GT-1000CORE Parameter Guide

Parameter Guide
01
Contents
REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
PEDAL FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Basic Procedure for Effect Editing . . . . . . . . . . . . . . . . . . . . . . . . . . 3
FOOT VOLUME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Effect Placement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
DIVIDER 1–3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Using STOMPBOX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
MIXER 1–3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Editing the STOMPBOX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
SEND/RETURN 1, 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Reading STOMPBOX Settings into a Patch . . . . . . . . . . . . . . . . . . 4
Writing Patch Settings into a STOMPBOX . . . . . . . . . . . . . . . . . . . 4 OUTPUT SP.SIMULATOR L, OUTPUT SP.SIMULATOR R, SUB
OUT SP.SIMULATOR L, SUB OUT SP.SIMULATOR R. . . . . . . . . . . . 29
Basic MENU Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
MASTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
COMPRESSOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
CONTROL MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
DISTORTION 1, 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
CONTROL ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
AIRD PREAMP 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
CONTROL FUNCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
NOISE SUPPRESSOR 1, 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
ASSIGN SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
EQUALIZER 1–4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Virtual Expression Pedal (Internal Pedal / Wave Pedal) . . . . . . . 42
DELAY 1–4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
INPUT (Input Level) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
MASTER DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
INPUT SENS (Input Sens) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 PATCH MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
FX1–FX3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 LED COLOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
AC.G SIM (AC. GUITAR SIMULATOR). . . . . . . . . . . . . . . . . . . . . . . . . 13 TEMPO HOLD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
AC RESO (AC RESONANCE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 IN/OUT SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 INPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 OUTPUT, SUB OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
CHO BASS (CHORUS BASS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 TOTAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
C-VIBE (CLASSIC VIBE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 USB-Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
COMP (COMPRESSOR). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 PLAY OPTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
DEFRETR (DEFRETTER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
DEFRET B (DEFRETTER BASS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
MIDI SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
DIST (DISTORTION). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
PROGRAM MAP BANK1–BANK4. . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
FEEDBAKR (FEEDBACKER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
FLANGER/FLANGR B (FLANGER B). . . . . . . . . . . . . . . . . . . . . . . . . . 18
HARDWARE SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
HARMONST (HARMONIST) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
KNOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
HUMANIZR (HUMANIZER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
AMP CONTROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
EXP HOLD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
OCT BASS (OCTAVE BASS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
GROUND LIFT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
OVERTONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
PAN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
PITCH SFT (PITCH SHIFTER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
METRONOME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
RING MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
ROTARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Saving a Sound (WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
SITAR SIM.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Saving a Patch (PATCH WRITE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
SLICER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Exchanging Patches (PATCH EXCHANGE). . . . . . . . . . . . . . . . . . . . 56
SLW GEAR (SLOW GEAR)/
SG BASS (SLOW GEAR BASS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Initializing Patches (PATCH INITIALIZE) . . . . . . . . . . . . . . . . . . . . . 57
SND HOLD (SOUND HOLD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Inserting a Patch (PATCH INSERT). . . . . . . . . . . . . . . . . . . . . . . . . . . 57
S-BEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
TOUCH WH (TOUCH WAH)/
TW BASS (TOUCH WAH BASS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
TREMOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
MEMO
55 This effect sound is mono.
55 This effect sound is output with two channels.
55 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.
Copyright © 2020 ROLAND CORPORATION
2
Basic Operation
Basic Procedure for Effect Editing Editing while viewing all parameters
From the edit screen, you can long-press knob [SELECT] to see a list
The edit screens show the block configuration (effect chain) of all
of all parameters of the selected block. You can edit the parameters
effects provided by the GT-1000CORE, as well as the output and
from this list.
send/return. You can edit from this effect chain display by selecting
the block that you want to edit.
1. Press the [EFFECT] button.
1. Turn the [SELECT] knob to select the item that you

want to set.
Turning the knob will move the selected item vertically.
The edit screen (effect chain) appears.
2. Turn knobs [1]–[6] to edit the value of the
parameters shown in the screen.
Use the PAGE [K] [J] buttons to switch between lists of parameters.
2. Turn knob [6] to select the block that you want to

edit.
Effect Placement
By moving blocks such as effects, output, and send/return, you can
freely change the order in which the effects are placed, or arrange
them in parallel.
The selected block is enclosed by a thick frame.
* By pressing knob [SELECT] you can turn the selected effect on/off.
Effects that are off are shown in gray. When the effect is turned on,
it is shown in white.
Off On
Changing the placement of effects etc.
3. Use knobs [1]–[5] to adjust the parameters that are The effect chain is shown.
shown below the screen. 2. Use knob [SELECT] to select the block that you
want to move.
3. While pressing knob [SELECT], turn it left or right.
The selected block moves left or right.
Use the PAGE [K] [J] buttons to switch between the parameters
that you want to edit. The current page is indicated in the lower
center of the screen.
* To change a value in larger steps, turn a knob while pressing it.
* The number of parameters and pages differs depending on the
effect.
3
Basic Operation
Using STOMPBOX Reading STOMPBOX Settings into a Patch

Your preferred settings for each effect can be saved as a “STOMPBOX.” 1. Press the [EFFECT] button.
You can select these saved settings and use them to create your
sound just as though you were connecting compact pedal effects. 2. Use the [SELECT] knob to choose the effect you’re
The STOMPBOX data is common to all patches; this means that all going to edit.
patches using the same STOMPBOX can be edited simultaneously.

2. Use the [SELECT] knob to choose the effect you’re
going to edit.
3. Use the PAGE [K] [J] buttons to move to the last
page.

page.
4. Press the [5] knob.
The STOMPBOX select window appears.

5. Turn knob [SELECT] to select the STOMPBOX type.
6. Press the [5] (STOMPBOX COPY) knob.
The contents of the STOMPBOX are recalled into the patch.
You can edit the patch without modifying the contents of the
STOMPBOX.
5. Turn knob [SELECT] to select the STOMPBOX type.
6. Press the [SELECT] knob. Writing Patch Settings into a STOMPBOX
Editing the STOMPBOX 2. Use the [SELECT] knob to choose the effect you’re
going to save.
1. Turn knobs [1]–[5] to edit the parameter value that
are shown in the screen.
Use the PAGE [K] [J] buttons to switch between lists of
parameters.

page.

4
Basic Operation
5. Press the [4] (WRITE TO STOMPBOX) knob.
6. Turn knob [1] to select the writing-destination

STOMPBOX.
7. Use knobs [3]–[5] and [SELECT] knob to name the
STOMPBOX.
You can turn the [SELECT] knob to move the cursor within the
name.
Reference
For details on naming the STOMPBOX, refer to “Editing a name”
(p. 56).
Basic MENU Operations

Here you can make settings that are common to the entire GT-1000CORE
(system parameters).
1. Press the [MENU] button.
* You can use the PAGE [K] [J] buttons to see additional items.
2. Press a knob [1]–[5] to select the item that you want

to edit.
A sub-menu appears.
3. Once again press a knob [1]–[5] to select the item

that you want to edit.
4. Use knobs [1]–[5] and [SELECT] knob to select

parameters or edit the values.
5
Effect
* 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
DISTORTION 1, 2
are used because it is the most practical way of describing the sounds that are
emulated using DSP technology. This effect distorts the sound to create long sustain.
Parameter Value Explanation
COMPRESSOR ON/OFF
TYPE
OFF, ON Turns this effect on/off.
Refer to “DISTORTION 1, 2 TYPE” (p. 6)
This is an effect that produces a long sustain by evening out the DRIVE 0–120 Adjusts the depth of distortion.
volume level of the input signal. TONE -50–+50 Adjusts the tone.
LEVEL 0–100 Adjusts the volume of the effect sound.
Adjusts the tone for the low frequency range.
ON/OFF OFF, ON Turns this effect on/off.
Turning this to the left (counterclockwise)
BOTTOM -50–+50
BOSS CMP produces a sound with the low end cut; turning it
(BOSS COMP) This models a BOSS CS-3. to the right boosts the low end in the sound.
DIR MIX 0–100 Adjusts the volume of the direct sound.
This uses MDP (Multi-Dimensional
Processing) to obtain a consistently natural SOLO SW OFF, ON The tone to one suitable for solos.
X-COMP
playing feel and sound that responds to the SOLO LVL Adjusts the volume level when the SOLO SW is
pitch range and dynamics of your phrase. 0–100
(SOLO LEVEL) ON.
TYPE D-COMP This models a MXR DynaComp.
This is modeled on the sound of the Dan
ORANGE
Armstrong ORANGE SQUEEZER. DISTORTION 1, 2 TYPE
STEREO This is a list of distortion types that can be selected for DISTORTION 1, 2
This selects a stereo compressor.
Type Explanation
X-BASS This is a compressor for bass that uses MDP
This is a booster with unique characteristics in the midrange.
(Multi-Dimensional Processing). MID
(MID BOOST)
Making the connection before the AIRD PREAMP produces
Adjust this as appropriate for the input sound suitable for solos.
signal. When the input signal level exceeds
THRESHLD *1 0–100 CLEAN This not only functions as a booster, but also produces a clean
this threshold level, compression will be
applied. (CLEAN BOOST) tone that has punch even when used alone.
Adjusts the range (time) over which low- TREBLE

This is a booster that has bright characteristics.
SUSTAIN *2 0–100 level signals are boosted. Larger values will (TREBLE BOOST)
result in longer sustain. A lustrous crunch sound with an added element of amp
CRUNCH
Adjusts the strength of the attack when distortion.
ATTACK 0–100
picking. NATURAL This is an overdrive sound that provides distortion with a natural
LEVEL 0–100 Adjusts the volume. (NATURAL OD) feeling.
TONE -50–+50 Adjusts the tone. WARM OD This is a warm overdrive.
RATIO 1:1–INF:1 Selects the compression ratio. FAT DS A distortion sound with thick distortion.
DIR MIX 0–100 Adjusts the volume of the direct sound. Produces a distortion sound with both the smoothness of an
LEAD DS
overdrive along with a deep distortion.
*1 Setting available when TYPE is set to X-BASS. This is a distortion sound that is ideal for performances of heavy
METAL DS
*2 Not shown if TYPE is set to X-BASS. 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
This is a crunch sound of the BOSS BD-2.
BLUES OD This produces distortion that faithfully reproduces the nuances
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.
DIST This gives a basic, traditional distortion sound.
CENTA OD This models a KLON CENTAUR.
RAT This models a Proco RAT.
GUV DS This models a Marshall GUV’ NOR.
DIST+ This models the sound of the MXR DISTORTION+.
This models the sound of the BOSS MT-2.
MTL ZONE
(METAL ZONE)
It produces a wide range of metal sounds, from old style to slash
metal.
6
Effect
AIRD PREAMP 1, 2
Type Explanation
This models the sound of the BOSS HM-2.
HM-2 It produces distinctive cranked-up distortion sound with
compression. This is an amp that uses BOSS’s proprietary cutting-edge AIRD
(Augmented Impulse Response Dynamics) technology to simulate
MTL CORE This is the sound of the BOSS ML-2 which is ideal for high speed
(METAL CORE) metal riffs. every detail of a guitar amp as a unified instrument, including the
response and operation of the guitar amp’s circuit and the interactions
This models a FUZZFACE.
60S FUZZ between all parts that affect the sound.
It produces a fat fuzz sound.
MUFF FUZ Parameter Value Explanation
This models an Electro-Harmonix Big Muff π.
(MUFF FUZZ) ON/OFF OFF, ON Turns this effect on/off.
BASS OD Overdrive tuned especially for use with basses. TYPE Refer to “AIRD PREAMP TYPE List” (p. 8)
BASS DS Distortion tuned especially for use with basses. GAIN 0–120 Adjusts the distortion of the amp.
BASS MT Wild, radical distortion sound. Adjusts the amount by which compression
SAG -10–+10
BASS FUZZ Fuzz tuned especially for use with basses. changes in response to the power amp.
With this effect, distortion is applied only to the high frequency Adjusts the amount by which dynamics is affected
HI BAND RESO
sounds, and not to the sounds in the low frequency range. -10–+10 by the interaction between the power amp and
(RESONANCE)
the speaker transformer.
This effect uses MDP to provide ideal distortion in all pitch
X-BASS Adjusts the volume of the entire preamp.
ranges of the bass, from low to high. LEVEL 0–100
* Be careful not to raise the Level setting too high.
BASS DRV This models a TECH21 SANSAMP BASS DRIVER DI.
BASS 0–100 Adjusts the tone for the low frequency range.
BASS DI This models a MXR Bass D.I.+.
MIDDLE 0–100 Adjusts the tone for the middle frequency range.
* Company names and product names appearing in this document are registered TREBLE 0–100 Adjusts the tone for the high frequency range.
* In this manual, company names and product names of the respective owners PRESENCE 0–100 Adjusts the tone for the ultra high frequency range.
are used because it is the most practical way of describing the sounds that are Turns the bright setting on/off.
emulated using DSP technology. BRIGHT OFF, ON * The BRIGHT setting is available only when
certain AIRD PREAMP TYPE settings are selected.
Provides for selection from three levels of
distortion: LOW, MIDDLE, and HIGH. Distortion will
LOW, successively increase for settings of LOW, MIDDLE
GAIN SW MIDDLE, and HIGH.
HIGH * The sound of each Type is created on the basis
that the Gain is set to MIDDLE. So, normally set
it to MIDDLE.
SOLO SW OFF, ON The tone to one suitable for solos.
SOLO LVL
0–100 Adjusts the volume level when the SOLO SW is ON.
(SOLO LEVEL)
7
Effect
AIRD PREAMP TYPE List

Category Type Explanation
NOISE SUPPRESSOR 1, 2
TRNSPRNT
An amp with a broad frequency This effect reduces the noise and hum picked up by guitar pickups.
range and an extremely flat response. Since it suppresses the noise in synchronization with the envelope
(TRANSPARENT)
Good for acoustic guitar.
of the guitar sound (the way in which the guitar sound decays over
An unembellished, clean sound that time), it has very little effect on the guitar sound, and does not harm
minimizes the amp’s idiosyncrasies, the natural character of the sound.
NATURAL
such as its trebly character and
boomy low end. Parameter Value Explanation
Crunch sound that allows the
nuances of your picking to be
BOUTIQUE
expressed even more faithfully than Adjust this parameter as appropriate for the
on conventional combo amps. volume of the noise. If the noise level is high, a
higher setting is appropriate. If the noise level is
Great-feeling crunch sound that
low, a lower setting is appropriate. Adjust this value
responds to the nuances of your THRESHLD
0–100 until the decay of the guitar sound is as natural as
SUPREME picking while taking advantage of (THRESHOLD)
possible.
the distinctive character of a 4x12”
speaker cabinet. * High settings for the threshold parameter may
TYPE
result in there being no sound when you play
(ADVANCED AMP) An amp that delivers the distinctively with your guitar volume turned down.
great response and tone of a vintage
MAXIMUM Adjusts the time from when the noise suppressor
Marshall, while making it even higher RELEASE 0–100
gain. begins to function until the noise level reaches “0.”
A large stack sound that has been This controls the noise suppressor based on the volume level for
JUGGERNT the point specified in Detect.
tweaked extensively in the pursuit of
(JUGGERNAUT)
the ultimate metal sound. Input volume from input jack.
INPUT
Crunch sound that uses MDP to * Ordinarily, DETECT should be set to “INPUT.”
X-CRUNCH
deliver a crisp tone from all strings.
Noise suppressor input volume.
High-gain sound that uses MDP to
* When connected as illustrated below, and you
obtain high-gain sound with a wide
X-HI GAIN want to prevent a spatial-type effects sound
range and a great-feeling sense of
(such as a delay sound) from being eradicated
separation. NS INPUT by the NS, you should set DETECT to “NS INPUT.”
Core sound that uses MDP to
DLY NS
X-MODDED preserve the definition of the sound DETECT
even with extreme gain.
(Spatial-type effect)
This models the sound of the Roland
JC-120 Volume after passing through Foot Volume.
JC-120.
* If you want to use FV (Foot Volume) in place
TWIN
This models a Fender Twin Reverb. of the guitar’s volume control, you need to set
(TWIN COMBO)
DETECT to “FV OUT.”
DELUXE FV OUT
This models a Fender Deluxe Reverb.
(DELUXE COMBO)
INPUT
TWEED This models a Fender Bassman 4 x FV NS
(TWEED COMBO) 10” Combo.
Foot Volume
DIAMOND
This models a VOX AC30.
(DIAMOND AMP)
BRIT STK
This models a Marshall 1959.
(BRIT STACK)
TYPE (CLASSICS)
Models the sound of the Channel 2
RECTI STK
MODERN Mode on the MESA/Boogie
(RECTI STACK)
DUAL Rectifier.
MATCH This models the sound input to left
(MATCH COMBO) input on a Matchless D/C-30.
This models the sound of the MESA/
BG COMBO
Boogie combo amp.
ORNG STK This models the dirty channel of an
(ORNG STACK) ORANGE ROCKERVERB.
This models the sound that models
BGNR UB
the high-gain channel of a Bogner
(BGNR UB METAL)
Uberschall.
NATRL BS
Uncolored clean sound for bass.
(NATURAL BASS)
TYPE
(ADVANCED AMP) High-gain sound for bass, using MDP
X-DRV BS
to provide wide range and a good-
(X-DRIVE BASS)
sounding sense of separation.
TYPE (CLASSICS) CONCERT This models the Ampeg SVT.
* In this manual, company names and product names of the respective owners
emulated using DSP technology.
8
Effect
EQUALIZER 1–4 DELAY 1–4

Adjusts the tone. This is a delay with a maximum delay time of 2,000 ms. This effect is a
useful way of adding depth to the sound.
PARAMTRC
You can adjust the tone character in four bands.
TYPE (PARAMETRIC) Adjusts the delay time.
GRAPHIC You can adjust the tone character in ten bands. * When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
specified for each patch. This makes
PARAMETRIC TIME
1ms–2000ms, it easier to achieve effect sound
BPM `– Œ settings that match the tempo of
Adjusts the tonal quality. You can adjust the tone character in four the song.
bands.
* If, due to the tempo, the time is
longer than the range of allowable
settings, it is then synchronized to a
Adjusts the tone for the low frequency period either 1/2 or 1/4 of that time.
LO GAIN -20–+20dB
range.
Adjusts the volume that is returned to
Adjusts the tone for the high frequency FEEDBACK 0–100 the input. Higher settings will result in
HI GAIN -20–+20dB more delay repeats.
range.
Adjusts the overall volume level of the This sets the frequency at which the
LEVEL -20–+20dB 20.0Hz–20.0kHz high cut filter begins to take effect.
equalizer. HI CUT
FLAT When FLAT is selected, the high cut filter
Specifies the center of the frequency will have no effect.
LM FREQ 20.0Hz–16.0kHz range that will be adjusted by the LM
GAIN. E.LEVEL 0–120 Adjusts the volume of the delay sound.
Adjusts the width of the area affected by D.LEVEL 0–100 Adjusts the volume of the direct sound.
LM Q 0.5–16 the EQ centered at the LM FREQ. Higher
Adjusts the BPM value for each patch.
values will narrow the area.
* BPM (beats per minute) indicates the
Adjusts the low-middle frequency range number of quarter note beats that
LM GAIN -20–+20dB
tone. occur each minute
Specifies the center of the frequency * When you have an external MIDI
HM FREQ 20.0Hz–16.0kHz range that will be adjusted by the HM BPM 40–250 device connected, the MASTER BPM
GAIN. synchronizes to the external MIDI
devices tempo, making it impossible
Adjusts the width of the area affected by
to set the MASTER BPM. To enable
HM Q 0.5–16 the EQ centered at the HM FREQ. Higher
setting of the MASTER BPM, set “SYNC
values will narrow the area.
CLOCK” (p. 47) to “INTERNAL.”
Adjusts the low-middle frequency range
HM GAIN -20–+20dB
tone.
This sets the frequency at which the low
FLAT, cut filter begins to take effect. When FLAT
LO CUT
20.0Hz–20.0kHz is selected, the low cut filter will have no
effect.
This sets the frequency at which the high
20.0Hz–20.0kHz cut filter begins to take effect. When FLAT
HI CUT
FLAT is selected, the high cut filter will have
no effect.
GRAPHIC
Adjusts the tonal quality. You can adjust the tone character in ten
bands.

Adjusts the overall volume level of the
LEVEL -20–+20dB
equalizer.
31.5Hz
63Hz
125Hz
250 Hz
500 Hz
-20–+20dB Adjust the volume of each frequency band.
1 kHz
2 kHz
4 kHz
8 kHz
16 kHz
9
Effect
MASTER DELAY COMMON

* The COMMON parameters are not shown if TYPE is set to TWIST.
This produces a variety of delay sounds ranging from simple effects to
richly idiosyncratic sounds. Parameter Value Explanation
Adjusts the delay time.
* When set to BPM, the value of each parameter
ON/OFF OFF, ON Turns this effect on/off. will be set according to the value of the
This selects which type of delay. “MASTER BPM” specified for each patch.
1ms–2000ms, This makes it easier to achieve effect sound
TIME
* If you switch patches with the Type set to DUAL and then begin BPM `– Œ settings that match the tempo of the song.
to play immediately after the patches change, you may be
unable to attain the intended effect in the first portion of what * If, due to the tempo, the time is longer than
you perform. the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4 of
* The stereo effect is cancelled if a mono effect or AIRD PREAMP that time.
is connected after a stereo delay effect.
This sets the amount of delay sound returned
MONO FEEDBACK 0–100 to the input. A higher value will increase the
This is a simple mono delay.
number of the delay repeats.
This delay is specifically for stereo output. This 20.0Hz– This sets the frequency at which the high cut
allows you to obtain the tap delay effect that HI CUT 20.0kHz filter begins to take effect. When FLAT is selected,
divides the delay time, then deliver them to L and FLAT the high cut filter will have no effect.
R channels.
E.LEVEL 0–120 Adjusts the volume of the delay sound.
TAP TIME
PAN OUTPUT R MOD RATE 0–100 Adjusts the modulation rate of the delay sound.
EFFECT LEVEL
TIME MOD DEPT Adjusts the modulation depth of the delay
0–100
INPUT DELAY OUTPUT L (MOD DEPTH) sound.
Adjusts the sensitivity at which the volume is
FEEDBACK DUCK SENS automatically adjusted according to the input.
0–100
(DUCK SENS) Higher values allow the adjustment to occur in
The direct sound is output from the left channel, response to lower volumes.
STEREO 1
and the effect sound is output from the right The volume being “input” to the delay is
channel. DUCK PRE automatically reduced when the input sound is
0–100
STEREO2 (DUCK PRE DEPTH) loud. The amount of reduction increases as this
This is a stereo-in/out delay. setting approaches 100.
ANALOG This gives a mild analog delay sound. The delay The volume being “output” to the delay is
TYPE DUCK PST automatically reduced when the input sound is
time can be set within the range of 12 to 1,200 ms. 0–100
(DUCK POST DEPTH) loud. The amount of reduction increases as this
This gives a mild analog delay sound. The delay setting approaches 100.
time can be set within the range of 12 to 1,200 ms.
ANALG ST D.LEVEL 0–100 Adjusts the volume of the direct sound.
The direct sound is output from the left channel,
and the effect sound is output from the right Adjusts the BPM value for each patch.
channel. * BPM (beats per minute) indicates the number
Provides the characteristic wavering sound of the of quarter note beats that occur each minute
TAPE
tape echo. * When you have an external MIDI device
BPM 40–250 connected, the MASTER BPM synchronizes to
REVERSE This produces an effect where the sound is played
the external MIDI devices tempo, making it
back in reverse.
impossible to set the MASTER BPM. To enable
SHIMMER setting of the MASTER BPM, set “SYNC CLOCK”
Delay with pitch-shifted sound mixed in.
(p. 47) to “INTERNAL.”
DUAL A delay comprising two different delays
connected either in series or in parallel.
WARP
Produces a dream-like sound.
PAN
Produces an aggressive sense of rotation. Using Parameter Value Explanation
TWIST
this in conjunction with distortion will produce an
even wilder sense of rotation. Adjusts the delay time of the right channel delay.
This setting adjusts the R channel delay time
SPACE EC TAP TIME 0–100%
This models the sound of the Roland RE-201. relative to the L channel delay time (considered
as 100%).
ECHO PX
This models the sound of the Maestro Echoplex.
BIN ECHO
This models the sound of the Binson Echorec2. REVERSE
* Company names and product names appearing in this document are registered Parameter Value Explanation
When this is on, the start position for reverse
* In this manual, company names and product names of the respective owners AUTO TRIG OFF, ON
playback is adjusted automatically.
emulated using DSP technology.
10
Effect
TAPE Parameter Value Explanation

1:LEVEL
(D1 EFFECT LEVEL)
Parameter Value Explanation Adjusts the volume of the DELAY 1 (or DELAY
0–120
2).
Selects the combination playback heads. 2:LEVEL
1, 1+2, 1+3, Playback heads 2/3 provide delay times that are (D2 EFFECT LEVEL)
HEAD
2+3, 1+2+3 two times or three times as long as playback
head 1.
WARP
SHIMMER Parameter Value Explanation
Parameter Value Explanation TRIGGER OFF, ON If this is ON, the WARP effect is applied.
Lets you freely specify the amount of pitch shift
PITCH -24–+24
for the delay.
Adjusts the balance between the pitch-shifted
PITCH BL 0–100 sound that is input to the delay and the direct TWIST
sound.
Adjusts the amount of feedback for the delay that Parameter Value Explanation
PITCH FB 0–100
is applied to the direct sound.
FALL Rotation stops when you switch TRIGGER from
(RISE0FALL) ON to OFF.
MODE
DUAL FADE
(RISE0FADE)
When you switch TRIGGER from ON to OFF, fade-
out occurs while continuing the rotation.
The TWIST effect is applied when you turn this
Parameter Value Explanation TRIGGER OFF, ON
ON.
This is a delay comprising two different delays This parameter adjusts the amount of time it is to
connected in series. RISE TIME 0–100
take for the effect to transition to the maximum.
SERIES
D1 D2 FALL TIME *1 0–100
Adjusts the time for the rotation to stop when
MODE is set to RISE0FALL.
This is a delay comprising two delays Adjusts the time to fade-out when MODE is set to
connected in parallel. FADE TIME *2 0–100
RISE0FADE.
PARALLEL D1 LEVEL 0–100 Adjusts the volume of the effect sound.
MODE
D2 *1 Setting available when MODE is set to RISE0FALL.
*2 Setting available when MODE is set to RISE0FADE.
This delay lets you specify the L and R
channels independently.
L/R D1 L
D2
SPACE EC (SPACE ECHO)
R
MONO This is a simple mono delay. Parameter Value Explanation

This delay is specifically for stereo output. This Selects the combination playback heads.
1:TYPE
allows you to obtain the tap delay effect that 1, 1+2, 1+3, 2+3, Playback heads 2/3 provide delay times
(D1 TYPE) PAN HEAD
divides the delay time, then deliver them to L 1+2+3 that are two times or three times as long as
and R channels. playback head 1.
2:TYPE
ANALOG This gives a mild analog delay sound.
(D2 TYPE) WOW&FLUT
0–100 Adjusts the wow & flutter.
This setting provides the characteristic (WOW & FLUTTER)
TAPE
wavering sound of the tape echo.
Adjusts the delay time.
* When set to BPM, the value of each
parameter will be set according to the
ECHO PX (TAPE ECHO PX)
1:TIME value of the “MASTER BPM” specified for
(D1 TIME) each patch. This makes it easier to achieve Parameter Value Explanation
1ms–2000ms,
effect sound settings that match the
BPM `– Œ WOW&FLUT
2:TIME tempo of the song. 0–100 Adjusts the wow & flutter.
(WOW & FLUTTER)
(D2 TIME) * If, due to the tempo, the time is longer
than the range of allowable settings, it is
then synchronized to a period either 1/2 or
1/4 of that time.
BIN ECHO (BIN DRUM ECHO)
1:FEEDBK
(D1 FEEDBACK) Adjusts the amount of feedback of the DELAY
0–100 1 (or DELAY 2). A higher value will increase the Parameter Value Explanation
2:FEEDBK number of the delay repeats. 1, 2, 3, 4, 1+2,
(D2 FEEDBACK) 2+3, 3+4, 1+3,
HEAD Selects the combination playback heads.
1:HI CUT 2+4, 1+2+3,
2+3+4, 1+2+3+4
(D1 HIGH CUT) 20.0Hz– This sets the frequency at which the high
20.0kHz, cut filter begins to take effect. When FLAT is Selects the operating mode of the delay.
ECHO, REPEAT,
2:HI CUT FLAT selected, the high cut filter will have no effect. SELECTOR Depending on mode that’s selected, the
SWELL
(D2 HIGH CUT)
FEEDBACK will not work in some cases.
WOW&FLUT
0–100 Adjusts the wow & flutter.
(WOW & FLUTTER)
11
Effect
CHORUS DUAL
In this effect, a slightly detuned sound is added to the original sound Parameter Value Explanation
to add depth and breadth. 1:RATE 0–100,
Adjusts the rate of the chorus effect.
2:RATE BPM Œ– `
COMMON 1:DEPTH
Adjusts the depth of the chorus
effect.
0–100
2:DEPTH * To use it for doubling effect, set
Parameter Value Explanation the value to 0.
ON/OFF OFF, ON Turns this effect on/off. Adjusts the time needed for the
effect sound to be output after the
Selection for the chorus mode. direct sound has been output. By
1:PRE-DL
0.0ms–40.0ms setting a longer pre delay time, you
MONO This chorus effect outputs the same sound 2:PRE-DL can obtain an effect that sounds like
from both L channel and R channel.
more than one sound is being played
This stereo chorus uses spatial synthesis, at the same time (doubling effect).
STEREO 1 with the direct sound output in the L
1:LEVEL Adjusts the volume of the effect
channel and the effect sound output in the 0–100
TYPE 2:LEVEL sound.
R channel.
This is a stereo chorus effect that adds Produces a typical chorus effect.
STEREO2
different chorus sounds to L channel and R TRI
channel.
1:WAVE
DUAL This lets you apply chorus independently to Produces a deeper sense of
the L and R channels. 2:WAVE
modulation.
Adjusts the rate of the chorus effect. SINE

value of the “MASTER BPM” specified for This sets the frequency at which the
1:LO CUT FLAT, low cut filter begins to take effect.
each patch. This makes it easier to achieve
0–100, 2:LO CUT 20.0Hz–20.0kHz When FLAT is selected, the low cut
RATE effect sound settings that match the
BPM Œ– ` filter will have no effect.
tempo of the song.
* If, due to the tempo, the time is longer This sets the frequency at which the
than the range of allowable settings, it is 1:HI CUT 20.0Hz–20.0kHz, high cut filter begins to take effect.
then synchronized to a period either 1/2 2:HI CUT FLAT When FLAT is selected, the high cut
or 1/4 of that time. filter will have no effect.
Adjusts the depth of the chorus effect. Adjusts the volume of the direct
DEPTH 0–100 sound.
* To use it for doubling effect, set the value D.LEVEL 0–100
to 0. Setting this to 0 cuts the direct
sound.
Adjusts the time needed for the effect sound
to be output after the direct sound has been Adjusts the BPM value for each patch.
PRE-DELY output. By setting a longer pre delay time, * BPM (beats per minute) indicates
0.0ms–40.0ms
(PRE-DELAY) you can obtain an effect that sounds like the number of quarter note beats
more than one sound is being played at the that occur each minute
same time (doubling effect). * When you have an external MIDI
E.LEVEL 0–100 Adjusts the volume of the effect sound. BPM 40–250 device connected, the MASTER
BPM synchronizes to the external
Produces a typical chorus effect. MIDI devices tempo, making it
TRI impossible to set the MASTER
BPM. To enable setting of the
WAVEFORM MASTER BPM, set “SYNC CLOCK”
Produces a deeper sense of modulation. (p. 47) to “INTERNAL.”
SINE This setting is appropriate for mono
MONO
output.
OUTPUT
This sets the frequency at which the low Produces a rich spaciousness when
FLAT, STEREO
LO CUT cut filter begins to take effect. When FLAT is stereo output is used.
20.0Hz–20.0kHz
selected, the low cut filter will have no effect.
20.0Hz–20.0kHz, cut filter begins to take effect. When FLAT
HI CUT
FLAT is selected, the high cut filter will have no
effect.
Adjusts the volume of the direct sound.
D.LEVEL 0–100
Setting this to 0 cuts the direct sound.
number of quarter note beats that occur
each minute
* When you have an external MIDI
BPM 40–250 device connected, the MASTER BPM
synchronizes to the external MIDI devices
tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (p. 47) to
“INTERNAL.”
12
Effect
FX1–FX3
Effect Name Explanation
SLW GEAR
(SLOW GEAR)
With FX1, FX2, and FX3, you can select the effect to be used from the This produces a volume-swell effect (“violin-like” sound).
SG BASS
following. You can select the same effect for FX1, FX2, and FX3. (SLOW GEAR BASS)
You can have sound played on the guitar be held

Parameter Value Explanation SND HOLD
continuously. This effect allows you to perform the melody in
(SOUND HOLD)
ON/OFF OFF, ON Turns this effect on/off. the upper registers while holding a note in the lower registers.
S-BEND Applies intense bending.
TYPE Refer to FX1/FX2/FX3 TYPE
TOUCH WH You can produce a wah effect with the filter changing in
(TOUCH WAH) response to the guitar level.
TW BASS You can produce a wah effect with the filter changing in
FX1/FX2/FX3 TYPE (TOUCH WAH BASS) response to the bass level.
This is a list of the effects that can be selected for FX1/FX2/FX3. TREMOLO Tremolo is an effect that creates a cyclic change in volume.
VIBRATO This effect creates vibrato by slightly modulating the pitch.
Effect Name Explanation
AC.G SIM
This effect simulates the tonal character of an acoustic guitar.
(AC GUITAR SIM)
AC RESO
This processor allows you to change the sound produced by
the pickup on an acoustic electric guitar, creating a richer
sound similar to that obtained with a microphone placed
AC.G SIM (AC. GUITAR SIMULATOR)
(AC RESONANCE)
close to the guitar. This effect simulates the tonal character of an acoustic guitar.
This changes the filtering over a periodic cycle, providing an
AUTO WAH
automatic wah effect. Parameter Value Explanation
CHORUS
In this effect, a slightly detuned sound is added to the original BODY 0–100 Adjusts the body resonance.
CHO BASS sound to add depth and breadth. Specifies the sense of volume for the low-
(CHORUS BASS) LO -50–+50
frequency range.
C-VIBE Although this resembles a phaser effect, it also provides a
Specifies the sense of volume for the high-
(CLASSIC-VIBE) unique undulation that you can’t get with a regular phaser. HI -50–+50
frequency range.
This is an effect that produces a long sustain by evening out the
COMP volume level of the input signal. You can also use it as a limiter LEVEL 0–100 Specifies the volume of the effect.
to suppress only the sound peaks and prevent distortion.
DEFRETR
This simulates a fretless guitar.
(DEFRETTER)
DEFRET B
(DEFRETTER BASS)
This simulates a fretless bass. AC RESO (AC RESONANCE)
DIST This processor allows you to change the sound produced by the
This effect distorts the sound to obtain long sustain.
(DISTORTION)
pickup on an acoustic electric guitar, creating a richer sound similar to
FEEDBAKR
Generates feedback performance. that obtained with a microphone placed close to the guitar.
(FEEDBACKER)
FLANGER Parameter Value Explanation

The flanging effect gives a twisting, jet-airplane-like character
FLANGR B NATURAL A natural and uncolored sound.
to the sound.
(FLANGER BASS) Mellow sound that emphasizes the body
WIDE
Harmonist is an effect where the amount of shifting is TYPE resonance
HARMONST
adjusted according to an analysis of the guitar input, allowing Brilliant sound with an extended high-
(HARMONIST)
you to create harmony based on diatonic scales. BRIGHT
frequency range
HUMANIZR
This can create human vowel-like sounds. Use this knob to adjust the balance between
(HUMANIZER)
RESO 0–100 the body resonance effect of the acoustic
OCTAVE guitar and the direct sound of the pickup.
This adds a note one octave lower and a note two octaves
OCT BASS lower, creating a richer sound. TONE -50-+50 Adjusts the tone.
(OCTAVE BASS)
LEVEL 0–100 Specifies the volume of the effect.
This effect uses MDP technology to add new harmonics to
OVERTONE the sound, producing resonance and richness that was not
present in the original sound.
With the volume level of the left and right sides alternately
changing, when playing sound in stereo, you can get an effect
PAN
that makes the guitar sound appear to fly back and forth
between the speakers.
By adding varied-phase portions to the direct sound, the phaser
PHASER
effect gives a whooshing, swirling character to the sound.
PITCH SFT This effect changes the pitch of the original sound (up or
(PITCH SHIFTER) down) within a range of two octaves.
This creates a bell-like sound by ring-modulating the guitar
RING MOD sound with the signal from the internal oscillator. The sound
can be unmusical and lack distinctive pitches.
ROTARY This produces an effect like the sound of a rotary speaker.
SITAR SIM This simulates the sound of the sitar.
This consecutively interrupts the sound to create the
SLICER
impression that a rhythm backing phrase is being played.
13
Effect
AUTO WAH CHORUS

This changes the filtering over a periodic cycle, providing an In this effect, a slightly detuned sound is added to the original sound
automatic wah effect. to add depth and breadth.

Selects the wah mode. COMMON
Low pass filter. Passes only the low-frequency
LPF
region. Parameter Value Explanation
FILTER High pass filter. Passes only the high-
HPF ON/OFF OFF, ON Turns this effect on/off.
frequency region.
Selection for the chorus mode.
Band pass filter. Passes only the specified
BPF
frequency region. MONO This chorus effect outputs the same sound
from both L channel and R channel.
Adjusts the frequency (speed) of the change.
* When set to BPM, the value of each This stereo chorus uses spatial synthesis,
parameter will be set according to the STEREO 1 with the direct sound output in the L
value of the “MASTER BPM” specified for channel and the effect sound output in the
each patch. This makes it easier to achieve R channel.
0–100,
BPM Œ– ` STEREO2
This is a stereo chorus effect that adds
tempo of the song. different chorus sounds to L channel and
* If, due to the tempo, the time is longer TYPE R channel.
DUAL This lets you apply chorus independently to
then synchronized to a period either 1/2
the L and R channels.
or 1/4 of that time.
This is BOSS’s proprietary chorus sound. It
DEPTH 0–100 Adjusts the depth of the effect. PRIME
provides spaciousness and depth that were
E.LEVEL 0–100 Adjusts the volume of the effect sound. not previously obtainable.
Adjusts the center frequency of the Wah CE-1 CHO
FREQ 0–100 The chorus sound of the CE-1.
effect.
Adjusts the way in which the wah effect CE-1 VIB
The vibrato sound of the CE-1.
RESO 0–100 applies to the area around the center
frequency.
Adjusts the rate of the chorus effect.
WAVEFORM TRI, SINE Selects a wave type. * When set to BPM, the value of each
DIR MIX 0–100 Adjusts the volume of the direct sound. parameter will be set according to the
value of the “MASTER BPM” specified
Adjusts the BPM value for each patch. for each patch. This makes it easier to
0–100,
RATE achieve effect sound settings that match
* BPM (beats per minute) indicates the BPM Œ– `
number of quarter note beats that occur the tempo of the song.
each minute * If, due to the tempo, the time is longer
* When you have an external MIDI than the range of allowable settings, it is
BPM 40–250 device connected, the MASTER BPM then synchronized to a period either 1/2
synchronizes to the external MIDI devices or 1/4 of that time.
tempo, making it impossible to set the Adjusts the depth of the chorus effect.
DEPTH 0–100 * To use it for doubling effect, set the
“INTERNAL.” value to 0.
E.LEVEL 0–100 Adjusts the volume of the effect sound.
Adjusts the time needed for the effect
sound to be output after the direct sound
has been output. By setting a longer pre
PRE-DELY *1 0.0ms–40.0ms
delay time, you can obtain an effect that
sounds like more than one sound is being
played at the same time (doubling effect).
Produces a typical chorus effect.
TRI
WAVEFORM *1
Produces a deeper sense of modulation.
SINE

LO CUT *1
effect.
HI CUT *1
effect.
D.LEVEL 0–100
14
Effect

PRIME
* BPM (beats per minute) indicates the Parameter Value Explanation
each minute SWEETNES Higher values produce a more
0–100
* When you have an external MIDI (SWEETNESS) enveloping sound.
BPM 40–250 device connected, the MASTER BPM Higher values produce a more brilliant
synchronizes to the external MIDI BELL 0–100 sound.
devices tempo, making it impossible to
set the MASTER BPM. To enable setting This setting is appropriate for mono
MONO
of the MASTER BPM, set “SYNC CLOCK” output.
OUTPUT
(p. 47) to “INTERNAL.” Produces a rich spaciousness when
STEREO
stereo output is used.
*1 Not shown if TYPE is set to CE-1 CHO or CE-1 VIB.
DUAL CE-1 CHORUS, CE-1 VIBRATO

Parameter Value Explanation Parameter Value Explanation
Adjusts the rate of the chorus effect. PREAMP Specifies whether the CE-1’s preamp is
OFF, ON
* When set to BPM, the value of each (PREAMP SW) simulated (ON) or not simulated (OFF).
parameter will be set according GAIN Adjusts the gain of the preamp. Higher
to the value of the “MASTER BPM” 0–100 settings will produce distortion.
(PREAMP GAIN)
specified for each patch. This makes
1:RATE 0–100, it easier to achieve effect sound LEVEL
0–100 Adjusts the volume of the preamp.
2:RATE BPM Œ– ` settings that match the tempo of (PREAMP LEVEL)
the song.
* If, due to the tempo, the time is
longer than the range of allowable
settings, it is then synchronized to a
period either 1/2 or 1/4 of that time.
Adjusts the depth of the chorus effect.
1:DEPTH
0–100 * To use it for doubling effect, set the
2:DEPTH
value to 0.
Adjusts the time needed for the effect
sound to be output after the direct
1:PRE-DL sound has been output. By setting a
0.0ms–40.0ms longer pre delay time, you can obtain an
2:PRE-DL effect that sounds like more than one
sound is being played at the same time
(doubling effect).
1:LEVEL
0–100 Adjusts the volume of the effect sound.
2:LEVEL
Produces a typical chorus effect.
TRI
1:WAVE
2:WAVE Produces a deeper sense of modulation.
SINE

1:LO CUT FLAT, cut filter begins to take effect. When
2:LO CUT 20.0Hz–20.0kHz FLAT is selected, the low cut filter will
have no effect.
This sets the frequency at which the
1:HI CUT 20.0Hz–20.0kHz, high cut filter begins to take effect.
2:HI CUT FLAT When FLAT is selected, the high cut filter
will have no effect.
D.LEVEL 0–100
number of quarter note beats that
occur each minute
synchronizes to the external MIDI
devices tempo, making it impossible
setting of the MASTER BPM, set “SYNC
CLOCK” (p. 47) to “INTERNAL.”
15
Effect
CHO BASS (CHORUS BASS) C-VIBE (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.
ON/OFF OFF, ON Turns this effect on/off. Parameter Value Explanation
Direct sound and effect sound are mixed and
Selection for the chorus mode. CHORUS
MODE output.
MONO This chorus effect outputs the same sound VIBRATO Only effect sound is output.
from both L channel and R channel. Adjusts the rate of the effect.
This stereo chorus uses spatial synthesis, * When set to BPM, the value of each
TYPE STEREO 1 with the direct sound output in the L parameter will be set according to the
channel and the effect sound output in the value of the “MASTER BPM” specified for
R channel. each patch. This makes it easier to achieve
0–100,
This is a stereo chorus effect that adds BPM Œ– `
STEREO2 tempo of the song.
different chorus sounds to L channel and
R channel. * If, due to the tempo, the time is longer than
the range of allowable settings, it is then
Adjusts the rate of the chorus effect. synchronized to a period either 1/2 or 1/4
* When set to BPM, the value of each of that time.
parameter will be set according to the DEPTH 0–100 Adjusts the depth of the effect.
value of the “MASTER BPM” specified E.LEVEL 0–100 Adjusts the tone.
for each patch. This makes it easier to
0–100, Adjusts the BPM value for each patch.
BPM Œ– `
the tempo of the song. * BPM (beats per minute) indicates the
* If, due to the tempo, the time is longer number of quarter note beats that occur
than the range of allowable settings, it is each minute
then synchronized to a period either 1/2 BPM 40–250 * When you have an external MIDI device
or 1/4 of that time. connected, the MASTER BPM synchronizes
to the external MIDI devices tempo,
Adjusts the depth of the chorus effect.
making it impossible to set the MASTER
DEPTH 0–100 * To use it for doubling effect, set the BPM. To enable setting of the MASTER BPM,
value to 0. set “SYNC CLOCK” (p. 47) to “INTERNAL.”
LO CUT *1
effect. COMP (COMPRESSOR)
This is an effect that produces a long sustain by evening out the
HI CUT *1 volume level of the input signal.
effect.
* BPM (beats per minute) indicates the ON/OFF OFF, ON Turns this effect on/off.
number of quarter note beats that occur BOSS COMP
each minute This models a BOSS CS-3.
* When you have an external MIDI This uses MDP to provide a consistently natural
BPM 40–250 device connected, the MASTER BPM X-COMP
playing feel and sound that responds to the
synchronizes to the external MIDI pitch range and dynamics of your phrases.
set the MASTER BPM. To enable setting D-COMP
This models a MXR DynaComp.
of the MASTER BPM, set “SYNC CLOCK” TYPE
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.
Adjust this as appropriate for the input

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

*2 Not shown if TYPE is set to X-BASS COMP.
16
Effect
DEFRETR (DEFRETTER) Type Explanation

This is an overdrive sound that provides distortion with a natural
NATURAL
feeling.
This simulates a fretless guitar.
WARM OD This is a warm overdrive.
Parameter Value Explanation FAT DS A distortion sound with thick distortion.
This controls the input sensitivity of the Produces a distortion sound with both the smoothness of an
SENS 0–100 LEAD DS
defretter. overdrive along with a deep distortion.
DEPTH 0–100 This controls the rate of the harmonics. This is a distortion sound that is ideal for performances of heavy
METAL DS
Adjusts the amount of blurring between the riffs.
TONE -50–+50
notes. OCT FUZZ A fuzz sound with rich harmonic content.
E.LEVEL 0–100 Adjusts the volume of the effect sound. This uses MDP technology to obtain ideal distortion in all ranges
A-DIST
ATTACK 0–100 Adjusts the attack of the picking sound. of the guitar, from low to high.
Adds a characteristically resonant quality to the This is an overdrive that uses MDP to obtain the distortion that’s
RESO 0–100 X-OD
sound. most appropriate in each pitch range.
DIR MIX 0–100 Adjusts the volume of the direct sound. This is a distortion that uses MDP to obtain the distortion that’s
X-DIST
This is a crunch sound of the BOSS BD-2.
BLUES OD This produces distortion that faithfully reproduces the nuances
of picking.
DEFRET B (DEFRETTER BASS) OD-1
This models the sound of the BOSS OD-1.
This produces sweet, mild distortion.
This simulates a fretless bass.
T-SCREAM This models an Ibanez TS-808.
Parameter Value Explanation TURBO OD This is the high-gain overdrive sound of the BOSS OD-2.
This controls the input sensitivity of the DIST This gives a basic, traditional distortion sound.
SENS 0–100
defretter.
CENTA OD This models a KLON CENTAUR.
ATTACK 0–100 Adjusts the attack of the picking sound.
RAT This models a Proco RAT.
Adjusts the amount of blurring between the
TONE -50–+50 GUV DS This models a Marshall GUV’ NOR.
notes.
E.LEVEL 0–100 Adjusts the volume of the effect sound. DIST+ This models the sound of the MXR DISTORTION+.
DIR MIX 0–100 Adjusts the volume of the direct sound. This models the sound of the BOSS MT-2.
MTL ZONE It produces a wide range of metal sounds, from old style to slash
metal.
This models the sound of the BOSS HM-2.
HM-2
DIST (DISTORTION) It produces distinctive cranked-up distortion sound with
compression.
This is the sound of the BOSS ML-2 which is ideal for high speed
This effect distorts the sound to create long sustain. MTL CORE
metal riffs.
Parameter Value Explanation This models a FUZZFACE.

60S FUZZ
It produces a fat fuzz sound.
MUFF FUZ This models an Electro-Harmonix Big Muff π.
TYPE Refer to “DISTORTION TYPE” (p. 17)
BASS OD Overdrive tuned especially for use with basses.
DRIVE 0–120 Adjusts the depth of distortion.
BASS DS Distortion tuned especially for use with basses.
BASS MT Wild, radical distortion sound.
BASS FUZ Fuzz tuned especially for use with basses.
Adjusts the tone for the low frequency range.
Turning this to the left (counterclockwise) With this effect, distortion is applied only to the high frequency
BOTTOM -50–+50 HI BAND
produces a sound with the low end cut; turning it sounds, and not to the sounds in the low frequency range.
to the right boosts the low end in the sound.
This effect uses MDP to provide ideal distortion in all pitch
X-BASS
DIR MIX 0–100 Adjusts the volume of the direct sound. ranges of the bass, from low to high.
SOLO SW OFF, ON The tone to one suitable for solos. BASS DRV This models a TECH21 SANSAMP BASS DRIVER DI.
Adjusts the volume level when the SOLO SW is BASS DI This models a MXR Bass D.I.+.
SOLO LVL 0–100
ON.
DISTORTION TYPE * In this manual, company names and product names of the respective owners
This is a list of distortion types that can be selected for DISTORTION. emulated using DSP technology.
Type Explanation
This is a booster with unique characteristics in the midrange.
MID Making the connection before the AIRD PREAMP produces
sound suitable for solos.
This not only functions as a booster, but also produces a clean
CLEAN
tone that has punch even when used alone.
TREBLE This is a booster that has bright characteristics.
A lustrous crunch sound with an added element of amp
CRUNCH
distortion.
17
Effect
FEEDBAKR (FEEDBACKER) FLANGER/FLANGR B (FLANGER B)

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. Parameter Value Explanation
Parameter Value Explanation This sets the rate of the flanging effect.
Analyzes the pitch of the guitar sound being * When set to BPM, the value of each
NORMAL parameter will be set according to the
input, and then creates a feedback sound.
An artificial feedback sound will be created for each patch. This makes it easier
internally. When OSC is selected, the effect is 0–100,
MODE RATE to achieve effect sound settings that
activated after a single note is played and the BPM Œ– `
OSC match the tempo of the song.
note stabilizes. A feedback effect is created when
* If, due to the tempo, the time is longer
the effect switches on; the feedback disappears
than the range of allowable settings, it
when the OSC effect switches off.
is then synchronized to a period either
TRIGGER OFF, ON Feedback is applied if this is turned ON. 1/2 or 1/4 of that time.
Adjusts the ease with which feedback will occur Determines the depth of the flanging
DEPTH *1 0–100 DEPTH 0–100
when the FEEDBACKER is on. effect.
This determines the time needed for the volume Determines the amount of resonance
RISE TIME *2 0–100 of the feedback sound to reach its maximum (feedback). Increasing the value will
RESO 0–100
from the moment the effect is turned on. emphasize the effect, creating a more
unusual sound.
This determines the time needed for the volume
of the one octave higher feedback sound to Adjusts the center frequency at which to
OCT RISE *2 0–100 MANUAL 0–100
reach its maximum from the moment the effect apply the effect.
is turned on.
If this is “ON,” a more intense effect is
TURBO OFF, ON
FEEDBACK *2 0–100 Adjusts the volume of the feedback sound. produced.
Adjusts the volume of the one octave higher WAVEFORM TRI, SINE Selects the type of wave.
OCT FBK*2 0–100
feedback sound.
Adjusts the rate of the step function which
Adjusts the rate of the vibrato when the OFF, varies the rotation in a step-wise manner.
VIB RATE *2 0–100
FEEDBACKER is on. STEP 0–100, Higher settings make the change occur in
BPM Œ– ` smaller steps. Turn this “OFF” if you don’t
Adjusts the depth of the vibrato when the
VIB DEPT *2 0–100 want to use the step function.
FEEDBACKER is on.
0, 15, 30, 45, 60,
Adjusts the diffusion. The diffusion
*1 MODE=NORMAL only SEPARATE 75, 90, 105, 120,
increases as the value increases.
135, 150, 165, 180
*2 MODE=OSC only
E.LEVEL 0–100 Adjusts the volume of the flanger.
Adjusts the amount of feedback for the
LO DAMP -100–0 low-frequency region.
HI DAMP -100–0 high-frequency region.
LO CUT
effect.
HI CUT
effect.
occur each minute
set the MASTER BPM. To enable setting
of the MASTER BPM, set “SYNC CLOCK”
18
Effect
HARMONST (HARMONIST) USER SCALE

Harmonist is an effect where the amount of shifting is adjusted * Effective with USER selected for HARM parameter.
according to an analysis of the guitar input, allowing you to create Parameter Value
harmony based on diatonic scales.
C C– C–C– C– C
* Because of the need to analyze the pitch, chords (two or more
D² D²– D²–D²– D²– D²
sounds played simultaneously) cannot be played. Be sure to mute
all the other strings and play only one note at a time. D D– D–D– D– D
* When you are to play the next string while a certain sound is still E² E²– E²–E²– E²– E²
playing, mute the previous sound and then play the next one with E E– E–E– E– E
a clear attack. If the unit cannot detect the attack, it may not sound
correctly. F F– F–F– F– F
* The sensitivity may vary according to the guitar’s TONE knob and F¾ F¾– F¾–F¾– F¾– F¾
pickup type. G G– G–G– G– G
Parameter Value Explanation A² A²– A²–A²– A²– A²
Selects the number of voices for the pitch shift sound. A A– A–A– A– A
1VOICE One-voice pitch-shifted sound output in B² B²– B²–B²– B²– B²
mono.
VOICE B B– B–B– B– B
2MONO Two-voice pitch-shifted sound (HR1, HR2)
output in mono.
Specify the note name of the output sound. The minus (-) and plus (+) symbols
2STEREO Two-voice pitch-shifted sound (HR1, HR2) indicate sounds above or below the specified original note.
output through left and right channels.
Triangles next to the note names indicate octaves.
This determines the pitch of the sound One downward-pointing triangle indicates a note one octave below the note
added to the input sound, when you are displayed; two triangles indicates a two-octave drop.
making a harmony.
1:HARMO -2oct–+2oct, One upward-pointing triangle indicates a note one octave above the note displayed;
USER It allows you to set it by up to 2 octaves two triangles indicates a two-octave rise.
2:HARMO
higher or lower than the input sound. When
the scale is set to USER, this parameter sets
the user scale number to be used.
The key setting corresponds to the key of
the song (¾, ²) as follows.
Major
C (Am)–
KEY Minor
B (G#m)
Major
Minor
1:LEVEL
0–100 Adjusts the volume of the harmony sound.
2:LEVEL
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.
1:PRE-DL 0–300ms, value of the “MASTER BPM” specified
2:PRE-DL BPM `– Œ for each patch. This makes it easier to
achieve effect sound settings that match
the tempo of the song.
Adjusts the feedback amount of the
1:FEEDBK 0–100
harmonist sound.
D.LEVEL 0–100 Adjusts the volume of the direct sound.
each minute
“INTERNAL.”
19
Effect
HUMANIZR (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.
This sets the mode that switches the vowels. Parameter Value Explanation
It changes from VOWEL 1 to VOWEL 2 along Adds a note one octave lower and a note two
PICKING with the picking. The time spent for the MONO octaves lower than the input.
MODE change is adjusted with the rate. TYPE This supports mono input.
By adjusting the rate and depth, two vowels Adds a note one octave lower than the input.
AUTO (VOWEL 1 and VOWEL 2) can be switched POLY
This supports polyphonic input.
automatically.
Adjusts the volume of the sound two octave
VOWEL 1 a, e, i, o, u Selects the first vowel. -2OCT *1 0–100
below.
VOWEL 2 a, e, i, o, u Selects the second vowel.
Adjusts the volume of the sound one octaves
-1OCT *1 0–100
Adjusts the sensitivity of the humanizer. below.
When it is set to a lower value, no effect D.LEVEL 0–100 Adjusts the volume of the direct sound.
of the humanizer is obtained with weaker
SENS *1 0–100 picking, while stronger picking produces This selects the register to which the effect
RANGE *2 0–100
the effect. When it is set to a higher value, is applied.
the effect of the humanizer can be obtained Adjusts the volume of the sound one octave
whether the picking is weak or strong. OC.LEVEL *2 0–100
below.
Adjusts the cycle for changing the two
vowels. *1 Setting available when TYPE is set to MONO.
* When set to BPM, the value of each *2 Setting available when TYPE is set to POLY.
value of the “MASTER BPM” specified for
0–100, each patch. This makes it easier to achieve
RATE
BPM Œ– ` effect sound settings that match the
tempo of the song. OCT BASS (OCTAVE BASS)
than the range of allowable settings, it is This is an OCTAVE effect for bass.
or 1/4 of that time. Parameter Value Explanation
DEPTH 0–100 Adjusts the depth of the effect. Adjusts the volume of the sound two octave
-2OCT 0–100
below.
This determines the point where the two
vowels are switched. When it is set to 50, Adjusts the volume of the sound one octaves
-1OCT 0–100
VOWEL 1 and VOWEL 2 are switched in the below.
MANUAL *2 0–100 same length of time. When it is set to lower
than 50, the time for VOWEL 1 is shorter. D.LEVEL 0–100 Adjusts the volume of the direct sound.
When it is set to higher than 50, the time for
VOWEL 1 is longer.
LEVEL 0–100 Adjusts the tone.
OVERTONE
This effect uses MDP technology to add new harmonics to the sound,
each minute
producing resonance and richness that was not present in the original
sound.
tempo, making it impossible to set the Parameter Value Explanation
MASTER BPM. To enable setting of the Adjusts the volume of the harmonic one octave
MASTER BPM, set “SYNC CLOCK” (p. 47) to LOWER 0–100
below.
“INTERNAL.”
Adjusts the volume of the harmonic one octave
UPPER 0–100
above.
*1 Setting available when MODE is set to PICKING.
*2 Setting available when MODE is set to AUTO. Adjusts the volume of added sound whose pitch
UNISON 0–100
is slightly shifted relative to the direct sound.
Adjusts the amount of the detune effect that
DETUNE 0–100
adds depth to the sound.
Adjusts the tonal character of the low-frequency
LO -50–+50
range.
Adjusts the tonal character of the high-frequency
HI -50–+50
range.
MONO,
OUTPUT Selects the type of output.
STEREO
20
Effect
PAN Parameter
WAVEFORM *1
Value
TRI, SINE
Explanation
Selects the type of wave.
With the volume level of the left and right sides alternately changing, This sets the cycle of the step function that
when playing sound in stereo, you can get an effect that makes the changes the rate and depth. When it is set
to a higher value, the change will be finer.
guitar sound appear to fly back and forth between the speakers. Set this to “Off” when not using the Step
function.
Adjusts the frequency (speed) of the parameter will be set according to the
OFF, 0–100,
change. STEP *1 value of the “MASTER BPM” specified
BPM Œ– `
* When set to BPM, the value of each for each patch. This makes it easier to
parameter will be set according achieve effect sound settings that match
to the value of the “MASTER BPM” the tempo of the song.
specified for each patch. This makes * If, due to the tempo, the time is longer
0–100,
RATE it easier to achieve effect sound than the range of allowable settings, it is
BPM Œ– `
settings that match the tempo of then synchronized to a period either 1/2
the song. or 1/4 of that time.
* If, due to the tempo, the time is Specifies whether the two phase shift
longer than the range of allowable BI-PHASE *1 OFF, ON circuits are connected in series (ON) or not
settings, it is then synchronized to a (OFF).
period either 1/2 or 1/4 of that time.
0, 15, 30, 45,
DEPTH 0–100 Adjusts the depth of the effect. 60, 75, 90, 105, Adjusts the diffusion. The diffusion increases
SEPARATE *1
Adjusts changes in volume level. 120, 135, 150, as the value increases.
165, 180
WAVEFORM 0–100 A higher value will steepen wave’s
shape. Adjusts the amount of feedback for the low-
LO DAMP *1 -100–0
frequency region.
E.LEVEL 0–100 Adjusts the volume.
DIR MIX 0–100 Adjusts the volume of the direct sound. HI DAMP *1 -100–0
high-frequency region.
Adjusts the BPM value for each patch. This sets the frequency at which the low
FLAT,
* BPM (beats per minute) indicates the cut filter begins to take effect. When FLAT
LO CUT *1 20.0Hz–
number of quarter note beats that is selected, the low cut filter will have no
20.0kHz
occur each minute effect.
* When you have an external MIDI This sets the frequency at which the high
BPM 40–250 device connected, the MASTER BPM 20.0Hz–
cut filter begins to take effect. When FLAT
synchronizes to the external MIDI HI CUT *1 20.0kHz,
is selected, the high cut filter will have no
devices tempo, making it impossible FLAT
effect.
setting of the MASTER BPM, set E.LEVEL 0–100 Adjusts the volume.
“SYNC CLOCK” (p. 47) to “INTERNAL.” DIR MIX 0–100 Adjusts the volume of the direct sound.
PHASER each minute
By adding varied-phase portions to the direct sound, the phaser effect synchronizes to the external MIDI devices
gives a whooshing, swirling character to the sound. tempo, making it impossible to set the
Parameter Value Explanation MASTER BPM, set “SYNC CLOCK” (p. 47) to
“INTERNAL.”
Selects the PHASER type.
An original BOSS phaser. This provides *1 Setting available when TYPE is set to PRIME.
PRIME modulation that is not obtainable from
TYPE * Company names and product names appearing in this document are registered
previous units.
Models the MXR Phase 90 which was * In this manual, company names and product names of the respective owners
SCRIPT
manufactured during the ‘70s. are used because it is the most practical way of describing the sounds that are
2, 4, 8, 16, Selects the number of stages that the phaser emulated using DSP technology.
STAGE *1
24STAGE effect will use.
This sets the rate of the phaser effect.
for each patch. This makes it easier to
0–100,
BPM Œ– `
the tempo of the song.
DEPTH 0–100 Determines the depth of the phaser effect.
Determines the amount of resonance
(feedback). Increasing the value will
RESO *1 0–100
emphasize the effect, creating a more
unusual sound.
Adjusts the center frequency of the phaser
MANUAL *1 0–100
effect.
21
Effect
PITCH SFT (PITCH SHIFTER) RING MOD

This effect changes the pitch of the original sound (up or down) This creates a bell-like sound by ring-modulating the guitar sound
within a range of two octaves. with the signal from the internal oscillator.
The sound can be unmusical and lack distinctive pitches.
Selects the number of voices for the pitch shift sound. Parameter Value Explanation
1VOICE One-voice pitch-shifted sound output in If this is ON, the oscillator frequency changes
mono. according to the pitch of the input sound,
producing a pitched sound. In this case, the
VOICE 2MONO Two-voice pitch-shifted sound (PS1, PS2) INTELLI OFF, ON expected effect does not occur if the pitch
output in mono. of the guitar sound is not detected correctly.
2STEREO Two-voice pitch-shifted sound (PS1, PS2) We recommend that you use this with single-
output through left and right channels. note playing.
1:PITCH Adjusts the frequency of the internal

Adjusts the amount of pitch shift (the FREQ 0–100
-24–+24 oscillator.
2:PITCH amount of interval) in semitone steps.
Adjusts the rate at which the internal
D.LEVEL 0–100 Adjusts the volume of the direct sound. oscillator is modulated.
Selection for the pitch shifter mode. * When set to BPM, the value of each
FAST, The response is slower in the order parameter will be set according to the
MEDIUM, of FAST, MEDIUM and SLOW, but the value of the “MASTER BPM” specified for
SLOW modulation is lessened in the same order. 0–100, each patch. This makes it easier to achieve
MOD RATE
1:MODE BPM Œ– ` effect sound settings that match the
2:MODE MONO is used for inputting single notes. tempo of the song.
* You may be unable to produce * If, due to the tempo, the time is longer
MONO the intended effect when playing than the range of allowable settings, it is
chords (two or more notes played then synchronized to a period either 1/2
simultaneously). or 1/4 of that time.
1:FINE Make fine adjustments to the interval. The Adjusts the depth to which the internal
MOD DEPT 0–100
-50–+50 amount of the change in the Fine 100 is oscillator is modulated.
2:FINE equivalent to that of the Pitch 1.
Adjusts the time from when the direct
sound is heard until the pitch shifted DIR MIX 0–100 Adjusts the volume of the direct sound.
sounds are heard. Normally you can leave Adjusts the BPM value for each patch.
this set at 0 ms.
* When set to BPM, the value of each number of quarter note beats that occur
parameter will be set according to the each minute
1:PRE-DL 0ms–300ms, value of the “MASTER BPM” specified
2:PRE-DL BPM `– Œ for each patch. This makes it easier BPM 40–250 device connected, the MASTER BPM
to achieve effect sound settings that
match the tempo of the song.
* If, due to the tempo, the time is longer MASTER BPM. To enable setting of the
than the range of allowable settings, it MASTER BPM, set “SYNC CLOCK” (p. 47) to
is then synchronized to a period either “INTERNAL.”
1/2 or 1/4 of that time.
1:LEVEL
0–100 Adjusts the volume of the pitch shifter.
2:LEVEL
Adjusts the feedback amount of the pitch
1:FEEDBK 0–100
shift sound.
occur each minute
set the MASTER BPM. To enable setting
22
Effect
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 Parameter Value Explanation
SPEED SLOW, FAST
speaker’s rotating speed (SLOW or FAST). Select the slice pattern that will be used to cut the
PATTERN P1–P20
0–100, This parameter adjusts the SPEED SELECT sound.
SLOW
BPM Œ– ` of rotation when set to “SLOW.”
Adjust the rate at which the sound will be cut.
0–100, This parameter adjusts the SPEED SELECT
FAST * When set to BPM, the value of each parameter
BPM Œ– ` of rotation when set to “FAST.”
will be set according to the value of the “MASTER
E.LEVEL 0–100 Adjusts the volume. BPM” specified for each patch. This makes it easier
0–100,
RATE to achieve effect sound settings that match the
This parameter adjusts the time it takes BPM Œ– `
RISE TIME 0–100 for the rotation SPEED SELECT to change tempo of the song.
when switched from “SLOW” to “FAST.” * If, due to the tempo, the time is longer than the
This parameter adjusts the time it takes range of allowable settings, it is then synchronized
FALL TIME 0–100 for the rotation SPEED SELECT to change to a period either 1/2 or 1/4 of that time.
when switched from “FAST” to “SLOW.” When you switch this from OFF to ON, the rhythm
Adjusts the distance between the horn/ pattern returns to its beginning.
MIC DIST 0–100 TRIGGER OFF, ON
rotor and the mic. 55 When the patch is written, the TRIGGER parameter
Adjusts the volume balance between the is stored in the OFF state.
ROT/HORN 100:0–0:100 horn and rotor. E.LEVEL 0–100 Adjusts the volume of the effect sound.
Adjusts the amount of distortion in the ATTACK 0–100 Adjusts the volume of the attacks for the slice pattern.
DRIVE 0–100
preamp.
DUTY 1–99 Adjusts the duration of the sound for the slice pattern.
* BPM (beats per minute) indicates the Adjusts the BPM value for each patch.
number of quarter note beats that occur * BPM (beats per minute) indicates the number of
each minute quarter note beats that occur each minute
* When you have an external MIDI BPM 40–250 * When you have an external MIDI device connected,
BPM 40–250 device connected, the MASTER BPM the MASTER BPM synchronizes to the external
synchronizes to the external MIDI MIDI devices tempo, making it impossible to set
devices tempo, making it impossible to the MASTER BPM. To enable setting of the MASTER
set the MASTER BPM. To enable setting BPM, set “SYNC CLOCK” (p. 47) to “INTERNAL.”
SLW GEAR (SLOW GEAR)/

SITAR SIM. SG BASS (SLOW GEAR BASS)
This simulates the sound of the sitar. This produces a volume-swell effect (“violin-like” sound).
Adjusts the sensitivity of the sitar. When it is set Adjusts the sensitivity of the slow gear. When it is set
to a lower value, no effect of the sitar is obtained to a lower value, the effect of the slow gear can be
with weaker picking, while stronger picking obtained only with a stronger picking, while no effect
SENS 0–100 SENS 0–100
produces the effect. When it is set to a higher is obtained with a weaker picking. When the value
value, the effect of the sitar can be obtained is set higher, the effect is obtained even with a weak
whether the picking is weak or strong. picking.
DEPTH 0–100 This adjusts the amount of effect applied. Adjusts the time needed for the volume to reach its
RISE TIME 0–100
maximum from the moment you begin picking.
This adjusts the tone. The high end is boosted as
TONE -50–+50 LEVEL 0–100 Adjusts the volume of the effect sound.
the value increases.
E.LEVEL 0–100 Adjust the volume of the sitar sound.
RESO 0–100 This adjusts the undulation of the resonance.
Adjusts the amount of characteristic buzz
BUZZ 0–100 produced by the “buzz bridge” when the strings
make contact with it.
23
Effect
SND HOLD (SOUND HOLD) Parameter

E.LEVEL
Value
0–100
Explanation
Adjusts the volume of the effect sound.
You can have sound played on the guitar be held continuously. This DIR MIX 0–100 Adjusts the volume of the direct sound.
effect allows you to perform the melody in the upper registers while
holding a note in the lower registers.
* This function will not work properly when two or more notes are
played simultaneously.
TREMOLO
Parameter Value Explanation Tremolo is an effect that creates a cyclic change in volume.
Switches the hold sound on and off. Normally, this is Parameter Value Explanation
controlled with the CTL pedals.
Adjusts the frequency (speed) of the change.
55 It is assumed that this parameter will be assigned to
TRIGGER OFF, ON * When set to BPM, the value of each
the footswitch.
55 Patches are written with the HOLD parameter set value of the “MASTER BPM” specified for
to Off. each patch. This makes it easier to achieve
0–100,
RISE TIME 0–100 Adjusts how rapidly the Sound Hold sound is produced. RATE effect sound settings that match the
BPM Œ– `
tempo of the song.
E.LEVEL 0–120 Adjusts the volume of the hold sound.
S-BEND
DEPTH 0–100 Adjusts the depth of the effect.
Adjusts changes in volume level. A higher
Applies intense bending. WAVEFORM 0–100
value will steepen wave’s shape.
Parameter Value Explanation E.LEVEL 0–100 Adjusts the volume.
The effect is applied when you switch this from TRIGGER OFF, ON Turns the tremolo on/off.
OFF to ON. Specifies the time from when trigger turns
TRIGGER OFF, ON
When the patch is written, this parameter is RISE TIME 0–100 on until the specified tremolo effect is
stored in the OFF state. obtained.
-3oct, -2oct, -1oct, DIR MIX 0–100 Adjusts the volume of the direct sound.
Adjusts the amount of pitch shift in octave
PITCH +1oct, +2oct, Adjusts the BPM value for each patch.
steps.
+3oct, +4oct
This parameter adjusts the amount of time number of quarter note beats that occur
RISE TIME 0–100 it is to take for the effect to transition to the each minute
maximum.
This parameter adjusts the amount of time it is BPM 40–250 device connected, the MASTER BPM
FALL TIME 0–100
to take for the effect to transition to the original. synchronizes to the external MIDI devices
“INTERNAL.”
TOUCH WH (TOUCH WAH)/
TW BASS (TOUCH WAH BASS)
You can produce a wah effect with the filter changing in response to
the guitar/bass level.

Selects the wah mode.
LPF Low pass filter. Passes only the low-frequency region.
FILTER High pass filter. Passes only the high-frequency
HPF
region.
Band pass filter. Passes only the specified frequency
BPF
region.
Selects the direction in which the filter will change in response to
the input.
POLARITY DOWN The frequency of the filter will fall.
UP The frequency of the filter will rise.

Specifies the sensitivity with which the filter moves in
the direction specified by the POLARITY setting.
SENS 0–100 Higher values will result in a stronger response. With
a setting of 0, the strength of picking will have no
effect.
SENS 0–100 Adjusts the center frequency of the Wah effect.
Adjusts the way in which the wah effect applies to
the area around the center frequency.
FREQ 0–100 Higher values will produce a stronger tone which
emphasizes the wah effect more. With a value of 50 a
standard wah sound will be produced.
DECAY 0–100 Adjusts the rate at which the filter is moved.
24
Effect
VIBRATO REVERB
This effect creates vibrato by slightly modulating the pitch. This effect adds reverberation to the sound.
Adjusts the rate of the vibrato.
* When set to BPM, the value of each parameter
will be set according to the value of the “MASTER This selects the reverb type. Various different simulations of space
BPM” specified for each patch. This makes it easier are offered.
0–100, to achieve effect sound settings that match the Simulates the reverberation in a concert
RATE
BPM Œ– ` tempo of the song. HALL 1 hall. Provides clear and spacious
* If, due to the tempo, the time is longer than reverberations.
the range of allowable settings, it is then
Simulates the reverberation in a concert
synchronized to a period either 1/2 or 1/4 of that HALL 2
hall. Provides mild reverberations.
time.
Simulates plate reverberation (a reverb
DEPTH 0–100 Adjusts the depth of the vibrato.
unit that uses the vibration of a metallic
Higher settings produce a more complex PLATE
COLOR 0–100 plate). Provides a metallic sound with a
modulation. distinct upper range.
E.LEVEL 0–100 Adjusts the volume. Simulates the reverberation in a small
ROOM1
TRIGGER OFF, ON This selects on/off of the vibrato. room. Provides warm reverberations.
This sets the time passing from the moment the Simulates the reverberation of a room
RISE TIME 0–100 ROOM2
Trigger is turned on until the set vibrato is obtained. larger than ROOM1.
TYPE
DIR MIX 0–100 Adjusts the volume of the direct sound. Simulates an ambience mic (off-mic,
placed at a distance from the sound
source) used in recording and other
* BPM (beats per minute) indicates the number of AMBIENCE
applications. Rather than emphasizing
quarter note beats that occur each minute the reverberation, this reverb is used to
* When you have an external MIDI device produce a sense of openness and depth.
BPM 40–250 connected, the MASTER BPM synchronizes to This simulates the sound of a guitar amp’s
the external MIDI devices tempo, making it SPRING
built-in spring reverb.
impossible to set the MASTER BPM. To enable
setting of the MASTER BPM, set “SYNC CLOCK” (p. Simulates reverberation with a distinctively
SHIMMER
47) to “INTERNAL.” sparkling high-frequency range.
Allows you to use two reverbs
DUAL
simultaneously.
This effect uses MDP technology to create
a unique ambience and a spaciousness
TERA ECO
that changes according to your picking
dynamics.
COMMON
TIME *1 0.1s–10.0s Adjusts the length (time) of reverberation.
TONE -50–0–+50 Adjusts the tonal character of the reverb.
DENSITY *1 1–10 Adjusts the density of the reverb sound.
E.LEVEL 0–100 Adjusts the volume of the reverb sound.
Adjusts the time until the reverb sound
PRE-DELY 0ms–200ms
appears.
FLAT,
LO CUT *1 cut filter begins to take effect. When FLAT is
20.0Hz–20.0kHz
selected, the low cut filter will have no effect.
HI CUT *1
effect.
Adjusts the amount of attenuation for the
LO DAMP *1 -50–0–+50
low frequency region.
Adjusts the amount of attenuation for the
HI DAMP *1 -50–0–+50
high frequency region.
Adjusts the speed at which the reverb sound
MOD RATE *1 0–100
is modulated.
Adjusts the depth to which the reverb sound
MOD DEPT *1 0–100
is modulated.
Adjusts the sensitivity at which the volume
is automatically adjusted according to the
DUCK SNS *1 0–100
input. Higher values allow the adjustment to
occur in response to lower volumes.
25
Effect

When the input sound is loud, this The effect sound is held when you turn this on.
automatically reduces the volume that is TRIGGER OFF, ON 55 Patches are written with the parameter set
DUCK PRE *1 0–100 being input to the reverb and delay. As this to Off.
setting approaches 100, the input volume
reduction is applied more deeply.
When the input sound is loud, this
automatically reduces the volume that is
DUCK PST *1 0–100 being output from the reverb and delay.
As this setting approaches 100, the output
D.LEVEL 0–100
volume reduction is applied more deeply.
PEDAL FX
You can control the wah effect or get a pitch bend effect in real time
*1 This is not shown if TYPE is set to TERA ECHO.
by adjusting the GT-1000CORE’s expression pedal or the expression
pedal connected to the CTL 2, 3/EXP 1 jack or CTL 4, 5/EXP 2 jack.
SHIMMER Parameter Value Explanation

This lets you use the pedal to get a pitch bend
1:PITCH
-24–+24 Adjusts the amount of pitch shift. effect.
2:PITCH PDL BEND * Because of the need to analyze the pitch,
1:LEVEL chords (two or more sounds played
0–100 Adjusts the volume of the pitch shifter. TYPE simultaneously) cannot be played.
2:LEVEL
You can control the wah effect in real time by
adjusting the GT-1000CORE’s expression pedal or
WAH
the expression pedal connected to the CTL 2, 3/
DUAL EXP 1 jack or CTL 4, 5/EXP 2 jack.

1:TYPE HALL, PLATE,
PEDAL BEND
This selects the reverb type.
2:TYPE ROOM
1:TIME Parameter Value Explanation

Adjusts the length (time) of
0.1–10.0s
2:TIME reverberation. Specifies the pitch when the pedal is
PITCH MIN -24–+24
returned.
1:TONE
-50–+50 Adjusts the tonal character of the reverb. This sets the pitch at the point where the EXP
2:TONE PITCH MAX -24–+24
Pedal is all the way down.
1:LEVEL
0–100 Adjusts the volume of the reverb sound. Adjusts the pedal position for pedal bend.
2:LEVEL This parameter is used after it’s been
PDL POS 0–100
1:DENSTY assigned to an expression pedal or similar
1–10 Adjusts the density of the reverb sound. controller.
2:DENSTY
E.LEVEL 0–100 Adjusts the volume of the pitch bend sound.
1:PRE-DL Adjusts the time until the reverb sound
0ms–200ms DIR MIX 0–100 Adjusts the volume of the direct sound.
2:PRE-DL appears.

1:LO CUT FLAT, cut filter begins to take effect. When
2:LO CUT 20.0Hz–20.0kHz FLAT is selected, the low cut filter will
have no effect.
This sets the frequency at which the
1:HI CUT 20.0Hz–20.0kHz, high cut filter begins to take effect.
2:HI CUT FLAT When FLAT is selected, the high cut filter
will have no effect.
TERA ECHO
Selects the mode of the effect sound.
MONO The L and R channels will both output the same
sound.
MODE STEREO 1 The R channel outputs the direct sound, and the
L channel outputs the effect sound.
STEREO2 The effect is applied separately to the L and R
channels.
SPREAD 0–100 Adjusts the length of the effect sound.
FEEDBACK 0–100 Adjusts the decay of the effect sound.
26
Effect
WAH DIVIDER 1–3

Parameter Value Explanation Within the effect chain, the point where the signal is split into
Selects the type of wah. channels “A” and “B” is called the “divider,” and the point where the two
This models the sound of the CRY BABY wah signals are recombined is called the “mixer.”
CRY WAH
pedal popular in the ‘70s.
You can use the divider to switch between channels “A” and “B,” to
VO WAH This models the sound of the VOX V846. assign strongly picked notes and softly picked notes to different
FAT WAH This is a wah sound featuring a bold tone. channels, or to assign different frequency bands of your guitar sound
This wah has a refined sound with no unusual
to different channels.
LIGHT WAH
characteristics.
The mixer lets you adjust the volume balance of channels “A” and “B,”
This expanded wah features a variable range place them in the stereo field, or slightly delay the sound of channel
WAH TYPE 7STRING WAH compatible with seven-string and baritone “B” to produce a spacious sound.
guitars.
This completely original effect offers
DIVIDER 1 DIVIDER 3 DIVIDER 2
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. MIXER 3 MIXER 2 MIXER 1
PDL POS 0–100 * This parameter is used after it’s been
assigned to an expression pedal or similar
controller. Parameter Value Explanation
Selects the tone produced when the heel of SINGLE Use only one channel, either “A” or “B.”
PDL MIN 0–100 MODE
the EXP Pedal is depressed. DUAL Use the two channels “A” and “B.”
Selects the tone produced when the toe of the Assigning the divider to the front of the chain allows
PDL MAX 0–100
EXP Pedal is depressed. you to switch between handling the input signal as a
E.LEVEL 0–100 Adjusts the volume of the effect sound. stereo signal or as either a left or right signal.
ROUTING *1 Inputs the INPUT L, R signals as a stereo
DIR MIX 0–100 Adjusts the volume of the direct sound. STEREO
signal in the chain.
If the plug is inserted into INPUT R only,
SELECTOR
the same signal passes through L and R.
Inputs either the INPUT L or INPUT R
signal by following the CHANNEL setting.
FOOT VOLUME
CHANNEL *2 A, B This lets you plug different guitars into
each of the two jacks and select which
to use.
This is a volume control effect. OFF DYNAMIC will not be used.
This is controlled with the expression pedal connected to the CTL 2, 3/ A:DYNAMC *3 POLAR+
Only notes picked more strongly than the
EXP 1 jack or CTL 4, 5/EXP 2 jack. SENS setting will be output.
B:DYNAMC *3
Only notes picked more softly than the
POLAR-
Parameter Value Explanation SENS setting will be output.
PDL POS 0–100 Adjusts the volume. A:SENS *3
0–100 Specifies the picking sensitivity.
B:SENS *3
Sets the volume when the heel of the EXP Pedal
VOL MIN 0–100
is depressed. OFF The filter will not be used.
Selects the volume when the toe of the EXP A:FILTER *3 Only the region below the cutoff
VOL MAX 0–100 LPF
Pedal is depressed. frequency will be output.
B:FILTER *3
You can select how the actual volume changes Only the region above the cutoff
HPF
relative to the amount the pedal is pressed. frequency will be output.
Volume 100Hz,
125Hz,
160Hz,
200Hz,
ST 250Hz,
FA 315Hz,
SLOW1,
SLOW2, AL 400Hz,
CURVE
NORMAL, ORM A:CUTOFF *3 500Hz,
N 2 630Hz, Cutoff frequency
OW
FAST B:CUTOFF *3
SL 800Hz,
1 1.00kHz,
OW 1.25kHz,
SL 1.60kHz,
2.00kHz,
2.50kHz,
When the pedal is When the pedal is
3.15kHz,
fully raised fully advanced
4.00kHz
*1 You can only select this when a divider is placed at the front of the chain.
*2 Setting available when MODE is set to SINGLE.
*3 Setting available when MODE is set to DUAL.
27
Effect
Exchanging the preamp settings between channels SEND/RETURN 1, 2

Here’s how to exchange the preamp settings between channels A
You can connect an external effects processor between the SEND
and B.
jack and RETURN jack, and use it as one of the GT-1000CORE’s effects
processors.
2. Turn knob [SELECT] to select the DIVIDER that you
want to edit.
MIXER 1–3
Channels “A” and “B” will be mixed and
STEREO
output in stereo.
MODE The sound that is input to SEND/RETURN within the effect chain will
Channels “A” and “B” will be assigned be output to the SEND jack. The sound that is input via the RETURN
PAN L/R
respectively to the L and R OUTPUT jacks.
jack will be input to SEND/RETURN within the effect chain.
A:LEVEL
0–100 Adjusts the volume of the channel. Parameter Value Explanation
B:LEVEL
Adjusts the volume balance of channels “A” ON/OFF OFF, ON Turns the SEND/RETURN on/off.
and “B.” If this is on, you can use the two sets of SEND
A/B BAL 100:0–0:100
* This is shown only if DIVIDER MODE is set ST LINK OFF, ON and RETURN jacks to connect a stereo effect
to “DUAL.” unit.
Slightly delays the sound of channel “B” to The input to SEND/RETURN within the effect
make the sound more spacious. chain will be output to the SEND jack, and the
SPREAD 0–100 input from the RETURN jack will be output
* This is shown only if DIVIDER MODE is set
to “DUAL.” following SEND/RETURN.
Use this setting if you want to connect an
external effects processor in series within the
NORMAL
GT-1000CORE’s effect chain.
SEND RETURN
The input to SEND/RETURN within the effect

chain will be output to the SEND jack, and the
input from the RETURN jack and the input to
SEND/RETURN (the direct sound) will be mixed
and output following SEND/RETURN.
Use this when you want to mix the
MODE GT-1000CORE’s effects sounds together with
DIRECT MIX
the sound with the external effects device
applied to it.
SEND RETURN
The input to SEND/RETURN within the effect

chain will be output to the SEND jack. The input
from the RETURN jack will be ignored.
For example, by placing SEND/RETURN in the
GT-1000CORE’s effect chain in front of reverb
BRANCH OUT or delay, this allows you to use the SEND jack
as a dry out.
SEND
Adjusts the volume of the output to the

SEND 0–200
external effects device.
Adjusts the volume of the input from the
external effects device.
RETURN 0–200
* You can adjust this if the MODE parameter is
set to NORMAL or DIRECT MIX.
28
Effect
OUTPUT SP.SIMULATOR L, OUTPUT SP.SIMULATOR R,

Adjusts the phase between the GT-1000CORE’s
ADJUST 0–100
internal processing and an external effect unit
connected to the SEND/RETURN jacks. SUB OUT SP.SIMULATOR L, SUB OUT SP.SIMULATOR R
You can adjust this if the MODE parameter is
set to NORMAL or DIRECT MIX. Parameter Value Explanation
* The SEND/RETURN function is disabled if the SEND1 SETTING and SEND2 SETTING If this is OFF, L and R can be independently
for MENU0HARDWARE SETTING0OTHER are not set to “SEND.” ST LINK OFF, ON positioned in the chain; if this is ON, they are
positioned as a set (stereo).
Select the speaker type.
OFF This turns off the speaker simulator.
This is the built-in speaker of the amp you
ORIGINAL
selected with AIRD PREAMP TYPE.
This is a compact open-back speaker cabinet
1x8”
with one 8-inch speaker.
1x10”
1x12”
This is a general open-back speaker cabinet
2x12”
with two 12-inch speakers.
This is an optimal speaker cabinet for a large
4x10”
enclosed amp with four 10-inch speakers.
4x12”
L:SP TYPE This is a double stack of two cabinets, each
8x12”
R:SP TYPE *1 with four 12-inch speakers.
B1x15"
B1x18"
This is a general open-back speaker cabinet
B2x15"
with two 15-inch speakers.
B4x10"
This is a double stack of two cabinets, each
B8x10"
with four 10-inch speakers.
You can create an original SP TYPE by using a
dedicated tool to load IR (Impulse Response)
data into the GT-1000CORE.
USER1–16
Download the dedicated tool from the BOSS
website.
http://www.boss.info/support/
This setting selects the simulated mic type.
This is the sound of the SHURE SM-57.
General dynamic mic used for instruments
DYN57
and vocals. Optimal for use in miking guitar
amps.
This is the sound of the SENNHEISER MD-421.
DYN421
Dynamic mic with extended low end.
L:MIC TYP
This is the sound of the AKG C451B. Small
R:MIC TYP *2 CND451
condenser mic for use with instruments.
This is the sound of the NEUMANN U87.
CND87
Condenser mic with flat response.
Simulates a mic with perfectly flat response.
Produces a sonic image close to that of
FLAT
listening to the sound directly from the
speakers (on site).
Simulates the distance between the mic and
L:MIC DST SHORT, speaker.
MEDIUM,
R:MIC DST *2 LONG The distance from the speakers is farther in
the order of SHORT<MEDIUM<LONG.
This simulates the mic position.
Simulates the condition that the mic is set in
L:MIC POS CENTER
the middle of the speaker cone.
R:MIC POS *2 Simulates the condition that the mic is
1cm–10cm moved away from the center of the speaker
cone.
L:MIC LVL
0–100 Adjusts the volume of the mic.
R:MIC LVL *2
29
Effect
MASTER
L:DIR MIX
0–100 Adjusts the volume of the direct sound.
R:DIR MIX *2
These settings are applied to the overall patch.
*1 This is shown only if OUTPUT SELECT is set to “RECORDING.”
*2 This is shown only if OUTPUT SELECT is set to “LINE/PHONES” or “RECORDING.”
PATCH LV 0–200 Adjusts the volume of the patch.
BPM 40–250 * BPM (beats per minute) indicates the number
of quarter note beats that occur each minute
This sets the key for the FX HARMONIST.
Major
KEY C (Am)– Minor

B (G#m)
Major
Minor
By connecting your guitar amp’s channel switching jack to the
GT-1000CORE’s CTL 4, CTL 5 jacks, you can then use CTL 4, CTL 5 to
switch the amp channel. This combining of the GT-1000CORE and
the amp channels allows you to get an even wider variety of
distortion sounds.
* To control a guitar amp or other external device, set the

MENU0HARDWARE SETTING0OTHER0CTL 4, 5 SETTING
to AMP CTL.
* The on/off state of the CTL jack is saved as an effect parameter
for each patch, and you can switch the guitar amp channel for
each patch.
Guitar Amplifier
AMP CTL1
(Channel switching jack)
AMP CTL2
OFF
GT-1000CORE
(AMP CONTROL jack)
Guitar Amplifier
(Channel switching jack)
ON
GT-1000CORE
(AMP CONTROL jack)
CARRYOVR You can specify whether the effect sound is

OFF, ON
carried-over when you switch patches.
30
Effect
BS MODE If this is ON, effects that affect the pitch are

OFF, ON
optimized for bass.
Selects the guitar (input level) that is connected
to the INPUT jack.
This lets you specify for each patch the guitar that
INPUT SYSTEM,1–10 will be connected.
If you select SYSTEM, the settings of “INPUT” (p.
44) are used.
31
MENU
CONTROL MODE CONTROL ASSIGN
The control mode setting lets you choose how you want to operate
the effects.
CONTROL FUNCTION
Parameter Explanation
This mode lets you recall and use the patches that are Here you can specify the parameters that are controlled by all of the
saved in the unit. top panel footswitches, and expression pedals or footswitches that
Use [I][H] switches to switch patches. are connected to the rear panel CTL2, 3/EXP1 jack and the side panel
MEMORY CTL4, 5/EXP2 jack.
* Press the [H] and [CTL1] switches together to switch to
(Memory mode)
manual mode.
* Press the [I] and [H] switches together to start the
tuner.
FUNCTION ([I] switch, [H] switch, [CTL1] switch, , CTL2–5,
This mode lets you use [I][H] switches to operate the
MANI, MANH)
functions that are assigned to them by each patch or by
Value Explanation
the settings for the entire system.
When you select manual mode, a portion of the PLAY OFF No assignment.
MANUAL screen changes. PATCH +1 *1 Switches to the next patch number.
(Manual mode) PATCH -1 *1 Switches to the previous patch number.
LEVEL +10 Increases the patch volume level by 10 units.
LEVEL +20 Increases the patch volume level by 20 units.
LEVEL -10 Decreases the patch volume level by 10 units.
LEVEL -20 Decreases the patch volume level by 20 units.
BPM TAP Used for tap input of the MASTER BPM.
DLY1 TAP Used for tap input of the DELAY 1.
MST DLY TAP Used for tap input of the MASTER DELAY.
TUNER Switches the TUNER on and off.
MANUAL Switches the MANUAL on and off.
Turns TUNER on/off when briefly pressed; turns
TUNE/MAN
MANUAL on/off when long-pressed.
Turns MANUAL on/off when briefly pressed; turns
MAN/TUNE
TUNER on/off when long-pressed.
AMP CTL 1 *2 Switches the AMP CTL 1 on and off.
AMP CTL 2 *2 Switches the AMP CTL 2 on and off.
CMP Switches the COMPRESSOR on and off.
DS1 Switches the DISTORTION 1 on and off.
DS1 SOLO Switches the DISTORTION 1 SOLO on and off.
DS2 Switches the DISTORTION 2 on and off.
DS2 SOLO Switches the DISTORTION 2 SOLO on and off.
AMP1 Switches the AIRD PREAMP 1 on and off.
AMP1SOLO Switches the AIRD PREAMP 1 SOLO on and off.
AMP2 Switches the AIRD PREAMP 2 on and off.
AMP2SOLO Switches the AIRD PREAMP 2 SOLO on and off.
NS 1 Switches the NOISE SUPRESSOR 1 on and off.
NS 2 Switches the NOISE SUPRESSOR 2 on and off.
EQ 1 Switches the EQUALIZER 1 on and off.
DLY1 Switches the DELAY 1 on and off.
MST DLY Switches the MASTER DELAY on and off.
CHO Switches the CHORUS on and off.
FX1 Switches the FX1 on and off.
FX1 TRIGGER Switches the FX1 TRIGGER on and off.
32
MENU
Value Explanation FUNCTION (EXP1, EXP 2)

Turns the trigger on/off when the MASTER DELAY's TYPE
MDLY TRIG Value Explanation
is WARP or TWIST.
REV Switches the REVERB on and off. OFF No assignment.
PFX Switches the PEDAL FX on and off. FOOT VOL Foot volume will be assigned.
DIV1 CH Switches the DIVIDER 1 channel select. PEDAL FX will be assigned.
PEDAL FX According to the pedal effect setting, this operates as
DIV2 CH Switches the DIVIDER 2 channel select.
wah or as pedal bend.
DIV3 CH Switches the DIVIDER 3 channel select.
FV/PD FX PEDAL FX and foot volume will be assigned.
S/R1 Switches the SEND/RETURN 1 on and off.
Foot volume will be assigned.
S/R2 Switches the SEND/RETURN 2 on and off. FV+TUNER
TUNER is displayed if the pedal is returned all the way.
Controls the looper.
PEDAL FX and foot volume will be assigned.
LOOPER For details on operation, refer to “Looper” (owner’s
FVTU/PFX TUNER is displayed if the pedal is returned all the way
manual).
when using foot volume.
LP STOP Stops the phrase.
LP CLEAR Clears the phrase
METRO Turns the metronome on/off.
MIDI START
Controls the Start/Stop of external MIDI devices (such MODE
as sequencers).
Value Explanation
Controls the Play/Stop of external MIDI devices (such as
MMC PLAY
hard disk recorders). The setting is toggled On (maximum value) or Off
TOGGLE
(minimum value) with each press of the footswitch.
*1 Not shown in “CUR NUM” and “MANUAL1–5.” The normal state is Off (minimum value), with the
*2 When using AMP CTL, set the MENU0HARDWARE SETTING0OTHER0CTL 4, 5 MOMENT switch On (maximum value) only while the footswitch
SETTING to AMP CTL. is depressed.
PREFERENCE
Value Explanation
Different settings can be made independently for each
PATCH
patch.
SYSTEM The same settings will be shared by all patches.
33
MENU
ASSIGN SETTING Parameter Value Explanation

This is activated when a patch is
PATCH
selected.
ASSIGN 1–16 I, H, CTL1

This is activated when the
GT-1000CORE’s footswitch is
For each parameter, you can specify, in detail, which controller will operated.
control which parameter. You can create 16 sets of such assignments. This is activated when an external
EXP1 expression pedal connected to the
Parameter Value Explanation CTL 2, 3/ EXP 1 jack.
SW OFF, ON Turns the ASSIGN 1–16 on/off. This is activated when an external
TRIGGER
This selects the parameter to be changed. EXP2 expression pedal connected to the
*1
TARGET CTL 4, 5/ EXP 2 jack.
Refer to “TARGET list” (p. 35).
This is activated when an external
This sets the minimum value for the range in which the CTL2, CTL3 footswitch connected to the CTL 2,
MIN parameter can change. The value differs depending on 3/ EXP 1 jack is operated.
TARGET the parameter assigned for TARGET parameter.
This is activated when an external
This sets the maximum value for the range in INTERNAL CTL4, CTL5 footswitch connected to the CTL 4,
which the parameter can change. The value differs PEDAL 5/ EXP 2 jack is operated.
MAX
depending on the parameter assigned for TARGET
parameter. This is activated when a control
CC#1–31, 64–95
change is received.
Assigns the GT-1000CORE’s
I, H, CTL1
footswitch. This specifies the time over which
the internal pedal will move from the
Assigns the external footswitch TIME *1 0–100
toe-raised position to the toe-down
CTL2, CTL3 connected to the CTL 2, 3/ EXP 1
position.
jack.
Assigns the external footswitch
LINEAR
CTL4, CTL5 connected to the CTL 4, 5/ EXP 2
jack.
Assigns the external expression CURVE *1 SLOW RISE
EXP1 pedal connected to the CTL 2, 3/
EXP 1 jack.
SOURCE Assigns the external expression FAST RISE
EXP2 pedal connected to the CTL 4, 5/
EXP 2 jack.
Assigns the Refer to“Virtual SAW
INT PEDAL
internal pedal. Expression Pedal
(Internal Pedal /
Assigns the Wave Pedal)” (p. FORM *2 TRI
WAVE PDL
SOURCE wave pedal. 42).
The assigned target parameter will SINE
INPUT
change according to the input level.
Control Change messages from an WAVE 0–100, This determines the time spend for
CC#1–31, 64–95
external MIDI device. PEDAL BPM Œ – ` one cycle of the assumed EXP Pedal.
The normal state is Off (minimum * When set to BPM, the value of each parameter will
value), with the switch On be set according to the value of the “MASTER BPM”
MOMENT
(maximum value) only while the RATE *2 specified for each patch. This makes it easier to
MODE footswitch is depressed. achieve effect sound settings that match the tempo
The setting is toggled On (maximum of the song.
TOGGLE value) or Off (minimum value) with * If, due to the tempo, the time is longer than the
each press of the footswitch. range of allowable settings, it is then synchronized
to a period either 1/2 or 1/4 of that time.
You can set the controllable range
ACT LOW 0–126 for target parameters within the This transmits a message on the
source’s operational range. Target MIDI channel specified by the “MIDI
SYSTEM
parameters are controlled within the SETTING” (p. 47) parameter TX
range set with ACT LOW and ACT MIDI CH *3 *4 CHANNEL.
ACT HIGH 1–127 HIGH. You should normally set ACT
LOW to 0 and ACT HIGH to 127. The message is transmitted on the
1–16
specified MIDI channel.
This adjusts the input sensitivity The message is transmitted using
INPUT SENS 0–100 CC# 0–127
when INPUT is selected for SOURCE. the specified controller number.
TARGET Selects the minimum value of the
MIN 0–127
MIDI CC# *3 transmitted CC# message.
Selects the maximum value of the
MAX 0–127
transmitted CC# message.
Specifies the program number that
PC# 1–128
is transmitted.
Specifies the bank select MSB that is
TARGET MSB OFF, 0–127 transmitted. If this is OFF, the bank
MIDI PC# *4 select MSB is not transmitted.
Specifies the bank select MSB that is
LSB OFF, 0–127 transmitted. If this is OFF, the bank
select LSB is not transmitted.
*1 The INTERNAL PEDAL TRIGGER, INTERNAL PEDAL TIME, and INTERNAL PEDAL
CURVE parameters are enabled when the SOURCE parameter is set to INT PEDAL.
34
MENU
*2 The WAVE PEDAL FORM and WAVE PEDAL RATE parameters are enabled when the
Source parameter is set to WAVE PEDAL. TARGET list
*3 The MIDI CH, TARGET MIDI CC# parameters are enabled when the TARGET is set to
MIDI CC. CATEGORY TARGET Value
*4 The MIDI CH, TARGET MIDI PC# parameters are enabled when the TARGET is set to
ON/OFF OFF, ON
MIDI PC.
BOSS CMP (BOSS
COMP), X-COMP,
TYPE D-COMP, ORANGE,
STEREO (STEREO COMP),
X-BASS (X-BASS COMP)
SUSTAIN 0–100
COMP (COMPRESSOR) ATTACK 0–100
1:1, 1.2:1, 1.4:1, 1.6:1,
1.8:1, 2:1, 2.3:1, 2.6:1, 3:1,
RATIO
3.5:1, 4:1, 5:1, 6:1, 8:1,
10:1, 12:1, 20:1, INF:1
TONE -50–0–+50
LEVEL 0–100
DIRECT MIX 0–100
CMP:BASS (COMPRESSOR
THRESHOLD 0–100
BASS)
ON/OFF OFF, ON
MID (MID BOOST),
CLEAN (CLEAN BOOST),
TREBLE (TREBLE
BOOST), CRUNCH,
NATURAL (NATURAL
OD), WARM OD, FAT
DS, LEAD DS, METAL
DS, OCT FUZZ, A-DIST,
X-OD, X-DIST, BLUES
OD, OD-1, T-SCREAM,
TURBO OD, DIST, CENTA
TYPE
OD, RAT, GUV DS, DIST+,
MTL ZONE (METAL
ZONE), HM-2, MTL CORE
DIST 1 (DISTORTION 1) (METAL CORE), 60S
FUZZ (‘60S FUZZ), MUFF
DIST 2 (DISTORTION 2)
FUZ (MUFF FUZZ), BASS
OD, BASS DS, BASS MT,
BASS FUZ (BASS FUZZ),
HI BAND (HI BAND
DRIVE), X-BASS (X-BASS
OD), BASS DRV, BASS DI
DRIVE 0–120
TONE -50–0–+50
E.LEVEL 0–100
BOTTOM -50–0–+50
DIR MIX 0–100
SOLO SW OFF, ON
SOLO LEVEL 0–100
35
MENU
CATEGORY TARGET Value CATEGORY TARGET Value

ON/OFF OFF, ON 31.5Hz -20dB –0dB–+20dB
TRNSPRNT 63Hz -20dB –0dB–+20dB
(TRANSPARENT),
GEQ 1 (EQUALIZER 1 125Hz -20dB –0dB–+20dB
NATURAL, BOUTIQUE,
SUPREME, MAXIMUM, GRAPHIC) 250Hz -20dB –0dB–+20dB
JUGGERNT GEQ 2 (EQUALIZER 2 500Hz -20dB –0dB–+20dB
(JUGGERNAUT), GRAPHIC)
X-CRUNCH, X-HI GAIN, 1kHz -20dB –0dB–+20dB
GEQ 3 (EQUALIZER 3
X-MODDED, JC-120, 2kHz -20dB –0dB–+20dB
GRAPHIC)
TWIN (TWIN COMBO),
DELUXE (DELUXE GEQ 4 (EQUALIZER 4 4kHz -20dB –0dB–+20dB
COMBO), TWEED GRAPHIC) 8kHz -20dB –0dB–+20dB
(TWEED COMBO),
TYPE 16kHz -20dB –0dB–+20dB
DIAMOND (DIAMOND
AMP), BRIT STK (BRIT LEVEL -20dB –0dB–+20dB
STACK), RECTI STK ON/OFF OFF, ON
(RECTI STACK), MATCH
(MATCH COMBO), 1ms–2000ms,
DELAY 1 TIME
BG COMBO, ORNG BPM `– Œ
STK (ORNG STACK), DELAY 2
FEEDBACK 0–100
PREAMP 1 (AIRD PREAMP 1) BGNR UB (BGNR UB DELAY 3
PREAMP 2 (AIRD PREAMP 2) METAL), NATRL BS HI CUT 20.0Hz–20.0kHz, FLAT
DELAY 4
(NATURAL BASS), X-DRV E.LEVEL 0–120
BS (X-DRIVE BASS),
CONCERT D.LEVEL 0–100
GAIN 0–120 ON/OFF OFF, ON
SAG -10–0–+10 MONO, PAN, STEREO1,

STEREO2, ANALOG,
RESONANCE -10–0–+10 ANALG ST (ANALOG
BASS 0–100 ST), TAPE, REVERSE,
TYPE SHIMMER, DUAL, WARP,
MIDDLE 0–100 TWIST, SPACE EC (SPACE
TREBLE 0–100 ECHO), ECHO PX (TAPE
ECHO PX), BIN ECHO
PRESENCE 0–100 (BIN DRUM ECHO)
BRIGHT OFF, ON 1ms–2000ms,
TIME
GAIN SW LOW, MIDDLE, HIGH BPM `– Œ
LEVEL 0–100 FEEDBACK 0–100
SOLO SW OFF, ON HI CUT 20.0Hz–20.0kHz, FLAT
MDLY (MASTER DELAY)
SOLO LEVEL 0–100 E.LEVEL 0–120
ON/OFF OFF, ON D.LEVEL 0–100
THRESHOLD 0–100 MOD RATE 0–100
NS 1 (NOISE SUPPRESSOR 1)
RELEASE 0–100 MOD DEPTH 0–100
NS 2 (NOISE SUPPRESSOR 2)
INPUT, NS INPUT, FV DUCK SENS 0–100
DETECT
OUT DUCK PRE DEPTH 0–100
EQ 1 (EQUALIZER 1) ON/OFF OFF, ON DUCK POST DEPTH 0–100
EQ 2 (EQUALIZER 2)
PARAMTRC PAN TAP TIME 0%–100%
EQ 3 (EQUALIZER 3) TYPE
(PARAMETRIC), GRAPHIC TRIGGER OFF, ON
EQ 4 (EQUALIZER 4)
LEVEL 0–100
LO GAIN -20dB –0dB–+20dB
AUTO TRIG OFF, ON
LM FREQ 20.0Hz––16.0kHz
MDLY:TAPE (MASTER
LM Q 0.5, 1, 2, 4, 8, 16 HEAD 1, 1+2, 1+3, 2+3, 1+2+3
PEQ 1 (EQUALIZER 1 DELAY:TAPE)
PARAMETRIC) LM GAIN -20dB – 0dB – +20dB PITCH -24 –0–+24
PEQ 2 (EQUALIZER 2 HM FREQ 20.0Hz – 16.0kHz MDLY:SHIMR (MASTER
PITCH BAL 0–100
PARAMETRIC) DELAY:SHIMMER)
HM Q 0.5, 1, 2, 4, 8, 16 PITCH FBK 0–100
PEQ 3 (EQUALIZER 3
PARAMETRIC) HM GAIN -20dB –0dB–+20dB MODE SERIES, PARALLEL, L/R
PEQ 4 (EQUALIZER 4 HI GAIN -20dB –0dB–+20dB 1:TYPE MONO, PAN, ANALOG,
PARAMETRIC) LEVEL -20dB –0dB–+20dB TAPE
2:TYPE
LO CUT FLAT, 20.0Hz – 20.0kHz 1:TIME 1ms–2000ms,
HI CUT 20.0Hz – 20.0kHz, FLAT 2:TIME BPM `– Œ
1:FEEDBK (1:FEEDBACK)
MDLY:DUAL (MASTER 0–100
DELAY:DUAL) 2:FEEDBK (2:FEEDBACK)
1:HI CUT (1:HIGH CUT)
20.0Hz–20.0kHz, FLAT
1:E.LEVEL (1:EFFECT
LEVEL)
0–120
2:E.LEVEL (2:EFFECT
LEVEL)
36
MENU

FALL (RISE->FALL), FADE ON/OFF OFF, ON
MODE
(RISE->FADE)
AC.G SIM (AC GUITAR
MDLY:TWIST (MASTER RISE TIME 0–100 SIM), AC RESO (AC
DELAY:TWIST) RESONANCE), AUTO
FALL TIME 0–100
WAH, CHORUS, CHO
FADE TIME 0–100 BASS (CHORUS BASS),
WOW & FLUTTER 0–100 C-VIBE (CLASSIC-VIBE),
COMP (COMPRESSOR),
SPACE HEAD 1, 1+2, 1+3, 2+3, 1+2+3 DEFRETR (DEFRETTER),
M-DLY:ECHO 1, 2, 3, 4, 1+2, 2+3, 3+4, DEFRET B (DEFRETTER
BINDRM HEAD
(MASTER DELAY ECHO) 1+3, 2+4, 1+2+3, 2+3+4, BASS), DIST
(BINDRUM HEAD) 1+2+3+4 (DISTORTION),
FEEDBAKR
SELECTOR ECHO, REPEAT, SWELL (FEEDBACKER),
ON/OFF OFF, ON FLANGER, FLANGR
FX1
B (FLANGER BASS),
MONO, STEREO 1, FX2
TYPE HARMONST
STEREO 2, DUAL TYPE
FX3 (HARMONIST),
0–100, HUMANIZR
RATE
BPM Œ– ` (HUMANIZER), OCTAVE,
DEPTH 0–100 OCT BASS (OCTAVE
BASS), OVERTONE, PAN,
PRE-DELAY 0.0ms–40.0ms PHASER, PITCH SFT
CHORUS
WAVEFORM TRI, SINE (PITCH SHIFTER), RING
MOD, ROTARY, SITAR
E.LEVEL 0–100 SIM, SLICER, SLW GEAR
D.LEVEL 0–100 (SLOW GEAR), SG BASS
(SLOW GEAR BASS), SND
FLAT, HOLD (SOUND HOLD),
LO CUT
20.0Hz–20.0kHz S-BEND, TOUCH WH
20.0Hz–20.0kHz, (TOUCH WAH), TW BASS
HI CUT
FLAT (TOUCH WAH BASS),
TREMOLO, VIBRATO
1:RATE 0–100,
2:RATE BPM Œ– ` FX1:AcGTR SIM (FX1:AC. BODY 0–100
GUITAR SIMULATOR)
1:DEPTH LO -50–0–+50
0–100 FX2:AcGTR SIM (FX2:AC.
2:DEPTH HI -50–0–+50
GUITAR SIMULATOR)
1:PRE-DLY (1:PRE-DELAY) FX3:AcGTR SIM (FX3:AC. LEVEL 0–100
0.0ms–40.0ms GUITAR SIMULATOR)
2:PRE-DLY (2:PRE-DELAY)
1:WAVEFORM FX1:AcRESO (FX1:AC TYPE NATURAL, WIDE, BRIGHT
TRI, SINE RESONANCE)
2:WAVEFORM RESO 0–100
FX2:AcRESO (FX2:AC
CHO:DUAL (CHORUS: DUAL) 1:E.LEVEL (1:EFFECT TONE -50–0–+50
RESONANCE)
LEVEL)
0–100 FX3:AcRESO (FX3:AC LEVEL 0–100
2:E.LEVEL (2:EFFECT RESONANCE)
LEVEL)
FILTER MODE LPF, BPF, HPF
1:LO CUT (1:LOW CUT) FLAT,
0–100,
2:LO CUT (2:LOW CUT) 20.0Hz–20.0kHz RATE
BPM Œ– `
1:HI CUT (1:HIGH CUT) 20.0Hz–20.0kHz, DEPTH 0–100
FX1:AW (FX1:AUTO WAH)
2:HI CUT (2:HIGH CUT) FLAT
FX2:AW (FX1:AUTO WAH) E.LEVEL 0–100
OUTPUT (OUTPUT
MONO, STEREO FX3:AW (FX1:AUTO WAH) FREQUENCY 0–100
MODE)
RESONANCE 0–100
WAVEFORM TRI, SINE
DIR MIX 0–100
37
MENU

MONO, STEREO 1, BOSS CMP (BOSS
TYPE STEREO 2, DUAL, PRIME, COMP), X-COMP,
CE-1 CHO, CE-1 VIB TYPE D-COMP, ORANGE,
STEREO (STEREO COMP),
0–100,
RATE X-BASS (X-BASS COMP)
BPM Œ– `
FX1:CMP (COMPRESSOR) SUSTAIN 0–100
DEPTH 0–100
FX2:CMP (COMPRESSOR) ATTACK 0–100
PRE-DELAY 0.0ms–40.0ms
FX3:CMP (COMPRESSOR) 1:1, 1.2:1, 1.4:1, 1.6:1,
WAVEFORM TRI, SINE
1.8:1, 2:1, 2.3:1, 2.6:1, 3:1,
E.LEVEL 0–100 FX4:CMP (COMPRESSOR) RATIO
3.5:1, 4:1, 5:1, 6:1, 8:1,
D.LEVEL 0–100 10:1, 12:1, 20:1, INF:1
FLAT, TONE -50–+50

LO CUT
20.0Hz–20.0kHz LEVEL 0–100
20.0Hz–20.0kHz, DIR MIX 0–100
HI CUT
FLAT
FX1:CMP BS
OUTPUT MODE MONO, STEREO (FX1:COMPRESSOR BASS)
DUAL 1:RATE 0–100, FX2:CMP BS
THRESHOLD 0–100
DUAL 2:RATE BPM Œ– ` (FX2:COMPRESSOR BASS)
FX3:CMP BS
DUAL 1:DEPT (1:DEPTH)
0–100 (FX3:COMPRESSOR BASS)
DUAL 2:DEPT (2:DEPTH)
SENS 0–100
DUAL 1:PrDL (1:PRE-
DELAY) FX1:DEFRET DEPTH 0–100
0.0ms–40.0ms (FX1:DEFRETTER)
FX1:CHO (FX1:CHORUS) DUAL 2:PrDL (2:PRE- ATTACK 0–100
DELAY) FX2:DEFRET
FX2:CHO (FX2:CHORUS) RESONANCE 0–100
(FX2:DEFRETTER)
FX3:CHO (FX3:CHORUS) DUAL 1:WAVE TONE -50–+50
(1:WAVEFORM) FX3:DEFRET
TRI, SINE (FX3:DEFRETTER) E.LEVEL 0–100
DUAL 2:WAVE
(2:WAVEFORM) DIR MIX 0–100
DUAL 1:E.LV (1:EFFECT FX1:DFRET B SENS 0–100

LEVEL) (FX1:DEFRETTER BASS) ATTACK 0–100
0–100
DUAL 2:E.LV (2:EFFECT FX2:DFRET B
TONE -50–+50
LEVEL) (FX2:DEFRETTER BASS)
FX3:DFRET B E.LEVEL 0–100
DUAL 1:L.CUT (1:LOW
CUT) (FX3:DEFRETTER BASS) DIR MIX 0–100
FLAT,
DUAL 2:L.CUT (2:LOW 20.0Hz–20.0kHz MID (MID BOOST),
CUT) CLEAN (CLEAN BOOST),
TREBLE (TREBLE
DUAL 1:H.CUT (1:HIGH BOOST), CRUNCH,
CUT) 20.0Hz–20.0kHz, NATURAL (NATURAL
DUAL 2:H.CUT (2:HIGH FLAT OD), WARM OD, FAT
CUT) DS, LEAD DS, METAL
PRIME SWEETNESS 0–100 DS, OCT FUZZ, A-DIST,
X-OD, X-DIST, BLUES
PRIME BELL 0–100 OD, OD-1, T-SCREAM,
CE1 PREAMP (CE-1 TURBO OD, DIST, CENTA
OFF, ON TYPE
PREAMP SW) OD, RAT, GUV DS, DIST+,
MTL ZONE (METAL
CE1 PrA GAIN (CE-1 ZONE), HM-2, MTL CORE
0–100
PREAMP GAIN) (METAL CORE), 60S
FX1:DIST (FX1:DISTORTION)
CE1 PrA LVL (CE-1 FUZZ (‘60S FUZZ), MUFF
0–100 FX2:DIST (FX2:DISTORTION) FUZ (MUFF FUZZ), BASS
PREAMP LEVEL)
FX3:DIST (FX3:DISTORTION) OD, BASS DS, BASS MT,
MONO, STEREO 1,
TYPE BASS FUZ (BASS FUZZ),
STEREO 2
HI BAND (HI BAND
FX1:CHO BS (FX1:CHORUS 0–100, DRIVE), X-BASS (X-BASS
RATE
BASS) BPM Œ– ` OD), BASS DRV, BASS DI
FX2:CHO BS (FX2:CHORUS DEPTH 0–100 DRIVE 0–120

BASS) E.LEVEL 0–100 TONE -50–+50
FX3:CHO BS (FX3:CHORUS FLAT,
LO CUT E.LEVEL 0–100
BASS) 20.0Hz–20.0kHz
BOTTOM -50–+50
20.0Hz–20.0kHz,
HI CUT DIR MIX 0–100
FLAT
SOLO SW OFF, ON
FX1:C-VIBE (FX1:CLASSIC- MODE CHORUS, VIBRATO
VIBE) SOLO LEVEL 0–100
0–100,
RATE
FX2:C-VIBE (FX2:CLASSIC- BPM Œ– `
VIBE)
DEPTH 0–100
FX3:C-VIBE (FX3:CLASSIC-
VIBE) E.LEVEL 0–100
38
MENU

MODE NORMAL, OSC 1VOICE, 2MONO,
VOICE
2STEREO
TRIGGER OFF, ON
-2oct, -14th, -13th,
DEPTH 0–100
-12th, -11th, -10th, -9th,
FX1:FEEDBK RISE TIME 0–100 -1oct, -7th, -6th, -5th,
(FX1:FEEDBACKER) OCT RISE (OCTAVE RISE 1:HARMO (1:HARMONY) -4th, -3rd, -2nd, UNISON,
0–100 +2nd, +3rd, +4th, +5th,
FX2:FEEDBK TIME) 2:HARMO (2:HARMONY)
FX1:HARMO +6th, +7th, +1oct, +9th,
(FX2:FEEDBACKER)
FEEDBAK (FEEDBACK) 0–100 (FX1:HARMONIST) +10th, +11th, +12th,
FX3:FEEDBK +13th, +14th, +2oct,
OCT FBK (OCTAVE FX2:HARMO
(FX3:FEEDBACKER) 0–100 USER
FEEDBACK) (FX2:HARMONIST)
VIB RATE (VIBRATO RATE) 0–100 FX3:HARMO 1:PRE-DLY (1:PRE-DELAY) 0–300ms,
(FX3:HARMONIST) 2:PRE-DLY (2:PRE-DELAY) BPM `– Œ
VIB DEPT (VIBRATO
0–100
DEPTH) 1:FEEDBK (1:FEEDBACK)
0–100
0–100, 2:FEEDBK (2:FEEDBACK)
RATE
BPM Œ– `
1:LEVEL
DEPTH 0–100 0–100
2:LEVEL
RESONANCE 0–100 D.LEVEL 0–100
MANUAL 0–100 MODE PICKING, AUTO
TURBO OFF, ON VOWEL1 a, e, i, o, u
WAVEFORM TRI, SINE FX1:HUMAN VOWEL2 a, e, i, o, u
0–100, (FX1:HUMANIZER)
FX1:FLANG (FX1:FLANGER) STEPRATE SENS 0–100
BPM Œ– ` FX2:HUMAN
FX2:FLANG (FX2:FLANGER) (FX2:HUMANIZER) 0–100,
SEPARATION 0–180 RATE
FX3:FLANG (FX3:FLANGER) BPM Œ– `
FX3:HUMAN
E.LEVEL 0–100 DEPTH 0–100
(FX3:HUMANIZER)
LO DAMP -100–0 MANUAL 0–100
HI DAMP -100–0 LEVEL 0–100
FLAT, TYPE MONO, POLY
LO CUT
20.0Hz–20.0kHz
-2OCT 0–100
20.0Hz–20.0kHz,
HI CUT FX1:OCTAVE -1OCT 0–100
FLAT
DIR MIX 0–100 FX2:OCTAVE D.LEVEL 0–100
FX3:OCTAVE RANGE 0–100
0–100,
RATE
BPM Œ– ` POLY OCT (POLY OCTAVE
0–100
DEPTH 0–100 LEVEL)
RESONANCE 0–100 FX1:OCT BS (FX1:OCTAVE 2-Oct 0–100
BASS)
MANUAL 0–100 1-Oct 0–100
FX2:OCT BS (FX2:OCTAVE
TURBO OFF, ON BASS)
WAVEFORM TRI, SINE FX3:OCT BS (FX3:OCTAVE D.LEVEL 0–100
FX1:FLNG B (FX1:FLANGER
BASS) 0–100, BASS)
STEPRATE
FX2:FLNG B (FX2:FLANGER BPM Œ– ` LOWER LEVEL 0–100
BASS) SEPARATION 0–180 UPPER LEVEL 0–100
FX3:FLNG B (FX3:FLANGER FX1:OVERTON
E.LEVEL 0–100 UNISON LEVEL 0–100
BASS) (FX1:OVERTONE)
LOW DAMP -100–0 FX2:OVERTON D.LEVEL 0–100
HIGH DAMP -100–0 (FX2:OVERTONE) DETUNE 0–100
FLAT, FX3:OVERTON LO -50–+50
LO CUT (FX3:OVERTONE)
20.0Hz–20.0kHz
HI -50–+50
20.0Hz–20.0kHz,
HI CUT OUTPUT MONO, STEREO
FLAT
DIR MIX 0–100 0–100,
RATE
BPM Œ– `
FX1:PAN DEPTH 0–100
FX2:PAN
WAVEFORM 0–100
FX3:PAN
E.LEVEL 0–100
DIR MIX 0–100
39
MENU

TYPE PRIME, SCRIPT SENS 0–100
2 STAGE, 4 STAGE, 8 FX1:SITAR (FX1:SITAR DEPTH 0–100
STAGE STAGE, 16 STAGE, 24 SIMULATOR) TONE -50–+50
STAGE FX2:SITAR (FX1:SITAR
E.LEVEL 0–100
0–100, SIMULATOR)
RATE
BPM Œ– ` FX3:SITAR (FX1:SITAR RESONANCE 0–100
DEPTH 0–100 SIMULATOR) BUZZ 0–100
RESO (RESONANCE) 0–100 DIR MIX 0–100
MANUAL 0–100 PATTERN P1–P20
LO DAMP 0–100 0–100,
RATE
FX1:PHASER BPM Œ– `
HI DAMP 0–100
FX2:PHASER FX1:SLICER ATTACK 0–100
FLAT, FX2:SLICER
FX3:PHASER LO CUT DUTY 1–99
20.0Hz–20.0kHz
FX3:SLICER
20.0Hz–20.0kHz, TRIGGER OFF, ON
HI CUT
FLAT E.LEVEL 0–100
BI-PHASE OFF, ON DIR MIX 0–100
WAVE (WAVEFORM) TRI, SINE SENS 0–100
FX1:SG (FX1:SLOW GEAR)
OFF, 0–100, FX2:SG (FX2:SLOW GEAR) RISE TIME 0–100
STEP (STEP RATE)
BPM Œ– `
FX3:SG (FX3:SLOW GEAR) LEVEL 0–100
SEPARAT (SEPARATION) 0–180
FX1:SG BASS (FX1:SLOW SENS 0–100
E.LEVEL 0–100 GEAR BASS)
RISE TM (RISE TIME) 0–100
DIR MIX 0–100 FX2:SG BASS (FX2:SLOW
1VOICE, 2MONO, GEAR BASS)
VOICE LEVEL 0–100
2STEREO FX3:SG BASS (FX3:SLOW
1:PITCH GEAR BASS)
-24–+24
2:PITCH FX1:S-HOLD (FX1:SOUND TRIGGER OFF, ON
HOLD)
1:FINE (1:PITCH FINE) RISE TIME 0–100
-50–+50 FX2:S-HOLD (FX2:SOUND
FX1:P-SHIF (FX1:PITCH 2:FINE (2:PITCH FINE) HOLD)
SHIFTER) 1:FBK (1:FEEDBACK) 0–100 FX3:S-HOLD (FX3:SOUND E.LEVEL 0–100
FX2:P-SHIF (FX2:PITCH 1:PrDLY (1:PRE-DELAY) 0ms–300ms, HOLD)
SHIFTER) BPM `– Œ
2:PrDLY (2:PRE-DELAY) TRIGGER OFF, ON
FX3:P-SHIF (FX3:PITCH
1:LEVEL FX1:S-BEND -3oct, -2oct, -1oct,
SHIFTER) 0–100 PITCH +1oct, +2oct, +3oct,
2:LEVEL FX2:S-BEND +4oct
FAST, FX3:S-BEND
1:MODE RISE TM (RISE TIME) 0–100
MEDIUM,
2:MODE SLOW, FALL TM (FALL TIME) 0–100
MONO
FILTER MODE LPF, BPF, HPF
D.LEVEL 0–100
POLARITY DOWN, UP
INTELLI (INTELLIGENT) OFF, ON
SENS 0–100
FREQ (FREQUENCY) 0–100 FX1:TW (FX1:TOUCH WAH)
FX1:RNG MOD (FX1:RING FREQUENCY 0–100
MODULATOR) ModRATE (FREQUENCY 0–100, FX1:TW (FX1:TOUCH WAH)
RESONANCE 0–100
FX2:RNG MOD (FX2:RING MOD RATE) BPM Œ– ` FX1:TW (FX1:TOUCH WAH)
MODULATOR) DECAY 0–100
ModDEPT (FREQUENCY
0–100 E.LEVEL 0–100
FX3:RNG MOD (FX3:RING MOD DEPTH)
MODULATOR) E.LEVEL 0–100 DIR MIX 0–100
DIR MIX 0–100 FILTER MODE LPF, BPF, HPF
SPEED SLOW, FAST POLARITY DOWN, UP
FX1:TW BS (FX1:TOUCH
0–100, WAH BASS) SENS 0–100
SLOW RT (SLOW RATE)
BPM Œ– ` FREQUENCY 0–100
FX2:TW BS (FX2:TOUCH
0–100, WAH BASS) RESONANCE 0–100
FAST RT (FAST RATE)
BPM Œ– `
FX3:TW BS (FX3:TOUCH DECAY 0–100
FX1:ROTARY RISE TM (RISE TIME) 0–100 WAH BASS)
E.LEVEL 0–100
FX2:ROTARY FALL TM (FALL TIME) 0–100
DIR MIX 0–100
FX3:ROTARY MIC DIST (MIC DISTANCE) 0–100
0–100,
RATE
ROT/HRN (ROTOR/HORN
100:0–0:100 BPM Œ– `
BALANCE)
DEPTH 0–100
DRIVE 0–100 FX1:TREMOLO WAVEFORM 0–100
E.LEVEL 0–100 FX2:TREMOLO
TRIGGER 0–100
DIR MIX 0–100 FX3:TREMOLO
RISE TIME 0–100
E.LEVEL 0–100
DIR MIX 0–100
40
MENU

0–100, ON/OFF OFF, ON
RATE
BPM Œ– `
PDL BEND (PEDAL
TYPE
DEPTH 0–100 PEDAL FX BEND), WAH
FX1:VIB (FX1:VIBRATO) COLOR 0–100 E.LEVEL 0–100
FX2:VIB (FX2:VIBRATO)
TRIGGER OFF, ON DIR MIX 0–100
FX3:VIB (FX3:VIBRATO)
RISE TIME 0–100 PITCH MIN PITCH MIN
E.LEVEL 0–100 PITCH MAX PITCH MAX
PEDAL BEND
DIR MIX 0–100 PEDAL POS (PEDAL
0–100
POSITION)
ON/OFF OFF, ON
CRY WAH, VO WAH, FAT
HALL1, HALL2, PLATE,
WAH, LIGHT WAH, 7STR
ROOM1, ROOM2, TYPE
WAH (7STRING WAH),
TYPE AMBIENCE, SPRING,
RESO WAH, BASS WAH
SHIMMER, DUAL, TERA
ECO (TERA ECHO) PEDAL WAH PEDAL POS (PEDAL
0–100
POSITION)
TIME 0.1s–10.0s
PEDAL MIN 0–100
DENSITY 1–10
PEDAL MAX 0–100
PRE DELAY 0ms–200ms
PEDAL POS (PEDAL
TONE -50–+50 0–100
POSITION)
E.LEVEL 0–100
VOLUME MIN 0–100
D.LEVEL 0–100 FOOT VOLUME
VOLUME MAX 0–100
REVERB FLAT,
LO CUT SLOW1, SLOW2,
20.0Hz–20.0kHz VOLUME CURVE
NORMAL, FAST
20.0Hz–20.0kHz,
HI CUT MODE SINGLE, DUAL
FLAT
CH SELECT A, B
LO DAMP -50–+50
Ch.A DYNAMIC OFF, POLAR+ (POLARITY
HI DAMP -50–+50
Ch.B DYNAMIC +), POLAR- (POLARITY -)
MOD RATE 0–100
Ch.A DYNA SENS (Ch.A
MOD DEPTH 0–100
DIV1 (DIVIDER 1) DYNAMIC SENS)
DUCK SENS 0–100 0–100
DIV2 (DIVIDER 2) Ch.B DYNA SENS (Ch.B
DUCK PRE DPT DYNAMIC SENS)
0–100 DIV3 (DIVIDER 3)
(DUCKING PRE DEPTH) Ch.A FILTER
DUCK PST DPT (DUCKING OFF, LPF, HPF
0–100 Ch.B FILTER
POST DEPTH)
Ch.A CUTOFF (Ch.A
1:PITCH CUTOFF REUQUENCY)
-24–+24 100Hz–4.00kHz
2:PITCH Ch.B CUTOFF (Ch.B
REVERB: SHIMMER
1:LEVEL CUTOFF REUQUENCY)
0–100
2:LEVEL MODE STEREO, PAN L/R
1:TYPE MIX 1 (MIXER 1) Ch.A LEVEL
HALL, PLATE, ROOM 0–100
2:TYPE MIX 2 (MIXER 2) Ch.B LEVEL
1:TIME MIX 3 (MIXER 3) Ch.A/B BALANCE 100:0–0:100
0.1–10.0s
2:TIME SPREAD 0–100
1:PRE-DLY (1:PRE-DELAY) ON/OFF OFF, ON
0ms–200ms
2:PRE-DLY (2:PRE-DELAY) NORMAL, DIR MIX
1:DENSITY MODE (DIRECT MIX), BRANCH
1–10 S/R 1 (SEND/RETURN 1) (BRANCH OUT)
2:DENSITY
S/R 2 (SEND/RETURN 2) SEND LEVEL 0–200
REVERB: DUAL 1:TONE
-50–+50 RETURN LEVEL 0–200
2:TONE
ADJUST 0–100
1:E.LEVEL (1:EFFECT
LEVEL) LOOPER PLAY LEVEL 0–100
0–100
2:E.LEVEL (2:EFFECT CTL 1 *1 OFF, ON
LEVEL) AMP CTL (AMP CONTROL)
CTL 2 *1 OFF, ON
1:LO CUT (1:LOW CUT) FLAT, PATCH LEVEL 0–200
2:LO CUT (2:LOW CUT) 20.0Hz–20.0kHz
BPM 40–250
1:HI CUT (1:HIGH CUT) 20.0Hz–20.0kHz, MASTER
KEY C (Am)–B (G#m)
2:HI CUT (2:HIGH CUT) FLAT
BASS MODE OFF, ON
MONO, STEREO1,
MODE MIDI CC# –
STEREO2 MIDI
STIME (S-TIME) 0–100 MIDI PC# –
REVERB: TERA ECHO
FBK (FEEDBACK) 0–100 TUNER ON/OFF OFF, ON
TRIG (TRIGGER) OFF, ON

*1 This is enabled when CTL 4, 5 SETTING is set to AMP CTL.
41
MENU
Virtual Expression Pedal (Internal Pedal / Wave About the Range of a Target’s Change
Pedal) The value of the parameter selected as the target changes
within the range defined by “Min” and “Max,” as set on the
By assigning a desired parameter to the virtual expression pedal, GT-1000CORE.
you can produce an effect as though you were operating a physical
expression pedal to change the volume or tone quality in real time. When using an external footswitch, or other controller that acts
as an on/off switch, “Min” is selected with Off (CLOSED), and
The virtual expression pedal system provides the following two types “Max” is selected with On (OPEN).
of functions, and you can use the SOURCE setting for ASSIGN 1–16 to
choose the desired type. When using an external expression pedal or other controller
that generates a consecutive change in the value, the value of
the setting changes accordingly, within the range set by the
Internal pedal minimum and maximum values. Also, when the target is of an
If SOURCE is set to “INT PEDAL,” the virtual expression pedal will begin on/off type, the median value of the received data is used as the
operating when started by the specified trigger (TRIGGER), modifying dividing line in determining whether to switch it on or off.
the parameter specified by “TARGET.”
The value changes in When using the footswitch:
a curve
Allowable Parameter
MAX
Settings Range
When the trigger occurs
MIN
Wave pedal OFF ON
If SOURCE is set to “WAVE PEDAL,” the virtual expression pedal will When using the expression pedal:
cyclically modify the parameter specified by TARGET in a fixed wave
form.
Allowable Parameter
MAX
Settings Range
MIN
Always changes in a fixed curve regardless of the
actual pedal
0 127
When the pedal is When the pedal is
fully raised fully advanced
When controlling the On/Off target with the expression pedal:
INPUT (Input Level) Value
ON
The parameter set as the target changes in response to the input level.
MEMO
If you want to adjust the input sensitivity, set the INPUT SENS.
INPUT SENS (Input Sens) Degree to Which

Expression Pedal
OFF
Is Depressed
0 127
This adjusts the input sensitivity when INPUT
INPUT SENS 0–100 When the When the pedal When the
LEVEL is selected for SOURCE.
pedal is fully is advanced pedal is fully
raised halfway advanced
* The range that can be selected changes according to the

target setting.
* When the “minimum” is set to a higher value than the
“maximum,” the change in the parameter is reversed.
* The values of settings can change if the target is changed after
the “minimum” and “maximum” settings have been made. If
you’ve changed the target, be sure to recheck the “minimum”
and “maximum” settings.
42
MENU

About the Range of a Controller’s Change Specifies whether a control change is
This sets the operational range within which the value of the CC1# transmitted when you switch patches.
OFF, 0–127
setting changes when an expression pedal or other controller CC2# If this is OFF, no control change is
that changes the value consecutively is used as the source. If transmitted.
the controller is moved outside the operational range, the value CC1 VAL (CC1
does not change, it stops at “minimum” or “maximum.” VALUE)
0–127 Specifies the value of the control change.
CC2 VAL (CC2
(Example) With ACT LOW: 40, ACT HIGH: 80 VALUE)
Allowable Parameter
MAX
LED COLOR
Settings Range
You can specify the color of the LED for each footswitch.
MIN
Degree to Which
0 40 80 127
Expression Pedal Is
Depressed
[I] switch, [H]switch, [CTL1] switch
When the ACT LOW ACT HIGH When the Value Explanation
pedal is fully pedal is fully
raised advanced OFF The LED is not lit.
RED
Value
BLUE
L.BLUE (LIGHT BLUE)
ON
GREEN Specify the color of LED illumination.
YELLOW
WHITE
PURPLE
The illumination behavior and color that are
AUTO appropriate for the footswitch function will be specified.
If “ON” is set to AUTO, the OFF setting is ignored.
OFF Degree to Which
Expression Pedal Is
Depressed AUTO RED
0 4060 80 127
When the Center When the AUTO BLUE
pedal is fully Value pedal is fully AUTO L.BLUE (LIGHT
ACT LOW ACT HIGH The illumination behavior that is appropriate for the
raised advanced BLUE) footswitch function will be specified. You can specify
AUTO GREEN the color.
* When using a footswitch or other on/off switching controller AUTO YELLOW If “ON” is set to AUTO, the OFF setting is ignored.
as the source, leave these at “ACT LOW: 0” and “ACT HIGH: 127.” AUTO WHITE
With certain settings, the value may not change. AUTO PURPLE
PATCH MIDI TEMPO HOLD

When you change patches, a program number and bank select
messages are transmitted to an external MIDI device.
Specifies whether the tempo (BPM) changes
TEMPO HOLD OFF, ON
or is maintained when you switch patches.
PATCH MIDI 1, 2, 3, 4
Specifies the transmit channel for MIDI
messages.
CH OFF, 1–16
If this is OFF, no MIDI message is
transmitted.
Specifies whether a program number is
transmitted when you switch patches.
PC# OFF, 1–128
If this is OFF, no program number is
transmitted.
Specifies whether bank select messages are
transmitted when you switch patches.
* It is not possible to transmit only BANK
BANK MSB LSB.
OFF, 0–127
BANK LSB * Not transmitted if PC# is OFF.
* It is not possible to transmit only bank
select. Bank select is always transmitted
in conjunction with program numbers.
43
MENU
IN/OUT SETTING
Value Explanation
KATANA-50 MkII Choose this setting if the GT-1000CORE is connected to
POWER AMP IN the POWER AMP IN of a Boss KATANA-50 MkII guitar amp.
KATANA-100/212 Choose this setting if the GT-1000CORE is connected to
INPUT RETURN
KATANA-100/212
the RETURN jack of the KATANA-100/212 guitar amp.
Choose this setting if the GT-1000CORE is connected to
INPUT the guitar input of a KATANA-100/212 guitar amp.
Adjust the input level according to the output level of the guitar that
you’ve connected. Choose this setting if the GT-1000CORE is connected to
KATANA-100 RETURN
the RETURN jack of the KATANA-100 guitar amp.
Parameter Value Explanation Choose this setting if the GT-1000CORE is connected to
KATANA-100 INPUT
the guitar input of a KATANA-100 guitar amp.
INPUT LEVEL -20–+20dB Adjusts the guitar input level. Choose this setting if the GT-1000CORE is connected to
KATANA-50 INPUT
the guitar input of a KATANA-50 guitar amp.
This setting is for cases other than the above when
TUBE COMBO 212 connecting to the RETURN of a vacuum tube combo
RETURN amp (in which the amp and speakers are in a single unit)
OUTPUT, SUB OUT equipped with two 12” speakers.
TUBE COMBO 212 connecting to the INPUT of a vacuum tube combo amp (in
Specify the device (amp) that’s connected to the OUTPUT, SEND jacks. INPUT which the amp and speakers are in a single unit) equipped
with two 12” speakers.
OUTPUT SELECT TUBE COMBO 112
connecting to the RETURN of a vacuum tube combo
Parameter RETURN amp (in which the amp and speakers are in a single unit)
equipped with one 12” speaker.
AIRD OUTPUT SELECT This setting is for cases other than the above when
TUBE COMBO 112 connecting to the INPUT of a vacuum tube combo amp (in
Value Explanation INPUT which the amp and speakers are in a single unit) equipped
Choose this setting if you’re using headphones, or if the with one 12” speaker.
GT-1000CORE is connected to a keyboard amp, mixer, or This setting is for cases other than the above when
LINE/PHONES digital recorder. connecting to the RETURN of a vacuum tube stack guitar
TUBE STACK 412 amp (in which the amp and speakers are separate units).
The speaker type for the preamp is fixed (original). RETURN
Choose this setting if you’re using headphones, or if the This assumes that the connected speaker cabinet is
GT-1000CORE is connected to a keyboard amp, mixer, or equipped with four 12” speakers.
RECORDING digital recorder. This setting is for cases other than the above when
connecting to the INPUT of a vacuum tube stack guitar
This setting lets you freely select the speaker type. TUBE STACK 412 amp (in which the amp and speaker are separate units).
Choose this setting if the GT-1000CORE is connected to INPUT
JC-120 RETURN This assumes that the connected speaker cabinet is
the RETURN jack of the Roland JC-120 guitar amp.
equipped with four 12” speakers.
JC-120 INPUT Choose this setting if the GT-1000CORE is connected to
the guitar input of a JC-120 guitar amp. NEXTONE-Artist the RETURN jack of the NEXTONE-Artist guitar amp.
Choose this setting if the GT-1000CORE is connected to RETURN
the RETURN jack of the Roland Blues Cube Tour guitar This assumes that the POWER AMP SELECT is set to EL34.
Blues Cube Tour410 amp. Choose this setting if the GT-1000CORE is connected to
RETURN NEXTONE-Stage the RETURN jack of the NEXTONE-Stage guitar amp.
This assumes that the connected speaker cabinet is the RETURN
Blues Cube Cabinet 410. This assumes that the POWER AMP SELECT is set to EL34.
Choose this setting if the GT-1000CORE is connected to A setting for the connection to the RETURN jack of the
Blues Cube Tour410 the guitar input of a Roland Blues Cube Tour guitar amp. MUSTANG 212 Fender MUSTANG guitar amp.
INPUT This assumes that the connected speaker cabinet is the RETURN This assumes that the connected speaker cabinet is
Blues Cube Cabinet 410. equipped with two 12” speakers.
Choose this setting if the GT-1000CORE is connected to Hot Rod Deluxe A setting for the connection to the RETURN jack of the
Blues Cube Artist212
the RETURN jack of the Roland Blues Cube Artist212 guitar RETURN Fender Hot Rod Deluxe guitar amp.
RETURN
amp.
A setting for the connection to the guitar input of the
Choose this setting if the GT-1000CORE is connected to Twin Reverb INPUT
Blues Cube Artist212 Fender Twin Reverb guitar amp.
the guitar input of a Roland Blues Cube Artist212 guitar
INPUT A setting for the connection to the guitar input of the VOX
amp. AC30 INPUT
AC30 guitar amp.
A setting for the connection to the RETURN jack of the
WAZA Amp 412 the RETURN jack of the BOSS WAZA Amp Head guitar amp.
JCM2000 412 Marshall JCM2000 guitar amp.
RETURN This assumes that the connected speaker cabinet is the RETURN The connected cabinet is assumed to be a Marshall
WAZA Amp Cabinet 412.
cabinet with four 12” speakers.
WAZA Amp 412 the guitar input of a BOSS WAZA Amp Head guitar amp.
JVM410H 412 Marshall JVM410H guitar amp.
INPUT This assumes that the connected speaker cabinet is the RETURN The connected cabinet is assumed to be a Marshall
WAZA Amp 212 the RETURN jack of the BOSS WAZA Amp Head guitar amp.
MESA/Boogie Rectifier guitar amp.
RETURN This assumes that the connected speaker cabinet is the Rectifier 412 RETURN
The connected cabinet is assumed to be a MESA/Boogie
WAZA Amp 212 the guitar input of a BOSS WAZA Amp Head guitar amp.
Hughes & Kettner TriAmp guitar amp.
INPUT This assumes that the connected speaker cabinet is the TriAmp 412 RETURN
The connected cabinet is assumed to be a Hughes &
Kettner cabinet with four 12” speakers.
KATANA-100/212 BASS AMP WITH Use this setting when connecting to a bass amp that has
the POWER AMP IN of a Boss KATANA-100/212 MkII guitar
MkII POWER AMP IN TWEETER no tweeter.
amp.
BASS AMP NO Use this setting when connecting to a tweeter-equipped
KATANA-100 MkII Choose this setting if the GT-1000CORE is connected to
TWEETER bass amp.
POWER AMP IN the POWER AMP IN of a Boss KATANA-100 MkII guitar amp.
44
MENU
Value Explanation
You can use a dedicated tool to download settings from
TOTAL
the Boss website and add them to USER1 and USER2.
USER1, USER2
Download the dedicated tool from the BOSS website.
These parameters control the threshold level of the noise suppressor
used by each patch, the overall reverb level, and the overall output.
http://www.boss.info/support/
They do not affect the settings of each patch.
trademarks or trademarks of their respective owners. Parameter Value Explanation
* In this manual, company names and product names of the respective owners Control the threshold level of the noise
are used because it is the most practical way of describing the sounds that are suppressor used by each patch.
emulated using DSP technology. It is effective to adjust this when you
switch to connecting a different guitar, or
NS THRESHLD -20dB–0dB–
GLOBAL EQ (NS THRESHOLD) +20dB
according to the amount of noise in the
performance venue. This does not affect the
This adjusts the tone of the OUTPUT regardless of the equalizer on/off settings of each patch.
settings of individual patches. * If you want to use the settings specified
for each patch, set this to 0 dB.
* If the STEREO LINK is ON, the L settings are also applied to R.
Adjusts the reverb level specified for each
Parameter Value Explanation patch.
If this is ON, the L and R settings It is useful to adjust the reverb level
ST LINK (STEREO LINK) OFF, ON appropriately for the space in which you’re
are made at the same time. REVERB LEVEL 0%–200%
performing. This does not affect the settings
LO GAIN (LOW GAIN) of each patch.
Adjusts the tone for the low
L:LO GAIN (L:LOW GAIN) -20–+20dB * If you want to use the settings specified
frequency range.
R:LO GAIN (R:LOW GAIN) for each patch, set this to 100%.
MID GAIN
Adjusts the tone for the middle
L:MID GAIN -20–+20dB
frequency range.
R:MID GAIN
MID FREQ Specifies the center of the
L:MID FREQ 20.0Hz–16.0kHz frequency range that will be
R:MID FREQ adjusted by the MID GAIN.
MID Q Adjusts the width of the area

affected by the EQ centered at
L:MID Q 0.5–16
the MID FREQ. Higher values will
R:MID Q narrow the area.
HI GAIN (HIGH GAIN)
Adjusts the tone for the high
L:HI GAIN (L:HIGH GAIN) -20–+20dB
frequency range.
R:HI GAIN (R:HIGH GAIN)
LO CUT (LOW CUT) This sets the frequency at which

FLAT, the low cut filter begins to take
L:LO CUT (L:LOW CUT)
20.0Hz–20.0kHz effect. When FLAT is selected, the
R:LO CUT (R:LOW CUT) low cut filter will have no effect.
HI CUT (HIGH CUT) This sets the frequency at which

20.0Hz–20.0kHz the high cut filter begins to take
L:HI CUT (L:HIGH CUT)
FLAT effect. When FLAT is selected, the
R:HI CUT (R:HIGH CUT) high cut filter will have no effect.
* GLOBAL EQ of SUB OUT is enabled only when SEND1 SETTING and SEND2
SETTING are set to SUB OUT.
OUTPUT LEVEL (SUB OUT)

OUTPUT LEVEL 0–100 Adjusts the output level (SUB OUT only).
* This is only enabled when SEND1 SETTING and SEND2 SETTING are set to SUB
OUT.
45
MENU
OUTPUT
USB-Related Settings Parameter Value Explanation
Here you can make USB-related settings for when the GT-1000CORE is Adjusts the level of the input sound from the
connected to a computer via USB. computer. At this time, the input sound from
MIX LEVEL 0–200%
the computer is mixed at the final stage of the
GT-1000CORE’s OUTPUT.
Adjusts the level of the sound that is output
USB audio flow EFX OUT 0–200% to the computer from OUTPUT after passing
through the GT-1000CORE’s effects.
GT-1000CORE provides three USB audio outputs: “OUTPUT”, “SUB OUT“ and Selects whether the sound of the GT-1000CORE, is output to
“DRY.” the OUTPUT jacks.
OUTPUT outputs the effect sound from OUTPUT; the return from the * This setting cannot be saved. It will be ON when the unit is
computer is mixed with the guitar’s performance at the final stage of OUTPUT. powered-on.
SUB OUT outputs the effect sound from SUB OUT; the return from the Turn this off if the audio data is being passed
computer is mixed with the guitar’s performance at the final stage of SUB through within the computer.
OUT. DIR MON OFF
In this case, you won’t hear the sound unless the
DRY always outputs the dry sound regardless of the GT-1000CORE unit’s computer is set to through.
settings; the return from the computer is always returned to the beginning of
the effect chain. The sound of the GT-1000CORE, is output directly.
Turn this on if you’re using the GT-1000CORE, by
Since the GT-1000CORE is outputting to the computer from each of OUTPUT, ON itself without connecting to a computer. (If this
SUB OUT, and DRY, you can provide three tracks for guitar and simultaneously is off, only the sound that is input to USB will be
record the dry sound, the effect sound from OUTPUT, and the effect sound output.)
from SUB OUT.
If you are not satisfied with the effect sound from MAIN OUT or SUB OUT, you
can play back the dry sound that was simultaneously recorded from DRY, and
pass it through the effect chain of the GT-1000CORE to remake the sound.
SUB OUT
* SUB OUT is enabled only when SEND1 SETTING and SEND2 SETTING are Parameter Value Explanation
set to SUB OUT.
Adjusts the level of the sound that is input from
the computer. In this case, the input sound from
OUTPUT MIX LEVEL 0–200%
the computer is mixed at the final stage of the
GT-1000CORE’s SUB OUT.
GT-1000CORE USB OUT OUTPUT
Adjusts the level of the sound that is output
EFX OUT 0–200% to the computer from SUB OUT after passing
through the GT-1000CORE’s effects.
Selects whether the sound of the GT-1000CORE, is output to
USB IN the PHONES jack or the SUB OUTPUT jacks.
MIX
LEVEL * This setting cannot be saved. It will be ON when the unit is
EFX OUT powered-on.
INPUT
Turn this off if the audio data is being passed
through within the computer.
Effect Chain OFF
DIR MON In this case, you won’t hear the sound unless the
computer is set to through.
SUB OUT The sound of the GT-1000CORE, is output directly.

Turn this on if you’re using the GT-1000CORE, by
ON itself without connecting to a computer. (If this
GT-1000CORE USB OUT SUB OUT is off, only the sound that is input to USB will be
output.)
* SUB OUT is enabled only when SEND1 SETTING and SEND2 SETTING are set to
SUB OUT.
USB IN
MIX
EFX OUT
LEVEL
DRY
INPUT
Effect Chain The guitar sound that is input to the
OUT 0–200% GT-1000CORE, is output without change (DRY
sound); it is not processed by effects.
Adjusts the input level from the computer to the
DRY TO EFX 0–200%
GT-1000CORE’s effects.
GT-1000CORE USB OUT
OUTPUT
USB IN DRY OUT SUB OUT
TO EFX
INPUT
Effect Chain
46
MENU
PLAY OPTION MIDI

Here you can specify how the pedals will work during performance. Here you can make settings for using the GT-1000CORE connected
with an external MIDI device or with a second GT-1000CORE unit.
PATCH
Reference
U001–P250, Sets the lower limit for the banks.
EXTENT MIN
For more about MIDI, refer to “Connecting External MIDI Devices” in
PATCH
U001–P250, Sets the upper limit for the banks. the owner’s manual.
EXTENT MAX
Mixes the L/R signals for mono
PHRASE
MONO operation.
The recording time is 38 seconds.
MIDI SETTING
LOOP MODE
Operate in stereo. Parameter Value Explanation
STEREO
The recording time is 19 seconds. This sets the MIDI channel used for receiving MIDI messages.
RX CH (RX
Specifies how the looper operates when you press the pedal. CHANNEL) Ch. 1– Ch. 16 Specifies the receive channel.
PHRASE This makes the settings for the channels used for MIDI
Operation switches in the order of
REC0PLAY0DUB information.
LOOP REC record 0 play 0 overdub.
ACTION Information is received on the channel
Operation switches in the order of OMNI MODE OFF
REC0DUB0PLAY specified by the RX CHANNEL setting.
record 0 overdub 0 play.
Messages are received on all channels,
ON
regardless of the MIDI channel settings.
Sets the MIDI channel used for transmitting MIDI messages.
TX CH (TX Ch. 1– Ch. 16. Specifies the transmit channel.
CHANNEL) Transmits on the same channel as the RX
RX
CHANNEL.
This sets the MIDI Device ID used for transmitting and receiving
DEVICE ID Exclusive messages.
1–32 Sets the MIDI Device ID.
This specifies the connector from which to output the MIDI
messages that are received at the MIDI IN connector.
OFF MIDI messages are not transmitted.
Messages are transmitted from the MIDI
MIDI THRU (MIDI MIDI OUT
OUT connector.
IN THRU)
Messages are transmitted from the USB
USB OUT
port.
USB/MIDI
port and the MIDI OUT connector.
This specifies the connector from which to output the MIDI
messages that are received at the USB port.
OFF MIDI messages are not transmitted.
Messages are transmitted from the MIDI
USB THRU (USB MIDI OUT
OUT connector.
IN THRU)
USB OUT
port.
USB/MIDI
port and the MIDI OUT connector.
This setting determines the basis used for synchronizing
the timing for effect modulation rates and other time-based
parameters.
* When you have an external MIDI device connected, the
MASTER BPM is then synchronized to the external MIDI
device’s tempo, thus disabling the MASTER BPM setting. To
enable setting of the MASTER BPM, set to “INTERNAL.”
* When synchronizing performances to the MIDI Clock signal
from an external MIDI device, timing problems in the
performance may occur due to errors in the MIDI Clock.
Operations are synchronized to MIDI
clock messages received via MIDI or USB.
However, operations are automatically
AUTO
synchronized to the GT-1000CORE’s
SYNC CLK (SYNC internal clock if the GT-1000CORE, is unable
CLOCK) to receive the external Clock.
Operations are synchronized to the
INTERNAL
GT-1000CORE’s internal Clock.
MIDI Clock received via MIDI. However,
operations are automatically synchronized
MIDI (AUTO)
to the GT-1000CORE’s internal Clock if
the GT-1000CORE is unable to receive the
external Clock.
USB Clock received via USB. However,
operations are automatically synchronized
USB (AUTO)
to the GT-1000CORE’s internal Clock if
the GT-1000CORE is unable to receive the
external Clock.
47
MENU

Specifies whether MIDI clock will be output from the
PROGRAM MAP BANK1–BANK4
CLK OUT (CLOCK GT-1000CORE.
OUT) OFF MIDI clock is not output. When switching patches using Program Change messages
ON MIDI clock is output. transmitted by an external MIDI device, you can freely set the
Specifies whether program change messages received by the correspondence between Program Change messages received by
GT-1000CORE, will switch patches according to the settings of the GT-1000CORE and the patches to be switched to in the “Program
the program change map or will switch patches according to Change Map.”
the default settings.
MAP SEL (MAP This deactivates the Program Change Map. Parameter Value Explanation
SELECT) FIX Switches to the patches according to the
default settings. This sets the patch number (U001–U250,
U001–U250, P001–
PC#1–PC#128 P001–P250) for the corresponding
This activates the Program Change Map. P250
Program Change number.
PROG Switches to the patches according to the
Program Change Map.
I CC# Specifies the controller number when transmitting pedal
operations as control change messages.
H CC#
CTL1 CC#
OFF Control Change messages are not output.
BULK DUMP
CTL2 CC#
CTL3 CC# You can use Exclusive messages to provide another GT-1000CORE with
CTL4 CC# CC#1–CC#31, Pedal operations are transmitted using the identical settings, and save effect settings on a MIDI sequencer or
CTL5 CC# CC#64–CC#95 specified controller number. other device.
EXP1 CC#
EXP2 CC#
SYSTEM System parameter settings
Settings for Patch Number U001 through
U001–U250
FROM U250
TO STOMPBOX Stomp box settings
Settings for the patch that is currently
TEMP
selected
48
MENU
HARDWARE SETTING
Value (Category) Value (Target)
LO GAIN
LM FREQ
LM Q
KNOB EQ 1: PEQ (EQUALIZER 1 PARAMETRIC)
LM GAIN
HM FREQ
Here you can assign the desired parameters to knobs [1]–[6] in the EQ 2: PEQ (EQUALIZER 2 PARAMETRIC)
HM Q
Play Screen. EQ 3: PEQ (EQUALIZER 3 PARAMETRIC)
HM GAIN
EQ 4: PEQ (EQUALIZER 4 PARAMETRIC)
* The settings you make here are only for the knobs in the Play HI GAIN
Screen. LEVEL
Parameter LO CUT
KNOB 1–KNOB 5 HI CUT
31.5Hz
Value (Category) Value (Target)
63Hz
ON/OFF
125Hz
TYPE
250Hz
SUSTAIN EQ1: GEQ (EQUALIZER 1 GRAPHIC)
500Hz
ATTACK EQ2: GEQ (EQUALIZER 2 GRAPHIC)
COMP (COMPRESSOR) 1kHz
RATIO EQ3: GEQ (EQUALIZER 3 GRAPHIC)
2kHz
TONE EQ4: GEQ (EQUALIZER 4 GRAPHIC)
4kHz
LEVEL
8kHz
DIR MIX
16kHz
CMP:BASS (COMPRESSOR:BASS) THRESHLD (THRESHOLD)
LEVEL
ON/OFF
ON/OFF
TYPE
DELAY 1 TIME
DRIVE
DELAY 2 FEEDBACK
TONE
DIST 1 (DISTORTION 1) DELAY 3 HI CUT
LEVEL DELAY 4
DIST 2 (DISTORTION 2) E.LEVEL
BOTTOM
D.LEVEL
DIR MIX
ON/OFF
SOLO SW
TYPE
SOLO LEVEL
TIME
ON/OFF
FEEDBACK
TYPE
HI CUT
GAIN
E.LEVEL
SAG
D.LEVEL
RESO (RESONANCE)
MOD RATE
BASS MST DELY (MASTER DELAY)
MOD DEPTH
PREAMP 1 (AIRD PREAMP 1) MIDDLE
DUCK SENS
PREAMP 2 (AIRD PREAMP 2) TREBLE
DUCK PRE DPT
PRESENCE
DUCK POST DPT
BRIGHT
TAP TIME
LEVEL
TRIGGER
GAIN SW
LEVEL
SOLO SW
AUTO TRIG (AUTO TRIGGER)
SOLO LVL (SOLO LEVEL)
M.DL:TAPE (MASTER DELAY:TAPE) HEAD
ON/OFF
PITCH
NS 1 (NOISE SUPPRESSOR 1) THRESHOLD
M.DL:SHMR (MASTER DELAY:SHIMMER) PITCH BAL
NS 2 (NOISE SUPPRESSOR 2) RELEASE
PITCH FBK
DETECT
MODE
EQ 1 (EQUALIZER 1)
ON/OFF 1:TYPE
EQ 2 (EQUALIZER 2)
1:TIME
EQ 3 (EQUALIZER 3)
TYPE 1:FEEDBK (1:FEEDBACK)
EQ 4 (EQUALIZER 4)
M.DL:DUAL (MASTER DELAY:DUAL) 1:LEVEL (1:EFFECT LEVEL)
2:TYPE
2:TIME
2:FEEDBK (2:FEEDBACK)
2:HI CUT (2 HIGH CUT)
2:LEVEL (2:EFFECT LEVEL)
49
MENU
Value (Category) Value (Target) Value (Category) Value (Target)

MODE TYPE
RISE TIME RATE
M.DL:TWST (MASTER DELAY:TWIST)
FALL TIME DEPTH
FADE TIME 1:CHORUS (FX1:CHORUS) PRE-DELY (PRE-DELAY)
WOW&FLUT (WOW & FLUTTER) 2:CHORUS (FX2:CHORUS) WAVEFORM
SP HEAD (SPACE HEAD) 3:CHORUS (FX3:CHORUS) E.LEVEL
M.DL:ECHO (MASTER DELAY:ECHO)
BIN HEAD (BINDRUM HEAD) D.LEVEL
SELECTOR LO CUT
ON/OFF HI CUT
TYPE 1:RATE
RATE 1:DEPTH
DEPTH 1:PRE-DL (1:PRE-DELAY)
PRE-DELY (PRE-DELAY) 1:WAVE (1:WAVEFORM)
CHORUS
WAVEFORM 1:LEVEL
E.LEVEL 1:LO CUT
1:CH DUAL (FX1:CHORUS DUAL)
D.LEVEL 1:HI CUT
LO CUT 2:RATE
HI CUT 2:DEPTH
1:RATE 2:PRE-DL (2:PRE-DELAY)
1:DEPTH 2:WAVE (2:WAVEFORM)
1:PRE-DLY 2:LEVEL
1:WAVE (1:WAVEFORM) 2:LO CUT
1:LEVEL 2:HI CUT
1:LO CUT 1:CH PRIM (FX1:CHORUS PRIME) SWEETNES (SWEETNESS)
1:HI CUT 2:CH PRIM (FX2:CHORUS PRIME)
BELL
CHO:DUAL (CHORUS:DUAL) 2:RATE 3:CH PRIM (FX3:CHORUS PRIME)
2:DEPTH 1:CHO CE1 (FX1:CHORUS CE-1) PREAMP (PREAMP SW)
2:PRE-DLY 2:CHO CE1 (FX2:CHORUS CE-1) GAIN (PREAMP GAIN)
2:WAVE (2:WAVEFORM) 3:CHO CE1 (FX3:CHORUS CE-1) LEVEL (PREAMP LEVEL)
2:LEVEL TYPE
2:LO CUT RATE
1:CHO BS (FX1:CHORUS BASS)
2:HI CUT DEPTH
OUTPUT (OUTPUT MODE) E.LEVEL
FX1 LO CUT
ON/OFF
FX2 HI CUT
FX3 TYPE MODE
1:C-VIBE (FX1:CLASSIC-VIBE)
BODY RATE
1:ACG SIM (FX1:AC GUITAR SIM) 2:C-VIBE (FX2:CLASSIC-VIBE)
LO DEPTH
2:ACG SIM (FX2:AC GUITAR SIM) 3:C-VIBE (FX3:CLASSIC-VIBE)
HI E.LEVEL
3:ACG SIM (FX3:AC GUITAR SIM)
LEVEL TYPE
TYPE SUSTAIN
1:AC RES (FX1:AC RESONANCE)
RESO (RESONANCE) 1:COMP (FX1:COMPRESSOR) ATTACK
TONE 2:COMP (FX2:COMPRESSOR) RATIO
LEVEL 3:COMP (FX3:COMPRESSOR) TONE
FILTER MODE LEVEL
RATE DIR MIX
DEPTH 1:COMP BS (FX1:COMPRESSOR BASS)
1:AUTO WH (FX1:AUTO WAH)
FREQ (FREQUENCY) 2:COMP BS (FX2:COMPRESSOR BASS) THRESHLD (THRESHOLD)
RESO (RESONANCE) 3:COMP BS (FX3:COMPRESSOR BASS)
WAVEFORM SENS
E.LEVEL DEPTH
DIR MIX 1:DEFRET (FX1:DEFRETTER) ATTACK
2:DEFRET (FX2:DEFRETTER) RESO (RESONANCE)
3:DEFRET (FX3:DEFRETTER) TONE
E.LEVEL
DIR MIX
50
MENU

SENS 1:OC BASS (FX1:OCTAVE BASS) 2-Oct
1:DEF BS (FX1:DEFRETTER BASS) ATTACK 2:OC BASS (FX2:OCTAVE BASS) 1-Oct
2:DEF BS (FX2:DEFRETTER BASS) TONE 3:OC BASS (FX3:OCTAVE BASS D.LEVEL
3:DEF BS (FX3:DEFRETTER BASS) E.LEVEL LOWER (LOWER LEVEL)
DIR MIX UPPER (UPPER LEVEL)
TYPE UNISON (UNISON LEVEL)
1:OVRTON (FX1:OVERTONE)
DRIVE D.LEVEL
2:OVRTON (FX2:OVERTONE)
TONE DETUNE
1:DIST (FX1:DISTORTION) 3:OVRTON (FX3:OVERTONE)
BOTTOM LO
2:DIST (FX2:DISTORTION)
E.LEVEL HI
3:DIST (FX3:DISTORTION)
DIR MIX OUTPUT (OUTPUT MODE)
SOLO SW RATE
SOLO LVL (SOLO LEVEL) 1:PAN (FX1:PAN) DEPTH
MODE 2:PAN (FX2:PAN) WAVEFORM
TRIGGER 3:PAN (FX3:PAN) E.LEVEL
DEPTH DIR MIX
1:FEDBAK (FX1:FEEDBACKER) RISE TIME TYPE
2:FEDBAK (FX2:FEEDBACKER) OCT RISE (OCT RISE TIME) STAGE
3:FEDBAK (FX3:FEEDBACKER) FEEDBACK RATE
OCT FBK (OCT FEEDBACK) DEPTH
VIB RATE RESO (RESONANCE)
VIB DEPT (VIB DEPTH) MANUAL
RATE LO DAMP
1:PHASER (FX1:PHASER)
DEPTH HI DAMP
RESO (RESONANCE) LO CUT
MANUAL HI CUT
1:FLANGR (FX1:FLANGER) TURBO BI-PHASE

2:FLANGR (FX2:FLANGER) WAVEFORM WAVEFORM
3:FLANGR (FX3:FLANGER) STEP (STEP RATE) STEP (STEP RATE)
1:FL BASS (FX1:FLANGER BASS) SEPARATE (SEPARATION) SEPARATE (SEPARATION)
2:FL BASS (FX2:FLANGER BASS) E.LEVEL E.LEVEL
3:FL BASS (FX3:FLANGER BASS) LO DAMP DIR MIX
HI DAMP VOICE
LO CUT 1:PITCH
HI CUT 1:FINE (1:PITCH FINE)
DIR MIX 1:FEEDBK (1:FEEDBACK)
VOICE 1:PRE-DL (1:PRE-DELAY)
1:HARMO (1:HARMONY) 1:LEVEL
1:P.SHIFT (FX1:PITCH SHIFT)
1:PRE-DL (1:PRE-DELAY) 1:MODE
1:HARMO (FX1:HARMONIST) 1:FEEDBK (1:FEEDBACK) 2:PITCH
2:HARMO (FX2:HARMONIST) 1:LEVEL 2:FINE (2:PITCH FINE)
3:HARMO (FX3:HARMONIST) 2:HARMO (2:HARMONY) 2:PRE-DL (2:PRE-DELAY)
2:PRE-DL (2:PRE-DELAY) 2:LEVEL
2:LEVEL 2:MODE
D.LEVEL 2:MODE
MODE D.LEVEL
VOWEL1 INTELLI (INTELLIGENT)
VOWEL2 FREQ (FREQUENCY)
1:HUMAN (FX1:HUMANIZER)
SENS 1:RNG MOD (FX1:RING MOD) MOD RATE (FREQUENCY MOD
2:HUMAN (FX2:HUMANIZER) RATE)
RATE 2:RNG MOD (FX2:RING MOD)
3:HUMAN (FX3:HUMANIZER) MOD DEPT (FREQUENCY MOD
DEPTH 3:RNG MOD (FX3:RING MOD) DEPTH)
MANUAL
E.LEVEL
LEVEL
DIR MIX
TYPE
-2OCT
1:OCTAVE (FX1:OCTAVE)
-1OCT
D.LEVEL
RANGE
OC.LEVEL (POLY OCTAVE LEVEL)
51
MENU

SPEED (SPEED SELECT) RATE
SLOW (SLOW RATE) DEPTH
FAST (FAST RATE) 1:TREM (FX1:TREMOLO) WAVEFORM
RISE TIME 2:TREM (FX2:TREMOLO) TRIGGER
1:ROTARY (FX1:ROTARY) FALL TIME 3:TREM (FX3:TREMOLO) RISE TIME
2:ROTARY (FX2:ROTARY) MIC DIST (MIC DISTANCE) E.LEVEL
3:ROTARY (FX3:ROTARY) ROT/HORN (ROTOR/HORN DIR MIX
BALANCE)
RATE
DRIVE
DEPTH
E.LEVEL
1:VIBRAT (FX1:VIBRATO) COLOR
DIR MIX
2:VIBRAT (FX2:VIBRATO) TRIGGER
SENS 3:VIBRAT (FX3:VIBRATO) RISE TIME
DEPTH
E.LEVEL
1:SITAR (FX1:SITAR SIM) RESO
DIR MIX
2:SITAR (FX2:SITAR SIM) BUZZ
ON/OFF
3:SITAR (FX3:SITAR SIM) TONE
TYPE
E.LEVEL
TIME
DIR MIX
DENSITY
PATTERN
PRE-DELY (PRE-DELAY)
RATE
TONE
1:SLICER (FX1:SLICER) ATTACK
E.LEVEL
2:SLICER (FX2:SLICER) DUTY
D.LEVEL
3:SLICER (FX3:SLICER) TRIGGER
REVERB LO CUT
E.LEVEL
HI CUT
DIR MIX
LO DAMP
1:SL GEAR (FX1:SLOW GEAR) SENS
HI DAMP
2:SL GEAR (FX2:SLOW GEAR) RISE TIME
MOD RATE
3:SL GEAR (FX3:SLOW GEAR) LEVEL
MOD DEPT (MOD DEPTH)
1:SG BASS (FX1:SLOW GEAR BASS) SENS
DUCK SENS
2:SG BASS (FX2:SLOW GEAR BASS) RISE TIME
DUCK PRE (DUCK PRE DEPTH)
3:SG BASS (FX3:SLOW GEAR BASS) LEVEL
DUCK PST (DUCK POST DEPTH)
1:S-HOLD (FX1:SOUND HOLD) TRIGGER
1:PITCH
2:S-HOLD (FX2:SOUND HOLD) RISE TIME
1:LEVEL
3:S-HOLD (FX3:SOUND HOLD) LEVEL REV SHIMR (REVERB SHIMMER)
2:PITCH
TRIGGER
1:S-BEND (FX1:S-BEND) 2:LEVEL
PITCH
2:S-BEND (FX2:S-BEND) 1:TYPE
RISE TIME
3:S-BEND (FX3:S-BEND) 1:TIME
FALL TIME
1:PRE-DL (1:PRE-DELAY)
FILTER (FILTER MODE)
1:DENSTY (1:DENSITY)
POLARITY
1:TONE
SENS
1:TCH WAH (FX1:TOUCH WAH) 1:LEVEL
FREQ (FREQUENCY)
2:TCH WAH (FX2:TOUCH WAH) 1:LO CUT
RESO (RESONANCE)
3:TCH WAH (FX3:TOUCH WAH) 1:HI CUT
DECAY REV DUAL (REVERB DUAL)
2:TYPE
E.LEVEL
2:TIME
DIR MIX
2:PRE-DL (2:PRE-DELAY)
FILTER (FILTER MODE)
2:DENSTY (2:DENSITY)
POLARITY
2:TONE
SENS
1:TW BASS (FX1:TOUCH WAH BASS) 2:LEVEL
FREQ (FREQUENCY)
2:TW BASS (FX2:TOUCH WAH BASS) 2:LO CUT
RESO (RESONANCE)
3:TW BASS (FX3:TOUCH WAH BASS) 2:HI CUT
DECAY
MODE
E.LEVEL
SPREAD (SPREAD TIME)
DIR MIX REV TECO (REVERB TERA ECHO)
FEEDBACK
TRIGGER
ON/OFF
TYPE
PEDAL FX
E.LEVEL
DIR MIX
52
MENU

PITCHMIN (PITCH MIN) INPUT L
INPUT
PDL BEND (PEDAL BEND) PITCHMAX (PITCH MAX) INPUT R
PDL POS (PEDAL POSITION)
*1 Operates as stereo if STEREO LINK is ON.
WAH TYPE
*2 Lets you control the AIRD PREAMP of the channel that is enabled by the divider. If
PDL POS (PEDAL POSITION) multiple channels are enabled, AIRD PREAMP 1 takes priority.
PDL WAH (PEDAL WAH)
PDL MIN (PEDAL MIN) Parameter Value Explanation
PDL MAX (PEDAL MAX)
Specifies whether knob operations will be
VOL MIN (VOLUME MIN) KNOB LOCK OFF, ON disabled. If this is ON, knob operations will be
VOL MAX (VOLUME MAX) disabled.
FOOT VOL (FOOT VOLUME)
CURVE (VOLUME CURVE)
* You can also press both the [EXIT] and [A] buttons together to disable knob
PDL POS (PEDAL POSITION) operations. To enable, press the [EXIT] and [A] buttons together once more.
MODE
CHANNEL (CHANNEL SELECT)
A:DYNAMC (A:DYNAMIC)
A:SENS (A:DYNAMIC SENS)
DIVIDER 1 A:FILTER
DIVIDER 2 A:CUTOFF (A:CUTOFF

FREQUENCY)
DIVIDER 3
B:DYNAMC (B:DYNAMIC)
B:SENS (B:DYNAMIC SENS)
B:FILTER
B:CUTOFF (B:CUTOFF
FREQUENCY)
MODE
A:LEVEL
MIXER 1
B:LEVEL
MIXER 2
A/B BAL (A/B BALANCE)
MIXER 3
SPREAD
ST LINK (STEREO LINK)
ON/OFF
MODE
SND/RET1 (SEND/RETURN 1)
SEND (SEND LEVEL)
SND/RET2 (SEND/RETURN 2)
RETURN (RETURN LEVEL)
ADJUST
LOOPER PLAY LVL (PLAY LEVEL)
AMP CTL 1
AMP CTL (AMP CONTROL)
AMP CTL 2
PATCH LV (PATCH LEVEL)
BPM
MASTER KEY
CARRYOVR (CARRYOVER)
BS MODE (BASS MODE)
SUB OUT LEVEL (OUTPUT LEVEL)
TUNER ON
PATCH PATCH (PATCH SELECT)
OUT MIXLV (OUTPUT MIX LEVEL)
USB AUDIO
SUB MIXLV (SUB OUT MIX LEVEL)
OUT GEQ L (OUTPUT GLOBAL EQ L) *1 LO GAIN
OUT GEQ R (OUTPUT GLOBAL EQ R) *1 MID GAIN
SUB GEQ L (SUB OUT GLOBAL EQ L) *1 HI GAIN
SUB GEQ R (SUB OUT GLOBAL EQ R) *1 LEVEL
TYPE
GAIN
BASS
PREAMP *2
MIDDLE
TREBLE
LEVEL
TOTAL RV (TOTAL REVERB) LEVEL
TOTAL NS (TOTAL NOISE SUPPRESSOR) THRESHLD
53
MENU
AMP CONTROL OTHER

Specifies the operation of the AMP CTL 1, 2 jacks. The GT-1000CORE can turn off its power automatically. The
power will turn off automatically when 10 hours have passed
LATCH Latch operation
since you last played or operated the unit. The display will show
Send a pulse when changing patches. a message approximately 15 minutes before the power turns
off.
AMP CTL1 PULSE PULSE
With the factory settings, this function is turned “ON” (power-off
AMP CTL2 in 10 hours). If you want to have the power remain on all the
Patch change Patch change
AUTO OFF time, turn it “OFF.”
INVERT
INVERT * When the power is turned off, any settings you were editing
will be lost. You must save settings that you want to keep.
Patch change Patch change
OFF The power will not turn off automatically.
* This is enabled when CTL 4, 5 SETTING is set to AMP CTL. The power will automatically turn off when
ON 10 hours have passed since you last played or
operated the GT-1000CORE.
Here you can adjust the brightness of the characters in the
EXP HOLD LCD CONTRAST display.
1–10 Higher values increase the brightness.
Parameter Value Explanation This sets how the SEND and RETURN jacks are used.
The operational status of the EXP PEDAL 1/2’s The jacks are used as SEND and RETURN jacks.
OFF FUNCTION (p. 33) is not carried over when You can connect an external effects processor
patches are switched. SEND between the SEND jack and RETURN jack, and
If the EXP PEDAL 1/2’s FUNC (p. 33) are the use it as one of the GT-1000CORE’s effects
same between 2 patches, the operational processors.
status is carried over when patches are The SEND jack is used as a SUB OUT jack.
switched.
You can send a signal separate from the
For example, if EXP PEDAL FUNCTION is set OUTPUT jack to a PA system or other
SEND1 SETTING,
EXP1 (EXP1 HOLD) to FOOT VOLUME in both patches, the one equipment.
SEND2 SETTING
EXP2 (EXP2 HOLD) before and the one after the change, the
In this case, the RETURN jack works as an AUX
ON volume corresponding to the position the SUB OUT IN jack. The input signal is output from the
pedal is in (angle) at the time of the patch
OUTPUT jack along with the sound going
change will be maintained after the patch
through the GT-1000CORE effects.
change. On the other hand, if the patch being
changed to is set to WAH, the volume will be * Be aware that if a plug is not plugged into
in accordance with the value set within the the RETURN jack, the signal sent to SUB OUT
patch, and you’ll obtain a wah effect that is is also output to OUTPUT.
in accordance with a value that reflects the SUB OUT, AUX
current position (angle) of the pedal. SUB OUT, AUX MUTE
MUTE
This sets how the CTL 4, 5/EXP 2 jack is used.
GROUND LIFT
Operates as the CTL 4, 5/EXP 2 jack.
CTL IN You can control the various parameters by
plugging in a footswitch or expression pedal.
CTL 4,5 SETTING
Parameter Value Explanation Operates as the AMP CLT 1, 2 jack.
In some cases, hum noise might occur if an amp or other AMP CTL If you connect this to the channel switch jack of
effect unit is connected. If so, you might be able to reduce a guitar amp, you can use the GT-1000CORE to
the noise by disconnecting the ground connector from the switch channels.
GT-1000CORE’s chassis.
MAIN * When SEND1 SETTING and SEND2 SETTING are used as SEND and the sound
The ground of the OUTPUT L, R jacks is connected to
GND doesn’t seem right, change the SEND RETURN setting to TYPE 1.
the chassis (no ground lift).
The ground of the OUTPUT jacks is disconnected from
LIFT
the chassis.
Specifies whether the ground of the SEND 1, 2 jacks and the
RETURN 1, 2 jacks are connected to the GT-1000CORE’s chassis
or disconnected.
The ground of the SEND 1, 2 jacks and the RETURN 1,
TYPE1
2 jacks is connected to the chassis (no ground lift).
SUB The ground of the SEND 1 jack is disconnected from
TYPE2 the chassis, and the ground of the RETURN 1, 2 jacks is
connected to the chassis (no ground lift).
The ground of the SEND 1, 2 jacks is connected to the
TYPE3 chassis (no ground lift), and the ground of the RETURN
1, 2 jacks is disconnected from the chassis.
* When SEND1 SETTING and SEND2 SETTING are used as SEND and the sound
doesn’t seem right, change the SEND RETURN setting to TYPE 1.
54
MENU
FACTORY RESET
Initializes the GT-1000CORE to its factory-set condition.

SYSTEM System parameter settings
Settings for Patch Numbers
FROM, TO U001–U250
U001–U250
STOMPBOX Settings for STOMPBOX
TUNER
Here you can make settings for the TUNER.

MODE (TUNER Specifies the meter display method for
NORMAL, STREAM
MODE) the monophonic tuner.
435–445 Hz (default:
PITCH Specifies the reference pitch.
440 Hz)
MUTE Sound will not be output while tuning.
While tuning, the sound of the guitar
being input to the GT-1000CORE will
BYPASS
be output without change. All effects
OUTPUT will be off.
Allows you to tune while hearing the
THRU current effect sound.
* Only for monophonic tuner.
6-REG (6-REGULAR),
6-DROP D,
7-REG (7-REGULAR), Selects the type of tuning for the
TYPE
7-DROP A, polyphonic tuner.
4-B REG (4-B REGULAR),
5-B REG (5-B REGULAR)
Adjusts the reference pitch of the
OFFSET -5–-1, --- polyphonic tuner in semitone units
relative to standard tuning.
METRONOME
Here you can make settings for the METRONOME.
* You can select the output destination of the metronome sound.
* By pressing knob 1 you can set the metronome’s BPM to the master
BPM value.
BPM 20–250 Specifies the tempo.
1/1–8/1, 1/2–8/2,
BEAT Selects the time signature.
1/4–8/4, 1/8–8/8
OFF/ON OFF, ON Turns the metronome on/off.
LEVEL 0–100 Adjusts the volume of the metronome sound.
55
Saving a Sound (WRITE)
Saving a Patch (PATCH WRITE) Exchanging Patches (PATCH EXCHANGE)
When you want to save a patch you have created, save it as a user On the GT-1000CORE, you can “swap” or exchange the positions of
patch by following the procedure below. If you do not save the patch, two User patches.
the edited settings will be lost when you turn off the power or switch
to another patch.
1. Select the exchange source patch.
1. Press the [WRITE] button. 2. Press the [WRITE] button.
3. Press knob [2] to select “EXCHANGE” (PATCH
EXCHANGE).
4. Use knob [1] to select the other user patch that you
want to exchange.
* If you decide to cancel without exchanging, press the [EXIT]
2. Press knob [1] to select “WRITE” (PATCH WRITE). button a several times. You’ll be returned to the Play screen.
3. Use knob [1] to select the save-destination (U001– 5. Press the [WRITE] button once again.
U250). A confirmation message appears.
You can use knobs [3]–[5] and [SELECT] knob to edit the name.
Editing a name
To edit the patch name, use knob [SELECT] to move the cursor
and use knob [5] to change the character. 6. Press the [5] knob.
Controller Operation
Turn the [3] knob Selects the type of characters

Press the [3] knob Delete one character (delete)
Turn the [4] knob Switch uppercase/lowercase
Press the [4] knob Insert one space (insert) The patches will be exchanged. If you decide to cancel the
exchange operation, press knob [4].
Turn the [5] knob Changes the character
Turn the [SELECT] knob Moves the cursor
4. Press the [WRITE] button once again.
The patch is written.
56
Saving a Sound (WRITE)
Initializing Patches (PATCH INITIALIZE) Inserting a Patch (PATCH INSERT)

You can return (initialize) a User patch to its original factory settings. You can insert a patch into any position of the user patches.
This is convenient when you want to create a new patch from scratch. For example, if you insert patch U001 at U002, patch U002 and
NOTE subsequent patches are shifted (renumbered) backward by one.
(Patch U002 becomes U003.)
Any tone settings you’ve stored in a patch are lost once the
initialization is executed. NOTE
When you execute the insert operation, the last user patch (U250) is
1. Press the [WRITE] button. deleted.
2. Press knob [3] to select “INITIALIZE” (PATCH INITIALIZE). 1. Press the [WRITE] button.
2. Press knob [4] to select “INSERT” (PATCH INSERT).
3. Use knob [1] to select the user patch that you want
to initialize.
* If you decide to cancel without initializing, press the [EXIT] button 3. Use knob [1] to select the insert-destination user
a several times. You’ll be returned to the Play screen. patch.
* If you decide to cancel without inserting, press the [EXIT] button a
4. Press the [WRITE] button once again. several times. You’ll be returned to the Play screen.
A confirmation message appears.
4. Press the [WRITE] button once again.
A confirmation message appears.

The patch is inserted at the specified position. If you decide to
choose the insert operation, press knob [4].
The patch will be initialized. If you decide to cancel the initialize

operation, press knob [4].
57

GT-1000CORE Parameter Guide

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GT-1000CORE Parameter Guide

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Parameter Guide

1. Press the [EFFECT] button.

1. Turn the [SELECT] knob to select the item that you

2. Turn knob [6] to select the block that you want to

Using STOMPBOX Reading STOMPBOX Settings into a Patch

1. Press the [EFFECT] button.

3. Use the PAGE [K] [J] buttons to move to the last

4. Press the [5] knob.

3. Use the PAGE [K] [J] buttons to move to the last

4. Press the [5] knob.

5. Press the [4] (WRITE TO STOMPBOX) knob.

6. Turn knob [1] to select the writing-destination

Basic MENU Operations

1. Press the [MENU] button.

2. Press a knob [1]–[5] to select the item that you want

3. Once again press a knob [1]–[5] to select the item

4. Use knobs [1]–[5] and [SELECT] knob to select

Parameter Value Explanation

Adjusts the range (time) over which low- TREBLE

TONE -50–+50 Adjusts the tone. WARM OD This is a warm overdrive.

AIRD PREAMP TYPE List

EQUALIZER 1–4 DELAY 1–4

Parameter Value Explanation

MASTER DELAY COMMON

TAPE Parameter Value Explanation

MONO This is a simple mono delay. Parameter Value Explanation

* When set to BPM, the value of each

You can have sound played on the guitar be held

FLANGER Parameter Value Explanation

AUTO WAH CHORUS

Parameter Value Explanation

This sets the frequency at which the low

Parameter Value Explanation

DUAL CE-1 CHORUS, CE-1 VIBRATO

This sets the frequency at which the low

CHO BASS (CHORUS BASS) C-VIBE (CLASSIC VIBE)

Adjust this as appropriate for the input

*1 Setting available when TYPE is set to X-BASS COM.

DEFRETR (DEFRETTER) Type Explanation

Parameter Value Explanation This models a FUZZFACE.

FEEDBAKR (FEEDBACKER) FLANGER/FLANGR B (FLANGER B)

HARMONST (HARMONIST) USER SCALE

HUMANIZR (HUMANIZER) OCTAVE

PITCH SFT (PITCH SHIFTER) RING MOD

1:PITCH Adjusts the frequency of the internal

SLW GEAR (SLOW GEAR)/

Parameter Value Explanation Parameter Value Explanation

SND HOLD (SOUND HOLD) Parameter

Parameter Value Explanation

UP The frequency of the filter will rise.

Parameter Value Explanation Parameter Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

Parameter Value Explanation

1:TIME Parameter Value Explanation

This sets the frequency at which the low

WAH DIVIDER 1–3

Exchanging the preamp settings between channels SEND/RETURN 1, 2

The input to SEND/RETURN within the effect

The input to SEND/RETURN within the effect

Adjusts the volume of the output to the