORUS ON/OFFWAH ON/OFF FOOT VOL WAH

0 4 S EQ. TA P& HO LD SYNTH OSC SYNTH ON ON DELUXE CRUNCH TAP TEMPO OSC SYHTH HOLD WAH ON/OFF FOOT VOL WAH

05 AG 12str ACOUSTIC MA28 ON OFF FULL RANGE DELAY ON/OFF 12-STRING ON/OFF WAH ON/OFF FOOT VOL WAH

06 LP & MS1959 E. GTR LP ON OFF MS1959 OD/DS ON/OFF STRBEND CONTROL WAH ON/OFF FOOT VOL WAH

07 SYNTH BASS SYNTH WAVE SYNTH ON ON BASS HiGAIN CHORUS ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

08 POLY DIST POLY FX DISTORTION ON ON NATURAL CLEAN FLANGER ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

09 D-MO DAL AG ACOUSTIC MA28 ON OFF FULL RANGE ALT TUNE ON/OFF CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

10 SITAR ACOUSTIC SITAR ON OFF FULL RANGE CHORUS ON/OFF REVERB ON/OFF 12-STRING ON/OFF FOOT VOL OFF

11 S WE EP CLEAN SYNTH OSC SYNTH ON ON NATURAL CLEAN OSC PITCH1 OSC SYNTH HOLD WAH ON/OFF FOOT VOL WAH

12 S YN PDL BE ND SYNTH OSC SYNTH ON OFF CLEAN TWIN PHASER ON/OFF OSC SYNTH HOLD WAH ON/OFFOSC PITCH1

OSC PITCH2WAH

1 3 S YM PH O D RI VE SYNTH OSC SYNTH ON ON R-FIER MODERN PHASER ON/OFFOSC SYNTH HOLDAMP SOLO SW

DELAY ON/OFF

WAH ON/OFF FOOT VOL WAH

14 BASS CLEAN E. BASS PB ON OFF BASS CLEAN AMP TYPE CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

1 5 S EPA RATE WAY SYNTH OSC SYNTH ON OFF NATURAL CLEAN Normal PU ON/OFF OSC SYNTH HOLD WAH ON/OFF FOOT VOL WAH

16 7C APO 12st r E. GTR MOD ST ON OFF JC-120 ALT TUNE ON/OFF STRBEND CONTROL WAH ON/OFF FOOT VOL WAH

17 FR ETLESS LD E. GTR FRETLESS ON OFF NATURAL CLEAN PITCH SHIFTER ON/OFF CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

1 8 S LO W PA D F LT POLY FX SLOW PAD ON ON DELUXE CRUNCH DELAY FEEDBACK LIMITER ON/OFF WAH ON/OFF FOOT VOL WAH

19 PO LY T. WAH POLY FX TOUCH WAH ON OFF NATURAL CLEAN OD/DS ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

20 S WE EP DR IVE SYNTH OSC SYNTH ON ON STACK CRUNCH PHASER ON/OFF NORMAL PU ON/OFF WAH ON/OFF FOOT VOL WAH

21 335 FUSION E. GTR 335 ON OFF PRO CRUNCH OD/DS ON/OFF CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

22 HARMO IN C E. GTR BRIGHT HUM ON OFF POWER DRIVE EG TYPE HARMONIST ON/OFF WAH ON/OFF FOOT VOL WAH

23 5t h MIX SO LO SYNTH WAVE SYNTH ON ON BG LEAD Normal PU ON/OFF PITCH SHIFTER WAH ON/OFF FOOT VOL WAH

24 FO OT AR MING E. GTR BRIGHT HUM ON OFF POWER DRIVE AMP SOLO SW ALT TUNE ON/OFF STR BEND ON/OFF FOOT VOL STRBEND CONTROL

25 FUNK GT SET E. GTR CLA ST ON OFF NATURAL CLEAN LIMITER ON/OFF FX TYPE WAH ON/OFF FOOT VOL WAH

26 HYPER WAH SYNTH OSC SYNTH ON ON MS1959 + DELAY ON/OFF PHASER ON/OFF WAH ON/OFF FOOT VOLWAH

OSC PITCH2

27 O RNG CRUN CH E. GTR TE ON OFF ORNG ROCK REVERB TREMOLO CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

28 For SLIDE O PE E. GTR LP ON OFF MS1959 ALT TUNE ON/OFF ALT TUNE TYPE WAH ON/OFF FOOT VOL WAH

29 PORTA OSC R SYNTH OSC SYNTH ON ON COMBO CRUNCH OSC PORTAMENTO FXROT SPEEDSELCT WAH ON/OFF FOOT VOL WAH

3 0 A .D LY C RU NC H E. GTR P90 ON OFF COMBO CRUNCH CHORUS ON/OFF DELAY ON/OFF FX ON/OFF FOOT VOL FXFLANGER MANUAL

31 LEAD CTL1= -2 E. GTR BRIGHT HUM ON OFF HiGAIN STACK ALT TUNE ON/OFF OD/DS ON/OFF WAH ON/OFF FOOT VOL WAH

32 T X BLUES MOD E. GTR CLA ST ON ON TWEED MIXER BALANCE OD/DS ON/OFF WAH ON/OFF FOOT VOL WAH

33 S YN BAS S MIX SYNTH WAVE SYNTH ON ON BASS HiGAINCHORUS ON/OFFREVERB ON/OFF

DELAY ON/OFFWAH ON/OFFWAVE SYNTH OCTAVE

FOOT VOL WAH

34 SYNC SEQ. SYNTH OSC SYNTH ON ON TWEED TAP TEMPO OD/DS ON/OFF WAH ON/OFF FOOT VOL WAH

35 O SC CRYS TAL SYNTH OSC SYNTH ON ON NATURAL CLEAN OSC PORTAMENTO FLANGER ON/OFF WAH ON/OFF FOOT VOL WAH

36 HI RESO MIX ACOUSTIC SITAR ON ON NATURAL CLEAN REVERB ON/OFF ALT TUNE ON/OFF WAH ON/OFF FOOT VOL WAH

37 BLUES HARP SYNTH OSC SYNTH ON ON STACK CRUNCHOSC PITCH1

OSC PITCH2OSC SYNTH HOLD

WAH ON/OFF

OD/DS ON/OFFFOOT VOL WAH

38 BASS SEQ. SYNTH OSC SYNTH ON ON CORE METAL TAP TEMPOREVERB ON/OFF

OSC PITCH2 WAH ON/OFF FOOT VOL WAH

39 TE > OPEN G E. GTR TE ON OFF COMBO CRUNCH ALT TUNE ON/OFF MDL STRING LEVEL6 WAH ON/OFF FOOT VOL WAH

40 L4 BALLADE E. GTR L4 ON OFF NATURAL CLEAN EG TYPE AMP SOLO SW WAH ON/OFF FOOT VOL WAH

41 RICK 12str E. GTR RICK ON OFF CLEAN TWINCHORUS ON/OFFDELAY ON/OFF

STRBEND CONTROL ALT TUNE ON/OFF FOOT VOL OFF

4 2 C RYS TA L B EL L POLY FX CRYSTAL ON ON NATURAL CLEAN POLYFX TYPE NORMAL PU ON/OFF WAH ON/OFF FOOT VOL WAH

43 LASER BEAM SYNTH OSC SYNTH ON OFF NATURAL CLEAN DELAY ON/OFFOD/DS ON/OFF

EQ ON/OFFWAH ON/OFF

FOOT VOL

OSC FLTR RESOWAH

44 SOFT BRASS SYNTH OSC SYNTH ON OFF NATURAL CLEAN OSC PITCH2 OSC SYNTH HOLD WAH ON/OFF FOOT VOL WAH

45 SQR BELL SYNTH OSC SYNTH ON ON COMBO CRUNCH FX ROTARY SPEEDSELECT DELAY ON/OFF LED ON/OFFFOOT VOL

OSC FLTR RESONORMAL PU VOL

46 WIDE MO D CLN POLY FX RICH MODULATION ON OFF NATURAL CLEAN COMPRESSOR ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

47 LP+STACK E. GTR LP ON OFF MS1959 OD/DS ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

4 8 S up er Mo dla te POLY FX RICH MODULATION ON ON JC-120 POLY FX TYPE WAH ON/OFF EQ ON/OFF FOOT VOL FOOT VOL

49 SLOW PAD POLY FX SLOW PAD ON OFF FULL RANGE PHASER ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

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No. Name Modeling Type TYPE Modeling ON/OFF Normal PU ON/OFF PREAMP CTL1 CTL2 EXP1 SW EXP1 OFF EXP1 ON

50 CH O STRINGS SYNTH OSC SYNTH ON ON NATURAL CLEAN DELAY ON/OFF MODELING ON/OFF WAH ON/OFF FOOT VOL WAH

51 S YN MIX SO LO SYNTH WAVE SYNTH ON ON POWER DRIVE NORMAL PU ON/OFF PITCH SHIFTER ON/OFF WAH ON/OFF FOOT VOL WAH

52 STRINGS SYNTH OSC SYNTH ON ON CLEAN TWIN FLANGER ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

53 E XP PDL FLO W SYNTH OSC SYNTH ON ON BG LEAD TAP TEMPO NORMAL PU ON/OFF WAH ON/OFF FOOT VOL WAH

5 4 CO SM IC D RI VE SYNTH OSC SYNTH ON ON MS1959 PHASER ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

55 LATE 60s SET E. GTR CLA ST ON OFF MS1959 OD/DS ON/OFF FX TYPE WAH ON/OFF FOOT VOL WAH

56 JAZZ GUITAR E. GTR L4 ON OFF NATURAL CLEANOD/DS ON/OFF

CHORUS ON/OFFDELAY ON/OFF WAH ON/OFF FOOT VOL WAH

57 GB45 BASIC ACOUSTIC GB45 ON ON TWEED 12-STRING ON/OFF ALT TUNE ON/OFF WAH ON/OFF MIXER BALANCE WAH

58 12st FRE TLS S E. GTR FRETLESS ON OFF NATURAL CLEANNORMAL PU ON/OFFDELAY ON/OFF

ALT TUNE ON/OFF WAH ON/OFF FOOT VOL WAH

59 MO NO S YN DR V SYNTH OSC SYNTH ON ON POWER DRIVE NORMAL PU ON/OFF OD/DS ON/OFF WAH ON/OFF FOOT VOL WAH

60 R T CRYSTAL POLY FX CRYSTAL ON OFF NATURAL CLEAN FX ROTARY SPEEDSELECT DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

61 FR ETLSS BASS E. BASS FRETLESS ON OFF BASS CLEAN OD/DS ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

6 2 B UBB LE C RN CH SYNTH OSC SYNTH ON ON STACK CRUNCH OD/DS ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH63 HVY FUN K DRV SYNTH WAVE SYNTH ON ON EXTREME LEAD DELAY ON/OFF WAVE SYNTH OCTAVE WAH ON/OFF FOOT VOL WAH

6 4 T WA H S TR IN GS SYNTH OSC SYNTH ON ON NATURAL CLEAN T. WAH ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

65 MA28 SET ACOUSTIC MA28 ON ON DELUXE CRUNCH ALT TUNE ON/OFF 12-STRING ON/OFF NORMAL PU ON/OFF FOOT VOL MIXER BALANCE

66 B-BENDER TL E. GTR TE ON OFF DELUXE CRUNCH EG TYPE AMP SOLO SW LED ON/OFF FOOT VOL STRING BEND CTL

67 LIP & DADGAD E. GTR LIPS ON OFF COMBO CRUNCH ALT TUNE ON/OFF EG TYPE WAH ON/OFF FOOT VOL WAH

68 N ICE NYLON ACOUSTIC NYLON ON OFF FULL RANGE ALT TUNE ON/OFF DELAY ON/OFF REVERB ON/OFF FOOT VOL REVERB E.LEVEL

69 12str RICK E. GTR RICK ON ON VO DRIVE DELAY ON/OFF CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

70 BANJO0CTL=G ACOUSTIC BANJO ON OFF FULL RANGE ALT TUNE ON/OFF REVERB ON/OFF WAH ON/OFF FOOT VOL WAH

7 1 [ Gt ] S up er Cl n OFF ON JC-120 LIMITER ON/OFF CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

7 2 [ Gt ] J AZ Z C LN - OFF ON NATURAL CLEAN DELAY ON/OFF REVERB ON/OFF WAH ON/OFF FOOT VOL WAH

7 3 [ Gt ] R et roTr m OFF ON DELUXE CRUNCH TREMOLO ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

7 4 [ Gt ] U kc ru nc h OFF ON VO LEAD LIMITER ON/OFF CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

7 5 [ Gt ] Fi lt rF zz OFF ON COMBO CRUNCH OD/DS ON/OFF CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

7 6 [ Gt ] O D1 +1 95 9 OFF ON MS1959 OD/DS ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

77 [Gt] RT CRN CH OFF ON MATCH DRIVE REVERB ON/OFF FX ROTARY SPEEDSELECT WAH ON/OFF FOOT VOL WAH

7 8 [ Gt ] S HO EG AZ E OFF ON COMBO CRUNCH DELAY ON/OFF REVERB ON/OFF LED ON/OFF FOOT VOL DELAY TIME

7 9 [ Gt ] G AT E R EV OFF ON BGNR UB METAL FX PITCH SHIFTER PITCH1 PITCH SHIFTER WAH ON/OFF FOOT VOL WAH

80 [Gt] CTL BE ND OFF ON EXTREME LEAD FX P. BND POSITION FX P. BND POSITION WAH ON/OFF FOOT VOL WAH

81 [Gt] CLEAN 1 OFF ON NATURAL CLEANOD/DS ON/OFF

DELAY ON/OFFCHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

82 [Gt] CLEAN 2 OFF ON JC-120 CHORUS ON/OFF DELAY ON/OFF WAH ON/OFF FOOT VOL WAH

83 [Gt] CLEAN 3 OFF ON CLEAN TWIN PHASER ON/OFFDELAY ON/OFF

AMP TYPEAMP LEVEL

WAH ON/OFF FOOT VOL WAH

84 [Gt] CRUN CH 1 OFF ON COMBO CRUNCHOD/DS ON/OFF


85 [Gt] CRUN CH 2 OFF ON DELUXE CRUNCHOD/DS ON/OFF


86 [Gt] CRUN CH 3 OFF ON VO DRIVEOD/DS ON/OFFDELAY ON/OFF

CHORUS ON/OFF WAH ON/OFF FOOT VOL WAH

87 [Gt] DRIVE 1 OFF ON POWER DRIVEOD/DS ON/OFFDELAY ON/OFF


88 [Gt] DRIVE 2 OFF ON BG LEADOD/DS ON/OFF


89 [Gt] DRIVE 3 OFF ON MS1959 OD/DS ON/OFF

DELAY ON/OFF


90 [Gt] BEND +/- OFF ON EXTREME LEAD DELAY ON/OFF FX P. BND PITCH FX ON/OFF FOOT VOL P. BND POSITION

91 Init Patch E. GTR CLA ST ON ON NATURAL CLEAN OFF OFF WAH ON/OFF FOOT VOL WAH









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