GX-100 PRM Eng01 W

GX -100
Parameter Guide
Table of contents
Table of contents
EFFECTS ...............................................................................................................................................................................................................5
COMPRESSOR ................................................................................................................................................................................................. 5
X-COMPRESSOR.............................................................................................................................................................................................. 6
BOOSTER ......................................................................................................................................................................................................... 7
OVERDRIVE ..................................................................................................................................................................................................... 8
X OVERDRIVE .................................................................................................................................................................................................. 9
DISTORTION.................................................................................................................................................................................................. 10
X DISTORTION .............................................................................................................................................................................................. 11
METAL DISTORTION ..................................................................................................................................................................................... 12
FUZZ .............................................................................................................................................................................................................. 13
AIRD PREAMP ............................................................................................................................................................................................... 14
AIRD PREAMP TYPE List ..................................................................................................................................................................................................................... 14
SP TYPE List ............................................................................................................................................................................................................................................ 15
MIC TYPE List ......................................................................................................................................................................................................................................... 15
PARAMETRIC EQUALIZER ............................................................................................................................................................................ 16
GRAPHIC EQUALIZER ................................................................................................................................................................................... 17
CHORUS ........................................................................................................................................................................................................ 18
PRIME CHORUS ............................................................................................................................................................................................. 20
FLANGER ....................................................................................................................................................................................................... 21
PRIME FLANGER ........................................................................................................................................................................................... 22
PHASER ......................................................................................................................................................................................................... 23
SCRIPT PHASER............................................................................................................................................................................................. 24
PRIME PHASER .............................................................................................................................................................................................. 25
CLASSIC-VIBE ................................................................................................................................................................................................ 26
ROTARY ......................................................................................................................................................................................................... 27
VIBRATO........................................................................................................................................................................................................ 28
PRIME VIBRATO ............................................................................................................................................................................................ 29
TREMOLO ...................................................................................................................................................................................................... 30
PAN ................................................................................................................................................................................................................ 31
RING MODULATOR ....................................................................................................................................................................................... 32
PITCH SHIFTER .............................................................................................................................................................................................. 33
HARMONIST .................................................................................................................................................................................................. 34
USER SCALE Settings .......................................................................................................................................................................................................................... 35
OVERTONE .................................................................................................................................................................................................... 36
OCTAVE ......................................................................................................................................................................................................... 37
POLY OCTAVE ............................................................................................................................................................................................... 38
DELAY............................................................................................................................................................................................................ 39
DELAY PLUS .................................................................................................................................................................................................. 40
TYPE: DUAL Parameters ..................................................................................................................................................................................................................... 41
ANALOG DELAY ............................................................................................................................................................................................ 42
SPACE ECHO ................................................................................................................................................................................................. 43
SHIMMER DELAY .......................................................................................................................................................................................... 44
TERA ECHO .................................................................................................................................................................................................... 45
TWIST ............................................................................................................................................................................................................ 46
WARP............................................................................................................................................................................................................. 47
REVERB .......................................................................................................................................................................................................... 48
REVERB PLUS ................................................................................................................................................................................................ 49
SHIMMER REVERB ........................................................................................................................................................................................ 50
AC GUITAR SIMULATOR ............................................................................................................................................................................... 51
AC RESONANCE ............................................................................................................................................................................................ 52
SLOW GEAR ................................................................................................................................................................................................... 53
DEFRETTER ................................................................................................................................................................................................... 54
TOUCH WAH ................................................................................................................................................................................................. 55
S-BEND .......................................................................................................................................................................................................... 56
WAH .............................................................................................................................................................................................................. 57
PEDAL BEND ................................................................................................................................................................................................. 58
FOOT VOLUME .............................................................................................................................................................................................. 59
NOISE SUPPRESSOR ..................................................................................................................................................................................... 60
DIVIDER/MIXER............................................................................................................................................................................................. 61
2
Table of contents
SEND/RETURN .............................................................................................................................................................................................. 63
PHRASE LOOP ............................................................................................................................................................................................... 65
X-BASS COMPRESSOR .................................................................................................................................................................................. 66
BASS OVERDRIVE ......................................................................................................................................................................................... 67
X BASS OVERDRIVE ...................................................................................................................................................................................... 68
BASS DISTORTION ........................................................................................................................................................................................ 69
BASS METAL DISTORTION ........................................................................................................................................................................... 70
BASS FUZZ .................................................................................................................................................................................................... 71
AIRD BASS PREAMP...................................................................................................................................................................................... 72
BASS CHORUS ............................................................................................................................................................................................... 73
BASS FLANGER ............................................................................................................................................................................................. 74
PRIME BASS FLANGER .................................................................................................................................................................................. 75
BASS PHASER................................................................................................................................................................................................ 76
PRIME BASS PHASER .................................................................................................................................................................................... 77
BASS PITCH SHIFTER .................................................................................................................................................................................... 78
BASS HARMONIST ........................................................................................................................................................................................ 79
BASS OCTAVE ............................................................................................................................................................................................... 81
BASS SLOW GEAR ......................................................................................................................................................................................... 82
BASS DEFRETTER .......................................................................................................................................................................................... 83
BASS TOUCH WAH ........................................................................................................................................................................................ 84
BASS S-BEND ................................................................................................................................................................................................ 85
BASS WAH ..................................................................................................................................................................................................... 86
BASS PEDAL BEND........................................................................................................................................................................................ 87
MASTER ......................................................................................................................................................................................................... 88
Effects that can be placed, and upper limit on functional devices ........................................................................................................... 89
CTL/EXP ............................................................................................................................................................................................................ 91
CONTROL FUNCTION ................................................................................................................................................................................... 91
ASSIGN SETTING ........................................................................................................................................................................................... 95
TARGET list ............................................................................................................................................................................................................................................. 98
About the Range of a Target’s Change....................................................................................................................................................................................... 110
About the Range of a Controller’s Change ............................................................................................................................................................................... 112
Virtual Expression Pedal System (Internal Pedal / Wave Pedal) ......................................................................................................................................... 113
KNOB SETTINGS.......................................................................................................................................................................................... 115
MEMORY MIDI ............................................................................................................................................................................................ 116
MENU ...............................................................................................................................................................................................................117
CONTROL MODE ......................................................................................................................................................................................... 117
HARDWARE SETTINGS ............................................................................................................................................................................... 118
AMP CONTROL .................................................................................................................................................................................................................................... 118
EXP HOLD ............................................................................................................................................................................................................................................. 118
PEDAL CALIBRATION ........................................................................................................................................................................................................................ 118
LCD BRIGHTNESS ............................................................................................................................................................................................................................... 118
AUTO OFF ............................................................................................................................................................................................................................................. 118
Bluetooth .............................................................................................................................................................................................................................................. 119
LOCK ....................................................................................................................................................................................................................................................... 119
PLAY OPTION .............................................................................................................................................................................................. 120
TUNER ......................................................................................................................................................................................................... 121
MIDI ............................................................................................................................................................................................................. 123
MIDI SETTING....................................................................................................................................................................................................................................... 123
PROGRAM MAP BANK1–BANK3 .................................................................................................................................................................................................... 124
USB .............................................................................................................................................................................................................. 125
FACTORY RESET.......................................................................................................................................................................................... 126
IN/OUT SETTINGS ........................................................................................................................................................................................127

INPUT SETTINGS ......................................................................................................................................................................................... 127
OUTPUT SELECT ......................................................................................................................................................................................... 129
GLOBAL EQ ................................................................................................................................................................................................. 130
OUTPUT SETTING ....................................................................................................................................................................................... 131
WRITE...............................................................................................................................................................................................................132
WRITE (Saving to Memory) ........................................................................................................................................................................ 132
EXCHANGE (Exchanging Memories) ......................................................................................................................................................... 134
3
Table of contents
INITIALIZE (Initializing a Memory) ............................................................................................................................................................ 136

INSERT (Inserting a Memory)..................................................................................................................................................................... 138
Sound List ......................................................................................................................................................................................................140
4
EFFECTS
EFFECTS
COMPRESSOR
Chain Palette
This is an effect that produces a long sustain by evening out the volume level of the input signal.
Parameter Value Explanation

ON/OFF OFF, ON Turns this effect on/off.
BOSS This models a BOSS CS-3.
COMP
TYPE
D-COMP This models a MXR DynaComp.
ORANGE This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.
0–100 Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer
SUSTAIN
sustain.
ATTACK 0–100 Adjusts the strength of the picking attack when the strings are played.
LEVEL 0–100 Adjusts the volume.
TONE -50–+50 This adjusts the tone.
DIRECT 0–100 Adjusts the volume of the direct sound.
MIX
* Company names and product names appearing in this document are registered trademarks or trademarks of their respective
owners.
5
EFFECTS
X-COMPRESSOR
Chain Palette
This uses MDP (Multi-Dimensional Processing) to obtain a consistently natural playing feel and sound that responds to the pitch
range and dynamics of your phrase.

0–100 Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer
SUSTAIN
sustain.
1:1– Selects the compression ratio.
RATIO
INF:1
MIX
What is MDP (Multi-Dimensional Processing)?
MDP is a technology for analyzing an input signal from many different angles and instantly breaking it down into its respective
components. This unique Roland technology makes it possible to realize an unprecedented level of expressiveness, by applying
multi-dimensional effect processing to each of these audio components simultaneously and then actively altering them according
to the input signal.
6
EFFECTS
BOOSTER
Chain Palette
This is an effect that amplifies the signal to raise the volume or to add distortion.

MID This is a booster with unique characteristics in the midrange.
BOOST Making the connection before the AIRD PREAMP produces sound suitable for solos.
CLEAN This not only functions as a booster, but also produces a clean tone that has punch even when used
TYPE
BOOST alone.
TREBLE This is a booster that has bright characteristics.
BOOST
BOOST 0–120 Adjusts the depth of distortion.
TONE -50–+50 Adjusts the tone.
LEVEL 0–100 Adjusts the volume of the effect sound.
-50–+50 Adjusts the tone for the low frequency range. Turning this to the left (counterclockwise) produces a
BOTTOM
sound with the low end cut; turning it to the right boosts the low end in the sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
SOLO SW OFF, ON Switches to a tone that is suitable for solos.
SOLO 0–100 Adjusts the volume level when the SOLO SW is ON.
LEVEL
7
EFFECTS
OVERDRIVE
Chain Palette
This effect distorts the sound to create long sustain. This produces mild distortion.

NATURAL This is an overdrive sound that provides distortion with a natural feeling.
OD
WARM OD This is a warm overdrive.
This is a crunch sound of the BOSS BD-2.
BLUES OD
This produces distortion that faithfully reproduces the nuances of picking.
TYPE This models the sound of the BOSS OD-1.
OD-1
This produces sweet, mild distortion.
CRUNCH A lustrous crunch sound with an added element of amp distortion.
T-SCREAM This models an Ibanez TS-808.
TURBO OD This is the high-gain overdrive sound of the BOSS OD-2.
CENTA OD This models a KLON CENTAUR.
DRIVE 0–120 Adjusts the depth of distortion.
BOTTOM
LEVEL
owners.
8
EFFECTS
X OVERDRIVE
Chain Palette
This is an overdrive that uses MDP to obtain the distortion that’s most appropriate in each pitch range.

OFF, Turns this effect on/off.
ON/OFF
ON
-50– Adjusts the tone.
TONE
+50
-50– Adjusts the tone for the low frequency range. Turning this to the left (counterclockwise) produces a sound
BOTTOM
+50 with the low end cut; turning it to the right boosts the low end in the sound.
OFF, Switches to a tone that is suitable for solos.
SOLO SW
ON
LEVEL
9
EFFECTS
DISTORTION
Chain Palette
This effect distorts the sound to create long sustain.

ON/OFF
ON
DIST This gives a basic, traditional distortion sound.
A-DIST This uses MDP technology to obtain ideal distortion in all ranges of the guitar, from low to high.
FAT DS A distortion sound with thick distortion.
LEAD Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.
TYPE DS
RAT This models a Proco RAT.
GUV This models a Marshall GUV’NOR.
DS
DIST+ This models a MXR DISTORTION+.
TONE
+50
BOTTOM
SOLO SW
ON
LEVEL
owners.
10
EFFECTS
X DISTORTION
Chain Palette
This is a distortion that uses MDP to obtain the distortion that’s most appropriate in each pitch range.

ON/OFF
ON
TONE
+50
BOTTOM
SOLO SW
ON
LEVEL
owners.
11
EFFECTS
METAL DISTORTION
Chain Palette
This is distortion sound that is ideal for performances of heavy riffs.

METAL This is distortion sound that is ideal for performances of heavy riffs.
DS
METAL This models the sound of the BOSS MT-2.
ZONE It produces a wide range of metal sounds, from old style to slash metal.
TYPE
This models the sound of the BOSS HM-2.
HM-2
It produces distinctive cranked-up distortion sound with compression.
METAL This models the sound of the BOSS ML-2.
CORE The effect lets you create the optimal sound for playing high-speed metal riffs.
DIST 0–120 Adjusts the depth of distortion.
BOTTOM
LEVEL
12
EFFECTS
FUZZ
Chain Palette
This is an effect unit that gives an extreme distortion sound.

OCT A fuzz sound with rich harmonic content.
FUZZ
‘60S This models a FUZZFACE.
TYPE
FUZZ It produces a fat fuzz sound.
MUFF This models an Electro-Harmonix Big Muff π.
FUZZ
FUZZ 0–120 Adjusts the depth of distortion.
TONE -50–+50
Adjusts the tone.
-50–+50
Adjusts the tone for the low frequency range. Turning this to the left (counterclockwise) produces a
BOTTOM
LEVEL
owners.
13
EFFECTS
AIRD PREAMP
Chain Palette
This is an amp that uses BOSS’s proprietary cutting-edge AIRD (Augmented Impulse Response Dynamics) technology to simulate
every detail of a guitar amp as a unified instrument, including the response and operation of the guitar amp’s circuit and the
interactions between all parts that affect the sound.
* Up to two AIRD PREAMPs can be placed in the effect chain.

TYPE Refer to 1.10.1. AIRD PREAMP TYPE List(P.14).
GAIN 0–120 Adjusts the distortion of the amp.
0–100 Adjusts the volume of the entire preamp.
LEVEL
* Be careful not to raise the Level setting too high.
LOW, MID, HIGH Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH. Distortion will
successively increase for settings of LOW, MIDDLE and HIGH.
GAIN SW
* The sound of each Type is created on the basis that the Gain is set to MIDDLE.
BASS 0–100 Adjusts the low frequency range tone.
MIDDLE 0–100 Adjusts the midrange balance.
TREBLE 0–100 Adjusts the high frequency range tone.
PRESENCE 0–100 Adjusts the balance in the extended upper range.
SOLO LEVEL 0–100 Adjusts the volume level when the SOLO SW is ON.
OFF, ON Turns the bright setting on/off.
BRIGHT SW * The BRIGHT setting is available only when certain AIRD PREAMP TYPE settings are
selected.
SAG -10–+10 Adjusts the amount by which compression changes in response to the power amp.
-10–+10 Adjusts the amount by which dynamics is affected by the interaction between the power amp
RESONANCE
and the speaker transformer.
SP TYPE Refer to 1.10.2. SP TYPE List(P.15).
MIC TYPE Refer to 1.10.3. MIC TYPE List(P.15).
MIC SHORT, Simulates the distance between the mic and speaker.
DISTANCE MEDIUM, LONG The distance from the speakers is farther in the order of SHORT<MEDIUM<LONG.
MIC CENTER Simulates the condition that the mic is set in the middle of the speaker cone.
POSITION 1 cm–10 cm Simulates the condition that the mic is moved away from the center of the speaker cone.
MIC LEVEL 0–100 Adjusts the volume of the mic.
AIRD PREAMP TYPE List
Value Explanation
TRANSPARENT An amp with a broad frequency range and an extremely flat response. Good for acoustic guitar.
An unembellished, clean sound that minimizes the amp’s idiosyncrasies, such as its trebly character and boomy
NATURAL
low end.
Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on
BOUTIQUE
conventional combo amps.
Great-feeling crunch sound that responds to the nuances of your picking while taking advantage of the
SUPREME
distinctive character of a 4x12” speaker cabinet.
An amp that delivers the distinctively great response and tone of a vintage Marshall, while making it even
MAXIMUM
higher gain.
14
EFFECTS
Value Explanation
JUGGERNAUT A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.
X-CRUNCH Crunch sound that uses MDP to deliver a crisp tone from all strings.
High-gain sound that uses MDP to obtain high-gain sound with a wide range and a great-feeling sense of
X-HI GAIN
separation.
X-MODDED Core sound that uses MDP to preserve the definition of the sound even with extreme gain.
JC-120 This models the sound of the Roland JC-120.
TWIN COMBO This models a Fender Twin Reverb.
DELUXE This models a Fender Deluxe Reverb.
COMBO
TWEED COMBO This models a Fender Bassman 4x10” Combo.
DIAMOND AMP This models a VOX AC30.
BRIT STACK This models a Marshall 1959.
RECTI STACK Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie DUAL Rectifier.
MATCH This models the sound input to left input on a Matchless D/C-30.
COMBO
BG COMBO This models the sound of the MESA/Boogie combo amp.
ORNG STACK This models the dirty channel of an ORANGE ROCKERVERB.
BGNR UB This models the sound that models the high-gain channel of a Bogner Uberschall.
METAL
owners.
SP TYPE List
Value Explanation
OFF This turns off the speaker simulator.
ORIGINAL This is the built-in speaker of the amp you selected with AIRD PREAMP TYPE(P.14) .
1x8” This is a compact open-back speaker cabinet with one 8-inch speaker.
2x12” This is a general open-back speaker cabinet with two 12-inch speakers.
4x10” This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.
4x12” This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers.
8x12” This is a double stack of two cabinets, each with four 12-inch speakers.
B1x15” This is a compact open-back speaker cabinet with one 15-inch speaker.
B1x18” This is a compact open-back speaker cabinet with one 18-inch speaker.
B2x15” This is a general open-back speaker cabinet with two 15-inch speakers.
B4x10” This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.
B8x10” This is a double stack of two cabinets, each with four 10-inch speakers.
You can create an original SP TYPE by using a dedicated tool to load IR (Impulse Response) data into the GX-100.
USER1–16 Download the dedicated tool from the BOSS website.
http://www.boss.info/support/
MIC TYPE List
Value Explanation
This models the sound of the SHURE SM57. General dynamic mic used for instruments and vocals. Optimal for use in
DYN57
miking guitar amps.
DYN421 This models the sound of the SENNHEISER MD-421. Dynamic mic with extended low end.
CND451 This models the sound of the AKG C451B. Small condenser mic for use with instruments.
CND87 This models the sound of the NEUMANN U87. Condenser mic with flat response.
Simulates a mic with perfectly flat response. Produces a sonic image close to that of listening to the sound directly from
FLAT
the speakers (on site).
owners.
15
EFFECTS
PARAMETRIC EQUALIZER
Chain Palette
This adjusts the tone. You can adjust the sound character in four bands.

LOW GAIN -20–+20 dB Adjusts the low frequency range tone.
HIGH GAIN -20–+20 dB Adjusts the high frequency range tone.
LEVEL -20–+20 dB Adjusts the overall volume level of the equalizer.
LOW-MID 20.0 Hz–12.5 kHz Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN.
FREQ
0.5–16 Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher
LOW-MID Q
values will narrow the area.
LOW-MID -20–+20 dB Adjusts the low-middle frequency range tone.
GAIN
HIGH-MID 20.0 Hz–12.5 kHz Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN.
FREQ
0.5–16 Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher
HIGH-MID Q
HIGH-MID -20–+20 dB Adjusts the high-middle frequency range tone.
GAIN
FLAT, 20.0 Hz– Sets the frequency at which the low cut filter begins to take effect. When “FLAT” is selected,
LOW CUT
12.5 kHz the low cut filter has no effect.
20.0 Hz–12.5 kHz, Sets the frequency at which the high cut filter begins to take effect. When “FLAT” is selected,
HIGH CUT
FLAT the high cut filter has no effect.
16
EFFECTS
GRAPHIC EQUALIZER
Chain Palette
This adjusts the tone. You can adjust the sound character in ten bands.

31.5 Hz -20–+20 dB Adjust the volume of each frequency band.
63 Hz
125 Hz
250 Hz
500 Hz
1 kHz
2 kHz
4 kHz
8 kHz
16 kHz
LEVEL -20–+20 dB Adjusts the overall volume level of the equalizer.
17
EFFECTS
CHORUS
Chain Palette
This is an effect that adds a slightly modulated sound to the direct signal, creating beautiful spaciousness and depth.
MONO/STEREO
Selection for the chorus mode.
MONO This chorus effect outputs the same sound from both L channel and R channel.
DIR/EFX This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the
effect sound output in the R channel.
TYPE
STEREO This is a stereo chorus effect that adds different chorus sounds to L channel and R channel.
DUAL This lets you apply chorus independently to the L and R channels.
0–100, BPM Adjusts the rate of the chorus effect.

ŀ–Ō
* When set to BPM, the value of each parameter will be set according to the value of the
“MASTER BPM” specified for each memory. This makes it easier to achieve effect sound
RATE settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4 of that time.
DEPTH 0–100 Adjusts the depth of the chorus effect. To use this as a doubling effect, set this to “0”.
EFFECT 0–100 Adjusts the volume of the effect sound.
LEVEL
0.0 ms–40.0 Adjusts the time needed for the effect sound to be output after the direct sound has been output.
PRE-DELAY ms 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).
TRI Produces a typical chorus effect.
WAVEFORM
Produces a deeper sense of modulation.
SINE
FLAT, 20.0 Sets the frequency at which the low cut filter begins to take effect. When “FLAT” is selected, the low
LOW CUT
Hz–12.5 kHz cut filter has no effect.
20.0 Hz–12.5 Sets the frequency at which the high cut filter begins to take effect. When “FLAT” is selected, the
HIGH CUT
kHz, FLAT high cut filter has no effect.
LEVEL Setting this to “0” cuts the direct sound.
40–250 Adjusts the BPM value for each memory.
BPM
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute.
18
EFFECTS

* When you have an external MIDI device connected, the MASTER BPM synchronizes to the
external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting
of the MASTER BPM, set “SYNC CLOCK” to “INTERNAL”.
DUAL
ŀ–Ō
1: RATE “MASTER BPM” specified for each memory. This makes it easier to achieve effect sound
2: RATE settings that match the tempo of the song.
1: DEPTH 0–100 Adjusts the depth of the chorus effect. To use this as a doubling effect, set this to “0”.
2: DEPTH
1: EFFECT 0–100 Adjusts the volume of the effect sound.
LEVEL
2: EFFECT
LEVEL
1: PRE-DELAY
ms By setting a longer pre delay time, you can obtain an effect that sounds like more than one sound is
2: PRE-DELAY
1:
WAVEFORM
2: Produces a deeper sense of modulation.
WAVEFORM
SINE
1: LOW CUT FLAT, 20.0 Sets the frequency at which the low cut filter begins to take effect. When “FLAT” is selected, the low
2: LOW CUT Hz–12.5 kHz cut filter has no effect.
1: HIGH CUT 20.0 Hz–12.5 Sets the frequency at which the high cut filter begins to take effect. When “FLAT” is selected, the
2: HIGH CUT kHz, FLAT high cut filter has no effect.
OUTPUT MONO This setting is appropriate for mono output.
MODE STEREO Produces a rich spaciousness when stereo output is used.
BPM
19
EFFECTS
PRIME CHORUS
Chain Palette
This is BOSS’s proprietary chorus sound. It provides spaciousness and depth that were not previously obtainable.

ŀ–Ō
LEVEL
PRE-DELAY ms By setting a longer pre delay time, you can obtain an effect that sounds like more than one sound is
WAVEFORM
Produces a deeper sense of modulation.
SINE
LOW CUT
20.0 Hz–12.5 Sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high
HIGH CUT
kHz, FLAT cut filter has no effect.
SWEETNESS 0–100 Higher values produce a more enveloping sound.
BELL 0–100 Higher values produce a more brilliant sound.
OUTPUT MONO This setting is appropriate for mono output.
MODE STEREO Produces a rich spaciousness when stereo output is used.
20
EFFECTS
FLANGER
Chain Palette
The flanger effect gives a twisting, jet-airplane-like character to the sound.

0–100, BPM Sets the rate of the flanging effect.
ŀ–Ō
“MASTER BPM” specified for each memory. This makes it easier to achieve effect sound settings
RATE that match the tempo of the song.
DEPTH 0–100 Determines the depth of the flanging effect.
0–100 Determines the amount of resonance (feedback). Increasing the value emphasizes the effect, for a
RESONANCE
more unusual sound.
MANUAL 0–100 Adjusts the center frequency at which to apply the effect.
LOW CUT
OFF, 0–100, This sets the cycle of the step function that changes the rate and depth. When it is set to a higher
STEP RATE
BPM ŀ–Ō value, the change will be finer. Set this to “0” when not using the Step function.
EFFECT 0–100 Adjusts the volume of the flanger.
LEVEL
BPM
21
EFFECTS
PRIME FLANGER
Chain Palette
A flanger that you can set in greater detail than the standard flanger effect.

0–100, BPM ŀ–Ō Sets the rate of the flanging effect.
* When set to BPM, the value of each parameter will be set according to the value of
the “MASTER BPM” specified for each memory. This makes it easier to achieve effect
RATE sound settings that match the tempo of the song.
0–100 Determines the amount of resonance (feedback). Increasing the value emphasizes the
RESONANCE
effect, for a more unusual sound.
WAVEFORM TRI, SINE Selects the type of wave.
0, 15, 30, 45, 60, 75, Adjusts the diffusion. The diffusion increases as the value increases.
SEPARATION 90, 105, 120, 135, 150,
165, 180
OFF, 0–100, BPM ŀ–Ō This sets the cycle of the step function that changes the rate and depth. When it is set to a
STEP RATE
higher value, the change will be finer. Set this to “0” when not using the Step function.
TURBO OFF, ON If this is “ON,” a more intense effect is produced.
LOW DAMP -100–0 Adjusts the amount of feedback for the low-frequency region.
HIGH DAMP -100–0 Adjusts the amount of feedback for the high-frequency region.
FLAT, 20.0 Hz–12.5 Sets the frequency at which the low cut filter begins to take effect. When “FLAT” is
LOW CUT
kHz selected, the low cut filter has no effect.
20.0 Hz–12.5 kHz, Sets the frequency at which the high cut filter begins to take effect. When FLAT is selected,
HIGH CUT
LEVEL
* BPM (beats per minute) indicates the number of quarter note beats that occur each
minute.
BPM
* When you have an external MIDI device connected, the MASTER BPM synchronizes to
the external MIDI devices tempo, making it impossible to set the MASTER BPM. To
enable setting of the MASTER BPM, set “SYNC CLOCK” to “INTERNAL”.
22
EFFECTS
PHASER
Chain Palette
Gives a whooshing, swirling character to the sound by adding varied-phase portions to the direct sound.

4 STAGE, Select the number of stages for the phaser effect.
STAGE 8 STAGE, 12
STAGE
0–100, BPM ŀ– Adjusts the frequency (speed) of the volume change.
Ō
DEPTH 0–100 Determines the depth of the phaser effect.
0–100 Determines the amount of resonance (feedback). Increasing the value emphasizes the effect, for
RESONANCE
a more unusual sound.
MANUAL 0–100 Adjusts the center frequency of the phaser effect.
BPM ŀ–Ō value, the change will be finer. Set this to “OFF” when not using the Step function.
STEP RATE “MASTER BPM” specified for each memory. This makes it easier to achieve effect sound
settings that match the tempo of the song.
EFFECT 0–100 Adjusts the volume of the phaser.
LEVEL
BPM
external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable
setting of the MASTER BPM, set “SYNC CLOCK” to “INTERNAL”.
23
EFFECTS
SCRIPT PHASER
Chain Palette
Models the MXR Phase 90 which was manufactured during the ‘70s.

0–100, Adjusts the frequency (speed) of the volume change.
BPM ŀ–Ō
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER
BPM” specified for each memory. This makes it easier to achieve effect sound settings that match
RATE the tempo of the song.
LEVEL
BPM
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external
MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” to “INTERNAL”.
owners.
24
EFFECTS
PRIME PHASER
Chain Palette
A phaser that can be set in greater detail.

2 STAGE, 4 STAGE, Select the number of stages for the phaser effect.
STAGE 8 STAGE, 16 STAGE,
24 STAGE
0–100, BPM ŀ–Ō Adjusts the frequency (speed) of the volume change.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
RESONANCE
SEPARATION 90, 105, 120, 135, 150,
165, 180
higher value, the change will be finer. Set this to “OFF” when not using the Step function.
STEP RATE the “MASTER BPM” specified for each memory. This makes it easier to achieve effect
sound settings that match the tempo of the song.
BI-PHASE OFF, ON Specifies whether the two phase shift circuits are connected in series (ON) or not (OFF).
LOW CUT
20.0 Hz–12.5 kHz, Sets the frequency at which the high cut filter begins to take effect. When FLAT is
HIGH CUT
FLAT selected, the high cut filter has no effect.
LEVEL
minute.
BPM
* When you have an external MIDI device connected, the MASTER BPM synchronizes
to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To
25
EFFECTS
CLASSIC-VIBE
Chain Palette
Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.

CHORUS Direct sound and effect sound are mixed and output.
MODE
VIBRATO Only effect sound is output.
0–100, BPM Adjusts the rate of the CLASSIC VIBE effect.
ŀ–Ō
DEPTH 0–100 Adjusts the depth of the CLASSIC VIBE effect.
BPM
external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of
the MASTER BPM, set “SYNC CLOCK” to “INTERNAL”.
26
EFFECTS
ROTARY
Chain Palette
This produces an effect like the sound of a rotary speaker.

SLOW, This parameter changes the simulated speaker’s rotating speed (SLOW or FAST).
SPEED SELECT
FAST
0–100, BPM This parameter adjusts the SPEED SELECT of rotation when set to “SLOW”.
ŀ–Ō
SLOW RATE settings that match the tempo of the song.
0–100, BPM This parameter adjusts the SPEED SELECT of rotation when set to “FAST”.
ŀ–Ō
FAST RATE settings that match the tempo of the song.
EFFECT LEVEL 0–100 Adjusts the volume.
0–100 This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched
RISE TIME
from “SLOW” to “FAST”.
0–100 This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched
FALL TIME
from “FAST” to “SLOW”.
MIC 0–100 Adjusts the distance between the horn/rotor and the mic.
DISTANCE
100:0– Adjusts the volume balance between the horn and rotor.
ROTOR/HORN
0:100
DRIVE 0–100 Adjusts the amount of distortion in the preamp.
BPM
27
EFFECTS
VIBRATO
Chain Palette
This effect creates vibrato by slightly modulating the pitch.

0–100, BPM Adjusts the rate of the vibrato.
ŀ–Ō
BPM” specified for each memory. This makes it easier to achieve effect sound settings that
RATE match the tempo of the song.
DEPTH 0–100 Adjusts the depth of the vibrato.
RISE TIME 0–100 This sets the time passing from the moment the Trigger is turned on until the set vibrato is obtained.
TRIGGER OFF, ON This selects on/off of the vibrato.
EFFECT 0–100 Adjusts the volume.
LEVEL
BPM
28
EFFECTS
PRIME VIBRATO
Chain Palette
A vibrato that you can set in greater detail than the standard vibrato effect.

0–100, Adjusts the rate of the vibrato.
BPM ŀ–Ō
DEPTH 0–100 Adjusts the depth of the vibrato.
COLOR 0–100 Higher settings produce a more complex modulation.
LEVEL
TRIGGER OFF, ON This selects on/off of the vibrato.
RISE TIME 0–100 This sets the time passing from the moment the Trigger is turned on until the set vibrato is obtained.
BPM
29
EFFECTS
TREMOLO
Chain Palette
This effect creates a cyclic change in volume.

0–100, Adjusts the frequency (speed) of the volume change.
BPM ŀ–Ō
DEPTH 0–100 Adjusts the depth of the volume change.
0–100 Adjusts how the volume level changes (the curve). Higher values create steeper wave shapes (more
WAVEFORM
abrupt changes).
LEVEL
TRIGGER OFF, ON Turns the tremolo on/off.
RISE TIME 0–100 Specifies the time from when trigger turns on until the specified tremolo effect is obtained.
BPM
30
EFFECTS
PAN
Chain Palette
With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an effect that
makes the guitar sound appear to fly back and forth between the speakers.

0–100, BPM Adjusts the frequency (speed) of the volume change.
ŀ–Ō
DEPTH 0–100 Adjusts the depth of the volume change.
0–100 Adjusts how the volume level changes (the curve).
WAVEFORM
Higher values create steeper wave shapes (more abrupt changes).
LEVEL
BPM
31
EFFECTS
RING MODULATOR
Chain Palette
This creates a bell-like sound by ring-modulating the guitar sound with the signal from the internal oscillator. The sound can be
unmusical and lack distinctive pitches.

OFF, ON If this is ON, the oscillator frequency changes according to the pitch of the input sound, producing a
pitched sound. In this case, the expected effect does not occur if the pitch of the guitar sound is not
INTELLIGENT
detected correctly. This effect does not give a satisfactory result if the pitch of the guitar sound is not
correctly detected.
FREQUENCY 0–100 Adjusts the frequency of the internal oscillator.
0–100, Adjusts the rate at which the internal oscillator is modulated.
BPM ŀ–
Ō * When set to BPM, the value of each parameter will be set according to the value of the “MASTER
MOD RATE the tempo of the song.
MOD DEPTH 0–100 Adjusts the depth to which the internal oscillator is modulated.
LEVEL
BPM
32
EFFECTS
PITCH SHIFTER
Chain Palette
This effect changes the pitch of the original sound (up or down) within a range of two octaves.

Selects the number of voices for the pitch shift sound.
1 VOICE One-voice pitch-shifted sound output in mono.
VOICE 2 MONO Two-voice pitch-shifted sound (PS1, PS2) output in mono.
2 STEREO Two-voice pitch-shifted sound (PS1, PS2) output through left and right channels.
1: PITCH -24–+24 Adjusts the amount of pitch shift (the amount of interval) in semitone steps.
2: PITCH
1: FINE -50–+50 Make fine adjustments to the interval. The amount of the change in the Fine 100 is equivalent to
2: FINE that of the Pitch 1.
1: MODE FAST, MEDIUM, The response is slower in the order of FAST, MEDIUM and SLOW, but the modulation is lessened
2: MODE SLOW, MONO in the same order.
0–300 ms, BPM Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard.
ŀ–Ō Normally you can leave this set at 0 ms.
1: PRE- * When set to BPM, the value of each parameter will be set according to the value of the
DELAY “MASTER BPM” specified for each memory. This makes it easier to achieve effect sound
2: PRE- settings that match the tempo of the song.
DELAY
1: 0–100 Adjusts the feedback amount of the pitch shift sound.
FEEDBACK
1: LEVEL 0–100 Adjusts the volume of the pitch shifter.
2: LEVEL
LEVEL
BPM
33
EFFECTS
HARMONIST
Chain Palette
Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create
harmony based on diatonic scales.
* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to
mute all the other strings and play only one note at a time.
* When you are to play the next string while a certain sound is still playing, mute the previous sound and then play the next
one with a clear attack. If the unit cannot detect the attack, it may not sound correctly.
* The sensitivity may vary according to the guitar’s TONE knob and pickup type.

VOICE 2 MONO Two-voice pitch-shifted sound (HR1, HR2) output in mono.
2 STEREO Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels.
1: -2oct, – This determines the pitch of the sound added to the input sound, when you are making a harmony.
HARMONY +2oct, It allows you to set it by up to 2 octaves higher or lower than the input sound. When the scale is set to
2: USER USER, this parameter sets the user scale number to be used.
HARMONY 1.28.1. USER SCALE Settings(P.35)
1: LEVEL 0–100 Adjusts the volume of the harmony sound.
2: LEVEL
0–300ms, Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally
BPM ŀ–Ō you can leave this set at 0 ms.
1: PRE- * When set to BPM, the value of each parameter will be set according to the value of the “MASTER
DELAY BPM” specified for each memory. This makes it easier to achieve effect sound settings that match
2: PRE- the tempo of the song.
DELAY
1: 0–100 Adjusts the feedback amount of the harmonist sound.
FEEDBACK
C (Am)–B The key setting corresponds to the key of the song (#, b) as follows.
(G#m)
KEY

LEVEL
BPM
34
EFFECTS

USER SCALE Settings
* Effective with USER selected for HARMONY parameter.
Parameter Value
HR1:C -24–0–+24
HR2:C
HR1:D³ -24–0–+24
HR2:D³
HR1:D -24–0–+24
HR2:D
HR1:E³ -24–0–+24
HR2:E³
HR1:E -24–0–+24
HR2:E
HR1:F -24–0–+24
HR2:F
HR1:F´ -24–0–+24
HR2:F´
HR1:G -24–0–+24
HR2:G
HR1:A³ -24–0–+24
HR2:A³
HR1:A -24–0–+24
HR2:A
HR1:B³ -24–0–+24
HR2:B³
HR1:B -24–0–+24
HR2:B
35
EFFECTS
OVERTONE
Chain Palette
This effect uses MDP technology to add new harmonics to the sound, producing resonance and richness that was not present in
the original sound.

LOWER LEVEL 0–100 Adjusts the volume of the harmonic one octave below.
UPPER LEVEL 0–100 Adjusts the volume of the harmonic one octave above.
UNISON LEVEL 0–100 Adjusts the volume of added sound whose pitch is slightly shifted relative to the direct sound.
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
DETUNE 0–100 Adjusts the amount of the detune effect that adds depth to the sound.
LOW -50–+50 Adjusts the tonal character of the low-frequency range.
HIGH -50–+50 Adjusts the tonal character of the high-frequency range.
OUTPUT MODE MONO, STEREO Selects how output occurs.
36
EFFECTS
OCTAVE
Chain Palette
This adds a note one octave lower and a note two octaves lower, creating a richer sound.

-2 OCT 0–100 Adjusts the volume of the sound two octave below.
-1 OCT 0–100 Adjusts the volume of the sound one octaves below.
37
EFFECTS
POLY OCTAVE
Chain Palette
An octave effect that works with polyphonic input.

RANGE 0–100 This selects the register to which the effect is applied.
OCTAVE LEVEL 0–100 Adjusts the volume of the sound one octave below.
38
EFFECTS
DELAY
Chain Palette
This is a delay with a maximum delay time of 2,000 ms. This effect is a useful way of adding depth to the sound.

1 ms–2000 Adjusts the delay time.
ms, BPM ŀ–
Ō * When set to BPM, the value of each parameter will be set according to the value of the
TIME settings that match the tempo of the song.
0–100 Adjusts the volume of delay that is returned to the input. Higher settings will result in more delay
FEEDBACK
repeats.
EFFECT 0–120 Adjusts the volume of the delay sound.
LEVEL
LEVEL
HIGH CUT
OFF, ON Sets whether to make the sound of the effect carry over or not after you turn it off.
CARRYOVER * If you want the effect sound to carry over even after you switch to a different memory, set
CARRYOVER in MASTER to “ON”.
BPM
39
EFFECTS
DELAY PLUS
Chain Palette
This produces a variety of delay sounds ranging from simple effects to richly idiosyncratic sounds.
* This changes the parameters that are shown for the selected type.

MONO This is a simple mono delay.
DIR/EFX The direct sound is output from the left channel, and the effect sound is output from the right
channel.
STEREO This is a stereo-in/out delay.
TYPE 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.
REVERSE Produces a reverse playback effect.
DUAL A delay comprising two different delays connected either in series or in parallel.
* List of parameters shown when TYPE: DUAL is selected(P.41)

ms, BPM ŀ–Ō
0–100 Adjusts the volume of delay that is returned to the input. Higher settings will result in more delay
FEEDBACK
repeats.
EFFECT LEVEL 0–120 Adjusts the volume of the delay sound.
20.0 Hz–12.5 Sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the
HIGH CUT
MOD RATE 0–100 Adjusts the modulation rate of the delay sound.
MOD DEPTH 0–100 Adjusts the modulation depth of the delay sound.
0–100 Adjusts the sensitivity by which the volume is automatically adjusted according to the input.
DUCK SENS
Increasing this value makes the response more sensitive at lower volumes.
0–100 The volume being “input” to the delay is automatically reduced when the input sound is loud. As
DUCK PRE
this setting approaches 100, the output volume reduction is applied more deeply.
0–100 The volume being “output” to the delay is automatically reduced when the input sound is loud.
DUCK POST
As this setting approaches 100, the output volume reduction is applied more deeply.
BPM
0–100% Adjusts the delay time of the right channel delay. This setting adjusts the R channel delay time
TAP TIME *1
relative to the L channel delay time (considered as 100%).
40
EFFECTS

AUTO OFF, ON If this is “ON,” an effect is produced that matches what you’re playing.
TRIGGER *2
CARRYOVER OFF, ON You can specify whether the effect sound carries over when you switch the DELAY to “OFF”.
* 1 Displays when TYPE is “PAN”.
* 2 Displays when TYPE is “REVERSE”.
TYPE: DUAL Parameters

SERIES This is a delay comprising two different delays connected in series.
This is a delay comprising two delays connected in parallel.
PARALLEL
MODE
This delay lets you specify the L and R channels independently.
L/R

This delay is specifically for stereo output. This allows you to obtain the tap delay effect that
1: TYPE PAN
divides the delay time, then deliver them to L and R channels.
2: TYPE
ANALOG Gives a mild analog delay sound.
TAPE This setting provides the characteristic wavering sound of the tape echo.
ms,
BPM ŀ–Ō * When set to BPM, the value of each parameter will be set according to the value of the
1: TIME “MASTER BPM” specified for each memory. This makes it easier to achieve effect sound
2: TIME settings that match the tempo of the song.
1: FFEDBACK 0–100 Adjusts the volume of delay that is returned to the input. Higher settings will result in more delay
2: FEEDBACK repeats.
1: EFFECT 0–120 Adjusts the volume of the delay sound.
LEVEL
2: EFFECT
LEVEL
1: HIGH CUT 20.0 Hz–12.5 Sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the
2: HIGH CUT kHz, FLAT high cut filter has no effect.
BPM
CARRYOVER OFF, ON Sets whether to make the sound of the effect carry over or not after you turn it off.
41
EFFECTS
ANALOG DELAY
Chain Palette
Gives a mild analog delay sound.

TYPE
DIR/EFX This is a stereo-in/out delay.

ms, BPM ŀ–Ō
0–100 Adjusts the volume of delay that is returned to the input. Higher values increase the number of
FEEDBACK
delay repeats.
EFFECT 0–120 Adjusts the volume of the delay sound.
LEVEL
LEVEL
HIGH CUT
DUCK SENS
DUCK PRE
0–100 The volume being “output” to the delay is automatically reduced when the input sound is loud. As
DUCK POST
BPM
42
EFFECTS
SPACE ECHO
Chain Palette
Models the Roland RE-201.

ms, BPM ŀ–
FEEDBACK
delay repeats.
HIGH CUT
DUCK SENS
DUCK PRE
DUCK POST
1, 1+2, 1+3, Selects the combination playback heads. Playback heads 2/3 provide delay times that are two
HEAD
2+3, 1+2+3 times or three times as long as playback head 1.
WOW & 0–100 Adjusts the wow & flutter.
FLUTTER
BPM
43
EFFECTS
SHIMMER DELAY
Chain Palette
Delay with pitch-shifted sound mixed in.

ms, BPM ŀ–
FEEDBACK
delay repeats.
HIGH CUT
DUCK SENS
DUCK PRE
DUCK POST
PITCH -24–+24 Lets you freely specify the amount of pitch shift for the delay.
PITCH 0–100 Adjusts the balance between the pitch-shifted sound that is input to the delay and the direct
BALANCE sound.
PITCH 0–100 Adjusts the amount of feedback for the delay that is applied to the direct sound.
FEEDBACK
BPM
44
EFFECTS
TERA ECHO
Chain Palette
This effect uses MDP technology to create a unique ambience and a spaciousness that changes according to your picking
dynamics.

SPREAD TIME 0–100 Adjusts the length of the effect sound.
FEEDBACK 0–100 Adjusts the decay of the effect sound.
EFFECT LEVEL 0–100 Adjusts the volume of the effect sound.
MONO The L and R channels will both output the same sound.
DIR/EFX The R channel outputs the direct sound, and the L channel outputs the effect sound.
MODE
STEREO The effect is applied separately to the L and R channels.
OFF, ON The effect sound is held when you turn this on.
TRIGGER
* Memories are written with the parameter set to OFF.
45
EFFECTS
TWIST
Chain Palette
Produces an aggressive sense of rotation. Using this in conjunction with distortion will produce an even wilder sense of rotation.

RISEÓFALL Rotation stops when you switch TRIGGER from ON to OFF.
MODE
RISEÓFADE When you switch TRIGGER from ON to OFF, fade-out occurs while continuing the rotation.
TRIGGER OFF, ON The TWIST effect is applied when you turn this ON.
RISE TIME 0–100 This parameter adjusts the amount of time it is to take for the effect to transition to the maximum.
FALL TIME *1 0–100 Adjusts the time it takes for the rotation effect to stop when MODE changes from RISE to FALL.
FADE TIME *2 0–100 Adjusts the fade out time required when MODE changes from RISE to FADE.
* 1 Setting available when MODE is set to RISEÓFALL.
* 2 Setting available when MODE is set to RISEÓFADE.
46
EFFECTS
WARP
Chain Palette
Produces a dream-like sound.

ms, BPM ŀ–
TIME that match the tempo of the song.
TRIGGER OFF, ON If this is ON, the WARP effect is applied.
BPM
47
EFFECTS
REVERB
Chain Palette
This effect adds reverberation to the sound.

HALL S Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
HALL M Simulates the reverberation in a concert hall. Provides mild reverberations.
Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a
PLATE
metallic sound with a distinct upper range.
TYPE
ROOM Simulates the reverberation in a small room. Provides warm reverberations.
Simulates an ambience mic (off-mic, placed at a distance from the sound source) used in recording
STUDIO and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a
sense of openness and depth.
TIME 0.1 s–10.0 s Adjusts the length (time) of reverberation.
EFFECT 0–100 Adjusts the volume of the reverb sound.
LEVEL
DENSITY 1–10 Adjusts the density of the reverb sound.
PRE-DELAY 0ms–200ms Adjusts the time until the reverb sound starts to output.
LOW CUT
Hz–800 Hz cut filter has no effect.
630 Hz–12.5 Sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high
HIGH CUT
LEVEL
48
EFFECTS
REVERB PLUS
Chain Palette
A reverb that you can set in greater detail than the standard reverb effect.

HALL S Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
HALL M Simulates the reverberation in a concert hall. Provides mild reverberations.
Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a
PLATE
metallic sound with a distinct upper range.
ROOM S Simulates the reverberation in a small room. Provides warm reverberations.
TYPE
ROOM L Simulates the reverberation of a room larger than ROOM S.
Simulates an ambience mic (off-mic, placed at a distance from the sound source) used in
AMBIENCE recording and other applications. Rather than emphasizing the reverberation, this reverb is used
to produce a sense of openness and depth.
SPRING This simulates the sound of a guitar amp’s built-in spring reverb.
TIME 0.1 s–10.0 s Adjusts the length (time) of reverberation.
TONE -50–0–+50 Adjusts the tonal character of the reverb.
LEVEL
PRE-DELAY0ms–200ms Adjusts the time until the reverb sound starts to output.
FLAT, 20.0 Hz– Sets the frequency at which the low cut filter begins to take effect. When “FLAT” is selected, the
LOW CUT
12.5 kHz low cut filter has no effect.
HIGH CUT
LOW DAMP -50–0–+50 Adjusts the amount of attenuation for the low frequency region.
HIGH DAMP -50–0–+50 Adjusts the amount of attenuation for the high frequency region.
MOD RATE 0–100 Adjusts the speed at which the reverb sound is modulated.
MOD DEPTH 0–100 Adjusts the depth to which the reverb sound is modulated.
DUCK SENS
0–100 When the input sound is loud, this automatically reduces the volume that is being “input” to the
DUCK PRE reverb and delay. As this setting approaches 100, the output volume reduction is applied more
deeply.
0–100 When the input sound is loud, this automatically reduces the volume that is being “output” from
DUCK POST the reverb and delay. As this setting approaches 100, the output volume reduction is applied
more deeply.
LEVEL
49
EFFECTS
SHIMMER REVERB
Chain Palette
Simulates reverberation with a distinctively sparkling high-frequency range.

TIME 0.1–10.0 s Adjusts the length (time) of reverberation.
TONE -50–0–+50 Adjusts the tonal character of the reverb.
LEVEL
PRE-DELAY0–200 ms Adjusts the time until the reverb sound starts to output.
LOW CUT
HIGH CUT
LOW DAMP -50–0–+50 Adjusts the amount of attenuation for the low frequency region.
HIGH DAMP -50–0–+50 Adjusts the amount of attenuation for the high frequency region.
MOD RATE 0–100 Adjusts the speed at which the reverb sound is modulated.
MOD DEPTH 0–100 Adjusts the depth to which the reverb sound is modulated.
DUCK SENS
0–100 When the input sound is loud, this automatically reduces the volume that is being “input” to the
DUCK PRE reverb and delay. As this setting approaches 100, the output volume reduction is applied more
deeply.
0–100 When the input sound is loud, this automatically reduces the volume that is being “output” from
DUCK POST the reverb and delay. As this setting approaches 100, the output volume reduction is applied more
deeply.
LEVEL
PITCH 1 -24–+24 Adjusts the amount of pitch shift.
PITCH 2
LEVEL 1 0–100 Adjusts the volume of the pitch shifter.
LEVEL 2
50
EFFECTS
AC GUITAR SIMULATOR
Chain Palette
This effect simulates the tonal character of an acoustic guitar.

BODY 0–100 Adjusts the body resonance.
LOW -50–0–+50 Specifies the sense of volume for the low-frequency range.
HIGH -50–0–+50 Specifies the sense of volume for the high-frequency range.
LEVEL 0–100 Specifies the volume of the effect.
51
EFFECTS
AC RESONANCE
Chain Palette
This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound
similar to that obtained with a microphone placed close to the guitar.

NATURAL A natural and uncolored sound.
TYPE WIDE A full sound with emphasized body resonance
BRIGHT A brilliant sound extending to the high range
0–100 Use this knob to adjust the balance between the body resonance effect of the acoustic guitar and the
RESONANCE
direct sound of the pickup.
-50–0– This adjusts the tone.
TONE
+50
LEVEL 0–100 Specifies the volume of the effect.
52
EFFECTS
SLOW GEAR
Chain Palette
This produces a volume-swell effect (“violin-like” sound).
Paramet Valu
Explanation
er e
ON/OFF
ON
0– Adjusts the sensitivity of the slow gear. When it is set to a lower value, the effect of the slow gear can be
SENS 100 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.
RISE 0– Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.
TIME 100
0– Adjusts the volume of the effect sound.
LEVEL
100
53
EFFECTS
DEFRETTER
Chain Palette
This simulates a fretless guitar.

SENS 0–100 This controls the input sensitivity of the defretter.
DEPTH 0–100 This controls the rate of the harmonics.
TONE -50–+50 Adjusts the amount of blurring between the notes.
ATTACK 0–100 Adjusts the attack of the picking sound.
RESONANCE 0–100 Adds a characteristically resonant quality to the sound.
54
EFFECTS
TOUCH WAH
Chain Palette
You can produce a wah effect with the filter changing in response to the guitar volume.

ON/OFF
ON
Select the wah mode.
LPF Low pass filter. Passes only the low-frequency region.
FILTER
BPF Band pass filter. Passes only the specified frequency region.
HPF High pass filter. Passes only the high-frequency region.
Selects the direction in which the filter changes in response to the input.
POLARITY DOWN The frequency of the filter falls.
UP The frequency of the filter rises.
0–100 Specifies the sensitivity with which the filter moves in the direction specified by the POLARITY setting.
SENS Higher values produce a stronger tone which emphasizes the wah effect. The strength of picking has no
effect when this is set to “0”.
LEVEL
FREQUENCY 0–100 Adjusts the center frequency of the wah effect.
0–100 Adjusts the intensity of the wah effect in the area around the center frequency.
RESONANCE Higher values produce a stronger filter tone that emphasizes the wah effect. A value of 50 produces a
standard wah sound.
DECAY 0–100 Adjusts the rate at which the filter is moved.
55
EFFECTS
S-BEND
Chain Palette
Gives a pitch shift up/down effect that’s not possible when using typical guitar vibrato bar techniques.

OFF, ON The effect is applied when you switch this from OFF to ON.
TRIGGER
When the memory is written, this parameter is stored in the OFF state.
-3oct, -2oct, -1oct, +1oct, +2oct, Adjusts the amount of pitch shift in octave steps.
PITCH
+3oct, +4oct
0–100 This parameter adjusts the amount of time it is to take for the effect to
RISE TIME
transition to the maximum.
FALL TIME
transition to the original.
56
EFFECTS
WAH
Chain Palette
A pedal effect that peaks in a certain frequency range.

Selects the type of wah.
CRY WAH This models the sound of the CRY BABY wah pedal popular in the ’70s.
VO WAH This models the sound of the VOX V846.
FAT WAH This is a wah sound featuring a bold tone.
WAH TYPE LIGHT WAH This wah has a refined sound with no unusual characteristics.
7STRING This expanded wah features a variable range compatible with seven-string and baritone guitars.
WAH
This completely original effect offers enhancements on the characteristic resonances produced
RESO WAH
by analog synth filters.
0–100 Adjusts the position of the wah pedal.
PEDAL
POSITION * This parameter is used after it’s been assigned to an expression pedal or similar controller.
PEDAL MIN 0–100 Selects the tone produced when the heel of the pedal is depressed.
PEDAL MAX 0–100 Selects the tone produced when the toe of the pedal is depressed.
57
EFFECTS
PEDAL BEND
Chain Palette
This is a pitch bend effect that’s controlled by operating the expression pedal on this unit or by using an expression pedal
connected to the CTL 3, 4/EXP 2 jack.

ON/OFF
ON
-24– This sets the pitch to the point where the pedal is fully raised (pressed down all the way with your
PITCH MIN
+24 heel).
-24– This sets the pitch at the point where the pedal is all the way down.
PITCH MAX
+24
PEDAL 0–100 Adjusts the pedal position for pedal bend. This parameter is used after it’s been assigned to an
POSITION expression pedal or similar controller.
EFFECT LEVEL 0–100 Adjusts the volume of the pitch bend sound.
58
EFFECTS
FOOT VOLUME
Chain Palette
This is a volume control effect.

Normally, this is controlled with an expression pedal connected to the CTL 3, 4/EXP 2 jack.

PEDAL 0–100 Adjusts the volume.
POSITION
VOLUME MIN 0–100 Sets the volume when the heel of the EXP Pedal is depressed.
VOLUME MAX 0–100 Selects the volume when the toe of the EXP Pedal is depressed.
SLOW1, SLOW2, NORMAL, You can select how the actual volume changes relative to the amount the pedal is
FAST pressed.
VOLUME
CURVE
59
EFFECTS
NOISE SUPPRESSOR
Chain Palette
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.

ON/OFF
ON
0–100 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.
THRESHOLD
* High settings for the threshold parameter may result in there being no sound when you play with
your guitar volume turned down.
RELEASE 0–100 Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0”.
This controls the noise suppressor based on the volume level for the point specified in Detect.
Input volume from input jack.
INPUT
* Ordinarily, DETECT should be set to “INPUT”.
Noise suppressor input volume.
DETECT
* When connected as illustrated below, and you want to prevent a spatial-type effects sound (such as
NS a delay sound) from being eradicated by the NS, you should set DETECT to “NS INPUT”.
INPUT
(Spatial-type effect)
60
EFFECTS
DIVIDER/MIXER
Chain (DIVIDER) Chain (MIXER) Palette
Within the effect chain, the point where the signal is split into channels “A” and “B” is called the “divider” and the point where the
two signals are recombined is called the “mixer”.
DIVIDER: You can use the divider to switch between channels “A” and “B”, to assign strongly picked notes and softly picked notes
to different channels, or to assign different frequency bands of your guitar sound to different channels.
MIXER: Lets you adjust the volume balance of channels “A” and “B”, place them in the stereo field, or slightly delay the sound of
channel “B” to produce a spacious sound.
* When you drag the icon from the palette to the effect chain, the divider and mixer are automatically added to the chain.
* The divider and mixer both share a single place in the chain.
DIVIDER
SINGLE Use only one channel, either “A” or “B”.
MODE
DUAL Use the two channels “A” and “B”.
CH A, B Selects the channel to use.
SELECT *1
SWITCH When you use CH SELECT to select a
channel, the divider switches the
signal routing.
This lets you cut out the floor noise or
other noise from effects included in
the channel before switching, when
MIX the channel is switched.
MODE *1 When you use CH SELECT to select a
channel, the mixer switches the signal
routing.
MIX This lets you carry over the tail end of
effects included in the channel before
switching, when the channel is
switched.
OFF DYNAMIC will not be used.
A:DYNAMIC
Only notes picked more strongly than the DYNA SENS setting will be
*2 POLARITY+
output.
B:DYNAMIC
Only notes picked more softly than the DYNA SENS setting will be
*2 POLARITY-
output.
A: DYNAMIC 0–100 Specifies the picking sensitivity.
SENS *2
B: DYNAMIC
SENS *2
OFF The filter will not be used.
A: FILTER *2
LPF Only the region below the cutoff frequency will be output.
B: FILTER *2
HPF Only the region above the cutoff frequency will be output.
A: CUTOFF 100Hz,125Hz, 160Hz, 200Hz, 250Hz, Specifies the cutoff frequency.
FREQ *2 315Hz, 400Hz, 500Hz, 630Hz, 800Hz,
B: CUTOFF 1.00kHz, 1.25kHz, 1.60kHz, 2.00kHz,
FREQ *2 2.50kHz, 3.15kHz, 4.00kHz
* 1 Setting available when MODE is set to SINGLE.
* 2 Setting available when MODE is set to DUAL.
MIXER
61
EFFECTS

MODE STEREO Channels “A” and “B” will be mixed and output in stereo.
PAN L/R Channels “A” and “B” will be assigned respectively to the L and R OUTPUT jacks.
A LEVEL 0–100 Adjusts the volume of the channel.
B LEVEL
100:0–0:100 Adjusts the volume balance of channels “A” and “B”.
A/B BALANCE
* This is shown only if DIVIDER MODE is set to “DUAL”.
0–100 Slightly delays the sound of channel “B” to make the sound more spacious.
SPREAD
* This is shown only if DIVIDER MODE is set to “DUAL”.
62
EFFECTS
SEND/RETURN
Chain Palette
You can connect an external effects processor between the SEND jack and RETURN jack, and use it as one of the GX-100’s effects
processors.
The sound that is input to SEND/RETURN within the effect chain will be output to the SEND jack. The sound that is input via the
RETURN jack will be input to SEND/RETURN within the effect chain.

NORMAL The input to SEND/RETURN within the effect chain will be output to the SEND jack, and the input from
the RETURN jack will be output following SEND/RETURN.
Use this setting if you want to connect an external effects processor in series within the GX-100’s effect
chain.
The input to SEND/RETURN within the effect chain will be output to the SEND jack, and the input from
MODE the RETURN jack and the input to SEND/RETURN (the direct sound) will be mixed and output following
SEND/RETURN.
Use this when you want to mix the GX-100’s effects sounds together with the sound with the external
DIRECT effects device applied to it.
MIX
BRANCH The input to SEND/RETURN within the effect chain will be output to the SEND jack. The input from the
OUT RETURN jack will be ignored.
63
EFFECTS

For example, by placing SEND/RETURN in the GX-100’s effect chain in front of reverb or delay, this
allows you to use the SEND jack as a dry out.
SEND LEVEL 0–200 Adjusts the volume of the output to the external effects device.
0–200 Adjusts the volume of the input from the external effects device.
RETURN
LEVEL * You can adjust this if the MODE parameter is set to NORMAL or DIRECT MIX.
0–100 Adjusts the phase between the GX-100’s internal processing and an external effect unit connected to
the SEND/RETURN jacks.
ADJUST
* You can adjust this if the MODE parameter is set to NORMAL or DIRECT MIX.
OFF, ON Inverts the phase of the signal sent from the external effect to the RETURN jack.
INVERT
* You can adjust this if the MODE parameter is set to NORMAL or DIRECT MIX.
64
EFFECTS
PHRASE LOOP
Chain Palette
You can record what you play (up to 38 seconds in mono, and up to 19 seconds in stereo) and make the unit play back the
recorded section over and over, as a loop. You can also layer additional performances with the recording as it plays back
(overdubbing).
This lets you create real-time backing performances on the fly.

LOOP LEVEL 0–100 Specifies the loop playback level.
* This effect can only be inserted once into the effect chain.
65
EFFECTS
X-BASS COMPRESSOR
Chain Palette
This is a compressor for bass that uses MDP (Multi-Dimensional Processing).

0–100 Adjust this as appropriate for the input signal. When the input signal level exceeds this threshold level,
THRESHOLD
limiting will be applied.
1:1– Selects the compression ratio.
RATIO
INF:1
66
EFFECTS
BASS OVERDRIVE
Chain Palette
Overdrive tuned especially for use with basses.

This is an overdrive that uses MDP to obtain the distortion that’s most appropriate in each pitch range.

ON/OFF
ON
TONE
+50
BOTTOM
SOLO SW
ON
LEVEL
67
EFFECTS
X BASS OVERDRIVE
Chain Palette
This effect uses MDP to provide ideal distortion in all pitch ranges of the bass, from low to high.

ON/OFF
ON
TONE
+50
BOTTOM
SOLO SW
ON
LEVEL
68
EFFECTS
BASS DISTORTION
Chain Palette
Distortion tuned especially for use with basses.

BASS DS Distortion tuned especially for use with basses.
BASS DI This models a MXR Bass D.I.+.
TYPE
HI BAND With this effect, distortion is applied only to the high frequency sounds, and not to the sounds in the
DRIVE low frequency range. This effect retains a strong low end sound while adding powerful distortion.
BOTTOM
LEVEL
owners.
69
EFFECTS
BASS METAL DISTORTION
Chain Palette
Wild, radical distortion sound.

ON/OFF
ON
DIST 0–120 Adjusts the depth of distortion.
TONE
+50
BOTTOM
SOLO SW
ON
LEVEL
70
EFFECTS
BASS FUZZ
Chain Palette
Fuzz tuned especially for use with basses.

ON/OFF
ON
FUZZ 0–120 Adjusts the depth of distortion.
TONE
+50
BOTTOM
SOLO SW
ON
LEVEL
71
EFFECTS
AIRD BASS PREAMP
Chain Palette
An AIRD PREAMP for bass guitar.

NATURAL BASS Uncolored clean sound for bass.
High-gain sound for bass, using MDP to provide wide range and a good-sounding sense of
TYPE X-DRIVE BASS
separation.
CONCERT This models the Ampeg SVT.
GAIN 0–120 Adjusts the distortion of the amp.
0–100 Adjusts the volume of the entire preamp.
LEVEL
* Be careful not to raise the Level setting too high.
LOW, MID, HIGH Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH. Distortion will
successively increase for settings of LOW, MIDDLE and HIGH.
GAIN SW
* The sound of each Type is created on the basis that the Gain is set to MIDDLE.
BASS 0–100 Adjusts the low frequency range tone.
MIDDLE 0–100 Adjusts the midrange balance.
TREBLE 0–100 Adjusts the high frequency range tone.
PRESENCE 0–100 Adjusts the balance in the extended upper range.
SOLO LEVEL 0–100 Adjusts the volume level when the SOLO SW is ON.
OFF, ON Turns the bright setting on/off.
BRIGHT SW * The BRIGHT setting is available only when certain AIRD PREAMP TYPE settings are
selected.
SAG -10–+10 Adjusts the amount by which compression changes in response to the power amp.
-10–+10 Adjusts the amount by which dynamics is affected by the interaction between the power amp
RESONANCE
and the speaker transformer.
SP TYPE See the “1.10.2. SP TYPE List(P.15)”.
MIC TYPE See the “1.10.3. MIC TYPE List(P.15)”.
MIC SHORT, MEDIUM, Simulates the distance between the mic and speaker.
DISTANCE LONG The distance from the speakers is farther in the order of SHORT<MEDIUM<LONG.
MIC CENTER Simulates the condition that the mic is set in the middle of the speaker cone.
POSITION 1 cm–10 cm Simulates the condition that the mic is moved away from the center of the speaker cone.
MIC LEVEL 0–100 Adjusts the volume of the mic.
72
EFFECTS
BASS CHORUS
Chain Palette
This is a chorus effect for bass.

MONO This chorus effect outputs the same sound from both L channel and R channel.
TYPE
STEREO This is a stereo chorus effect that adds different chorus sounds to L channel and R channel.

ŀ–Ō
LEVEL
LOW CUT
20.0 Hz–12.5 Sets the frequency at which the high cut filter begins to take effect. When ”FLAT” is selected, the
HIGH CUT
BPM
73
EFFECTS
BASS FLANGER
Chain Palette
A flanger effect for bass guitar.

0–100, BPM Sets the rate of the flanging effect.
ŀ–Ō
0–100 Determines the amount of resonance (feedback). Increasing the value emphasizes the effect, for a
RESONANCE
more unusual sound.
LOW CUT
STEP RATE
BPM–ŀŌ value, the change will be finer. Set this to “0” when not using the Step function.
LEVEL
BPM
74
EFFECTS
PRIME BASS FLANGER
Chain Palette
A Prime Flanger effect for bass guitar.

0–100, BPM ŀ–Ō Sets the rate of the flanging effect.
RESONANCE
SEPARATION 90, 105, 120, 135, 150,
165, 180
STEP RATE
higher value, the change will be finer. Set this to “0” when not using the Step function.
TURBO OFF, ON If this is “ON” a more intense effect is produced.
LOW CUT
20.0 Hz–12.5 kHz, Sets the frequency at which the high cut filter begins to take effect. When “FLAT” is
HIGH CUT
LEVEL
minute.
BPM
75
EFFECTS
BASS PHASER
Chain Palette
A phaser effect for bass guitar.

4 STAGE, Select the number of stages for the phaser effect.
STAGE 8 STAGE, 12
STAGE
0–100, BPM ŀ– Adjusts the frequency (speed) of the volume change.
Ō
0–100 Determines the amount of resonance (feedback). Increasing the value emphasizes the effect, for
RESONANCE
a more unusual sound.
BPM ŀ–Ō value, the change will be finer. Set this to “OFF” when not using the Step function.
STEP RATE “MASTER BPM” specified for each memory. This makes it easier to achieve effect sound
LEVEL
BPM
76
EFFECTS
PRIME BASS PHASER
Chain Palette
A Prime Phaser effect for bass guitar.

2 STAGE, 4 STAGE, Select the number of stages for the phaser effect.
STAGE 8 STAGE, 16 STAGE,
24 STAGE
0–100, BPM ŀ–Ō Adjusts the frequency (speed) of the volume change.
RESONANCE
SEPARATION 90, 105, 120, 135, 150,
165, 180
higher value, the change will be finer. Set this to “OFF” when not using the Step function.
STEP RATE the “MASTER BPM” specified for each memory. This makes it easier to achieve effect
sound settings that match the tempo of the song.
BI-PHASE OFF, ON Specifies whether the two phase shift circuits are connected in series (ON) or not (OFF).
LOW CUT
20.0 Hz–12.5 kHz, Sets the frequency at which the high cut filter begins to take effect. When “FLAT“ is
HIGH CUT
LEVEL
minute.
BPM
77
EFFECTS
BASS PITCH SHIFTER
Chain Palette
A pitch shifter effect for bass guitar.

VOICE 2 MONO Two-voice pitch-shifted sound (PS1, PS2) output in mono.
2 STEREO Two-voice pitch-shifted sound (PS1, PS2) output through left and right channels.
1: PITCH -24–+24 Adjusts the amount of pitch shift (the amount of interval) in semitone steps.
2: PITCH
1: FINE -50–+50 Make fine adjustments to the interval. The amount of the change in the Fine 100 is equivalent to
2: FINE that of the Pitch 1.
1: MODE FAST, MEDIUM, The response is slower in the order of FAST, MEDIUM and SLOW, but the modulation is lessened
2: MODE SLOW, MONO in the same order.
0–300 ms, BPM Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard.
ŀ–Ō Normally you can leave this set at 0 ms.
1: PRE- * When set to BPM, the value of each parameter will be set according to the value of the
DELAY “MASTER BPM” specified for each memory. This makes it easier to achieve effect sound
2: PRE- settings that match the tempo of the song.
DELAY
1: 0–100 Adjusts the feedback amount of the pitch shift sound.
FEEDBACK
1: LEVEL 0–100 Adjusts the volume of the pitch shifter.
2: LEVEL
LEVEL
BPM
78
EFFECTS
BASS HARMONIST
Chain Palette
A Harmonist effect for bass guitar.

Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the bass input, allowing you to create
harmony based on diatonic scales.
* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to
mute all the other strings and play only one note at a time.
* When you are to play the next string while a certain sound is still playing, mute the previous sound and then play the next
one with a clear attack. If the unit cannot detect the attack, it may not sound correctly.
* The sensitivity may vary according to the bass’s TONE knob and pickup type.

1VOICE One-voice pitch-shifted sound output in mono.
VOICE 2MONO Two-voice pitch-shifted sound (HR1, HR2) output in mono.
2STEREO Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels.
1: -2oct, – This determines the pitch of the sound added to the input sound, when you are making a harmony.
HARMONY +2oct, USER It allows you to set it by up to 2 octaves higher or lower than the input sound. When the scale is set to
2: USER, this parameter sets the user scale number to be used.
HARMONY 1.28.1. USER SCALE Settings(P.35)
1: LEVEL 0–100 Adjusts the volume of the harmony sound.
2: LEVEL
0–300ms, Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally
BPM ŀ–Ō you can leave this set at 0 ms.
1: PRE- * When set to BPM, the value of each parameter will be set according to the value of the “MASTER
DELAY BPM” specified for each memory. This makes it easier to achieve effect sound settings that
2: PRE- match the tempo of the song.
DELAY
1: 0–100 Adjusts the feedback amount of the harmonist sound.
FEEDBACK
C (Am)–B The key setting corresponds to the key of the song (#, b) as follows.
(G#m)
KEY

LEVEL
BPM
79
EFFECTS

80
EFFECTS
BASS OCTAVE
Chain Palette
This is an OCTAVE effect for bass.

-2 OCT 0–100 Adjusts the volume of the sound two octave below.
-1 OCT 0–100 Adjusts the volume of the sound one octaves below.
81
EFFECTS
BASS SLOW GEAR
Chain Palette
This produces a volume-swell effect (“violin-like” sound).
Paramet Valu
Explanation
er e
ON/OFF
ON
0– Adjusts the sensitivity of the humanizer. When it is set to a lower value, the effect of the slow gear can be
SENS 100 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.
RISE 0– Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.
TIME 100
0– Adjusts the volume of the effect sound.
LEVEL
100
82
EFFECTS
BASS DEFRETTER
Chain Palette
This simulates a fretless bass.

SENS 0–100 This controls the input sensitivity of the defretter.
ATTACK 0–100 Adjusts the attack of the picking sound.
TONE -50–+50 Adjusts the amount of blurring between the notes.
83
EFFECTS
BASS TOUCH WAH
Chain Palette
You can produce a wah effect with the filter changing in response to the bass level.

ON/OFF
ON
Select the wah mode.
FILTER LPF Low pass filter. Passes only the low-frequency region.
BPF Band pass filter. Passes only the specified frequency region.
Selects the direction in which the filter changes in response to the input.
POLARITY DOWN The frequency of the filter falls.
UP The frequency of the filter rises.
0–100 Specifies the sensitivity with which the filter moves in the direction specified by the POLARITY setting.
SENS Higher values produce a stronger tone which emphasizes the wah effect. The strength of picking has no
effect when this is set to “0”.
LEVEL
FREQUENCY 0–100 Adjusts the center frequency of the wah effect.
0–100 Adjusts the intensity of the wah effect in the area around the center frequency.
RESONANCE Higher values produce a stronger filter tone that emphasizes the wah effect. A value of 50 produces a
standard wah sound.
DECAY 0–100 Adjusts the rate at which the filter is moved.
84
EFFECTS
BASS S-BEND
Chain Palette
An S-Bend effect for bass guitar.

OFF, ON The effect is applied when you switch this from OFF to ON.
TRIGGER
When the memory is written, this parameter is stored in the OFF state.
-3oct, -2oct, -1oct, +1oct, +2oct, Adjusts the amount of pitch shift in octave steps.
PITCH
+3oct, +4oct
RISE TIME
transition to the maximum.
FALL TIME
transition to the original.
85
EFFECTS
BASS WAH
Chain Palette
This wah has been specially adapted for use in the bass registers. Inclusion of the low-frequency range in the wah sound produces
a robust wah effect, with no dilution of the sound.

0–100 Adjusts the position of the wah pedal.
PEDAL POSITION
* This parameter is used after it’s been assigned to an expression pedal or similar controller.
PEDAL MIN 0–100 Selects the tone produced when the heel of the pedal is depressed.
PEDAL MAX 0–100 Selects the tone produced when the toe of the pedal is depressed.
86
EFFECTS
BASS PEDAL BEND
Chain Palette
This lets you use the pedal to get a pitch bend effect.
* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.

ON/OFF
ON
-24– This sets the pitch to the point where the pedal is fully raised (pressed down all the way with your
PITCH MIN
+24 heel).
-24– This sets the pitch at the point where the pedal is all the way down.
PITCH MAX
+24
PEDAL 0–100 Adjusts the pedal position for pedal bend. This parameter is used after it’s been assigned to an
POSITION expression pedal or similar controller.
EFFECT LEVEL 0–100 Adjusts the volume of the pitch bend sound.
87
EFFECTS
MASTER
Chain
The following are settings that apply to all memories.

MEMORY 1–200 Sets the volume of the memory.
LEVEL
BPM
BPM (beats per minute) indicates the number of quarter note beats that occur each minute.
C (Am)–B This sets the key for the HARMONIST.
KEY
(G#m)
SYSTEM, 1-10 Select the guitar (input level) that’s connected to the INPUT jack.
INPUT You can set a different guitar to connect for each memory.
SETTING When you select “SYSTEM,” the setting matches that which is selected in the INPUT SETTINGS of
IN/OUT SETTINGS.
OFF Guitar amplifier By connecting your guitar amp’s channel switching jack to the GX-
(Channel switching jack) 100’s AMP CONTROL jack, you can then use Amp Control to switch
the amp channel. This combining of the GX-100 and the amp
channels allows you to get an even wider variety of distortion
sounds.
Since the Amp Control setting is saved as one of the effects
parameters to each individual memory, switching between
memories lets you switch between guitar amp channels.
AMP CTL1,
AMP CTL2 Guitar amplifier
(Channel switching jack)
ON
CARRYOVER OFF, ON You can specify whether the effect sound carries over when you switch memories.
OFF, ON Specifies whether the tempo (BPM) changes or stays the same when you switch between
TEMPO HOLD
memories.
88
EFFECTS
Effects that can be placed, and upper limit on functional devices

You can arrange up to 15 effects and functional devices such as DIVIDER/MIXER, LOOPER, SEND/RETURN and so on within the
effect chain.
Type Upper limit on effects that can be placed

Same effect 9
AMP 2
LOOPER 1
DIVIDER/MIXER 1
SEND/RETURN 1
Due to DSP capacity limits, you may not be able to insert or overwrite an effect, even when the number of connected effects
falls within the limits. If there isn’t enough DSP capacity, the icon for the effect you’re trying to newly place in the chain is
greyed out, and you cannot place the effect. To place a new effect, you must delete an existing effect.
DSP capacity overview

TERA ECHO
REVERB+
AIRD BASS PREAMP
AIRD PREAMP
SHIMMER REVERB
OVERTONE
Large-capacity effects PRIME CHORUS
PRIME PHASER
PRIME BASS PHASER
VIBRATO PRIME
ANALOG DELAY
FLANGER PRIME
BASS FLANGER PRIME
OCTAVE POLY
METAL
S-BEND
BASS S-BEND
X-DISTORTION
X-OD
X-BASS OD
CLASSIC-VIBE
DISTORTION
BOOSTER
Medium-capacity effects OVER DRIVE
FUZZ
SPACE ECHO
X-COMP
X-BASS COMP
DELAY PLUS
SHIMMER DELAY
BASS OVER DRIVE
BASS DISTORTION
BASS FUZZ
BASS METAL
ROTARY
OCTAVE
OCTAVE BASS
PHASER
BASS PHASER
Small-capacity effects
AC.GUITAR SIMULATOR
FLANGER
BASS FLANGER
PAN
TREMOLO
89
EFFECTS
VIBRATO
SCRIPT PHASER
GRAPHIC EQUALIZER
WARP
TOUCH WAH
BASS TOUCH WAH
COMPRESSOR
PEDAL BEND
BASS PEDAL BEND
AC RESONANCE
HARMONIST
BASS HARMONIST
PITCH SHIFTER
BASS PITCH SHIFTER
CHORUS
BASS CHORUS
LOOPER LOOP
RING MODULATOR
WAH
BASS WAH
SLOW GEAR
SLOW GEAR BASS
REVERB
DEFRETTER BASS
DEFRETTER
TWIST
FOOT VOLUME
DELAY
NOISE SUPPRESSOR
DIVIDER
SPRITTER
MIXER
SEND/RETURN
90
CTL/EXP
CTL/EXP
CONTROL FUNCTION
You can assign mainly system parameters to each of the top panel footswitches, the expression pedal (EXP1), and the expression
pedal or footswitch connected to the rear panel CTL 3, 4/EXP 2 jack.
1. Press the [CTL/EXP] button.
2. Touch <CONTROL FUNCTION>.
3. Turn the [SELECT] knob to select the item that you want to set.
Turning the knob will move the selected item vertically.
4. Turn knobs [1]–[4] to edit the value of the item selected for each switch.
* The footswitch and expression pedal functions must be specified for each memory; however, if you set “PREF (PREFERENCE)”
to SYSTEM, all memories will use those functions in common.
91
CTL/EXP
The GX-100 lets you arrange multiple pedal effects in the effect chain like FOOT VOLUME, WAH, PEDAL BEND and so on. In
CONTROL FUNCTION, the effect placed at the beginning of the chain (or at “A CH” in DIV/MIX) is enabled.
FUNC ([BANK á], [BANK à], [1]–[4] switches, EXP1 switch, CTL1–4, CUR NUM,
MANUAL 1–4)
Value Explanation
OFF No assignment.
Selects memory number 1.
1
* Can be selected only for switch [1]
2
3
4
Switches to the previous BANK number.
BANK á
* Cannot be selected for [BANK à], [1]–[4] switches, “CUR NUM” and “MANUAL 1”–“MANUAL 4”.
Switches to the next BANK number.
BANK à
* Cannot be selected for [BANK á], [1]–[4] switches, “CUR NUM” and “MANUAL 1”–“MANUAL 4”.
Switches to the previous memory number.
MEMORY -1
* Cannot be selected for “CUR NUM”, “MANUAL 1”–“MANUAL 4”.
Switches to the next memory number.
MEMORY +1
* Cannot be selected for “CUR NUM”, “MANUAL 1”–“MANUAL 4”.
BPM TAP Used for tap input of the MASTER BPM.
TUNER Switches the TUNER on and off.
MEMORY/MAN Switches between memory mode and manual mode.
TUNER/MAN Turns TUNER on/off when briefly pressed; turns MANUAL on/off when long-pressed.
MAN/TUNER Turns MANUAL on/off when briefly pressed; turns TUNER on/off when long-pressed.
AMP CTL 1 Switches the AMP CTL 1 on and off.
AMP CTL 2 Switches the AMP CTL 2 on and off.
Turn the WAH on/off.
WAH
* This only displays when WAH is in the effect chain.
DIV CH.SEL Switches the DIVIDER channel select.
SEND/RETURN Switches the SEND/RETURN on and off.
Controls the looper.
LOOP CTL
For details on how to use this, refer to “Looper” in the “Reference Manual” (Web).
LOOPER STOP Stops the phrase.
92
CTL/EXP
Value Explanation
LOOPER CLEAR Clears the phrase.
MIDI START Controls the Start/Stop of external MIDI devices (such as sequencers).
FUNC (EXP1 PEDAL, EXP 2)
Value Explanation
OFF No assignment.
FOOT VOL Foot volume will be assigned.
Assign the WAH.
WAH
* This only displays when WAH is in the effect chain.
Assigns the foot volume and the WAH effect.
FV/WAH
* This only displays when FV and WAH are in the effect chain.
Foot volume will be assigned.
TUNER is displayed if the pedal is returned all the way.
FV+TUNER
* This only displays when FV is in the effect chain.
Assigns the foot volume and the WAH effect.
TUNER is displayed if the pedal is returned all the way when using foot volume.
FV+TUNER/WAH
* This only displays when FV and WAH are in the effect chain.
MODE
Value Explanation
TOGGLE The setting is toggled On (maximum value) or Off (minimum value) with each press of the footswitch.
MOMENT The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed.
PREF
93
CTL/EXP
Value Explanation
MEMORY This lets you use different settings for each memory.
SYSTEM The same settings will be shared by all memories.
94
CTL/EXP
ASSIGN SETTING
ASSIGN 1–20
For each parameter, you can specify, in detail, which controller will control which parameter. You can create 20 sets of such
assignments.
2. Touch <ASSIGN SETTINGS>.
The ASSIGN SETTING screen appears.
3. Turn the [SELECT] knob to select ASSIGN NUMBER (NUM).

Turning the knob will move the selected item vertically.
95
CTL/EXP
4. Use knobs [1]–[4] to select parameters or edit the values. Switch between pages using the PAGE [÷] [ø]
buttons.
5. Press the [SELECT] knob to turn the selected ASSIGN NUMBER (NUM) on/off.

SW OFF, ON Turns the ASSIGN 1–20 on/off.
TARGET TARGET(P.98) This selects the parameter to be changed.
MIN This sets the minimum value for the range in which the parameter can change.
The value differs depending on the parameter assigned for TARGET parameter.
MAX This sets the maximum value for the range in which the parameter can change. The value
differs depending on the parameter assigned for TARGET parameter.
SOURCE SOURCE NUM 1–NUM 4 Assigns the number switches [1]–[4] on this unit when set to memory mode.
MAN 1–MAN 4 Assigns the number switches [1]–[4] on this unit when set to manual mode.
CUR NUM Assigns the same number switch as the selected memory number.
BANK à Assigns the GX-100’s BANK [Ç] switch.
BANK á Assigns the GX-100’s BANK [É] switch.
CTL 1, CTL 2 Assigns the GX-100’s [C1]–[C2] switch.
CTL 3, CTL 4 Assigns the external footswitch connected to the CTL 3, 4/ EXP 2 jack.
EXP 1 SW Assigns the GX-100’s [EXP 1] switch.
96
CTL/EXP

EXP 1 Assigns the GX-100’s expression pedal.
EXP 2 Assigns the external expression pedal connected to the CTL 3, 4/ EXP 2 jack.
INT PDL Assigns the internal Refer to “Virtual Expression Pedal System (Internal
pedal. Pedal / Wave Pedal)”.
WAVE PDL Assigns the wave
pedal.
INPUT The assigned target parameter will change according to the input level.
CC# 1–31, 64–95 Control Change messages from an external MIDI device.
MODE MOMENT The normal state is Off (minimum value), with the switch On (maximum
value) only while the footswitch is depressed.
TOGGLE The setting is toggled On (maximum value) or Off (minimum value) with
each press of the footswitch.
ACT LOW 0–126 You can set the controllable range for target parameters within the source’s
ACT HIGH 1–127 operational range.
Target parameters are controlled within the range set with ACT LOW and
ACT HIGH.
You should normally set ACT LOW to 0 and ACT HIGH to 127.
SENS 0–100 This adjusts the input sensitivity when INPUT is selected for SOURCE.
INTERNAL TRIGGER *1 MEMORY This is activated when memory is selected.
PEDAL(P.113) CHANGE
EXP1 PDL-LOW This is activated when the GX-100’s expression pedal is set to the minimum
position.
EXP1 PDL-MID This is activated when the GX-100’s expression pedal is moved through the
middle position.
EXP1 PDL-HIGH This is activated when the GX-100’s expression pedal is set to the maximum
position.
EXP1 SW This is activated when the [EXP 1] switch is operated.
NUM1–NUM4 This is activated when the [1]–[4] switch is operated.
CUR NUM This is activated when you operate the same number switch as the selected
memory number.
EXP 2 This is activated when an external expression pedal connected to the CTL 3,
4/ EXP 2 jack.
CTL 1, CTL 2 This is activated when the [C1]–[C2] switch is operated.
CTL 3, CTL 4 This is activated when an external footswitch connected to the CTL 3, 4/ EXP
2 jack is operated.
BANK à This is activated when the BANK [Ç] switch is operated.
BANK á This is activated when the BANK [É] switch is operated.
CC#1–31, 64–95 This is activated when a control change is received.
TIME *1 0–100 This specifies the time over which the internal pedal will move from the toe-
raised position to the toe-down position.
CURVE *1 LINEAR
SLOW RISE
FAST RISE
WAVE FORM *2 SAW

PEDAL(P.113)
TRI
SINE
97
CTL/EXP

RATE *2 0–100, This determines the time spend for one cycle of the assumed EXP Pedal.
BPM ŀ–Ō
MIDI CH *3 *4 SYSTEM Transmits a message on the MIDI channel specified by the parameter TX
CHANNEL in “MIDI SETTING”.
1–16 The message is transmitted on the specified MIDI channel.
TARGET MIDI CC# 0–127 The message is transmitted using the specified controller number.
CC# *3 MIN 0–127 Selects the minimum value of the transmitted CC# message.
MAX 0–127 Selects the maximum value of the transmitted CC# message.
TARGET MIDI PC# 1–128 Specifies the program number that is transmitted.
PC# *4 MSB OFF, 0–128 Specifies the bank select MSB that is transmitted. If this is OFF, the bank
select MSB is not transmitted.
LSB OFF, 0–128 Specifies the bank select LSB that is transmitted. If this is OFF, the bank
select LSB is not transmitted.
*1 The INTERNAL PEDAL TRIGGER, INTERNAL PEDAL TIME, and INTERNAL PEDAL CURVE parameters are enabled when the SOURCE
parameter is set to INT PEDAL.
*2 The WAVE PEDAL FORM and WAVE PEDAL RATE parameters are enabled when the Source parameter is set to WAVE PEDAL.
*3 The MIDI CH, TARGET MIDI CC# parameters are enabled when the TARGET is set to MIDI CC.
*4 The MIDI CH, TARGET MIDI PC# parameters are enabled when the TARGET is set to MIDI PC.
TARGET list
CATEGORY TARGET
ON/OFF
TYPE
SUSTAIN
COMPRESSOR ATTACK
LEVEL
TONE
DIRECT MIX
ON/OFF
SUSTAIN
ATTACK
X-COMPRESSOR LEVEL
TONE
RATIO
DIRECT MIX
ON/OFF
TYPE
BOOST
TONE
BOOSTER LEVEL
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
TYPE
DRIVE
TONE
OVER DRIVE LEVEL
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
98
CTL/EXP
CATEGORY TARGET
ON/OFF
DRIVE
TONE
BOTTOM
X OVER DRIVE
LEVEL
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
TYPE
DIST
TONE
DISTORTION EFFECT LEVEL
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
DRIVE
TONE
BOTTOM
X-DISTORTION
LEVEL
DIRECT
SOLO SW
SOLO LEVEL
ON/OFF
TYPE
DRIVE
TONE
METAL DISTORTION LEVEL
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
TYPE
FUZZ
TONE
FUZZ LEVEL
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
TYPE
GAIN
LEVEL
BASS
MIDDLE
TREBLE
PRESENCE
GAIN SW
SOLO SW
PREAMP
SOLO LEVEL
BRIGHT SW
SAG
RESONANCE
SP TYPE
DIRECT MIX
MIC TYPE
MIC DISTANCE
MIC POSITION
MIC LEVEL
99
CTL/EXP
CATEGORY TARGET
ON/OFF
LOW GAIN
HIGH GAIN
LEVEL
LOW-MID FREQ
LOW-MID Q
LOW-MID GAIN
HIGH-MID FREQ
HIGH-MID Q
HIGH-MID GAIN
LOW CUT
HIGH CUT
ON/OFF
31.5 Hz
63 Hz
125 Hz
250 Hz
500 Hz
GRAPHIC EQUALIZER
1 kHz
2 kHz
4 kHz
8 kHz
16 kHz
LEVEL
ON/OFF
TYPE
DIRECT LEVEL
RATE
DEPTH
EFFECT LEVEL
LOW CUT
HIGH CUT
PRE-DELAY
WAVEFORM
1: RATE
1: DEPTH
CHORUS 1: EFFECT LEVEL
1: PRE-DELAY
1: WAVEFORM
1: LOW CUT
1: HIGH CUT
2: RATE
2: DEPTH
2: EFFECT LEVEL
2: PRE-DELAY
2: WAVEFORM
2: LOW CUT
2: HIGH CUT
OUTPUT MODE
ON/OFF
RATE
DEPTH
EFFECT LEVEL
PRE-DELAY
PRIME CHORUS WAVEFORM
LOW CUT
HIGH CUT
SWEETNESS
BELL
OUTPUT MODE
ON/OFF
FLANGER RATE
DEPTH
100
CTL/EXP
CATEGORY TARGET
RESONANCE
MANUAL
STEP RATE
LOW CUT
HIGH CUT
EFFECT LEVEL
ON/OFF
RATE
DEPTH
RESONANCE
MANUAL
TURBO
WAVE FORM
PRIME FLANGER STEP RATE
SEPARATION
EFFECT LEVEL
LOW DAMP
HIGH DAMP
DIRECT MIX
LOW CUT
HIGH CUT
ON/OFF
STAGE
RATE
DEPTH
PHASER RESONANCE
MANUAL
STEP RATE
EFFECT LEVEL
DIRECT MIX
ON/OFF
RATE
SCRIPT PHASER DEPTH
EFFECT LEVEL
DIRECT MIX
ON/OFF
STAGE
RATE
DEPTH
RESONANCE
MANUAL
WAVE FORM
STEP RATE
PRIME PHASER
BI-PHASE
SEPARATION
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
EFFECT LEVEL
DIRECT MIX
ON/OFF
MODE
CLASSIC VIBE RATE
DEPTH
LEVEL
DIRECT MIX
SPEED SELECT
SLOW RATE
ROTARY FAST RATE
EFFECT LEVEL
RISE TIME
FALL TIME
101
CTL/EXP
CATEGORY TARGET
MIC DISTANCE
ROTOR/HORN
DRIVE
DIRECT MIX
ON/OFF
RATE
DEPTH
VIBRATO
TRIGGER
RISE TIME
EFFECT LEVEL
ON/OFF
RATE
DEPTH
COLOR
PRIME VIBRATO
EFFECT LEVEL
TRIGGER
RISE TIME
DIRECT MIX
ON/OFF
RATE
DEPTH
WAVE FORM
TREMOLO
EFFECT LEVEL
TRIGGER
RISE TIME
DIRECT MIX
ON/OFF
RATE
DEPTH
PAN
WAVE FORM
EFFECT LEVEL
DIRECT MIX
ON/OFF
INTELLIGENT
FREQUENCY
RING MODULATOR MOD RATE
MOD DEPTH
EFFECT LEVEL
DIRECT MIX
ON/OFF
VOICE
DIRECT LEVEL
1: PITCH
1: MODE
1: FINE
1: PRE-DELAY
PITCH SHIFTER
1: LEVEL
1: FEEDBACK
2: PITCH
2: MODE
2: FINE
2: PRE-DELAY
2: LEVEL
ON/OFF
VOICE
1: HARMONY
1: LEVEL
1: PRE-DELAY
HARMONIST
1: FEEDBACK
2: HARMONY
2: LEVEL
2: PRE-DELAY
DIRECT LEVEL
102
CTL/EXP
CATEGORY TARGET
1: C
1: D³
1: D
1: E³
1: E
1: F
1: F´
1: G
1: A³
1: A
1: B³
1: B
2: C
2: D³
2: D
2: E³
2: E
2: F
2: F´
2: G
2: A³
2: A
2: B³
2: B
ON/OFF
LOWER LEVEL
UPPER LEVEL
UNISON LEVEL
OVERTONE DIRECT LEVEL
DETUNE
OUTPUT MODE
LOW
HIGH
ON/OFF
-2 OCT
OCTAVE
-1 OCT
DIRECT LEVEL
ON/OFF
RANGE
POLY OCTAVE
OCTAVE LEVEL
DIRECT LEVEL
ON/OFF
TIME
FEEDBACK
HIGH CUT
DELAY EFFECT LEVEL
DIRECT LEVEL
HIGH CUT
BPM
CARRYOVER
ON/OFF
TYPE
DIRECT LEVEL
MOD RATE
MOD DEPTH
DUCK SENS
DELAY PLUS DUCK PRE DEPTH
DUCK POST DEPTH
CARRYOVER
TIME
FEEDBACK
EFFECT LEVEL
HIGH CUT
103
CTL/EXP
CATEGORY TARGET
TAP TIME
AUTO TRIGGER
MODE
1: TYPE
1: TIME
1: FEEDBACK
1: EFFECT LEVEL
1: HIGH CUT
2: HIGH CUT
2: TYPE
2: TIME
2: FEEDBACK
2: EFFECT LEVEL
ON/OFF
TYPE
TIME
FEEDBACK
EFFECT LEVEL
DIRECT LEVEL
ANALOG DELAY HIGH CUT
MOD RATE
MOD DEPTH
DUCK SENS
DUCK PRE
DUCK POST
CARRYOVER
ON/OFF
TIME
FEEDBACK
EFFECT LEVEL
DIRECT LEVEL
HIGH CUT
MOD RATE
SPACE ECHO
MOD DEPTH
DUCK SENS
DUCK PRE
DUCK POST
HEAD
WOW FLUTTER
CARRYOVER
ON/OFF
TIME
FEEDBACK
EFFECT LEVEL
DIRECT LEVEL
HIGH CUT
MOD RATE
SHIMMER DELAY MOD DEPTH
DUCK SENS
DUCK PRE
DUCK POST
PITCH
PITCH BALANCE
PITCH FEEDBACK
CARRYOVER
ON/OFF
MODE
SPREAD TIME
FEEDBACK
TERA ECHO
EFFECT LEVEL
TONE
DIRECT LEVEL
TRIGGER
104
CTL/EXP
CATEGORY TARGET
CARRYOVER
ON/OFF
MODE
TRIGGER
LEVEL
TWIST
RISE TIME
FALL TIME
FADE TIME
CARRYOVER
ON/OFF
TIME
WARP TRIGGER
LEVEL
CARRYOVER
ON/OFF
TYPE
TIME
PRE-DELAY
EFFECT LEVEL
REVERB
DENSITY
LOW CUT
HIGH CUT
DIRECT LEVEL
CARRYOVER
ON/OFF
TYPE
TIME
TONE
EFFECT LEVEL
DENSITY
PRE-DELAY
LOW CUT
HIGH CUT
REVERB PLUS
LOW DAMP
HIGH DAMP
MOD RATE
MOD DEPTH
DUCK SENS
DUCK PRE
DUCK POST
DIRECT LEVEL
CARRYOVER
ON/OFF
TIME
TONE
EFFECT LEVEL
DENSITY
PRE-DELAY
LOW CUT
HIGH CUT
LOW DAMP
HIGH DAMP
SHIMMER REVERB MOD RATE
MOD DEPTH
DUCK SENS
DUCK PRE
DUCK POST
DIRECT LEVEL
1: PITCH
2: PITCH
1: LEVEL
2: LEVEL
CARRYOVER
105
CTL/EXP
CATEGORY TARGET
ON/OFF
BODY
AC GUITAR SIM LOW
HIGH
LEVEL
ON/OFF
TYPE
AC RESONANCE RESONANCE
TONE
LEVEL
ON/OFF
SENS
SLOW GEAR
RISE TIME
LEVEL
ON/OFF
SENS
DEPTH
TONE
DEFRETTER
EFFECT LEVEL
ATTACK
RESONANCE
DIRECT MIX
ON/OFF
FILTER MODE
POLARITY
SENS
TOUCH WAH FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT MIX
ON/OFF
TRIGGER
S-BEND PITCH
RISE TIME
FALL TIME
ON/OFF
WAH TYPE
PEDAL POSITION
WAH PEDAL MIN
PEDAL MAX
EFFECT LEVEL
DIRECT MIX
ON/OFF
PITCH MIN
PITCH MAX
PEDAL BEND
PEDAL POSITION
EFFECT LEVEL
DIRECT MIX
ON/OFF
PEDAL POSITION
FOOT VOLUME VOLUME MIN
VOLUME MAX
CURVE
ON/OFF
THRESHOLD
NOISE SUPPRESSOR
RELEASE
DETECT
MODE
CH SELECT
DIVIDER MIX MODE
A: DYNAMIC
A: DYNAMIC SENS
106
CTL/EXP
CATEGORY TARGET
A: FILTER
A: CUTOFF FREQ
B: DYNAMIC
B: DYNAMIC SENS
B: FILTER
B: CUTOFF FREQ
MODE
A LEVEL
MIXER B LEVEL
A/B BALANCE
SPREAD
ON/OFF
MODE
SEND LEVEL
SEND/RETURN
RETURN LEVEL
ADJUST
INVERT
LOOP LOOP LEVEL
ON/OFF
ATTACK
LEVEL
BASS X-COMP TONE
RATIO
DIRECT MIX
THRESHOLD
ON/OFF
DRIVE
TONE
EFFECT LEVEL
BASS OVER DRIVE
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
DRIVE
TONE
EFFECT LEVEL
X BASS OVERDRIVE
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
TYPE
DRIVE
TONE
BASS DISTORTION EFFECT LEVEL
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
DIST
TONE
EFFECT LEVEL
BASS METAL DIST
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
FUZZ
BASS FUZZ TONE
EFFECT LEVEL
BOTTOM
107
CTL/EXP
CATEGORY TARGET
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
TYPE
GAIN
LEVEL
BASS
MIDDLE
TREBLE
PRESENCE
GAIN SW
SOLO SW
BASS PREAMP
SOLO LEVEL
BRIGHT SW
SAG
RESONANCE
DIRECT MIX
SP TYPE
MIC TYPE
MIC DISTANCE
MIC POSITION
MIC LEVEL
ON/OFF
TYPE
RATE
DEPTH
BASS CHORUS
EFFECT LEVEL
LOW CUT
HIGH CUT
DIRECT LEVEL
ON/OFF
RATE
DEPTH
RESONANCE
BASS FLANGER MANUAL
STEP RATE
LOW CUT
EFFECT LEVEL
DIRECT MIX
ON/OFF
RATE
DEPTH
RESONANCE
MANUAL
TURBO
WAVE FORM
BASS PRIME FLANGER STEP RATE
SEPARATION
EFFECT LEVEL
LOW DAMP
HIGH DAMP
DIRECT MIX
LOW CUT
HIGH CUT
ON/OFF
STAGE
RATE
DEPTH
BASS PHASER
RESONANCE
MANUAL
STEP RATE
EFFECT LEVEL
108
CTL/EXP
CATEGORY TARGET
DIRECT MIX
ON/OFF
STAGE
RATE
DEPTH
RESONANCE
MANUAL
WAVE FORM
STEP RATE
BASS PRIME PHASER
BI-PHASE
SEPARATION
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
EFFECT LEVEL
DIRECT MIX
ON/OFF
VOICE
DIRECT LEVEL
1: PITCH
1: MODE
1: FINE
1: PRE-DELAY
BASS PITCH SHIFTER
1: LEVEL
1: FEEDBACK
2: PITCH
2: MODE
2: FINE
2: PRE-DELAY
2: LEVEL
ON/OFF
VOICE
1: HARMONY
1: LEVEL
1: PRE-DELAY
1: FEEDBACK
2: HARMONY
2: LEVEL
2: PRE-DELAY
DIRECT LEVEL
1: C
1: D³
1: D
1: E³
1: E
1: F
BASS HARMONIST
1: F´
1: G
1: A³
1: A
1: B³
1: B
2: C
2: D³
2: D
2: E³
2: E
2: F
2: F´
2: G
2: A³
2: A
109
CTL/EXP
CATEGORY TARGET
2: B³
2: B
ON/OFF
-2 OCT
BASS OCTAVE
-1 OCT
DIRECT LEVEL
ON/OFF
SENS
BASS SLOW GEAR
RISE TIME
LEVEL
ON/OFF
SENS
ATTACK
BASS DEFRETTER
TONE
EFFECT LEVEL
DIRECT MIX
ON/OFF
FILTER MODE
POLARITY
SENS
BASS TOUCH WAH FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT MIX
ON/OFF
TRIGGER
BASS S-BEND PITCH
RISE TIME
FALL TIME
ON/OFF
PEDAL POSITION
PEDAL MIN
BASS WAH
PEDAL MAX
EFFECT LEVEL
DIRECT MIX
ON/OFF
PITCH MIN
PITCH MAX
BASS PEDAL BEND
PEDAL POSITION
EFFECT LEVEL
DIRECT MIX
MEMORY LEVEL
BPM
KEY
MASTER
INPUT SETTING
AMP CTL1
AMP CTL2
TUNER ON/OFF
MIDI CC#
MIDI *
MIDI PC#
* You can’t assign MIDI parameters to the [1]–[4] knobs in “KNOB SETTING”.
About the Range of a Target’s Change
The value of the parameter selected as the target changes within the range defined by “Min” and “Max,” as set on the GX-100.
When using an external footswitch, or other controller that acts as an on/off switch, “Min” is selected with Off (CLOSED), and “Max”
is selected with On (OPEN).
When using an external expression pedal or other controller that generates a consecutive change in the value, the value of the
setting changes accordingly, within the range set by the minimum and maximum values. 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.
110
CTL/EXP
When using the footswitch:
When using the expression pedal:
111
CTL/EXP
When controlling the On/Off target with the expression pedal:
* The range that can be selected changes according to the target setting.
* When the “minimum” is set to a higher value than the “maximum,” the change in the parameter is reversed.
* The values of settings can change if the target is changed after the “minimum” and “maximum” settings have been made. If
you’ve changed the target, be sure to recheck the “minimum” and “maximum” settings.
About the Range of a Controller’s Change
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”.
112
CTL/EXP
(Example) With ACT LOW: 40, ACT HIGH: 80
* When using a footswitch or other on/off switching controller as the source, leave these at “ACT LOW: 0” and “ACT HIGH: 127”.
With certain settings, the value may not change.
Virtual Expression Pedal System (Internal Pedal / Wave Pedal)
By assigning a desired parameter to the virtual expression pedal, you can produce an effect as though you were operating a
physical expression pedal to change the volume or tone quality in real time.
The virtual expression pedal system provides the following two types of functions, and you can use the SOURCE setting for ASSIGN
1–20 to choose the desired type.
113
CTL/EXP
Internal pedal
If SOURCE is set to “INT PEDAL,” the virtual expression pedal will begin operating when started by the specified trigger (TRIGGER),
modifying the parameter specified by “TARGET”.
Wave pedal
If SOURCE is set to “WAVE PDL,” the virtual expression pedal will cyclically modify the parameter specified by TARGET in a fixed
wave form.
114
CTL/EXP
KNOB SETTINGS
Here’s how to assign the parameters that are controlled by knobs [1]–[4] when the play screen is shown.
2. Touch <KNOB SETTING>.
3. Turn the [SELECT] knob to select the knob you want to set. Turning the knob will move the selected item
vertically.
4. Use the [2] and [3] knobs to edit the settings of the selection parameters (CATEGORY, TARGET) for each
knob.
For the parameters to set, refer to “TARGET list”.
115
CTL/EXP
MEMORY MIDI
When you switch to a different memory, the program number and bank select message is transmitted to an external MIDI device.
MEMORY MIDI 1, 2, 3, 4
OFF, 1–16 Specifies the transmit channel for MIDI messages.
CH
If this is OFF, no MIDI message is transmitted.
OFF, 0– Specifies whether bank select messages are transmitted when you switch memories.
128
* It is not possible to transmit only BANK LSB.
BANK MSB
BANK LSB * Not transmitted if PC# is OFF.
* It is not possible to transmit only bank select. Bank select is always transmitted in conjunction with
program numbers.
OFF, 1– Specifies whether a program number is transmitted when you switch memories.
PC#
128 If this is OFF, no program number is transmitted.
CC1# OFF, 0– Specifies whether a control change is transmitted when you switch memories.
CC2# 127 If this is OFF, no control change is transmitted.
CC1 VALUE 0–127 Specifies the value of the control change.
CC2 VALUE
116
MENU
MENU
CONTROL MODE
The control mode setting lets you choose how you want to operate the effects.
Parameter Explanation
This mode lets you recall and use the memories that are saved in the unit.
Use BANK [É] [Ç] switches and number switches [1]–[4] to switch memories.
MEMORY
(Memory * With the factory settings, long-pressing the [C2/TUNER] switch puts the unit in manual mode.
mode)
* Even in memory mode, you can select functions other than memory recall.
MANUAL This mode lets you use number switches [1]–[4] to operate the functions that are assigned to them by each
(Manual memory or by the settings for the entire system.
mode)
117
MENU
HARDWARE SETTINGS
AMP CONTROL
Specifies the operation of the AMP CTL 1, 2 jacks.

LATCH Latch operation
PULSE Send a pulse when changing memories.
AMP CTL1
AMP CTL2
INVERT
EXP HOLD

ON The operational status of the EXP 1 PEDAL and EXP 2 FUNC (EXP1 PEDAL, EXP 2)(P.エラー! ブックマークが
定義されていません。) is not carried over when memories are switched.

The operational status of the EXP 1 PEDAL and EXP 2 is carried over when memories are switched, if the
EXP1
HOLD FUNC (EXP1 PEDAL, EXP 2)(P.エラー! ブックマークが定義されていません。) setting is the same as the
EXP2 previous memory.
HOLD OFF For example, if EXP PEDAL FUNCTION is set to FOOT VOLUME in both memories (the one before and the one
after the change), the volume corresponding to the position (angle) the pedal is in at the time of the
memory change will be maintained after the memory change. On the other hand, if the memory being
changed to is set to WAH, the volume is in accordance with the value set within the memory, and you’ll
obtain a wah effect that is in accordance with a value that reflects the current position (angle) of the pedal.
PEDAL CALIBRATION
You can readjust the expression pedal so that it will operate optimally.

THRESHOLD 1–16 Adjusts the sensitivity at which the EXP 1 SW will respond.
LCD BRIGHTNESS
Here you can adjust the brightness of the characters in the display.

LCD BRIGHTNESS 1–10 Higher values increase the brightness.
AUTO OFF
The GX-100 can turn off its power automatically. The power will turn off automatically when 10 hours have passed since you last
played or operated the unit. The display will show a message approximately 15 minutes before the power turns off.
With the factory settings, this function is turned “ON” (power-off in 10 hours). If you want to have the power remain on all the time,
turn it “OFF”.
* When the power is turned off, any settings you were editing will be lost. You must save settings that you want to keep.

OFF The power will not turn off automatically.
AUTO OFF
ON The power will turn off automatically when 10 hours have passed since you last played or operated the unit.
118
MENU
Bluetooth
Specifies the device name of this unit, which is shown in the Bluetooth-connected app.
* Note that the GX-100 does not offer Bluetooth functionality. You’ll need to attach the BT-DUAL (sold separately) to use
Bluetooth.
If you have more than one GX-100 unit, this lets you conveniently distinguish the units.
Value
GX-100 AUDIO 1/MIDI 1
LOCK
Sets whether the operations for each of the knobs, buttons and the touch panel are disabled.
1. Touch the icons onscreen to highlight which items to lock.
2. Touch the <LOCK: OFF> icon in the top center part of the screen.
The icon changes to <LOCK: ON>, and the operations you highlighted in step 1 are locked.
Hold down the [EXIT] button on the play screen to unlock these items.
OFF, Enables/disables the operations for the [1]–[4] knobs and the [SELECT] knob.
KNOB
ON
OFF, Enables/disables the operations for all buttons on the panel, and the pressing of the [1]–[4] knobs and
BUTTON
ON [SELECT] knob.
OFF, Enables/disables the [OUTPUT LEVEL] knob operations.
OUTPUT LEVEL
ON
TOUCH OFF, Enables/disables the screen touch operations.
SCREEN ON
119
MENU
PLAY OPTION
Here you can specify how the pedals will work during performance.

WAIT1 The memory does not switch simply because the screen display changes, even when you
press the bank pedal to switch banks. At the moment you press the bank pedal, the bank and
number are confirmed, and the unit switches to the next memory.
The display blinks when you press the bank pedal, and you can select a number without
BANK MODE switching banks. At the moment you press the bank pedal, the bank and number are
WAIT2 confirmed, and the unit switches to the next memory. You can switch to a number within the
same bank even when a function besides a number is set for a number pedal. You can also
switch banks by pressing the bank pedal while the display is blinking.
IMMEDIATE The memory switches instantly when a BANK pedal or any of the number pedals is pressed.
BANK U01–U50 Sets the lower limit for the banks.
EXTENT MIN P01–P25
BANK U01–U50 Sets the upper limit for the banks.
EXTENT MAX P01–P25
MONO Mixes the L/R signals for mono operation.
The recording time is 38 seconds.
LOOP MODE
Operate in stereo.
STEREO
The recording time is 19 seconds.
Specifies how the looper operates when you press the pedal.
LOOP REC
RECÓPLAYÓDUB Operation will switch in the order of Recording Ó Playback Ó Overdubbing.
ACTION
RECÓDUBÓPLAY Operation will switch in the order of Recording Ó Overdubbing Ó Playback.
DELETE OFF, ON Sets whether to show a confirmation message when you try to delete an effect from the effect
WARNING chain.
OVERWRITE OFF, ON Sets whether to show a confirmation message when you try to overwrite an effect in the effect
WARNING chain.
120
MENU
TUNER
Here you can make settings for the TUNER.
Tuner Settings
To make tuner settings, use knobs [1]–[4] located below the display.
Knob Parameter Value Explanation

REF. PITCH 435–445 Hz (default: 440 Specifies the reference pitch.
[1]
Hz)
TUNER MUTE Sound will not be output while tuning.
OUTPUT While tuning, the sound of the guitar being input to the GX-100 will be output
BYPASS
without change. All effects will be off.
[2] Allows you to tune while hearing the current effect sound.
THRU
* Only for monophonic tuner.
POLY TYPE 6-REG, 6-DROP D, 7-REG, Selects the type of tuning for the polyphonic tuner.
[3] 7-DROP A,
4-B REG, 5-B REG
POLY OFFSET -5–-1, ---- Adjusts the reference pitch of the polyphonic tuner in semitone units relative
[4]
to standard tuning.
Switching the tuner display

You can turn the [SELECT] knob to switch the tuner display.
Monophonic (normal)/polyphonic display
Monophonic (streaming)/polyphonic display
121
MENU
Monophonic (normal) display
Monophonic (streaming) display
Polyphonic display
122
MENU
MIDI
Here you can make settings for using the GX-100 connected with an external MIDI device or with a second GX-100 unit.
MIDI SETTING

RX This sets the MIDI channel used for receiving MIDI messages.
CHANNEL CH1–CH16 Specifies the receive channel.
Sets the MIDI channel used for transmitting MIDI messages.
TX
CH1–CH16 Specifies the transmit channel.
CHANNEL
RX CH Transmits on the same channel as the RX CHANNEL.
This specifies the connector from which to output the MIDI messages that are received at the MIDI IN connector.
OFF MIDI messages are not transmitted.
MIDI IN
MIDI OUT Messages are transmitted from the MIDI OUT connector.
THRU
USB OUT Messages are transmitted from the USB port.
USB & MIDI Output from the USB port and the MIDI OUT connector.
This specifies the connector from which to output the MIDI messages that are received at the USB port.
OFF MIDI messages are not transmitted.
USB IN
MIDI OUT Messages are transmitted from the MIDI OUT connector.
THRU
USB OUT Messages are transmitted from the USB port.
USB & MIDI Output from the USB port and the MIDI OUT connector.
This setting determines the basis used for synchronizing the timing for effect modulation rates and other time-
based parameters.
* When you have an external MIDI device connected, the MASTER BPM is then synchronized to the external
MIDI device’s tempo, thus disabling the MASTER BPM setting. To enable setting of the MASTER BPM, set to
“INTERNAL”.
* When synchronizing performances to the MIDI Clock signal from an external MIDI device, timing problems in
the performance may occur due to errors in the MIDI Clock.
SYNC
Operations are synchronized to MIDI clock messages received via MIDI or USB. However, operations
CLOCK
AUTO are automatically synchronized to the GX-100’s internal clock if the GX-100 is unable to receive the
external Clock.
INTERNAL Operations are synchronized to the GX-100’s internal Clock.
Operations are synchronized to the MIDI Clock received via MIDI. However, operations are
MIDI
automatically synchronized to the GX-100’s internal clock if the GX-100 is unable to receive the
(AUTO)
external Clock.
Operations are synchronized to the USB Clock received via USB. However, operations are
USB (AUTO) automatically synchronized to the GX-100’s internal clock if the GX-100 is unable to receive the
external Clock.
Specifies whether MIDI clock will be output from the GX-100.
CLOCK OUT OFF MIDI clock is not output.
ON MIDI clock is output.
NUM1 CC# Specifies the controller number when transmitting pedal operations as control change messages.
NUM2 CC# OFF Control Change messages are not output.
NUM3 CC# Pedal operations are transmitted using the specified controller number.
NUM4 CC#
BANK
á CC#
BANK
à CC# CC#1–
EXP1 SW CC#31,
CC# CC#64–
CTL1 CC# CC#95
CTL2 CC#
CTL3 CC#
CTL4 CC#
EXP1 CC#
EXP2 CC#
123
MENU
PROGRAM MAP BANK1–BANK3
Use the program change map to customize which memories on the GX-100 correspond to which program change messages sent
from an external MIDI device, switching to the memory in question.

FIX This deactivates the Program Change Map.
Switches to the memories according to the default settings.
MAP SELECT
This activates the Program Change Map.
PROG
Switches to the memories according to the Program Change Map.
PC#1– U01-1–U50-4, P01-1–P25- Sets the memory number (from U01-1 to P25-4) that corresponds to the program
PC#128 4 number.
You can switch to MAP SELECT by touching the button at the top right-hand corner of the screen.
124
MENU
USB
Here you can make USB-related settings for when the GX-100 is connected to a computer via USB.

EFX OUT 0– Adjusts the level of audio output to the computer after passing through the effects of the GX-100.
LEVEL 200%
0– Adjusts the level of the input sound from the computer. With this setting, the input sound from the
MIX LEVEL
200% computer is mixed into the final stage of the GX-100 signal chain.
0– The guitar sound that is input to the GX-100, is output without change (DRY sound); it is not processed
DRY OUT
200% by effects.
0– Adjusts the input level from the computer to the GX-100’s effects.
DRY TO EFX
200%
Selects whether the sound of the GX-100, is output to the PHONES jack or the OUTPUT jacks.
* This setting cannot be saved. It will be ON when the unit is powered-on.

DIRECT
MONITOR Turn this off if the audio data is being passed through within the computer.
OFF
In this case, you won’t hear the sound unless the computer is set to through.
The sound of the GX-100, is output directly. Turn this on if you’re using the GX-100, by itself without
ON
connecting to a computer. (If this is off, only the sound that is input to USB will be output.)
OFF, Turn this ON to send the sound mixed from the computer with the GX-100’s effect sound to your
LOOPBACK
ON computer.
125
MENU
FACTORY RESET
Initializes the GX-100 to its factory-set condition.

SYSTEM System parameter settings
FROM, TO
U01-1–U50-4 Settings for memory numbers U01-1 through U50-5
126
IN/OUT SETTINGS
IN/OUT SETTINGS
INPUT SETTINGS
This shows you how to set the type of instrument to connect (guitar/bass), and how to adjust the input level to match the output
level of your instrument.
You can save up to 10 instrument type and input level settings.

NUM 1–10 Select the setting (input level) for the guitar/bass that’s connected to the INPUT jack.
NAME INIT 01–INIT 10 The names of the NUM 1–10 settings are shown. Touch <NAME EDIT> to edit the names.
INPUT GUITAR, BASS Sets the type of device (guitar/bass) to connect.
INPUT SENS -20–+20dB Adjusts the guitar/bass input level.
Editing the names of settings 1–10
1. Touch <NAME EDIT> on the screen.
2. Use the PAGE [÷] [ø] buttons to move the cursor and use the [SELECT] knob to change the character.
Operation Function
Turn the [2] knob Selects the type of characters
Turn the [3] knob Switch uppercase/lowercase
Press the [3] knob Delete one character (delete)
Turn the [SELECT] knob Changes the character
Press the [4] knob Insert one space (insert)
Press the [÷] [ø] buttons Moves the cursor
Touch <DELETE ALL> Delete all characters
3. Touch <EXEC: [WRITE]> on the screen.
You can also write the name by pressing the [WRITE] button.
127
IN/OUT SETTINGS
128
IN/OUT SETTINGS
OUTPUT SELECT
These settings specify the device (amp) that’s connected to the OUTPUT jacks.
Value Explanation
LINE/PHONES Choose this setting if you’re using headphones, or if the GX-100 is connected to a keyboard amp, mixer,
(RECORDING) or digital recorder.
JC-120 RETURN Choose this setting if the GX-100 is connected to the RETURN jack of the Roland JC-120 guitar amp.
JC-120 INPUT Choose this setting if the GX-100 is connected to the guitar input of a JC-120 guitar amp.
KATANA-100/212 Choose this setting if the GX-100 is connected to the RETURN jack of the KATANA-100/212 guitar amp.
RETURN
KATANA-100/212 Choose this setting if the GX-100 is connected to the guitar input of a KATANA-100/212 guitar amp.
INPUT
KATANA-100 Choose this setting if the GX-100 is connected to the RETURN jack of the KATANA-100 guitar amp.
RETURN
KATANA-100 INPUT Choose this setting if the GX-100 is connected to the guitar input of a KATANA-100 guitar amp.
TUBE COMBO 212 This setting is for cases other than the above when connecting to the RETURN of a vacuum tube combo
RETURN amp (in which the amp and speakers are in a single unit) equipped with two 12” speakers.
TUBE COMBO 212 This setting is for cases other than the above when connecting to the INPUT of a vacuum tube combo amp
INPUT (in which the amp and speakers are in a single unit) equipped with two 12” speakers.
TUBE COMBO 112 This setting is for cases other than the above when connecting to the RETURN of a vacuum tube combo
RETURN amp (in which the amp and speakers are in a single unit) equipped with one 12” speaker.
TUBE COMBO 112 This setting is for cases other than the above when connecting to the INPUT of a vacuum tube combo amp
INPUT (in which the amp and speakers are in a single unit) equipped with one 12” speaker.
This setting is for cases other than the above when connecting to the RETURN of a vacuum tube stack
TUBE STACK 412
guitar amp (in which the amp and speakers are separate units).
RETURN
This assumes that the connected speaker cabinet is equipped with four 12” speakers.
This setting is for cases other than the above when connecting to the INPUT of a vacuum tube stack guitar
TUBE STACK 412
amp (in which the amp and speaker are separate units).
INPUT
This assumes that the connected speaker cabinet is equipped with four 12” speakers.
BASS AMP WITH Use this setting when connecting to a tweeter-equipped bass amp.
TWEETER
BASS AMP NO Use this setting when connecting to a bass amp that has no tweeter.
TWEETER
129
IN/OUT SETTINGS
GLOBAL EQ
This adjusts the tone of the OUTPUT regardless of the equalizer on/off settings of individual memories.

LOW GAIN -20–+20dB Adjusts the low frequency range tone.
HIGH GAIN -20–+20dB Adjusts the high frequency range tone.
LEVEL -20–+20dB Adjusts the overall volume level of the equalizer.
LOW-MID 20.0 Hz–12.5 kHz Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN.
FREQ
0.5–16 Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher
LOW-MID Q
LOW-MID -20–+20dB Adjusts the low-middle frequency range tone.
GAIN
HIGH-MID 20.0 Hz–12.5 kHz Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN.
FREQ
0.5–16 Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher
HIGH-MID Q
HIGH-MID -20–+20dB Adjusts the high-middle frequency range tone.
GAIN
FLAT, 20.0 Hz– Sets the frequency at which the low cut filter begins to take effect. When “FLAT” is selected,
LOW CUT
12.5 kHz the low cut filter has no effect.
20.0 Hz–12.5 kHz, Sets the frequency at which the high cut filter begins to take effect. When FLAT is selected,
HIGH CUT
130
IN/OUT SETTINGS
OUTPUT SETTING
Specifies the output reference level as appropriate for the input level of the device connected to the OUTPUT jacks.
Value Explanation
-10 dBu Use this setting when connecting to a guitar amp.
+4 dBu Use this setting when connecting to a keyboard amp, mixer, digital recorder or similar equipment.
131
WRITE
WRITE
WRITE (Saving to Memory)
When you want to save a memory you have created, save it as a user memory by following the procedure below. If you do not
save the memory, the edited settings will be lost when you turn off the power or switch to another memory.
1. Press the [WRITE] button.
2. Touch <WRITE> (or press the [1] knob).
3. Use knob [1] to select the save-destination (U01-1–U50-4).
132
WRITE
You can use knobs [2]–[4] to edit the name.
4. Touch <EXECUTE WRITE> on the screen. (Or press the [WRITE] button.)
Editing a name
To edit the memory name, use the PAGE [÷] [ø] buttons to move the cursor and use the [SELECT] knob to change the character.
Controller Operation
Turn the [2] knob Selects the type of characters
Turn the [3] knob Switch uppercase/lowercase
Press the [3] knob Delete one character (delete)
Turn the [SELECT] knob Changes the character
Press the [4] knob Insert one space (insert)
Press the [÷] [ø] buttons Moves the cursor
To delete all characters, touch <DELETE ALL>.
133
WRITE
EXCHANGE (Exchanging Memories)

On the GX-100, you can “swap” or exchange the positions of two User memories.
1. Select the memory to exchange.

3. Touch <EXCHANGE> (or press the [2] knob).
134
WRITE
4. Use the [1] knob to select the other user memory that you want to exchange.
5. Touch <EXECUTE WRITE> on the screen. (You can also press the [WRITE] button.)
A confirmation message appears. To execute the exchange, touch <OK>. To cancel, touch <CANCEL>.
135
WRITE
INITIALIZE (Initializing a Memory)

You can restore (initialize) each effect in a user memory to its standard settings. This is useful when you want to create a new
memory from scratch.
Memories are lost once you initialize them.
2. Touch <INITIALIZE> (or press the [3] knob).
136
WRITE
3. Use knob [1] to select the user memory that you want to initialize.
A confirmation message appears. To initialize, touch <OK>. To cancel, touch <CANCEL>.
137
WRITE
INSERT (Inserting a Memory)

You can insert a memory into any position of the user memories.
For example, if you insert memory U01-1 at U02-1, memory U02-1 and subsequent memories are shifted (renumbered) backward
by one. (Memory U02-1 becomes U02-2.)
When you execute the insert operation, the last user memory (U50-4) is deleted.
2. Touch <INSERT> (or press the [4] knob).
138
WRITE
3. Use knob [1] to select the insert destination user memory.
A confirmation message appears. To insert, touch <OK>. To cancel, touch <CANCEL>.
139
Sound List
Sound List
Preset memory list
Memory number Memory name CTL1 EXP1 SW EXP1
P01-1 GX DUAL DRIVE OD WAH FV/WAH
P01-2 HEAVY METAL DIV CH SELECT WAH FV/WAH
P01-3 STUDIO BLUES DIV CH SELECT WAH FV/WAH
P01-4 JC CLEAN CHO WAH FV/WAH
P02-1 LEAD DRIVE DELAY WAH FV/WAH
P02-2 CRUNCH LEAD AN DLY WAH FV/WAH
P02-3 NEO SOUL REV+ WAH FV/WAH
P02-4 MODERN OD DLY+ WAH FV/WAH
P03-1 MODERN DS DLY+ WAH FV/WAH
P03-2 CLEAN+SHIMMER WARP WAH FV/WAH
P03-3 MILD DRIVE DLY+ WAH FV/WAH
P03-4 ACOUSTIC GUITAR DELAY AG SIM FOOT VOL
P04-1 FUZZY ROCK REV+ WAH FV/WAH
P04-2 PHASER CLEAN AN DLY WAH FV/WAH
P04-3 BG DRIVE OCT WAH FV/WAH
P04-4 OCTAVE CLEAN AN DLY WAH FV/WAH
P05-1 HI-GAIN LEAD SCR PH WAH FV/WAH
P05-2 DIMENSION FL DELAY WAH FV/WAH
P05-3 DRIVE + OCT CLN DLY+ PD BND FV/PD BND
P05-4 SYNTH LEAD DLY+ WAH FV/WAH
P06-1 RICH CHORUS DS DLY+ WAH FV/WAH
P06-2 BASIC GIG OD T-WAH FOOT VOL
P06-3 ROTARY+ECHO SP ECO WAH FV/WAH
P06-4 AMBIENT CLEAN REV+ WAH FV/WAH
P07-1 FUSION SOLO DLY+ WAH FV/WAH
P07-2 TWEED DRIVE CHO WAH FV/WAH
P07-3 FLYING OVERTONE OVERT WAH FV/WAH
P07-4 CONSOLE CLEAN BPM TAP WAH FV/WAH
P08-1 DUAL CRUNCH P OCT WAH FV/WAH
P08-2 FUZZ SOLO DIV CH SELECT WAH FV/WAH
P08-3 BOOST BAR BROS DLY+ WAH FV/WAH
P08-4 THE BELLS BPM TAP PD BND FV/PD BND
P09-1 WINDWARD DIV CH SELECT WAH FV/WAH
P09-2 ANCIENT MOON DLY+ WAH FV/WAH
P09-3 CAPO’S & NUTS AN DLY WAH FV/WAH
P09-4 WINTER IN 2047 DLY+ WAH FV/WAH
P10-1 JAZZ CLUB AN DLY WAH FV/WAH
P10-2 GITARRE SPIELEN AN DLY WAH FV/WAH
P10-3 SLOW DANCE DELAY WAH FV/WAH
P10-4 OVERTONE ORGAN REV+ WAH FV/WAH
P11-1 NEW AGED BLUES DLY+ WAH FV/WAH
P11-2 SPACE ECHO BPM TAP WAH FV/WAH
P11-3 CLEAR DRIVE DLY+ WAH FV/WAH
P11-4 GOOD FEELING DELAY TREM FOOT VOL
P12-1 SURF COWBOY SP ECO WAH FV/WAH
P12-2 AMERICANA AN DLY 2 WAH FV/WAH
P12-3 TREBLE BOOST CHO WAH FV/WAH
P12-4 DIGITAL OCEAN REVERB WAH FV/WAH
P13-1 FUNK DRIVE DIV CH SELECT WAH FV/WAH
P13-2 SUPER CLEAN/DS DIV CH SELECT WAH FV/WAH
P13-3 ANCIENT DREAM SM REV WAH FV/WAH
P13-4 OCTAVE FUNK BOOST WAH FV/WAH
P14-1 GRAVITY GAINS XOD WAH FV/WAH
P14-2 AMBIENT LEAD AN DLY WAH FV/WAH
P14-3 DJENT METAL DLY+ WAH FV/WAH
P14-4 SKYBLUE PINK BOOST WAH FV/WAH
P15-1 FUZZY DIST DIST PD BND FV/PD BND
140
Sound List
Memory number Memory name CTL1 EXP1 SW EXP1

P15-2 DIMI GILMORIX CL VIBE WAH FV/WAH
P15-3 A LIGHTER TOUCH CHO WAH FV/WAH
P15-4 HARMONIC DIST DELAY WAH FV/WAH
P16-1 PROUD DAD DELAY PD BND FV/PD BND
P16-2 DRY CRUNCH DELAY WAH FV/WAH
P16-3 OCTAVE CRUNCH T-WAH WAH FV/WAH
P16-4 FUSION SWELLS AN DLY WAH FV/WAH
P17-1 LO-FI CLEAN DLY+ WAH FV/WAH
P17-2 SLAP GUITAR DLY+ T-WAH FOOT VOL
P17-3 1993 DLY+ WAH FV/WAH
P17-4 OCTAVE ORGAN ROT SPEED SELECT WAH FV/WAH
P18-1 BIG DRIVE DLY+ WAH FV/WAH
P18-2 BLUE LAKE SM DLY WAH FV/WAH
P18-3 FAIRY OF FOREST DLY+ WAH FV/WAH
P18-4 HARMONIC DRIVE HARM WAH WAH
P19-1 PROG LEAD TONE DLY+ WAH FV/WAH
P19-2 CRYSTAL CLEAN SM REV WAH FV/WAH
P19-3 CLEAN BOOSTER SP ECO WAH FV/WAH
P19-4 BUBBLE DELAY BPM TAP WAH FV/WAH
P20-1 HOT COUNTRY SP ECO WAH FV/WAH
P20-2 EXPENSIVE TASTE AN DLY WAH FV/WAH
P20-3 SWAMP CHORUS AN DLY WAH FV/WAH
P20-4 EVERY 00’S MOVIE DIV CH.SEL WAH FV/WAH
P21-1 SKY ROCK DLY+ WAH FV/WAH
P21-2 EAGLE RING OD WAH FV/WAH
P21-3 X-MOD DRIVE XOD WAH FV/WAH
P21-4 NIGHT TEAR DEFRET WAH FV/WAH
P22-1 CHUNK TOWN DLY+ WAH FV/WAH
P22-2 POLY OCT+FUZZ DIV CH.SEL WAH FV/WAH
P22-3 OCTAVE+HARMONIST HARM WAH FV/WAH
P22-4 MARS EXPLORER DELAY WAH FV/WAH
P23-1 STUDIO BASS PEQ BASS WAH FV/BASS WAH
P23-2 ROCK BASS CRUNCH BASS P.FL BASS WAH FV/BASS WAH
P23-3 CLEAN ROCK BASS BASS OD BASS WAH FV/BASS WAH
P23-4 T WAH BASS BASS TWAH BASS WAH FV/BASS WAH
P24-1 DIST ROCK BASS BASS OCT BASS WAH FV/BASS WAH
P24-2 MONO BASS CLOUD SM REV BASS WAH FV/BASS WAH
P24-3 SYNTHY OCT BASS DELAY BASS WAH FV/BASS WAH
P24-4 FUZZ BASS DIV CH.SEL BASS WAH FV/BASS WAH
P25-1 LOOPER CLEAN LOOP CTL WAH FV/WAH
P25-2 LOOPER CRUNCH LOOP CTL WAH FV/WAH
P25-3 LOOPER DRIVE LOOP CTL WAH FV/WAH
P25-4 LOOPER -1OCT LOOP CTL P OCT FOOT VOL
141
Sound List
GX-100
Parameter Guide
01
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Available Formats

GX -100

IN/OUT SETTINGS ........................................................................................................................................................................................127

INITIALIZE (Initializing a Memory) ............................................................................................................................................................ 136

Sound List ......................................................................................................................................................................................................140

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This effect distorts the sound to create long sustain.

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This is distortion sound that is ideal for performances of heavy riffs.

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This is an effect unit that gives an extreme distortion sound.

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* Up to two AIRD PREAMPs can be placed in the effect chain.

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AIRD PREAMP TYPE List

MIC TYPE List

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0–100, BPM Adjusts the rate of the chorus effect.

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The flanger effect gives a twisting, jet-airplane-like character to the sound.

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A phaser that can be set in greater detail.

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This produces an effect like the sound of a rotary speaker.

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This effect creates vibrato by slightly modulating the pitch.

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This effect creates a cyclic change in volume.

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

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

DIRECT 0–100 Adjusts the volume of the direct sound.

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USER SCALE Settings

* Effective with USER selected for HARMONY parameter.

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An octave effect that works with polyphonic input.

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STEREO This is a stereo-in/out delay.

REVERSE Produces a reverse playback effect.