Boss Audio Systems Music Pedal GT 6 User Manual

Owner’s Manual  
Thank you, and congratulations on your choice of the BOSS  
GT-6 Guitar Effects Processor.  
Before using this unit, carefully read the sections entitled:  
• USING THE UNIT SAFELY (page 2–3)  
• IMPORTANT NOTES (page 4)  
These sections provide important information concerning  
the proper operation of the unit.  
Additionally, in order to feel assured that you have gained a  
good grasp of every feature provided by your new unit,  
Owner’s manual should be read in its entirety. The manual  
should be saved and kept on hand as a convenient reference.  
Printing Conventions in This Manual  
• Text or numerals enclosed in square brackets [ ] indicate bottons.  
[WRITE]  
WRITE button  
[UTILITY] UTILITY button  
• Reference such as (p. **) indicate pages in this manual to which  
you can refer.  
* All product names mentioned in this document are trademarks or  
registered trademarks of their respective owners.  
Copyright © 2001 BOSS CORPORATION  
All rights reserved. No part of this publication may be reproduced in any form  
without the written permission of BOSS CORPORATION.  
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012b  
101b  
Immediately turn the power off, remove the AC  
The unit and the AC adaptor should be located so  
adaptor from the outlet, and request servicing by  
your retailer, the nearest Roland Service Center, or  
an authorized Roland distributor, as listed on the  
“Information” page when:  
their location or position does not interfere with  
their proper ventilation.  
..........................................................................................................  
102cAlways grasp only the plug on the AC adaptor  
• The AC adaptor, the power-supply cord, or the  
plug has been damaged; or  
cord when plugging into, or unplugging from, an  
outlet or this unit.  
• Objects have fallen into, or liquid has been  
spilled onto the unit; or  
..........................................................................................................  
103b  
Whenever the unit is to remain unused for an  
extended period of time, disconnect the AC  
adaptor.  
• The unit has been exposed to rain (or otherwise  
has become wet); or  
• The unit does not appear to operate normally or  
exhibits a marked change in performance.  
..........................................................................................................  
013 In households with small children, an adult  
..........................................................................................................  
104 Try to prevent cords and cables from becoming  
entangled. Also, all cords and cables should be  
placed so they are out of the reach of children.  
should provide supervision until the child is  
capable of following all the rules essential for the  
safe operation of the unit.  
..........................................................................................................  
106 Never climb on top of, nor place heavy objects on  
the unit.  
..........................................................................................................  
014 Protect the unit from strong impact.  
..........................................................................................................  
107cNever handle the AC adaptor or its plugs with  
(Do not drop it!)  
wet hands when plugging into, or unplugging  
from, an outlet or this unit.  
..........................................................................................................  
015 Do not force the unit’s power-supply cord to share  
..........................................................................................................  
108b  
an outlet with an unreasonable number of other  
devices. Be especially careful when using  
Before moving the unit, disconnect the AC  
adaptor and all cords coming from external  
devices.  
extension cords—the total power used by all  
devices you have connected to the extension  
cord’s outlet must never exceed the power rating  
(watts/amperes) for the extension cord. Excessive  
loads can cause the insulation on the cord to heat  
up and eventually melt through.  
..........................................................................................................  
109b  
Before cleaning the unit, turn off the power and  
..........................................................................................................  
..........................................................................................................  
110b  
016 Before using the unit in a foreign country, consult  
Whenever you suspect the possibility of lightning  
in your area, disconnect the AC adaptor from the  
outlet.  
with your retailer, the nearest Roland Service  
Center, or an authorized Roland distributor, as  
listed on the “Information” page.  
..........................................................................................................  
..........................................................................................................  
3
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IMPORTANT NOTES  
291a  
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:  
Power Supply  
Additional Precautions  
301  
551  
• Do not use this unit on the same power circuit with any  
• Please be aware that the contents of memory can be  
device that will generate line noise (such as an electric  
irretrievably lost as a result of a malfunction, or the  
improper operation of the unit. To protect yourself against  
the risk of loosing important data, we recommend that  
you periodically save a backup copy of important data  
you have stored in the unit’s memory in another MIDI  
device (e.g., a sequencer).  
motor or variable lighting system).  
302  
• The AC adaptor will begin to generate heat after long  
hours of consecutive use. This is normal, and is not a  
cause for concern.  
307  
552Unfortunately, it may be impossible to restore the contents  
of data that was stored in another MIDI device (e.g., a  
sequencer) once it has been lost. Roland Corporation  
• Before connecting this unit to other devices, turn off the  
power to all units. This will help prevent malfunctions  
and/or damage to speakers or other devices.  
assumes no liability concerning such loss of data.  
553  
Placement  
• Use a reasonable amount of care when using the unit’s  
buttons, sliders, or other controls; and when using its jacks  
352  
This device may interfere with radio and television reception.  
Do not use this device in the vicinity of such receivers.  
and connectors. Rough handling can lead to malfunctions.  
554  
355  
• To avoid possible breakdown, do not use the unit in a wet  
area, such as an area exposed to rain or other moisture.  
• Never strike or apply strong pressure to the display.  
556  
• When connecting / disconnecting all cables, grasp the  
connector itself—never pull on the cable. This way you  
will avoid causing shorts, or damage to the cable’s  
internal elements.  
558a  
Maintenance  
401a  
• For everyday cleaning wipe the unit with a soft, dry cloth  
or one that has been slightly dampened with water. To  
remove stubborn dirt, use a cloth impregnated with a  
mild, non-abrasive detergent. Afterwards, be sure to wipe  
• To avoid disturbing your neighbors, try to keep the unit’s  
volume at reasonable levels. You may prefer to use  
headphones, so you do not need to be concerned about  
those around you (especially when it is late at night).  
559a  
the unit thoroughly with a soft, dry cloth.  
402  
• Never use benzine, thinners, alcohol or solvents of any  
kind, to avoid the possibility of discoloration and/or  
deformation.  
• When you need to transport the unit, package it in the box  
(including padding) that it came in, if possible. Otherwise,  
you will need to use equivalent packaging materials.  
561  
Repairs and Data  
• Use only the specified expression pedal (EV-5, FV-300L;  
sold separately). By connecting any other expression  
pedals, you risk causing malfunction and/or damage to  
452  
Please be aware that all data contained in the unit’s memory  
may be lost when the unit is sent for repairs. Important data  
should always be backed up in another MIDI device, or written  
down on paper (when possible). During repairs, due care is  
taken to avoid the loss of data. However, in certain cases (such  
as when circuitry related to memory itself is out of order), we  
regret that it may not be possible to restore the data, and  
Roland assumes no liability concerning such loss of data.  
the unit.  
562  
• Use a cable from Roland to make the connection. If using  
some other make of connection cable, please note the  
following precautions.  
• Some connection cables contain resistors. Do not use  
cables that incorporate resistors for connecting to this  
unit. The use of such cables can cause the sound level  
to be extremely low, or impossible to hear. For infor-  
mation on cable specifications, contact the manufac-  
turer of the cable.  
Memory Backup  
501b  
• This unit contains a battery which powers the unit’s  
memory circuits while the main power is off. When this  
battery becomes weak, the message shown below will  
appear in the display. Once you see this message, have the  
battery replaced with a fresh one as soon as possible to  
avoid the loss of all data in memory. To have the battery  
replaced, consult with your retailer, the nearest Roland  
Service Center, or an authorized Roland distributor, as  
listed on the “Information” page.  
4
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Contents  
PREAMP/SPEAKER  
Making Settings for a Connected Device (Amp)  
Chapter 2  
Finding Tones Resembling  
Making More Detail Settings  
Changing the Connection Order of Effects  
Chapter 3  
5
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Limiting the Banks That Can Be Switched  
Chapter 5  
and Control Pedals (Pedal Assign)......... 47  
Setting the External Foot Switch Functions  
Settings for Using the  
Controlling Effects with the GT-6 Pedals,  
Controlling Wah and Pitch Bend  
Transmitting Data  
Receiving Data  
Enabling/Disabling the Program Change Map  
Chapter 6  
Chapter 7  
How MIDI messages are transmitted  
Main types of MIDI message  
Quick Patch Volume Adjustment  
Turning the Effects On and Off  
Selecting the Effect  
Changing patches using bank select  
Changing patch numbers on an external MIDI  
Changing patch numbers on the GT-6 using the bank  
Switching Tuner/Bypass On and Off  
Adjusting the Overall Sound  
Checking the Effect Output Level  
Selecting the PATCH/VALUE Dial Function  
Setting the Timing Used for Switching Patches  
6
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Main Features  
Built-IN COSM Amp and COSM Overdrive/  
Distortion for Maximum Distortion  
Expression Pedal/Expression Pedal  
Switch and Control Pedal  
The highly advanced combination of COSM amp with the  
COSM overdrive/distortion provides you with the most  
powerful distortion effects for your performances.  
The unit features an expression pedal and control pedal that  
you can use for controlling the functions in each patch. The  
functions that can be assigned to the expression pedal vary  
with each patch you select, allowing you to use it as a wah,  
volume, or other kind of pedal.  
COSM Wah Included  
Furthermore, you can use the pedal as an “expression pedal  
switch” to control (turn on and off) the current effect by  
firmly pressing down at the front tip of the expression pedal.  
This newly developed COSM wah, which features five  
different wah effects, including vintage wah, lets you  
perform with a wide variety of wah sounds.  
Includes Digital Outs  
Customize Function  
The unit also includes digital out connectors (coaxial),  
convenient for digital recording.  
Thanks to the GT-6’s new Customize function, you can bring  
your own creativity into play and design totally new effects  
by tweaking the settings for the “Preamp,” “Overdrive/  
Distortion,” and “Wah” effects.  
The resulting creations can then be saved on the GT-6 as  
“Custom” settings.  
COSM (Composite Object Sound Modeling)  
Composite Object Sound Modeling (COSM) is Roland’s  
innovative and powerful sound modeling technology.  
COSM analyzes the many factors that make up the  
original sound, such as the electrical and physical  
characteristics of the original, and then produces a  
digital model that can reproduce the same sound.  
EZ Tone  
The GT-6 includes thirty typical guitar sounds used for  
creating new sounds. Now it's easy to select just the sounds  
you like.  
Quick Settings  
Each editing function contains preset recorded settings.  
Creating the effect sounds you want is simple—just select the  
preset settings for the function (effect) you are using.  
Knob Controls for Intuitive Operation  
The GT-6 is equipped with dedicated knob controls for the  
main internal effects. These allow you to make changes to the  
settings in real time as you play.  
Professional Quality  
The GT-6 comes with 37 different professional-quality  
effects, from studio reverb and delay, a newly developed  
defretter, uni-v, and more.  
7
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Names of Things and What They Do  
Front Panel  
fig.00-01  
45  
2
44  
1
29  
40  
43  
41  
42  
25  
3
4
7
5
6
8
9
30  
10  
26  
27  
11  
31  
34  
33  
36  
39  
12  
15  
13  
16  
17  
19  
18  
20  
23  
24  
14  
21  
22  
28  
37  
38  
32  
35  
1 Display  
A variety of information about the GT-6 appears here.  
The left display shows the bank number.  
(PREAMP/SPEAKER SIMULATOR)  
3 TYPE Knob  
2 PATCH LEVEL Knob  
Selects the preamp type.  
Adjusts the volume level of the currently selected patch.  
4 GAIN Knob  
Adjusts the degree of preamp distortion.  
5 BASS Knob  
Adjusts the sound quality of the preamp’s low-frequency  
range.  
8
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Names of Things and What They Do  
6 MIDDLE Knob  
Adjusts the sound quality of the preamp’s midrange.  
21 LEVEL Knob  
7 TREBLE Knob  
Adjusts the volume level of the chorus sound.  
The chorus sound increases as the knob is turned to the  
right (clockwise).  
Adjusts the sound quality of the preamp’s high-  
frequency range.  
8 LEVEL Knob  
22 CHORUS ON/OFF Button  
Adjusts the preamp volume level.  
Press to change the setting.  
9 SPEAKER Knob  
Selects the speaker type.  
23 LEVEL Knob  
10 PREAMP/SPEAKER ON/OFF Button  
Adjusts the volume level of the reverb sound.  
Press to change the setting.  
24 REVERB ON/OFF Button  
11 TYPE VARIATION Button  
Press to change the setting.  
Switches the type variation.  
25 WAH ON/OFF Button  
12 TYPE Knob  
Press to change the setting.  
Selects the type of overdrive or distortion.  
13 DRIVE Knob  
Adjusts the degree of overdrive or distortion.  
26 EQ Button  
14 LEVEL Knob  
Press when changing the settings.  
Adjusts the overdrive/distortion volume level.  
15 OVERDRIVE/DISTORTION ON/OFF Button  
Press to change the settings.  
27 FX-1 ON/OFF Button  
Press to change the setting.  
16 TYPE VARIATION Button  
Switches the type variation.  
28 FX-2 ON/OFF Button  
Press to change the setting.  
17 FEEDBACK Knob  
Adjusts the number of times the delay is repeated.  
29 PATCH/VALUE Dial  
Use this when switching patches and changing the  
values of settings.  
18 LEVEL Knob  
Adjusts the volume level of the delay sound.  
30 PARAMETER Buttons  
19 DELAY ON/OFF Button  
Press to select parameters.  
Press to change the setting.  
*
To jump to the main parameters, hold down one of these  
buttons while you press the other. With items for which there  
aren’t that many parameters, the GT-6 jumps to the last (or  
initial) parameter.  
20 TAP Button  
Use this when setting the delay time with the tap input.  
9
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Names of Things and What They Do  
31 EXIT Button  
43 Expression Pedal  
Use this to undo operations.  
Controls volume, wah, and many other parameters.  
32 WRITE Button  
Press to store settings.  
When you operate the expression pedal, please be  
careful not to get your fingers pinched between the  
movable part and the panel.  
33 EZ TONE Button  
Used to search for tones.  
In households with small children, an adult should  
provide supervision until the child is capable of  
following all the rules essential for the safe operation of  
the unit.  
34 PEDAL ASSIGN Button  
Use this to make settings for the expression pedal and  
control pedal.  
44 EXP PEDAL SW (Expression Pedal Switch)  
Firmly press down at the front of the pedal to switch the  
effect on and off.  
35 OUTPUT SELECT Button  
Allows you to select an output appropriate for the  
connected device.  
45 EXP PEDAL SW ON/OFF Indicator  
(Expression Pedal Switch On/Off)  
Lights when the effect being controlled with the  
Expression Pedal Switch is on, and goes out when the  
effect is turned off.  
36 TUNER/BYPASS Button  
Press to use the tuner and bypass functions.  
Use for naming patches (NAME), setting the noise  
suppressor (NS), and making the master settings  
(MASTER).  
38 UTILITY Button  
Use for making settings for the GT-6’s overall operating  
environment.  
39 MANUAL Button  
Press to use the GT-6 in Manual mode.  
40 BANK Pedals  
These switch the bank number.  
41 NUMBER Pedals  
These switch the patch numbers.  
42 CTL (CONTROL) Pedal  
Any one of a number of different functions can be  
assigned to this pedal, then be controlled by it. For  
example, you could use it to switch the tuner on and off.  
10  
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Names of Things and What They Do  
Rear Panel  
fig.00-02  
1
2
3 4 5 6 7  
8
9
10 11  
1 INPUT Jack  
The guitar is connected here.  
2 OUTPUT LEVEL Knob  
Adjusts the volume level of the output from the output  
and headphone jacks.  
3 OUTPUT R/L (MONO) Jacks  
Connect to your amp, mixer, or such device.  
4 PHONES Jack  
Connect headphones here.  
5 SEND/RETURN Jacks  
Connect these to external effects processors.  
6 DIGITAL OUT Connector  
Outputs digital audio signals.  
7 SUB EXP PEDAL/SUB CTL 1,2 Jack  
(SUB EXP Pedal/SUB CONTROL Pedal)  
Connect an optional expression pedal (such as the EV-5)  
or foot switch (such as the FS-5U) here.  
8 MIDI IN/OUT Connectors  
Connect an external MIDI device to these connectors to  
transmit and receive MIDI messages.  
9 POWER Switch  
Turns the power on and off.  
10 AC Adaptor Jack  
Connect the included AC adaptor (BRC series) here.  
11 Cord Hook  
Hook the AC adaptor cord here to prevent the adaptor  
plug from being disconnected.  
11  
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Chapter 1 Playing Sounds  
fig.01-03  
Making the Connections  
*
To prevent malfunction and/or damage to speakers or other  
devices, always turn down the volume, and turn off the power  
on all devices before making any connections.  
AC Adaptor  
BRC-series  
Stereo  
Headphones  
*
*
Raise the amp volume only after turning on the power to all  
connected devices.  
INPUT  
PHONES  
When outputting in mono, connect the cable to the OUTPUT  
L (MONO) jack.  
OUTPUT R  
OUTPUT L (MONO)  
JC-120, SMALL AMP, COMBO AMP, STACK AMP  
fig.01-01  
AC Adaptor  
BRC-series  
MTR  
INPUT  
fig.01-04  
Stereo  
Headphones  
OUTPUT R  
GUITAR IN  
OUTPUT L (MONO)  
GUITAR IN  
External Effects device  
GUITAR IN  
GUITAR IN  
INPUT  
OUTPUT  
SEND  
RETURN  
INPUT  
PHONES  
Amp  
Amp  
Guitar Amp  
Guitar Amp  
SUB EXP PEDAL  
/SUB CTL 1,2  
Speaker System  
Speaker System  
AC Adaptor  
BRC-series  
FS-5U  
FS-5L  
etc.  
COMBO RETURN, STACK RETURN  
fig.01-02  
EV-5  
FV-300L  
etc.  
AC Adaptor  
BRC-series  
*
Use only the specified expression pedal (Roland EV-5 or  
Roland FV-300L and PCS-33; sold separately). By connecting  
any other expression pedals, you risk causing malfunction  
and/or damage to the unit.  
INPUT  
OUTPUT R  
OUTPUT L (MONO)  
MAIN IN  
or  
RETURN  
MAIN IN  
or  
RETURN  
Amp  
Amp  
Guitar Amp  
Guitar Amp  
Speaker System  
Speaker System  
12  
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Chapter 1 Playing Sounds  
*
To prevent the inadvertent disruption of power to your unit  
(should the plug be pulled out accidentally), and to avoid  
applying undue stress to the AC adaptor jack, anchor the  
power cord using the cord hook, as shown in the illustration.  
Turning on the Power  
Once the connections have been completed, turn on power to  
your various devices in the order specified. By turning on  
devices in the wrong order, you risk causing malfunction  
and/or damage to speakers and other devices.  
fig.01-05  
1. Before turning on the power, confirm the following.  
• Are all external devices properly connected?  
• Is the volume on the GT-6, your amp, and all other  
connected devices turned down to the minimum level?  
2. Switch ON the POWER switch on the GT-6’s rear panel.  
The display changes, showing the following. A few  
seconds later, the unit enters the ordinary performance  
mode.  
*
*
When using the unit with an expression pedal connected to the  
SUB EXP PEDAL/SUB CTL 1,2 jack, set Minimum Volume  
to the “MIN” position.  
The screen that appears at this point is called the “Play  
screen.”  
When using the unit with a foot switch (the optional FS-5U)  
connected to the SUB EXP PEDAL/SUB CTL 1,2 jack, set the  
polarity switch as shown below.  
fig.01-08  
fig.01-06  
*
*
Upon power-up, the patch most recently selected when the  
power was last turned off is selected.  
Polarity Switch  
This unit is equipped with a protection circuit. A brief interval  
(a few seconds) after power up is required before the unit will  
operate normally.  
*
You can use the special (optional Roland) PCS-31 connector  
cord to connect two foot switches.  
fig.01-07  
3. Next, turn on the power to any external effects  
processors, then to the guitar amp (power amp).  
PCS-31  
Adjusting the Output Level  
Adjust the GT-6’s output level with the OUTPUT LEVEL  
White  
Red  
knob on the rear panel.  
fig.01-09  
When using the unit with a foot switch (the optional FS-  
5U) connected to the SUB EXP PEDAL/SUB CTL 1,2  
Turning Off the Power  
1. Before turning off the power, confirm the following.  
• Is the volume on the GT-6, your amp, and all other  
connected devices turned down to the minimum level?  
2. Turn off the power to any external effects processors,  
then to the guitar amp (power amp) and other devices.  
3. Turn the GT-6’s power off.  
13  
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Chapter 1 Playing Sounds  
STACK RETURN:  
Making Settings for a Connected  
Device (Amp) (Output Select)  
Use this setting when connecting to RETURN of a stack  
amp or rack mounted power amp.  
Select the type of device connected to the OUTPUT jack.  
LINE/PHONES:  
Use this setting when using headphones or when  
connecting to a multi-track recorder for recording.  
To derive the maximum performance from the GT-6,  
be sure to make the correct setting for OUTPUT  
SELECT, the one that’s most suitable for your setup.  
LINE (PA):  
Use this setting when connecting to a mixer or other PA  
device.  
Procedure  
1. Press [OUTPUT SELECT], causing the indicator to  
Guitar Tuning  
light.  
You can use the GT-6’s built-in “tuner function” to tune  
your guitar.  
The Output Select settings screen appears.  
fig.01-10  
For instructions on using this function, refer to “Tuning  
2. Turn the PATCH/VALUE dial to select the type of  
device connected to the OUTPUT jack.  
*
When connecting to the input on a guitar amp, set the guitar  
amp’s tone controls so BASS is at 0, MIDDLE (midrange) is  
at 10, and TREBLE is at 0. If the amp has switchable channels,  
select the normal (clean) channel.  
JC-120:  
Use this setting when connecting to Roland’s JC-120  
guitar amp.  
SMALL AMP:  
Use this setting when connecting to small guitar amp.  
COMBO AMP:  
Use this setting when connecting to the guitar input of a  
combo amp other than the JC-120 guitar amp (where the  
amp and speaker or speakers are combined in a single  
unit).  
*
Depending on you guitar amp, you may be able to obtain good  
results with the “JC-120” setting.  
STACK AMP:  
Use this setting when connecting to the guitar input of a  
stack-type guitar amp (where the amp and speaker or  
speakers are separated).  
COMBO RETURN:  
Use this setting when connecting to RETURN with a  
combo amp.  
14  
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Chapter 1 Playing Sounds  
What is a Patch?  
The GT-6 can store 340 combinations (or “sets”) of effects and  
parameter settings. Each of these sets is called a “patch,”  
with patches organized by bank and number as shown  
How to Switch Patches  
(Patch Change)  
Using the GT-6 to Select Patches  
Patches are switched by selecting a “bank” (1-85) and  
below.  
fig.01-11  
“number” (1-4).  
Bank 85  
The bank and number appear in the GT-6’s display as shown  
in the following figure.  
fig.01-14a  
Bank 36  
Bank 35  
Bank 1  
Bank  
Bank—Number  
fig.01-14b  
Number  
User Banks (1–35)  
Newly created effects settings are saved in the User banks.  
Patches in these banks are called “User patches.”  
*
A “U” appears in the right display when a User patch is being  
used.  
fig.01-12  
*
*
When selecting a patch, even if a new bank is selected, the  
patch is not switched until you also choose the number. If you  
want to be able to switch patches merely by selecting a  
setting.  
You can also switch patches with the PATCH/VALUE dial.  
Preset Banks (36–85)  
Delay and reverb sounds are cut off when patches are  
switched.  
The Preset banks contain effect settings that really help bring  
out the special characteristics of the GT-6. The patches in  
these banks are called “Preset patches.” Although you cannot  
overwrite the Preset patches with your own settings, you can  
change (edit) a Preset patch’s settings, then save the result as  
a User patch.  
Switching Only the Number  
fig.01-15  
*
A “P” appears in the right display when a Preset patch is  
being used.  
fig.01-13  
1
1. Select the number of the patch you want to switch to by  
pressing the corresponding number pedal.  
The indicator for the pressed number pedal lights up,  
and the GT-6 switches to that patch.  
15  
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Chapter 1 Playing Sounds  
Switching the Bank and Number  
fig.01-16  
1
2
1. Press a BANK pedal.  
The bank switches, then the indicator for the numbered  
pedal that was active before the BANK pedal was  
pressed starts flashing, indicating that the GT-6 is ready  
for selection of the patch number (at this stage, however,  
the patch is not switched yet).  
2. Select the number of the patch you want to switch to by  
pressing the corresponding number pedal.  
The indicator for the selected number pedal lights up,  
and the GT-6 switches to that patch.  
About the Display Indication  
The following information appears in the Play screen.  
fig.01-17  
Patch Name  
User/Preset  
Bank  
Bank—Number  
If the Patch Does Not Switch  
On the GT-6, you cannot switch patches in any screen other  
than the Play screen. Press [EXIT] to return to the Play screen  
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Chapter 2 Creating You Own Favorite Tones (Patches)  
Finding Tones Resembling Those  
You Have in Mind (EZ Tone)  
Adjusting the Tones with the  
Knobs  
In addition to tones (patches) that you can actually use in  
performances, the GT-6 also features internal sample settings  
that are very useful when you want to create such tones on  
your own. This feature is called “EZ Tone.”  
The GT-6 panel features fifteen knob controls. These knobs  
let you make adjustments or changes to the selected patch’s  
tone quickly and easily.  
fig.02-03  
Using the EZ Tone function lets you find tone settings similar  
to the ones you want to create.  
fig.02-01  
2
PREAMP TYPE:  
Selects the preamp type.  
3
4
1
*
After pressing [TYPE VARIATION], you can select  
variations by turning the knob to the type you want.  
1. Press [EZ TONE].  
2. Rotate the VALUE dial to select the settings resembling  
PREAMP GAIN:  
those for the tone you want.  
Adjusts the degree of preamp distortion. The distortion gets  
stronger as the knob is turned to the right.  
3. Press the ON/OFF buttons to turn effects on and off;  
turn the knobs to adjust the tone.  
fig.02-02  
PREAMP BASS:  
Adjusts the sound quality of the preamp’s low-frequency  
range. The low frequencies are boosted as the knob is turned  
to the right.  
PREAMP MIDDLE:  
Adjusts the sound quality of the preamp’s midrange. The  
midrange frequencies are boosted as the knob is turned to  
the right.  
ON/OFF button  
*
You can press [EZ TONE] again to compare the tone in use  
before entering EZ Tone mode with the present tone.  
PREAMP TREBLE:  
Adjusts the sound quality of the preamp’s high-frequency  
range. The high frequencies are boosted as the knob is turned  
to the right.  
4. Press [EXIT] to return to the Play screen.  
The tone switches to the tone selected in EZ Tone.  
*
*
Pressing [EXIT] while the readout is flashing (when the tone  
prior to switching to EZ Tone mode is selected) returns you to  
the patch that was selected before going into EZ Tone mode.  
PREAMP LEVEL:  
Adjusts the preamp volume level. The volume increases as  
the knob is turned to the right.  
If you want to save a tone you’ve created, use the Write  
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Chapter 2 Creating You Own Favorite Tones (Patches)  
SPEAKER:  
Adding Effects  
The GT-6’s internal effects are switched on and off with  
button controls. The indicator for an effect’s ON/OFF button  
Selects the speaker type. When ORIGINAL is selected, you  
can select the speakers that are best suited for the PREAMP  
TYPE settings.  
lights up when the effect is enabled.  
fig.02-04  
OVERDRIVE/DISTORTION TYPE:  
Selects the type of overdrive or distortion.  
*
After pressing [TYPE VARIATION], you can select  
variations by turning the knob to the type you want.  
OVERDRIVE/DISTORTION DRIVE:  
Adjusts the degree of overdrive or distortion. The distortion  
appears stronger as the knob is turned to the right.  
1,2,3  
4
OVERDRIVE/DISTORTION LEVEL:  
1. Press the ON/OFF button for the effect you want to be  
Adjusts the overdrive/distortion volume level. The volume  
increases as the knob is turned to the right.  
able to switch on and off.  
The settings for the selected effect appear in the display.  
fig.02-05  
DELAY FEEDBACK:  
Adjusts the number of times the delay is repeated. The  
number of repeats increases as the knob is turned to the  
right.  
2. Press the ON/OFF button again to switch the effect on  
or off.  
DELAY LEVEL:  
*
*
The effect name flashes in the display when that effect is  
disabled.  
Adjusts the volume level of the delay sound. The delay  
sound increases as the knob is turned to the right.  
When FX-1, FX-2, or WAH is selected in Step 1, the effect set  
with the FX Select parameter (“Making More Detail Settings  
CHORUS LEVEL:  
Adjusts the volume level of the chorus sound. The chorus  
sound increases as the knob is turned to the right.  
3. To select another effect to be switched on and off,  
repeat Steps 1 and 2.  
REVERB LEVEL:  
4. Press [EXIT] to return to the Play screen.  
Adjusts the volume level of the reverb sound. The reverb  
sound increases as the knob is turned to the right.  
*
If you want to save a tone with the settings you’ve made, use  
PATCH LEVEL:  
Adjusts the overall volume level. The volume increases as the  
knob is turned to the right.  
When you want to save a tone created with EZ Tone, or  
changed with the knob controls, use the Write procedure  
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Chapter 2 Creating You Own Favorite Tones (Patches)  
Setting the Effect Tones  
(Quick Settings)  
Making More Detail Settings  
with Individual Parameters  
Each effect includes prepared sample settings called “Quick  
Settings.” You can easily create new effect sounds just by  
selecting and combining these Quick Settings.  
Each effect comprises several different kinds of parameters.  
You can more precisely create the sounds you want by  
editing each of these parameters individually.  
fig.02-07  
1. Press the on/off button for the effect with the settings  
3
you want to change.  
The parameters for the selected effect appear in the  
display.  
*
During editing, the most recently edited parameter appears.  
2
2. Press PARAMETER [  
Settings parameter.  
fig.02-06  
] [  
] to select the Quick  
1
6
1. Press the on/off button for the effect with the settings  
3. Rotate the VALUE dial to select the effect setting you  
you want to change.  
want.  
The parameters for the selected effect appear in the  
display.  
*
*
“P00: User” indicates that the effect indicated in the upper  
row of the display is set to be saved to the currently selected  
patch, or that the settings are currently being modified.  
2. Press PARAMETER [  
] [  
] to select the  
When FX-1, FX-2, or WAH has been selected in Step 1, the  
settings for the effect selected by means of the FX Select  
parameter (refer to the following item) are switched.  
parameter whose settings are to be changed.  
When more than one parameter is shown in the display,  
press PARAMETER [  
the parameter to be set.  
] [  
] to move the cursor to  
You can jump to the core parameters by pressing  
PARAMETER [  
PARAMETER [  
] (or [  
] (or [  
]) while holding down  
]). With items for which  
there aren’t that many parameters, the GT-6 jumps to the  
last (or first) parameter.  
3. Rotate the VALUE dial to change the value of a setting.  
4. Repeat Steps 2 and 3 for any other parameter settings  
you want to change.  
5. If you further want to change parameter settings in any  
other effects, repeat Steps 1 through 4.  
6. Press [EXIT] to return to the Play screen.  
*
If you want to save a tone with the settings you’ve made, use  
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Chapter 2 Creating You Own Favorite Tones (Patches)  
Pedal Bend  
Using the Pedal Effects  
(Wah, Pedal Bend)  
fig.02-09  
4
You can use the GT-6’s expression pedal to obtain wah and  
pedal bend (pedal-controlled pitch bend) effects.  
Wah  
3
fig.02-08  
1
4
5
1
3
1. Press [FX-2].  
This step is not required if the effect is already on.  
*
3. Press PARAMETER [  
] [  
] to select the FX  
5
Select parameter.  
4. Rotate the VALUE dial to change the value (setting) to  
1. Press [WAH].  
This step is not required if the effect is already on.  
“PB.”  
You can now get a pitch bend effect by moving the  
expression pedal.  
*
*
By assigning the PB ON/OFF function to the expression pedal  
switch, you can switch the Pedal Bend effect on and off by  
firmly pressing down on the pedal’s toe.  
3. Press PARAMETER [  
] [  
] to select the FX  
Select parameter.  
4. Rotate the VALUE dial to change the value (setting) to  
“WAH.”  
You can now get a pitch wah effect by moving the  
expression pedal.  
*
By assigning the WAH ON/OFF function to the expression  
pedal switch, you can switch the wah effect on and off by  
firmly pressing down on the pedal’s toe.  
5. Press [EXIT] to return to the Play screen.  
*
If you want to save a tone with the settings you’ve made, use  
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Chapter 2 Creating You Own Favorite Tones (Patches)  
Naming Tones  
Each patch can be given a name (Patch Name) consisting of  
up to sixteen characters. You’ll probably want to take  
advantage of this feature by assigning names that suggest the  
Changing the Connection  
Order of Effects (Effect Chain)  
Here’s how you can change the order in which the effects are  
connected.  
fig.02-12  
sound you’ll obtain, or the song in which it’ll be used.  
fig.02-10  
2
3
2
2
3
1
1
3
1. Press [NAME/NS/MASTER] until “Effect Chain”  
1. Press [NAME/NS/MASTER] so that the Name edit  
appears in the display.  
screen appears in the display.  
*
With each press of [NAME/NS/MASTER], you move to the  
next item that can be set, in this order:  
*
With each press of [NAME/NS/MASTER], you move to the  
next item that can be set, in this order:  
NAMENOISE SUPPRESSORMASTER→  
FOOT VOLUMEEFFECT CHAIN.  
NAMENOISE SUPPRESSORMASTER→  
FOOT VOLUMEEFFECT CHAIN.  
fig.02-13  
fig.02-11  
Cursor  
*
Effects are shown in lowercase letters when turned off.  
2. Use the VALUE dial or PARAMETER [  
] [  
] to  
2. Press PARAMETER [  
] [  
] to move the cursor to  
move the cursor to the point where you want to have an  
the text area you want to edit.  
effect inserted.  
3. Rotate the VALUE dial to change the characters.  
3. Press the ON/OFF button for the effect you want to  
*
You can use the following functions when changing text  
characters.  
insert.  
The selected effect is inserted at the cursor position.  
CAPS: Switches the character at the cursor position  
*
Use [PEDAL ASSIGN] to assign Foot Volume.  
between upper and lower case.  
4. If you want to change the sequence further, repeat  
INS:  
Inserts a blank space at the cursor position.  
Steps 2 and 3.  
DEL:  
Deletes the character at the cursor position and  
shifts the characters following it to the left.  
5. If you want to save the sequence you’ve set up, use the  
4. If you want to edit names further, repeat Steps 2 and 3.  
Press [EXIT] to return to the Play screen.  
5. If you want to save the sequence you’ve set up, use the  
Effects can be switched on and off even while making  
the settings for the connection order. With effects  
appearing to the left and right of the cursor, the ON/  
OFF button corresponding to the effect can be pressed to  
turn them on/off.  
Press [EXIT] to return to the Play screen.  
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Chapter 3 Saving the Tones You Have Created  
Write  
Copying Patches  
When you want to save a tone created with EZ Tone, or a  
tone to which changes have been made, use the Write  
procedure to save the tone to a User patch.  
You can copy a Preset or User patch to another User patch.  
fig.03-03  
3
*
If the power is turned off, or if the tone is switched (Patch  
the newly created tone will be discarded.  
fig.03-01  
2
2,4  
1. Select the copy-source patch (refer to “How to Switch  
2. Press [WRITE].  
1,3  
The content of the display changes, and the GT-6 is  
ready for the copy-destination User patch to be specified.  
fig.03-04  
1. Press [WRITE].  
Destination User Patch  
The content of the display changes, and the GT-6 is  
ready for the save-destination User patch to be specified.  
fig.03-02  
Destination User Patch  
3. Rotate the VALUE dial to select the copy-destination  
User patch.  
*
*
To cancel the copy, press [EXIT]. The Play screen returns to  
the display.  
2. Rotate the VALUE dial to select the save-destination  
User patch.  
You can also use the procedure described in “How to Switch  
*
*
*
This step is unnecessary if the current User patch is  
acceptable.  
4. Press [WRITE].  
To cancel the Write procedure, press [EXIT]. The Play screen  
returns to the display.  
The GT-6 switches to the copy-destination patch, and  
you’re returned to the Play screen.  
You can also use the procedure described in “How to Switch  
*
The sound of the patch previously stored at the copy  
destination will be lost once the copy is executed.  
3. Press [WRITE].  
The GT-6 switches to the write-destination patch, and  
you’re returned to the Play screen.  
*
The sound of the patch previously stored at the write  
destination will be lost once the write is executed.  
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Chapter 3 Saving the Tones You Have Created  
Exchanging Patches  
On the GT-6, you can “swap” or exchange the positions of  
two User patches. The following explains how this is done.  
fig.03-05  
4
3
2,5  
1. Select the exchange source patch (refer to “How to  
2. Press [WRITE].  
3. Press PARAMETER [  
].  
The content of the display changes, and the GT-6 is  
ready for the exchange destination User patch to be  
specified.  
fig.03-06  
Destination User Patch  
4. Rotate the VALUE dial to select the exchange  
destination User patch.  
*
*
To cancel the exchange, press [EXIT]. The Play screen returns  
to the display.  
You can also use the procedure described in “How to Switch  
5. Press [WRITE].  
The patch stored in the exchange source memory  
location and the patch stored in the exchange destination  
memory location are exchanged, and you’re returned to  
the Play screen.  
23  
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Chapter 4 The Effects Explained  
In this chapter you will find detailed descriptions for each of the GT-6’s onboard effects, and the parameters used to control them.  
The trademarks listed in this document are trademarks  
of their respective owners, which are separate companies  
from BOSS. Those companies are not affiliated with  
BOSS and have not licensed or authorized BOSS’s GT-6.  
Their marks are used solely to identify the equipment  
whose sound is simulated by BOSS’s GT-6.  
The sound being input to each effect is called the “direct  
sound,” and the sound modified by the effect is called  
the “effect sound.”  
PREAMP/SPEAKER (Preamp/Speaker Simulator)  
COSM technology plays an indispensable role in simulating the distinguishing characteristics of various guitar amps in the  
“Preamp” section, and is also used to simulate various speaker sizes and cabinet constructions in the “Speaker Simulator.”  
Parameter  
Value  
On/Off  
Off, On  
Type  
0–100  
Gain  
Bass  
0–100  
Middle  
0–100  
Treble  
0–100  
Presence  
Level  
0–100 (0– -100)  
0–100  
Bright  
Off, On  
Gain SW  
Speaker SW  
Speaker Type  
Low, Middle, High  
Off, On  
1x10”, 1x12”, 2x12”, 4x12”,  
8x12”, ORIGINAL  
Mic Setting (*)  
Mic Level (*)  
Center, 1 cm–10 cm  
0–100  
Direct Level (*)  
0–100  
(*) Displayed when OUTPUT SELECT is set to  
“LINE/PHONES” or “LINE (PA).”  
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Chapter 4 The Effects Explained  
TYPE  
This sets the type of the guitar preamp.  
[TYPE VARIATION]  
Illuminated: red  
Jazz Combo  
Extinguished  
Illuminated: green  
Full Range  
JC-120  
JC CLEAN  
TW CLEAN  
CRUNCH  
This is the sound of the  
Roland JC-120.  
This is a sound suited to jazz.  
This is a sound with flat response.  
Good for acoustic guitar  
Clean TWIN  
Pro Crunch  
Tweed  
This models a Fender Twin Reverb. This models a Fender Pro Reverb. This models a  
Fender Bassman 4 x 10” Combo.  
Crunch  
Blues  
Stack Crunch  
This is a crunch sound that can pro- This is a sound suited to blues.  
duce natural distortion.  
This is a crunch sound with high  
gain.  
VO Drive  
VO Lead  
VO Clean  
VO COMBO  
This models the drive sound of a  
VOX AC-30TB.  
This models the lead sound of the This models the clean sound of a  
VOX AC-30TB.  
VOX AC-30TB.  
MATCH Drive  
MATCH Lead  
Fat MATCH  
This models the sound input to left This models the sound input to  
This models the sound of a  
MATCH DRV  
BG LEAD  
input on a Matchless D/C-30.  
right input on a Matchless D/C-30. MATCHLESS with a modified high  
gain.  
BG Lead  
BG Drive  
BG Rhythm  
This models the lead sound of the This models a MESA/Boogie with This models the rhythm channel of  
MESA/Boogie combo amp.  
TREBLE SHIFT SW on.  
a MESA/Boogie.  
MS1959(I)  
MS1959(I+II)  
MS HiGain  
This models the sound input to  
Input I on a Marshall 1959.  
This models the sound of a  
Marshall 1959 with Inputs I and II Marshall with a modified midrange  
This models the sound of a  
MS STACK  
connected in parallel.  
boost.  
R-Fier Red  
R-FierOrang  
R-FierVint  
R-FIER  
This models the lead channel of a  
MESA/Boogie Dual Rectifier.  
This models the rhythm channel of This models a MESA/Boogie Recti-  
a MESA/Boogie Dual Rectifier.  
fier with VINTAGE SW on.  
SLDN  
Drive Stack  
Lead Stack  
Hi GAIN  
This models a Soldano SLO-100.  
This is a drive sound with high  
gain.  
This is a lead sound with high gain.  
5150 Drive  
Metal Stack  
Metal Lead  
METAL  
This models the lead channel of a  
Peavey EVH 5150.  
This is a drive sound suited to  
metal.  
This is a lead sound suited to metal.  
Custom1  
Custom2  
Custom3  
CUSTOM  
Custom amp 1  
Custom amp 2  
Custom amp 3  
When CUSTOM is selected for TYPE  
You can set the following parameters (see next page ) when  
TYPE is set to CUSTOM.  
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Chapter 4 The Effects Explained  
Parameter  
Value  
Gain SW (Gain Switch)  
Provides for selection from three levels of distortion: Low,  
Middle, and High. Distortion will successively increase for  
settings of “Low,” “Middle” and “High.”  
Custom Type (1–3)  
JC Clean, TW Clean, Crunch,  
VO Lead, BG Lead,  
MS1959 Stk, MODERN Stk  
Custom Bottom  
(1–3)  
-50–+50  
-50–+50  
-50–+50  
-50–+50  
-50–+50  
-50–+50  
-50–+50  
-50–+50  
*
The sound of each Type is created on the basis that the Gain is  
set to “Middle.” So, normally set it to “Middle.”  
Custom Edge  
(1–3)  
Speaker SW  
Turns the speaker simulator on/off.  
Custom Bass Freq  
(1–3)  
Custom Treble Freq  
(1–3)  
SPEAKER TYPE  
1x10”:  
This is a compact open-back speaker cabinet with one 10-inch  
speaker.  
Custom Preamp Low  
(1–3)  
Custom Preamp High  
(1–3)  
1x12”:  
Custom SpeakerLow  
(1–3)  
This is a compact open-back speaker cabinet with one 12-inch  
speaker.  
Custom SpeakerHigh  
(1–3)  
2x12”:  
This is a general open-back speaker cabinet with two 12-inch  
Gain  
speakers.  
Adjusts the distortion of the amp.  
4x12”:  
This is an optimal speaker cabinet for a large enclosed amp  
with four 12-inch speakers.  
Bass  
Adjusts the tone for the low frequency range.  
8x12”:  
Middle  
This is a double stack of two cabinets, each with four 12-inch  
speakers.  
Adjusts the tone for the middle frequency range.  
ORIGINAL:  
Treble  
This is the built-in speaker of the amp you selected with  
“Type.”  
Adjusts the tone for the high frequency range.  
Presence  
Adjusts the tone for the ultra high frequency range.  
Mic Settting  
This simulates the microphone position. “Center” simulates  
the condition that the microphone is set in the middle of the  
speaker cone. “1–10 cm” means that the microphone is  
moved away from the center of the speaker cone.  
*
If you have selected “MATCH DRY” or “VO COMBO” as  
the type, raising presence will cut the high range (the value  
will change from 0 to -100).  
Level  
Mic Level  
Adjusts the volume of the microphone.  
Adjusts the volume of the entire preamp.  
*
Be careful not to raise the Level setting too high.  
Direct Level  
Bright  
Adjusts the volume of the direct sound.  
Turns the bright setting on/off.  
*
If you’ve chosen “Full Range” for Type, use with Mic Level =  
100 and Direct Level = 0.  
Off:  
Bright is not used.  
On:  
Bright is switched on to create a lighter and crisper tone.  
*
Depending on the “Type” setting, this may not be displayed.  
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Chapter 4 The Effects Explained  
OVERDRIVE/DISTORTION  
This effect distorts the sound to create long sustain. It provides 15 types of distortion, two different custom settings, and an  
external overdrive/distortion that allows you to connect and use an external effect device.  
Parameter  
Value  
On/Off  
Type  
Off, On  
see below  
0–100  
Drive  
Bass  
-50–+50  
-50–+50  
0–100  
Treble  
Level  
On/Off (effect on/off)  
Turns the overdrive/distortion effect on/off.  
Type  
Selects the type of distortion.  
[TYPE VARIATION]  
Illuminated: red  
indicator  
Extinguished  
Illuminated: green  
OD/BOOST Blues OD  
Turbo OD  
Booster  
This is a crunch sound of the BOSS This is the high-gain overdrive  
This is a newly developed booster  
that works very well with COSM  
amps.  
BD-2.  
sound of the BOSS OD-2.  
DIST  
Distortion  
American DS  
GUV DS  
This gives a basic, traditional distor- This models a Proco RAT.  
tion sound.  
This models an Marshall GUV' NOR.  
CLASSIC  
FUZZ  
OD-1  
T-Scream  
DST+  
This is the sound of the BOSS OD-1. This models an Ibanez TS-808.  
This models an MXR DISTORTION+.  
'60s FUZZ  
Oct FUZZ  
MUFF FUZZ  
This models a FUZZFACE.  
This models an ACETONE FUZZ.  
This models an Electro-Harmonix  
Big Muff π  
METAL  
Metal Zone  
R-MAN  
Heavy Metal  
This is the sound of the BOSS MT-2. This models a ROCKMAN.  
This creates a heavier distortion  
sound.  
CUSTOM  
Custom1  
Custom2  
External  
Custom type 1  
Custom type 2  
Select this when using an external ef-  
fects processor connected to the  
EXTERNAL jack.  
Parameter  
Value  
When CUSTOM is selected for TYPE  
You can set the following parameters when TYPE is set to  
CUSTOM.  
Custom Type (1–3)  
OD-1, OD-2, CRUNCH, DS-1,  
DS-2, METAL-1, METAL-2,  
FUZZ  
Custom Bottom (1–3)  
Custom Top (1–3)  
Custom Low (1–3)  
Custom High (1–3)  
-50–+50  
-50–+50  
-50–+50  
-50–+50  
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Chapter 4 The Effects Explained  
Drive  
Adjusts the depth of distortion.  
Delay Time  
This determines the delay time.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the time to  
twice or four times the time length of the BPM when the set  
time is increased).  
Bass  
Adjusts the tone for the low frequency range.  
Treble  
Adjusts the tone for the high frequency range.  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Level  
Adjusts the volume.  
Delay Time Fine  
Make fine adjustments to the delay time.  
DELAY  
Tap Time  
This effect adds delayed sound to the direct sound, giving  
more body to the sound or creating special effects.  
Adjusts the delay time of the right channel delay. This setting  
adjusts the right channel delay time relative to the left  
channel delay time (considered as 100 %).  
Parameter  
Value  
On/Off  
Off, On  
Feedback  
Type  
Single, Pan  
“Feedback” is returning a delay signal to the input. This  
parameter determines the amount of feedback. A higher  
value will increase the number of the delay repeats.  
Delay Time  
0 ms–1800 ms,  
BPM –BPM  
0 msec–20 msec  
0 %–100 % (Type=Pan)  
0–100  
Delay Time (Fine)  
Tap Time  
High Cut Filter  
Feedback  
The high cut filter cuts the frequency contents that are higher  
than the set frequency. This parameter adjusts the frequency  
where the high cut filter starts working. When it is set to  
“Flat,” the high cut filter is off or has no effect.  
High Cut Filter  
Effect Level  
700 Hz–11.0 kHz, Flat  
0–120  
On/Off  
Turns the delay effect on/off.  
Effect Level  
This adjusts the volume of the delay sound.  
Type  
This selects which type of delay.  
Single:  
After [TAP] is pressed several times, the interval  
between presses of the button is then used as the delay  
time setting.  
By adjusting the delay time and feedback, you can obtain a  
normal delay effect.  
You can change the Master BPM by setting the delay  
time to the BPM and pressing [TAP] several times.  
Pan:  
This delay is specifically for stereo output. This allows you to  
obtain the tap delay effect that divides the delay time, then  
deliver them to L and R channels.  
fig.04-01  
Feedback  
Effect Level  
Delay Time  
INPUT  
OUTPUT L  
OUTPUT R  
DELAY  
Effect Level  
Tap Time  
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Chapter 4 The Effects Explained  
Effect Level  
Adjusts the volume of the effect sound.  
CHORUS  
In this effect, a slightly detuned sound is added to the  
original sound to add depth and breadth.  
REVERB  
Parameter  
Value  
This effect adds reverberation to the sound.  
On/Off  
Mode  
Off, On  
Mono, Stereo  
Parameter  
Value  
Rate  
0–100, BPM –BPM  
0–100  
On/Off  
Type  
Off, On  
Depth  
Room 1, Room 2, Hall 1, Hall 2,  
Plate  
Pre Delay  
High Cut Filter  
Effect Level  
0.0 msec–40.0 msec  
700 Hz–11.0 kHz, Flat  
0–100  
Reverb Time  
Pre Delay  
0.1 sec–10.0 sec  
0 msec–100 msec  
55.0 Hz–800 Hz  
700 Hz–11.0 kHz, Flat  
0–10  
Low Cut Filter  
High Cut Filter  
Density  
On/Off (effect on/off)  
Turns the chorus effect on/off.  
Effect Level  
0–100  
Mode  
Selection for the chorus mode.  
On/Off (effect on/off)  
Turns the reverb effect on/off.  
Mono:  
This chorus effect outputs the same sound from both L and R.  
Type  
Stereo:  
This selects the reverb type. Various different simulations of  
space are offered.  
This is a stereo chorus effect that adds different chorus  
sounds to L and R.  
Room 1:  
Rate  
Simulates the reverberation in a small room. Provides the  
bright reverberation of a live room.  
Adjusts the rate of the chorus effect.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased). When setting to BPM, press PARAMETER  
Room 2:  
Simulates the reverberation in a small room. Provides warm  
reverberations.  
Hall 1:  
Simulates the reverberation in a concert hall. Provides clear  
and spacious reverberations.  
[
] to display the Master BPM settings screen.  
Hall 2:  
Depth  
Simulates the reverberation in a concert hall. Provides warm  
reverberations.  
Adjusts the depth of the chorus effect. To use it for doubling,  
set the value to “0.”  
Plate:  
Pre Delay  
Simulates plate reverberation (a reverb unit that uses the  
vibration of a metallic plate). Provides a metallic sound with  
a distinct upper range.  
Adjusts the time needed for the effect sound to be output  
after the direct sound has been output. By setting a longer  
pre delay time, you can obtain an effect that sounds like  
more than one sound is being played at the same time  
(doubling effect).  
Reverb Time  
Adjusts the length (time) of reverberation.  
Pre Delay  
Adjusts the time until the reverb sound appears.  
High Cut Filter  
The low cut filter cuts the frequencies below the specified  
frequency. This setting adjusts the frequency at which the  
low cut filter will begin to take effect. When “Flat” is  
selected, the low cut filter will have no effect.  
29  
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Chapter 4 The Effects Explained  
FW; Fixed Wah  
Low Cut Filter  
Type  
CRY WAH, VO WAH, Fat WAH,  
Light WAH, 7String WAH,  
Custom1, Custom2, Custom3  
The low cut filter cuts the frequencies below the specified  
frequency. This setting adjusts the frequency at which the  
low cut filter will begin to take effect.  
Pdl Position  
Level  
0–100  
0–100  
High Cut Filter  
The high cut filter cuts the frequencies above the specified  
frequency. This setting adjusts the frequency at which the  
high cut filter will begin to take effect. When “Flat” is  
selected, the high cut filter will have no effect.  
On/Off (effect on/off)  
Turns the pedal wah/auto wah/fixed wah effect on/off.  
FX Select (effect select)  
Selects either pedal wah “WAH,” auto wah “AW,” or fixed  
wah “FW”.  
Density  
This adjusts the density of the reverb sound.  
WAH:  
Effect Level  
Adjusts the volume of the reverb sound.  
The effect will function as a pedal wah.  
AW:  
The effect will function as an auto wah.  
WAH  
FW:  
The effect will function as a fixed wah.  
The wah effect creates a unique tone by changing the  
frequency response characteristics of a filter.  
“Pedal wah” lets you use an Expression pedal or the like to  
obtain real-time control of the wah effect.  
WAH (Pedal Wah)  
The effect of the wah pedal can be obtained by operating the  
Expression pedal.  
“Auto wah” creates an automatic wah by cyclically changing  
the filter, or by changing the filter in response to the volume  
of the input.  
The GT-6’s expression pedal automatically switches to the  
wah pedal function when WAH is selected.  
“Fixed Wah” provides the effect obtained when a filter-type  
effect is used with the wah pedal stopped at a given angle.  
Type  
This selects the wah type.  
*
When using an external expression pedal as a wah pedal, select  
Fixed Wah (FW).  
CRY WAH:  
This models the sound of the CRY BABY wah pedal popular  
in the ‘70s.  
Parameter  
Value  
On/Off  
Off, On  
VO WAH:  
FX Select  
WAH, AW, FW  
This models the sound of the VOX V846.  
WAH; Pedal Wah  
Fat WAH:  
This a wah sound featuring a bold tone.  
Type  
CRY WAH, VO WAH, Fat WAH,  
Light WAH, 7String WAH,  
Custom1, Custom2, Custom3  
Light WAH:  
This wah has a refined sound with no unusual  
characteristics.  
Pdl Position  
Level  
0–100  
0–100  
AW; Auto Wah  
Mode  
7String WAH:  
Wah featuring a broader range of variations for the seven-  
string guitar.  
LPF, BPF  
Down, Up  
0–100  
Polarity  
Sensitivity  
Frequency  
Peak  
0–100  
Custom1–3:  
Wah created by editing the custom parameters.  
0–100  
Rate  
0–100, BPM –BPM  
0–100  
Depth  
Level  
0–100  
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Chapter 4 The Effects Explained  
When Type Is Set to Custom1–3  
You can select the following parameters when TYPE is set to  
Custom1–3.  
Peak  
Adjusts the way in which the wah effect applies to the area  
around the center frequency. Lower values will produce a  
wah effect over a wide area around the center frequency.  
Higher values will produce a wah effect in a narrow area  
around the center frequency.  
Parameter  
value  
*
With a value of “50” a standard wah sound will be produced.  
Custom Type (1–3)  
CRY WAH, VO WAH, Fat WAH,  
Light WAH, 7String WAH  
Rate  
Adjusts the frequency of the auto wah.  
Custom Q (1–3)  
-50–+50  
Custom Range Low (1–3) -50–+50  
Custom Range High (1–3) -50–+50  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
Custom Presence (1–3)  
-50–+50  
Pdl Position (pedal position)  
This adjusts the position of the wah pedal.  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Level  
Adjusts the volume.  
Depth  
Adjusts the depth of the auto wah effect.  
AW (Auto Wah)  
Level  
Adjusts the volume.  
Mode  
Selection for the wah mode.  
LPF (low pass filter):  
This creates a wah effect over a wide frequency range.  
FW (Fixed Wah)  
Provides the effect obtained when a filter-type effect is used  
with the wah pedal stopped at a given position.  
BPF (band pass filter):  
This creates a wah effect in a narrow frequency range.  
Type  
This selects the wah type.  
Polarity  
For more on the effect of each type, refer to “Pedal Wah.”  
Selection for the direction in which the filter will change in  
response to the input.  
Pdl Position (pedal position)  
This adjusts the position of the wah pedal.  
Up:  
The frequency of the filter will rise.  
*
If this parameter is assigned to an external expression pedal,  
operating the pedal then provides the same effect as the pedal  
wah effect.  
Down:  
The frequency of the filter will fall.  
Sens (sensitivity)  
Level  
Adjusts the volume.  
This adjusts the sensitivity at which the filter will change in  
the direction determined by the polarity setting. Higher  
values will result in a stronger response. With a setting of  
“0,” the strength of picking will have no effect.  
Frequency  
This adjusts the center frequency of the Wah effect.  
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Chapter 4 The Effects Explained  
EQ (Equalizer)  
FX-1  
Adjusts the tone. Parametric control is provided for the high-  
mid range and low-mid range.  
With FX-1, you can select the effect to be used from the  
following.  
• COMPRESSOR  
Parameter  
Value  
• LIMITER  
On/Off  
Off, On  
• AC GUITAR SIM (acoustic guitar simulator)  
• PICKUP SIM (pickup simulator)  
• TREMOLO  
Low EQ  
-20 dB–+20 dB  
100 Hz–10.0 kHz  
0.5–16  
Low-Middle Frequency  
Low-Middle Q  
Low-Middle EQ  
High-Middle Frequency  
High-Middle Q  
High-Middle EQ  
High EQ  
• SLOW GEAR  
-20 dB–+20 dB  
100 Hz–10.0 kHz  
0.5–16  
• FEEDBACKER  
• ANTI-FEEDBACK  
• DEFRETTER  
-20 dB–+20 dB  
-20 dB–+20 dB  
-20 dB–+20 dB  
Level  
Parameter  
Value  
On/Off  
Off, On  
On/Off (effect on/off)  
Switches the equalizer effect on/off.  
FX Select  
CS, LM, AC, PIC, TR, SG, FB,  
AFB, FRT  
CS; Compressor  
Sustain  
Low EQ (low equalizer)  
0–100  
0–100  
-50–+50  
0–100  
Adjusts the low frequency range tone.  
Attack  
Tone  
Low-Middle Frequency  
Specify the center of the frequency range that will be  
adjusted by the “Low-Middle EQ.”  
Level  
LM; Limiter  
Threshold  
Release  
Tone  
0–100  
0–100  
-50–+50  
0–100  
Low-Middle Q  
Adjusts the width of the area affected by the EQ centered at  
the “Low-Middle Frequency.” Higher values will narrow the  
area.  
Level  
AC; Acoustic Guitar Simulator  
Top  
0–100  
0–100  
0–100  
Low-Middle EQ (low-middle equalizer)  
Adjusts the low-middle frequency range tone.  
Body  
Level  
PIC; Pickup Simulator  
High-Middle Frequency  
Specify the center of the frequency range that will be  
adjusted by the “High-Middle EQ.”  
Type  
Tone  
Level  
‘S’to’H’, ‘H’to’S’, ‘H’to’HF’  
-50–+50  
0–100  
High-Middle Q (high-middle Q)  
Adjusts the width of the area affected by the EQ centered at  
the “High-Middle Frequency.” Higher values will narrow  
the area.  
TR; Tremolo  
Wave Shape  
0–100  
Rate  
0–100, BPM BPM  
0–100  
Depth  
High-Middle EQ (high-middle equalizer)  
Adjusts the high-middle frequency range tone.  
SG; Slow Gear  
Sensitivity  
0–100  
0–100  
Rise Time  
High EQ (high equalizer)  
Adjusts the high frequency range tone.  
Level  
Adjusts the volume after the equalizer.  
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Chapter 4 The Effects Explained  
FB; Feedbacker  
Mode  
LM (Limiter)  
OSC, Natural  
0–100  
The limiter attenuates loud input levels to prevent distortion.  
Rise Time  
Mode= OSC  
Mode= OSC  
Rise Time ()  
F.B.Level  
0–100  
Threshold  
Adjust this as appropriate for the input signal from your  
guitar. When the input signal level exceeds this threshold  
level, limiting will be applied.  
0–100  
F.B.Level ()  
0–100  
Mode= OSC  
Vibrato Rate  
0–100, BPM –BPM  
Mode= OSC  
Mode= OSC  
Vibrato Depth  
0–100  
Release  
This adjusts the time from when the signal level drops below  
the threshold until when limiting is removed.  
AFB; Anti Feedback  
Freq1  
0–100  
0–100  
0–100  
0–100  
0–100  
0–100  
Depth1  
Freq2  
Tone  
Adjusts the tone.  
Depth2  
Freq3  
Level  
Adjusts the volume.  
Depth3  
FRT; Defretter  
Tone  
-50–+50  
0–100  
0–100  
0–100  
0–100  
0–100  
0–100  
AC (Acoustic Guitar Simulator)  
Sens  
Attack  
This simulates the sound of an acoustic guitar. It allows you  
to use an electric guitar to produce sounds similar to those of  
an acoustic guitar.  
Depth  
Resonance  
Effect Level  
Direct Level  
Top  
This adjusts the simulated interference to the strings made by  
the top plate. That is, it adjusts the attack sense or harmonic  
contents.  
On/Off (effect on/off)  
Switches the FX-1 effect on/off.  
Body  
FX Select (effect select)  
This selects the effect to be used.  
This adjusts the resonance of the sound caused by the body.  
That is, it adjusts the softness and fatness of the sound which  
is the typical characteristics of acoustic guitars.  
CS (Compressor)  
Level  
The compressor is an effect that attenuates loud input levels  
and boosts soft input levels, thus evening out the volume to  
create sustain without distortion.  
This adjusts the volume of the acoustic guitar simulator.  
PIC (Pickup Simulator)  
Sustain  
This produces the sound of different types of pickup. You  
can produce thick humbucking-style sounds even with a  
single-coil guitar.  
Adjusts the range (time) over which low-level signals are  
boosted. Larger values will result in longer sustain.  
Attack  
Type  
Adjusts the strength of the picking attack. Larger values will  
result in a sharper attack, creating a more clearly defined  
sound.  
Select the pickup type.  
‘S’ to ‘H’ (Single to Hum):  
This converts the sound of a single coil pickup to the sound  
Tone  
Adjusts the tone.  
of a humbucking pickup.  
‘H’ to ‘S’ (Hum to Single):  
This converts the sound of a humbucking pickup to the  
sound of a single coil pickup.  
Level  
Adjusts the volume.  
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Chapter 4 The Effects Explained  
‘H’ to ‘HF’ (Hum to Half-tone):  
This converts the sound of a humbucking pickup to the half-  
tone sound of a single-coil pickup.  
FB (Feedbacker)  
This allows you to use feedback playing techniques.  
Mode  
Tone  
Adjusts the tone.  
Select either oscillator “OSC” or natural “Natural.”  
OSC (oscillator):  
An artificial feedback sound will be created internally.  
Level  
Adjusts the volume.  
When set to “OSC,” play the guitar accurately using single  
notes, then turn the effect on. The feedback effect will be  
turned off by setting the effect to off. To turn on or off the  
effect, use the CTL pedal. Set the pedal so that the effect is on  
only while the pedal is depressed. Set it with the CTL pedal’s  
setting.  
TR (Tremolo)  
Tremolo is an effect that creates a cyclic change in volume.  
Wave Shape  
This adjusts changes in volume level.  
*
For a detailed explanation, see “Chapter 5 Settings for Using  
*
Note that the notes you want to apply feedback to must be  
played singly and cleanly. Then, when the note is sounding  
stably, turn on the effect.  
Rate  
Adjusts the frequency (speed) of the change.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
Natural:  
Analyzes the pitch of the guitar sound being input, and then  
creates a feedback sound based on that chorus can be played.  
Rise Time  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
This determines the time needed for the volume of the  
feedback sound to reach its maximum from the moment the  
effect is turned on.  
Depth  
Adjusts the depth of the effect.  
Rise Time ()  
This determines the time needed for the volume of the one  
octave higher feedback sound to reach its maximum from the  
moment the effect is turned on.  
SG (Slow Gear)  
This produces a volume-swell effect (“violin-like” sound).  
F.B.Level (feedback level)  
Adjusts the volume of the feedback sound.  
Sensitivity  
This adjusts the sensitivity of the slow gear. When it is set to  
a lower value, the effect of the slow gear can be obtained only  
with a stronger picking, while no effect is obtained with a  
weaker picking. When the value is set higher, the effect is  
obtained even with a weak picking.  
F.B.Level () (feedback level)  
This adjusts the volume of the one octave higher feedback  
sound.  
Vibrato Rate  
Rise Time  
This adjusts the time needed for the volume to reach its  
maximum from the moment you begin picking.  
This adjusts the rate of the vibrato when the feedbacker is on.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
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Chapter 4 The Effects Explained  
Vibrato Depth  
This adjusts the depth of the vibrato when the feedbacker is  
on.  
FX-2  
With FX-2, you can select the effect to be used from the  
following.  
• PHASER  
AFB (Anti-feedback)  
• FLANGER  
This prevents the acoustic feedback that can be produced by  
the body resonances of a guitar.  
• HARMONIST  
• PITCH SHIFTER  
• PEDAL BEND  
• 2x2 CHORUS  
• PAN  
Freq1–3 (frequency 1–3)  
Set the fixed frequency point at which feedback will be  
cancelled.  
You can set up to three cancellation points.  
• VIBRATO  
• UNI-V  
Depth1–3  
• SHORT DELAY  
• HUMANIZER  
• RING MOD (ring modulator)  
• SLICER  
Adjusts the degree of the anti-feedback at each of the three  
cancellation points.  
FRT (Defretter)  
• AUTO RIFF  
This simulates a fretless guitar.  
• GUITAR SYNTH  
• SUB EQUALIZER  
Tone  
Adjusts the amount of blurring between the notes.  
Parameter  
Value  
Sens (sensitivity)  
On/Off  
Off, On  
This controls the input sensitivity of the defretter.  
FX Select  
PH, FL, HR, PS, PB, 2CE, PAN,  
VB, UV, SDD, HU, RM, SL, AR,  
SYN, SEQ  
Attack  
Adjusts the attack of the picking sound.  
PH; Phaser  
Type  
4stage, 8stage, 12stage,  
Bi-Phase  
Depth  
This controls the rate of the harmonics.  
Rate  
0–100, BPM –BPM  
0–100  
Depth  
Resonance  
Adds a characteristically resonant quality to the sound.  
Manual  
Resonance  
Step  
0–100  
0–100  
Off, On  
Effect Level  
Adjust the volume of the defretter sound.  
Step Rate  
0–100, BPM –BPM  
Step= On  
Effect Level  
Direct Level  
0–100  
Direct Level  
Adjust the volume of the direct sound.  
0–100  
FL; Flanger  
Rate  
0–100, BPM –BPM  
0–100  
Depth  
Manual  
0–100  
Resonance  
Separation  
Effect Level  
Direct Level  
0–100  
0–100  
0–100  
0–100  
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Chapter 4 The Effects Explained  
HR; Harmonist  
UV; Uni-V  
Voice  
1-Voice, 2-Mono, 2-Stereo  
Rate  
0–100, BPM –BPM  
0–100  
Harmony  
-2oct–+2oct, Scale 1–Scale29  
Depth  
Level  
Pre Delay  
Feedback  
Level  
0 ms–300 ms, BPM –BPM  
0–100  
0–100  
SDD; Short Delay  
0–100  
Delay Time  
Feedback  
0 ms–400 ms, BPM –BPM  
Key  
C(Am)–B(G#m)  
0–100  
0–100  
0–120  
Direct Level  
Effect Level  
(User Scale)  
User  
HU; Humanizer  
Mode  
1–29  
Picking, Auto, Random  
DIR  
C–B  
Vowel1  
a, e, i, o, u  
a, e, i, o, u  
0–100  
Mode= Picking, Auto  
Mode= Picking, Auto  
Mode= Picking  
EFF  
C–B ( 2 octave)  
Vowel2  
PS; Pitch Shifter  
Sensitivity  
Voice  
Mode  
Pitch  
Fine  
1-Voice, 2-Mono, 2-Stereo  
Fast, Medium, Slow, Mono  
-24 –+24  
Rate  
0–100, BPM –BPM  
0–100  
Depth  
Manual  
Level  
0–100  
0–100  
Mode= Auto  
-50–+50  
Pre Delay  
Feedback  
Level  
0 ms–300 ms, BPM –BPM  
RM; Ring Modulator  
Mode  
0–100  
0–100  
0–100  
Normal, Intelligent  
0–100  
Freqency  
Direct Level  
Effect Level  
Direct Level  
0–100  
PB; Pedal Bend  
Pitch Min  
0–100  
-24–+24  
-24–+24  
0–100  
SL; Slicer  
Pitch Max  
Pattern  
P1–P20  
Pdl Position  
Effect Level  
Direct Level  
0–100  
Rate  
0–100, BPM –BPM  
0–100  
0–100  
Triggr Sens  
2CE; 2x2 Chorus  
AR; Auto Riff  
Xover f  
100 Hz–4.00 kHz  
Phrase  
Preset1–Preset30,  
User1–User10  
Low Rate  
0–100, BPM –BPM  
0–100  
Loop  
Off, On  
Low Depth  
Low Pre Delay  
Low Level  
Tempo  
Sens  
Key  
0–100, BPM –BPM  
0–100  
0.0 msec–40.0 msec  
0–100  
C(Am)–B(G#m)  
High Rate  
0–100, BPM –BPM  
0–100  
Phrase = Preset  
High Depth  
High Pre Delay  
High Level  
Attack  
0–100  
Off, On  
0–100  
0–100  
0.0 msec–40.0 msec  
0–100  
Hold  
Effect Level  
Direct Level  
PAN; Pan  
Wave Shape  
0–100  
(Auto Riff Phrase)  
Rate  
0–100, BPM –BPM  
0–100  
User  
IN  
1–10  
Depth  
C–B  
Step  
Out  
1–16  
VB; Vibrato  
C–B ( 2 octave), -, end  
Rate  
0–100, BPM –BPM  
0–100  
Depth  
Trigger  
Rise Time  
Off, On  
0–100  
36  
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Chapter 4 The Effects Explained  
SYN; Guitar Synth  
Sensitivity  
Bi-Phase:  
0–100  
This is the phaser with two phase shift circuits connected in  
Wave  
Square, Saw, Brass, Bow  
series.  
Chromatic  
Octave Shift  
PWM Rate  
PWM Depth  
Cutoff Frequency  
Resonance  
Filter Sensitivity  
Filter Decay  
Filter Depth  
Attack  
Off, On  
0, -1, -2  
0–100  
Wave= Square, Saw  
Wave= Square, Saw  
Wave= Square  
Wave= Square  
Rate  
This sets the rate of the phaser effect.  
0–100  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
0–100  
0–100  
0–100  
0–100  
-100 –100  
Decay, 0–100  
0–100  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Release  
Velocity  
0–100  
Hold  
Off, On  
0–100  
Wave= Square, Saw  
Depth  
Synth Level  
Direct Level  
Determines the depth of the phaser effect.  
0–100  
Manual  
SEQ; Sub Equalizer  
Low EQ  
Adjusts the center frequency of the phaser effect.  
-20 dB–+20 dB  
100 Hz–10.0 kHz  
0.5–16  
Low-Middle Frequency  
Low-Middle Q  
Low-Middle EQ  
High-Middle Frequency  
High-Middle Q  
High-Middle EQ  
High EQ  
Resonance  
Determines the amount of resonance (feedback). Increasing  
the value will emphasize the effect, creating a more unusual  
sound.  
-20 dB–+20 dB  
100 Hz–10.0 kHz  
0.5–16  
-20 dB–+20 dB  
-20 dB–+20 dB  
-20 dB–+20 dB  
Step  
This sets on/off of the step function. When the step function  
is turned on, the change of a sound will be in steps.  
Level  
On/Off (effect on/off)  
Switches the FX-2 effect on/off.  
Step Rate  
This sets the cycle of the steps that changes the rate and  
depth. When it is set to a higher value, the change will be  
finer.  
FX Select (effect select)  
This selects the effect to be used.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
PH (Phaser)  
By adding varied-phase portions to the direct sound, the  
phaser effect gives a whooshing, swirling character to the  
sound.  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Type  
Selects the number of stages that the phaser effect will use.  
Effect Level  
This adjusts the volume of the phaser.  
4Stage:  
This is a four-phase effect. A light phaser effect is obtained.  
Direct Level  
This adjusts the volume of the direct sound.  
8Stage:  
This is an eight-phase effect. It is a popular phaser effect.  
12Stage:  
This is a twelve-phase effect. A deep phase effect is obtained.  
37  
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Chapter 4 The Effects Explained  
2-Stereo:  
FL (Flanger)  
Two-voice pitch-shifted sound (HR1, HR2) output through  
left and right channels.  
The flanging effect gives a twisting, jet-airplane-like  
character to the sound.  
Harmony  
Rate  
This determines the pitch of the sound added to the input  
sound, when you are making a harmony. It allows you to set  
it by up to 2 octaves higher or lower than the input sound.  
When the scale is set to “Scale 1–Scale29,” this parameter sets  
the user scale number to be used.  
This sets the rate of the flanging effect.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased). When setting to BPM, press PARAMETER  
PreDly (pre delay)  
Adjusts the time from when the direct sound is heard until  
the harmonist sounds are heard. Normally you can leave this  
set at “0ms.”  
[
] to display the Master BPM settings screen.  
Depth  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the time to  
twice or four times the time length of the BPM when the set  
time is increased).  
Determines the depth of the flanging effect.  
Manual  
Adjusts the center frequency at which to apply the effect.  
Resonance  
Determines the amount of resonance (feedback). Increasing  
the value will emphasize the effect, creating a more unusual  
sound.  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Feedback  
This adjusts the feedback amount of the harmonist sound.  
Separation  
Adjusts the diffusion. The diffusion increases as the value  
increases.  
Level  
This adjusts the volume of the harmonist sound.  
Effect Level  
This adjusts the volume of the flanger.  
Key  
Specify the key of the song you are playing. By specifying the  
key, you can create harmonies that fit the key of the song.  
The key setting corresponds to the key of the song (#, b) as  
Direct Level  
This adjusts the volume of the direct sound.  
follows.  
fig.04-02  
HR (Harmonist)  
“Harmonist” is the amount of shifting is adjusted according  
to an analysis of the guitar input, allowing you to create  
harmonics based on diatonic scales.  
*
Because of the need to analyze the pitch, chords (two or more  
sounds played simultaneously) cannot be played.  
Voice  
This selects the number of voices for the pitch shift sound  
(harmony).  
1-Voice:  
One-voice pitch-shifted sound output in monaural.  
Direct Level  
This adjusts the volume of the direct sound.  
2-Mono:  
Two-voice pitch-shifted sound (HR1, HR2) output in  
monaural.  
38  
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Chapter 4 The Effects Explained  
2-Mono:  
Creating Harmonist Scales (User Scale)  
When “Harmony” is set to any value from -2oct to +2oct, and  
the harmony does not sound the way you intend, use a “User  
scale.”  
Two-voice pitch-shifted sound (PS1, PS2) output in  
monaural.  
2-Stereo:  
You can set any of 29 different “User scales.”  
Two-voice pitch-shifted sound (PS1, PS2) output through left  
and right channels.  
1. Press [FX-2], then press PARAMETER [  
] [  
] so  
that “FX Select” is displayed.  
Mode  
2. Rotate the PATCH/VALUE dial to select “HR.”  
3. Press PARAMETER [ ] [ ] to select “HR1  
Selection for the pitch shifter mode.  
Fast, Medium, Slow:  
Harm” (or “HR2 Harm”) , then rotate the PATCH/  
A chord can be input with a normal pitch shifter. The  
response is slower in the order of Fast, Medium and Slow,  
but the modulation is lessened in the same order.  
VALUE dial to select a setting from “Scale 1–29.”  
4. Press PARAMETER [  
] a number of times so that  
the User scale settings screen is displayed.  
fig.04-03  
Mono:  
This mode is for the input of individual notes.  
Select this setting when you want to obtain a pedal bend  
effect using an external expression pedal.  
Pitch  
5. Press PARAMETER [  
] [  
] to move the cursor,  
Adjusts the amount of pitch shift (the amount of pitch  
change) in semitone steps.  
then rotate the PATCH/VALUE dial to set the User  
scale.  
Fine  
User:  
Make fine adjustments to the pitch shift.  
You can change the number of the user scale.  
*
The amount of the change in the Fine “100” is equivalent to  
that of the Pitch “1.”  
DIR (direct):  
Sets the note name of the input sound. You can also play  
individual notes on the guitar and let the GT-6 interpret  
the note name.  
PreDly (pre delay)  
Adjusts the time from when the direct sound is heard until  
the pitch shifted sounds are heard. Normally you can leave  
this set at “0ms.”  
EFF (effect):  
Sets the note name of the output sound.  
The triangle next to the note name indicates the octave.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the time to  
twice or four times the time length of the BPM when the set  
time is increased).  
One downward-pointing triangle indicates a note one  
octave below the note displayed; two triangles indicates  
a two-octave drop.  
One upward-pointing triangle indicates a note one  
octave above the note displayed; two triangles indicates  
a two-octave rise.  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
PS (Pitch Shifter)  
Feedback  
This adjusts the feedback amount of the pitch shift sound.  
This effect changes the pitch of the original sound (up or  
down) within a range of two octaves.  
Level  
Voice  
This adjusts the volume of the pitch shift sound.  
This selects the number of voices for the pitch shift sound.  
Direct Level  
This adjusts the volume of the direct sound.  
1-Voice:  
One-voice pitch-shifted sound output in monaural.  
39  
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Chapter 4 The Effects Explained  
Low Level  
PB (Pedal Bend)  
Adjust the volume of the low frequency range.  
This lets you use the pedal to get a pitch bend effect.  
The GT-6’s expression pedal automatically switches to the  
pedal bend function when PB is selected.  
High Rate  
Adjust the speed of the chorus effect for the high frequency  
range.  
Pitch Min  
This sets the pitch at the point where the expression pedal is  
fully lifted.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
Pitch Max  
This sets the pitch at the point where the expression pedal is  
all the way down.  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Pdl Position (pedal position)  
This adjusts the position of the pedal bend.  
High Depth  
Effect Level  
Adjust the depth of the chorus effect for the high frequency  
range. If you wish to use this as a doubling effect, use a  
setting of “0.”  
This adjusts the volume of the pitch bend sound.  
Direct Level  
This adjusts the volume of the direct sound.  
High Pre Delay  
Adjust the time from when the high frequency range direct  
sound is output until the effect sound is output. Extending  
the pre-delay will produce the sensation of multiple sounds  
(doubling effect).  
2CE (2x2 Chorus)  
Two separate stereo chorus units are used for the low-  
frequency and high-frequency ranges in order to create a  
more natural chorus sound.  
High Level  
Adjust the volume of the high frequency range.  
Xover f (crossover frequency)  
This parameter sets the frequency at which the frequency  
components of the direct sound are divided into bass and  
treble bands.  
PAN  
With the volume level of the left and right sides alternately  
changing, whn playing sound in stereo, you can get an effect  
that makes the guitar sound appear to fly back and forth  
between the speakers.  
Low Rate  
Adjust the speed of the chorus effect for the low frequency  
range.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased). When setting to BPM, press PARAMETER  
Wave Shape  
This adjusts changes in volume level.  
Rate  
Adjusts the frequency (speed) of the change.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
[
] to display the Master BPM settings screen.  
Low Depth  
Adjust the depth of the chorus effect for the low frequency  
range. If you wish to use this as a doubling effect, use a  
setting of “0.”  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Low Pre Delay  
Adjust the time from when the low frequency range direct  
sound is output until the effect sound is output. Extending  
the pre-delay will produce the sensation of multiple sounds  
(doubling effect).  
Depth  
Adjusts the depth of the effect.  
40  
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Chapter 4 The Effects Explained  
VB (Vibrato)  
SDD (short delay)  
This effect creates vibrato by slightly modulating the pitch.  
This is a delay with the maximum delay time of 400 ms. This  
effect is useful for making the sound fatter.  
Rate  
Delay Time  
This adjusts the rate of the vibrato.  
Adjusts the delay time.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the time to  
twice or four times the time length of the BPM when the set  
time is increased).  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Depth  
This adjusts the depth of the vibrato.  
Feedback  
Feedback refers to returning the delayed signal back into the  
input of the delay. This parameter adjusts the volume that is  
returned to the input. Higher settings will result in more  
delay repeats.  
Trigger  
This selects on/off of the vibrato with the footswitch.  
*
This effect assumes that the trigger will be turned on with a  
footswitch for attaining the vibrato effect.  
Effect Level  
Adjusts the volume of delay sound.  
Rise Time  
This sets the time passing from the moment the trigger is  
turned on until the set vibrato is obtained.  
HU (Humanizer)  
This can create human vowel-like sounds.  
UV (Uni-V)  
Mode  
Although this resembles a phaser effect, it also provides a  
unique undulation that you can’t get with a regular phaser.  
This sets the mode that switches the vowels.  
Picking:  
Rate  
It changes from vowel 1 to vowel 2 along with the picking.  
The time spent for the change is adjusted with the rate.  
Adjusts the rate of the Uni-V effect.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
Auto:  
By adjusting the rate and depth, two vowels (Vowel 1 and  
Vowel 2) can be switched automatically.  
Random:  
Five vowels (a, e, i, o, u) are called out at random by  
adjusting the rate and depth.  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Vowel 1  
This selects the first vowel.  
fig.04-04  
Depth  
Adjusts the depth of the Uni-V effect.  
Level  
Adjusts the volume.  
Vowel 1  
Vowel 2  
41  
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Chapter 4 The Effects Explained  
Vowel 2  
This selects the second vowel.  
Frequency  
This adjusts the frequency of the internal oscillator.  
Sensitivity  
Effect Level  
This adjusts the sensitivity of the humanizer. When it is set to  
a lower value, no effect of the humanizer is obtained with  
weaker picking, while stronger picking produces the effect.  
When it is set to a higher value, the effect of the humanizer  
can be obtained whether the picking is weak or strong.  
This adjusts the volume of the effect sound.  
Direct Level  
This adjusts the volume of the direct sound.  
SL (Slicer)  
Rate  
This consecutively interrupts the sound to create the  
impression that a rhythm backing phrase is being played.  
This adjusts the cycle for changing the two vowels.  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
Pattern  
Select the slice pattern that will be used to cut the sound.  
Rate  
Adjust the rate at which the sound will be cut.  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the cycle to  
one-half or one-fourth of the BPM when the set cycle rate is  
increased).  
Depth  
This adjusts the depth of the effect.  
Manual  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
This determines the point where the two vowels are  
switched. When it is set to “50,” vowel 1 and vowel 2 are  
switched in the same length of time. When it is set to lower  
than “50,” the time for vowel 1 is shorter. When it is set to  
higher than “50,” the time for vowel 1 is longer.  
Trigger Sens  
Adjust the sensitivity of triggering. With low settings of this  
parameter, softly picked notes will not retrigger the phrase  
(i.e., the phrase will continue playing), but strongly picked  
notes will retrigger the phrase so that it will playback from  
the beginning. With high settings of this parameter, the  
phrase will be retriggered even by softly picked notes.  
Level  
This sets the volume of the humanizer.  
RM (Ring Modulator)  
This effect sounds with modulating the harmonics.  
AR (Auto Riff)  
This allows you to automatically produce a phrase simply by  
picking a single note. This can be used to easily play  
extremely rapid phrases.  
Mode  
This selects the mode for the ring modulator.  
Normal:  
This is a normal ring modulator.  
*
Running the following operations while Auto Riff is playing  
may result in disturbances in the sound.  
Intelligent:  
• Using anti-feedback  
By ring-modulating the input signal, a bell like sound is  
created. The intelligent ring modulator changes the  
oscillation frequency according to the pitch of the input  
sound and therefore produces a sound with the sense of  
pitch, which is quite different from “Normal.” This effect  
does not give a satisfactory result if the pitch of the guitar  
sound is not correctly detected. So, you must use single  
notes, not chords.  
• Reception of large amounts of MIDI data  
Phrase  
Select the phrase.  
User-programmed phrases are used when User 1–10 is  
selected.  
42  
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Chapter 4 The Effects Explained  
4. Press PARAMETER [  
have the User Phrase settings screen displayed.  
fig.04-05  
] a number of times until you  
Loop  
If “Loop” is turned “On,” the phrase will be played back  
continuously.  
Tempo  
Adjust the speed of the phrase.  
5. Press PARAMETER [  
] [  
] to move the cursor,  
*
When set to BPM, the value of each parameter will be set  
each patch. This makes it easier to achieve effect sound settings  
that match the tempo of the song (synchronizing the tempo to  
one-half or one-fourth of the BPM when the set tempo is  
increased).  
then rotate the PATCH/VALUE dial to set the User  
phrase.  
User:  
specify the user phrase number.  
IN:  
When setting to BPM, press PARAMETER [  
the Master BPM settings screen.  
] to display  
Sets the note name of the input sound. You can also play  
individual notes on the guitar and let the GT-6 judge the  
note name.  
Sens (sensitivity)  
Adjust the sensitivity of triggering. With low settings of this  
parameter, softly picked notes will not retrigger the phrase  
(i.e., the phrase will continue playing), but strongly picked  
notes will retrigger the phrase so that it will playback from  
the beginning. With high settings of this parameter, the  
phrase will be retriggered even by softly picked notes.  
STEP:  
You can also play on the guitar and put the step forward.  
OUT:  
Specify the note name of the output sound.  
SYN (Guitar Synth)  
Key  
This detects the pitch of an electric guitar and outputs a  
synthesizer sound.  
Select the key of the song that you wish to play.  
Attack  
Adjust the strength of the attack. By adding an attack to each  
note of the phrase you can produce a sensation as though the  
notes were being picked.  
When you use a guitar synthesizer, observe the  
following points.  
*
*
It does not work properly when a chord is played. Be sure to  
mute all the other strings and play in a single note.  
Hold  
When you are to play the next string while a certain sound is  
still playing, perfectly mute the previous sound then play the  
next one with a clear attack.  
If you turn hold “On” after you pick a note, the effect sound  
will continue even after there is no input signal.  
Effect Level  
Adjust the volume of the effect sound.  
*
If the unit cannot detect the attack, it may not sound correctly.  
Sensitivity  
Direct Level  
This adjusts the input sensitivity. The response of the internal  
sound source is better with a higher sensitivity value, but the  
malfunctions will be increased on the other hand. So, try to  
set it as high as possible without causing malfunction.  
Adjust the volume of the direct sound.  
Creating Original Phrases (User Phrase)  
In addition to the 30 different prepared phrases, you can also  
create up to ten of your own original phrases (User phrases).  
Wave  
This selects a wave type that is the source of the guitar  
synthesizer.  
1. Press [FX-2], then press PARAMETER [  
] [  
] so  
that “FX Select” is displayed.  
Square (  
):  
2. Rotate the PATCH/VALUE dial to select “AR.”  
The unit detects the pitch and attack information from the  
input guitar sound, then send the square waveform from the  
internal sound source.  
3. Press [FX-2] a number of times to select “Phrase,” then  
rotate the PATCH/VALUE dial to select “User 1–10.”  
43  
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Chapter 4 The Effects Explained  
Saw (  
):  
Filter Sensitivity  
The unit detects the pitch and attack information from the  
input guitar sound, then send the saw waveform from the  
internal sound source.  
This adjusts the sensitivity of the filter. When it is set to a  
lower value, the filter is affected only with stronger picking.  
When it is set higher, the filter changes even with weaker  
picking. When it is set to “0,” the depth of the filter will be  
the same no matter how the picking strength may be.  
Brass:  
The unit directly processes the input guitar sound and  
creates a guitar synthesizer sound. It gives a quick sound rise  
and send the sound with a sharp edge.  
Filter Decay  
This sets the time needed for the filter to finish its sweep.  
Bow:  
The unit directly processes the input guitar sound and  
creates a guitar synthesizer sound. It outputs a soft sound  
without attack.  
Filter Depth  
This adjusts the depth of the filter. When the value is higher,  
the filter will change more drastically. The polarity of the  
filter will be opposite with “+” and “-.”  
Chromatic  
This switches on or off the chromatic function. When it is on,  
the pitch change of the synthesizer sound is in semitone  
steps. This does not respond to pitch changes less than a  
semitone, such as what might be obtained with bending or  
vibrato. Thus, this is effectively used for realistically playing  
musical instruments whose pitch will change in steps greater  
than a semitone, such as a keyboard.  
Attack  
This adjusts the time needed for a synthesizer sound to reach  
its maximum. When it is set to a lower value, the sound will  
rise quickly. When it is set higher, the sound will rise slowly.  
When it is set to “Decay,” the sound will rise quickly and  
turn to a Release status regardless of the input of the guitar  
sound.  
*
Use this parameter when “Square” or “Saw” is selected for  
wave.  
*
When “Brass” or “Bow” is selected for the wave, the attack  
time will not be quicker from a certain level even if the attack is  
set to “Decay” or “0.”  
Octave Shift  
This allows you to shift the pitch of the internal sound  
module in an octave step from the guitar sound.  
Release  
This determines the time needed for the synthesizer sound to  
reach zero from the moment the input of the guitar sound is  
completed.  
*
This parameter should be set when “Square” or “Saw” is  
selected for the wave.  
*
When “Brass” or “Bow” is selected for the wave, the guitar  
signal itself is processed. That is, the synthesizer sound will go  
down when the guitar signal goes down no matter how long  
the release may be set.  
PWM Rate (pulse wise modulation rate)  
This gives breadth or fatness to the sound by applying  
modulation to the waveform (only to Square) in the internal  
sound module. A higher value will quicken the rate of the  
modulation.  
Velocity  
This adjusts the amount of the volume change of the  
synthesizer sound. When it is set to high, the volume change  
will be greater depending on the picking strength. When it is  
set to “0,” no volume change is caused even by changing the  
picking manner.  
*
This parameter should be set only when “Square” is selected  
for the wave.  
PWM Depth (pulse wise modulation depth)  
This adjusts the depth of the PWM. When it is set to “0,” no  
PWM effect is obtained.  
Hold  
*
This parameter should be set only when “Square” is selected  
for the wave.  
The hold function can sustain the output of the synthesizer  
sound. If you turn on the hold while a synthesizer sound is  
being output, the synthesizer sound will be held until you  
turn it off.  
Cutoff Freq (cutoff frequency)  
This adjusts the frequency where the harmonics contents of  
the sound are cut off.  
You can control the on/off of the hold using the footswitch.  
Normally, select “Hold Off.”  
Resonance  
This adjusts how much of the harmonics contents around the  
cutoff frequency should be emphasized.  
*
This parameter is used when “Square” or “Saw” is selected for  
the wave.  
44  
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Chapter 4 The Effects Explained  
Synth Level  
This determines the volume of the synthesizer sound.  
NS (Noise Suppressor)  
This effect reduces the noise and hum picked up by guitar  
pickups. Since it suppresses the noise in synchronization  
with the envelope of the guitar sound (the way in which the  
guitar sound decays over time), it has very little effect on the  
guitar sound, and does not harm the natural character of the  
sound.  
Direct Level  
This determines the volume of the direct sound.  
SEQ (Sub Equalizer)  
This adjusts the tone as a sub equalizer. A parametric type is  
adopted for the high-middle and low-middle range.  
*
Please connect the noise suppressor in the signal path prior to  
the reverberation type effect. This setup will prevent an  
natural break of the reverberation type effect.  
Low EQ (low equalizer)  
Adjusts the low frequency range tone.  
Parameter  
Value  
On/Off  
Off, On  
0–100  
0–100  
Low-Middle Frequency  
Specify the center of the frequency range that will be  
adjusted by the “Low-Middle Q.”  
Threshold  
Release  
Low-Middle Q  
On/Off (effect on/off)  
Adjusts the width of the area affected by the EQ centered at  
the “Low-Middle Frequency.” Higher values will narrow the  
area.  
Turns the noise suppressor effect on/off.  
This parameter can be set with the PATCH/VALUE dial.  
*
Even if [NAME/NS/MASTER] is pressed, you cannot switch  
the noise suppressor on and off.  
Low-Middle EQ (low-middle equalizer)  
Adjusts the “Low-Middle Frequency” range tone.  
Threshold  
Adjust this parameter as appropriate for the volume of the  
noise. If the noise level is high, a higher setting is  
appropriate. If the noise level is low, a lower setting is  
appropriate. Adjust this value until the decay of the guitar  
sound is as natural as possible.  
High-Middle Frequency  
Specify the center of the frequency range that will be  
adjusted by the “High-Middle EQ.”  
High-Middle Q  
Adjusts the width of the area affected by the EQ centered at  
the “High-Middle Frequency.” Higher values will narrow  
the area.  
*
High settings for the threshold parameter may result in there  
being no sound when you play with your guitar volume  
turned down.  
Release  
High-Middle EQ (High-middle equalizer)  
Adjusts the “High-Middle Frequency” range tone.  
Adjusts the time from when the noise suppressor begins to  
function until the noise level reaches “0.”  
High EQ (high equalizer)  
Adjusts the high frequency range tone.  
Level  
Adjusts the volume after the equalizer.  
45  
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Chapter 4 The Effects Explained  
MASTER  
Parameter  
Value  
Patch Level  
Master BPM  
0–200  
40–250  
Patch Level  
This adjusts the output volume of the GT-6.  
Master BPM  
Adjust the BPM value for each patch.  
*
BPM (beats per minute) indicates the number of quarter note  
beats that occur each minute.  
*
When you have an external MIDI device connected, the  
Master BPM synchronizes to the external MIDI device’s  
tempo, making it impossible to set the Master BPM. To enable  
Internal.  
Control with the Master BPM  
To input the Master BPM with the CTL pedal, set “Pedal  
Assign” as follows.  
CTL PEDAL: P09= BPM (TAP)  
CTL PEDAL: On  
CTL PEDAL Target: Master BPM (Tap)  
CTL PEDAL Target Min: Off  
CTL PEDAL Target Max: On  
CTL PEDAL Source Mode: Normal  
FV (Foot Volume)  
This is a volume control effect.  
Usually, this is controlled to the expression pedal.  
Parameter  
Value  
Level  
0–100  
Level  
This adjusts the volume.  
46  
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Chapter 5 Settings for Using the Expression  
and Control Pedals (Pedal Assign)  
This chapter describes how to make the settings that allow  
you to control effects with the expression pedal and control  
(CTL) pedal.  
If You Don’t Want to Use the  
Expression Pedal as a “Volume Pedal”  
Use the procedure below to turn the expression pedal off.  
1. Press [PEDAL ASSIGN].  
Settings for Using the  
Expression Pedal  
2. Press PARAMETER [  
until you have one of the following screens displayed.  
fig.05-03  
] [  
] a number of times,  
Normally, “FV” (Foot Volume) is assigned to the  
expression pedal, allowing you to use the pedal as a  
“volume pedal” for controlling the volume level.  
Setting the Range of the Volume Change  
You can set the minimum and maximum values determining  
the range over which the volume level changes when you  
move the expression pedal.  
3. Press [PEDAL ASSIGN] to set it to “Off.”  
4. To save the settings, perform the Write procedure  
Press [EXIT] to return to the Play screen.  
1. Press [PEDAL ASSIGN]  
2. Press PARAMETER [  
] [  
] to display the  
following screen.  
Settings for Using the  
(Setting the minimum value)  
fig.05-01  
Expression Pedal Switch/CTL Pedal  
Making Settings Instantly  
(Quick Setting)  
Quick Setting is a function that lets you set the most common  
values for effect parameters instantly just by selecting the  
preset “pedal settings.” This greatly reduces the hassle of  
selecting and setting parameters one by one.  
(Setting the maximum value)  
fig.05-02  
Pedal Settings for the Expression Pedal Switch  
Select the parameter to be controlled when you press down  
on the toe of the expression pedal.  
3. Rotate the PATCH/VALUE dial to set the value.  
Valid Settings: 0–100  
P01: WAH  
4. To save the settings, perform the Write procedure  
P02: FX-2  
P03: OD/DS  
P04: DELAY  
P05: CHORUS  
P06: EQ  
Press [EXIT] to return to the Play screen.  
automatically functions as a “pedal wah” or “pedal  
bend.”  
P07: FX-1  
P08: LEVEL INC  
P09: TUNER  
P10: MANUAL  
*
When Pedal Wah and Pedal Bend are off, the expression  
pedal automatically functions as a “volume pedal.”  
47  
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Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)  
Pedal Settings for the CTL Pedal  
Editing “Quick Settings”  
P01: OD/DS  
Whenever necessary, you can edit parameter values set in the  
Quick Settings.  
P02: DELAY  
P03: CHORUS  
1. Press [PEDAL ASSIGN].  
2. Press PARAMETER [  
P04: EQ  
P05: FX-1  
] [  
] to display the  
P06: FX-2  
following screens.  
fig.05-06  
P07: WAH  
(Examples)  
P08: TUNER  
P09: BPM (TAP)  
P10: MANUAL  
Expression Pedal Switch  
Target  
Expression Pedal Switch  
Target value range: Min  
Expression Pedal Switch  
Target value range: Max  
1. Press [PEDAL ASSIGN].  
2. Press PARAMETER [  
] [  
] to display the  
Expression Pedal Switch  
Source Mode  
following screens.  
(Expression pedal switch)  
fig.05-04  
CTL Pedal  
Target  
CTL Pedal  
Target value range: Min  
CTL Pedal  
Target value range: Max  
(CTL pedal)  
fig.05-05  
CTL Pedal  
Source Mode  
3. Rotate the PATCH/VALUE dial to change the setting’s  
value.  
4. Repeat Steps 2 and 3 as needed.  
You can rapidly switch to the two screens above by  
holding down [ ] (or [ ]) and pressing [  
]).  
] (or  
Press [EXIT] to return to the Play screen.  
[
3. Rotate the PATCH/VALUE dial to select the pedal  
Target  
setting.  
The parameter to be controlled.  
*
If not using the expression pedal or CTL pedal, select “Off.”  
4. Repeat Steps 2 and 3 as needed.  
Target Variation Range  
This sets the range within which the parameter being  
controlled will change.  
Press [EXIT] to return to the Play screen.  
The range between the minimum value (Min) and the  
maximum value (Max) is changed.  
Source Mode  
48  
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Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)  
Assign ON/OFF  
Controlling Effects with the GT-6 Pedals,  
fig.05-09  
External Pedals, and External MIDI Devices  
Make these settings when controlling effects with the GT-6’s  
expression pedal or CTL pedal, or with pedals or external  
MIDI devices connected to the GT-6.  
This selects the eight Assign ON/OFF settings (ASSIGN 1–8).  
Only set the assigns you will be using to “On.”  
You can make up to eight separate settings per patch (using  
Assign numbers 1–8) determining what parameters are  
*
Be sure to set any Assign settings not being used to “Off.”  
controlled by which controllers.  
fig.05-07  
3
Making Settings Instantly (Quick Setting)  
Using Quick Setting lets you automatically make the settings  
to the parameters described below, without having to set  
them all individually.  
As you rotate the PATCH/VALUE dial in the Assign ON/  
OFF screen to select the prepared pedal settings, the most  
appropriate values for the parameters are selected instantly.  
2
P01: PATCH LEVEL  
P02: PREAMP GAIN  
P03: OD/DS DRIVE  
P04: DELAY LEVEL  
P05: CHORUS LEVEL  
P06: REVERB LEVEL  
P07: MASTER BPM  
P08: SUB EXP FV  
P09: SUB EXP FW  
P10: SUB EXP PS  
1
1. Press [PEDAL ASSIGN].  
2. Press PARAMETER [  
following screens.  
fig.05-08  
] [  
] to display the  
(Examples)  
Assign On/Off  
Quick Setting  
Target  
Target value range: Min  
Target value range: Max  
Source  
Source Mode  
Active Range Low  
Active Range High  
3. Rotate the VALUE dial to change the setting’s value.  
4. Repeat Steps 2 and 3 as needed until the settings are  
completed.  
Press [EXIT] to return to the Play screen.  
49  
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Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)  
When using the foot switch:  
fig.05-12a  
Target  
fig.05-10  
Amount of Change  
in parameter Value  
maximum value  
Target Max  
This sets the parameter to be affected. The parameters that  
you can select as the target are shown below.  
• Patch Level  
minimum value  
• Patch Level Inc/Dec (how the level changes)  
Target Min  
• Effect On/Off for each effect  
Off  
On  
• Effect parameters  
Foot Switch  
• Master BPM (Tap input)  
• Manual On/Off  
When using the expression pedal:  
• Tuner/Bypass On/Off  
• Delay time (Tap input)  
• MIDI Start/Stop  
fig.05-12b  
maximum value  
Target Max  
• MMC Start/Stop  
*
Although you can set this so that the same target is controlled  
by more than one controller, in such cases, make sure not to  
have different sources changing the parameter at the same  
time. Changing the parameter simultaneously using different  
sources may result in noise being generated.  
minimum value  
Target Min  
When the pedal  
is fully raised  
When the pedal  
is fully advanced  
*
The receiving device’s Sync Clock Mode must be set to  
“Remote” when MIDI Start/Stop is selected as the target.  
Expression Pedal  
When controlling the On/Off target with the expression  
pedal:  
fig.05-12c  
Target Range  
fig.05-11  
On  
Target Max  
The value of the parameter selected as the target changes  
within the range defined by “Min” and “Max,” as set on the  
GT-6.  
ON  
Off  
Target Min  
OFF  
When the pedal  
When using a control pedal, foot switch, or other controller  
that acts as an on/off switch, “Min” is selected with Off  
(CLOSED), and “Max” is selected with On (OPEN).  
When the pedal  
is fully raised  
When the pedal  
is fully advanced  
is advanced halfway  
Expression Pedal  
When using an expression pedal or other controller that  
generates a consecutive change in the value, the value of the  
setting changes accordingly, within the range set by the  
minimum and maximum values.  
*
*
*
The range that can be selected changes according to the target  
setting.  
When the “minimum” is set to a higher value than the  
“maximum,” the change in the parameter is reversed.  
Also, when the target is of an on/off type, the median value  
of the received data is used as the dividing line in  
determining whether to switch it on or off.  
The values of settings can change if the target is changed after  
the “minimum” and “maximum” settings have been made. If  
you’ve changed the target, be sure to recheck the “minimum”  
and “maximum” settings.  
50  
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Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)  
Source  
fig.05-13  
Differences Between Momentary-Type and  
Latch-Type Switches  
When switching effects on and off with a foot switch  
It does not matter whether a momentary-type or latch-  
type switch is used.  
This sets the controller (source) that affects the target  
parameter.  
When using a momentary-type switch, set to “Toggle.”  
When using a latch-type switch, set it to “Normal.”  
Controllers that can be selected as the source are shown  
below.  
When the effect is applied more, or is on only while  
the foot switch is being pressed  
• GT-6 expression pedal  
• GT-6 CTL pedal  
When using a momentary-type switch, set it to  
“Normal.”  
• GT-6 expression pedal switch  
• (this switch is activated when you press down on the toe  
of the pedal)  
This allows you to change how the effect is applied as  
you press, or release from the foot switch.  
External pedal connected to the SUB EXP PEDAL/SUB  
CTL 1, 2 jack (expression pedal or foot switch)  
Latch-type switches cannot function in this manner.  
• Control Change messages from an external MIDI device  
(1–31, 64–95)  
*
The CTL pedal indicator lights according to the settings made  
with the CTL pedal.  
Source Mode  
fig.05-14  
This determines whether the control pedal will function as a  
momentary or latch type switch.  
*
The GT-6’s control pedal is normally a momentary-type pedal.  
Switch the settings as needed to accommodate your setup.  
Normal  
The normal state is Off (minimum value), with the switch On  
(maximum value) only while the foot switch is depressed.  
Toggle  
The setting is toggled On (maximum value) or Off (minimum  
value) with each press of the foot switch.  
*
Set this to “Normal” when a latch-type foot switch (such as  
the optional FS-5U) is connected, or when selecting something  
other than a foot switch as the controller.  
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Chapter 5 Settings for Using the Expression and Control Pedals (Pedal Assign)  
Active Range  
Controlling Wah and Pitch Bend  
with an External Expression Pedal  
fig.05-15  
Make the following settings to control wah and pitch bend  
with an expression pedal connected to the SUB EXP PEDAL/  
SUB CTL 1,2 jack.  
*
1. Press [PEDAL ASSIGN].  
This sets the operational range within which the value of the  
setting changes when an expression pedal or other controller  
that changes the value consecutively is used as the source. If  
the controller is moved outside the operational range, the  
value does not change, it stops at “minimum” or  
“maximum.”  
2. Press PARAMETER [  
] [  
] to select from  
ASSIGN 1 through 8.  
*
If the indication in the upper part of the display is flashing,  
press [PEDAL ASSIGN] so it stops flashing, and is displayed  
normally.  
3. Rotate the PATCH/VALUE dial to select the following  
(Example)  
settings:  
With Act. Range Lo: 40, Act. Range Hi: 80  
fig.05-16a  
Foot Volume:  
maximum value  
Target Max  
P08: SUB EXP FV  
Wah:  
P09: SUB EXP FW  
Pedal Bend:  
minimum value  
Target Min  
P10: SUB EXP PS  
fig.05-18  
0
40  
80  
127  
Act. Range Act. Range  
Lo  
Hi  
fig.05-16b  
On  
Off  
ON  
OFF  
0
40 60 80  
Act. Range Center Act. Range  
Lo value Max  
127  
4. If Wah or Pitch Bend has been selected in Step 3, carry  
out the following.  
For Wah:  
*
When using a foot switch or other on/off switching controller  
as the source, leave these at “Lo: 0” and “Hi: 127.” With  
certain settings, the value may not change.  
Press [WAH]; “On” appears in the display.  
Next, press PARAMETER [  
] [  
] to display “FX  
Select,” then select “FW” with the PATCH/VALUE dial.  
For Pitch Bend:  
Press [FX-2]; “On” appears in the display.  
Next, press PARAMETER [  
] [  
] to display “FX  
Select,” then select “PS” with the PATCH/VALUE dial.  
52  
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Chapter 6 Using the Customize Function  
fig.06-02  
With the GT-6’s Customize function, you can rely on your  
Custom  
Preamp High  
own sensibilities and create a totally new effect by tweaking  
the settings for the “Preamp/Speaker Simulator,”  
“Overdrive/Distortion,” and “Pedal Wah.” The result can  
then be saved on the GT-6 as “Custom” settings.  
Custom  
Speaker Low  
You can also use these custom settings in other patches.  
Custom  
Speaker High  
The trademarks listed in this document are trademarks  
of their respective owners, which are separate companies  
from BOSS. Those companies are not affiliated with  
5. Rotate the PATCH/VALUE dial to change the setting’s  
value.  
6. Repeat Steps 4 and 5 as needed.  
BOSS and have not licensed or authorized BOSS’s GT-6.  
Their marks are used solely to identify the equipment  
whose sound is simulated by BOSS’s GT-6.  
7. Press [EXIT] to return to the Play screen.  
Type  
Selects the basic type of preamp.  
Making “Custom” Preamp  
Settings  
JC Clean:  
This is the sound of the Roland JC-120.  
You can make three different sets of settings, Custom1,  
Custom2, and Custom3.  
TW Clean:  
This models a Fender Twin Reverb.  
*
The sound of any patch that uses Custom 1, 2, or 3 will be  
altered if the custom settings are edited.  
Crunch:  
This is a crunch sound that can produce natural distortion.  
VO Lead:  
1. Turn the PREAMP/SPEAKER TYPE knob to  
This models the drive sound of a VOX AC-30TB.  
“CUSTOM.”  
BG Lead:  
2. Press PREAMP/SPEAKER [TYPE VARIATION] to call  
This models the lead sound of the MESA/Boogie combo  
amp.  
up “Custom1,” “Custom2,” or “Custom3.”  
fig.06-01  
MS1959 Stk:  
This models the sound input to Input I on a Marshall 1959.  
MODERN Stk:  
This models the rhythm channel of a MESA/Boogie Dual  
Rectifier.  
3. Press [PREAMP/SPEAKER].  
The PREAMP/SPEAKER edit screen appears.  
4. Press PARAMETER [  
parameters.  
] [  
] to show the custom  
Bottom -50–+50  
Adjusts the amount of distortion in the low frequencies.  
fig.06-02  
(Examples)  
Edge -50–+50  
Adjusts the amount of distortion in the high frequencies.  
Custom  
Type  
Custom  
Bottom  
Bass Freq (Bass Frequencies) -50–+50  
Adjusts the frequencies affected by the BASS knob.  
Custom  
Edge  
Treble Freq (Treble Frequencies) -50–+50  
Adjusts the frequencies affected by the TREBLE knob.  
Custom  
Bass Frequency  
Preamp Low -50–+50  
Adjusts the preamp section’s low-frequency tone.  
Custom  
Treble Frequency  
PreampHigh -50–+50  
Adjusts the preamp section’s high-frequency tone.  
Custom  
Preamp Low  
53  
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Chapter 6 Using the Customize Function  
SpeakerLow -50–+50  
Type  
Adjusts the speaker section’s low-frequency tone.  
Selects the basic speaker type.  
SpeakerHigh -50–+50  
Adjusts the speaker section’s high-frequency tone.  
OD-1:  
This is the sound of the BOSS OD-1.  
OD-2:  
Making “Custom” Overdrive/  
Distortion Settings  
This is the sound of the BOSS OD-2.  
CRUNCH:  
Here you can make two different sets of settings, Custom 1  
and Custom 2.  
This is a crunch sound of the BOSS BD-2.  
DS-1:  
*
Any patch tone using Custom 1 or 2 will be altered if the  
custom settings are edited.  
This gives a basic, traditional distortion sound.  
1. Turn the OVERDRIVE/DISTORTION TYPE knob to  
DS-2:  
“CUSTOM/EXTERNAL.”  
This creates a heavier distortion sound.  
2. Press OVERDRIVE/DISTORTION [TYPE  
VARIATION] to call up “Custom1” or “Custom2.”  
fig.06-03  
METAL1:  
This is the sound of the BOSS MT-2.  
METAL2:  
This gives a heavy metal sound.  
FUZZ:  
3. Press [OVERDRIVE/DISTORTION].  
This models a FUZZFACE.  
The OVERDRIVE/DISTORTION edit screen appears.  
4. Press PARAMETER [  
parameters.  
fig.06-04  
] [  
] to show the custom  
Bottom -50–+50  
Adjusts the amount of distortion in the low frequencies.  
Custom  
Type  
Top -50–+50  
Adjusts the amount of distortion in the high frequencies.  
Custom  
Bottom  
Low -50–+50  
Custom  
Top  
Adjusts low-frequency tone.  
High -50–+50  
Custom  
Low  
Adjusts the high-frequency tone.  
Custom  
High  
5. Rotate the PATCH/VALUE dial to change the setting’s  
value.  
6. Repeat Steps 4 and 5 as needed.  
7. Press [EXIT] to return to the Play screen.  
54  
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Chapter 6 Using the Customize Function  
Type  
Making “Custom” Pedal Wah  
Settings  
You can make three different sets of settings, Custom 1,  
Custom 2, and Custom 3.  
Selects the basic type of wah.  
CRY WAH:  
This models the sound of the CRY BABY wah pedal popular  
in the ‘70s.  
*
Any patch tone using Custom 1, 2, or 3 will be altered if the  
custom settings are edited.  
VO WAH:  
This models the sound of the VOX V846.  
1. Press [WAH].  
Fat WAH:  
The WAH edit screen appears.  
This a wah sound featuring a bold tone.  
2. Press PARAMETER [  
] [  
] to select “FX Select,”  
then rotate the PATCH/VALUE dial to select “WAH” or  
“FW.”  
Light WAH:  
This wah has a refined smooth sound.  
3. Press PARAMETER [  
] [  
] until “Type”  
7String WAH:  
appears in the display.  
Wah featuring a broader range of variations for the seven-  
string guitar.  
4. Rotate the PATCH/VALUE dial to select from  
“Custom1–3.”  
fig.06-05  
Q -50–+50  
Adjusts the amount of characteristic effect applied to the wah  
tone.  
Range Low -50–+50  
5. Press PARAMETER [  
] [  
] to show the custom  
parameters.  
Selects the tone produced when the pedal is back.  
fig.06-06  
Range High -50–+50  
Custom  
Type  
Selects the tone produced when the pedal is forward.  
Custom  
Q
Presence -50–+50  
Adjusts the tonal quality of the wah effect.  
Custom  
Range Low  
Custom  
Range High  
Custom  
Presence  
6. Rotate the PATCH/VALUE dial to change the setting’s  
value.  
7. Repeat Steps 3 through 5 as needed.  
8. Press [EXIT] to return to the Play screen.  
55  
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Chapter 7 Convenient Features of the GT-6  
Selecting the Effect to Be Switched  
Quick Patch Volume Adjustment  
(PATCH LEVEL Knob)  
On and Off With the Pedals  
fig.07-03  
For quick and easy adjustment of the current patch’s volume,  
use the PATCH LEVEL knob.  
3
You can turn the PATCH LEVEL knob to control the patch  
level of the currently selected patch.  
fig.07-01  
1
2
1. When Manual mode is on, press PARAMETER [  
]
to display the following screen.  
fig.07-04  
*
The patch level that’s been arrived at using the PATCH  
carried out.  
Cursor  
2. Press PARAMETER [  
] [  
] to move the cursor to  
Turning the Effects On and Off  
with the Pedals (Manual Mode)  
the number for the pedal whose settings you want to  
change.  
3. Rotate the VALUE dial to select the effect to be  
The GT-6 features a Manual mode, in which the pedals are  
used for switching specified effects on and off.  
assigned to the pedal.  
In Manual mode, you can switch effects on and off without  
changing the patch number.  
4. Repeat Steps 2 and 3 to select the effects assigned to  
each pedal.  
Switching to Manual Mode  
The GT-6 switches Manual mode on or off each time  
[MANUAL] is pressed.  
When Manual mode is on, the following appears in the  
display.  
fig.07-02  
56  
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Chapter 7 Convenient Features of the GT-6  
Comparing Preamp Tones in  
Manual Mode  
You can use the “Amp Switch Mode” setting to compare  
preamp tones before and after they are edited.  
Tuning the Guitar  
When the Tuner/Bypass is turned on, sounds input to the  
GT-6 are output directly as is (bypassed), and the tuner is  
activated.  
Press the pedal to which the preamp is assigned, switching it  
on to get to the preamp tone set in the patch, and switching it  
off to hear the preamp tone as it is with the current knob  
Under these conditions you can then tune your guitar.  
Turning the Tuner/Bypass  
settings.  
fig.07-05  
Function On  
2
fig.07-07  
1
1
1. Press [UTILITY], then press PARAMETER [  
]
Each time [TUNER/BYPASS] is pressed, the Tuner/Bypass  
is switched on or off.  
[
] to call up “Amp Switch.”  
fig.07-06  
The [TUNER/BYPASS] button’s indicator lights when the  
function is on.  
About the Display During Tuning  
With the GT-6’s internal tuner, the note name is indicated in  
the upper row of the display and the Tuning Guide is shown  
in the lower row, indicating the difference between the input  
2. Rotate the VALUE dial to set Amp Switch Mode.  
Amp On/Off:  
Switches the preamp on and off.  
sound and the sound in the display.  
fig.07-08  
Toggle to Knobs:  
Note Name  
When the indicator for the pedal to which the preamp is  
assigned remains lit, the tone uses the settings in effect  
prior to switching to Manual mode; when the indicator  
flashes, the tone settings conform to the current knob  
positions.  
Tuning Guide  
*
This has no effect when the preamp is set to OFF.  
When the difference from the correct pitch falls within 50  
cents, the Tuning Guide then indicates the size of that  
difference. As you watch the Tuning Guide, tune the guitar  
3. Press [EXIT] to return to the Play screen.  
so that the “” appears in the center.  
fig.07-09  
too high  
tuned  
too low  
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Chapter 7 Convenient Features of the GT-6  
Volume Settings with Tuner/Bypass  
How to Tune  
1. Play a single open note on the string being tuned.  
(Mute, Bypass)  
fig.07-11  
The name of the note closest to the pitch of the string that  
was played appears in the display.  
*
Only play a single note on the one string being tuned.  
2. Tune the string until the string name appears in the  
This selects the output while Tuner/Bypass is on.  
display.  
Mute:  
7th  
6th  
5th  
4th  
3rd  
2nd  
1st  
Sounds are muted, and no sound is output.  
Regular  
B
E
A
D
G
B
E
1/2 Step  
Down  
1 Step  
Down  
A#  
A
D#  
D
G#  
G
C#  
C
F#  
F
A#  
A
D#  
D
Bypass:  
Sounds input to the GT-6 bypass the processing and are  
output directly as is.  
*
*
This is set to “Bypass” when shipped from the factory.  
When this is set to “Bypass,” and Tuner/Bypass is set to ON,  
you can adjust the volume of the direct sound by operating the  
expression pedal.  
3. As you watch the Tuning Guide, adjust the guitar’s  
tuning until “” appears in the center.  
4. Repeat Steps 1–3 until all of the strings are tuned.  
fig.07-12  
*
When tuning guitars equipped with a tremolo bar, when one  
string is tuned, the others may end up being out of tune. In  
this case, tune to the pitch indicated by the initial note name,  
then tune the other strings again, repeatedly fine-tuning each  
string.  
3
2
Changing the Tuner Settings  
You can change the following tuner-related settings.  
Standard Pitch (435–445 Hz)  
1,5  
5
fig.07-10  
1. Press [TUNER/BYPASS]; the indicator lights up.  
2. Press PARAMETER [ ] [ ] until you have either  
“TUNER Pitch” or “TUNER Out” displayed.  
The frequency of A4 (the middle A on a piano keyboard)  
played by an instrument (such as a piano) that provides the  
pitch to which the other instruments refer in tuning before a  
performance begins is called the standard pitch. You can set  
the standard pitch on the GT-6 from 435 to 445 Hz.  
3. Rotate the VALUE dial to change the settings.  
4. Repeat Steps 2 and 3 to change each parameter’s  
settings.  
5. Press [TUNER/BYPASS] or [EXIT] to return to the Play  
*
This is set to 440 Hz when shipped from the factory.  
screen.  
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Chapter 7 Convenient Features of the GT-6  
Switching Tuner/Bypass On and  
Off with the Number Pedals  
If you wish, the GT-6 can also be set so the number pedals  
can be used to switch Tuner/Bypass on and off .  
Adjusting the Overall Sound to Match  
the Usage Environment (Global)  
The GT-6 includes a feature that allows you to change the  
overall tone temporarily. This is called the “Global function.”  
With the Global function, you can temporarily change your  
settings to match those of your equipment and the operating  
environment, while leaving the settings in the patches  
untouched.  
1. Press [UTILITY], then press PARAMETER [  
]
[
] so that “SYS: Pdl Tuner SW” is displayed.  
fig.07-13  
1. Press [UTILITY], then press PARAMETER [  
]
[
] to display the following screen.  
fig.07-14  
2. Rotate the PATCH/VALUE dial to turn the switch on.  
3. Press [EXIT] to return to the Play screen.  
Global  
Low Equalizer  
Tuner/Bypass is switched on when you press the pedal  
with the same number as the currently selected patch  
number. Press the pedal once more to turn it off.  
Global  
High Equalizer  
Global  
Noise Suppressor Threshold  
Global  
Reverb Level  
Switching Tuner/Bypass On and Off with the  
CTL Pedal  
2. Rotate the PATCH/VALUE dial to change the setting’s  
value.  
Settings to set the pedal setting P08= TUNER allows you  
to switch Tuner/Bypass on and off with the CTL pedal.  
3. Repeat Steps 1 and 2 as needed.  
4. Press [EXIT] to return to the Play screen.  
Switching Tuner/Bypass On and Off by  
Lifting Up on the Expression Pedal  
Low EQ (Low Equalizer) -20 dB–+20 dB  
When the expression pedal is functioning as a Foot  
Volume control, set one of the ASSIGN 1–8 Pedal Assign  
Adjusts the tone in the low frequencies.  
*
This adjusts the tone regardless of the equalizer on/off settings  
of individual patches.  
Target: TUNER On/Off  
Target Min: On  
High EQ (High Equalizer) -20 dB–+20 dB  
Adjusts the tone in the high frequencies.  
Target Max: Off  
*
This adjusts the tone regardless of the individual patch  
equalizer on/off settings.  
Source: EXP PEDAL  
Mode: Normal  
Act. Range Lo: 0  
NS Threshold (Noise Suppressor Threshold)  
-20 dB–+20 dB  
Act. Range Hi: 1–127  
Adjusts the noise suppressor threshold level settings for each  
patch in a range from -20 dB to +20 dB.  
With this setting, you can switch on Tuner/Bypass by  
drawing back the expression pedal.  
This adjustment is an effective way to get equivalent output  
with each of your guitars when you are connecting more  
than one guitar.  
*
*
Set to “0 dB” when using this in individual patch settings.  
This has no effect on patches in which the noise suppressor is  
turned off.  
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Chapter 7 Convenient Features of the GT-6  
Reverb Level 0%–200%  
Using the Digital Outs  
Digital signals are output from the DIGITAL OUT connector  
on the rear panel. You can connect this directly to the digital  
in connector of a digital recorder or other device and record  
Adjusts the reverb level settings for each patch in a range  
from 0% to 200%.  
Adjusting the reverb level is an effective way to match the  
reverberation of the performance venue.  
with no degradation in sound quality.  
fig.07-18  
*
*
Set to “100%” when using this in individual patch settings.  
This has no effect on patches in which reverb is turned off.  
Using External Effect Processors  
You can use external effect processors connected to the  
EXTERNAL jack on the rear panel in place of the GT-6’s  
overdrive and distortion.  
DIGITAL IN  
In order to use external effect processors, the OVERDRIVE/  
DISTORTION TYPE must be set to “External.”  
fig.07-15  
Checking the Effect Output  
Level with the Level Meter  
1
2
3
You can meter the output level of each effect. This is handy  
for checking the effects’ output levels.  
1. Press [OVERDRIVE/DISTORTION]; the indicator  
lights up.  
1. Press [UTILITY] a number of times until “METER” is  
2. Turn the OVERDRIVE/DISTORTION TYPE knob to  
displayed.  
CUSTOM/EXTERNAL.  
*
You can also select this by pressing [UTILITY], and then  
pressing PARAMETER [ ] [ ].  
3. Press OVERDRIVE/DISTORTION [TYPE VARIATION]  
a number of times until the indicator lights green and  
fig.07-19  
“External” is displayed.  
fig.07-16  
2. Rotate the PATCH/VALUE dial to select the effect  
whose level you want to check.  
4. Press [EXIT] to return to the Play screen.  
*
*
Only effects that are turned on can be selected.  
• You can adjust the level of the signal sent to the external  
effect processor (the send level) with the OVERDRIVE/  
DISTORTION DRIVE knob.  
You can check the level of signals being input to the INPUT  
jack by selecting “Input.” Selecting “Output” allows you to  
check the level of signals output from the GT-6.  
• You can adjust the level of the signal sent back from the  
external effect processor (the return level) with the  
OVERDRIVE/DISTORTION LEVEL knob.  
*
You may not be able to achieve the effects you envision if your  
output levels are set too high. Adjust the output level of each of  
your effects to the optimum value while checking the meter  
and making sure the needle doesn’t swing too far to the right.  
3. Press [EXIT] to return to the Play screen.  
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Chapter 8 Other Features  
Adjusting the Display  
Contrast (LCD Contrast)  
Setting the Timing Used for Switching  
Patches (Patch Change Mode)  
Depending on where the GT-6 is placed, the display (on the  
right) may become difficult to read. If this occurs, adjust the  
display contrast.  
This sets the timing with which the GT-6 switches to the next  
patch when switching patches with the pedals.  
1. Press [UTILITY], then press PARAMETER [  
]
1. Press [UTILITY] a number of times until “LCD  
[
] so that “Patch Change” is displayed.  
fig.08-03  
Contrast” is displayed.  
*
You can also select this by pressing [UTILITY], and then  
pressing PARAMETER [ ] [ ].  
fig.08-01  
2. Rotate the PATCH/VALUE dial to set the timing for  
switching patches.  
Immediate:  
2. Rotate the PATCH/VALUE dial to adjust the contrast.  
The patch switches the instant a BANK pedal or any of  
the number pedals is pressed.  
Valid Settings: 1–16  
3. Press [EXIT] to return to the Play screen.  
Wait for a NUM. :  
Although the indication in the display is updated to  
reflect the change in the bank when a BANK pedal is  
pressed, the patch doesn’t get changed at that point. The  
actual change to the newly selected patch takes place  
only after a number pedal has been pressed, and a  
complete bank and number combination has thus been  
entered.  
Selecting the PATCH/VALUE  
Dial Function (Dial Function)  
This setting determines whether or not rotating the PATCH/  
VALUE dial switches the patches.  
1. Press [UTILITY], then press PARAMETER [  
]
3. Press [EXIT] to return to the Play screen.  
[
] so that “Dial Func” is displayed.  
fig.08-02  
Limiting the Banks That Can  
Be Switched (Bank Extent)  
By setting an upper limit to the banks, thus limiting the range  
of banks that can be switched, you can set the GT-6 so that  
only the patches you need can be selected.  
2. Rotate the PATCH/VALUE dial to select the PATCH/  
VALUE dial function.  
PATCH No.& VALUE:  
The dial is used both for switching patches and changing  
the value of settings. In addition to switching patches  
with the pedals, you can also switch them by rotating the  
PATCH/VALUE dial.  
1. Press [UTILITY], then press PARAMETER [  
]
[
] so that “Bank Extent” is displayed.  
fig.08-04  
VALUE Only:  
The dial is used only for changing the values of settings.  
2. Rotate the PATCH/VALUE dial to set the upper limit  
3. Press [EXIT] to return to the Play screen.  
for the banks.  
Valid Settings: 1–85  
3. Press [EXIT] to return to the Play screen.  
61  
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Chapter 8 Other Features  
Setting “Expression Pedal Hold”  
This setting determines whether or not the Pedal Assign’s (p.  
patches are switched.  
Setting the Knob Functions  
(Knob Mode)  
This sets the way the values of settings are changed when the  
control knobs are turned.  
*
Expression Pedal Hold does not function if the Assign Source  
mode is set to Toggle (whereby the value is toggled between  
Min and Max each time the pedal is pressed).  
1. Press [UTILITY], then press PARAMETER [  
]
[
] so that “Knob Mode” is displayed.  
fig.08-06  
1. Press [UTILITY], then press PARAMETER [  
]
[
] so that “EXP Pdl Hold” is displayed.  
fig.08-05  
2. Rotate the PATCH/VALUE dial to set the Knob mode.  
Immediate:  
2. Rotate the PATCH/VALUE dial to set Expression Pedal  
Turning the knobs immediately changes the values.  
Hold.  
Current Setting:  
On: The Pedal Assign status is carried over.  
Values begin to change only once the knob position  
reaches the values set in the patch.  
(Example)  
If a patch is switched while the volume is being  
controlled with the expression pedal, the volume of the  
subsequent patch will take on the value determined by  
the current pedal position (angle).  
3. Press [EXIT] to return to the Play screen.  
If the patch switched to has the expression pedal  
controlling the wah effect, then the volume assumes the  
value set in the patch, and the patch’s wah effect is given  
the value derived from the current pedal position  
(angle).  
Off: The Pedal Assign status is not carried over.  
(Example)  
If a patch is switched while the volume is being  
controlled with an expression pedal, the volume of the  
subsequent patch is set to the value set in that patch.  
If the expression pedal is operated, and that information  
is transmitted to the GT-6, the volume will change in  
accord with the pedal’s movement.  
3. Press [EXIT] to return to the Play screen.  
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Chapter 8 Other Features  
Setting the External Foot Switch  
Functions (SUB CTL 1, 2 Function)  
This sets the foot switch functions for “Sub Control 1” and  
“Sub Control 2” when you have an external foot switch  
connected to the rear panel’s SUB EXP PEDAL/SUB CTL1,2  
jack.  
*
When connecting two foot switches using the special optional  
Roland PCS-31 connector cord, the foot switch connected with  
the white-banded plug functions according to the Sub Control  
1 settings, and the foot switch connected with the red-banded  
plug functions according to the Sub Control 2 settings.  
*
When you have only one foot switch connected, the Sub  
Control 1 settings are used.  
1. Press [UTILITY], then press PARAMETER [  
] so that “SubCTL 1 Func” or “SubCTL 2 Func” is  
displayed.  
]
[
fig.08-07  
2. Rotate the PATCH/VALUE dial to set the Knob mode.  
Assignable:  
The controller set in each patch’s Pedal Assign is used.  
MANUAL On/Off:  
The foot switch is used as a manual On/Off switch.  
Use a momentary-type foot switch (such as the optional  
FS-5U).  
TUNER On/Off:  
The foot switch is used as a tuner On/Off switch.  
Use a momentary-type foot switch (such as the optional  
FS-5U).  
MIDI Start/Stop:  
The foot switch is used for starting and stopping a  
connected MIDI device (for example a sequencer).  
MMC Play/Stop:  
The foot switch is used for controlling Play and Stop for  
the connected MIDI device (such as a hard disk  
recorder).  
3. Press [EXIT] to return to the Play screen.  
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Chapter 9 Using MIDI  
Remotely Controlling the GT-6 Using  
What Can You Do with MIDI?  
You can perform the following operations using MIDI with  
the GT-6.  
an External MIDI Device  
Switching Patch Numbers  
When the GT-6 receive Program Change messages from the  
external MIDI device, its patches are simultaneously  
switched.  
*
The use of MIDI requires that the MIDI channels of the  
connected devices match. If the MIDI channel settings are not  
correct, the GT-6 will be unable to exchange data with other  
MIDI devices.  
You can set up the correspondence between MIDI  
Program Change messages and the GT-6’s patches using  
on these correspondences when you want to line up  
some effects in combination with other MIDI devices.  
Operating From the GT-6  
Outputting Program Change Messages  
When a patch is selected on the GT-6, a Program Change  
message corresponding to the patch number is transmitted  
simultaneously. The external MIDI device then switches its  
settings according to the Program Change message it  
The connections shown in the figure below are for a  
sequencer automatically performing the backing as a guitar  
is being played. The patches are switched automatically  
when the program numbers corresponding to the patches are  
input along with the performance data at the points where  
receives.  
fig.09-01  
you have determined the GT-6 patches are to be switched.  
fig.09-02  
MIDI OUT  
MIDI IN  
MIDI OUT  
MIDI IN  
Outputting Control Change Messages  
Data describing the actions of the CTL pedal, expression  
pedal, expression pedal switch, and external devices  
connected to the SUB EXP PEDAL/SUB CTL 1,2 jack are  
output as Control Change messages. Such messages can be  
used to (among other things) manipulate the parameters of  
an external MIDI device.  
Transmitting Data  
Receiving Control Change Messages  
You can use Exclusive messages to transmit the settings for  
effect sounds and other content stored in the GT-6 to other  
MIDI devices. For example, you can provide another GT-6  
with the same settings, and save effect sound settings to a  
sequencer or other device.  
You can control specified parameters during a  
performance by having the GT-6 receive Control Change  
messages. Parameters to be controlled are set with Pedal  
Receiving Data  
The GT-6 can receive data transmitted from another GT-6, as  
well as data that’s been stored on a sequencer.  
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Chapter 9 Using MIDI  
MIDI TX Channel (MIDI Transmit Channel)  
1–16, Rx  
Making the Settings for MIDI  
Functions  
fig.09-05  
Here is a description of the GT-6’s MIDI functions. Set them  
as needed, depending on the intended use.  
1. Press [UTILITY] a number of times until the following  
screen appears.  
fig.09-03  
This sets the MIDI Transmit channel used for transmitting  
MIDI messages. When set to “Rx,” this MIDI channel is same  
as the MIDI Receive channel.  
*
This is set to “Rx” when shipped from the factory.  
MIDI Device ID 1–32  
fig.09-06  
2. Press PARAMETER [  
] [  
] so that the  
parameter that you want to set appears in the display.  
3. Rotate the PATCH/VALUE dial to change the setting’s  
value.  
This sets the Device ID used for transmitting and receiving  
Exclusive messages.  
4. Repeat Steps 2 and 3 as needed.  
5. Press [EXIT] to return to the Play screen.  
*
This is set to “1” when shipped from the factory.  
MIDI Sync Clock Auto, Internal  
fig.09-07  
MIDI RX Channel (MIDI Receive Channel) 1–16  
fig.09-03  
You can synchronize the performance of a sequencer or other  
external MIDI device.  
This sets the MIDI channel used for receiving MIDI  
messages.  
Auto:  
When the MIDI Clock of the external MIDI device  
is not being received, the performance is  
synchronized to the tempo set in MASTER BPM;  
when the external MIDI device’s MIDI Clock is  
being received, the performance is synchronized  
to that.  
*
This is set to “1” when shipped from the factory.  
MIDI Omni Mode Omni Off, Omni On  
fig.09-04  
Internal: The performance is synchronized to the tempo set  
in MASTER BPM.  
*
*
This is set to “Auto” when shipped from the factory.  
When set to “Omni On,” messages are received on all  
channels, regardless of the MIDI channel settings.  
When you have an external MIDI device connected, the  
Master BPM is then synchronized to the external MIDI  
device's tempo, thus disabling the Master BPM setting. To  
enable setting of the Master BPM, set to “Internal.”  
*
Even when Omni Mode is set to ON, the only Exclusive  
messages received are for Device ID data set with “Device  
ID.”  
*
When synchronizing performances to the MIDI Clock signal  
from an external MIDI device, timing problems in the  
performance may occur due to errors in the MIDI Clock.  
*
This is set to “Omni On” when shipped from the factory.  
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Chapter 9 Using MIDI  
MIDI PC OUT (MIDI Program Change Out) Off, On  
fig.09-08  
MIDI SUB CTL 1 OUT (MIDI Sub Control 1 Out)  
Off, 1–31, 33–95  
fig.09-12  
This setting determines whether or not Program Change  
messages are output when patches are switched on the GT-6.  
This sets the controller number when operation data from  
the external pedal connected to the SUB CTL 1 jack is output  
as Control Change messages. When set to “Off, “ Control  
Change messages are not output.  
Off:  
Program Change messages are not output, even  
when patches are switched.  
On:  
Program Change messages are simultaneously  
output when patches are switched.  
MIDI SUB CTL 2 OUT (MIDI Sub Control 1 Out)  
Off, 1–31, 33–95  
*
On the GT-6, Bank Select messages are output simultaneously  
with Program Change messages. For more details, reefer to  
fig.09-13  
MIDI EXP OUT (MIDI Expression Pedal Out)  
Off, 1–31, 33–95  
fig.09-09  
This sets the controller number when operation data from  
the external pedal connected to the SUB CTL 2 jack is output  
as Control Change messages. When set to “Off, “ Control  
Change messages are not output.  
This sets the controller number when expression pedal  
operation data is output as Control Change messages. When  
set to “Off, “ Control Change messages are not output.  
MIDI EXP SW OUT (MIDI Expression Pedal Switch Out)  
Off, 1–31, 33–95  
fig.09-10  
This sets the controller number when expression pedal  
switch operation data is output as Control Change messages.  
When set to “Off, “ Control Change messages are not output.  
MIDI CTL OUT (MIDI Control Pedal Out)  
Off, 1–31, 33–95  
fig.09-11  
This sets the controller number when CTL pedal operation  
data is output as Control Change messages. When set to  
“Off, “ Control Change messages are not output.  
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Chapter 9 Using MIDI  
When Transmitting Data to Another GT-6  
Transmitting and Receiving  
MIDI Data  
Connect as shown in the figure below, and match the Device  
ID for the transmitting and receiving devices.  
fig.09-16  
On the GT-6, you can use Exclusive messages to provide  
another GT-6 with identical settings, and save effect settings  
on a sequencer or other device.  
Transmitting data this way is called “Bulk Dump,” while  
receiving such data is referred to as “Bulk Load.”  
Transmitting Data to an External  
MIDI Device (Bulk Dump)  
The following types of data can be transmitted. You can  
transmit data by specifying the range from the start to the  
end of transmission.  
MIDI OUT  
MIDI IN  
Displayed  
Data Transmitted  
System  
Utility Parameters, Harmonist scales, Auto Riff  
phrases, and Preamp, Overdrive/Distortion,  
and Wah Custom Edit parameter settings  
#1-1–  
#35-4  
Settings for Patch Number 1-1 through 35-4  
Transmitting  
Temp  
Settings for the patch the is currently called up  
fig.09-17  
2
Making the Connections  
When Saving to a MIDI Sequencer  
Connect as shown in the figure below, and put the sequencer  
1,2  
in the state where it is ready to receive Exclusive messages.  
fig.09-15  
4 3 1  
1. Press [UTILITY], then press PARAMETER [  
]
[
] so that “Bulk Dump” is displayed.  
fig.09-18  
MIDI OUT  
MIDI IN  
2. Press PARAMETER [  
] [  
] to move the cursor,  
and rotate the PATCH/VALUE dial to select the start  
and end of the data to be transmitted.  
3. When the data to be sent has been determined, press  
[WRITE].  
*
For instructions on operating the sequencer, refer to the  
owner’s manual for the sequencer you are using.  
The data is transmitted.  
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Chapter 9 Using MIDI  
fig.09-19  
fig.09-21  
When the transmission is completed, the screen prior to  
transmission returns to the display.  
The following appears in the display when the GT-6  
finishes receiving the data.  
fig.09-22  
4. Press [EXIT] to return to the Play screen.  
Receiving Data from an External  
MIDI Device (Bulk Load)  
At this stage, even more data can be received.  
3. Press [EXIT] to quit Bulk Load.  
Making the Connections  
After you press [EXIT], “Checking...” appears in the  
display, indicating that the GT-6 is checking the received  
data. When the check is completed, the Play screen  
returns to the display.  
When Receiving Data Saved on a MIDI Sequencer  
Connect as shown below. Set the GT-6’s Device ID to the  
same number that was used when the data was transmitted  
to the MIDI sequencer.  
fig.09-02  
MIDI OUT  
MIDI IN  
*
For instructions on operating the sequencer, refer to the  
owner’s manual for the sequencer you are using.  
Receiving  
1. Press [UTILITY], then press PARAMETER [  
]
[
] so that “Bulk Load” is displayed.  
fig.09-20  
2. Transmit the data from the external MIDI device.  
The following appears in the display when the GT-6  
receives the data.  
68  
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Chapter 9 Using MIDI  
5. Repeat Step 4 as needed, setting patch numbers to their  
corresponding Program numbers, until the Program  
Change Map is completed.  
Setting the Program Change  
Map  
6. Press [EXIT] to return to the Play screen.  
When switching patches using Program Change messages  
transmitted by an external MIDI device, you can freely set  
the correspondence between Program Change messages  
received by the GT-6 and the patches to be switched to in the  
“Program Change Map.”  
Enabling/Disabling the Program  
Change Map Settings (MIDI Map Select)  
This setting determines whether patches are switched  
according to the Program Change Map settings, or to the  
default settings.  
2
1. Press [UTILITY], then press PARAMETER [  
]
[
] so that “MIDI Map Select” is displayed.  
fig.09-24  
3
1,4  
1
6
2. Rotate the PATCH/VALUE dial to select “Fix” or  
“Prog.”  
1. Press [UTILITY], then press PARAMETER [  
]
Fix:  
[
] so that “MIDI Map Select” is displayed.  
Switches to the patches according to the default settings.  
fig.09-24  
For more on the default settings, refer to “Changing  
Prog:  
Switches to the patches according to the Program  
Change Map.  
2. Rotate the PATCH/VALUE dial to select “Prog.”  
*
You cannot set the Program Change Map when “Fix” is  
selected (it is not displayed).  
3. Press [EXIT] to return to the Play screen.  
*
See below for more on “MID Map Select.”  
3. Press PARAMETER [  
] until “MIDI Program Map”  
appears in the display.  
fig.09-25  
Program Number  
Bank Select  
Number  
Patch Number  
4. Press PARAMETER [  
] [  
] to move the cursor,  
and rotate the PATCH/VALUE dial to set the received  
Program number and the corresponding patch number.  
*
*
Use this same procedure to select Bank Select Numbers.  
When using only Program Change messages to make program  
changes, without using Bank Select messages, set the Program  
number (1–128) when the Bank Select number is “0.”  
69  
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Appendices  
fig.10-102  
About MIDI  
T.V. information from many different broadcasting station is  
sent through an antena.  
Broadcasting  
Station A  
MIDI is an acronym for Musical Instrument Digital Interface,  
and is a world-wide standard for allowing electronic musical  
equipment to communicate by transmitting messages such as  
performance information and sound selections. Any MIDI  
equipped device is able to transmit applicable types of data  
to another MIDI equipped device, even if the two devices are  
different models or were made by different manufacturers.  
Broadcasting  
Station B  
Broadcasting  
Station C  
Select the channel of the  
broadcasting station you  
wish to watch  
In MIDI, performance information such as playing a key or  
pressing a pedal are transmitted as MIDI Messages.  
MIDI has sixteen channels 1 – 16, and MIDI messages will be  
received by the instrument (the receiving device) whose  
channel matches the channel of the transmitter.  
*
If omni mode is on, data of all MIDI channels will be received  
regardless of the MIDI channel setting. If you do not need to  
control a specific MIDI channel, you may set Omni On.  
How MIDI messages are  
transmitted and received  
First, we will explain briefly how MIDI messages are  
transmitted and received.  
Main types of MIDI message  
used by the GT-6  
MIDI includes many types of MIDI messages that can convey  
a variety of information. MIDI messages can be broadly  
divided into two types; messages that are handled separately  
by MIDI channel (channel messages), and messages that are  
handled without reference to a MIDI channel (system  
messages).  
MIDI connectors  
The following types of connector are used to convey MIDI  
messages. MIDI cables are connected to these connectors as  
needed.  
fig.10-101  
Channel messages  
These messages are used to convey performance  
information. Normally these messages perform most of the  
control. The way in which a receiving device will react to  
each type of MIDI message will be determined by the  
settings of the receiving device.  
MIDI IN:  
This connector receives messages from another  
MIDI device.  
Program change messages  
MIDI OUT: This connector transmits messages from this  
These messages are generally used to select sounds, and  
include a program change number from 1 to 128 which  
specifies the desired sound. The GT-3 also allows you to  
select any of the 340 different patch numbers in conjunction  
with bank select messages; a type of control change message.  
device.  
MIDI THRU: This connector re-transmits the messages that  
were received at MIDI IN.  
*
The GT-6 features both “MIDI IN” and “MIDI OUT”  
connectors.  
Control change messages  
These messages are used to enhance the expressiveness of a  
performance. Each message includes a controller number,  
and the settings of the receiving device will determine what  
aspect of the sound will be affected by control change  
messages of a given controller number.  
MIDI channels  
MIDI is able to independently control more than one MIDI  
device over a single MIDI cable. This is possible because of  
the concept of MIDI channels.  
The idea of MIDI channels is somewhat similar to the idea of  
television channels. By changing channels on a television set,  
you can view a variety of programs. This is because the  
information of a particular channel is received when the  
channels of the transmitter and receiver match.  
The specified parameters can be controlled with the GT-6.  
70  
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Appendices  
System messages  
System messages include exclusive messages, messages used  
for synchronization, and messages used to keep a MIDI  
system running correctly.  
Exclusive messages  
xclusive messages handle information related to a unit’s own  
unique sounds, or other device-specific information.  
Generally, such messages can only be exchanged between  
devices of the same model by the same manufacturer.  
Exclusive messages can be employed to save the settings for  
effects programs into a sequencer, or for transferring such  
data to another GT-6.  
The two instruments must be set to the same device ID  
numbers when exchanging SysEx messages.  
About the MIDI implementation  
MIDI allows a variety of messages to be exchanged between  
instruments, but it is not necessarily the case that all types of  
message can be exchanged between any two MIDI devices.  
Two devices can communicate only if they both use the types  
of messages that they have in common.  
Thus, every owner’s manual for a MIDI device includes a  
“MIDI Implementation Chart.” This chart shows the types of  
message that the device is able to transmit and receive. By  
comparing the MIDI implementation charts of two devices,  
you can tell at a glance which messages they will be able to  
exchange. Since the charts are always of a uniform size, you  
can simply place the two charts side by side.  
fig.10-103  
Fold here  
MIDI Device A  
MIDI Device B  
Function  
Transmit  
Recognized  
Remarks  
A separate publication titled “MIDI Implementation” is  
also available. It provides complete details concerning  
the way MIDI has been implemented on this unit. If you  
should require this publication (such as when you intend  
to carry out byte-level programming), please contact the  
nearest Roland Service Center or authorized Roland  
distributor.  
71  
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Changing patches using bank select messages  
A bank select message consists of a set of two control change messages, the controllers numbered 0 and 32. Normally, you select a  
sound by using the bank select message followed by a program change message. On the GT-6, these messages are used for  
changing patch numbers.  
Changing patch numbers on an external MIDI device from the GT-6  
When a patch is selected on the GT-6, the bank select and program change messages sent from the GT-6 correspond with each  
other as shown below.  
fig.10-201  
Bank  
Number  
Bank  
Number  
Bank  
Number  
1
2
3
4
1
2
3
4
1
2
3
4
1
0,0,1 0,0,2 0,0,3 0,0,4  
0,0,5 0,0,6 0,0,7 0,0,8  
0,0,9 0,0,10 0,0,11 0,0,12  
0,0,13 0,0,14 0,0,15 0,0,16  
0,0,17 0,0,18 0,0,19 0,0,20  
0,0,21 0,0,22 0,0,23 0,0,24  
0,0,25 0,0,26 0,0,27 0,0,28  
0,0,29 0,0,30 0,0,31 0,0,32  
0,0,33 0,0,34 0,0,35 0,0,36  
0,0,37 0,0,38 0,0,39 0,0,40  
0,0,41 0,0,42 0,0,43 0,0,44  
0,0,45 0,0,46 0,0,47 0,0,48  
0,0,49 0,0,50 0,0,51 0,0,52  
0,0,53 0,0,54 0,0,55 0,0,56  
0,0,57 0,0,58 0,0,59 0,0,60  
0,0,61 0,0,62 0,0,63 0,0,64  
0,0,65 0,0,66 0,0,67 0,0,68  
0,0,69 0,0,70 0,0,71 0,0,72  
0,0,73 0,0,74 0,0,75 0,0,76  
0,0,77 0,0,78 0,0,79 0,0,80  
0,0,81 0,0,82 0,0,83 0,0,84  
0,0,85 0,0,86 0,0,87 0,0,88  
0,0,89 0,0,90 0,0,91 0,0,92  
0,0,93 0,0,94 0,0,95 0,0,96  
0,0,97 0,0,98 0,0,99 0,0,100  
1,0,1 1,0,2 1,0,3 1,0,4  
1,0,5 1,0,6 1,0,7 1,0,8  
1,0,9 1,0,10 1,0,11 1,0,12  
1,0,13 1,0,14 1,0,15 1,0,16  
1,0,17 1,0,18 1,0,19 1,0,20  
31  
32  
33  
34  
35  
36  
37  
38  
39  
40  
41  
42  
43  
44  
45  
46  
47  
48  
49  
50  
51  
52  
53  
54  
55  
56  
57  
58  
59  
60  
1,0,21 1,0,22 1,0,23 1,0,24  
1,0,25 1,0,26 1,0,27 1,0,28  
1,0,29 1,0,30 1,0,31 1,0,32  
1,0,33 1,0,34 1,0,35 1,0,36  
1,0,37 1,0,38 1,0,39 1,0,40  
1,0,41 1,0,42 1,0,43 1,0,44  
1,0,45 1,0,46 1,0,47 1,0,48  
1,0,49 1,0,50 1,0,51 1,0,52  
1,0,53 1,0,54 1,0,55 1,0,56  
1,0,57 1,0,58 1,0,59 1,0,60  
1,0,61 1,0,62 1,0,63 1,0,64  
1,0,65 1,0,66 1,0,67 1,0,68  
1,0,69 1,0,70 1,0,71 1,0,72  
1,0,73 1,0,74 1,0,75 1,0,76  
1,0,77 1,0,78 1,0,79 1,0,80  
1,0,81 1,0,82 1,0,83 1,0,84  
1,0,85 1,0,86 1,0,87 1,0,88  
1,0,89 1,0,90 1,0,91 1,0,92  
1,0,93 1,0,94 1,0,95 1,0,96  
1,0,97 1,0,98 1,0,99 1,0,100  
2,0,1 2,0,2 2,0,3 2,0,4  
2,0,5 2,0,6 2,0,7 2,0,8  
2,0,9 2,0,10 2,0,11 2,0,12  
2,0,13 2,0,14 2,0,15 2,0,16  
2,0,17 2,0,18 2,0,19 2,0,20  
2,0,21 2,0,22 2,0,23 2,0,24  
2,0,25 2,0,26 2,0,27 2,0,28  
2,0,29 2,0,30 2,0,31 2,0,32  
2,0,33 2,0,34 2,0,35 2,0,36  
2,0,37 2,0,38 2,0,39 2,0,40  
61  
62  
63  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
2,0,41 2,0,42 2,0,43 2,0,44  
2,0,45 2,0,46 2,0,47 2,0,48  
2,0,49 2,0,50 2,0,51 2,0,52  
2,0,53 2,0,54 2,0,55 2,0,56  
2,0,57 2,0,58 2,0,59 2,0,60  
2,0,61 2,0,62 2,0,63 2,0,64  
2,0,65 2,0,66 2,0,67 2,0,68  
2,0,69 2,0,70 2,0,71 2,0,72  
2,0,73 2,0,74 2,0,75 2,0,76  
2,0,77 2,0,78 2,0,79 2,0,80  
2,0,81 2,0,82 2,0,83 2,0,84  
2,0,85 2,0,86 2,0,87 2,0,88  
2,0,89 2,0,90 2,0,91 2,0,92  
2,0,93 2,0,94 2,0,95 2,0,96  
2,0,97 2,0,98 2,0,99 2,0,100  
3,0,1 3,0,2 3,0,3 3,0,4  
3,0,5 3,0,6 3,0,7 3,0,8  
3,0,9 3,0,10 3,0,11 3,0,12  
3,0,13 3,0,14 3,0,15 3,0,16  
3,0,17 3,0,18 3,0,19 3,0,20  
3,0,21 3,0,22 3,0,23 3,0,24  
3,0,25 3,0,26 3,0,27 3,0,28  
3,0,29 3,0,30 3,0,31 3,0,32  
3,0,33 3,0,34 3,0,35 3,0,36  
3,0,37 3,0,38 3,0,39 3,0,40  
2
3
4
5
6
7
8
9
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
Bank Select MSB  
Bank Select LSB  
Program Number  
*
*
If you wish to know whether the receiving device can recognize bank select messages or not, refer to the description for control changes in  
the MIDI implementation chart provided in the owner’s manual of the receiving device.  
If the receiving device does not recognize bank select messages, it will ignore the bank select messages and recognize only the program  
change messages.  
72  
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Changing patches using bank select messages  
Changing patch numbers on the GT-6 using the bank select messages  
sent from an external MIDI device  
To change patch numbers on the GT-6 using bank select messages sent from an external MIDI device, check how the external  
bank select and program change messages correspond with the patch numbers on the GT-6.  
fig.10-202  
PC#  
Bank Select  
PC#  
Bank Select  
PC#  
Bank Select  
0
1
2
3
0
1
2
3
0
1
2
3
1
1-1  
1-2  
1-3  
1-4  
2-1  
2-2  
2-3  
2-4  
3-1  
3-2  
3-3  
3-4  
4-1  
4-2  
4-3  
4-4  
5-1  
5-2  
5-3  
5-4  
6-1  
6-2  
6-3  
6-4  
7-1  
7-2  
7-3  
7-4  
8-1  
8-2  
8-3  
8-4  
9-1  
9-2  
9-3  
26-1  
26-2  
26-3  
26-4  
27-1  
27-2  
27-3  
27-4  
28-1  
28-2  
28-3  
28-4  
29-1  
29-2  
29-3  
29-4  
30-1  
30-2  
30-3  
30-4  
31-1  
31-2  
31-3  
31-4  
32-1  
32-2  
32-3  
32-4  
33-1  
33-2  
33-3  
33-4  
34-1  
34-2  
34-3  
51-1  
51-2  
51-3  
51-4  
52-1  
52-2  
52-3  
52-4  
53-1  
53-2  
53-3  
53-4  
54-1  
54-2  
54-3  
54-4  
55-1  
55-2  
55-3  
55-4  
56-1  
56-2  
56-3  
56-4  
57-1  
57-2  
57-3  
57-4  
58-1  
58-2  
58-3  
58-4  
59-1  
59-2  
59-3  
76-1  
76-2  
76-3  
76-4  
77-1  
77-2  
77-3  
77-4  
78-1  
78-2  
78-3  
78-4  
79-1  
79-2  
79-3  
79-4  
80-1  
80-2  
80-3  
80-4  
81-1  
81-2  
81-3  
81-4  
82-1  
82-2  
82-3  
82-4  
83-1  
83-2  
83-3  
83-4  
84-1  
84-2  
84-3  
36  
37  
38  
39  
40  
41  
42  
43  
44  
45  
46  
47  
48  
49  
50  
51  
52  
53  
54  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
65  
66  
67  
68  
69  
70  
9-4  
34-4  
35-1  
35-2  
35-3  
35-4  
36-1  
36-2  
36-3  
36-4  
37-1  
37-2  
37-3  
37-4  
38-1  
38-2  
38-3  
38-4  
39-1  
39-2  
39-3  
39-4  
40-1  
40-2  
40-3  
40-4  
41-1  
41-2  
41-3  
41-4  
42-1  
42-2  
42-3  
42-4  
43-1  
43-2  
59-4  
60-1  
60-2  
60-3  
60-4  
61-1  
61-2  
61-3  
61-4  
62-1  
62-2  
62-3  
62-4  
63-1  
63-2  
63-3  
63-4  
64-1  
64-2  
64-3  
64-4  
65-1  
65-2  
65-3  
65-4  
66-1  
66-2  
66-3  
66-4  
67-1  
67-2  
67-3  
67-4  
68-1  
68-2  
84-4  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
98  
99  
100  
:
18-3  
18-4  
19-1  
19-2  
19-3  
19-4  
20-1  
20-2  
20-3  
20-4  
21-1  
21-2  
21-3  
21-4  
21-1  
22-2  
22-3  
22-4  
23-1  
23-2  
23-3  
23-4  
24-1  
24-2  
24-3  
24-4  
25-1  
25-2  
25-3  
25-4  
:
43-3  
43-4  
44-1  
44-2  
44-3  
44-4  
45-1  
45-2  
45-3  
45-4  
46-1  
46-2  
46-3  
46-4  
47-1  
47-2  
47-3  
47-4  
48-1  
48-2  
48-3  
48-4  
49-1  
49-2  
49-3  
49-4  
50-1  
50-2  
50-3  
50-4  
:
68-3  
68-4  
69-1  
69-2  
69-3  
69-4  
70-1  
70-2  
70-3  
70-4  
71-1  
71-2  
71-3  
71-4  
72-1  
72-2  
72-3  
72-4  
73-1  
73-2  
73-3  
73-4  
74-1  
74-2  
74-3  
74-4  
75-1  
75-2  
75-3  
75-4  
:
:
2
10-1  
10-2  
10-3  
10-4  
11-1  
11-2  
11-3  
11-4  
12-1  
12-2  
12-3  
12-4  
13-1  
13-2  
13-3  
13-4  
14-1  
14-2  
14-3  
14-4  
15-1  
15-2  
15-3  
15-4  
16-1  
16-2  
16-3  
16-4  
17-1  
17-2  
17-3  
17-4  
18-1  
18-2  
85-1  
:
3
85-2  
:
4
85-3  
:
5
85-4  
:
6
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
7
:
8
:
9
:
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
31  
32  
33  
34  
35  
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
128  
25-4  
50-4  
75-4  
85-4  
PC# : Program Number  
73  
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Factory Settings  
Tuner  
TUNER Pitch:  
Restoring the Factory  
Settings (Factory Reset)  
A= 440 Hz  
Bypass  
TUNER Out:  
Restoring the GT-6 to the settings made at the factory is  
referred to as “Factory Reset.”  
Output Select  
Not only can you return all of the settings to the values in  
effect when the GT-6 was shipped from the factory, you can  
also specify the range of settings to be reset.  
Output Select:  
COMBO AMP  
Global  
Low EQ:  
High EQ:  
NS Threshold:  
Reverb Level:  
fig.10-301  
0dB  
0dB  
0dB  
100%  
2
1
3
System  
LCD Contrast:  
BANK Extent:  
16  
85  
3
Patch Change Mode:  
EXP Pdl Hold:  
Dial Function:  
Wait for a Num.  
On  
PATCH No.& VALUE  
Immediate  
Off  
Amp On/Off  
Assignable  
Assignable  
Knob Mode:  
4 1  
Pedal Tuner SW:  
Amp Switch Mode:  
Sub CTL1 Func:  
Sub CTL2 Func:  
1. Turn off the power.  
2. While holding down PREAMP/SPEAKER On/Off  
button and [TYPE VARIATION], turn on the power.  
The Factory Reset range setting screen appears in the  
display.  
MIDI  
MIDI RX Channel:  
MIDI Omni Mode:  
MIDI TX Channel:  
MIDI Device ID:  
1
fig.10-302  
Omni On  
Rx  
1
MIDI Sync Clock:  
MIDI PC OUT:  
MIDI EXP OUT:  
MIDI EXP SW OUT:  
MIDI CTL OUT:  
MIDI Sub CTL1OUT:  
MIDI Sub CTL2OUT:  
MIDI Map Select:  
Auto  
On  
7
81  
80  
Off  
Off  
Fix  
The range of data you wish to factory reset.  
*
To cancel Factory Reset, press [EXIT].  
3. Press PARAMETER [ ] [ ] to move the cursor,  
and rotate the PATCH/VALUE dial to specify the range  
of settings you want to restore to factory settings.  
System:  
System parameters, Harmonist scales, Auto Riff phrases,  
and Preamp, Overdrive/Distortion, and Wah Custom  
Edit parameter settings  
Manual  
1:  
2:  
3:  
4:  
:  
:  
PRE (PRE/SP SIM)  
OD (OD/DS)  
DD (DELAY)  
CE (CHORUS)  
FX-1  
#1-1–#35-4:  
Settings for Patch Number 1-1 through 35-4  
4. If you want to proceed with the factory reset, press  
FX-2  
[ENTER].  
The specified range of data will be returned, and return  
to the Play screen.  
74  
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Troubleshooting  
If there is no sound or other operational problems occur, first  
check through the following solutions. If this does not  
resolve the problem, then contact your dealer or a nearby  
Roland service station.  
Parameters specified with control  
assign can’t be controlled  
Could the effect be switched off?  
To control a parameter using the expression pedal or  
CTL pedal, make sure the effect that contains the  
parameter you intend to control is switched on.  
No sound / volume too low  
Are the connection cables broken?  
Is something other than “Assignable” selected for the  
SUB CTL 1,2 function setting?  
Try using a different set of connection cables.  
Is the GT-6 correctly connected to the other devices?  
When operating a foot switch connected to the SUB  
EXP/SUB CTL 1, 2 jack, set the SUB CTL 1, 2 function (p.  
Is the connected amp/mixer turned off, or the volume  
lowered?  
Do the MIDI channel settings of both devices match?  
Make sure that the MIDI channels of both devices match  
Check the settings of your amp/mixer system.  
Is the OUTPUT LEVEL knob lowered?  
Adjust the OUTPUT LEVEL knob to an appropriate  
Do the controller nimber settings of both devices match?  
Make sure that the controller nimber of both devices  
Is Tuner/Bypass set to On?  
When the volume is set to “Mute” in the Tuner/Bypass  
mode, even the direct sound will not be output by  
MIDI messages are not transmitted/  
received  
Are the MIDI cables broken?  
Try another set of MIDI cables.  
Is each effect set correctly?  
of each effect. If there is an effect for which the meter  
Is the GT-6 correctly connected to the other MIDI device?  
Check connections with the other MIDI device.  
Is “FV: Level” or “MST: Patch Level” specified as a pedal  
assign Target?  
Do the MIDI channel settings of both devices match?  
Make sure that the MIDI channels of both devices match  
Move the controller to which it is assigned.  
Is the power to the external device connected to the  
SEND/RETURN jack off, or is the volume of the device  
turned down?  
When you send messages from the GT-6, make sure the  
GT-6 is set to the settings appropriate for sending data.  
program change messages and the settings for the  
Check the settings for the connected device.  
The volume level of the instrument  
connected to INPUT and RETURN are  
too low  
Could you be using a connection cable that contains a  
resistor?  
Use a connection cable that does not contain a resistor.  
Patch does not change  
Is something other than the Play screen shown in the  
display?  
On the GT-6, patches can be selected only when the Play  
screen is displayed. Press [EXIT] to return to the Play  
75  
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Troubleshooting  
Error Messages  
If you attempt an incorrect operation or if an operation could  
not be executed, the display will indicate an error message.  
Refer to this list and take the appropriate action.  
fig.10-401  
The memory backup battery inside the GT-6 has run  
down. (This message will appear when the power is  
turned on.)  
Replace the battery as soon as possible. For battery  
replacement, please contact a nearby Roland service  
center or your dealer.  
fig.10-402  
There is a problem with the MIDI cable connection.  
Check to make sure the cable has not been pulled out or  
is not shorted.  
fig.10-403  
You’ve attempted to switch patches by rotating the  
to “VALUE Only.”  
If you want to be able to switch patches using the  
PATCH/VALUE dial, set the Dial function to “PATCH  
No.& VALUE.”  
fig.10-404  
More MIDI messages were received in a short time than  
could be processed correctly.  
76  
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MIDI Implementation Chart  
GUITAR EFFECTS PROCESSOR  
Date: Apr. 10, 2001  
Version: 1.00  
Model GT-6  
MIDI Implementation Chart  
Transmitted  
Recognized  
Remarks  
Function...  
Basic  
Channel  
Default  
Changed  
1—16  
1—16  
1—16  
1—16  
Memorized  
Memorized  
Default  
Messages  
Altered  
X
X
OMNI ON/OFF  
X
X
Mode  
**************  
Note  
Number :  
X
X
True Voice  
**************  
**************  
Note ON  
Note OFF  
X
X
X
X
Velocity  
After  
Touch  
Key's  
Ch's  
X
X
X
X
Pitch Bend  
X
X
0, 32 O (0—3)  
O
O
X
Bank Select  
* 1  
* 2  
1—31  
O
O
O
33—63  
64—95  
O
* 2  
Control  
Change  
Prog  
Change  
O
O
Program Number  
1—128  
: True #  
0—127  
0—127  
System Exclusive  
O
O
: Song Pos  
: Song Sel  
: Tune  
X
X
X
X
X
X
System  
Common  
System  
Real Time  
: Clock  
: Command  
X
O
O
X
: All sound off  
X
X
X
X
X
X
X
X
O
X
:
Local ON/OFF  
: All Notes OFF  
: Active Sense  
: Reset  
Aux  
Message  
* 1 MSB data of a value of 04H or higher, and the LSB are ignored.  
* 2 Recognizes messages designated for use for realtime control over parameters.  
Notes  
A separate publication titled MIDI Implementation is also available. It provides complete details  
concerning the way MIDI has been implemented on this unit. If you should require this publication  
(such as when you intend to carry out byte-level programming), please contact the nearest Roland  
Service Center or authorized Roland distributor.  
Mode 1 : OMNI ON, POLY  
Mode 2 : OMNI ON, MONO  
O : Yes  
X : No  
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO  
77  
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Specifications  
Controls  
GT-6: Guitar Effects Processor  
< Front Panel >  
AD Conversion  
(PREAMP/SPEAKER)  
TYPE knob  
24 bit + AF method  
DA Conversion  
GAIN knob  
24 bit  
BASS knob  
MIDDLE knob  
TREBLE knob  
Sampling Frequency  
44.1 kHz  
LEVEL knob  
Program Memories  
SPEAKER knob  
On/Off button  
TYPE VARIATION button  
340: 140 (User) + 200 (Preset)  
Nominal Input Level  
INPUT: -10 dBu  
(OVERDRIVE/DISTORTION)  
TYPE knob  
RETURN: -10 dBu  
DRIVE knob  
Input Impedance  
INPUT: 1 M Ω  
LEVEL knob  
On/Off button  
RETURN: 220 kΩ  
TYPE VARIATION button  
Nominal Output Level  
OUTPUT: 0 dBu  
(DELAY)  
FEEDBACK knob  
LEVEL knob  
On/Off button  
TAP button  
SEND: -10 dBu  
Output Impedance  
OUTPUT: 2 kΩ  
(CHORUS)  
SEND: 2 kΩ  
LEVEL knob  
On/Off button  
Digital Output  
EIAJ CP1201, S/P DIF  
(REVERB)  
Dynamic Range  
LEVEL knob  
On/Off button  
100 dB or greater (IHF-A)  
(WAH)  
On/Off button  
(EQ)  
On/Off button  
(FX-1)  
On/Off button  
(FX-2)  
On/Off button  
(MASTER)  
PATCH LEVEL knob  
78  
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Specifications  
PARAMETER buttons L/R  
EXIT button  
Dimensions  
515 (W) x 261 (D) x 75 (H) mm  
WRITE button  
20-5/16 (W) x 10-5/16 (D) x 3 (H) inches  
EZ TONE button  
Weight  
PEDAL ASSIGN button  
OUTPUT SELECT button  
TUNER/BYPASS button  
NAME/NS/MASTER button  
UTILITY button  
4.7 kg/10 lbs 6 oz (excluding AC Adaptor)  
Accessories  
AC Adaptor (BRC series)  
Owner’s Manual  
MANUAL button  
Read this first (leaflet)  
Patch List  
Number pedals1-4  
BANK pedals (Up/Down)  
CTL pedal  
Roland Service (information sheet)  
Options  
Expression pedal  
Foot Switch: FS-5U, FS-5L  
Expression pedal switch  
PATCH/VALUE dial  
Expression Pedal: EV-5 (Roland), FV-300L + PCS-33 (Roland)  
Foot Switch Cable: PCS-31 (Roland)  
(1/4 inches Phone Plug (stereo) - 1/4 inches Phone Plug (mono) x 2)  
< Rear Panel >  
OUTPUT LEVEL knob  
POWER switch  
*
0 dBu = 0.775 Vrms  
Display  
In the interest of product improvement, the specifications  
and/or appearance of this unit are subject to change without  
prior notice.  
16 characters, 2 lines (backlit LCD)  
2 characters, 7 segment LED  
Connectors  
INPUT jack  
AF Method (Adaptive Focus method)  
OUTPUT jacks L (MONO)/R  
PHONES jack  
This is a proprietary method from Roland that vastly  
improves the signal-to-noise (S/N) ratio of the A/D and  
D/A converters.  
SEND jack  
RETURN jack  
DIGITAL OUT connector (coaxial)  
SUB EXP PEDAL/SUB CTL PEDAL1,2 jack  
MIDI connectors IN/OUT  
AC Adaptor jack  
Power Supply  
AC 14 V; Supply AC adaptor (BOSS BRC series)  
Current Draw  
800 mA  
79  
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Index  
A
F
B
G
I
C
K
L
M
D
E
N
O
80  
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Index  
P
U
W
Q
R
S
T
81  
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Adjusting the Expression Pedal  
Although the GT-6’s expression pedal has been set for  
optimum operation at the factory, extended use and the  
operating environment can result in the pedal going out of  
adjustment.  
If you encounter problems such as being unable to fully cut  
off the sound with the volume pedal, you can use the  
following procedure to readjust the pedal.  
1. Hold down [PEDAL ASSIGN] while you switch on the  
power.  
The following messages alternate in the display.  
fig.10-801  
2. With the pedal completely released, press [WRITE].  
The message “--- OK! ---” appears, and then the  
following messages alternate in the display.  
fig.10-802  
*
If you press [WRITE] when the pedal is not completely  
released, or when the pedal position (angle) is not correct, the  
message “--- Area Over! ---” appears in the display, and you  
are prevented from proceeding to the next step. If this occurs,  
readjust the pedal position.  
3. With the pedal fully depressed, press [WRITE].  
“--- OK! ---” appears, followed by "press [EXIT]."  
*
If you press [WRITE] when the pedal is not fully depressed, or  
when the pedal position (angle) is not correct, the message  
“--- Area Over! ---” appears in the display, and you are  
prevented from proceeding to the next step. If this occurs,  
readjust the pedal position.  
4. Press [EXIT].  
After the message “Checking data please wait...” has  
been displayed, you'll be returned to the Play screen.  
82  
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For the U.K.  
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.  
BLUE:  
NEUTRAL  
BROWN: LIVE  
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying  
the terminals in your plug, proceed as follows:  
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.  
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.  
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.  
For EU Countries  
CAUTION  
Danger of explosion if battery is  
incorrectly replaced.  
Replace only with the same or  
Apparatus containing  
Lithium batteries  
equivalent type recommended by the  
manufacturer.  
Discard used batteries according to the  
manufacturer’s instructions.  
ADVARSEL!  
Lithiumbatteri - Eksplosionsfare ved  
fejlagtig håndtering.  
Udskiftning må kun ske med batteri af  
samme fabrikat og type.  
VARNING  
Explosionsfara vid felaktigt batteribyte.  
Använd samma batterityp eller en  
ekvivalent typ som rekommenderas av  
apparattillverkaren.  
Levér det brugte batteri tilbage til  
leverandøren.  
Kassera använt batteri enligt  
fabrikantens instruktion.  
ADVARSEL  
Eksplosjonsfare ved feilaktig skifte av  
batteri.  
VAROITUS  
Paristo voi räjähtää, jos se on  
virheellisesti asennettu.  
Benytt samme batteritype eller en  
tilsvarende type anbefalt av  
apparatfabrikanten.  
Brukte batterier kasseres i henhold til  
fabrikantens instruks joner.  
Vaihda paristo ainoastaan  
laitevalmistajan suosittelemaan  
tyyppiin. Hävitä käytetty paristo  
valmistajan ohjeiden mukaisesti.  
For EU Countries  
For the USA  
This product complies with the requirements of European Directive 89/336/EEC.  
FEDERAL COMMUNICATIONS COMMISSION  
RADIO FREQUENCY INTERFERENCE STATEMENT  
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the  
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential  
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in  
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee  
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or  
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the  
interference by one or more of the following measures:  
Reorient or relocate the receiving antenna.  
Increase the separation between the equipment and receiver.  
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.  
Consult the dealer or an experienced radio/TV technician for help.  
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:  
(1) This device may not cause harmful interference, and  
(2) This device must accept any interference received, including interference that may cause undesired operation.  
Unauthorized changes or modification to this system can void the users authority to operate this equipment.  
This equipment requires shielded interface cables in order to meet FCC class B Limit.  
For Canada  
NOTICE  
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.  
AVIS  
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.  
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G6017298  
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