Owner’s Manual
Thank you, and congratulations on your choice of the BOSS
GT-6 Guitar Effects Processor.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–3)
• IMPORTANT NOTES (page 4)
These sections provide important information concerning
the proper operation of the unit.
Additionally, in order to feel assured that you have gained a
good grasp of every feature provided by your new unit,
Owner’s manual should be read in its entirety. The manual
should be saved and kept on hand as a convenient reference.
■ Printing Conventions in This Manual
• Text or numerals enclosed in square brackets [ ] indicate bottons.
[WRITE]
WRITE button
[UTILITY] UTILITY button
• Reference such as (p. **) indicate pages in this manual to which
you can refer.
* All product names mentioned in this document are trademarks or
registered trademarks of their respective owners.
Copyright © 2001 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of BOSS CORPORATION.
012b
101b
•
Immediately turn the power off, remove the AC
•
The unit and the AC adaptor should be located so
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information” page when:
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102cAlways grasp only the plug on the AC adaptor
•
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
cord when plugging into, or unplugging from, an
outlet or this unit.
• Objects have fallen into, or liquid has been
spilled onto the unit; or
..........................................................................................................
103b
•
Whenever the unit is to remain unused for an
extended period of time, disconnect the AC
adaptor.
• The unit has been exposed to rain (or otherwise
has become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
013 In households with small children, an adult
..........................................................................................................
•
104 Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
•
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
•
106 Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
014 Protect the unit from strong impact.
..........................................................................................................
•
•
107cNever handle the AC adaptor or its plugs with
(Do not drop it!)
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
•
015 Do not force the unit’s power-supply cord to share
..........................................................................................................
108b
an outlet with an unreasonable number of other
devices. Be especially careful when using
•
Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
109b
•
Before cleaning the unit, turn off the power and
..........................................................................................................
..........................................................................................................
110b
•
016 Before using the unit in a foreign country, consult
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
..........................................................................................................
..........................................................................................................
3
IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Power Supply
Additional Precautions
301
551
• Do not use this unit on the same power circuit with any
• Please be aware that the contents of memory can be
device that will generate line noise (such as an electric
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
device (e.g., a sequencer).
motor or variable lighting system).
302
• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
307
5•52Unfortunately, it may be impossible to restore the contents
of data that was stored in another MIDI device (e.g., a
sequencer) once it has been lost. Roland Corporation
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
assumes no liability concerning such loss of data.
553
Placement
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
352
•
This device may interfere with radio and television reception.
Do not use this device in the vicinity of such receivers.
and connectors. Rough handling can lead to malfunctions.
554
355
• To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
• Never strike or apply strong pressure to the display.
556
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
558a
Maintenance
401a
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
559a
the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
Repairs and Data
• Use only the specified expression pedal (EV-5, FV-300L;
sold separately). By connecting any other expression
pedals, you risk causing malfunction and/or damage to
452
•
Please be aware that all data contained in the unit’s memory
may be lost when the unit is sent for repairs. Important data
should always be backed up in another MIDI device, or written
down on paper (when possible). During repairs, due care is
taken to avoid the loss of data. However, in certain cases (such
as when circuitry related to memory itself is out of order), we
regret that it may not be possible to restore the data, and
Roland assumes no liability concerning such loss of data.
the unit.
562
• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For infor-
mation on cable specifications, contact the manufac-
turer of the cable.
Memory Backup
501b
• This unit contains a battery which powers the unit’s
memory circuits while the main power is off. When this
battery becomes weak, the message shown below will
appear in the display. Once you see this message, have the
battery replaced with a fresh one as soon as possible to
avoid the loss of all data in memory. To have the battery
replaced, consult with your retailer, the nearest Roland
Service Center, or an authorized Roland distributor, as
listed on the “Information” page.
4
Contents
PREAMP/SPEAKER
Making Settings for a Connected Device (Amp)
Chapter 2
Finding Tones Resembling
Making More Detail Settings
Changing the Connection Order of Effects
Chapter 3
5
Limiting the Banks That Can Be Switched
Chapter 5
and Control Pedals (Pedal Assign)......... 47
Setting the External Foot Switch Functions
Settings for Using the
Controlling Effects with the GT-6 Pedals,
Controlling Wah and Pitch Bend
Transmitting Data
Receiving Data
Enabling/Disabling the Program Change Map
Chapter 6
Chapter 7
How MIDI messages are transmitted
Main types of MIDI message
Quick Patch Volume Adjustment
Turning the Effects On and Off
Selecting the Effect
Changing patches using bank select
Changing patch numbers on an external MIDI
Changing patch numbers on the GT-6 using the bank
Switching Tuner/Bypass On and Off
Adjusting the Overall Sound
Checking the Effect Output Level
Selecting the PATCH/VALUE Dial Function
Setting the Timing Used for Switching Patches
6
Main Features
Built-IN COSM Amp and COSM Overdrive/
Distortion for Maximum Distortion
Expression Pedal/Expression Pedal
Switch and Control Pedal
The highly advanced combination of COSM amp with the
COSM overdrive/distortion provides you with the most
powerful distortion effects for your performances.
The unit features an expression pedal and control pedal that
you can use for controlling the functions in each patch. The
functions that can be assigned to the expression pedal vary
with each patch you select, allowing you to use it as a wah,
volume, or other kind of pedal.
COSM Wah Included
Furthermore, you can use the pedal as an “expression pedal
switch” to control (turn on and off) the current effect by
firmly pressing down at the front tip of the expression pedal.
This newly developed COSM wah, which features five
different wah effects, including vintage wah, lets you
perform with a wide variety of wah sounds.
Includes Digital Outs
Customize Function
The unit also includes digital out connectors (coaxial),
convenient for digital recording.
Thanks to the GT-6’s new Customize function, you can bring
your own creativity into play and design totally new effects
by tweaking the settings for the “Preamp,” “Overdrive/
Distortion,” and “Wah” effects.
The resulting creations can then be saved on the GT-6 as
“Custom” settings.
COSM (Composite Object Sound Modeling)
Composite Object Sound Modeling (COSM) is Roland’s
innovative and powerful sound modeling technology.
COSM analyzes the many factors that make up the
original sound, such as the electrical and physical
characteristics of the original, and then produces a
digital model that can reproduce the same sound.
EZ Tone
The GT-6 includes thirty typical guitar sounds used for
creating new sounds. Now it's easy to select just the sounds
you like.
Quick Settings
Each editing function contains preset recorded settings.
Creating the effect sounds you want is simple—just select the
preset settings for the function (effect) you are using.
Knob Controls for Intuitive Operation
The GT-6 is equipped with dedicated knob controls for the
main internal effects. These allow you to make changes to the
settings in real time as you play.
Professional Quality
The GT-6 comes with 37 different professional-quality
effects, from studio reverb and delay, a newly developed
defretter, uni-v, and more.
7
Names of Things and What They Do
Front Panel
fig.00-01
45
2
44
1
29
40
43
41
42
25
3
4
7
5
6
8
9
30
10
26
27
11
31
34
33
36
39
12
15
13
16
17
19
18
20
23
24
14
21
22
28
37
38
32
35
1 Display
A variety of information about the GT-6 appears here.
The left display shows the bank number.
(PREAMP/SPEAKER SIMULATOR)
3 TYPE Knob
2 PATCH LEVEL Knob
Selects the preamp type.
Adjusts the volume level of the currently selected patch.
4 GAIN Knob
Adjusts the degree of preamp distortion.
5 BASS Knob
Adjusts the sound quality of the preamp’s low-frequency
range.
8
Names of Things and What They Do
6 MIDDLE Knob
Adjusts the sound quality of the preamp’s midrange.
21 LEVEL Knob
7 TREBLE Knob
Adjusts the volume level of the chorus sound.
The chorus sound increases as the knob is turned to the
right (clockwise).
Adjusts the sound quality of the preamp’s high-
frequency range.
8 LEVEL Knob
22 CHORUS ON/OFF Button
Adjusts the preamp volume level.
Press to change the setting.
9 SPEAKER Knob
Selects the speaker type.
23 LEVEL Knob
10 PREAMP/SPEAKER ON/OFF Button
Adjusts the volume level of the reverb sound.
Press to change the setting.
24 REVERB ON/OFF Button
11 TYPE VARIATION Button
Press to change the setting.
Switches the type variation.
25 WAH ON/OFF Button
12 TYPE Knob
Press to change the setting.
Selects the type of overdrive or distortion.
13 DRIVE Knob
Adjusts the degree of overdrive or distortion.
26 EQ Button
14 LEVEL Knob
Press when changing the settings.
Adjusts the overdrive/distortion volume level.
15 OVERDRIVE/DISTORTION ON/OFF Button
Press to change the settings.
27 FX-1 ON/OFF Button
Press to change the setting.
16 TYPE VARIATION Button
Switches the type variation.
28 FX-2 ON/OFF Button
Press to change the setting.
17 FEEDBACK Knob
Adjusts the number of times the delay is repeated.
29 PATCH/VALUE Dial
Use this when switching patches and changing the
values of settings.
18 LEVEL Knob
Adjusts the volume level of the delay sound.
30 PARAMETER Buttons
19 DELAY ON/OFF Button
Press to select parameters.
Press to change the setting.
*
To jump to the main parameters, hold down one of these
buttons while you press the other. With items for which there
aren’t that many parameters, the GT-6 jumps to the last (or
initial) parameter.
20 TAP Button
Use this when setting the delay time with the tap input.
9
Names of Things and What They Do
31 EXIT Button
43 Expression Pedal
Use this to undo operations.
Controls volume, wah, and many other parameters.
32 WRITE Button
Press to store settings.
When you operate the expression pedal, please be
careful not to get your fingers pinched between the
movable part and the panel.
33 EZ TONE Button
Used to search for tones.
In households with small children, an adult should
provide supervision until the child is capable of
following all the rules essential for the safe operation of
the unit.
34 PEDAL ASSIGN Button
Use this to make settings for the expression pedal and
control pedal.
44 EXP PEDAL SW (Expression Pedal Switch)
Firmly press down at the front of the pedal to switch the
effect on and off.
35 OUTPUT SELECT Button
Allows you to select an output appropriate for the
connected device.
45 EXP PEDAL SW ON/OFF Indicator
(Expression Pedal Switch On/Off)
Lights when the effect being controlled with the
Expression Pedal Switch is on, and goes out when the
effect is turned off.
36 TUNER/BYPASS Button
Press to use the tuner and bypass functions.
Use for naming patches (NAME), setting the noise
suppressor (NS), and making the master settings
(MASTER).
38 UTILITY Button
Use for making settings for the GT-6’s overall operating
environment.
39 MANUAL Button
Press to use the GT-6 in Manual mode.
40 BANK Pedals
These switch the bank number.
41 NUMBER Pedals
These switch the patch numbers.
42 CTL (CONTROL) Pedal
Any one of a number of different functions can be
assigned to this pedal, then be controlled by it. For
example, you could use it to switch the tuner on and off.
10
Names of Things and What They Do
Rear Panel
fig.00-02
1
2
3 4 5 6 7
8
9
10 11
1 INPUT Jack
The guitar is connected here.
2 OUTPUT LEVEL Knob
Adjusts the volume level of the output from the output
and headphone jacks.
3 OUTPUT R/L (MONO) Jacks
Connect to your amp, mixer, or such device.
4 PHONES Jack
Connect headphones here.
5 SEND/RETURN Jacks
Connect these to external effects processors.
6 DIGITAL OUT Connector
Outputs digital audio signals.
7 SUB EXP PEDAL/SUB CTL 1,2 Jack
(SUB EXP Pedal/SUB CONTROL Pedal)
Connect an optional expression pedal (such as the EV-5)
or foot switch (such as the FS-5U) here.
8 MIDI IN/OUT Connectors
Connect an external MIDI device to these connectors to
transmit and receive MIDI messages.
9 POWER Switch
Turns the power on and off.
10 AC Adaptor Jack
Connect the included AC adaptor (BRC series) here.
11 Cord Hook
Hook the AC adaptor cord here to prevent the adaptor
plug from being disconnected.
11
Chapter 1 Playing Sounds
fig.01-03
Making the Connections
*
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
AC Adaptor
BRC-series
Stereo
Headphones
*
*
Raise the amp volume only after turning on the power to all
connected devices.
INPUT
PHONES
When outputting in mono, connect the cable to the OUTPUT
L (MONO) jack.
OUTPUT R
OUTPUT L (MONO)
JC-120, SMALL AMP, COMBO AMP, STACK AMP
fig.01-01
AC Adaptor
BRC-series
MTR
INPUT
fig.01-04
Stereo
Headphones
OUTPUT R
GUITAR IN
OUTPUT L (MONO)
GUITAR IN
External Effects device
GUITAR IN
GUITAR IN
INPUT
OUTPUT
SEND
RETURN
INPUT
PHONES
Amp
Amp
Guitar Amp
Guitar Amp
SUB EXP PEDAL
/SUB CTL 1,2
Speaker System
Speaker System
AC Adaptor
BRC-series
FS-5U
FS-5L
etc.
COMBO RETURN, STACK RETURN
fig.01-02
EV-5
FV-300L
etc.
AC Adaptor
BRC-series
*
Use only the specified expression pedal (Roland EV-5 or
Roland FV-300L and PCS-33; sold separately). By connecting
any other expression pedals, you risk causing malfunction
and/or damage to the unit.
INPUT
OUTPUT R
OUTPUT L (MONO)
MAIN IN
or
RETURN
MAIN IN
or
RETURN
Amp
Amp
Guitar Amp
Guitar Amp
Speaker System
Speaker System
12
Chapter 1 Playing Sounds
*
To prevent the inadvertent disruption of power to your unit
(should the plug be pulled out accidentally), and to avoid
applying undue stress to the AC adaptor jack, anchor the
power cord using the cord hook, as shown in the illustration.
Turning on the Power
Once the connections have been completed, turn on power to
your various devices in the order specified. By turning on
devices in the wrong order, you risk causing malfunction
and/or damage to speakers and other devices.
fig.01-05
1. Before turning on the power, confirm the following.
• Are all external devices properly connected?
• Is the volume on the GT-6, your amp, and all other
connected devices turned down to the minimum level?
2. Switch ON the POWER switch on the GT-6’s rear panel.
The display changes, showing the following. A few
seconds later, the unit enters the ordinary performance
mode.
*
*
When using the unit with an expression pedal connected to the
SUB EXP PEDAL/SUB CTL 1,2 jack, set Minimum Volume
to the “MIN” position.
The screen that appears at this point is called the “Play
screen.”
When using the unit with a foot switch (the optional FS-5U)
connected to the SUB EXP PEDAL/SUB CTL 1,2 jack, set the
polarity switch as shown below.
fig.01-08
fig.01-06
*
*
Upon power-up, the patch most recently selected when the
power was last turned off is selected.
Polarity Switch
This unit is equipped with a protection circuit. A brief interval
(a few seconds) after power up is required before the unit will
operate normally.
*
You can use the special (optional Roland) PCS-31 connector
cord to connect two foot switches.
fig.01-07
3. Next, turn on the power to any external effects
processors, then to the guitar amp (power amp).
PCS-31
Adjusting the Output Level
Adjust the GT-6’s output level with the OUTPUT LEVEL
White
Red
knob on the rear panel.
fig.01-09
When using the unit with a foot switch (the optional FS-
5U) connected to the SUB EXP PEDAL/SUB CTL 1,2
Turning Off the Power
1. Before turning off the power, confirm the following.
• Is the volume on the GT-6, your amp, and all other
connected devices turned down to the minimum level?
2. Turn off the power to any external effects processors,
then to the guitar amp (power amp) and other devices.
3. Turn the GT-6’s power off.
13
Chapter 1 Playing Sounds
STACK RETURN:
Making Settings for a Connected
Device (Amp) (Output Select)
Use this setting when connecting to RETURN of a stack
amp or rack mounted power amp.
Select the type of device connected to the OUTPUT jack.
LINE/PHONES:
Use this setting when using headphones or when
connecting to a multi-track recorder for recording.
To derive the maximum performance from the GT-6,
be sure to make the correct setting for OUTPUT
SELECT, the one that’s most suitable for your setup.
LINE (PA):
Use this setting when connecting to a mixer or other PA
device.
■ Procedure
1. Press [OUTPUT SELECT], causing the indicator to
Guitar Tuning
light.
You can use the GT-6’s built-in “tuner function” to tune
your guitar.
The Output Select settings screen appears.
fig.01-10
For instructions on using this function, refer to “Tuning
2. Turn the PATCH/VALUE dial to select the type of
device connected to the OUTPUT jack.
*
When connecting to the input on a guitar amp, set the guitar
amp’s tone controls so BASS is at 0, MIDDLE (midrange) is
at 10, and TREBLE is at 0. If the amp has switchable channels,
select the normal (clean) channel.
JC-120:
Use this setting when connecting to Roland’s JC-120
guitar amp.
SMALL AMP:
Use this setting when connecting to small guitar amp.
COMBO AMP:
Use this setting when connecting to the guitar input of a
combo amp other than the JC-120 guitar amp (where the
amp and speaker or speakers are combined in a single
unit).
*
Depending on you guitar amp, you may be able to obtain good
results with the “JC-120” setting.
STACK AMP:
Use this setting when connecting to the guitar input of a
stack-type guitar amp (where the amp and speaker or
speakers are separated).
COMBO RETURN:
Use this setting when connecting to RETURN with a
combo amp.
14
Chapter 1 Playing Sounds
What is a Patch?
The GT-6 can store 340 combinations (or “sets”) of effects and
parameter settings. Each of these sets is called a “patch,”
with patches organized by bank and number as shown
How to Switch Patches
(Patch Change)
Using the GT-6 to Select Patches
Patches are switched by selecting a “bank” (1-85) and
below.
fig.01-11
“number” (1-4).
Bank 85
The bank and number appear in the GT-6’s display as shown
in the following figure.
fig.01-14a
Bank 36
Bank 35
Bank 1
Bank
Bank—Number
fig.01-14b
Number
User Banks (1–35)
Newly created effects settings are saved in the User banks.
Patches in these banks are called “User patches.”
*
A “U” appears in the right display when a User patch is being
used.
fig.01-12
*
*
When selecting a patch, even if a new bank is selected, the
patch is not switched until you also choose the number. If you
want to be able to switch patches merely by selecting a
setting.
You can also switch patches with the PATCH/VALUE dial.
Preset Banks (36–85)
Delay and reverb sounds are cut off when patches are
switched.
The Preset banks contain effect settings that really help bring
out the special characteristics of the GT-6. The patches in
these banks are called “Preset patches.” Although you cannot
overwrite the Preset patches with your own settings, you can
change (edit) a Preset patch’s settings, then save the result as
a User patch.
Switching Only the Number
fig.01-15
*
A “P” appears in the right display when a Preset patch is
being used.
fig.01-13
1
1. Select the number of the patch you want to switch to by
pressing the corresponding number pedal.
The indicator for the pressed number pedal lights up,
and the GT-6 switches to that patch.
15
Chapter 1 Playing Sounds
Switching the Bank and Number
fig.01-16
1
2
1. Press a BANK pedal.
The bank switches, then the indicator for the numbered
pedal that was active before the BANK pedal was
pressed starts flashing, indicating that the GT-6 is ready
for selection of the patch number (at this stage, however,
the patch is not switched yet).
2. Select the number of the patch you want to switch to by
pressing the corresponding number pedal.
The indicator for the selected number pedal lights up,
and the GT-6 switches to that patch.
About the Display Indication
The following information appears in the Play screen.
fig.01-17
Patch Name
User/Preset
Bank
Bank—Number
If the Patch Does Not Switch
On the GT-6, you cannot switch patches in any screen other
than the Play screen. Press [EXIT] to return to the Play screen
16
Chapter 2 Creating You Own Favorite Tones (Patches)
Finding Tones Resembling Those
You Have in Mind (EZ Tone)
Adjusting the Tones with the
Knobs
In addition to tones (patches) that you can actually use in
performances, the GT-6 also features internal sample settings
that are very useful when you want to create such tones on
your own. This feature is called “EZ Tone.”
The GT-6 panel features fifteen knob controls. These knobs
let you make adjustments or changes to the selected patch’s
tone quickly and easily.
fig.02-03
Using the EZ Tone function lets you find tone settings similar
to the ones you want to create.
fig.02-01
2
PREAMP TYPE:
Selects the preamp type.
3
4
1
*
After pressing [TYPE VARIATION], you can select
variations by turning the knob to the type you want.
1. Press [EZ TONE].
2. Rotate the VALUE dial to select the settings resembling
PREAMP GAIN:
those for the tone you want.
Adjusts the degree of preamp distortion. The distortion gets
stronger as the knob is turned to the right.
3. Press the ON/OFF buttons to turn effects on and off;
turn the knobs to adjust the tone.
fig.02-02
PREAMP BASS:
Adjusts the sound quality of the preamp’s low-frequency
range. The low frequencies are boosted as the knob is turned
to the right.
PREAMP MIDDLE:
Adjusts the sound quality of the preamp’s midrange. The
midrange frequencies are boosted as the knob is turned to
the right.
ON/OFF button
*
You can press [EZ TONE] again to compare the tone in use
before entering EZ Tone mode with the present tone.
PREAMP TREBLE:
Adjusts the sound quality of the preamp’s high-frequency
range. The high frequencies are boosted as the knob is turned
to the right.
4. Press [EXIT] to return to the Play screen.
The tone switches to the tone selected in EZ Tone.
*
*
Pressing [EXIT] while the readout is flashing (when the tone
prior to switching to EZ Tone mode is selected) returns you to
the patch that was selected before going into EZ Tone mode.
PREAMP LEVEL:
Adjusts the preamp volume level. The volume increases as
the knob is turned to the right.
If you want to save a tone you’ve created, use the Write
17
Chapter 2 Creating You Own Favorite Tones (Patches)
SPEAKER:
Adding Effects
The GT-6’s internal effects are switched on and off with
button controls. The indicator for an effect’s ON/OFF button
Selects the speaker type. When ORIGINAL is selected, you
can select the speakers that are best suited for the PREAMP
TYPE settings.
lights up when the effect is enabled.
fig.02-04
OVERDRIVE/DISTORTION TYPE:
Selects the type of overdrive or distortion.
*
After pressing [TYPE VARIATION], you can select
variations by turning the knob to the type you want.
OVERDRIVE/DISTORTION DRIVE:
Adjusts the degree of overdrive or distortion. The distortion
appears stronger as the knob is turned to the right.
1,2,3
4
OVERDRIVE/DISTORTION LEVEL:
1. Press the ON/OFF button for the effect you want to be
Adjusts the overdrive/distortion volume level. The volume
increases as the knob is turned to the right.
able to switch on and off.
The settings for the selected effect appear in the display.
fig.02-05
DELAY FEEDBACK:
Adjusts the number of times the delay is repeated. The
number of repeats increases as the knob is turned to the
right.
2. Press the ON/OFF button again to switch the effect on
or off.
DELAY LEVEL:
*
*
The effect name flashes in the display when that effect is
disabled.
Adjusts the volume level of the delay sound. The delay
sound increases as the knob is turned to the right.
When FX-1, FX-2, or WAH is selected in Step 1, the effect set
with the FX Select parameter (“Making More Detail Settings
CHORUS LEVEL:
Adjusts the volume level of the chorus sound. The chorus
sound increases as the knob is turned to the right.
3. To select another effect to be switched on and off,
repeat Steps 1 and 2.
REVERB LEVEL:
4. Press [EXIT] to return to the Play screen.
Adjusts the volume level of the reverb sound. The reverb
sound increases as the knob is turned to the right.
*
If you want to save a tone with the settings you’ve made, use
PATCH LEVEL:
Adjusts the overall volume level. The volume increases as the
knob is turned to the right.
When you want to save a tone created with EZ Tone, or
changed with the knob controls, use the Write procedure
18
Chapter 2 Creating You Own Favorite Tones (Patches)
Setting the Effect Tones
(Quick Settings)
Making More Detail Settings
with Individual Parameters
Each effect includes prepared sample settings called “Quick
Settings.” You can easily create new effect sounds just by
selecting and combining these Quick Settings.
Each effect comprises several different kinds of parameters.
You can more precisely create the sounds you want by
editing each of these parameters individually.
fig.02-07
1. Press the on/off button for the effect with the settings
3
you want to change.
The parameters for the selected effect appear in the
display.
*
During editing, the most recently edited parameter appears.
2
2. Press PARAMETER [
Settings parameter.
fig.02-06
] [
] to select the Quick
1
6
1. Press the on/off button for the effect with the settings
3. Rotate the VALUE dial to select the effect setting you
you want to change.
want.
The parameters for the selected effect appear in the
display.
*
*
“P00: User” indicates that the effect indicated in the upper
row of the display is set to be saved to the currently selected
patch, or that the settings are currently being modified.
2. Press PARAMETER [
] [
] to select the
When FX-1, FX-2, or WAH has been selected in Step 1, the
settings for the effect selected by means of the FX Select
parameter (refer to the following item) are switched.
parameter whose settings are to be changed.
When more than one parameter is shown in the display,
press PARAMETER [
the parameter to be set.
] [
] to move the cursor to
You can jump to the core parameters by pressing
PARAMETER [
PARAMETER [
] (or [
] (or [
]) while holding down
]). With items for which
there aren’t that many parameters, the GT-6 jumps to the
last (or first) parameter.
3. Rotate the VALUE dial to change the value of a setting.
4. Repeat Steps 2 and 3 for any other parameter settings
you want to change.
5. If you further want to change parameter settings in any
other effects, repeat Steps 1 through 4.
6. Press [EXIT] to return to the Play screen.
*
If you want to save a tone with the settings you’ve made, use
19
Chapter 2 Creating You Own Favorite Tones (Patches)
Pedal Bend
Using the Pedal Effects
(Wah, Pedal Bend)
fig.02-09
4
You can use the GT-6’s expression pedal to obtain wah and
pedal bend (pedal-controlled pitch bend) effects.
Wah
3
fig.02-08
1
4
5
1
3
1. Press [FX-2].
This step is not required if the effect is already on.
*
3. Press PARAMETER [
] [
] to select the FX
5
Select parameter.
4. Rotate the VALUE dial to change the value (setting) to
1. Press [WAH].
This step is not required if the effect is already on.
“PB.”
You can now get a pitch bend effect by moving the
expression pedal.
*
*
By assigning the PB ON/OFF function to the expression pedal
switch, you can switch the Pedal Bend effect on and off by
firmly pressing down on the pedal’s toe.
3. Press PARAMETER [
] [
] to select the FX
Select parameter.
4. Rotate the VALUE dial to change the value (setting) to
“WAH.”
You can now get a pitch wah effect by moving the
expression pedal.
*
By assigning the WAH ON/OFF function to the expression
pedal switch, you can switch the wah effect on and off by
firmly pressing down on the pedal’s toe.
5. Press [EXIT] to return to the Play screen.
*
If you want to save a tone with the settings you’ve made, use
20
Chapter 2 Creating You Own Favorite Tones (Patches)
Naming Tones
Each patch can be given a name (Patch Name) consisting of
up to sixteen characters. You’ll probably want to take
advantage of this feature by assigning names that suggest the
Changing the Connection
Order of Effects (Effect Chain)
Here’s how you can change the order in which the effects are
connected.
fig.02-12
sound you’ll obtain, or the song in which it’ll be used.
fig.02-10
2
3
2
2
3
1
1
3
1. Press [NAME/NS/MASTER] until “Effect Chain”
1. Press [NAME/NS/MASTER] so that the Name edit
appears in the display.
screen appears in the display.
*
With each press of [NAME/NS/MASTER], you move to the
next item that can be set, in this order:
*
With each press of [NAME/NS/MASTER], you move to the
next item that can be set, in this order:
NAME→ NOISE SUPPRESSOR→MASTER→
FOOT VOLUME→ EFFECT CHAIN.
NAME→ NOISE SUPPRESSOR→MASTER→
FOOT VOLUME→ EFFECT CHAIN.
fig.02-13
fig.02-11
Cursor
*
Effects are shown in lowercase letters when turned off.
2. Use the VALUE dial or PARAMETER [
] [
] to
2. Press PARAMETER [
] [
] to move the cursor to
move the cursor to the point where you want to have an
the text area you want to edit.
effect inserted.
3. Rotate the VALUE dial to change the characters.
3. Press the ON/OFF button for the effect you want to
*
You can use the following functions when changing text
characters.
insert.
The selected effect is inserted at the cursor position.
CAPS: Switches the character at the cursor position
*
Use [PEDAL ASSIGN] to assign Foot Volume.
between upper and lower case.
4. If you want to change the sequence further, repeat
INS:
Inserts a blank space at the cursor position.
Steps 2 and 3.
DEL:
Deletes the character at the cursor position and
shifts the characters following it to the left.
5. If you want to save the sequence you’ve set up, use the
4. If you want to edit names further, repeat Steps 2 and 3.
Press [EXIT] to return to the Play screen.
5. If you want to save the sequence you’ve set up, use the
Effects can be switched on and off even while making
the settings for the connection order. With effects
appearing to the left and right of the cursor, the ON/
OFF button corresponding to the effect can be pressed to
turn them on/off.
Press [EXIT] to return to the Play screen.
21
Chapter 3 Saving the Tones You Have Created
Write
Copying Patches
When you want to save a tone created with EZ Tone, or a
tone to which changes have been made, use the Write
procedure to save the tone to a User patch.
You can copy a Preset or User patch to another User patch.
fig.03-03
3
*
If the power is turned off, or if the tone is switched (Patch
the newly created tone will be discarded.
fig.03-01
2
2,4
1. Select the copy-source patch (refer to “How to Switch
2. Press [WRITE].
1,3
The content of the display changes, and the GT-6 is
ready for the copy-destination User patch to be specified.
fig.03-04
1. Press [WRITE].
Destination User Patch
The content of the display changes, and the GT-6 is
ready for the save-destination User patch to be specified.
fig.03-02
Destination User Patch
3. Rotate the VALUE dial to select the copy-destination
User patch.
*
*
To cancel the copy, press [EXIT]. The Play screen returns to
the display.
2. Rotate the VALUE dial to select the save-destination
User patch.
You can also use the procedure described in “How to Switch
*
*
*
This step is unnecessary if the current User patch is
acceptable.
4. Press [WRITE].
To cancel the Write procedure, press [EXIT]. The Play screen
returns to the display.
The GT-6 switches to the copy-destination patch, and
you’re returned to the Play screen.
You can also use the procedure described in “How to Switch
*
The sound of the patch previously stored at the copy
destination will be lost once the copy is executed.
3. Press [WRITE].
The GT-6 switches to the write-destination patch, and
you’re returned to the Play screen.
*
The sound of the patch previously stored at the write
destination will be lost once the write is executed.
22
Chapter 3 Saving the Tones You Have Created
Exchanging Patches
On the GT-6, you can “swap” or exchange the positions of
two User patches. The following explains how this is done.
fig.03-05
4
3
2,5
1. Select the exchange source patch (refer to “How to
2. Press [WRITE].
3. Press PARAMETER [
].
The content of the display changes, and the GT-6 is
ready for the exchange destination User patch to be
specified.
fig.03-06
Destination User Patch
4. Rotate the VALUE dial to select the exchange
destination User patch.
*
*
To cancel the exchange, press [EXIT]. The Play screen returns
to the display.
You can also use the procedure described in “How to Switch
5. Press [WRITE].
The patch stored in the exchange source memory
location and the patch stored in the exchange destination
memory location are exchanged, and you’re returned to
the Play screen.
23
Chapter 4 The Effects Explained
In this chapter you will find detailed descriptions for each of the GT-6’s onboard effects, and the parameters used to control them.
The trademarks listed in this document are trademarks
of their respective owners, which are separate companies
from BOSS. Those companies are not affiliated with
BOSS and have not licensed or authorized BOSS’s GT-6.
Their marks are used solely to identify the equipment
whose sound is simulated by BOSS’s GT-6.
The sound being input to each effect is called the “direct
sound,” and the sound modified by the effect is called
the “effect sound.”
PREAMP/SPEAKER (Preamp/Speaker Simulator)
COSM technology plays an indispensable role in simulating the distinguishing characteristics of various guitar amps in the
“Preamp” section, and is also used to simulate various speaker sizes and cabinet constructions in the “Speaker Simulator.”
Parameter
Value
On/Off
Off, On
Type
0–100
Gain
Bass
0–100
Middle
0–100
Treble
0–100
Presence
Level
0–100 (0– -100)
0–100
Bright
Off, On
Gain SW
Speaker SW
Speaker Type
Low, Middle, High
Off, On
1x10”, 1x12”, 2x12”, 4x12”,
8x12”, ORIGINAL
Mic Setting (*)
Mic Level (*)
Center, 1 cm–10 cm
0–100
Direct Level (*)
0–100
(*) Displayed when OUTPUT SELECT is set to
“LINE/PHONES” or “LINE (PA).”
24
Chapter 4 The Effects Explained
TYPE
This sets the type of the guitar preamp.
[TYPE VARIATION]
Illuminated: red
Jazz Combo
Extinguished
Illuminated: green
Full Range
JC-120
JC CLEAN
TW CLEAN
CRUNCH
This is the sound of the
Roland JC-120.
This is a sound suited to jazz.
This is a sound with flat response.
Good for acoustic guitar
Clean TWIN
Pro Crunch
Tweed
This models a Fender Twin Reverb. This models a Fender Pro Reverb. This models a
Fender Bassman 4 x 10” Combo.
Crunch
Blues
Stack Crunch
This is a crunch sound that can pro- This is a sound suited to blues.
duce natural distortion.
This is a crunch sound with high
gain.
VO Drive
VO Lead
VO Clean
VO COMBO
This models the drive sound of a
VOX AC-30TB.
This models the lead sound of the This models the clean sound of a
VOX AC-30TB.
VOX AC-30TB.
MATCH Drive
MATCH Lead
Fat MATCH
This models the sound input to left This models the sound input to
This models the sound of a
MATCH DRV
BG LEAD
input on a Matchless D/C-30.
right input on a Matchless D/C-30. MATCHLESS with a modified high
gain.
BG Lead
BG Drive
BG Rhythm
This models the lead sound of the This models a MESA/Boogie with This models the rhythm channel of
MESA/Boogie combo amp.
TREBLE SHIFT SW on.
a MESA/Boogie.
MS1959(I)
MS1959(I+II)
MS HiGain
This models the sound input to
Input I on a Marshall 1959.
This models the sound of a
Marshall 1959 with Inputs I and II Marshall with a modified midrange
This models the sound of a
MS STACK
connected in parallel.
boost.
R-Fier Red
R-FierOrang
R-FierVint
R-FIER
This models the lead channel of a
MESA/Boogie Dual Rectifier.
This models the rhythm channel of This models a MESA/Boogie Recti-
a MESA/Boogie Dual Rectifier.
fier with VINTAGE SW on.
SLDN
Drive Stack
Lead Stack
Hi GAIN
This models a Soldano SLO-100.
This is a drive sound with high
gain.
This is a lead sound with high gain.
5150 Drive
Metal Stack
Metal Lead
METAL
This models the lead channel of a
Peavey EVH 5150.
This is a drive sound suited to
metal.
This is a lead sound suited to metal.
Custom1
Custom2
Custom3
CUSTOM
Custom amp 1
Custom amp 2
Custom amp 3
When CUSTOM is selected for TYPE
You can set the following parameters (see next page ) when
TYPE is set to CUSTOM.
25
Chapter 4 The Effects Explained
Parameter
Value
Gain SW (Gain Switch)
Provides for selection from three levels of distortion: Low,
Middle, and High. Distortion will successively increase for
settings of “Low,” “Middle” and “High.”
Custom Type (1–3)
JC Clean, TW Clean, Crunch,
VO Lead, BG Lead,
MS1959 Stk, MODERN Stk
Custom Bottom
(1–3)
-50–+50
-50–+50
-50–+50
-50–+50
-50–+50
-50–+50
-50–+50
-50–+50
*
The sound of each Type is created on the basis that the Gain is
set to “Middle.” So, normally set it to “Middle.”
Custom Edge
(1–3)
Speaker SW
Turns the speaker simulator on/off.
Custom Bass Freq
(1–3)
Custom Treble Freq
(1–3)
SPEAKER TYPE
1x10”:
This is a compact open-back speaker cabinet with one 10-inch
speaker.
Custom Preamp Low
(1–3)
Custom Preamp High
(1–3)
1x12”:
Custom SpeakerLow
(1–3)
This is a compact open-back speaker cabinet with one 12-inch
speaker.
Custom SpeakerHigh
(1–3)
2x12”:
This is a general open-back speaker cabinet with two 12-inch
Gain
speakers.
Adjusts the distortion of the amp.
4x12”:
This is an optimal speaker cabinet for a large enclosed amp
with four 12-inch speakers.
Bass
Adjusts the tone for the low frequency range.
8x12”:
Middle
This is a double stack of two cabinets, each with four 12-inch
speakers.
Adjusts the tone for the middle frequency range.
ORIGINAL:
Treble
This is the built-in speaker of the amp you selected with
“Type.”
Adjusts the tone for the high frequency range.
Presence
Adjusts the tone for the ultra high frequency range.
Mic Settting
This simulates the microphone position. “Center” simulates
the condition that the microphone is set in the middle of the
speaker cone. “1–10 cm” means that the microphone is
moved away from the center of the speaker cone.
*
If you have selected “MATCH DRY” or “VO COMBO” as
the type, raising presence will cut the high range (the value
will change from 0 to -100).
Level
Mic Level
Adjusts the volume of the microphone.
Adjusts the volume of the entire preamp.
*
Be careful not to raise the Level setting too high.
Direct Level
Bright
Adjusts the volume of the direct sound.
Turns the bright setting on/off.
*
If you’ve chosen “Full Range” for Type, use with Mic Level =
100 and Direct Level = 0.
Off:
Bright is not used.
On:
Bright is switched on to create a lighter and crisper tone.
*
Depending on the “Type” setting, this may not be displayed.
26
Chapter 4 The Effects Explained
OVERDRIVE/DISTORTION
This effect distorts the sound to create long sustain. It provides 15 types of distortion, two different custom settings, and an
external overdrive/distortion that allows you to connect and use an external effect device.
Parameter
Value
On/Off
Type
Off, On
see below
0–100
Drive
Bass
-50–+50
-50–+50
0–100
Treble
Level
On/Off (effect on/off)
Turns the overdrive/distortion effect on/off.
Type
Selects the type of distortion.
[TYPE VARIATION]
Illuminated: red
indicator
Extinguished
Illuminated: green
OD/BOOST Blues OD
Turbo OD
Booster
This is a crunch sound of the BOSS This is the high-gain overdrive
This is a newly developed booster
that works very well with COSM
amps.
BD-2.
sound of the BOSS OD-2.
DIST
Distortion
American DS
GUV DS
This gives a basic, traditional distor- This models a Proco RAT.
tion sound.
This models an Marshall GUV' NOR.
CLASSIC
FUZZ
OD-1
T-Scream
DST+
This is the sound of the BOSS OD-1. This models an Ibanez TS-808.
This models an MXR DISTORTION+.
'60s FUZZ
Oct FUZZ
MUFF FUZZ
This models a FUZZFACE.
This models an ACETONE FUZZ.
This models an Electro-Harmonix
Big Muff π
METAL
Metal Zone
R-MAN
Heavy Metal
This is the sound of the BOSS MT-2. This models a ROCKMAN.
This creates a heavier distortion
sound.
CUSTOM
Custom1
Custom2
External
Custom type 1
Custom type 2
Select this when using an external ef-
fects processor connected to the
EXTERNAL jack.
Parameter
Value
When CUSTOM is selected for TYPE
You can set the following parameters when TYPE is set to
CUSTOM.
Custom Type (1–3)
OD-1, OD-2, CRUNCH, DS-1,
DS-2, METAL-1, METAL-2,
FUZZ
Custom Bottom (1–3)
Custom Top (1–3)
Custom Low (1–3)
Custom High (1–3)
-50–+50
-50–+50
-50–+50
-50–+50
27
Chapter 4 The Effects Explained
Drive
Adjusts the depth of distortion.
Delay Time
This determines the delay time.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the time to
twice or four times the time length of the BPM when the set
time is increased).
Bass
Adjusts the tone for the low frequency range.
Treble
Adjusts the tone for the high frequency range.
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Level
Adjusts the volume.
Delay Time Fine
Make fine adjustments to the delay time.
DELAY
Tap Time
This effect adds delayed sound to the direct sound, giving
more body to the sound or creating special effects.
Adjusts the delay time of the right channel delay. This setting
adjusts the right channel delay time relative to the left
channel delay time (considered as 100 %).
Parameter
Value
On/Off
Off, On
Feedback
Type
Single, Pan
“Feedback” is returning a delay signal to the input. This
parameter determines the amount of feedback. A higher
value will increase the number of the delay repeats.
Delay Time
0 ms–1800 ms,
BPM –BPM
0 msec–20 msec
0 %–100 % (Type=Pan)
0–100
Delay Time (Fine)
Tap Time
High Cut Filter
Feedback
The high cut filter cuts the frequency contents that are higher
than the set frequency. This parameter adjusts the frequency
where the high cut filter starts working. When it is set to
“Flat,” the high cut filter is off or has no effect.
High Cut Filter
Effect Level
700 Hz–11.0 kHz, Flat
0–120
On/Off
Turns the delay effect on/off.
Effect Level
This adjusts the volume of the delay sound.
Type
This selects which type of delay.
Single:
After [TAP] is pressed several times, the interval
between presses of the button is then used as the delay
time setting.
By adjusting the delay time and feedback, you can obtain a
normal delay effect.
You can change the Master BPM by setting the delay
time to the BPM and pressing [TAP] several times.
Pan:
This delay is specifically for stereo output. This allows you to
obtain the tap delay effect that divides the delay time, then
deliver them to L and R channels.
fig.04-01
Feedback
Effect Level
Delay Time
INPUT
OUTPUT L
OUTPUT R
DELAY
Effect Level
Tap Time
28
Chapter 4 The Effects Explained
Effect Level
Adjusts the volume of the effect sound.
CHORUS
In this effect, a slightly detuned sound is added to the
original sound to add depth and breadth.
REVERB
Parameter
Value
This effect adds reverberation to the sound.
On/Off
Mode
Off, On
Mono, Stereo
Parameter
Value
Rate
0–100, BPM –BPM
0–100
On/Off
Type
Off, On
Depth
Room 1, Room 2, Hall 1, Hall 2,
Plate
Pre Delay
High Cut Filter
Effect Level
0.0 msec–40.0 msec
700 Hz–11.0 kHz, Flat
0–100
Reverb Time
Pre Delay
0.1 sec–10.0 sec
0 msec–100 msec
55.0 Hz–800 Hz
700 Hz–11.0 kHz, Flat
0–10
Low Cut Filter
High Cut Filter
Density
On/Off (effect on/off)
Turns the chorus effect on/off.
Effect Level
0–100
Mode
Selection for the chorus mode.
On/Off (effect on/off)
Turns the reverb effect on/off.
Mono:
This chorus effect outputs the same sound from both L and R.
Type
Stereo:
This selects the reverb type. Various different simulations of
space are offered.
This is a stereo chorus effect that adds different chorus
sounds to L and R.
Room 1:
Rate
Simulates the reverberation in a small room. Provides the
bright reverberation of a live room.
Adjusts the rate of the chorus effect.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased). When setting to BPM, press PARAMETER
Room 2:
Simulates the reverberation in a small room. Provides warm
reverberations.
Hall 1:
Simulates the reverberation in a concert hall. Provides clear
and spacious reverberations.
[
] to display the Master BPM settings screen.
Hall 2:
Depth
Simulates the reverberation in a concert hall. Provides warm
reverberations.
Adjusts the depth of the chorus effect. To use it for doubling,
set the value to “0.”
Plate:
Pre Delay
Simulates plate reverberation (a reverb unit that uses the
vibration of a metallic plate). Provides a metallic sound with
a distinct upper range.
Adjusts the time needed for the effect sound to be output
after the direct sound has been output. By setting a longer
pre delay time, you can obtain an effect that sounds like
more than one sound is being played at the same time
(doubling effect).
Reverb Time
Adjusts the length (time) of reverberation.
Pre Delay
Adjusts the time until the reverb sound appears.
High Cut Filter
The low cut filter cuts the frequencies below the specified
frequency. This setting adjusts the frequency at which the
low cut filter will begin to take effect. When “Flat” is
selected, the low cut filter will have no effect.
29
Chapter 4 The Effects Explained
● FW; Fixed Wah
Low Cut Filter
Type
CRY WAH, VO WAH, Fat WAH,
Light WAH, 7String WAH,
Custom1, Custom2, Custom3
The low cut filter cuts the frequencies below the specified
frequency. This setting adjusts the frequency at which the
low cut filter will begin to take effect.
Pdl Position
Level
0–100
0–100
High Cut Filter
The high cut filter cuts the frequencies above the specified
frequency. This setting adjusts the frequency at which the
high cut filter will begin to take effect. When “Flat” is
selected, the high cut filter will have no effect.
On/Off (effect on/off)
Turns the pedal wah/auto wah/fixed wah effect on/off.
FX Select (effect select)
Selects either pedal wah “WAH,” auto wah “AW,” or fixed
wah “FW”.
Density
This adjusts the density of the reverb sound.
WAH:
Effect Level
Adjusts the volume of the reverb sound.
The effect will function as a pedal wah.
AW:
The effect will function as an auto wah.
WAH
FW:
The effect will function as a fixed wah.
The wah effect creates a unique tone by changing the
frequency response characteristics of a filter.
“Pedal wah” lets you use an Expression pedal or the like to
obtain real-time control of the wah effect.
■ WAH (Pedal Wah)
The effect of the wah pedal can be obtained by operating the
Expression pedal.
“Auto wah” creates an automatic wah by cyclically changing
the filter, or by changing the filter in response to the volume
of the input.
The GT-6’s expression pedal automatically switches to the
wah pedal function when WAH is selected.
“Fixed Wah” provides the effect obtained when a filter-type
effect is used with the wah pedal stopped at a given angle.
Type
This selects the wah type.
*
When using an external expression pedal as a wah pedal, select
Fixed Wah (FW).
CRY WAH:
This models the sound of the CRY BABY wah pedal popular
in the ‘70s.
Parameter
Value
On/Off
Off, On
VO WAH:
FX Select
WAH, AW, FW
This models the sound of the VOX V846.
● WAH; Pedal Wah
Fat WAH:
This a wah sound featuring a bold tone.
Type
CRY WAH, VO WAH, Fat WAH,
Light WAH, 7String WAH,
Custom1, Custom2, Custom3
Light WAH:
This wah has a refined sound with no unusual
characteristics.
Pdl Position
Level
0–100
0–100
● AW; Auto Wah
Mode
7String WAH:
Wah featuring a broader range of variations for the seven-
string guitar.
LPF, BPF
Down, Up
0–100
Polarity
Sensitivity
Frequency
Peak
0–100
Custom1–3:
Wah created by editing the custom parameters.
0–100
Rate
0–100, BPM –BPM
0–100
Depth
Level
0–100
30
Chapter 4 The Effects Explained
When Type Is Set to Custom1–3
You can select the following parameters when TYPE is set to
Custom1–3.
Peak
Adjusts the way in which the wah effect applies to the area
around the center frequency. Lower values will produce a
wah effect over a wide area around the center frequency.
Higher values will produce a wah effect in a narrow area
around the center frequency.
Parameter
value
*
With a value of “50” a standard wah sound will be produced.
Custom Type (1–3)
CRY WAH, VO WAH, Fat WAH,
Light WAH, 7String WAH
Rate
Adjusts the frequency of the auto wah.
Custom Q (1–3)
-50–+50
Custom Range Low (1–3) -50–+50
Custom Range High (1–3) -50–+50
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
Custom Presence (1–3)
-50–+50
Pdl Position (pedal position)
This adjusts the position of the wah pedal.
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Level
Adjusts the volume.
Depth
Adjusts the depth of the auto wah effect.
■ AW (Auto Wah)
Level
Adjusts the volume.
Mode
Selection for the wah mode.
LPF (low pass filter):
This creates a wah effect over a wide frequency range.
■ FW (Fixed Wah)
Provides the effect obtained when a filter-type effect is used
with the wah pedal stopped at a given position.
BPF (band pass filter):
This creates a wah effect in a narrow frequency range.
Type
This selects the wah type.
Polarity
For more on the effect of each type, refer to “Pedal Wah.”
Selection for the direction in which the filter will change in
response to the input.
Pdl Position (pedal position)
This adjusts the position of the wah pedal.
Up:
The frequency of the filter will rise.
*
If this parameter is assigned to an external expression pedal,
operating the pedal then provides the same effect as the pedal
wah effect.
Down:
The frequency of the filter will fall.
Sens (sensitivity)
Level
Adjusts the volume.
This adjusts the sensitivity at which the filter will change in
the direction determined by the polarity setting. Higher
values will result in a stronger response. With a setting of
“0,” the strength of picking will have no effect.
Frequency
This adjusts the center frequency of the Wah effect.
31
Chapter 4 The Effects Explained
EQ (Equalizer)
FX-1
Adjusts the tone. Parametric control is provided for the high-
mid range and low-mid range.
With FX-1, you can select the effect to be used from the
following.
• COMPRESSOR
Parameter
Value
• LIMITER
On/Off
Off, On
• AC GUITAR SIM (acoustic guitar simulator)
• PICKUP SIM (pickup simulator)
• TREMOLO
Low EQ
-20 dB–+20 dB
100 Hz–10.0 kHz
0.5–16
Low-Middle Frequency
Low-Middle Q
Low-Middle EQ
High-Middle Frequency
High-Middle Q
High-Middle EQ
High EQ
• SLOW GEAR
-20 dB–+20 dB
100 Hz–10.0 kHz
0.5–16
• FEEDBACKER
• ANTI-FEEDBACK
• DEFRETTER
-20 dB–+20 dB
-20 dB–+20 dB
-20 dB–+20 dB
Level
Parameter
Value
On/Off
Off, On
On/Off (effect on/off)
Switches the equalizer effect on/off.
FX Select
CS, LM, AC, PIC, TR, SG, FB,
AFB, FRT
● CS; Compressor
Sustain
Low EQ (low equalizer)
0–100
0–100
-50–+50
0–100
Adjusts the low frequency range tone.
Attack
Tone
Low-Middle Frequency
Specify the center of the frequency range that will be
adjusted by the “Low-Middle EQ.”
Level
● LM; Limiter
Threshold
Release
Tone
0–100
0–100
-50–+50
0–100
Low-Middle Q
Adjusts the width of the area affected by the EQ centered at
the “Low-Middle Frequency.” Higher values will narrow the
area.
Level
● AC; Acoustic Guitar Simulator
Top
0–100
0–100
0–100
Low-Middle EQ (low-middle equalizer)
Adjusts the low-middle frequency range tone.
Body
Level
● PIC; Pickup Simulator
High-Middle Frequency
Specify the center of the frequency range that will be
adjusted by the “High-Middle EQ.”
Type
Tone
Level
‘S’to’H’, ‘H’to’S’, ‘H’to’HF’
-50–+50
0–100
High-Middle Q (high-middle Q)
Adjusts the width of the area affected by the EQ centered at
the “High-Middle Frequency.” Higher values will narrow
the area.
● TR; Tremolo
Wave Shape
0–100
Rate
0–100, BPM –BPM
0–100
Depth
High-Middle EQ (high-middle equalizer)
Adjusts the high-middle frequency range tone.
● SG; Slow Gear
Sensitivity
0–100
0–100
Rise Time
High EQ (high equalizer)
Adjusts the high frequency range tone.
Level
Adjusts the volume after the equalizer.
32
Chapter 4 The Effects Explained
● FB; Feedbacker
Mode
■ LM (Limiter)
OSC, Natural
0–100
The limiter attenuates loud input levels to prevent distortion.
Rise Time
Mode= OSC
Mode= OSC
Rise Time (▲)
F.B.Level
0–100
Threshold
Adjust this as appropriate for the input signal from your
guitar. When the input signal level exceeds this threshold
level, limiting will be applied.
0–100
F.B.Level (▲)
0–100
Mode= OSC
Vibrato Rate
0–100, BPM –BPM
Mode= OSC
Mode= OSC
Vibrato Depth
0–100
Release
This adjusts the time from when the signal level drops below
the threshold until when limiting is removed.
● AFB; Anti Feedback
Freq1
0–100
0–100
0–100
0–100
0–100
0–100
Depth1
Freq2
Tone
Adjusts the tone.
Depth2
Freq3
Level
Adjusts the volume.
Depth3
● FRT; Defretter
Tone
-50–+50
0–100
0–100
0–100
0–100
0–100
0–100
■ AC (Acoustic Guitar Simulator)
Sens
Attack
This simulates the sound of an acoustic guitar. It allows you
to use an electric guitar to produce sounds similar to those of
an acoustic guitar.
Depth
Resonance
Effect Level
Direct Level
Top
This adjusts the simulated interference to the strings made by
the top plate. That is, it adjusts the attack sense or harmonic
contents.
On/Off (effect on/off)
Switches the FX-1 effect on/off.
Body
FX Select (effect select)
This selects the effect to be used.
This adjusts the resonance of the sound caused by the body.
That is, it adjusts the softness and fatness of the sound which
is the typical characteristics of acoustic guitars.
■ CS (Compressor)
Level
The compressor is an effect that attenuates loud input levels
and boosts soft input levels, thus evening out the volume to
create sustain without distortion.
This adjusts the volume of the acoustic guitar simulator.
■ PIC (Pickup Simulator)
Sustain
This produces the sound of different types of pickup. You
can produce thick humbucking-style sounds even with a
single-coil guitar.
Adjusts the range (time) over which low-level signals are
boosted. Larger values will result in longer sustain.
Attack
Type
Adjusts the strength of the picking attack. Larger values will
result in a sharper attack, creating a more clearly defined
sound.
Select the pickup type.
‘S’ to ‘H’ (Single to Hum):
This converts the sound of a single coil pickup to the sound
Tone
Adjusts the tone.
of a humbucking pickup.
‘H’ to ‘S’ (Hum to Single):
This converts the sound of a humbucking pickup to the
sound of a single coil pickup.
Level
Adjusts the volume.
33
Chapter 4 The Effects Explained
‘H’ to ‘HF’ (Hum to Half-tone):
This converts the sound of a humbucking pickup to the half-
tone sound of a single-coil pickup.
■ FB (Feedbacker)
This allows you to use feedback playing techniques.
Mode
Tone
Adjusts the tone.
Select either oscillator “OSC” or natural “Natural.”
OSC (oscillator):
An artificial feedback sound will be created internally.
Level
Adjusts the volume.
When set to “OSC,” play the guitar accurately using single
notes, then turn the effect on. The feedback effect will be
turned off by setting the effect to off. To turn on or off the
effect, use the CTL pedal. Set the pedal so that the effect is on
only while the pedal is depressed. Set it with the CTL pedal’s
setting.
■ TR (Tremolo)
Tremolo is an effect that creates a cyclic change in volume.
Wave Shape
This adjusts changes in volume level.
*
For a detailed explanation, see “Chapter 5 Settings for Using
*
Note that the notes you want to apply feedback to must be
played singly and cleanly. Then, when the note is sounding
stably, turn on the effect.
Rate
Adjusts the frequency (speed) of the change.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
Natural:
Analyzes the pitch of the guitar sound being input, and then
creates a feedback sound based on that chorus can be played.
Rise Time
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
This determines the time needed for the volume of the
feedback sound to reach its maximum from the moment the
effect is turned on.
Depth
Adjusts the depth of the effect.
Rise Time (▲)
This determines the time needed for the volume of the one
octave higher feedback sound to reach its maximum from the
moment the effect is turned on.
■ SG (Slow Gear)
This produces a volume-swell effect (“violin-like” sound).
F.B.Level (feedback level)
Adjusts the volume of the feedback sound.
Sensitivity
This adjusts the sensitivity of the slow gear. When it is set to
a lower value, the effect of the slow gear can be obtained only
with a stronger picking, while no effect is obtained with a
weaker picking. When the value is set higher, the effect is
obtained even with a weak picking.
F.B.Level (▲) (feedback level)
This adjusts the volume of the one octave higher feedback
sound.
Vibrato Rate
Rise Time
This adjusts the time needed for the volume to reach its
maximum from the moment you begin picking.
This adjusts the rate of the vibrato when the feedbacker is on.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
34
Chapter 4 The Effects Explained
Vibrato Depth
This adjusts the depth of the vibrato when the feedbacker is
on.
FX-2
With FX-2, you can select the effect to be used from the
following.
• PHASER
■ AFB (Anti-feedback)
• FLANGER
This prevents the acoustic feedback that can be produced by
the body resonances of a guitar.
• HARMONIST
• PITCH SHIFTER
• PEDAL BEND
• 2x2 CHORUS
• PAN
Freq1–3 (frequency 1–3)
Set the fixed frequency point at which feedback will be
cancelled.
You can set up to three cancellation points.
• VIBRATO
• UNI-V
Depth1–3
• SHORT DELAY
• HUMANIZER
• RING MOD (ring modulator)
• SLICER
Adjusts the degree of the anti-feedback at each of the three
cancellation points.
■ FRT (Defretter)
• AUTO RIFF
This simulates a fretless guitar.
• GUITAR SYNTH
• SUB EQUALIZER
Tone
Adjusts the amount of blurring between the notes.
Parameter
Value
Sens (sensitivity)
On/Off
Off, On
This controls the input sensitivity of the defretter.
FX Select
PH, FL, HR, PS, PB, 2CE, PAN,
VB, UV, SDD, HU, RM, SL, AR,
SYN, SEQ
Attack
Adjusts the attack of the picking sound.
● PH; Phaser
Type
4stage, 8stage, 12stage,
Bi-Phase
Depth
This controls the rate of the harmonics.
Rate
0–100, BPM –BPM
0–100
Depth
Resonance
Adds a characteristically resonant quality to the sound.
Manual
Resonance
Step
0–100
0–100
Off, On
Effect Level
Adjust the volume of the defretter sound.
Step Rate
0–100, BPM –BPM
Step= On
Effect Level
Direct Level
0–100
Direct Level
Adjust the volume of the direct sound.
0–100
● FL; Flanger
Rate
0–100, BPM –BPM
0–100
Depth
Manual
0–100
Resonance
Separation
Effect Level
Direct Level
0–100
0–100
0–100
0–100
35
Chapter 4 The Effects Explained
● HR; Harmonist
● UV; Uni-V
Voice
1-Voice, 2-Mono, 2-Stereo
Rate
0–100, BPM –BPM
0–100
Harmony
-2oct–+2oct, Scale 1–Scale29
Depth
Level
Pre Delay
Feedback
Level
0 ms–300 ms, BPM –BPM
0–100
0–100
● SDD; Short Delay
0–100
Delay Time
Feedback
0 ms–400 ms, BPM –BPM
Key
C(Am)–B(G#m)
0–100
0–100
0–120
Direct Level
Effect Level
(User Scale)
User
● HU; Humanizer
Mode
1–29
Picking, Auto, Random
DIR
C–B
Vowel1
a, e, i, o, u
a, e, i, o, u
0–100
Mode= Picking, Auto
Mode= Picking, Auto
Mode= Picking
EFF
C–B ( 2 octave)
Vowel2
● PS; Pitch Shifter
Sensitivity
Voice
Mode
Pitch
Fine
1-Voice, 2-Mono, 2-Stereo
Fast, Medium, Slow, Mono
-24 –+24
Rate
0–100, BPM –BPM
0–100
Depth
Manual
Level
0–100
0–100
Mode= Auto
-50–+50
Pre Delay
Feedback
Level
0 ms–300 ms, BPM –BPM
● RM; Ring Modulator
Mode
0–100
0–100
0–100
Normal, Intelligent
0–100
Freqency
Direct Level
Effect Level
Direct Level
0–100
● PB; Pedal Bend
Pitch Min
0–100
-24–+24
-24–+24
0–100
● SL; Slicer
Pitch Max
Pattern
P1–P20
Pdl Position
Effect Level
Direct Level
0–100
Rate
0–100, BPM –BPM
0–100
0–100
Triggr Sens
● 2CE; 2x2 Chorus
● AR; Auto Riff
Xover f
100 Hz–4.00 kHz
Phrase
Preset1–Preset30,
User1–User10
Low Rate
0–100, BPM –BPM
0–100
Loop
Off, On
Low Depth
Low Pre Delay
Low Level
Tempo
Sens
Key
0–100, BPM –BPM
0–100
0.0 msec–40.0 msec
0–100
C(Am)–B(G#m)
High Rate
0–100, BPM –BPM
0–100
Phrase = Preset
High Depth
High Pre Delay
High Level
Attack
0–100
Off, On
0–100
0–100
0.0 msec–40.0 msec
0–100
Hold
Effect Level
Direct Level
● PAN; Pan
Wave Shape
0–100
(Auto Riff Phrase)
Rate
0–100, BPM –BPM
0–100
User
IN
1–10
Depth
C–B
Step
Out
1–16
● VB; Vibrato
C–B ( 2 octave), -, end
Rate
0–100, BPM –BPM
0–100
Depth
Trigger
Rise Time
Off, On
0–100
36
Chapter 4 The Effects Explained
● SYN; Guitar Synth
Sensitivity
Bi-Phase:
0–100
This is the phaser with two phase shift circuits connected in
Wave
Square, Saw, Brass, Bow
series.
Chromatic
Octave Shift
PWM Rate
PWM Depth
Cutoff Frequency
Resonance
Filter Sensitivity
Filter Decay
Filter Depth
Attack
Off, On
0, -1, -2
0–100
Wave= Square, Saw
Wave= Square, Saw
Wave= Square
Wave= Square
Rate
This sets the rate of the phaser effect.
0–100
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
0–100
0–100
0–100
0–100
-100 –100
Decay, 0–100
0–100
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Release
Velocity
0–100
Hold
Off, On
0–100
Wave= Square, Saw
Depth
Synth Level
Direct Level
Determines the depth of the phaser effect.
0–100
Manual
● SEQ; Sub Equalizer
Low EQ
Adjusts the center frequency of the phaser effect.
-20 dB–+20 dB
100 Hz–10.0 kHz
0.5–16
Low-Middle Frequency
Low-Middle Q
Low-Middle EQ
High-Middle Frequency
High-Middle Q
High-Middle EQ
High EQ
Resonance
Determines the amount of resonance (feedback). Increasing
the value will emphasize the effect, creating a more unusual
sound.
-20 dB–+20 dB
100 Hz–10.0 kHz
0.5–16
-20 dB–+20 dB
-20 dB–+20 dB
-20 dB–+20 dB
Step
This sets on/off of the step function. When the step function
is turned on, the change of a sound will be in steps.
Level
On/Off (effect on/off)
Switches the FX-2 effect on/off.
Step Rate
This sets the cycle of the steps that changes the rate and
depth. When it is set to a higher value, the change will be
finer.
FX Select (effect select)
This selects the effect to be used.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
■ PH (Phaser)
By adding varied-phase portions to the direct sound, the
phaser effect gives a whooshing, swirling character to the
sound.
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Type
Selects the number of stages that the phaser effect will use.
Effect Level
This adjusts the volume of the phaser.
4Stage:
This is a four-phase effect. A light phaser effect is obtained.
Direct Level
This adjusts the volume of the direct sound.
8Stage:
This is an eight-phase effect. It is a popular phaser effect.
12Stage:
This is a twelve-phase effect. A deep phase effect is obtained.
37
Chapter 4 The Effects Explained
2-Stereo:
■ FL (Flanger)
Two-voice pitch-shifted sound (HR1, HR2) output through
left and right channels.
The flanging effect gives a twisting, jet-airplane-like
character to the sound.
Harmony
Rate
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.
When the scale is set to “Scale 1–Scale29,” this parameter sets
the user scale number to be used.
This sets the rate of the flanging effect.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased). When setting to BPM, press PARAMETER
PreDly (pre delay)
Adjusts the time from when the direct sound is heard until
the harmonist sounds are heard. Normally you can leave this
set at “0ms.”
[
] to display the Master BPM settings screen.
Depth
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the time to
twice or four times the time length of the BPM when the set
time is increased).
Determines the depth of the flanging effect.
Manual
Adjusts the center frequency at which to apply the effect.
Resonance
Determines the amount of resonance (feedback). Increasing
the value will emphasize the effect, creating a more unusual
sound.
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Feedback
This adjusts the feedback amount of the harmonist sound.
Separation
Adjusts the diffusion. The diffusion increases as the value
increases.
Level
This adjusts the volume of the harmonist sound.
Effect Level
This adjusts the volume of the flanger.
Key
Specify the key of the song you are playing. By specifying the
key, you can create harmonies that fit the key of the song.
The key setting corresponds to the key of the song (#, b) as
Direct Level
This adjusts the volume of the direct sound.
follows.
fig.04-02
■ HR (Harmonist)
“Harmonist” is the amount of shifting is adjusted according
to an analysis of the guitar input, allowing you to create
harmonics based on diatonic scales.
*
Because of the need to analyze the pitch, chords (two or more
sounds played simultaneously) cannot be played.
Voice
This selects the number of voices for the pitch shift sound
(harmony).
1-Voice:
One-voice pitch-shifted sound output in monaural.
Direct Level
This adjusts the volume of the direct sound.
2-Mono:
Two-voice pitch-shifted sound (HR1, HR2) output in
monaural.
38
Chapter 4 The Effects Explained
2-Mono:
Creating Harmonist Scales (User Scale)
When “Harmony” is set to any value from -2oct to +2oct, and
the harmony does not sound the way you intend, use a “User
scale.”
Two-voice pitch-shifted sound (PS1, PS2) output in
monaural.
2-Stereo:
You can set any of 29 different “User scales.”
Two-voice pitch-shifted sound (PS1, PS2) output through left
and right channels.
1. Press [FX-2], then press PARAMETER [
] [
] so
that “FX Select” is displayed.
Mode
2. Rotate the PATCH/VALUE dial to select “HR.”
3. Press PARAMETER [ ] [ ] to select “HR1
Selection for the pitch shifter mode.
Fast, Medium, Slow:
Harm” (or “HR2 Harm”) , then rotate the PATCH/
A chord can be input with a normal pitch shifter. The
response is slower in the order of Fast, Medium and Slow,
but the modulation is lessened in the same order.
VALUE dial to select a setting from “Scale 1–29.”
4. Press PARAMETER [
] a number of times so that
the User scale settings screen is displayed.
fig.04-03
Mono:
This mode is for the input of individual notes.
Select this setting when you want to obtain a pedal bend
effect using an external expression pedal.
Pitch
5. Press PARAMETER [
] [
] to move the cursor,
Adjusts the amount of pitch shift (the amount of pitch
change) in semitone steps.
then rotate the PATCH/VALUE dial to set the User
scale.
Fine
User:
Make fine adjustments to the pitch shift.
You can change the number of the user scale.
*
The amount of the change in the Fine “100” is equivalent to
that of the Pitch “1.”
DIR (direct):
Sets the note name of the input sound. You can also play
individual notes on the guitar and let the GT-6 interpret
the note name.
PreDly (pre delay)
Adjusts the time from when the direct sound is heard until
the pitch shifted sounds are heard. Normally you can leave
this set at “0ms.”
EFF (effect):
Sets the note name of the output sound.
The triangle next to the note name indicates the octave.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the time to
twice or four times the time length of the BPM when the set
time is increased).
One downward-pointing triangle indicates a note one
octave below the note displayed; two triangles indicates
a two-octave drop.
One upward-pointing triangle indicates a note one
octave above the note displayed; two triangles indicates
a two-octave rise.
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
■ PS (Pitch Shifter)
Feedback
This adjusts the feedback amount of the pitch shift sound.
This effect changes the pitch of the original sound (up or
down) within a range of two octaves.
Level
Voice
This adjusts the volume of the pitch shift sound.
This selects the number of voices for the pitch shift sound.
Direct Level
This adjusts the volume of the direct sound.
1-Voice:
One-voice pitch-shifted sound output in monaural.
39
Chapter 4 The Effects Explained
Low Level
■ PB (Pedal Bend)
Adjust the volume of the low frequency range.
This lets you use the pedal to get a pitch bend effect.
The GT-6’s expression pedal automatically switches to the
pedal bend function when PB is selected.
High Rate
Adjust the speed of the chorus effect for the high frequency
range.
Pitch Min
This sets the pitch at the point where the expression pedal is
fully lifted.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
Pitch Max
This sets the pitch at the point where the expression pedal is
all the way down.
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Pdl Position (pedal position)
This adjusts the position of the pedal bend.
High Depth
Effect Level
Adjust the depth of the chorus effect for the high frequency
range. If you wish to use this as a doubling effect, use a
setting of “0.”
This adjusts the volume of the pitch bend sound.
Direct Level
This adjusts the volume of the direct sound.
High Pre Delay
Adjust the time from when the high frequency range direct
sound is output until the effect sound is output. Extending
the pre-delay will produce the sensation of multiple sounds
(doubling effect).
■ 2CE (2x2 Chorus)
Two separate stereo chorus units are used for the low-
frequency and high-frequency ranges in order to create a
more natural chorus sound.
High Level
Adjust the volume of the high frequency range.
Xover f (crossover frequency)
This parameter sets the frequency at which the frequency
components of the direct sound are divided into bass and
treble bands.
■ PAN
With the volume level of the left and right sides alternately
changing, whn playing sound in stereo, you can get an effect
that makes the guitar sound appear to fly back and forth
between the speakers.
Low Rate
Adjust the speed of the chorus effect for the low frequency
range.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased). When setting to BPM, press PARAMETER
Wave Shape
This adjusts changes in volume level.
Rate
Adjusts the frequency (speed) of the change.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
[
] to display the Master BPM settings screen.
Low Depth
Adjust the depth of the chorus effect for the low frequency
range. If you wish to use this as a doubling effect, use a
setting of “0.”
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Low Pre Delay
Adjust the time from when the low frequency range direct
sound is output until the effect sound is output. Extending
the pre-delay will produce the sensation of multiple sounds
(doubling effect).
Depth
Adjusts the depth of the effect.
40
Chapter 4 The Effects Explained
■ VB (Vibrato)
■ SDD (short delay)
This effect creates vibrato by slightly modulating the pitch.
This is a delay with the maximum delay time of 400 ms. This
effect is useful for making the sound fatter.
Rate
Delay Time
This adjusts the rate of the vibrato.
Adjusts the delay time.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the time to
twice or four times the time length of the BPM when the set
time is increased).
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Depth
This adjusts the depth of the vibrato.
Feedback
Feedback refers to returning the delayed signal back into the
input of the delay. This parameter adjusts the volume that is
returned to the input. Higher settings will result in more
delay repeats.
Trigger
This selects on/off of the vibrato with the footswitch.
*
This effect assumes that the trigger will be turned on with a
footswitch for attaining the vibrato effect.
Effect Level
Adjusts the volume of delay sound.
Rise Time
This sets the time passing from the moment the trigger is
turned on until the set vibrato is obtained.
■ HU (Humanizer)
This can create human vowel-like sounds.
■ UV (Uni-V)
Mode
Although this resembles a phaser effect, it also provides a
unique undulation that you can’t get with a regular phaser.
This sets the mode that switches the vowels.
Picking:
Rate
It changes from vowel 1 to vowel 2 along with the picking.
The time spent for the change is adjusted with the rate.
Adjusts the rate of the Uni-V effect.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
Auto:
By adjusting the rate and depth, two vowels (Vowel 1 and
Vowel 2) can be switched automatically.
Random:
Five vowels (a, e, i, o, u) are called out at random by
adjusting the rate and depth.
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Vowel 1
This selects the first vowel.
fig.04-04
Depth
Adjusts the depth of the Uni-V effect.
Level
Adjusts the volume.
Vowel 1
Vowel 2
41
Chapter 4 The Effects Explained
Vowel 2
This selects the second vowel.
Frequency
This adjusts the frequency of the internal oscillator.
Sensitivity
Effect Level
This adjusts the sensitivity of the humanizer. When it is set to
a lower value, no effect of the humanizer is obtained with
weaker picking, while stronger picking produces the effect.
When it is set to a higher value, the effect of the humanizer
can be obtained whether the picking is weak or strong.
This adjusts the volume of the effect sound.
Direct Level
This adjusts the volume of the direct sound.
■ SL (Slicer)
Rate
This consecutively interrupts the sound to create the
impression that a rhythm backing phrase is being played.
This adjusts the cycle for changing the two vowels.
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
Pattern
Select the slice pattern that will be used to cut the sound.
Rate
Adjust the rate at which the sound will be cut.
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
Depth
This adjusts the depth of the effect.
Manual
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
This determines the point where the two vowels are
switched. When it is set to “50,” vowel 1 and vowel 2 are
switched in the same length of time. When it is set to lower
than “50,” the time for vowel 1 is shorter. When it is set to
higher than “50,” the time for vowel 1 is longer.
Trigger Sens
Adjust the sensitivity of triggering. With low settings of this
parameter, softly picked notes will not retrigger the phrase
(i.e., the phrase will continue playing), but strongly picked
notes will retrigger the phrase so that it will playback from
the beginning. With high settings of this parameter, the
phrase will be retriggered even by softly picked notes.
Level
This sets the volume of the humanizer.
■ RM (Ring Modulator)
This effect sounds with modulating the harmonics.
■ AR (Auto Riff)
This allows you to automatically produce a phrase simply by
picking a single note. This can be used to easily play
extremely rapid phrases.
Mode
This selects the mode for the ring modulator.
Normal:
This is a normal ring modulator.
*
Running the following operations while Auto Riff is playing
may result in disturbances in the sound.
Intelligent:
• Using anti-feedback
By ring-modulating the input signal, a bell like sound is
created. The intelligent ring modulator changes the
oscillation frequency according to the pitch of the input
sound and therefore produces a sound with the sense of
pitch, which is quite different from “Normal.” This effect
does not give a satisfactory result if the pitch of the guitar
sound is not correctly detected. So, you must use single
notes, not chords.
• Reception of large amounts of MIDI data
Phrase
Select the phrase.
User-programmed phrases are used when User 1–10 is
selected.
42
Chapter 4 The Effects Explained
4. Press PARAMETER [
have the User Phrase settings screen displayed.
fig.04-05
] a number of times until you
Loop
If “Loop” is turned “On,” the phrase will be played back
continuously.
Tempo
Adjust the speed of the phrase.
5. Press PARAMETER [
] [
] to move the cursor,
*
When set to BPM, the value of each parameter will be set
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the tempo to
one-half or one-fourth of the BPM when the set tempo is
increased).
then rotate the PATCH/VALUE dial to set the User
phrase.
User:
specify the user phrase number.
IN:
When setting to BPM, press PARAMETER [
the Master BPM settings screen.
] to display
Sets the note name of the input sound. You can also play
individual notes on the guitar and let the GT-6 judge the
note name.
Sens (sensitivity)
Adjust the sensitivity of triggering. With low settings of this
parameter, softly picked notes will not retrigger the phrase
(i.e., the phrase will continue playing), but strongly picked
notes will retrigger the phrase so that it will playback from
the beginning. With high settings of this parameter, the
phrase will be retriggered even by softly picked notes.
STEP:
You can also play on the guitar and put the step forward.
OUT:
Specify the note name of the output sound.
■ SYN (Guitar Synth)
Key
This detects the pitch of an electric guitar and outputs a
synthesizer sound.
Select the key of the song that you wish to play.
Attack
Adjust the strength of the attack. By adding an attack to each
note of the phrase you can produce a sensation as though the
notes were being picked.
When you use a guitar synthesizer, observe the
following points.
*
*
It does not work properly when a chord is played. Be sure to
mute all the other strings and play in a single note.
Hold
When you are to play the next string while a certain sound is
still playing, perfectly mute the previous sound then play the
next one with a clear attack.
If you turn hold “On” after you pick a note, the effect sound
will continue even after there is no input signal.
Effect Level
Adjust the volume of the effect sound.
*
If the unit cannot detect the attack, it may not sound correctly.
Sensitivity
Direct Level
This adjusts the input sensitivity. The response of the internal
sound source is better with a higher sensitivity value, but the
malfunctions will be increased on the other hand. So, try to
set it as high as possible without causing malfunction.
Adjust the volume of the direct sound.
Creating Original Phrases (User Phrase)
In addition to the 30 different prepared phrases, you can also
create up to ten of your own original phrases (User phrases).
Wave
This selects a wave type that is the source of the guitar
synthesizer.
1. Press [FX-2], then press PARAMETER [
] [
] so
that “FX Select” is displayed.
Square (
):
2. Rotate the PATCH/VALUE dial to select “AR.”
The unit detects the pitch and attack information from the
input guitar sound, then send the square waveform from the
internal sound source.
3. Press [FX-2] a number of times to select “Phrase,” then
rotate the PATCH/VALUE dial to select “User 1–10.”
43
Chapter 4 The Effects Explained
Saw (
):
Filter Sensitivity
The unit detects the pitch and attack information from the
input guitar sound, then send the saw waveform from the
internal sound source.
This adjusts the sensitivity of the filter. When it is set to a
lower value, the filter is affected only with stronger picking.
When it is set higher, the filter changes even with weaker
picking. When it is set to “0,” the depth of the filter will be
the same no matter how the picking strength may be.
Brass:
The unit directly processes the input guitar sound and
creates a guitar synthesizer sound. It gives a quick sound rise
and send the sound with a sharp edge.
Filter Decay
This sets the time needed for the filter to finish its sweep.
Bow:
The unit directly processes the input guitar sound and
creates a guitar synthesizer sound. It outputs a soft sound
without attack.
Filter Depth
This adjusts the depth of the filter. When the value is higher,
the filter will change more drastically. The polarity of the
filter will be opposite with “+” and “-.”
Chromatic
This switches on or off the chromatic function. When it is on,
the pitch change of the synthesizer sound is in semitone
steps. This does not respond to pitch changes less than a
semitone, such as what might be obtained with bending or
vibrato. Thus, this is effectively used for realistically playing
musical instruments whose pitch will change in steps greater
than a semitone, such as a keyboard.
Attack
This adjusts the time needed for a synthesizer sound to reach
its maximum. When it is set to a lower value, the sound will
rise quickly. When it is set higher, the sound will rise slowly.
When it is set to “Decay,” the sound will rise quickly and
turn to a Release status regardless of the input of the guitar
sound.
*
Use this parameter when “Square” or “Saw” is selected for
wave.
*
When “Brass” or “Bow” is selected for the wave, the attack
time will not be quicker from a certain level even if the attack is
set to “Decay” or “0.”
Octave Shift
This allows you to shift the pitch of the internal sound
module in an octave step from the guitar sound.
Release
This determines the time needed for the synthesizer sound to
reach zero from the moment the input of the guitar sound is
completed.
*
This parameter should be set when “Square” or “Saw” is
selected for the wave.
*
When “Brass” or “Bow” is selected for the wave, the guitar
signal itself is processed. That is, the synthesizer sound will go
down when the guitar signal goes down no matter how long
the release may be set.
PWM Rate (pulse wise modulation rate)
This gives breadth or fatness to the sound by applying
modulation to the waveform (only to Square) in the internal
sound module. A higher value will quicken the rate of the
modulation.
Velocity
This adjusts the amount of the volume change of the
synthesizer sound. When it is set to high, the volume change
will be greater depending on the picking strength. When it is
set to “0,” no volume change is caused even by changing the
picking manner.
*
This parameter should be set only when “Square” is selected
for the wave.
PWM Depth (pulse wise modulation depth)
This adjusts the depth of the PWM. When it is set to “0,” no
PWM effect is obtained.
Hold
*
This parameter should be set only when “Square” is selected
for the wave.
The hold function can sustain the output of the synthesizer
sound. If you turn on the hold while a synthesizer sound is
being output, the synthesizer sound will be held until you
turn it off.
Cutoff Freq (cutoff frequency)
This adjusts the frequency where the harmonics contents of
the sound are cut off.
You can control the on/off of the hold using the footswitch.
Normally, select “Hold Off.”
Resonance
This adjusts how much of the harmonics contents around the
cutoff frequency should be emphasized.
*
This parameter is used when “Square” or “Saw” is selected for
the wave.
44
Chapter 4 The Effects Explained
Synth Level
This determines the volume of the synthesizer sound.
NS (Noise Suppressor)
This effect reduces the noise and hum picked up by guitar
pickups. Since it suppresses the noise in synchronization
with the envelope of the guitar sound (the way in which the
guitar sound decays over time), it has very little effect on the
guitar sound, and does not harm the natural character of the
sound.
Direct Level
This determines the volume of the direct sound.
■ SEQ (Sub Equalizer)
This adjusts the tone as a sub equalizer. A parametric type is
adopted for the high-middle and low-middle range.
*
Please connect the noise suppressor in the signal path prior to
the reverberation type effect. This setup will prevent an
natural break of the reverberation type effect.
Low EQ (low equalizer)
Adjusts the low frequency range tone.
Parameter
Value
On/Off
Off, On
0–100
0–100
Low-Middle Frequency
Specify the center of the frequency range that will be
adjusted by the “Low-Middle Q.”
Threshold
Release
Low-Middle Q
On/Off (effect on/off)
Adjusts the width of the area affected by the EQ centered at
the “Low-Middle Frequency.” Higher values will narrow the
area.
Turns the noise suppressor effect on/off.
This parameter can be set with the PATCH/VALUE dial.
*
Even if [NAME/NS/MASTER] is pressed, you cannot switch
the noise suppressor on and off.
Low-Middle EQ (low-middle equalizer)
Adjusts the “Low-Middle Frequency” range tone.
Threshold
Adjust this parameter as appropriate for the volume of the
noise. If the noise level is high, a higher setting is
appropriate. If the noise level is low, a lower setting is
appropriate. Adjust this value until the decay of the guitar
sound is as natural as possible.
High-Middle Frequency
Specify the center of the frequency range that will be
adjusted by the “High-Middle EQ.”
High-Middle Q
Adjusts the width of the area affected by the EQ centered at
the “High-Middle Frequency.” Higher values will narrow
the area.
*
High settings for the threshold parameter may result in there
being no sound when you play with your guitar volume
turned down.
Release
High-Middle EQ (High-middle equalizer)
Adjusts the “High-Middle Frequency” range tone.
Adjusts the time from when the noise suppressor begins to
function until the noise level reaches “0.”
High EQ (high equalizer)
Adjusts the high frequency range tone.
Level
Adjusts the volume after the equalizer.
45
Chapter 4 The Effects Explained
MASTER
Parameter
Value
Patch Level
Master BPM
0–200
40–250
Patch Level
This adjusts the output volume of the GT-6.
Master BPM
Adjust the BPM value for each patch.
*
BPM (beats per minute) indicates the number of quarter note
beats that occur each minute.
*
When you have an external MIDI device connected, the
Master BPM synchronizes to the external MIDI device’s
tempo, making it impossible to set the Master BPM. To enable
Internal.
Control with the Master BPM
To input the Master BPM with the CTL pedal, set “Pedal
Assign” as follows.
CTL PEDAL: P09= BPM (TAP)
CTL PEDAL: On
CTL PEDAL Target: Master BPM (Tap)
CTL PEDAL Target Min: Off
CTL PEDAL Target Max: On
CTL PEDAL Source Mode: Normal
FV (Foot Volume)
This is a volume control effect.
Usually, this is controlled to the expression pedal.
Parameter
Value
Level
0–100
Level
This adjusts the volume.
46
Chapter 5 Settings for Using the Expression
and Control Pedals (Pedal Assign)
This chapter describes how to make the settings that allow
you to control effects with the expression pedal and control
(CTL) pedal.
If You Don’t Want to Use the
Expression Pedal as a “Volume Pedal”
Use the procedure below to turn the expression pedal off.
1. Press [PEDAL ASSIGN].
Settings for Using the
Expression Pedal
2. Press PARAMETER [
until you have one of the following screens displayed.
fig.05-03
] [
] a number of times,
Normally, “FV” (Foot Volume) is assigned to the
expression pedal, allowing you to use the pedal as a
“volume pedal” for controlling the volume level.
Setting the Range of the Volume Change
You can set the minimum and maximum values determining
the range over which the volume level changes when you
move the expression pedal.
3. Press [PEDAL ASSIGN] to set it to “Off.”
4. To save the settings, perform the Write procedure
Press [EXIT] to return to the Play screen.
1. Press [PEDAL ASSIGN]
2. Press PARAMETER [
] [
] to display the
following screen.
Settings for Using the
(Setting the minimum value)
fig.05-01
Expression Pedal Switch/CTL Pedal
Making Settings Instantly
(Quick Setting)
Quick Setting is a function that lets you set the most common
values for effect parameters instantly just by selecting the
preset “pedal settings.” This greatly reduces the hassle of
selecting and setting parameters one by one.
(Setting the maximum value)
fig.05-02
Pedal Settings for the Expression Pedal Switch
Select the parameter to be controlled when you press down
on the toe of the expression pedal.
3. Rotate the PATCH/VALUE dial to set the value.
Valid Settings: 0–100
P01: WAH
4. To save the settings, perform the Write procedure
P02: FX-2
P03: OD/DS
P04: DELAY
P05: CHORUS
P06: EQ
Press [EXIT] to return to the Play screen.
automatically functions as a “pedal wah” or “pedal
bend.”
P07: FX-1
P08: LEVEL INC
P09: TUNER
P10: MANUAL
*
When Pedal Wah and Pedal Bend are off, the expression
pedal automatically functions as a “volume pedal.”
47
Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)
Pedal Settings for the CTL Pedal
Editing “Quick Settings”
P01: OD/DS
Whenever necessary, you can edit parameter values set in the
Quick Settings.
P02: DELAY
P03: CHORUS
1. Press [PEDAL ASSIGN].
2. Press PARAMETER [
P04: EQ
P05: FX-1
] [
] to display the
P06: FX-2
following screens.
fig.05-06
P07: WAH
(Examples)
P08: TUNER
P09: BPM (TAP)
P10: MANUAL
Expression Pedal Switch
Target
Expression Pedal Switch
Target value range: Min
Expression Pedal Switch
Target value range: Max
1. Press [PEDAL ASSIGN].
2. Press PARAMETER [
] [
] to display the
Expression Pedal Switch
Source Mode
following screens.
(Expression pedal switch)
fig.05-04
CTL Pedal
Target
CTL Pedal
Target value range: Min
CTL Pedal
Target value range: Max
(CTL pedal)
fig.05-05
CTL Pedal
Source Mode
3. Rotate the PATCH/VALUE dial to change the setting’s
value.
4. Repeat Steps 2 and 3 as needed.
You can rapidly switch to the two screens above by
holding down [ ] (or [ ]) and pressing [
]).
] (or
Press [EXIT] to return to the Play screen.
[
3. Rotate the PATCH/VALUE dial to select the pedal
Target
setting.
The parameter to be controlled.
*
If not using the expression pedal or CTL pedal, select “Off.”
4. Repeat Steps 2 and 3 as needed.
Target Variation Range
This sets the range within which the parameter being
controlled will change.
Press [EXIT] to return to the Play screen.
The range between the minimum value (Min) and the
maximum value (Max) is changed.
Source Mode
48
Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)
Assign ON/OFF
Controlling Effects with the GT-6 Pedals,
fig.05-09
External Pedals, and External MIDI Devices
Make these settings when controlling effects with the GT-6’s
expression pedal or CTL pedal, or with pedals or external
MIDI devices connected to the GT-6.
This selects the eight Assign ON/OFF settings (ASSIGN 1–8).
Only set the assigns you will be using to “On.”
You can make up to eight separate settings per patch (using
Assign numbers 1–8) determining what parameters are
*
Be sure to set any Assign settings not being used to “Off.”
controlled by which controllers.
fig.05-07
3
Making Settings Instantly (Quick Setting)
Using Quick Setting lets you automatically make the settings
to the parameters described below, without having to set
them all individually.
As you rotate the PATCH/VALUE dial in the Assign ON/
OFF screen to select the prepared pedal settings, the most
appropriate values for the parameters are selected instantly.
2
P01: PATCH LEVEL
P02: PREAMP GAIN
P03: OD/DS DRIVE
P04: DELAY LEVEL
P05: CHORUS LEVEL
P06: REVERB LEVEL
P07: MASTER BPM
P08: SUB EXP FV
P09: SUB EXP FW
P10: SUB EXP PS
1
1. Press [PEDAL ASSIGN].
2. Press PARAMETER [
following screens.
fig.05-08
] [
] to display the
(Examples)
Assign On/Off
Quick Setting
Target
Target value range: Min
Target value range: Max
Source
Source Mode
Active Range Low
Active Range High
3. Rotate the VALUE dial to change the setting’s value.
4. Repeat Steps 2 and 3 as needed until the settings are
completed.
Press [EXIT] to return to the Play screen.
49
Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)
When using the foot switch:
fig.05-12a
Target
fig.05-10
Amount of Change
in parameter Value
maximum value
Target Max
This sets the parameter to be affected. The parameters that
you can select as the target are shown below.
• Patch Level
minimum value
• Patch Level Inc/Dec (how the level changes)
Target Min
• Effect On/Off for each effect
Off
On
• Effect parameters
Foot Switch
• Master BPM (Tap input)
• Manual On/Off
When using the expression pedal:
• Tuner/Bypass On/Off
• Delay time (Tap input)
• MIDI Start/Stop
fig.05-12b
maximum value
Target Max
• MMC Start/Stop
*
Although you can set this so that the same target is controlled
by more than one controller, in such cases, make sure not to
have different sources changing the parameter at the same
time. Changing the parameter simultaneously using different
sources may result in noise being generated.
minimum value
Target Min
When the pedal
is fully raised
When the pedal
is fully advanced
*
The receiving device’s Sync Clock Mode must be set to
“Remote” when MIDI Start/Stop is selected as the target.
Expression Pedal
When controlling the On/Off target with the expression
pedal:
fig.05-12c
Target Range
fig.05-11
On
Target Max
The value of the parameter selected as the target changes
within the range defined by “Min” and “Max,” as set on the
GT-6.
ON
Off
Target Min
OFF
When the pedal
When using a control pedal, foot switch, or other controller
that acts as an on/off switch, “Min” is selected with Off
(CLOSED), and “Max” is selected with On (OPEN).
When the pedal
is fully raised
When the pedal
is fully advanced
is advanced halfway
Expression Pedal
When using an expression pedal or other controller that
generates a consecutive change in the value, the value of the
setting changes accordingly, within the range set by the
minimum and maximum values.
*
*
*
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.
Also, when the target is of an on/off type, the median value
of the received data is used as the dividing line in
determining whether to switch it on or off.
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.
50
Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)
Source
fig.05-13
Differences Between Momentary-Type and
Latch-Type Switches
When switching effects on and off with a foot switch
It does not matter whether a momentary-type or latch-
type switch is used.
This sets the controller (source) that affects the target
parameter.
When using a momentary-type switch, set to “Toggle.”
When using a latch-type switch, set it to “Normal.”
Controllers that can be selected as the source are shown
below.
When the effect is applied more, or is on only while
the foot switch is being pressed
• GT-6 expression pedal
• GT-6 CTL pedal
When using a momentary-type switch, set it to
“Normal.”
• GT-6 expression pedal switch
• (this switch is activated when you press down on the toe
of the pedal)
This allows you to change how the effect is applied as
you press, or release from the foot switch.
•
External pedal connected to the SUB EXP PEDAL/SUB
CTL 1, 2 jack (expression pedal or foot switch)
Latch-type switches cannot function in this manner.
• Control Change messages from an external MIDI device
(1–31, 64–95)
*
The CTL pedal indicator lights according to the settings made
with the CTL pedal.
Source Mode
fig.05-14
This determines whether the control pedal will function as a
momentary or latch type switch.
*
The GT-6’s control pedal is normally a momentary-type pedal.
Switch the settings as needed to accommodate your setup.
Normal
The normal state is Off (minimum value), with the switch On
(maximum value) only while the foot switch is depressed.
Toggle
The setting is toggled On (maximum value) or Off (minimum
value) with each press of the foot switch.
*
Set this to “Normal” when a latch-type foot switch (such as
the optional FS-5U) is connected, or when selecting something
other than a foot switch as the controller.
51
Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)
Active Range
Controlling Wah and Pitch Bend
with an External Expression Pedal
fig.05-15
Make the following settings to control wah and pitch bend
with an expression pedal connected to the SUB EXP PEDAL/
SUB CTL 1,2 jack.
*
1. Press [PEDAL ASSIGN].
This sets the operational range within which the value of the
setting changes when an expression pedal or other controller
that changes the value consecutively is used as the source. If
the controller is moved outside the operational range, the
value does not change, it stops at “minimum” or
“maximum.”
2. Press PARAMETER [
] [
] to select from
ASSIGN 1 through 8.
*
If the indication in the upper part of the display is flashing,
press [PEDAL ASSIGN] so it stops flashing, and is displayed
normally.
3. Rotate the PATCH/VALUE dial to select the following
(Example)
settings:
With Act. Range Lo: 40, Act. Range Hi: 80
fig.05-16a
Foot Volume:
maximum value
Target Max
P08: SUB EXP FV
Wah:
P09: SUB EXP FW
Pedal Bend:
minimum value
Target Min
P10: SUB EXP PS
fig.05-18
0
40
80
127
Act. Range Act. Range
Lo
Hi
fig.05-16b
On
Off
ON
OFF
0
40 60 80
Act. Range Center Act. Range
Lo value Max
127
4. If Wah or Pitch Bend has been selected in Step 3, carry
out the following.
For Wah:
*
When using a foot switch or other on/off switching controller
as the source, leave these at “Lo: 0” and “Hi: 127.” With
certain settings, the value may not change.
Press [WAH]; “On” appears in the display.
Next, press PARAMETER [
] [
] to display “FX
Select,” then select “FW” with the PATCH/VALUE dial.
For Pitch Bend:
Press [FX-2]; “On” appears in the display.
Next, press PARAMETER [
] [
] to display “FX
Select,” then select “PS” with the PATCH/VALUE dial.
52
Chapter 6 Using the Customize Function
fig.06-02
With the GT-6’s Customize function, you can rely on your
Custom
Preamp High
own sensibilities and create a totally new effect by tweaking
the settings for the “Preamp/Speaker Simulator,”
“Overdrive/Distortion,” and “Pedal Wah.” The result can
then be saved on the GT-6 as “Custom” settings.
Custom
Speaker Low
You can also use these custom settings in other patches.
Custom
Speaker High
The trademarks listed in this document are trademarks
of their respective owners, which are separate companies
from BOSS. Those companies are not affiliated with
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
6. Repeat Steps 4 and 5 as needed.
BOSS and have not licensed or authorized BOSS’s GT-6.
Their marks are used solely to identify the equipment
whose sound is simulated by BOSS’s GT-6.
7. Press [EXIT] to return to the Play screen.
Type
Selects the basic type of preamp.
Making “Custom” Preamp
Settings
JC Clean:
This is the sound of the Roland JC-120.
You can make three different sets of settings, Custom1,
Custom2, and Custom3.
TW Clean:
This models a Fender Twin Reverb.
*
The sound of any patch that uses Custom 1, 2, or 3 will be
altered if the custom settings are edited.
Crunch:
This is a crunch sound that can produce natural distortion.
VO Lead:
1. Turn the PREAMP/SPEAKER TYPE knob to
This models the drive sound of a VOX AC-30TB.
“CUSTOM.”
BG Lead:
2. Press PREAMP/SPEAKER [TYPE VARIATION] to call
This models the lead sound of the MESA/Boogie combo
amp.
up “Custom1,” “Custom2,” or “Custom3.”
fig.06-01
MS1959 Stk:
This models the sound input to Input I on a Marshall 1959.
MODERN Stk:
This models the rhythm channel of a MESA/Boogie Dual
Rectifier.
3. Press [PREAMP/SPEAKER].
The PREAMP/SPEAKER edit screen appears.
4. Press PARAMETER [
parameters.
] [
] to show the custom
Bottom -50–+50
Adjusts the amount of distortion in the low frequencies.
fig.06-02
(Examples)
Edge -50–+50
Adjusts the amount of distortion in the high frequencies.
Custom
Type
Custom
Bottom
Bass Freq (Bass Frequencies) -50–+50
Adjusts the frequencies affected by the BASS knob.
Custom
Edge
Treble Freq (Treble Frequencies) -50–+50
Adjusts the frequencies affected by the TREBLE knob.
Custom
Bass Frequency
Preamp Low -50–+50
Adjusts the preamp section’s low-frequency tone.
Custom
Treble Frequency
PreampHigh -50–+50
Adjusts the preamp section’s high-frequency tone.
Custom
Preamp Low
53
Chapter 6 Using the Customize Function
SpeakerLow -50–+50
Type
Adjusts the speaker section’s low-frequency tone.
Selects the basic speaker type.
SpeakerHigh -50–+50
Adjusts the speaker section’s high-frequency tone.
OD-1:
This is the sound of the BOSS OD-1.
OD-2:
Making “Custom” Overdrive/
Distortion Settings
This is the sound of the BOSS OD-2.
CRUNCH:
Here you can make two different sets of settings, Custom 1
and Custom 2.
This is a crunch sound of the BOSS BD-2.
DS-1:
*
Any patch tone using Custom 1 or 2 will be altered if the
custom settings are edited.
This gives a basic, traditional distortion sound.
1. Turn the OVERDRIVE/DISTORTION TYPE knob to
DS-2:
“CUSTOM/EXTERNAL.”
This creates a heavier distortion sound.
2. Press OVERDRIVE/DISTORTION [TYPE
VARIATION] to call up “Custom1” or “Custom2.”
fig.06-03
METAL1:
This is the sound of the BOSS MT-2.
METAL2:
This gives a heavy metal sound.
FUZZ:
3. Press [OVERDRIVE/DISTORTION].
This models a FUZZFACE.
The OVERDRIVE/DISTORTION edit screen appears.
4. Press PARAMETER [
parameters.
fig.06-04
] [
] to show the custom
Bottom -50–+50
Adjusts the amount of distortion in the low frequencies.
Custom
Type
Top -50–+50
Adjusts the amount of distortion in the high frequencies.
Custom
Bottom
Low -50–+50
Custom
Top
Adjusts low-frequency tone.
High -50–+50
Custom
Low
Adjusts the high-frequency tone.
Custom
High
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
6. Repeat Steps 4 and 5 as needed.
7. Press [EXIT] to return to the Play screen.
54
Chapter 6 Using the Customize Function
Type
Making “Custom” Pedal Wah
Settings
You can make three different sets of settings, Custom 1,
Custom 2, and Custom 3.
Selects the basic type of wah.
CRY WAH:
This models the sound of the CRY BABY wah pedal popular
in the ‘70s.
*
Any patch tone using Custom 1, 2, or 3 will be altered if the
custom settings are edited.
VO WAH:
This models the sound of the VOX V846.
1. Press [WAH].
Fat WAH:
The WAH edit screen appears.
This a wah sound featuring a bold tone.
2. Press PARAMETER [
] [
] to select “FX Select,”
then rotate the PATCH/VALUE dial to select “WAH” or
“FW.”
Light WAH:
This wah has a refined smooth sound.
3. Press PARAMETER [
] [
] until “Type”
7String WAH:
appears in the display.
Wah featuring a broader range of variations for the seven-
string guitar.
4. Rotate the PATCH/VALUE dial to select from
“Custom1–3.”
fig.06-05
Q -50–+50
Adjusts the amount of characteristic effect applied to the wah
tone.
Range Low -50–+50
5. Press PARAMETER [
] [
] to show the custom
parameters.
Selects the tone produced when the pedal is back.
fig.06-06
Range High -50–+50
Custom
Type
Selects the tone produced when the pedal is forward.
Custom
Q
Presence -50–+50
Adjusts the tonal quality of the wah effect.
Custom
Range Low
Custom
Range High
Custom
Presence
6. Rotate the PATCH/VALUE dial to change the setting’s
value.
7. Repeat Steps 3 through 5 as needed.
8. Press [EXIT] to return to the Play screen.
55
Chapter 7 Convenient Features of the GT-6
Selecting the Effect to Be Switched
Quick Patch Volume Adjustment
(PATCH LEVEL Knob)
On and Off With the Pedals
fig.07-03
For quick and easy adjustment of the current patch’s volume,
use the PATCH LEVEL knob.
3
You can turn the PATCH LEVEL knob to control the patch
level of the currently selected patch.
fig.07-01
1
2
1. When Manual mode is on, press PARAMETER [
]
to display the following screen.
fig.07-04
*
The patch level that’s been arrived at using the PATCH
carried out.
Cursor
2. Press PARAMETER [
] [
] to move the cursor to
Turning the Effects On and Off
with the Pedals (Manual Mode)
the number for the pedal whose settings you want to
change.
3. Rotate the VALUE dial to select the effect to be
The GT-6 features a Manual mode, in which the pedals are
used for switching specified effects on and off.
assigned to the pedal.
In Manual mode, you can switch effects on and off without
changing the patch number.
4. Repeat Steps 2 and 3 to select the effects assigned to
each pedal.
Switching to Manual Mode
The GT-6 switches Manual mode on or off each time
[MANUAL] is pressed.
When Manual mode is on, the following appears in the
display.
fig.07-02
56
Chapter 7 Convenient Features of the GT-6
Comparing Preamp Tones in
Manual Mode
You can use the “Amp Switch Mode” setting to compare
preamp tones before and after they are edited.
Tuning the Guitar
When the Tuner/Bypass is turned on, sounds input to the
GT-6 are output directly as is (bypassed), and the tuner is
activated.
Press the pedal to which the preamp is assigned, switching it
on to get to the preamp tone set in the patch, and switching it
off to hear the preamp tone as it is with the current knob
Under these conditions you can then tune your guitar.
Turning the Tuner/Bypass
settings.
fig.07-05
Function On
2
fig.07-07
1
1
1. Press [UTILITY], then press PARAMETER [
]
Each time [TUNER/BYPASS] is pressed, the Tuner/Bypass
is switched on or off.
[
] to call up “Amp Switch.”
fig.07-06
The [TUNER/BYPASS] button’s indicator lights when the
function is on.
About the Display During Tuning
With the GT-6’s internal tuner, the note name is indicated in
the upper row of the display and the Tuning Guide is shown
in the lower row, indicating the difference between the input
2. Rotate the VALUE dial to set Amp Switch Mode.
Amp On/Off:
Switches the preamp on and off.
sound and the sound in the display.
fig.07-08
Toggle to Knobs:
Note Name
When the indicator for the pedal to which the preamp is
assigned remains lit, the tone uses the settings in effect
prior to switching to Manual mode; when the indicator
flashes, the tone settings conform to the current knob
positions.
Tuning Guide
*
This has no effect when the preamp is set to OFF.
When the difference from the correct pitch falls within 50
cents, the Tuning Guide then indicates the size of that
difference. As you watch the Tuning Guide, tune the guitar
3. Press [EXIT] to return to the Play screen.
so that the “■” appears in the center.
fig.07-09
too high
tuned
too low
57
Chapter 7 Convenient Features of the GT-6
Volume Settings with Tuner/Bypass
How to Tune
1. Play a single open note on the string being tuned.
(Mute, Bypass)
fig.07-11
The name of the note closest to the pitch of the string that
was played appears in the display.
*
Only play a single note on the one string being tuned.
2. Tune the string until the string name appears in the
This selects the output while Tuner/Bypass is on.
display.
Mute:
7th
6th
5th
4th
3rd
2nd
1st
Sounds are muted, and no sound is output.
Regular
B
E
A
D
G
B
E
1/2 Step
Down
1 Step
Down
A#
A
D#
D
G#
G
C#
C
F#
F
A#
A
D#
D
Bypass:
Sounds input to the GT-6 bypass the processing and are
output directly as is.
*
*
This is set to “Bypass” when shipped from the factory.
When this is set to “Bypass,” and Tuner/Bypass is set to ON,
you can adjust the volume of the direct sound by operating the
expression pedal.
3. As you watch the Tuning Guide, adjust the guitar’s
tuning until “■” appears in the center.
4. Repeat Steps 1–3 until all of the strings are tuned.
fig.07-12
*
When tuning guitars equipped with a tremolo bar, when one
string is tuned, the others may end up being out of tune. In
this case, tune to the pitch indicated by the initial note name,
then tune the other strings again, repeatedly fine-tuning each
string.
3
2
Changing the Tuner Settings
You can change the following tuner-related settings.
Standard Pitch (435–445 Hz)
1,5
5
fig.07-10
1. Press [TUNER/BYPASS]; the indicator lights up.
2. Press PARAMETER [ ] [ ] until you have either
“TUNER Pitch” or “TUNER Out” displayed.
The frequency of A4 (the middle A on a piano keyboard)
played by an instrument (such as a piano) that provides the
pitch to which the other instruments refer in tuning before a
performance begins is called the standard pitch. You can set
the standard pitch on the GT-6 from 435 to 445 Hz.
3. Rotate the VALUE dial to change the settings.
4. Repeat Steps 2 and 3 to change each parameter’s
settings.
5. Press [TUNER/BYPASS] or [EXIT] to return to the Play
*
This is set to 440 Hz when shipped from the factory.
screen.
58
Chapter 7 Convenient Features of the GT-6
Switching Tuner/Bypass On and
Off with the Number Pedals
If you wish, the GT-6 can also be set so the number pedals
can be used to switch Tuner/Bypass on and off .
Adjusting the Overall Sound to Match
the Usage Environment (Global)
The GT-6 includes a feature that allows you to change the
overall tone temporarily. This is called the “Global function.”
With the Global function, you can temporarily change your
settings to match those of your equipment and the operating
environment, while leaving the settings in the patches
untouched.
1. Press [UTILITY], then press PARAMETER [
]
[
] so that “SYS: Pdl Tuner SW” is displayed.
fig.07-13
1. Press [UTILITY], then press PARAMETER [
]
[
] to display the following screen.
fig.07-14
2. Rotate the PATCH/VALUE dial to turn the switch on.
3. Press [EXIT] to return to the Play screen.
Global
Low Equalizer
Tuner/Bypass is switched on when you press the pedal
with the same number as the currently selected patch
number. Press the pedal once more to turn it off.
Global
High Equalizer
Global
Noise Suppressor Threshold
Global
Reverb Level
Switching Tuner/Bypass On and Off with the
CTL Pedal
2. Rotate the PATCH/VALUE dial to change the setting’s
value.
Settings to set the pedal setting P08= TUNER allows you
to switch Tuner/Bypass on and off with the CTL pedal.
3. Repeat Steps 1 and 2 as needed.
4. Press [EXIT] to return to the Play screen.
Switching Tuner/Bypass On and Off by
Lifting Up on the Expression Pedal
Low EQ (Low Equalizer) -20 dB–+20 dB
When the expression pedal is functioning as a Foot
Volume control, set one of the ASSIGN 1–8 Pedal Assign
Adjusts the tone in the low frequencies.
*
This adjusts the tone regardless of the equalizer on/off settings
of individual patches.
Target: TUNER On/Off
Target Min: On
High EQ (High Equalizer) -20 dB–+20 dB
Adjusts the tone in the high frequencies.
Target Max: Off
*
This adjusts the tone regardless of the individual patch
equalizer on/off settings.
Source: EXP PEDAL
Mode: Normal
Act. Range Lo: 0
NS Threshold (Noise Suppressor Threshold)
-20 dB–+20 dB
Act. Range Hi: 1–127
Adjusts the noise suppressor threshold level settings for each
patch in a range from -20 dB to +20 dB.
With this setting, you can switch on Tuner/Bypass by
drawing back the expression pedal.
This adjustment is an effective way to get equivalent output
with each of your guitars when you are connecting more
than one guitar.
*
*
Set to “0 dB” when using this in individual patch settings.
This has no effect on patches in which the noise suppressor is
turned off.
59
Chapter 7 Convenient Features of the GT-6
Reverb Level 0%–200%
Using the Digital Outs
Digital signals are output from the DIGITAL OUT connector
on the rear panel. You can connect this directly to the digital
in connector of a digital recorder or other device and record
Adjusts the reverb level settings for each patch in a range
from 0% to 200%.
Adjusting the reverb level is an effective way to match the
reverberation of the performance venue.
with no degradation in sound quality.
fig.07-18
*
*
Set to “100%” when using this in individual patch settings.
This has no effect on patches in which reverb is turned off.
Using External Effect Processors
You can use external effect processors connected to the
EXTERNAL jack on the rear panel in place of the GT-6’s
overdrive and distortion.
DIGITAL IN
In order to use external effect processors, the OVERDRIVE/
DISTORTION TYPE must be set to “External.”
fig.07-15
Checking the Effect Output
Level with the Level Meter
1
2
3
You can meter the output level of each effect. This is handy
for checking the effects’ output levels.
1. Press [OVERDRIVE/DISTORTION]; the indicator
lights up.
1. Press [UTILITY] a number of times until “METER” is
2. Turn the OVERDRIVE/DISTORTION TYPE knob to
displayed.
CUSTOM/EXTERNAL.
*
You can also select this by pressing [UTILITY], and then
pressing PARAMETER [ ] [ ].
3. Press OVERDRIVE/DISTORTION [TYPE VARIATION]
a number of times until the indicator lights green and
fig.07-19
“External” is displayed.
fig.07-16
2. Rotate the PATCH/VALUE dial to select the effect
whose level you want to check.
4. Press [EXIT] to return to the Play screen.
*
*
Only effects that are turned on can be selected.
• You can adjust the level of the signal sent to the external
effect processor (the send level) with the OVERDRIVE/
DISTORTION DRIVE knob.
You can check the level of signals being input to the INPUT
jack by selecting “Input.” Selecting “Output” allows you to
check the level of signals output from the GT-6.
• You can adjust the level of the signal sent back from the
external effect processor (the return level) with the
OVERDRIVE/DISTORTION LEVEL knob.
*
You may not be able to achieve the effects you envision if your
output levels are set too high. Adjust the output level of each of
your effects to the optimum value while checking the meter
and making sure the needle doesn’t swing too far to the right.
3. Press [EXIT] to return to the Play screen.
60
Chapter 8 Other Features
Adjusting the Display
Contrast (LCD Contrast)
Setting the Timing Used for Switching
Patches (Patch Change Mode)
Depending on where the GT-6 is placed, the display (on the
right) may become difficult to read. If this occurs, adjust the
display contrast.
This sets the timing with which the GT-6 switches to the next
patch when switching patches with the pedals.
1. Press [UTILITY], then press PARAMETER [
]
1. Press [UTILITY] a number of times until “LCD
[
] so that “Patch Change” is displayed.
fig.08-03
Contrast” is displayed.
*
You can also select this by pressing [UTILITY], and then
pressing PARAMETER [ ] [ ].
fig.08-01
2. Rotate the PATCH/VALUE dial to set the timing for
switching patches.
Immediate:
2. Rotate the PATCH/VALUE dial to adjust the contrast.
The patch switches the instant a BANK pedal or any of
the number pedals is pressed.
Valid Settings: 1–16
3. Press [EXIT] to return to the Play screen.
Wait for a NUM. :
Although the indication in the display is updated to
reflect the change in the bank when a BANK pedal is
pressed, the patch doesn’t get changed at that point. The
actual change to the newly selected patch takes place
only after a number pedal has been pressed, and a
complete bank and number combination has thus been
entered.
Selecting the PATCH/VALUE
Dial Function (Dial Function)
This setting determines whether or not rotating the PATCH/
VALUE dial switches the patches.
1. Press [UTILITY], then press PARAMETER [
]
3. Press [EXIT] to return to the Play screen.
[
] so that “Dial Func” is displayed.
fig.08-02
Limiting the Banks That Can
Be Switched (Bank Extent)
By setting an upper limit to the banks, thus limiting the range
of banks that can be switched, you can set the GT-6 so that
only the patches you need can be selected.
2. Rotate the PATCH/VALUE dial to select the PATCH/
VALUE dial function.
PATCH No.& VALUE:
The dial is used both for switching patches and changing
the value of settings. In addition to switching patches
with the pedals, you can also switch them by rotating the
PATCH/VALUE dial.
1. Press [UTILITY], then press PARAMETER [
]
[
] so that “Bank Extent” is displayed.
fig.08-04
VALUE Only:
The dial is used only for changing the values of settings.
2. Rotate the PATCH/VALUE dial to set the upper limit
3. Press [EXIT] to return to the Play screen.
for the banks.
Valid Settings: 1–85
3. Press [EXIT] to return to the Play screen.
61
Chapter 8 Other Features
Setting “Expression Pedal Hold”
This setting determines whether or not the Pedal Assign’s (p.
patches are switched.
Setting the Knob Functions
(Knob Mode)
This sets the way the values of settings are changed when the
control knobs are turned.
*
Expression Pedal Hold does not function if the Assign Source
mode is set to Toggle (whereby the value is toggled between
Min and Max each time the pedal is pressed).
1. Press [UTILITY], then press PARAMETER [
]
[
] so that “Knob Mode” is displayed.
fig.08-06
1. Press [UTILITY], then press PARAMETER [
]
[
] so that “EXP Pdl Hold” is displayed.
fig.08-05
2. Rotate the PATCH/VALUE dial to set the Knob mode.
Immediate:
2. Rotate the PATCH/VALUE dial to set Expression Pedal
Turning the knobs immediately changes the values.
Hold.
Current Setting:
On: The Pedal Assign status is carried over.
Values begin to change only once the knob position
reaches the values set in the patch.
(Example)
If a patch is switched while the volume is being
controlled with the expression pedal, the volume of the
subsequent patch will take on the value determined by
the current pedal position (angle).
3. Press [EXIT] to return to the Play screen.
If the patch switched to has the expression pedal
controlling the wah effect, then the volume assumes the
value set in the patch, and the patch’s wah effect is given
the value derived from the current pedal position
(angle).
Off: The Pedal Assign status is not carried over.
(Example)
If a patch is switched while the volume is being
controlled with an expression pedal, the volume of the
subsequent patch is set to the value set in that patch.
If the expression pedal is operated, and that information
is transmitted to the GT-6, the volume will change in
accord with the pedal’s movement.
3. Press [EXIT] to return to the Play screen.
62
Chapter 8 Other Features
Setting the External Foot Switch
Functions (SUB CTL 1, 2 Function)
This sets the foot switch functions for “Sub Control 1” and
“Sub Control 2” when you have an external foot switch
connected to the rear panel’s SUB EXP PEDAL/SUB CTL1,2
jack.
*
When connecting two foot switches using the special optional
Roland PCS-31 connector cord, the foot switch connected with
the white-banded plug functions according to the Sub Control
1 settings, and the foot switch connected with the red-banded
plug functions according to the Sub Control 2 settings.
*
When you have only one foot switch connected, the Sub
Control 1 settings are used.
1. Press [UTILITY], then press PARAMETER [
] so that “SubCTL 1 Func” or “SubCTL 2 Func” is
displayed.
]
[
fig.08-07
2. Rotate the PATCH/VALUE dial to set the Knob mode.
Assignable:
The controller set in each patch’s Pedal Assign is used.
MANUAL On/Off:
The foot switch is used as a manual On/Off switch.
Use a momentary-type foot switch (such as the optional
FS-5U).
TUNER On/Off:
The foot switch is used as a tuner On/Off switch.
Use a momentary-type foot switch (such as the optional
FS-5U).
MIDI Start/Stop:
The foot switch is used for starting and stopping a
connected MIDI device (for example a sequencer).
MMC Play/Stop:
The foot switch is used for controlling Play and Stop for
the connected MIDI device (such as a hard disk
recorder).
3. Press [EXIT] to return to the Play screen.
63
Chapter 9 Using MIDI
Remotely Controlling the GT-6 Using
What Can You Do with MIDI?
You can perform the following operations using MIDI with
the GT-6.
an External MIDI Device
Switching Patch Numbers
When the GT-6 receive Program Change messages from the
external MIDI device, its patches are simultaneously
switched.
*
The use of MIDI requires that the MIDI channels of the
connected devices match. If the MIDI channel settings are not
correct, the GT-6 will be unable to exchange data with other
MIDI devices.
You can set up the correspondence between MIDI
Program Change messages and the GT-6’s patches using
on these correspondences when you want to line up
some effects in combination with other MIDI devices.
Operating From the GT-6
Outputting Program Change Messages
When a patch is selected on the GT-6, a Program Change
message corresponding to the patch number is transmitted
simultaneously. The external MIDI device then switches its
settings according to the Program Change message it
The connections shown in the figure below are for a
sequencer automatically performing the backing as a guitar
is being played. The patches are switched automatically
when the program numbers corresponding to the patches are
input along with the performance data at the points where
receives.
fig.09-01
you have determined the GT-6 patches are to be switched.
fig.09-02
MIDI OUT
MIDI IN
MIDI OUT
MIDI IN
Outputting Control Change Messages
Data describing the actions of the CTL pedal, expression
pedal, expression pedal switch, and external devices
connected to the SUB EXP PEDAL/SUB CTL 1,2 jack are
output as Control Change messages. Such messages can be
used to (among other things) manipulate the parameters of
an external MIDI device.
Transmitting Data
Receiving Control Change Messages
You can use Exclusive messages to transmit the settings for
effect sounds and other content stored in the GT-6 to other
MIDI devices. For example, you can provide another GT-6
with the same settings, and save effect sound settings to a
sequencer or other device.
You can control specified parameters during a
performance by having the GT-6 receive Control Change
messages. Parameters to be controlled are set with Pedal
Receiving Data
The GT-6 can receive data transmitted from another GT-6, as
well as data that’s been stored on a sequencer.
64
Chapter 9 Using MIDI
MIDI TX Channel (MIDI Transmit Channel)
1–16, Rx
Making the Settings for MIDI
Functions
fig.09-05
Here is a description of the GT-6’s MIDI functions. Set them
as needed, depending on the intended use.
1. Press [UTILITY] a number of times until the following
screen appears.
fig.09-03
This sets the MIDI Transmit channel used for transmitting
MIDI messages. When set to “Rx,” this MIDI channel is same
as the MIDI Receive channel.
*
This is set to “Rx” when shipped from the factory.
MIDI Device ID 1–32
fig.09-06
2. Press PARAMETER [
] [
] so that the
parameter that you want to set appears in the display.
3. Rotate the PATCH/VALUE dial to change the setting’s
value.
This sets the Device ID used for transmitting and receiving
Exclusive messages.
4. Repeat Steps 2 and 3 as needed.
5. Press [EXIT] to return to the Play screen.
*
This is set to “1” when shipped from the factory.
MIDI Sync Clock Auto, Internal
fig.09-07
MIDI RX Channel (MIDI Receive Channel) 1–16
fig.09-03
You can synchronize the performance of a sequencer or other
external MIDI device.
This sets the MIDI channel used for receiving MIDI
messages.
Auto:
When the MIDI Clock of the external MIDI device
is not being received, the performance is
synchronized to the tempo set in MASTER BPM;
when the external MIDI device’s MIDI Clock is
being received, the performance is synchronized
to that.
*
This is set to “1” when shipped from the factory.
MIDI Omni Mode Omni Off, Omni On
fig.09-04
Internal: The performance is synchronized to the tempo set
in MASTER BPM.
*
*
This is set to “Auto” when shipped from the factory.
When set to “Omni On,” messages are received on all
channels, regardless of the MIDI channel settings.
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.”
*
Even when Omni Mode is set to ON, the only Exclusive
messages received are for Device ID data set with “Device
ID.”
*
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.
*
This is set to “Omni On” when shipped from the factory.
65
Chapter 9 Using MIDI
MIDI PC OUT (MIDI Program Change Out) Off, On
fig.09-08
MIDI SUB CTL 1 OUT (MIDI Sub Control 1 Out)
Off, 1–31, 33–95
fig.09-12
This setting determines whether or not Program Change
messages are output when patches are switched on the GT-6.
This sets the controller number when operation data from
the external pedal connected to the SUB CTL 1 jack is output
as Control Change messages. When set to “Off, “ Control
Change messages are not output.
Off:
Program Change messages are not output, even
when patches are switched.
On:
Program Change messages are simultaneously
output when patches are switched.
MIDI SUB CTL 2 OUT (MIDI Sub Control 1 Out)
Off, 1–31, 33–95
*
On the GT-6, Bank Select messages are output simultaneously
with Program Change messages. For more details, reefer to
fig.09-13
MIDI EXP OUT (MIDI Expression Pedal Out)
Off, 1–31, 33–95
fig.09-09
This sets the controller number when operation data from
the external pedal connected to the SUB CTL 2 jack is output
as Control Change messages. When set to “Off, “ Control
Change messages are not output.
This sets the controller number when expression pedal
operation data is output as Control Change messages. When
set to “Off, “ Control Change messages are not output.
MIDI EXP SW OUT (MIDI Expression Pedal Switch Out)
Off, 1–31, 33–95
fig.09-10
This sets the controller number when expression pedal
switch operation data is output as Control Change messages.
When set to “Off, “ Control Change messages are not output.
MIDI CTL OUT (MIDI Control Pedal Out)
Off, 1–31, 33–95
fig.09-11
This sets the controller number when CTL pedal operation
data is output as Control Change messages. When set to
“Off, “ Control Change messages are not output.
66
Chapter 9 Using MIDI
When Transmitting Data to Another GT-6
Transmitting and Receiving
MIDI Data
Connect as shown in the figure below, and match the Device
ID for the transmitting and receiving devices.
fig.09-16
On the GT-6, you can use Exclusive messages to provide
another GT-6 with identical settings, and save effect settings
on a sequencer or other device.
Transmitting data this way is called “Bulk Dump,” while
receiving such data is referred to as “Bulk Load.”
Transmitting Data to an External
MIDI Device (Bulk Dump)
The following types of data can be transmitted. You can
transmit data by specifying the range from the start to the
end of transmission.
MIDI OUT
MIDI IN
Displayed
Data Transmitted
System
Utility Parameters, Harmonist scales, Auto Riff
phrases, and Preamp, Overdrive/Distortion,
and Wah Custom Edit parameter settings
#1-1–
#35-4
Settings for Patch Number 1-1 through 35-4
Transmitting
Temp
Settings for the patch the is currently called up
fig.09-17
2
Making the Connections
When Saving to a MIDI Sequencer
Connect as shown in the figure below, and put the sequencer
1,2
in the state where it is ready to receive Exclusive messages.
fig.09-15
4 3 1
1. Press [UTILITY], then press PARAMETER [
]
[
] so that “Bulk Dump” is displayed.
fig.09-18
MIDI OUT
MIDI IN
2. Press PARAMETER [
] [
] to move the cursor,
and rotate the PATCH/VALUE dial to select the start
and end of the data to be transmitted.
3. When the data to be sent has been determined, press
[WRITE].
*
For instructions on operating the sequencer, refer to the
owner’s manual for the sequencer you are using.
The data is transmitted.
67
Chapter 9 Using MIDI
fig.09-19
fig.09-21
When the transmission is completed, the screen prior to
transmission returns to the display.
The following appears in the display when the GT-6
finishes receiving the data.
fig.09-22
4. Press [EXIT] to return to the Play screen.
Receiving Data from an External
MIDI Device (Bulk Load)
At this stage, even more data can be received.
3. Press [EXIT] to quit Bulk Load.
Making the Connections
After you press [EXIT], “Checking...” appears in the
display, indicating that the GT-6 is checking the received
data. When the check is completed, the Play screen
returns to the display.
When Receiving Data Saved on a MIDI Sequencer
Connect as shown below. Set the GT-6’s Device ID to the
same number that was used when the data was transmitted
to the MIDI sequencer.
fig.09-02
MIDI OUT
MIDI IN
*
For instructions on operating the sequencer, refer to the
owner’s manual for the sequencer you are using.
Receiving
1. Press [UTILITY], then press PARAMETER [
]
[
] so that “Bulk Load” is displayed.
fig.09-20
2. Transmit the data from the external MIDI device.
The following appears in the display when the GT-6
receives the data.
68
Chapter 9 Using MIDI
5. Repeat Step 4 as needed, setting patch numbers to their
corresponding Program numbers, until the Program
Change Map is completed.
Setting the Program Change
Map
6. Press [EXIT] to return to the Play screen.
When switching patches using Program Change messages
transmitted by an external MIDI device, you can freely set
the correspondence between Program Change messages
received by the GT-6 and the patches to be switched to in the
“Program Change Map.”
Enabling/Disabling the Program
Change Map Settings (MIDI Map Select)
This setting determines whether patches are switched
according to the Program Change Map settings, or to the
default settings.
2
1. Press [UTILITY], then press PARAMETER [
]
[
] so that “MIDI Map Select” is displayed.
fig.09-24
3
1,4
1
6
2. Rotate the PATCH/VALUE dial to select “Fix” or
“Prog.”
1. Press [UTILITY], then press PARAMETER [
]
Fix:
[
] so that “MIDI Map Select” is displayed.
Switches to the patches according to the default settings.
fig.09-24
For more on the default settings, refer to “Changing
Prog:
Switches to the patches according to the Program
Change Map.
2. Rotate the PATCH/VALUE dial to select “Prog.”
*
You cannot set the Program Change Map when “Fix” is
selected (it is not displayed).
3. Press [EXIT] to return to the Play screen.
*
See below for more on “MID Map Select.”
3. Press PARAMETER [
] until “MIDI Program Map”
appears in the display.
fig.09-25
Program Number
Bank Select
Number
Patch Number
4. Press PARAMETER [
] [
] to move the cursor,
and rotate the PATCH/VALUE dial to set the received
Program number and the corresponding patch number.
*
*
Use this same procedure to select Bank Select Numbers.
When using only Program Change messages to make program
changes, without using Bank Select messages, set the Program
number (1–128) when the Bank Select number is “0.”
69
Appendices
fig.10-102
About MIDI
T.V. information from many different broadcasting station is
sent through an antena.
Broadcasting
Station A
MIDI is an acronym for Musical Instrument Digital Interface,
and is a world-wide standard for allowing electronic musical
equipment to communicate by transmitting messages such as
performance information and sound selections. Any MIDI
equipped device is able to transmit applicable types of data
to another MIDI equipped device, even if the two devices are
different models or were made by different manufacturers.
Broadcasting
Station B
Broadcasting
Station C
Select the channel of the
broadcasting station you
wish to watch
In MIDI, performance information such as playing a key or
pressing a pedal are transmitted as MIDI Messages.
MIDI has sixteen channels 1 – 16, and MIDI messages will be
received by the instrument (the receiving device) whose
channel matches the channel of the transmitter.
*
If omni mode is on, data of all MIDI channels will be received
regardless of the MIDI channel setting. If you do not need to
control a specific MIDI channel, you may set Omni On.
How MIDI messages are
transmitted and received
First, we will explain briefly how MIDI messages are
transmitted and received.
Main types of MIDI message
used by the GT-6
MIDI includes many types of MIDI messages that can convey
a variety of information. MIDI messages can be broadly
divided into two types; messages that are handled separately
by MIDI channel (channel messages), and messages that are
handled without reference to a MIDI channel (system
messages).
MIDI connectors
The following types of connector are used to convey MIDI
messages. MIDI cables are connected to these connectors as
needed.
fig.10-101
Channel messages
These messages are used to convey performance
information. Normally these messages perform most of the
control. The way in which a receiving device will react to
each type of MIDI message will be determined by the
settings of the receiving device.
MIDI IN:
This connector receives messages from another
MIDI device.
Program change messages
MIDI OUT: This connector transmits messages from this
These messages are generally used to select sounds, and
include a program change number from 1 to 128 which
specifies the desired sound. The GT-3 also allows you to
select any of the 340 different patch numbers in conjunction
with bank select messages; a type of control change message.
device.
MIDI THRU: This connector re-transmits the messages that
were received at MIDI IN.
*
The GT-6 features both “MIDI IN” and “MIDI OUT”
connectors.
Control change messages
These messages are used to enhance the expressiveness of a
performance. Each message includes a controller number,
and the settings of the receiving device will determine what
aspect of the sound will be affected by control change
messages of a given controller number.
MIDI channels
MIDI is able to independently control more than one MIDI
device over a single MIDI cable. This is possible because of
the concept of MIDI channels.
The idea of MIDI channels is somewhat similar to the idea of
television channels. By changing channels on a television set,
you can view a variety of programs. This is because the
information of a particular channel is received when the
channels of the transmitter and receiver match.
The specified parameters can be controlled with the GT-6.
70
Appendices
System messages
System messages include exclusive messages, messages used
for synchronization, and messages used to keep a MIDI
system running correctly.
Exclusive messages
xclusive messages handle information related to a unit’s own
unique sounds, or other device-specific information.
Generally, such messages can only be exchanged between
devices of the same model by the same manufacturer.
Exclusive messages can be employed to save the settings for
effects programs into a sequencer, or for transferring such
data to another GT-6.
The two instruments must be set to the same device ID
numbers when exchanging SysEx messages.
About the MIDI implementation
MIDI allows a variety of messages to be exchanged between
instruments, but it is not necessarily the case that all types of
message can be exchanged between any two MIDI devices.
Two devices can communicate only if they both use the types
of messages that they have in common.
Thus, every owner’s manual for a MIDI device includes a
“MIDI Implementation Chart.” This chart shows the types of
message that the device is able to transmit and receive. By
comparing the MIDI implementation charts of two devices,
you can tell at a glance which messages they will be able to
exchange. Since the charts are always of a uniform size, you
can simply place the two charts side by side.
fig.10-103
Fold here
MIDI Device A
MIDI Device B
Function
Transmit
Recognized
Remarks
A separate publication titled “MIDI Implementation” is
also available. It provides complete details concerning
the way MIDI has been implemented on this unit. If you
should require this publication (such as when you intend
to carry out byte-level programming), please contact the
nearest Roland Service Center or authorized Roland
distributor.
71
Changing patches using bank select messages
A bank select message consists of a set of two control change messages, the controllers numbered 0 and 32. Normally, you select a
sound by using the bank select message followed by a program change message. On the GT-6, these messages are used for
changing patch numbers.
Changing patch numbers on an external MIDI device from the GT-6
When a patch is selected on the GT-6, the bank select and program change messages sent from the GT-6 correspond with each
other as shown below.
fig.10-201
Bank
Number
Bank
Number
Bank
Number
1
2
3
4
1
2
3
4
1
2
3
4
1
0,0,1 0,0,2 0,0,3 0,0,4
0,0,5 0,0,6 0,0,7 0,0,8
0,0,9 0,0,10 0,0,11 0,0,12
0,0,13 0,0,14 0,0,15 0,0,16
0,0,17 0,0,18 0,0,19 0,0,20
0,0,21 0,0,22 0,0,23 0,0,24
0,0,25 0,0,26 0,0,27 0,0,28
0,0,29 0,0,30 0,0,31 0,0,32
0,0,33 0,0,34 0,0,35 0,0,36
0,0,37 0,0,38 0,0,39 0,0,40
0,0,41 0,0,42 0,0,43 0,0,44
0,0,45 0,0,46 0,0,47 0,0,48
0,0,49 0,0,50 0,0,51 0,0,52
0,0,53 0,0,54 0,0,55 0,0,56
0,0,57 0,0,58 0,0,59 0,0,60
0,0,61 0,0,62 0,0,63 0,0,64
0,0,65 0,0,66 0,0,67 0,0,68
0,0,69 0,0,70 0,0,71 0,0,72
0,0,73 0,0,74 0,0,75 0,0,76
0,0,77 0,0,78 0,0,79 0,0,80
0,0,81 0,0,82 0,0,83 0,0,84
0,0,85 0,0,86 0,0,87 0,0,88
0,0,89 0,0,90 0,0,91 0,0,92
0,0,93 0,0,94 0,0,95 0,0,96
0,0,97 0,0,98 0,0,99 0,0,100
1,0,1 1,0,2 1,0,3 1,0,4
1,0,5 1,0,6 1,0,7 1,0,8
1,0,9 1,0,10 1,0,11 1,0,12
1,0,13 1,0,14 1,0,15 1,0,16
1,0,17 1,0,18 1,0,19 1,0,20
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
1,0,21 1,0,22 1,0,23 1,0,24
1,0,25 1,0,26 1,0,27 1,0,28
1,0,29 1,0,30 1,0,31 1,0,32
1,0,33 1,0,34 1,0,35 1,0,36
1,0,37 1,0,38 1,0,39 1,0,40
1,0,41 1,0,42 1,0,43 1,0,44
1,0,45 1,0,46 1,0,47 1,0,48
1,0,49 1,0,50 1,0,51 1,0,52
1,0,53 1,0,54 1,0,55 1,0,56
1,0,57 1,0,58 1,0,59 1,0,60
1,0,61 1,0,62 1,0,63 1,0,64
1,0,65 1,0,66 1,0,67 1,0,68
1,0,69 1,0,70 1,0,71 1,0,72
1,0,73 1,0,74 1,0,75 1,0,76
1,0,77 1,0,78 1,0,79 1,0,80
1,0,81 1,0,82 1,0,83 1,0,84
1,0,85 1,0,86 1,0,87 1,0,88
1,0,89 1,0,90 1,0,91 1,0,92
1,0,93 1,0,94 1,0,95 1,0,96
1,0,97 1,0,98 1,0,99 1,0,100
2,0,1 2,0,2 2,0,3 2,0,4
2,0,5 2,0,6 2,0,7 2,0,8
2,0,9 2,0,10 2,0,11 2,0,12
2,0,13 2,0,14 2,0,15 2,0,16
2,0,17 2,0,18 2,0,19 2,0,20
2,0,21 2,0,22 2,0,23 2,0,24
2,0,25 2,0,26 2,0,27 2,0,28
2,0,29 2,0,30 2,0,31 2,0,32
2,0,33 2,0,34 2,0,35 2,0,36
2,0,37 2,0,38 2,0,39 2,0,40
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
2,0,41 2,0,42 2,0,43 2,0,44
2,0,45 2,0,46 2,0,47 2,0,48
2,0,49 2,0,50 2,0,51 2,0,52
2,0,53 2,0,54 2,0,55 2,0,56
2,0,57 2,0,58 2,0,59 2,0,60
2,0,61 2,0,62 2,0,63 2,0,64
2,0,65 2,0,66 2,0,67 2,0,68
2,0,69 2,0,70 2,0,71 2,0,72
2,0,73 2,0,74 2,0,75 2,0,76
2,0,77 2,0,78 2,0,79 2,0,80
2,0,81 2,0,82 2,0,83 2,0,84
2,0,85 2,0,86 2,0,87 2,0,88
2,0,89 2,0,90 2,0,91 2,0,92
2,0,93 2,0,94 2,0,95 2,0,96
2,0,97 2,0,98 2,0,99 2,0,100
3,0,1 3,0,2 3,0,3 3,0,4
3,0,5 3,0,6 3,0,7 3,0,8
3,0,9 3,0,10 3,0,11 3,0,12
3,0,13 3,0,14 3,0,15 3,0,16
3,0,17 3,0,18 3,0,19 3,0,20
3,0,21 3,0,22 3,0,23 3,0,24
3,0,25 3,0,26 3,0,27 3,0,28
3,0,29 3,0,30 3,0,31 3,0,32
3,0,33 3,0,34 3,0,35 3,0,36
3,0,37 3,0,38 3,0,39 3,0,40
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
Bank Select MSB
Bank Select LSB
Program Number
*
*
If you wish to know whether the receiving device can recognize bank select messages or not, refer to the description for control changes in
the MIDI implementation chart provided in the owner’s manual of the receiving device.
If the receiving device does not recognize bank select messages, it will ignore the bank select messages and recognize only the program
change messages.
72
Changing patches using bank select messages
Changing patch numbers on the GT-6 using the bank select messages
sent from an external MIDI device
To change patch numbers on the GT-6 using bank select messages sent from an external MIDI device, check how the external
bank select and program change messages correspond with the patch numbers on the GT-6.
fig.10-202
PC#
Bank Select
PC#
Bank Select
PC#
Bank Select
0
1
2
3
0
1
2
3
0
1
2
3
1
1-1
1-2
1-3
1-4
2-1
2-2
2-3
2-4
3-1
3-2
3-3
3-4
4-1
4-2
4-3
4-4
5-1
5-2
5-3
5-4
6-1
6-2
6-3
6-4
7-1
7-2
7-3
7-4
8-1
8-2
8-3
8-4
9-1
9-2
9-3
26-1
26-2
26-3
26-4
27-1
27-2
27-3
27-4
28-1
28-2
28-3
28-4
29-1
29-2
29-3
29-4
30-1
30-2
30-3
30-4
31-1
31-2
31-3
31-4
32-1
32-2
32-3
32-4
33-1
33-2
33-3
33-4
34-1
34-2
34-3
51-1
51-2
51-3
51-4
52-1
52-2
52-3
52-4
53-1
53-2
53-3
53-4
54-1
54-2
54-3
54-4
55-1
55-2
55-3
55-4
56-1
56-2
56-3
56-4
57-1
57-2
57-3
57-4
58-1
58-2
58-3
58-4
59-1
59-2
59-3
76-1
76-2
76-3
76-4
77-1
77-2
77-3
77-4
78-1
78-2
78-3
78-4
79-1
79-2
79-3
79-4
80-1
80-2
80-3
80-4
81-1
81-2
81-3
81-4
82-1
82-2
82-3
82-4
83-1
83-2
83-3
83-4
84-1
84-2
84-3
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
9-4
34-4
35-1
35-2
35-3
35-4
36-1
36-2
36-3
36-4
37-1
37-2
37-3
37-4
38-1
38-2
38-3
38-4
39-1
39-2
39-3
39-4
40-1
40-2
40-3
40-4
41-1
41-2
41-3
41-4
42-1
42-2
42-3
42-4
43-1
43-2
59-4
60-1
60-2
60-3
60-4
61-1
61-2
61-3
61-4
62-1
62-2
62-3
62-4
63-1
63-2
63-3
63-4
64-1
64-2
64-3
64-4
65-1
65-2
65-3
65-4
66-1
66-2
66-3
66-4
67-1
67-2
67-3
67-4
68-1
68-2
84-4
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
:
18-3
18-4
19-1
19-2
19-3
19-4
20-1
20-2
20-3
20-4
21-1
21-2
21-3
21-4
21-1
22-2
22-3
22-4
23-1
23-2
23-3
23-4
24-1
24-2
24-3
24-4
25-1
25-2
25-3
25-4
:
43-3
43-4
44-1
44-2
44-3
44-4
45-1
45-2
45-3
45-4
46-1
46-2
46-3
46-4
47-1
47-2
47-3
47-4
48-1
48-2
48-3
48-4
49-1
49-2
49-3
49-4
50-1
50-2
50-3
50-4
:
68-3
68-4
69-1
69-2
69-3
69-4
70-1
70-2
70-3
70-4
71-1
71-2
71-3
71-4
72-1
72-2
72-3
72-4
73-1
73-2
73-3
73-4
74-1
74-2
74-3
74-4
75-1
75-2
75-3
75-4
:
:
2
10-1
10-2
10-3
10-4
11-1
11-2
11-3
11-4
12-1
12-2
12-3
12-4
13-1
13-2
13-3
13-4
14-1
14-2
14-3
14-4
15-1
15-2
15-3
15-4
16-1
16-2
16-3
16-4
17-1
17-2
17-3
17-4
18-1
18-2
85-1
:
3
85-2
:
4
85-3
:
5
85-4
:
6
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
7
:
8
:
9
:
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
128
25-4
50-4
75-4
85-4
PC# : Program Number
73
Factory Settings
Tuner
TUNER Pitch:
Restoring the Factory
Settings (Factory Reset)
A= 440 Hz
Bypass
TUNER Out:
Restoring the GT-6 to the settings made at the factory is
referred to as “Factory Reset.”
Output Select
Not only can you return all of the settings to the values in
effect when the GT-6 was shipped from the factory, you can
also specify the range of settings to be reset.
Output Select:
COMBO AMP
Global
Low EQ:
High EQ:
NS Threshold:
Reverb Level:
fig.10-301
0dB
0dB
0dB
100%
2
1
3
System
LCD Contrast:
BANK Extent:
16
85
3
Patch Change Mode:
EXP Pdl Hold:
Dial Function:
Wait for a Num.
On
PATCH No.& VALUE
Immediate
Off
Amp On/Off
Assignable
Assignable
Knob Mode:
4 1
Pedal Tuner SW:
Amp Switch Mode:
Sub CTL1 Func:
Sub CTL2 Func:
1. Turn off the power.
2. While holding down PREAMP/SPEAKER On/Off
button and [TYPE VARIATION], turn on the power.
The Factory Reset range setting screen appears in the
display.
MIDI
MIDI RX Channel:
MIDI Omni Mode:
MIDI TX Channel:
MIDI Device ID:
1
fig.10-302
Omni On
Rx
1
MIDI Sync Clock:
MIDI PC OUT:
MIDI EXP OUT:
MIDI EXP SW OUT:
MIDI CTL OUT:
MIDI Sub CTL1OUT:
MIDI Sub CTL2OUT:
MIDI Map Select:
Auto
On
7
81
80
Off
Off
Fix
The range of data you wish to factory reset.
*
To cancel Factory Reset, press [EXIT].
3. Press PARAMETER [ ] [ ] to move the cursor,
and rotate the PATCH/VALUE dial to specify the range
of settings you want to restore to factory settings.
System:
System parameters, Harmonist scales, Auto Riff phrases,
and Preamp, Overdrive/Distortion, and Wah Custom
Edit parameter settings
Manual
1:
2:
3:
4:
▲:
▼:
PRE (PRE/SP SIM)
OD (OD/DS)
DD (DELAY)
CE (CHORUS)
FX-1
#1-1–#35-4:
Settings for Patch Number 1-1 through 35-4
4. If you want to proceed with the factory reset, press
FX-2
[ENTER].
The specified range of data will be returned, and return
to the Play screen.
74
Troubleshooting
If there is no sound or other operational problems occur, first
check through the following solutions. If this does not
resolve the problem, then contact your dealer or a nearby
Roland service station.
Parameters specified with control
assign can’t be controlled
❍
Could the effect be switched off?
→
To control a parameter using the expression pedal or
CTL pedal, make sure the effect that contains the
parameter you intend to control is switched on.
No sound / volume too low
❍
Are the connection cables broken?
❍
Is something other than “Assignable” selected for the
SUB CTL 1,2 function setting?
→
Try using a different set of connection cables.
❍
Is the GT-6 correctly connected to the other devices?
→
When operating a foot switch connected to the SUB
EXP/SUB CTL 1, 2 jack, set the SUB CTL 1, 2 function (p.
→
❍
Is the connected amp/mixer turned off, or the volume
lowered?
❍
Do the MIDI channel settings of both devices match?
Make sure that the MIDI channels of both devices match
→
Check the settings of your amp/mixer system.
→
❍
Is the OUTPUT LEVEL knob lowered?
Adjust the OUTPUT LEVEL knob to an appropriate
→
❍
Do the controller nimber settings of both devices match?
Make sure that the controller nimber of both devices
→
❍
Is Tuner/Bypass set to On?
→
When the volume is set to “Mute” in the Tuner/Bypass
mode, even the direct sound will not be output by
MIDI messages are not transmitted/
received
❍
Are the MIDI cables broken?
Try another set of MIDI cables.
❍
Is each effect set correctly?
→
→
of each effect. If there is an effect for which the meter
❍
Is the GT-6 correctly connected to the other MIDI device?
Check connections with the other MIDI device.
→
❍
Is “FV: Level” or “MST: Patch Level” specified as a pedal
assign Target?
❍
Do the MIDI channel settings of both devices match?
Make sure that the MIDI channels of both devices match
→
→
Move the controller to which it is assigned.
❍
Is the power to the external device connected to the
SEND/RETURN jack off, or is the volume of the device
turned down?
❍
When you send messages from the GT-6, make sure the
GT-6 is set to the settings appropriate for sending data.
program change messages and the settings for the
→
→
Check the settings for the connected device.
The volume level of the instrument
connected to INPUT and RETURN are
too low
❍
Could you be using a connection cable that contains a
resistor?
→
Use a connection cable that does not contain a resistor.
Patch does not change
❍
Is something other than the Play screen shown in the
display?
→
On the GT-6, patches can be selected only when the Play
screen is displayed. Press [EXIT] to return to the Play
75
Troubleshooting
Error Messages
If you attempt an incorrect operation or if an operation could
not be executed, the display will indicate an error message.
Refer to this list and take the appropriate action.
fig.10-401
●
The memory backup battery inside the GT-6 has run
down. (This message will appear when the power is
turned on.)
❍
Replace the battery as soon as possible. For battery
replacement, please contact a nearby Roland service
center or your dealer.
fig.10-402
●
There is a problem with the MIDI cable connection.
❍
Check to make sure the cable has not been pulled out or
is not shorted.
fig.10-403
●
You’ve attempted to switch patches by rotating the
to “VALUE Only.”
❍
If you want to be able to switch patches using the
PATCH/VALUE dial, set the Dial function to “PATCH
No.& VALUE.”
fig.10-404
●
More MIDI messages were received in a short time than
could be processed correctly.
76
MIDI Implementation Chart
GUITAR EFFECTS PROCESSOR
Date: Apr. 10, 2001
Version: 1.00
Model GT-6
MIDI Implementation Chart
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1—16
1—16
1—16
1—16
Memorized
Memorized
Default
Messages
Altered
X
X
OMNI ON/OFF
X
X
Mode
**************
Note
Number :
X
X
True Voice
**************
**************
Note ON
Note OFF
X
X
X
X
Velocity
After
Touch
Key's
Ch's
X
X
X
X
Pitch Bend
X
X
0, 32 O (0—3)
O
O
X
Bank Select
* 1
* 2
1—31
O
O
O
33—63
64—95
O
* 2
Control
Change
Prog
Change
O
O
Program Number
1—128
: True #
0—127
0—127
System Exclusive
O
O
: Song Pos
: Song Sel
: Tune
X
X
X
X
X
X
System
Common
System
Real Time
: Clock
: Command
X
O
O
X
: All sound off
X
X
X
X
X
X
X
X
O
X
:
Local ON/OFF
: All Notes OFF
: Active Sense
: Reset
Aux
Message
* 1 MSB data of a value of 04H or higher, and the LSB are ignored.
* 2 Recognizes messages designated for use for realtime control over parameters.
Notes
A separate publication titled MIDI Implementation is also available. It provides complete details
concerning the way MIDI has been implemented on this unit. If you should require this publication
(such as when you intend to carry out byte-level programming), please contact the nearest Roland
Service Center or authorized Roland distributor.
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
X : No
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
77
Specifications
Controls
GT-6: Guitar Effects Processor
< Front Panel >
AD Conversion
(PREAMP/SPEAKER)
TYPE knob
24 bit + AF method
DA Conversion
GAIN knob
24 bit
BASS knob
MIDDLE knob
TREBLE knob
Sampling Frequency
44.1 kHz
LEVEL knob
Program Memories
SPEAKER knob
On/Off button
TYPE VARIATION button
340: 140 (User) + 200 (Preset)
Nominal Input Level
INPUT: -10 dBu
(OVERDRIVE/DISTORTION)
TYPE knob
RETURN: -10 dBu
DRIVE knob
Input Impedance
INPUT: 1 M Ω
LEVEL knob
On/Off button
RETURN: 220 kΩ
TYPE VARIATION button
Nominal Output Level
OUTPUT: 0 dBu
(DELAY)
FEEDBACK knob
LEVEL knob
On/Off button
TAP button
SEND: -10 dBu
Output Impedance
OUTPUT: 2 kΩ
(CHORUS)
SEND: 2 kΩ
LEVEL knob
On/Off button
Digital Output
EIAJ CP1201, S/P DIF
(REVERB)
Dynamic Range
LEVEL knob
On/Off button
100 dB or greater (IHF-A)
(WAH)
On/Off button
(EQ)
On/Off button
(FX-1)
On/Off button
(FX-2)
On/Off button
(MASTER)
PATCH LEVEL knob
78
Specifications
PARAMETER buttons L/R
EXIT button
Dimensions
515 (W) x 261 (D) x 75 (H) mm
WRITE button
20-5/16 (W) x 10-5/16 (D) x 3 (H) inches
EZ TONE button
Weight
PEDAL ASSIGN button
OUTPUT SELECT button
TUNER/BYPASS button
NAME/NS/MASTER button
UTILITY button
4.7 kg/10 lbs 6 oz (excluding AC Adaptor)
Accessories
AC Adaptor (BRC series)
Owner’s Manual
MANUAL button
Read this first (leaflet)
Patch List
Number pedals1-4
BANK pedals (Up/Down)
CTL pedal
Roland Service (information sheet)
Options
Expression pedal
Foot Switch: FS-5U, FS-5L
Expression pedal switch
PATCH/VALUE dial
Expression Pedal: EV-5 (Roland), FV-300L + PCS-33 (Roland)
Foot Switch Cable: PCS-31 (Roland)
(1/4 inches Phone Plug (stereo) - 1/4 inches Phone Plug (mono) x 2)
< Rear Panel >
OUTPUT LEVEL knob
POWER switch
*
0 dBu = 0.775 Vrms
Display
In the interest of product improvement, the specifications
and/or appearance of this unit are subject to change without
prior notice.
16 characters, 2 lines (backlit LCD)
2 characters, 7 segment LED
Connectors
INPUT jack
AF Method (Adaptive Focus method)
OUTPUT jacks L (MONO)/R
PHONES jack
This is a proprietary method from Roland that vastly
improves the signal-to-noise (S/N) ratio of the A/D and
D/A converters.
SEND jack
RETURN jack
DIGITAL OUT connector (coaxial)
SUB EXP PEDAL/SUB CTL PEDAL1,2 jack
MIDI connectors IN/OUT
AC Adaptor jack
Power Supply
AC 14 V; Supply AC adaptor (BOSS BRC series)
Current Draw
800 mA
79
Index
A
F
B
G
I
C
K
L
M
D
E
N
O
80
Adjusting the Expression Pedal
Although the GT-6’s expression pedal has been set for
optimum operation at the factory, extended use and the
operating environment can result in the pedal going out of
adjustment.
If you encounter problems such as being unable to fully cut
off the sound with the volume pedal, you can use the
following procedure to readjust the pedal.
1. Hold down [PEDAL ASSIGN] while you switch on the
power.
The following messages alternate in the display.
fig.10-801
2. With the pedal completely released, press [WRITE].
The message “--- OK! ---” appears, and then the
following messages alternate in the display.
fig.10-802
*
If you press [WRITE] when the pedal is not completely
released, or when the pedal position (angle) is not correct, the
message “--- Area Over! ---” appears in the display, and you
are prevented from proceeding to the next step. If this occurs,
readjust the pedal position.
3. With the pedal fully depressed, press [WRITE].
“--- OK! ---” appears, followed by "press [EXIT]."
*
If you press [WRITE] when the pedal is not fully depressed, or
when the pedal position (angle) is not correct, the message
“--- Area Over! ---” appears in the display, and you are
prevented from proceeding to the next step. If this occurs,
readjust the pedal position.
4. Press [EXIT].
After the message “Checking data please wait...” has
been displayed, you'll be returned to the Play screen.
82
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
For EU Countries
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
Apparatus containing
Lithium batteries
equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
ADVARSEL!
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
VARNING
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Levér det brugte batteri tilbage til
leverandøren.
Kassera använt batteri enligt
fabrikantens instruktion.
ADVARSEL
Eksplosjonsfare ved feilaktig skifte av
batteri.
VAROITUS
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Benytt samme batteritype eller en
tilsvarende type anbefalt av
apparatfabrikanten.
Brukte batterier kasseres i henhold til
fabrikantens instruks joner.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
For EU Countries
For the USA
This product complies with the requirements of European Directive 89/336/EEC.
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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