BOSSCO GT-1B Manuale utente

Parameter Guide / Sound List

Contents

Basic Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Basic Procedure for Eect Editing . . . . . . . . . . . . . . . . . . . . . . . 3

Changing the Eect Connection Order . . . . . . . . . . . . 3

Editing from the Play Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

EASY EDIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

EASY SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Basic MENU Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Assigning Favorite Parameters to [1]–[3] Knobs. . . . . 5

EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

FX1/FX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

COMPRESSOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

LIMITER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

T. WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

GRAPHIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

PARAMETRIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ENHANCER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

TONE MODIFY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

BASS SIMULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

SLOW GEAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DEFRETTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

BASS SYNTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

HARMONIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

OVERTONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

TREMOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

ROTARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

UNI-V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

VIBRATO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

RING MOD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

HUMANIZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

SUB DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

PEDAL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

OD/DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

PREAMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

NS (NOISE SUPPRESSOR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MASTER SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

MASTER SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

CTL 1, EXP SW, CTL 2, CTL 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

EXP 1, EXP 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

ASSIGN 1–6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Virtual Expression Pedal System (Internal Pedal /

Wave Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

PLAY (PLAY OPTION) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

KNOB SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

PREF (PREFERENCE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

LOOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

PDL CALIBRATION (PEDAL CALIBRATION). . . . . . . . . . . . . . . . 26

F.RESET (FACTORY RESET) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Sound List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Preset Patch List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

MEMO

5This eect sound is mono.

5This eect sound is output with two channels.

5These eects 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.

Basic Operation

Basic Procedure for Eect Editing

You can edit an eect by selecting it in the screen that shows the

placement of eects (the eect chain screen). It’s also possible to

edit the settings of eects and controllers that are not represented

by panel buttons.

1. Press the [MEMORY EDIT] button.

The eect chain screen appears.

* You can use the button of each eect to turn that eect on/o.

Eects that are turned on are indicated with icons. Eects that

are turned o are indicated with“5.”

To turn PDL (PEDAL FX) on/o, press the expression pedal with

PDL selected or turn the [3] knob in step 2 below.

2. Use the [1] knob to choose the eect you’re going

to edit.

MEMO

If you’ve selected FX1, FX2, or DLY, use the [3] knob to

choose the eect type.

3. Press the [ENTER] button to enter the EDIT screen.

4. Use the [1]–[3] knobs to edit the value of the

parameters shown in the screen.

When tabs are displayed on the screen, you can switch pages by

pressing the [ENTER] button.

5. Press the [EXIT] button a number of times to return

to the play screen.

Changing the Eect Connection Order

Here’s how to move the position of a selected eect in the eect

chain.

1. Press the [MEMORY EDIT] button.

The eect chain screen appears.

2. Use the [1] knob to select the eect that you want

to move.

3. Use the [2] knob to move the selected eect.

Editing from the Play Screen

You can also edit an eect from the play screen (p. 4) of the

“Owner’s Manual.”

1. Long press the button of the eect that you want

to edit.

The EDIT screen appears.

* With the edit screen displayed, pressing the eect button again

turns that eect on/o. When an eect is on, the button is lit.

2. Use the [1]–[3] knobs to edit the value of the

parameters shown in the screen.

Use the [ENTER] button to switch pages of the edit screen.

3. Press the [EXIT] button to return to the play screen.

Basic Operation

EASY EDIT

You can use EASY EDIT to change the type of distortion (TONE)

for the current sound, add or modify a modulation-type eect

(VIBES), or change the reverberation (ECHO).

1. With the play screen displayed, press the [EASY

EDIT] button.

The EASY EDIT screen appears.

2. Use the [1]–[3] knobs to adjust “TONE,”“VIBES,” and

“ECHO” to your taste.

With the EASY EDIT screen displayed, you can press the [ENTER]

button to display the eect chain screen and edit the eects with

the procedure described in“Basic Procedure for Eect Editing”

(p. 3).

EASY SELECT

You can use EASY SELECT to select patches.

1. With the play screen displayed, press the [EASY

SELECT] button.

EASY SELECT screen is displayed.

2. Use the [1] knob to choose the search method

(SORT TYPE).

Value Explanation

GENRE Search by the patch category

DRIVE Search by the distortion type

EFFECT Search by the eect type

3. Use the [2] knob to choose the search item.

SORT TYPE: GENRE

SORT TYPE: DRIVE

SORT TYPE: EFFECT

SORT TYPE Search items

GENRE

JAZZ/FUSION

BLUES

COUNTRY

DISCO

SOUL/FUNK

OLDIES

ROCK

ALTERNATIVE

HARD ROCK

STUDIO

METAL/CORE

ACOUSTIC

R&B

POPS

LATIN

TRADITIONAL

USER 1

USER 2

USER 3

DRIVE

CLEAN

CRUNCH

HARD

HEAVY

EFFECT

ENVELOPE

TONE-MOD

PITCH

MODULATE

DELAY/REV

OTHERS

* You can turn only the [2] knob to select search items from all

SORT TYPE.

* You can assign USER 1–USER 3 to any desired patches. For

example, you might use these categories to collect patches that

you use in a live performance. Two categories can be assigned

to each patch. For details on how to assign a category, refer to

step 5 of “Saving a Patch”(p. 6) in the owner’s manual.

4. Use the [3] knob to choose a patch from the list on

the display.

Basic Operation

Basic MENU Operations

Here you can make settings that are common to the entire GT-1B

(System parameters). Here you can make settings for output, USB,

as well as assign the functions of the [1]–[3] knobs, etc.

1. Press the [MENU] button.

2. Use the [1] knob to choose the item that you want

to edit.

3. Press the [ENTER] button.

4. Use the [1]–[3] knobs to edit the value of the

parameters shown in the screen.

When tabs are displayed on the screen, you can switch pages by

pressing the [ENTER] button.

5. Press the [EXIT] button a number of times to return

to the play screen.

Assigning Favorite Parameters to [1]–[3]

Knobs

You can assign the parameters that are controlled by parameter

knobs [1]–[3] when the play screen is displayed.

1. Press [MENU] button.

2. Use the [2] knob to choose “KNOB.”

3. Use the [1]–[3] knobs to specify the parameters to

be controlled by each knob.

4. Press the [EXIT] button a number of times to return

to the play screen.

For details on the parameters that can be assigned, refer to“KNOB

SETTING” (p. 24).

About the play screen display

You can use the [ENTER] button to choose how the play

screen is displayed.

About the icon indications

Icon Explanation

Shown if the looper is on.

Shown if OD/DS SOLO is on.

Shown if PrA SOLO is on.

EFFECT

FX1/FX2

With FX1 and FX2, you can select the eect to be used from the

following. You can select the same eect for FX1 and FX2.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

TYPE Refer to FX1/FX2 TYPE

FX1/FX2 TYPE

This is a list of the eects that can be selected for FX1/FX2.

Eect Name Explanation

COMPRESSOR

This is an eect that produces a long sustain by evening

out the volume level of the input signal. You can also

use it as a limiter to suppress only the sound peaks and

prevent distortion.

LIMITER The limiter attenuates loud input levels to prevent

distortion.

T. WAH You can produce a wah eect with the lter changing in

response to the bass level.

GRAPHIC EQ This adjusts the tone as a equalizer. You can adjust the

tone character in seven bands.

PARA.EQ

(PARAMETRIC EQ)

Adjusts the tonal quality. You can adjust the tone

character in four bands.

ENHANCER

This is an eect that claries the contour of the input

sound by emphasizing the attack of the sound following

changes in the input level.

TONE MODIFY This changes the tone of the connected bass.

BASS SIM

(BASS SIMULATOR)

Simulation of the characteristics of particular bass

components such as pickups and dierent bass bodies

allows you to switch among a number of dierent BASS

types all while using a single bass.

SLOW GEAR This produces a volume-swell eect (“violin-like” sound).

DEFRETTER This simulates a fretless bass.

BASS SYNTH This is a synth sound that processes the bass input signal.

OCTAVE This adds a note one octave lower and a note two octaves

lower, creating a richer sound.

PITCH SHIFTER This eect changes the pitch of the original sound

(up or down) within a range of two octaves.

HARMONIST

Harmonist is an eect where the amount of shifting

is adjusted according to an analysis of the bass input,

allowing you to create harmony based on diatonic scales.

OVERTONE

This eect uses MDP (Multi-Dimensional Processing)

technology to add new harmonics to the sound,

producing resonance and richness that was not present in

the original sound.

PHASER

By adding varied-phase portions to the direct sound, the

phaser eect gives a whooshing, swirling character to the

sound.

FLANGER The anging eect gives a twisting, jet-airplane-like

character to the sound.

TREMOLO Tremolo is an eect that creates a cyclic change in volume.

ROTARY This produces an eect like the sound of a rotary speaker.

UNI-V

This models a Uni-Vibe.

Although this resembles a phaser eect, it also provides

a unique undulation that you can’t get with a regular

phaser.

VIBRATO This eect creates vibrato by slightly modulating the

pitch.

RING MOD.

(Ring Modulator)

This creates a bell-like sound by ring-modulating the bass

sound with the signal from the internal oscillator. The

sound can be unmusical and lack distinctive pitches.

HUMANIZER This can create human vowel-like sounds.

CHORUS In this eect, a slightly detuned sound is added to the

original sound to add depth and breadth.

SUB DELAY This is a delay with the maximum delay time of 1,000 ms.

This eect is useful for making the sound fatter.

COMPRESSOR

This is an eect that produces a long sustain by evening out the

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

suppress only the sound peaks and prevent distortion.

Parameter Value Explanation

TYPE

Selects the compressor type.

BOSS This models a BOSS CS-3.

HI-BAND This is a compressor that adds an even

stronger eect in the high end.

LIGHT This is a compressor with a light eect.

D-COMP This models a MXR DynaComp.

ORANGE This is modeled on the sound of the Dan

Armstrong ORANGE SQUEEZER.

FAT When applied heavily, this compressor eect

provides a fat tone with a boosted midrange.

MILD When applied heavily, this compressor eect

produces a sweet tone with the high end cut.

STEREO This selects a stereo compressor.

SUSTAIN 0–100

Adjusts the range (time) over which low-level

signals are boosted. Larger values will result in

longer sustain.

ATTACK 0–100 Adjusts the attack time.

LEVEL 0–100 Adjusts the volume.

TONE -50–+50 Adjusts the tone.

LIMITER

The limiter attenuates loud input levels to prevent distortion.

Parameter Value Explanation

TYPE

Selects the limiter type.

MULTI

This is a limiter that divides the input signal into

three frequency regions (low, mid, and high)

and applies optimal settings to each region.

BOSS This selects a stereo limiter.

RACK 160D This models a dbx 160X.

VTG RACK U This models a UREI 1178.

THRESHOLD 0–100

Adjust this as appropriate for the input signal

from your bass. When the input signal level

exceeds this threshold level, limiting will be

applied.

RATIO 1:1–INF:1 This selects the compression ratio used with

signals in excess of the threshold level.

LEVEL 0–100 Adjusts the volume.

ATTACK 0–100 Adjusts the attack time.

RELEASE 0–100 Adjusts the release time.

EFFECT

T. WAH

You can produce a wah eect with the lter changing in response

to the bass level.

Parameter Value Explanation

MODE

Selects the wah mode.

LPF Low pass lter. This creates a wah eect over a wide

frequency range.

BPF Band pass lter. This creates a wah eect in a narrow

frequency range.

POLARITY

Selects the direction in which the lter will change in response to

the input.

DOWN The frequency of the lter will fall.

UP The frequency of the lter will rise.

SENS 0–100

Adjusts the sensitivity at which the lter will change

in the direction determined by the polarity setting.

Higher values will result in a stronger response. With

a setting of 0, the strength of picking will have no

eect.

FREQ 0–100 Adjusts the center frequency of the Wah eect.

PEAK 0–100

Adjusts the way in which the wah eect applies to

the area around the center frequency.

Higher values will produce a stronger tone which

emphasizes the wah eect more. With a value of 50

a standard wah sound will be produced.

E.LEVEL 0–100 Adjusts the volume of the eect sound.

D.LEVEL 0–100 Adjusts the volume of the direct sound.

GRAPHIC EQ

This adjusts the tone as a equalizer. You can adjust the tone

character in seven bands.

Parameter Value

40Hz

-20–+20 dB

100Hz

250Hz

500Hz

1kHz

2.5kHz

8kHz

LEVEL -20–+20 dB

PARAMETRIC EQ

Adjusts the tonal quality. You can adjust the tone character in four

bands.

Parameter Value Explanation

LOW GAIN -20–+20 dB Adjusts the tone for the low frequency

range.

HIGH GAIN -20–+20 dB Adjusts the tone for the high frequency

range.

LEVEL -20–+20 dB Adjusts the overall volume level of the

equalizer.

LM FREQ (LOW-MID

FREQUENCY) 20 Hz–10.0 kHz

Species the center of the frequency

range that will be adjusted by the LOW-

MID GAIN.

LM Q

(LOW-MID Q) 0.5–16

Adjusts the width of the area aected by

the EQ centered at the LOW-MID FREQ.

Higher values will narrow the area.

LM GAIN

(LOW-MID GAIN) -20–+20 dB Adjusts the low-middle frequency range

tone.

HM FREQ

(HIGH-MID

FREQUENCY)

20 Hz–10.0 kHz

Species the center of the frequency

range that will be adjusted by the HIGH-

MID GAIN.

Parameter Value Explanation

HM Q (HIGH-MID Q) 0.5–16

Adjusts the width of the area aected by

the EQ centered at the HIGH-MID FREQ.

Higher values will narrow the area.

HM GAIN

(HIGH-MID GAIN) -20–+20 dB Adjusts the low-middle frequency range

tone.

ENHANCER

This is an eect that claries the contour of the input sound by

emphasizing the attack of the sound following changes in the

input level.

Parameter Value Explanation

SENS 0–100

This adjusts the Enhancer sensitivity. The

more the value is increased, the more

softly you can play and still have the

eect applied.

LOW 0–100 Adjusts the enhancer volume for the low

frequency range.

HIGH 0–100 Adjusts the enhancer volume for the

high frequency range.

LOW FREQ 31.5Hz–125Hz Sets the low frequency range for the

enhanced sound.

HIGH FREQ 800Hz–8.00kHz Sets the high frequency range for the

enhanced sound.

TONE MODIFY

This changes the tone of the connected bass.

Parameter Value Explanation

TYPE

Selects the type of tone modication.

FAT Fat tone with boosted mid range.

PRESENCE Bright tone with boosted high-mid

range.

MILD Mild tone with the high end cut back.

TIGHT Tone with the low frequencies cut.

ENHANCE Tone with the high frequencies boosted.

RESO 1–3

(RESONATOR 1–3)

This produces a tone with greater power

and punch by adding resonance in the

low-frequency range and midrange.

LOW -50–+50 Adjusts the tone for the low frequency

range.

HIGH -50–+50 Adjusts the tone for the high frequency

range.

LEVEL 0–100 Adjusts the volume of the eect sound.

RESONANCE 0–100

This adjusts the strength of the low-end

and midrange resonance when TYPE is

set to RESO 1, 2, or 3.

EFFECT

BASS SIMULATOR

Simulation of the characteristics of particular bass components

such as pickups and dierent bass bodies allows you to switch

among a number of dierent bass types all while using a single

bass.

Parameter Value Explanation

TYPE

Selects the type of the bass simulator.

PAS0ACT Changes from a passive type pickup tone to an

active type pickup tone.

ACT0PAS Changes from an active type pickup tone to a

passive type pickup tone.

SGL0HUM Changes from a single-coil pickup tone to a

humbucking pickup tone.

HUM0SGL Changes from a humbucking pickup tone to a

single-coil pickup tone.

SLD0HLW

Changes a solid body bass tone to a hollow

body bass tone with the body resonance

added.

SGL0AC Changes a single-coil pickup tone to an

acoustic bass tone.

HUM0AC Changes a humbucking pickup tone to an

acoustic bass tone.

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

HIGH -50–+50 Adjusts the tone for the high frequency range.

LEVEL 0–100 Adjusts the volume of the eect sound.

BODY 0–100

Adjusts the way the body sounds when TYPE is

set to SLD0HLW, SGL0AC, or HUM0AC

The body sound increases as the value is

raised; reducing the value produces a tone

similar to that from a piezo pickup.

SLOW GEAR

This produces a volume-swell eect (“violin-like” sound).

Parameter Value Explanation

SENS 0–100

Adjusts the sensitivity of the slow gear. When

it is set to a lower value, the eect of the slow

gear can be obtained only with a stronger

picking, while no eect is obtained with a

weaker picking. When the value is set higher,

the eect is obtained even with a weak picking.

RISE TIME 0–100

Adjusts the time needed for the volume to

reach its maximum from the moment you

begin picking.

LEVEL 0–100 Adjusts the volume of the eect sound.

DEFRETTER

This simulates a fretless bass.

Parameter Value Explanation

SENS 0–100 This controls the input sensitivity of the

defretter.

ATTACK 0–100 Adjusts the attack of the picking sound.

E.LEVEL 0–100 Adjust the volume of the defretter sound.

TONE -50–+50 Adjusts the amount of blurring between the

notes.

D.LEVEL

(DIRECT LEVEL) 0–100 Adjust the volume of the direct sound.

BASS SYNTH

This is a synth sound that processes the bass input signal.

MEMO

5Because of the need to analyze the pitch, chords (two or

more sounds played simultaneously) cannot be played. Be

sure to mute all the other strings and play only one note at

a time.

5When you are to play the next string while a certain sound is

still playing, mute the previous sound and then play the next

one with a clear attack. If the unit cannot detect the attack, it

may not sound correctly.

5The sensitivity may vary according to the bass’s TONE knob

and pickup type.

Parameter Value Explanation

WAVE SAW Creates a synth sound with a saw waveform.

SQUARE Creates a synth sound with the square waveform.

CUTOFF 0–100 Adjusts the frequency where the harmonics

contents of the sound are cut o.

E.LEVEL 0–100 Adjusts the volume of the synth sound.

SENS 0–100 This adjusts the amount of ltering applied in

response to the input.

DECAY 0–100 This sets the time needed for the lter to nish

its sweep.

DEPTH 0–100 Adjusts the depth of the lter. When the value is

higher, the lter will change more drastically.

RESONANCE 0–100

This adjusts the amount of resonance (and the

tone coloration) in the synth sound. The higher

the value, the more the synth tone coloration is

emphasized.

D.LEVEL

(DIRECT LEVEL) 0–100 Adjust the volume of the direct sound.

OCTAVE

This adds a note one octave lower and a note two octaves lower,

creating a richer sound.

Parameter Value Explanation

-1 OCT 0–100 Adjusts the volume of the sound one octave

below.

-2 OCT 0–100 Adjusts the volume of the sound two octaves

below.

D.LEVEL

(DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.

PITCH SHIFTER

This eect changes the pitch of the original sound (up or down)

within a range of two octaves.

Parameter Value Explanation

PITCH -24–+24 Adjusts the amount of pitch shift (the

amount of interval) in semitone steps.

D.LEVEL

(DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.

FINE -50–+50 Make ne adjustments to the interval.

EFFECT

Parameter Value Explanation

PRE DELAY 0 ms–300 ms,

BPM ˜–¸

Adjusts the time from when the direct

sound is heard until the pitch shifted sounds

are heard. Normally you can leave this set

at 0 ms.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM” specied

for each patch. This makes it easier to

achieve eect sound settings that match

the tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it is

then synchronized to a period either 1/2

or 1/4 of that time.

* BPM (beats per minute) indicates the

number of quarter note beats that occur

each minute.

E.LEVEL 0–100 Adjusts the volume of the pitch shifter.

FEEDBACK 0–100 Adjusts the feedback amount of the pitch

shift sound.

HARMONIST

Harmonist is an eect where the amount of shifting is adjusted

according to an analysis of the bass input, allowing you to create

harmony based on diatonic scales.

* Because of the need to analyze the pitch, chords (two or more

sounds played simultaneously) cannot be played. Be sure to

mute all the other strings and play only one note at a time.

* When you are to play the next string while a certain sound is

still playing, mute the previous sound and then play the next

one with a clear attack. If the unit cannot detect the attack, it

may not sound correctly.

* The sensitivity may vary according to the bass’s TONE knob and

pickup type.

Parameter Value Explanation

HARMONY -2 oct–+2 oct

This determines the pitch of the sound added

to the input sound, when you are making a

harmony.

It allows you to set it by up to 2 octaves higher

or lower than the input sound.

KEY

(MASTER KEY)

C (Am)–B

(G#m)

The key setting corresponds to the key of the

song (#, b) as follows.

Major

Minor

PRE DELAY 0 ms–300 ms,

BPM ˜– ¸

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.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM” specied for

each patch. This makes it easier to achieve

eect sound settings that match the

tempo of the song.

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

FEEDBACK 0–100 Adjusts the feedback amount of the harmony

sound.

E.LEVEL

(EFFECT LEVEL) 0–100 Adjusts the volume of the harmony sound.

D.LEVEL

(DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.

OVERTONE

This eect uses MDP (Multi-Dimensional Processing) technology

to add new harmonics to the sound, producing resonance and

richness that was not present in the original sound.

Parameter Value Explanation

LOWER

(LOWER LEVEL) 0–100 Adjusts the volume of the harmonic one octave

below.

UPPER

(UPPER LEVEL) 0–100 Adjusts the volume of the harmonic one octave

above.

D.LEVEL

(DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.

DETUNE 0–100 Adjusts the amount of the detune eect that

adds depth to the sound.

TONE -50–+50 Adjusts the tone.

PHASER

By adding varied-phase portions to the direct sound, the phaser

eect gives a whooshing, swirling character to the sound.

Parameter Value Explanation

TYPE

Selects the number of stages that the phaser eect will use.

4 STAGE This is a four-phase eect. A light phaser

eect is obtained.

8 STAGE This is an eight-phase eect. It is a popular

phaser eect.

12 STAGE This is a twelve-phase eect. A deep phase

eect is obtained.

BiPHASE This is the phaser with two phase shift

circuits connected in series.

RATE 0–100,

BPM ª– ˜

This sets the rate of the phaser eect.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM” specied for

each patch. This makes it easier to achieve

eect sound settings that match the

tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it is

then synchronized to a period either 1/2

or 1/4 of that time.

DEPTH 0–100 Determines the depth of the phaser eect.

RESONANCE 0–100

Determines the amount of resonance

(feedback). Increasing the value will

emphasize the eect, creating a more

unusual sound.

MANUAL 0–100 Adjusts the center frequency of the phaser

eect.

E.LEVEL 0–100 Adjusts the volume of the phaser.

D.LEVEL

(DIRECT LEVEL) 0–100 Adjust the volume of the direct sound.

EFFECT

FLANGER

The anging eect gives a twisting, jet-airplane-like character to

the sound.

Parameter Value Explanation

RATE 0–100,

BPM ª– ˜

This sets the rate of the anging eect.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM” specied for

each patch. This makes it easier to achieve

eect sound settings that match the

tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it is

then synchronized to a period either 1/2

or 1/4 of that time.

DEPTH 0–100 Determines the depth of the anging eect.

RESONANCE 0–100

Determines the amount of resonance

(feedback). Increasing the value will

emphasize the eect, creating a more

unusual sound.

MANUAL 0–100 Adjusts the center frequency at which to

apply the eect.

LOW CUT FLAT,

55 Hz–800 Hz

This sets the frequency at which the low

cut lter begins to take eect. When FLAT is

selected, the low cut lter will have no eect.

E.LEVEL 0–100 Adjusts the volume of the anger.

D.LEVEL

(DIRECT LEVEL) 0–100 Adjust the volume of the direct sound.

TREMOLO

Tremolo is an eect that creates a cyclic change in volume.

Parameter Value Explanation

WAVE

(WAVE SHAPE) 0–100 Adjusts changes in volume level. A higher

value will steepen wave’s shape.

RATE 0–100,

BPM ª– ˜

Adjusts the frequency (speed) of the change.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM” specied for

each patch. This makes it easier to achieve

eect sound settings that match the

tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it is

then synchronized to a period either 1/2

or 1/4 of that time.

DEPTH 0–100 Adjusts the depth of the eect.

LEVEL 0–100 Adjusts the volume.

ROTARY

This produces an eect like the sound of a rotary speaker.

Parameter Value Explanation

SPEED

(SPEED SELECT) SLOW, FAST This parameter changes the simulated

speaker’s rotating speed (SLOW or FAST).

RATE SLOW 0–100,

BPM ª– ˜

This parameter adjusts the SPEED SELECT

of rotation when set to“SLOW.”

Parameter Value Explanation

RATE FAST 0–100,

BPM ª– ˜

This parameter adjusts the SPEED SELECT

of rotation when set to“FAST.”

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM” specied

for each patch. This makes it easier

to achieve eect sound settings that

match the tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it

is then synchronized to a period either

1/2 or 1/4 of that time.

TRANSITION

(TRANSITION TIME) 0–100

Adjusts the time over which the rotational

speed changes when SPEED SELECT is

switched.

B/H BAL (BASS/

HORN BALANCE) 100:0–0:100 Adjusts the volume balance between the

BASS rotor and the HORN rotor.

LEVEL 0–100 Adjusts the volume.

UNI-V

This models a Uni-Vibe.

Although this resembles a phaser eect, it also provides a unique

undulation that you can’t get with a regular phaser.

Parameter Value Explanation

RATE 0–100,

BPM ª– ˜

Adjusts the rate of the UNI-V eect.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM” specied for

each patch. This makes it easier to achieve

eect sound settings that match the

tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it is

then synchronized to a period either 1/2

or 1/4 of that time.

DEPTH 0–100 Adjusts the depth of the UNI-V eect.

LEVEL 0–100 Adjusts the volume.

VIBRATO

This eect creates vibrato by slightly modulating the pitch.

Parameter Value Explanation

RATE 0–100,

BPM ª– ˜

Adjusts the rate of the vibrato.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM” specied for

each patch. This makes it easier to achieve

eect sound settings that match the

tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it is

then synchronized to a period either 1/2

or 1/4 of that time.

DEPTH 0–100 Adjusts the depth of the vibrato.

TRIGGER OFF, ON

This selects on/o of the vibrato.

* It is assumed that this parameter will be

assigned to the footswitch.

RISE TIME 0–100

This sets the time passing from the moment

the Trigger is turned on until the set vibrato

is obtained.

* When a patch with TRIGGER set to ON is

called up, the eect obtained is identical

to what happens when TRIGGER is

switched from O to On. If you want the

vibrato eect to be produced immediately

after the patches are switched, set RISE

TIME to 0.

LEVEL 0–100 Adjusts the volume.

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