Owner’s Manual
Thank you, and congratulations on your choice of the BOSS
GT-6B Bass 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.
■ Prin tin g Co n ve n tio n s in Th is Ma n u a l
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[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 © 2002 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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013
101b
•
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.
•
The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102c
•
..........................................................................................................
014
•
Always grasp only the plug on the AC adaptor
cord when plugging into, or unplugging from, an
outlet or this unit.
Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
..........................................................................................................
103b
015
•
Whenever the unit is to remain unused for an
extended period of time, disconnect the AC
adaptor.
•
Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other
devices. Be especially careful when using
..........................................................................................................
104
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.
•
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.
..........................................................................................................
106
•
Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
016
•
Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
..........................................................................................................
107c
•
Never handle the AC adaptor or its plugs with
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
..........................................................................................................
108b
•
Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
..........................................................................................................
109b
•
Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 12).
..........................................................................................................
110b
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
3
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IMPO RTAN T N O TES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Po w e r Su p p ly
Me m o ry Ba ck u p
501b
301
•
Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
•
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.
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
•
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.
Pla ce m e n t
351
•
Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
Ad d itio n a l Pre ca u tio n s
551
•
Please be aware that the contents of memory can be
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).
352a
•
This device may interfere with radio and television
exception. Do not use this device in the vicinity of such
receivers.
352b
•
Noise may be produced if wireless communications
552
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initi-
ating a call, or while conversing.
Should you experience such problems, you should
relocate such wireless devices so they are at a greater
distance from this unit, or switch them off.
•
Unfortunately, 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
assumes no liability concerning such loss of data.
553
•
Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
355
•
To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
554
•
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.
Ma in te n a n ce
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
the unit thoroughly with a soft, dry cloth.
558a
•
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).
402
559a
•
•
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
•
Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/ or damage to the unit.
Re p a irs a n d Da ta
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 (e.g., a sequencer), 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.
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.
4
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Co n te n ts
■ FUZ: Fuzz ......................................................................................26
Ch a p te r 1
■ Preamp ...........................................................................................29
■ Speaker ..........................................................................................30
Making Connections ........................................................12
Selecting Patches.............................................................14
If the Patch Does Not Switch ..........................................................15
■ PH: Phaser .....................................................................................35
■ FL: Flanger.....................................................................................36
Ch a p te r 2
Using the Pedal Effects
NS: Noise Suppressor......................................................44
Pedal Bend.........................................................................................20
Ch a p te r 5
Selecting Each Effect to Be Turned On and Off
Ch a p te r 3
Copying Patches ..............................................................23
Exchanging Patches ........................................................24
Settings for Using the Expression Pedal Switch/
I
5
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Co n te n ts
Controlling Effects with the GT-6B Pedals,
Ch a p te r 1 0
Making the Parameter Settings ......................................................49
Controlling Foot Volume and Pitch Shifter
Enabling/ Disabling the Program Change Map Settings
Ch a p te r 6
Ch a p te r 7
Ch a p te r 8
Connecting Directly to a Recording
Changing the Tuner Settings..........................................................57
Adjusting the Overall Sound to Match the Usage
Ch a p te r 9
Setting the Timing Used for Switching Patches
(Patch Select Mode) .........................................................60
Setting the Timing Used for Switching Patches
Setting the External Foot Switch Functions
(SUB CTL 1, 2 Function) ..................................................63
6
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Ma in Fe a tu re s
Po w e rfu l CO SM Mo d e lin g Effe cts Bu ilt-In
Q u ick Se ttin g s
Features internal high-quality modeled effects, including
bass amp, overdrive/ distortion, compressor/ limiter, touch
wah, pedal wah, and more.
Each effect contains pre-programmed settings for each effect.
Creating the effect sounds you want is simple—just select the
preset settings for the effect you are using.
In te rn a l An a lo g By p a ss Circu itry
A W id e Va rie ty o f Effe cts
When bypass is activated, signals can be output without
passing through the AD/ DA converter. Moreover, analog
signals also can be output without passing through the AD/
DA converter when only chorus or reverb/ delay is used.
The GT-6B provides 35 different effects, from pro-quality
chorus, delay and reverb, to octave, defretter, synth-bass, a
newly developed Auto Slap, and numerous other effects.
Ex p re ssio n Pe d a l/ Ex p re ssio n Pe d a l
Sw itch a n d Co n tro l Pe d a l
Eq u ip p e d w ith XLR Ba la n ce d O u tp u t
Co n n e cto rs
The unit features an expression pedal and control pedal that
you can use in setting 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
pedal, volume pedal, or other kind of pedal.
The GT-6B features two XLR type output jacks, enabling you
to connect to PAs and recording decks. And not only can you
output in stereo, these can also be selected as monaural
outputs and direct outs.
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. (p. 46)
Cu sto m ize Fu n ctio n
The GT-6B’s internal Customize function lets you bring your
own sensibilities into play, and design totally new effects by
tweaking the settings for the “Overdrive/ Distortion,” and
“Pedal Wah” effects.
In clu d e s Dig ita l O u ts
The unit also includes digital out connectors (coaxial),
convenient for digital recording. (p. 58)
The resulting creations can then be saved on the GT-6B as
“Custom” settings. (p. 52)
EZ To n e
The GT-6B includes thirty representative effect sounds used
for creating new sounds. Now it’s easy to select just the
sounds you like. (p. 16)
CO SM (Co m p o site O b je ct So u n d Mo d e lin g )
Composite Object Sound Modeling (COSM) is an
original sound modeling technology developed by
Roland, in which the many factors that make up the
original sound, such as the electrical circuitry, structural
characteristics, materials used, and acoustics, are
analyzed and then recombined to reproduce that same
sound.
7
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Pa n e l De scrip tio n s
Fro n t Pa n e l
fig.00-01
44
43
30
1
39
41
2
42
40
3
14
4
5
8
9
12
21
31
10
6
7
32
33
35
11
13
15
27
28
29
19
17
24
18
25
20
22
26
16
23
36
38
37
34
1
2
Disp la y
■ CO MP/ LIMITER (p . 2 5 )
A variety of information about the GT-6B appears here.
The left display shows the bank number.
(Co m p re sso r/ Lim ite r)
3
4
5
ATK/ THR (Atta ck / Th re sh o ld ) Kn o b
Adjusts the compressor’s attack and the volume at which
the limiter begins to affect the sound.
The right display indicates patch names, parameters,
and a variety of other information.
EFFECT LEVEL Kn o b
SUS/ RATIO (Su sta in / Ra tio ) Kn o b
Adjusts the length of the compressor decay and adjusts
the limiter’s compression ratio.
Adjust the overall volume.
* When the Bypass EXP Mode (p. 55) and Noise Suppressor (p.
turning this knob does not change the volume of the direct
sound.
LEVEL Knob
Adjusts the compressor/ limiter volume level.
8
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Pa n e l De scrip tio n s
6
7
CO MP/ LIMITER O N / O FF Bu tto n
Press this to switch the compressor/ limiter on and off
and when changing other settings.
■ PREAMP/ SPEAKER (p . 2 9 )
(Pre a m p / Sp e a k e r)
1 6 TYPE Kn o b
Selects the preamp type.
TYPE VARIATIO N Bu tto n
Selects the compressor or limiter type.
1 7 GAIN Kn o b
Adjusts the amount of amplification from the preamp.
This changes the sort of distortion you get with the amp.
■ O VERDRIVE/ DISTO RTIO N (p . 2 6 )
8
DRIVE Kn o b
1 8 TREBLE/ Q Kn o b
Adjusts the distortion effect from the overdrive or
distortion.
Adjusts the sound quality of the preamp’s upper range.
Also adjusts the EQ bandwidth when the 3-band
parametric EQ is operational.
9
LEVEL Kn o b
Adjusts the volume of the overdrive or distortion sound.
1 9 MIDDLE/ FREQ (Fre q u e n cy ) Kn o b
Adjusts the sound quality of the preamp’s midrange.
Also adjusts the ED’s midrange frequency when the 3-
band parametric EQ is operational.
1 0 O VERDRIVE/ DISTO RTIO N O N / O FF Bu tto n
Press this to switch the overdrive or distortion on and off
and when making changes to other settings.
2 0 BASS/ GAIN Kn o b
1 1 TYPE VARIATIO N Bu tto n
Adjusts the sound quality of the preamp’s lower range.
Also adjusts the amount of EQ amplification when the 3-
band parametric EQ is operational.
Selects the type of overdrive or distortion.
■ CHO RUS (p . 2 7 )
2 1 LEVEL/ TO TAL (To ta l Ga in ) Kn o b
Adjusts the overall preamp volume level. Also adjusts
the amount of amplification for the EQ overall when the
3-band parametric EQ is operational.
1 2 LEVEL Kn o b
Adjusts the volume of the chorus sound. The chorus
sound increases as the knob is turned more to the right.
2 2 SPEAKER Kn o b
1 3 CHO RUS O N / O FF Bu tto n
Press this to switch the chorus on and off and when
changing other settings.
Selects the speaker type.
2 3 PREAMP O N / O FF Bu tto n
Press this to switch the preamp on and off and when
changing other settings.
■ REV/ DLY (p . 2 7 )
(Re ve rb / De la y )
2 4 3 BAN D PARAMETRIC EQ O N / O FF Bu tto n
Switches the 3-band parametric EQ on and off.
1 4 LEVEL Kn o b
Adjusts the volume level of the reverb and delay sounds.
The reverb or delay sound increases as the knob is
turned more to the right.
2 5 SELECT Bu tto n
Switches the band for 3-band parametric EQ.
1 5 REV/ DLY O N / O FF Bu tto n
2 6 SPEAKER O N / O FF Bu tto n
Press this to switch the speakers on and off and when
changing other settings.
Press this to switch the reverb or delay on and off and
when changing other settings.
* The PREAMP turns on automatically when the SPEAKER is
turned on. Additionally, turning off the SPEAKER
automatically turns off the PREAMP.
9
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Pa n e l De scrip tio n s
3 6 N AME/ N S/ MASTER Bu tto n (p . 2 1 , 4 4 )
Use for naming patches (NAME), making noise
suppressor settings (NS), and making the master settings
(MASTER).
■ W AH (p . 3 1 )
2 7 W AH O N / O FF Bu tto n
Press this to switch the wah on and off and when
changing other settings.
3 7 UTILITY Bu tto n
This is used for making settings for the GT-6B’s overall
operating environment.
■ FX-1 (p . 3 3 )
2 8 FX-1 O N / O FF Bu tto n
Press this to switch FX-1 on and off and when changing
other settings.
3 8 EZ TO N E Bu tto n (p . 1 6 )
Use this button when you want to use the EZ tones, and
when searching for a desired tone.
■ FX-2 (p . 3 5 )
3 9 BAN K/ PATCH Pe d a ls
Switch patches or banks with these pedals. Press both
pedals simultaneously to switch to Tuner mode (p. 56).
2 9 FX-2 O N / O FF Bu tto n
Press this to switch FX-2 on and off and when changing
other settings.
4 0 EFFECT O N / O FF / N UMBER Pe d a l
Use these to switch effects on and off and to switch patch
numbers.
4 1 BYPASS/ CTL (CO N TRO L) Pe d a l (p . 4 6 , 5 5 )
Use this to switch between bypass and the sound with
the effects added; you can also use this as a control pedal
for any of a number of different functions that can be
assigned to the pedal.
3 0 PATCH/ VALUE Dia l
Use this to switch patches and make changes to settings
values.
3 1 PARAMETER Bu tto n
Press to select parameters.
4 2 Ex p re ssio n Pe d a l
* 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-6B jumps to the last (or
initial) parameter.
Controls volume, wah, and other parameters.
When you operate the expression pedal, please be
careful not to get your fingers pinched between the
movable part and the panel. When using the GT-6B in
households with small children, take care not to allow
young children to handle the unit or play with it. An
adult should always be on hand to provide supervision
and guidance with the operation of the unit.
3 2 EXIT Bu tto n
Use this to undo operations and to return to the Play
screen (p. 13).
3 3 W RITE Bu tto n
Press to store settings.
4 3 EXP PEDAL SW (Ex p re ssio n Pe d a l Sw itch )
(p . 4 6 )
3 4 PEDAL ASSIGN Bu tto n (p . 4 5 )
Use this to make settings for the expression pedal and
control pedal.
Firmly press the front tip of the pedal down to switch the
effect on and off.
3 5 TUN ER/ BYPASS Bu tto n (p . 5 5 , 5 6 )
Sw itch O n / O ff) In d ica to r
Press to use the tuner and bypass functions.
Lights up when the effect being controlled with the
Expression Pedal Switch is on, and goes out when the
effect is turned off.
1 0
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Pa n e l De scrip tio n s
Re a r Pa n e l
fig.00-02
1
2
3 4
8
9
10 11 12
5
6 7
1
2
IN PUT Ja ck
7
8
DIGITAL O UT Co n n e cto r (p . 5 8 )
The bass guitar is connected here.
Outputs digital audio signals.
O UTPUT LEVEL Kn o b
SUB EXP PEDAL/ SUB CTL 1 ,2 Ja ck
(SUB EXP Pe d a l/ SUB CO N TRO L Pe d a l) (p . 4 8
)
Adjusts the volume level of the output from the output
Connect an optional expression pedal (such as the EV-5)
or foot switch (such as the FS-5U) here.
(1/ 4” phone) jack and headphone jacks.
3
4
O UTPUT R/ L (MO N O ) Ja ck s
9
MIDI IN / O UT Co n n e cto rs (p . 6 4 )
Connect an external MIDI device to these connectors to
transmit and receive MIDI messages.
These are standard jacks that output unbalanced signals.
Connect to amps, mixers, or other such devices.
PHO N ES Ja ck
1 0 PO W ER Sw itch
A pair of stereo headphones can be connected to this
jack.
Switches the power to the on and off.
1 1 AC Ad a p to r Ja ck
5
6
O UTPUT Ja ck s (XLR)
Connect the included AC adaptor (BRC-series) here.
These are XLR jacks that provide balanced output.
SELECT (O u tp u t Se le ct) Sw itch (p . 5 5 )
This switch setting determines whether the signals
output from the XLR output jacks are in stereo (L/ R), or
as direct mono output.
Hook the AC adaptor cord here to prevent the adaptor
plug from becoming disconnected.
1 1
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Ch a p te r 1 Pla y in g So u n d s
Ma k in g Co n n e ctio n s
* 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.
* Raise the amp volume only after turning on the power to all connected devices.
* When using mono output, connect the cable only to the OUTPUT L (MONO) jack.
* Use only specified expression pedals (optional Roland EV-5 or Roland FV-300L and PCS-33). Use of other manufacturer’s products may
result in damage to the unit.
fig.01-01
Bass Guitar
AC Adaptor
BRC-series
Stereo
Headphones
EV-5
FV-300L
Bass Amp
etc.
Mixer
FS-5U
FS-5L
etc.
* To prevent the 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.
* The pin assignment for the OUTPUT (XLR) connector
connectors is as shown below. Before making any connections,
make sure that this pin assignment is compatible with that of
all your other devices.
fig.01-02
fig.01-50
1: GND
2: HOT
3: COLD
For more on how to use the OUTPUT (XLR) connectors,
refer to p. 55
* When using the unit with an expression pedal connected to the
SUB EXP PEDAL/SUB CTL 1,2 jack, set Minimum Volume
of an expression pedal to the “MIN” position.
1 2
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Ch a p te r 1 Pla y in g So u n d s
* When using the GT-6B 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 in the following.
Tu rn in g O n th e Po w e r
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.01-03
1 . Before you turn the power on, make sure of the
following points.
Polarity Switch
•
•
Are all external devices properly connected?
* You can use the special (optional Roland) PCS-31 connector
cord to connect two foot switches.
Is the volume on the GT-6B, your amp, and all other
connected devices turned down to the minimum level?
fig.01-04
* The GT-6B' s volume is adjusted with the OUTPUT LEVEL
knob on the rear panel. Turning this completely to the left
(counterclockwise) sets the volume to the minimum level.
PCS-31
2 . Switch ON the POWER switch on the GT-6B’s rear
panel.
White
Red
The display changes, and the following appears in the
display. After a brief interval (a few seconds), the unit
switches to regular performance mode. The screen that
appears at that point is called the “Play screen.”
fig.01-05
When using the unit with a foot switch connected to the
SUB EXP PEDAL/ SUB CTL 1,2 jack, make the settings
given on p. 63.
* When the GT-6B is turned on, the patch most recently selected
when the power was last turned off is selected.
* 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.
3 . Next, turn on the power to the bass amp (power amp).
Ad ju stin g th e O u tp u t Le ve l
Adjust the GT-6B’s output level with the OUTPUT LEVEL
The explanations in this manual include illustrations that
depict what should typically be shown by the display.
Note, however, that your unit may incorporate a newer,
enhanced version of the system (e.g., includes newer
sounds), so what you actually see in the display may not
always match what appears in the manual.
knob on the rear panel.
* Turn the knob to the marked range to set the volume to a
standard level.
fig.01-06
1 3
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Ch a p te r 1 Pla y in g So u n d s
N u m b e rs
W h a t is a Pa tch ?
The number appears at the left side of the right display, and
When performing on your bass, you may select a variety of
different tones according to what and where you are playing.
The effects you want to use and the parameter settings (knob
positions) will vary depending on the tone.
is indicated by a numeral from “1” through “4.”
Se le ctin g Pa tch e s
You can store combinations, or “sets,” of volume level and
other of these parameter settings, and by using the pedals to
switch these sets, you can change tones instantly. Each of these
stored sets is called a “patch.” The GT-6B can store 80 “User
patches,” the content of which you can change as you like,
along with 40 “Preset patches” which cannot be changed or
overwritten. These 120 patches are divided into groups called
“banks,” with each bank containing four patches.
Ho w to Sw itch Pa tch e s
Patches are switched by rotating the PATCH/ VALUE dial
while in the “Play screen.” You can also switch patches by
pressing the PATCH pedals.
fig.01-10
Patches within each bank are distinguished by the patch
“number” (1-4).
fig.01-07
Preset Bank 0 (P0)
ch
Preset Bank 1 (P1)
User Bank 20 (u0)
ch
ch
■
■
When you turn the PATCH/ VALUE dial to the right
(clockwise) or press the PATCH pedal, the patch
User Bank 1 (U1)
Patch
Patch
Patch
Patch
numbers are switched in ascending order, i.e., 1 → 2 → 3
→ 4 → (next bank) 1 → 2 → ...etc.
When you turn the PATCH/ VALUE dial to the left
(counterclockwise) or press the PATCH
pedal, the
Use r Ba n k s (U1 –U0 , u 1 –u 0 )
patch numbers are switched in descending order, i.e., 4
→ 3 → 2 → 1 → (bank before the current bank) 4 → 3 →
...etc.
These are indicated by a “U*” or “u*” appearing in the left display.
fig.01-08
* You cannot switch patches unless the Play screen (p. 13) is
displayed. Press [EXIT] (p. 10) to return to the Play screen.
* You cannot switch patches with the PATCH/VALUE dial
when the dial function (p. 62) is set to VALUE only.
Pre se t Ba n k s (P1 –P0 )
These are indicated by a “P*” appearing in the left display.
fig.01-09
Number
* Although you cannot overwrite the Preset patches, you can
change (edit) a Preset patch’s settings. You can then save the
resulting changes in the setting as a User patch.
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Ch a p te r 1 Pla y in g So u n d s
Tu rn in g Ea ch o f th e Effe cts in a
Pa tch O n a n d O ff
Tu rn in g O ff th e Po w e r
1 . Before turning off the power, confirm the following.
You can use pedals 1–4 to switch on and off the individual
effects that are used in a patch. Each pedal shows the names
of two effects; the effect that you are currently able to switch
on and off is indicated in the lower row of the right display.
You can also change these with [PEDAL ASSIGN] (p. 45).
•
Is the volume on the GT-6B, your amp, and all other
connected devices turned down to the minimum level?
2 . Turn off the power to the bass amp (power amp) and
3 . Turn the GT-6B’s power off.
Sw itch in g Pa tch e s b y Sp e cify in g th e Ba n k
a n d N u m b e r
The GT-6B has been set at the factory so that you can
switch patches using the PATCH/ VALUE dial or the
PATCH
and PATCH
pedals, but you can change
the settings by switching patches directly with the bank
and number. For more detailed information, refer to p. 60.
Ab o u t th e In fo rm a tio n Ap p e a rin g
in th e Disp la y
The following information is shown in the display.
fig.01-11
Number Patch Name
Bank
Effects
If th e Pa tch Do e s N o t Sw itch
On the GT-6B, you cannot switch patches in any screen other
than the Play screen. If you are having this problem, press
[EXIT] to return to the Play screen.
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Ch a p te r 2 Cre a tin g Yo u O w n Fa vo rite To n e s (Pa tch e s)
Ge ttin g th e To n e s Yo u W a n t-
Fa st (EZ To n e )
Ad ju stin g th e To n e s w ith th e
Kn o b s
In addition to tones (patches) that you can actually use in
performances, the GT-6B 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-6B panel features fifteen knob controls. These knobs
let you make changes to the selected patch’s tone quickly and
easily.
* There are also other methods you can use to adjust the tone.
Using the EZ Tone function lets you quickly find tone
For more details, refer to p. 19.
fig.02-03
settings similar to the ones you want to create.
fig.02-01
2
3
4
1
CO MP ATK (Co m p re sso r a tta ck )
This gives you a strong attack from picking when “BOSS
Comp”, “D-Comp” is selected as the type. The attack
becomes sharper as you turn the knob to the right, giving a
sound with greater bite.
1 . Press [EZ TONE].
2 . Rotate the VALUE dial to select the settings resembling
those for the tone you want.
3 . Press the ON/OFF buttons to turn effects on and off,
LIMITER THR (Lim ite r th re sh o ld )
and turn the knobs to adjust the tone.
fig.02-02
This adjusts the volume level at which the limiter is activated
when “Rack 160D” is selected as the type. As the knob is
turned to the left, the limiter effect is apparent at lower
volume levels.
When “Vtg Rack U” is selected as the type, this adjusts the
volume of the sound input to the limiter. The effect becomes
deeper as you turn the knob to the right.
CO MP SUS (Co m p re sso r su sta in )
This adjusts the amount of sustain when “BOSS Comp”, “D-
Comp” is selected as the type. More of the effect is added as
you turn the knob to the right, lengthening the sustain time,
while also bringing out noise that occurs when you are not
playing the instrument.
ON/OFF button
* You can press [EZ TONE] again to compare the tone in use
before entering EZ Tone mode with the present tone.
4 . Press [EXIT] to return to the Play screen.
LIMITER RATIO
The tone switches to the tone selected in EZ Tone.
This adjusts the limiter’s compression ratio when “Rack
160D” or “Vtg Rack U” is selected as the type. The
compression gets stronger as the knob is turned to the right.
* 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.
* By pressing [TYPE VARIATION], you can then switch the
COMP/LIMITER type.
* If you want to save a tone you’ve created, use the Write
procedure (p. 23) to save it to a User patch.
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Ch a p te r 2 Cre a tin g Yo u O w n Fa vo rite To n e s (Pa tch e s)
CO MP/ LIMITER LEVEL
SPEAKER
Adjusts the compressor/ limiter volume level. The volume
increases as the knob is turned to the right.
Selects the speaker type.
When ORIGINAL is selected, you can select the speakers that
are best suited for the PREAMP TYPE settings.
O D/ DIST DRIVE (O ve rd rive / Disto rtio n Drive )
Adjusts the degree of distortion in the overdrive or distortion
sound. The distortion gets stronger as the knob is turned to
the right.
In addition, when [SELECT] is pressed, the PREAMP knobs
then function as control knobs for adjusting the 3-band
parametric EQ.
The adjustment screen for each band (LOW, MID, HIGH)
appearing in the display alternates each time you press
[SELECT]. You can adjust the Q, frequency, and gain for each
band.
O D/ DIST LEVEL (O ve rd rive / Disto rtio n Le ve l)
Adjusts the volume of the overdrive or distortion sound. The
volume increases as the knob is turned to the right.
* By pressing [TYPE VARIATION], you can then switch the
OVERDRIVE/DISTORTION type.
Q
This adjusts the Equalizer bandwidth (the range of frequencies
affected by that EQ control). The bandwidth is narrowed as the
knob is turned to the right, resulting in a more notched
equalization. Use higher Q settings to affect specific
frequencies and give the tone particular qualities. Conversely,
the bandwidth becomes broader as the knob is turned to the
left. Use lower Q settings when you want to adjust the overall
low end or high end and change the overall tone.
CHO RUS LEVEL
Adjusts the volume of the chorus sound. The chorus sound
increases as the knob is turned to the right, deepening the
effect.
REV/ DLY LEVEL (Re ve rb / De la y Le ve l)
Adjusts the volume level of the reverb or delay sounds. The
reverb or delay sound increases as the knob is turned to the
right.
FREQ (Fre q u e n cy )
Adjusts the center frequency for the equalizer. The frequency
Only the reverb sound is adjusted when Fx Select (p. 27) is
set to R&D (Reverb&Delay). When SOS (SoundOnSound) is
selected, this adjusts the playback level.
GAIN
Adjusts the volume level for the equalizer adjusted with the
Q and FREQ settings above. The volume level for the
frequency range is boosted more as the knob is turned
further to the right of center; turning the knob to the left of
the center position cuts those frequencies.
PREAMP TYPE
Selects the preamp type.
PREAMP GAIN
Adjusts the amount of amplification for the preamp, which
changes the degree of distortion. The distortion gets stronger
as the knob is turned to the right.
TO TAL (To ta l Ga in )
Adjusts the overall volume level of the 3-band equalizer. The
overall volume level is boosted more as the knob is turned
further to the right of center; turning the knob to the left of
the center position cuts those frequencies.
PREAMP TREBLE
Adjusts the sound quality of the preamp’s upper range. The
high frequencies are boosted as the knob is turned to the right.
EFFECT LEVEL
PREAMP MIDDLE
Adjusts the overall effect volume level. The volume increases
as the knob is turned to the right.
Adjusts the sound quality of the preamp’s midrange. The
midrange frequencies are boosted as the knob is turned to
the right.
* When the Bypass EXP Mode (p. 55) and Noise Suppressor (p.
turning this knob does not change the volume of the direct
sound.
PREAMP BASS
Adjusts the sound quality of the preamp’s lower range. The
low frequencies are boosted 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
PREAMP LEVEL
Adjusts the preamp volume level. The volume increases as
the knob is turned to the right.
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Ch a p te r 2 Cre a tin g Yo u O w n Fa vo rite To n e s (Pa tch e s)
3 . To select another effect to be switched on and off,
Ad d in g a n d O m ittin g Effe cts
repeat Steps 1 and 2.
You can switch the internal effects on and off, which lets you
change tones by adding and omitting effects.
4 . Press [EXIT] to return to the Play screen.
Sw itch in g Effe cts w ith th e Pe d a ls
Usin g th e Bu tto n s to Sw itch
Effe cts O n a n d O ff
The GT-6B is set at the factory so that you can use Pedals “1”
through “4” to switch specific effects on and off. The names
of effects that can be controlled with these pedals appear in
the lower row of the display.
You can switch each of the internal effects on and off with the
respective effect ON/ OFF button.
fig.02-04
* The effects that can controlled can be selected individually for
each patch (p. 45).
fig.02-06
1,2,3
4
1
1 . Press the ON/OFF button for the effect you want to be
able to switch on and off.
1 . Press the pedal corresponding to the effect you want to
The effect's name and on/ off status appear in the display.
switch on and off.
The indicator for an effect’s ON/ OFF button lights up
Each time you press the pedal, the effect is alternately
turned on or off, and the pedal indicator lights up or
goes out.
when the effect is enabled, and flashes when that effect is
disabled.
fig.02-05
* While enabled, effects are indicated in capital letters in the
display; disabled effects are indicated in lowercase letters.
fig.02-07
2 . Press the ON/OFF button again to switch the effect on
or off, changing the indicator light status.
* The PREAMP turns on automatically when the SPEAKER is
turned on. Additionally, turning off the SPEAKER
automatically turns off the PREAMP.
Effects
If you want to save a tone for which you have made
settings, use the Write procedure (p. 23) to save the tone
to a User patch.
* As set at the factory, the indicator for the pedal corresponding
to the effect being used also lights up and goes out in response
to the effect status.
* The effect name flashes in the display when that effect is
turned off.
* When you press [FX-1], [FX-2], or [WAH] in Step 1, the
effect set with the FX Select parameter (“Making More
Detailed Settings with Individual Parameters,” see p. 19) is
switched on and off.
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Ch a p te r 2 Cre a tin g Yo u O w n Fa vo rite To n e s (Pa tch e s)
Se ttin g th e Effe ct To n e s
(Q u ick Se ttin g s)
Ma k in g Mo re De ta ile d Se ttin g s
w ith In d ivid u a l Pa ra m e te rs
Quick Settings are preprogrammed effect settings. Each
effect in the GT-6B has some available quick settings. You
can easily create new effect sounds, without having to make
any detailed adjustments, just by selecting and combining
The effects include extra parameters in addition to those that
can be adjusted directly with the knobs.
You can more precisely create the sounds you want by
editing each of these parameters individually.
fig.02-10
these Quick Settings.
fig.02-08
3
3
2
2
1
6
1
4
1 . Press the ON/OFF button for the effect with the
1 . Press the ON/OFF button for the effect with the
settings you want to change.
settings you want to change.
The parameters for the selected effect appear in the
display.
The parameters for the selected effect appear in the
display.
2 . Press PARAMETER [
] [
] to select the
* During editing, the most recently edited parameter for each
effect is indicated in the display.
parameter whose settings are to be changed.
When more than one parameter is shown in the display,
2 . Press PARAMETER [
] [
] to display the
press PARAMETER [
the parameter to be set.
] [
] to move the cursor to
“Quick Setting--.”
fig.02-09
You can jump to the most important parameters by
pressing PARAMETER [
down PARAMETER [
] (or [
] (or [
]) while holding
]). With items for
3 . Rotate the VALUE dial to select the effect setting you
which there aren’t that many parameters, the GT-6B
want.
jumps to the last (or first) parameter.
* When you press [FX-1], [FX-2], or [WAH] in Step 1, the
settings for the effect selected by means of the FX Select
parameter (refer to the following item) are switched.
3 . Rotate the VALUE dial to change the settings value.
4 . Repeat Steps 2 and 3 for any other parameter settings
you want to change.
4 . Press [EXIT] to return to the Play screen.
5 . If you 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 for which you have made
settings, use the Write procedure (p. 23) to save the tone
to a User patch.
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Ch a p te r 2 Cre a tin g Yo u O w n Fa vo rite To n e s (Pa tch e s)
Pe d a l Be n d
Usin g th e Pe d a l Effe cts (W a h ,
Pe d a l Be n d , Rin g Mo d u la to r)
fig.02-12
4
You can use the GT-6B’s expression pedal to obtain wah,
pedal bend (pedal-controlled pitch bend), and ring
modulator effects.
3
W a h
fig.02-11
1
4
1 5
1 . Press [FX-2].
3
2 . Turn on the FX-2 effect (“Adding Effects”; p. 18).
* This step is not required if the effect is already on.
3 . Press PARAMETER [
] [
] to select the FX
Select parameter.
5
4 . Rotate the VALUE dial to change the setting value to
“PB.”
1 . Press [WAH].
Moving the expression pedal now gives you a pitch bend
effect.
2 . Turn on the wah effect (“Adding Effects”; p. 18).
* This step is not required if the effect is already on.
* By assigning PB on/off to the expression pedal switch, you can
switch the Pedal Bend effect on and off by firmly pressing
down on the pedal’s toe. (p. 46)
3 . Press PARAMETER [
] [
] to select the FX
Select parameter.
4 . Rotate the VALUE dial to change the setting value to
5 . Press [EXIT] to return to the Play screen.
“WH.”
A wah effect can now be obtained by moving the
expression pedal.
If you want to save a tone for which you have made
settings, use the Write procedure (p. 23) to save the tone
to a User patch.
* By assigning WAH on/off to the expression pedal switch, you
can switch the wah effect on and off by firmly pressing down
on the pedal’s toe. (p. 46)
5 . Press [EXIT] to return to the Play screen.
If you want to save a tone for which you have made
settings, use the Write procedure (p. 23) to save the tone
to a User patch.
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Ch a p te r 2 Cre a tin g Yo u O w n Fa vo rite To n e s (Pa tch e s)
Rin g Mo d u la to r
N a m in g To n e s
fig.02-13
Each patch can be given a name (Patch Name) consisting of
4
up to fourteen characters. You can assign whatever names
you like, such as names suggesting the sound created or the
name of the song in which it is to be used.
fig.02-14
3
3
2
1 5
1 . Press [FX-1].
2 . Turn on the FX-1 effect (“Adding Effects”; p. 18).
1
3
* This step is not required if the effect is already on.
3 . Press PARAMETER [
] [
] to select the FX
1 . Press [NAME/NS/MASTER] until “Name” appears in
Select parameter.
the display.
4 . Rotate the VALUE dial to change the setting value to
* Each time [NAME/NS/MASTER] is pressed, the item that
can be set is changed, following this order:
“R.M.”
Name → Noise Suppressor → Master → Bypass EXP Mode
→ Foot Volume → Effect Chain.
for R.M (the ring modulator) is controlled with the
expression pedal.
fig.02-15
* By assigning R.M on/off to the expression pedal switch, you
can switch the Pedal Bend effect on and off by firmly pressing
down on the pedal’s toe. (p. 46)
Cursor
6 . Press [EXIT] to return to the Play screen.
2 . Press PARAMETER [
] [
] to move the cursor to
the portion of text you want to edit.
If you want to save a tone for which you have made
settings, use the Write procedure (p. 23) to save the tone
to a User patch.
3 . Rotate the VALUE dial to change the characters.
* You can use the following functions when changing text
characters.
CAPS: Switches the character at the cursor position
between uppercase and lowercase.
INS:
Inserts a blank space at the cursor position.
DEL:
Deletes the character at the cursor position and
shifts the characters following it to the left.
4 . If you want to edit names further, repeat Steps 2 and 3.
5 . If you want to save the sequence you’ve set up, use the
Write procedure (p. 23) to save it to a User patch.
Press [EXIT] to return to the Play screen.
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Ch a p te r 2 Cre a tin g Yo u O w n Fa vo rite To n e s (Pa tch e s)
Ch a n g in g th e O rd e r o f th e
Effe cts (Effe ct Ch a in )
You can switch effects on and off even while making the
settings for the connection order. You can use the ON/
OFF buttons corresponding to the effects appearing to
the left and right of the cursor to turn these effects on
and off.
You can freely change the order in which the effects are
connected.
fig.02-16
2
2
3
1
1 . Press [NAME/NS/MASTER] until “Effect Chain”
appears in the display.
* Each time [NAME/NS/MASTER] is pressed, the item that
can be set is changed, following this order:
Name → Noise Suppressor → Master → Bypass EXP Mode-
→ Foot Volume → Effect Chain.
fig.02-17
* Effects are shown in lowercase letters when turned off.
2 . Use the VALUE dial or PARAMETER [ ] [
] to
move the cursor to the point where you want to have
the effect inserted.
3 . Press the ON/OFF button for the effect you want to
insert.
The selected effect is inserted at the cursor position.
* You cannot directly switch placement of the noise suppressor
in the order of effects. However, you can change the placement
indirectly by changing the order of other effects placed before
and after the noise suppressor.
* Use [PEDAL ASSIGN] to assign Foot Volume.
4 . If you want to change the sequence further, repeat
Steps 2 and 3.
5 . If you want to save the sequence you’ve set up, use the
Write procedure (p. 23) to save it to a User patch.
Press [EXIT] to return to the Play screen.
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Ch a p te r 3 Sa vin g th e To n e s Yo u Ha ve Cre a te d
W rite
Co p y in g Pa tch e s
When you want to save a tone created, or a tone for 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
* The newly created tone will be discarded if the power is turned
off, or if the tone is switched (“How to Switch Patches’; p. 14)
before you’ve carried out the Write procedure.
fig.03-01
2
2,4
1,3
1 . Select the copy-source patch (refer to “How to Switch
Patches”; p. 14).
2 . Press [WRITE].
The content of the display changes, and the GT-6B is
ready for a User patch to be specified as the copy
1 . Press [WRITE].
destination.
fig.03-04
The content of the display changes, and the GT-6B is
Destination Patch
ready for a patch to be specified as the save destination.
fig.03-02
Destination Patch
3 . Rotate the VALUE dial to select the copy-destination
patch.
2 . Rotate the VALUE dial to select the save-destination
* To cancel the copy, press [EXIT]. The Play screen returns to
the display.
patch.
* Only User patches can be selected as the save destination.
* This step is unnecessary if the current patch may be used.
4 . Press [WRITE] once more.
The GT-6B copies a tone to the copy-destination patch,
* To cancel the Write procedure, press [EXIT]. The Play screen
returns to the display.
and you’re returned to the Play screen.
* The sound of the patch previously stored at the copy
3 . Press [WRITE] once more.
destination is permanently deleted once the write is executed.
The tone is saved to the save-destination patch, and the
Play screen returns to the display.
* The sound of the patch previously stored at the save-
destination is permanently deleted once the write is executed.
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Ch a p te r 3 Sa vin g th e To n e s Yo u Ha ve Cre a te d
Ex ch a n g in g Pa tch e s
On the GT-6B, you can exchange the positions of two User
patches.
fig.03-05
4
3
2,5
1 . Select the exchange-source patch (refer to “How to
Switch Patches”; p. 14).
2 . Press [WRITE].
3 . Press PARAMETER [
].
The content of the display changes, and the GT-6B is
ready for a User patch to be specified as the exchange
destination.
fig.03-06
Destination 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.
5 . Press [WRITE] once more.
The tone stored in the exchange-source patch and the
tone stored in the exchange-destination patch are
exchanged, and you’re returned to the Play screen.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
This chapter describes the particular qualities of each of the
Rack 160D
Vtg Rack U
Models the dbx 160x.
Models the UREI 1178.
GT-6B’s internal effects, as well as the parameters used to
control them.
Atta ck
(with BOSS Comp, D-Comp)
The sound that is input to each effect is called the “direct
sound,” and the sound modified by the effect is called
the “effect sound.”
Adjusts the strength of the picking attack when the strings
are played. Higher values result in a sharper attack, creating
a more clearly defined sound.
(with Vtg Rack U)
All product names mentioned in this document are
trademarks or registered trademarks of their respective
owners.
This adjusts the amount of time that is to pass between the
point at which the input level exceeds the set threshold level
and compression begins, and the time at which the
compression ratio set with the Ratio setting is achieved.
Compression is applied more rapidly as the value is
increased.
The names used for the sounds mentioned in this
document are intended to be descriptive in nature, used
solely to identify the equipment whose sound is
simulated using COSM technology.
Su sta in
(with BOSS Comp, D-Comp)
Boosts low-level signals, adjusting the time over which
sounds are sustained. Higher values deepen the effect,
resulting in a longer sustain.
CO MP/ LIMITER
(Co m p re sso r/ Lim ite r)
The compressor is an effect that compresses (or attenuates)
loud input levels and expands (boosts) low input levels, thus
evening out the volume to create sustain without distortion.
It also has the effect of evening out the sound.
Th re sh o ld
(with Rack 160D, Vtg Rack U)
Adjust this as appropriate for the input signal from your
bass. When the input signal level exceeds this threshold
level, limiting will be applied. The limiter goes onto effect at
lower levels as the value is reduced with Rack 160D.
This controls the input level with Vtg Rack U. Increasing the
value deepens the effect.
The limiter is an effect that prevents distortion by
suppressing input signals that exceed a set value (threshold).
You can get the same effect achieved with the compressor by
setting the threshold at a low value.
(“Thres (input)” appears in the display.)
The GT-6B’s COSM technology provides you with four types
of modeled compressor/ limiter perfectly suited for the bass.
Ra tio
(with Rack 160D, Vtg Rack U)
Adjusts the limiter compression ratio. Higher values create a
stronger compression effect.
Parameter
Value
On/Off
Type
Off, On
BOSS Comp, D-Comp, Rack 160D,
Vtg Rack U
0–100
0–100
Re le a se
(with Vtg Rack U)
Attack
Sustain
Threshold
Ratio
This adjusts the time from when the signal level drops below
the threshold until when the compression is removed. The
higher the values set, the more rapidly the compression is
released, and the more clearly the sound from the next string
played is heard.
0–100
1:1– ∞:1 (Rack 160D)
4:1– 20:1 (Vtg Rack U)
0–100
Release
Tone
-50–+50
Level
0–100
To n e
(with BOSS Comp)
O n / O ff
Adjusts the tone. The higher the value set, the more the high
frequencies are boosted, resulting in a harder sound.
Sets the compressor/ limiter effect to ON or OFF.
Ty p e
Le ve l
Selects the compressor/ limiter type.
Adjusts the volume.
BOSS Comp
D-Comp
Models the BOSS CS-3
Models the MXR dyna comp.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Custom 2
Type 2 for custom settings.
O D/ DIST (O ve rd rive / Disto rtio n )
This effect distorts the sound to create long sustain. The GT-
6B provides nine types of distortion with two different
custom settings.
■ W h e n CUSTO M is Se le cte d fo r TYPE
When the TYPE is set to CUSTOM, you can set the following
parameters.
■ O D: O ve rd rive
“Making ‘Custom’ Overdrive/ Distortion Settings” (p. 52)
This provides the warm, natural type of distortion that
occurs naturally when you turn up the volume on a tube
amp. This effect is often used as an amp pre-booster.
Parameter
Value
Type (1–2)
Bottom (1–2)
Top (1–2)
Low (1–2)
High (1–2)
OD-2, BD-2, ODB-3, DS-1, MT-2, FUZZ
-50–+50
-50–+50
-50–+50
-50–+50
■ DST: Disto rtio n
This effect features a deep, powerful distortion that is
difficult to achieve with amp distortion alone.
Drive
Adjusts the amount of distortion. The distortion gets more
intense as the value is increased.
■ FUZ: Fu zz
This effect gives an even more powerful and intense
Ba ss
Adjusts the tone of the lower range. The bass is given more
distortion than you get with regular distortion.
emphasis as the value is increased.
Parameter
Value
Tre b le
On/Off
Type
Off, On
Adjusts the tone of the upper range. The treble is given more
Blues OD, Turbo OD, Bass OD,
emphasis as the value is increased.
Distortion, GUV DS, Metal Zone,
’60s FUZZ, Oct Fuzz, MUFF FUZZ,
Effe ct Le ve l
Adjusts the volume of the distorted sound.
Custom 1, Custom 2
0–100
Drive
Bass
-50–+50
Treble
Effect Level
Direct Level
-50–+50
0–100
0–100
Dire ct Le ve l
Adjusts the level of the Bass direct sound.
O n / O ff (Effe ct O n / O ff)
Sets the overdrive/ distortion effect to ON or OFF.
Ty p e
Selects the type of distortion.
Blues OD
Turbo OD
Bass OD
Distortion
GUV DS
Models the sound of the BOSS BD-2.
Models the sound of the BOSS OD-2.
Models the sound of the BOSS ODB-3.
Standard distortion sound.
Models the sound of the Marshall
GUV’NOR.
Metal Zone
‘60s FUZZ
Oct Fuzz
The sound of the BOSS MT-2.
Models the sound of the FUZZFACE.
Models the sound of the ACETONE
FUZZ.
MUFF FUZZ
Custom 1
Models the sound of the Electro-Har-
monix Big Muff.
Type 1 for custom settings.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Pre De la y
CHO RUS
Adjusts the time needed for the effect sound to be output
after the direct sound has been output. Setting a longer pre-
delay time results in a doubling effect.
This is an effect that adds a slightly detuned sound to the
original bass sound, resulting in a beautiful sound with
greater depth and breadth. Developed by BOSS, this is one
effect that is popular the world over.
Lo w Cu t
below a specified frequency. When the low end of the chorus
sound is cut so that the chorus is applied only to the higher
frequencies, the chorus sound appears only in the harmonics,
without any modulation of the fundamental frequencies,
creating a great sound effect for the bass. This setting adjusts
the frequency at which the low-cut begins to take effect.
When “Flat” is selected, the low-cut has no effect.
*
When the Bypass EXP Mode (p. 55) and Noise Suppressor (p. 44)
is set to “Off” and only CHORUS or REV/DLY is used, the direct
sound is output as analog output.
Parameter
Value
On/Off
Mode
Off, On
Mono, Stereo
Rate
Depth
Pre Delay
Low Cut
Effect Level
0–100, BPM –BPM
0–100
0.0 msec–40.0 msec
Flat, 55.0 Hz –800 Hz
0–100
Effe ct Le ve l
This adjusts the volume level of the chorus sound that is
mixed with the direct sound. The effect deepens as the value
is increased.
O n / O ff (Effe ct O n / O ff)
Sets the chorus effect to ON or OFF.
REV/ DLY (Re ve rb / De la y )/
SO S (So u n d O n So u n d )
You can select and use the reverb/ delay or Sound On Sound
with Fx Select.
Mo d e
Selects the chorus mode.
Mono:
Chorus with the same sound output from both the left and
right channels.
* When the Bypass EXP Mode (p. 55) and Noise Suppressor (p.
the direct sound is output as analog output.
Stereo:
This is a stereo chorus effect that adds different chorus
sounds to the left and right channels.
Parameter
Value
Ra te
On/Off
Off, On
Adjusts the rate of the chorus effect.
Fx Select
Reverb, Delay, Reverb&Delay,
SoundOnSound
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
O n / O ff (Effe ct O n / O ff)
Sets the reverb/ delay effect to ON or OFF.
* This setting is not available when SoundOnSound is selected.
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
Fx Se le ct (Effe cts Se le ct)
Reverb:
De p th
This effect adds reverberation to the sound.
Adjusts the depth of the chorus effect. To use it for doubling,
Delay:
set the value to “0.”
This effect creates and outputs a delayed sound from the
direct sound.
Doubling
Reverb&Delay:
You can also use reverb and delay simultaneously.
With doubling, a slightly delayed sound (short delay
sound) is added to the original sound, creating an effect
that sounds like two people playing simultaneously
(multiple sounds played), for an effect with greater depth.
SoundOnSound:
With this effect, a sound is played and recorded, and then
while playback of that sound repeats (loops), following
sounds are layered onto the sound one after another.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
*
When Sound On Sound is selected, Pedal 4 and the BYPASS/
CTL pedal function as Sound On Sound controls. For more
detailed information, refer to “Using Sound On Sound” (p. 54).
Hig h Cu t
The high-cut filter cuts the frequencies above the specified
high-cut filter begins to take effect. When “Flat” is selected,
the high-cut filter has no effect.
■ REV: Re ve rb
De n sity
Adjusts the density of the reverb sound.
Parameter
Value
Type
Room1, Room2, Hall1, Hall2, Plate
0.1 s–10.0 s (0.1 s step)
0 ms–10 0ms (1 ms step)
Flat, 55.0 Hz, 110 Hz, 165 Hz, 200 Hz,
280 Hz, 340 Hz, 400 Hz, 500 Hz,
630 Hz, 800 Hz
700 Hz, 1.00 kHz, 1.40 kHz, 2.00 kHz,
3.00 kHz, 4.00 kHz, 6.00 kHz, 8.00 kHz,
11.0 kHz, Flat
Effe ct Le ve l
Adjusts the volume of the reverb sound.
Reverb Time
Pre Delay
Low Cut
■ DLY: De la y
Hi Cut
Parameter
Value
Type
Single, Pan
Density
Effect Level
0–10
0–100
Delay Time
0 ms–1400 ms, BPM –BPM
(20 ms step)
Delay Time Fine
TapTime
FeedBack
Hi
0 ms–20 ms (1 ms step)
0 % –100 %
0–100
700 Hz, 1.00 kHz, 1.40 kHz, 2.00 kHz,
3.00 kHz, 4.00 kHz, 6.00 kHz, 8.00 kHz,
11.0 kHz, Flat
Ty p e
This selects the reverb type. You can change the settings to
obtain simulations of various different spaces.
Room 1:
Simulates the reverberation in a small room. Provides the
bright reverberation of a live room.
Effect Level
0–120
Room 2:
Ty p e
Simulates the reverberation in a small room. Provides warm
Select from the following two types.
reverberations.
Single:
This is a conventional delay
Hall 1:
This simulates the reverberation of a concert hall. Provides
clear reverberation that spreads out through the sound space.
Pan:
This is a delay effect for use only with stereo output. Delay
Hall 2:
times are assigned individually to the left and right channels,
This simulates the reverberation of a concert hall. Provides a
providing a tap delay effect.
fig.04-01
mild, understated reverberation sound.
Feedback
Plate:
Simulates plate reverberation (a reverb unit that uses the
vibration of a metallic plate). Provides a metallic sound with
an extended upper range.
Effect Level
Delay Time
INPUT
OUTPUT L
OUTPUT R
DELAY
Effect Level
Tap Time
Re ve rb Tim e
Adjusts the length (time) of reverberation.
De la y Tim e
This determines the delay time. You can make settings in 20-
Pre De la y
Adjusts the time until the reverb sound appears.
millisecond units.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
Lo w Cu t
The low-cut filter cuts the frequencies below the specified
frequency. This setting adjusts the frequency at which the
low-cut filter begins to take effect.
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
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Ch a p te r 4 Th e Effe cts Ex p la in e d
De la y Tim e Fin e
Makes fine adjustments (in units of 1 ms) to the delay time.
Te m p o
This sets the tempo that determines the length of the loop.
The CTL pedal indicator flashes at the rate set here.
When this is set to “BPM,” you can set the tempo with the
Number 4 pedal (tap input).
Ta p Tim e
(Used Only with Pan)
Adjusts the delay time of the right channel delay. This setting
adjusts the right channel delay time relative to the left
channel delay time, which is referenced as 100%.
Pla y b a ck Le ve l
Sets the volume level of the loop as it is played back.
Fe e d b a ck
“Feedback” refers to the return of a delay signal back to the
input. This parameter adjusts the amount of signal returned.
Higher values increase the number of the delay repeats.
PREAMP/ SPEAKER
COSM technology is used to simulate the distinguishing bass
amp characteristics in the “Preamp” section, and is used to
simulate various speaker sizes and cabinet constructions in
“Speaker Simulator.”
Hig h Cu t
The high-cut cuts the frequency component above the set
frequency. This parameter adjusts the frequency where the
high-cut starts working. When set to “Flat,” the high-cut does
not affect the sound.
■ Pre a m p
De la y Le ve l
Adjusts the volume of the delay sound.
Parameter
Value
On/Off
Type
Off, On
FLIP TOP, B MAN, BASS 360, T.E.,
SESSION, CONCERT 810
Off, On
■ R&D: Re ve rb & De la y
Bright
Off, On
Response
Enhancer
Pre Shape
Gain
Treble
Ultra Hi
Middle
Mid Frequency
Bass
Ultra Lo
Level
BASS, FLAT
0–100
Off, 1, 2
0–100
0–100 (or -50– +50)
Off, On
0–100 (or -50– +50)
220 Hz, 800 Hz, 3.0 kHz
0–100 (or -50– +50)
-, 0, +
■ SO S: So u n d O n So u n d
For more detailed instructions on using Sound On Sound,
refer to p. 54.
Parameter
Value
SOSMode
Quantize
HiQuality, LongTime
Off, On
Tempo
Playback Level
60–160, BPM
0–100
0–100
O n / O ff (Effe ct O n / O ff)
Sets the preamp effect to ON or OFF.
SO SMo d e (So u n d O n So u n d Mo d e )
Selects the recording mode.
Ty p e
Selects the type of preamp.
HiQuality:
This mode gives priority to higher sound quality. You can
record approximately 3 seconds of sound.
FLIP TOP
B MAN
Models the Ampeg B-15.
LongTime:
Models the Fender Bassman 100.
Models the acoustic 360.
This mode gives priority to longer recording time. You can
BASS 360
T.E.
record approximately 6 seconds of sound.
Models the Trace Elliot AH600SMX.
Models the SWR SM-400.
SESSION
CONCERT 810
Q u a n tize
When Quantize is set to ON, the length of the loop is
adjusted automatically according to the tempo set in
“Tempo” (next item), even if the position at which recording
was stopped is somewhat off.
Models the Ampeg SVT.
Ga in
Adjusts the amount of amp distortion.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Tre b le
Adjusts the tone of the upper range.
■ W h e n Ty p e is Se t to CO N CERT 8 1 0
Brig h t O ff, O n
Turns the bright setting on/ off. Turn this on to make the
Mid d le
sound brighter.
Adjusts the tone of the midrange.
Ultra Hi O ff, O n
This controls the ultra high-frequency range lying beyond treble.
* While some amps do not feature a middle control, this control
still functions even when simulating such amps. If you want
to recreate the sound as output by the original amp, set Middle
to “0.”
Ultra Lo –, 0 , +
This controls the character of the lower range.
Mid d le Fre q (Mid d le Fre q u e n cy )
This control adjusts the center frequency of the frequency
range adjusted with the Middle control.
■ Sp e a k e r
* You cannot set this parameter when TYPE is set to “BASS
360” (it is not displayed).
Parameter
Value
On/Off
Type
Off, On
1x15”, 1x18”, 2x15”, 4x10”, 8x10,
Ba ss
ORIGINAL
Center, 1 cm–10 cm
0–100
Adjusts the tone of the lower range.
Mic Setting
Mic Level
Direct Level
Le ve l
0–100
Adjusts the volume level for the overall preamp.
In addition to these general controls, also included are the
following controls particular to each amp.
O n / O ff (Effe ct O n / O ff)
Sets the speaker effect to ON or OFF.
■ W h e n Ty p e is Se t to FLIP TO P
Brig h t O ff, O n
* The PREAMP turns on automatically when the SPEAKER is
turned on. Additionally, turning off the SPEAKER
automatically turns off the PREAMP.
Turns the bright setting on/ off. Turn this on to make the
sound brighter.
TYPE
This selects the speaker type.
Re sp o n se BASS, FLAT
This controls the overall amp characteristics. Select the
position corresponding to the characteristics for one of the
two types of sound.
1x15”
Models the Trace Elliot 1518.
Models the SWR Big Ben.
Models the Acoustic 402.
Models the SWR Goliath.
Models the Ampeg 810E.
1x18”
2x15”
■ W h e n Ty p e is Se t to B MAN
De e p O ff, O n
4x10”
8x10”
This switch changes the character of the lower range.
ORIGINAL
Built-in speaker for the amp selected in
“Type.” (*)
■ W h e n Ty p e is Se t to BASS 3 6 0
Brig h t O ff, O n
(*) The following speaker connections are assumed: 810E (8 x
10”) for the “CONCERT 810”; Goliath (4 x 10”) + Big Ben (1 x
18”) for the “SESSION”; and 1048 (4 x 10”) + 1518 (1 x 15”)
for the “T.E.”
Turns the bright setting on/ off. Turn this on to make the
sound brighter.
■ W h e n Ty p e is Se t to T.E.
Pre Sh a p e O ff,1 , 2
Mic Se t. (Mic Se ttin g )
This simulates the microphone position. “Center” simulates
the conditions when the microphone is pointed at the middle
of the speaker cone. “1–10 cm” indicates the distance
separating the microphone from the center of the speaker
cone.
This is a shape switch that adds a particular nuance to the
midrange.
■ W h e n Ty p e is Se t to SESSIO N
En h a n ce r 0 –1 0 0
This controls the clarity and presence of the sound.
Mic Le ve l
Adjusts the volume of the microphone
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Dire ct Le ve l
Adjusts the volume of the direct sound.
Le ve l
Adjusts the overall volume level of the 3-band equalizer. The
volume level is boosted more as the knob is turned further to
the right of center; turning the knob to the left of the center
position cuts those frequencies.
3 BAN D PARAMETRIC EQ
This is a 3-band parametric equalizer allowing EQ for the
lower range, midrange, and upper range.
W AH
* Each press of [SELECT] takes you to the next available
The wah effect creates a unique tone by changing the
frequency response of a filter.
selection for the band, in this order: Lo → Mid → High → Lo.
With WAH, you can select the type to be used from the
following.
Parameter
Value
On/Off
Low Q
Off, On
0.5–16
•
•
•
Pedal Wah
Touch Wah
Auto Wah
Low Frequency
Low Gain
Mid Q
Mid Frequency
Mid Gain
31 Hz–500 Hz
-20 dB–+20 dB
0.5–16
164 Hz–2.6 kHz
-20 dB–+20 dB
0.5–16
Parameter
Value
On/Off
Off, On
High Q
FX Select
Pedal Wah, Touch Wah, Auto Wah
High Frequency
High Gain
Total Gain
1.0 kHz–16 kHz
-20 dB–+20 dB
-20 dB–+20 dB
O n / O ff (Effe ct O n / O ff)
Switches the Wah effect on and off.
O n / O ff (Effe ct O n / O ff)
Switches the 3-band parametric EQ effect on and off.
FX Se le ct (Effe ct Se le ct)
Selects the wah effect function.
* The following parameters affect the Lo, Mid, and High EQ
together.
■ W H: Pe d a l W a h
The Expression pedal is used for real-time control of the wah
Q
The range is narrowed as the value is increased.
This adjusts the equalizer bandwidth (the range of
frequencies to which the equalizer is applied). The
bandwidth is narrowed as the value is increased, resulting in
a more precise (“notched”) equalization. Use higher Q
settings to affect specific frequencies and give the tone
particular qualities. Conversely, the bandwidth becomes
broader as the value is lowered. Use lower Q settings when
you want to adjust the overall low end or high end and
change the overall tone.
effect.
The GT-6B’s expression pedal automatically switches to the
wah pedal function when “WAH” is selected in FX Select.
Parameter
Value
Type
CRY WAH, VO WAH, Bass WAH,
Custom1, Custom2, Custom3
0–100
0–100
Pedal Position
Level
Ty p e
Fre q (Fre q u e n cy )
Adjusts the ED’s center frequency (for the range affected).
Selects the type of wah effect.
The frequency (upper range) increases as the value is raised.
CRY WAH
Models the ’70s sound of the CRY BABY
pedal.
Ga in
VO WAH
Models the sound of the VOX V846.
Adjusts the volume level for the equalizer adjusted with the
Q and FREQ settings above. The volume level for the
frequency range is boosted more as the knob is turned
further to the right of center; turning the knob to the left of
the center position cuts those frequencies.
Bass WAH
A broader wah that features a variable
range, making it suitable for the bass range.
Custom 1–3
Custom wah sounds that are created by
editing the parameters.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Down:
■ W h e n Ty p e is Se t to Cu sto m 1 –3
You can make settings for the following parameters when
TYPE is set to Custom 1–3.
The filter falls from higher to lower frequencies in response
to the input level.
Se n s
Making “Custom” Pedal Wah Settings (p. 53)
according to the polarity setting. Higher values result in a
stronger response, such that the filter responds with great
sensitivity even when the strings are played lightly.
Parameter
Value
Type (1–3)
CRY WAH, VO WAH, Bass WAH
Q (1–3)
-50–+50
-50–+50
-50–+50
-50–+50
Range Low (1–3)
Range High (1–3)
Presence (1–3)
Fre q (Fre q u e n cy )
This adjusts the reference frequency for the Wah effect.
Pe a k
Pd l Po sitio n (Pe d a l Po sitio n )
This adjusts the position of the wah pedal.
This adds a particular character to the sound. Higher values
produce a stronger tone which emphasizes the wah effect more.
* This parameter is actually controlled with the expression pedal.
De p th
This adjusts the depth of the effect.
Le ve l
Adjusts the volume.
Le ve l
Adjusts the volume.
■ TW : To u ch W a h
The filter behaves differently, depending on the volume level
of the instrument being input. This provides a unique effect
whereby the filter changes according to how you play.
■ AW : Au to W a h
This allows you to have the filter change cyclically or in
response to the instrument’s volume, as with Touch Wah.
Parameter
Value
Parameter
Value
Mode
Polarity
Sens
Frequency
Depth
Peak
LPF, BPF, HPF
Up, Down
0–100
0–100
0–100
Mode
LPF, BPF,
Rate
Depth
0–100, BPM –BPM
0–100
0–100
0–100
Down, Up
0–100
Frequency
Peak
Polarity
Sensitivity
Level
0–100
0–100
Level
Mo d e
0–100
Selects the wah mode.
Mo d e
Selects the wah mode.
LPF (Low Pass Filter):
This creates a wah effect over a wide frequency range,
including the low end.
LPF (Low Pass Filter):
This creates a wah effect over a wide frequency range,
BPF (Band Pass Filter):
This creates a wah effect in a narrow range of midrange frequencies.
including the low end.
BPF (Band Pass Filter):
This creates a wah effect in a narrow range of midrange
HPF (High Pass Filter):
This creates a wah effect over a wide range of frequencies in
frequencies.
the upper range.
HPF (High Pass Filter):
This creates a wah effect over a wide range of frequencies in
Po la rity
This selects the direction in which the filter changes in
the upper range.
response to the input.
Up:
The filter rises from lower to higher frequencies in response
to the input level.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Ra te
FX-1
This selects the auto wah cycle.
With FX-1, you can select the effect to be used from the
following.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
•
•
•
•
•
OCTAVE
ENHANCER
SLOW GEAR
DEFRETTER
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
RING MOD (Ring Modulator)
Parameter
Value
De p th
On/Off
FX Select
Off, On
Adjusts the depth of the auto wah effect.
Octave, Enhancer, Slow Gear,
Defretter, Ring Mod
Fre q (Fre q u e n cy )
This adjusts the reference frequency for the Wah effect.
O n / O ff (Effe ct O n / O ff)
Switches the FX-1 effect on and off.
Pe a k
This adds a particular character to the sound. Higher values
produce a stronger tone which emphasizes the wah effect
more.
FX Se le ct (Effe ct Se le ct)
Selects the effect to be used.
Po la rity
■ O CT: O cta ve
This adds a sound one octave below the original sound,
This selects the direction in which the filter changes in
response to the input.
resulting in a fatter sound.
Up:
The filter rises from lower to higher frequencies in response
* Use this effect only when playing one note at a time. The
octave sound does not sound good with chords.
to the input level.
* The unit may not operate correctly if the order in which the
effects are connected is changed so that this is connected after
FX-2, causing the sound to become muddy and indistinct.
Down:
The filter falls from higher to lower frequencies in response
to the input level.
Parameter
Value
Se n s
This adjusts the sensitivity at which the filter changes
according to the polarity setting. Higher values result in a
stronger response, such that the filter responds with great
sensitivity even when the strings are played lightly.
Effect Level
Direct Level
0–100
0–100
Effe ct Le ve l
This adjusts the volume of the sound played one octave
* When the filter is set to be altered cyclically, set this to “0.”
below the original sound.
Le ve l
Adjusts the volume.
Dire ct Le ve l
This adjusts the volume of the original sound.
■ EN H: En h a n ce r
This is an effect that clarifies the contour of the input sound
by emphasizing the attack of the sound following changes in
the input level.
Parameter
Value
Sensitivity
Frequency
Mix Level
0–100
800 Hz–4.00 kHz
0–100
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Se n s
De p th
This adjusts the Enhancer sensitivity. The more the value is
increased, the more softly you can play and still have the
effect applied.
This controls the ratio of harmonics. Raising the value
increases the harmonic components, resulting in a unique
and different tone.
Fre q (Fre q u e n cy )
Sets the frequency range for the enhanced sound.
Le ve l
Adjusts the volume.
Mix Le ve l
Adjusts the amount of enhanced sound added to the mix.
■ R.M: Rin g Mo d u la to r
This effect combines the bass sound with the sound from the
internal oscillator, creating a sound with a pitchless, metallic,
bell-like character.
■ SG: Slo w Ge a r
This produces a volume-swell effect (similar to how a violin
Parameter
Value
is played).
Mode
Normal, Intelligent
0–100
0–100
Parameter
Value
Frequency
Effect Level
Direct Level
Sens
Rise Time
0–100
0–100
0–100
Mo d e
Se n s
Selects the ring modulator mode.
This adjusts the sensitivity of the slow gear. When the
sensitivity is set to a lower value, the effect of the slow gear
can be obtained only with somewhat stronger picking, while
no effect is obtained with weaker picking. When the
sensitivity is raised, the effect is obtained even with weak
picking.
Normal:
This is a regular ring modulator effect.
Intelligent:
The oscillator frequency changes according to the pitch of the
input sound, yielding a sound with more distinct changes in
pitch, something that differs from the effect you get with the
“Normal” setting. This effect won’t sound right unless the
pitch of the bass is detected correctly. So it’s best to use this
effect only when playing notes one at a time.
Rise Tim e
This adjusts the time needed for the volume to reach its
maximum from the moment you begin picking.
Fre q (Fre q u e n cy )
Adjusts the frequency of the internal oscillator.
■ DEF: De fre tte r
This effect allows you to use a conventional bass to simulate
a fretless bass.
Effe ct Le ve l
Adjusts the volume of the processed sound.
Parameter
Value
Sens
0–100
0–100
0–100
0–100
Dire ct Le ve l
Adjusts the volume of the direct sound.
Attack
Depth
Level
Se n s
This controls the sensitivity to the input sound. Adjust this
setting while playing your bass until you obtain the most
natural-sounding tone changes.
Atta ck
Adjusts the tone of the attack portion of the sound. The tone
changes more slowly as the value is increased.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
12Stage:
FX-2
This is a twelve-stage phaser. This produces a phase effect
With FX-2, you can select the effect to be used from the
following.
with greater depth.
Bi-Phase:
•
•
•
•
•
•
•
•
•
•
•
•
PHASER
This is a phaser effect in which two phase shift circuits are
FLANGER
connected in series.
HARMONIST
PITCH SHIFTER
PEDAL BEND
2x2 CHORUS
AUTO SLAP
SHORT DELAY
VIBRATO
Ra te
This sets the rate of the phaser effect.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
HUMANIZER
TREMOLO/PAN
BASS SYNTH
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
Parameter
Value
De p th
On/Off
FX Select
Off, On
Determines the depth of the phaser effect. The swirling effect
Phaser, Flanger, Harmonist,
PitchShifter, PedalBend, 2x2Chorus,
AutoSlap, ShortDelay, Vibrato,
Humanizer, Tremolo/Pan, BassSynth
spreads out more as the value is increased.
Ma n u a l
Adjusts the center frequency for the phaser effect. The
swirling effect occurs in a higher range of frequencies as the
value is increased.
O n / O ff (Effe ct O n / O ff)
Switches the FX-2 effect on and off.
Re so n a n ce
FX Se le ct (Effe ct Se le ct)
Selects the effect to be used.
Adjusts the resonance (the amount of feedback). Increasing
the value emphasizes the effect, creating a more unusual
sound.
■ PH: Ph a se r
This effect adds a rotating, swirling character to the sound.
Although it resembles the flanger effect, the sense of swirling
from the phaser is mellower and more natural.
Ste p
This turns the step function on and off. When the step
function is turned on, changes in the sound occur in steps.
Ste p Ra te
Parameter
Value
This adjusts the rate at which the step effect occurs. Raising
the value increases the resolution (steps are shorter).
Type
4stage, 8stage, 12stage, Bi-Phase
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
Rate
Depth
Manual
Resonance
Step
0–100, BPM –BPM
0–100
0–100
0–100
Off, On
Step Rate
Level
0–100, BPM –BPM
0–100
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
Ty p e
Le ve l
Adjusts the volume.
Selects the arrangement (number of stages) for the phaser
effect.
4Stage:
This is a four-stage phaser. This provides a light phaser.
8Stage:
This is an eight-stage phaser. It is a popular phaser effect.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
■ FL: Fla n g e r
■ HRM: Ha rm o n ist
This effect adjusts the shift in pitch according to an analysis
of the pitch of the bass input, allowing you to create
harmonics based on Diatonic or user definable scales.
This produces a flanging effect that gives a sort of “twisting”
character to the sound. Although it resembles the phaser
effect, the flanger yields a colder, more metallic twisting
effect.
* Because of the need to analyze the pitch, chords (two or more
sounds played simultaneously) cannot be played.
Parameter
Value
Parameter
Value
Rate
0–100, BPM –BPM
Voice
Harmony
1-Voice, 2-Mono, 2-Stereo
-2oct–+2oct, Scale 1–Scale29
Depth
0–100
0–100
0–100
0–100
0–100
Manual
Resonance
Separation
Level
Pre Delay
Feedback
Level
0 ms–300 ms, BPM –BPM
0–100
0–100
Key
Direct Level
C(Am)–B(G#m)
0–100
Ra te
This sets the rate of the flanging effect.
Vo ice
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
(harmony).
1-Voice:
One-voice pitch-shifted sound output in mono.
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
2-Mono:
Two-voice pitch-shifted sound (HR1, HR2) output in mono.
De p th
2-Stereo:
Adjusts the modulation depth. The twisting effect spreads
Two-voice pitch-shifted sound (HR1, HR2) output through
out more as the value is increased.
the left and right channels.
Ma n u a l
Ha rm (Ha rm o n y )
Adjusts the center frequency for the flanger effect. The
twisting effect occurs in a higher range of frequencies as the
value is increased.
This determines the pitch of the sound added to the input
sound, when you are making a harmony. You can have this
sound play up to 2 octaves higher or lower than the input
sound.
Re so n a n ce
Adjusts the resonance (the amount of feedback). Increasing the
When the scale is set to “Scale 1–Scale29,” harmonies
corresponding to the user-set scale are produced.
The following shows the parameters that can be set for User
scales.
value emphasizes the effect, creating a more unusual sound.
Se p a ra tio n
Adjusts the amount of separation. Raising the value increases
User 1–29
DIR C–B
EFF C–B (+/- 2 octave)
the separation between the left and right sides.
Le ve l
Adjusts the volume.
“Creating Harmonist Scales (User Scale)” (p. 37)
Pre Dly (Pre De la y )
Adjusts the time from when the direct sound is played until
the harmonist sounds are produced. Normally, you can leave
this set at “0 ms.”
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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 the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
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Ch a p te r 4 Th e Effe cts Ex p la in e d
5 . Press PARAMETER [
] [
] to move the cursor,
Fe e d b a ck
then rotate the PATCH/VALUE dial to set the User scale.
This adjusts the feedback amount of the harmonist sound.
* Only PS1 can be selected when this is set to 2-Mono or 2-
Stereo.
Sca le
You can switch the number of the user scale.
Le ve l
DIR (Dire ct)
Sets the note name of the input sound.
This adjusts the volume of the harmonist sound.
Ke y
EFF (Effe ct)
This specifies 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
Sets the note name of the output sound.
The triangle next to the note name indicates the octave.
One downward-pointing triangle indicates a note one octave
below the note displayed; two triangles indicate a two-octave
drop.
song (#, b) as follows.
fig.04-02
One upward-pointing triangle indicates a note one octave
above the note displayed; two triangles indicate a two-octave
rise.
■ P.S: Pitch Sh ifte r
This effect changes the pitch of the original sound (up or
down) within a range of two octaves.
Parameter
Value
Voice
Mode
Pitch
Fine
1-Voice, 2-Mono, 2-Stereo
Fast, Medium, Slow, Mono
-24 –+24
Dire ct Le ve l
Adjusts the volume of the direct sound.
-50–+50
Pre Delay
Feedback
Level
0 ms–300 ms, BPM –BPM
Cre a tin g Ha rm o n ist Sca le s (Use r Sca le )
If the harmony does not sound the way you intend when
“Harmony” is set to any value from “-2oct to +2oct,” then
use a “User scale.”
0–100
0–100
0–100
Direct Level
You can set any of 29 different “User scales.”
Vo ice
* User scales represent settings common to all patches, so they
are constantly updated (saved) without the Write procedure
being carried out. You can carry out Factory Reset for the
system to restore the settings to their original factory-set
values (p. 73).
This selects the number of voices for the pitch shift sound
(the harmony).
1-Voice:
One-voice pitch-shifted sound output in mono.
2-Mono:
1 . Press [FX-2], then press PARAMETER [
] [
] so
Two-voice pitch-shifted sound (PS1, PS2) output in mono.
that “FX Select” is displayed.
2-Stereo:
2 . Rotate the PATCH/VALUE dial to select “HRM.”
Two-voice pitch-shifted sound (PS1, PS2) each output
through left and right channels.
3 . Press PARAMETER [ ] [ ] to select “HR1
Harm” (or “HR2 Harm”), then rotate the PATCH/
VALUE dial to select a setting from “Scale 1–29.”
Mo d e
Selects the pitch shifter mode.
4 . Press PARAMETER [
] a number of times so that
Fast, Medium, Slow:
the User scale settings screen is displayed.
fig.04-03
This is a normal pitch shifter capable of inputting chords.
The response becomes slower as you switch from Fast to
Medium and then Slow, but the modulation (off-key sounds)
decreases at the same time.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Mono:
Pitch Min
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.
This sets the pitch at the point where the expression pedal is
fully lifted.
Pitch Ma x
* Because of the need to analyze the pitch, chords (two or more
sounds played simultaneously) cannot be played.
This sets the pitch at the point where the expression pedal is
all the way down.
Pitch
Pd l Po sitio n (Pe d a l Po sitio n )
Adjusts the amount of pitch shift (the amount the pitch
This adjusts the pedal position for pedal bend.
changes) in semitone steps.
Effe ct Le ve l
This adjusts the volume of the pitch bend sound.
Fin e
Makes fine adjustments to the pitch shift.
* “100” units of change in Fine is equivalent to “1” full change
in pitch.
Dire ct Le ve l
Adjusts the volume of the direct sound.
Pre Dly (Pre De la y )
Adjusts the time from when the direct sound is played until
the pitch shifted sounds are produced. Normally, you can
leave this set at “0 ms.”
■ 2 CE: 2 x 2 Ch o ru s
Two separate stereo chorus units are used for the lower and
upper ranges in order to create a more natural chorus sound.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
Parameter
Value
Crossover Frequency 100 Hz–4.00 kHz
Low Rate
0–100, BPM –BPM
0–100
0.0 msec–40.0 msec
0–100
Low Depth
Low Pre Delay
Low Level
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
Fe e d b a ck
High Rate
0–100, BPM –BPM
0–100
0.0 msec–40.0 msec
0–100
High Depth
High Pre Delay
High Level
This adjusts the feedback amount of the pitch shift sound.
Increasing the Feedback level produces an effect whereby the
sound seems to rise and fall with the reverberations.
*
Only PS1 can be selected when this is set to 2-Mono or 2-Stereo.
Xo ve r f (Cro sso ve r fre q u e n cy )
This parameter sets the frequency at which the direct sound
is divided into low- and high-frequency ranges.
Le ve l
This adjusts the volume of the pitch shift sound.
Lo Ra te (Lo w Ra te )
Adjusts the rate of the chorus effect in the lower range.
Dire ct Le ve l
Adjusts the volume of the direct sound.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
■ PB: Pe d a l Be n d
This lets you use the pedal to get a pitch bend effect. The GT-
6B’s expression pedal automatically switches to the pedal
bend function when PB is selected.
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
Parameter
Value
Lo De p th (Lo w De p th )
Adjusts the depth of the chorus effect for the lower range. If
Pitch Min
Pitch Max
Pedal Position
Effect Level
Direct Level
-24–+24
-24–+24
0–100
0–100
0–100
you wish to use this as a doubling effect, use a setting of “0.”
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Parameter
Value
Lo Pre Dly (Lo w Pre De la y )
Adjusts the time from when the direct sound in the lower
range is output until the effect sound is output. Extending
the pre-delay produces the sensation of multiple sounds
being played (doubling effect).
Step
Pitch
1–17
-24 – +24
Length
Sound
Attack
,
,
,
,
,
,
Mute, Stacc, Full
Less, Thumb, Pluck
Lo Le ve l (Lo w Le ve l)
Adjusts the volume of the lower range.
“Creating Original Phrases (User Phrase)” (p. 39)
Hi Ra te (Hig h Ra te )
Adjusts the rate of the chorus effect for the upper range.
Lo o p
When set to “OFF,” the phrase plays one time, and then
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
stops. When set to “On,” the phrase plays continuously.
Te m p o
Adjusts the rate for the phrase.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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 the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
Hi De p th (Hig h De p th )
Adjusts the depth of the chorus effect for the upper range. If
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
you wish to use this as a doubling effect, use a setting of “0.”
Hi Pre Dly (Hig h Pre De la y )
Se n s
Adjusts the time from when the direct sound in the upper
range is output until the effect sound is output. Extending
the pre-delay will produce the sensation of multiple sounds
being played (doubling effect).
Adjusts the sensitivity for the triggering. With low settings,
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 play back from the
beginning. With high settings of this parameter, the phrase
will be retriggered even when you play softly.
Hi Le ve l (Hig h Le ve l)
Adjusts the volume of the upper range.
Effe ct Le ve l
Adjusts the phrase volume.
■ ASL: Au to Sla p
This effect lets you have phrases play automatically, just by
Dire ct Le ve l
Adjusts the volume of the direct sound.
playing a single string. Simply slap a string to play a phrase.
* Sounds may become jumbled if large amounts of MIDI data
are received while Auto Slap is in use.
Cre a tin g O rig in a l Ph ra se s (Use r Ph ra se )
In addition to the 20 different prepared phrases, you can also
create up to ten of your own original phrases (User phrases).
Parameter
Value
Phrase
Loop
Preset1–Preset20, User1–User10
Off, On
* User phrases represent settings common to all patches, so they
are constantly updated (saved) without the Write procedure
being carried out. You can carry out Factory Reset for the
system to restore the settings to their original factory-set
values (p. 73).
Tempo
0–100, BPM –BPM
Sensitivity
Effect Level
Direct Level
0–100
0–100
0–100
1 . Press [FX-2], then press PARAMETER [
] [
] so
that “FX Select” is displayed.
Ph ra se
Selects the phrase played with Auto-Slap.
When User 1–10 is selected, the user-set phrase is played.
The following shows the parameters that can be set for User
phrases.
2 . Rotate the PATCH/VALUE dial to select “ASL.”
3 . Press [ ] a number of times to select “Phrase,” then
rotate the PATCH/VALUE dial to make the desired
choice from User 1–10.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
4 . Press PARAMETER [
] a number of times until the
Atta ck
User Phrase settings screen is displayed.
Specifies that the note is to be played with an attack.
fig.04-04
Less:
The note is played with no attack. Good for hammering and
other such techniques.
Thumb:
The note is played with the sound as if the string is struck
5 . Press PARAMETER [
] [
] to move the cursor,
with the thumb.
then rotate the PATCH/VALUE dial to set the User
phrase.
Pluck:
fig.04-50
The note is played with the sound as if the string is plucked
with the index finger.
Step
Pitch
You can express ghost notes by setting “Mute” and
specifying “Thumb” or “Pluck.”
■ SDD: Sh o rt De la y
Length
Sound
Attack
This is a delay with the maximum delay time of 400 ms. This
is an effective way to make the sound fatter.
Parameter
Value
Delay Time
Feedback
Effect Level
0 ms–700 ms, BPM –BPM
0–100
0–120
* When you want to place the currently set step at the very end,
turn the PATCH/VALUE dial clockwise in the settings screen
for the step that follows it (it does not matter which parameter
is selected), until “---” appears in the bottom row of the screen.
De la y Tim e
Adjusts the delay time.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
STEP
Sets the step number. The number within the phrase is
displayed.
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
Pitch
Inputs the pitches of the notes. Specify by how many
semitones notes are to be raised or lowered.
Fe e d b a ck
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 result in more delay
repeats.
Le n g th
Inputs the note lengths. Specify the length of notes on the
score.
So u n d
Effe ct Le ve l
Adjusts the volume of the delay sound.
This setting determines the manner in which sounds are
played.
Mute:
Mutes are specified as note lengths without the sound being
played.
Stacc:
Staccato, whereby the sound is played extremely briefly.
Full:
The note is played for its full specified length.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Mo d e
■ VIB: Vib ra to
The vibrato effect is created by slightly modulating the pitch.
This sets the mode used to switch the vowels.
1 Shot:
Parameter
Value
The tone changes from Vowel 1 to Vowel 2 one time only as
the strings are played. The time required for the change is
adjusted with the Rate setting.
Rate
Depth
0–100, BPM –BPM
0–100
Trigger
Rise Time
Off, On
0–100
Auto:
The change in tone between the two vowels (Vowel 1 and
Vowel 2) is repeated.
Ra te
Random:
This adjusts the period of the vibrato.
Five vowels (a, e, i, o, u) are switched randomly.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
(with 1 Shot and Auto)
Selects the first vowel.
fig.04-05
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
De p th
Vowel 1
Vowel 2
This adjusts the depth of the vibrato.
Trig g e r
Vo w e l 2
(with 1 Shot and Auto)
The vibrato is turned on and off with the foot switch.
Selects the second vowel.
* This parameter is premised on the trigger being turned on
with the foot switch only when producing the vibrato effect.
Use this by assigning it to the CTL pedal or other control (p.
46).
Trig g e r
(with Auto and Random)
This selects whether or not the tone changes start
simultaneously as the strings are played.
It could be said that when “1 Shot” is selected, the trigger is
always on.
Rise Tim e
This adjusts the time from the moment the trigger is turned
on until the set vibrato effect is obtained.
Se n s
This adjusts the trigger sensitivity. With the sensitivity at a
low setting, the trigger is activated only when greater force is
used to play the strings, but not when the strings are played
softly.
■ HMN : Hu m a n ize r
This effect changes the sound of the bass guitar into sounds
resembling the human voice. Applying this after distorting
the sound with OD/ DIST or other such effect strengthens the
effect.
Ra te
For more on the order in which effects are connected, refer to
p. 22.
This adjusts the cycle over which the two vowels change.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
Parameter
Value
Mode
1 Shot, Auto, Random
Vowel1
Vowel2
Trigger
Sensitivity
a, e, i, o, u
a, e, i, o, u
On, Off
Mode= 1 Shot, Auto
Mode= 1 Shot, Auto
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
0–100
Rate
0–100, BPM –BPM
De p th
Depth
Manual
Level
0–100
0–100
0–100
Adjusts the depth of the effect. The transition between
vowels becomes clearer as the value is increased.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
Ma n u a l
(with Auto)
■ SYN : Ba ss Sy n th
This effect produces a synth bass sound. Two methods are
used, the “Internal Sound Generator method” and the
“Waveform Shaping method.”
Sets the point at which the two vowels will be switched.
When set to “50,” an equal length of time is used to switch
Vowel 1 and Vowel 2. 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.
In te rn a l So u n d Ge n e ra to r Me th o d
The unit detects pitch and attack information in the input
bass sound and causes the internal sound generator to
generate sound. Please note the following points.
Le ve l
This sets the volume of the humanizer.
* This function does not work properly with chords. Be sure to
mute all the other strings and play single notes.
* If you want to play a string before a previous sound has
stopped, completely mute the previous sound first, and then
play the next string with a firm, clear attack.
■ T/ P: TREMO LO / PAN
This provides a tremolo or auto pan effect.
* Sounds may not be generated correctly if the unit is unable to
detect the attack.
Parameter
Value
Mode
Tremolo, Pan
Wave Shape
0–100
W a ve fo rm Sh a p in g Me th o d
The synth bass sound is created by serial processing of the
input bass sound.
Rate
Depth
0–100, BPM –BPM
0–100
Mo d e
Parameter
Value
This selects either the tremolo or auto pan.
Wave
Square, Saw, Brass, Bow
0, -1
0–100
0–100
0–100
Tremolo:
Octave Shift
PWM Rate
PWM Depth
Noise Level
Sens
This is an effect that cyclically changes the volume.
Pan:
This effect alternately switches the volume levels set for the
left and right sides, making sounds played in stereo appear
to fly back and forth between the speakers.
0–100
Hold
Off, On
Off, On
0–100
0–100
-100–+100
0–100
0–100
0–100
Off, On
-24–+24
-24–+24
0–100
Attack Trigger
Resonance
Cutoff Freq
Depth
W a ve Sh a p e
This adjusts how changes in volume level are made. When
set to lower values, the change occurs smoothly; the change
becomes progressively more sudden as the value is
increased.
Decay
Synth Level
Direct Level
Bend
Pitch Min
Pitch Max
Pedal Position
Ra te
This adjusts the cycle for the change in volume.
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch.
This makes it easy 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).
W a ve
This selects the type of waveform used as the foundation of
the bass synthesizer.
When setting to the BPM, press PARAMETER [
display the Master BPM settings screen.
] to
Square:
A “square wave (
)” is produced by the internal
sound generator.
De p th
Saw:
Adjusts the depth of the volume change.
A “saw wave (
generator.
)” is produced by the internal sound
Brass:
Waveform shaping outputs a soft sound with a fast attack
and a sharp edge.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
* When using the synth bass with this parameter on, errors may
occur if the unit is unable to detect the attack properly.
Completely mute the other strings, and play single notes.
Bow:
Waveform shaping outputs a soft sound with no attack.
O cta ve Sh ift
(with Square and Saw)
Re so n a n ce
This adjusts the filter resonance (the amount of feedback).
Increasing the value emphasizes the effect, creating a more
unusual sound.
This outputs sound one octave below the original sound.
PW M Ra te (Pu lse W id th Mo d u la tio n Ra te )
(with Square)
Cu to ff Fre q (Cu to ff fre q u e n cy )
This adjusts the frequency at which the harmonic
components are cut off (the cutoff frequency). This parameter
determines the tone at the point that the filter movement
finally stops.
Modulation is applied to the waveform (Square wave only)
to create a broader, fatter sound. Higher values increase the
rate of the modulation.
PW M De p th (Pu lse W id th Mo d u la tio n De p th )
(with Square)
De p th
This adjusts the PWM depth. When set to “0,” no PWM effect
This adjusts how much the filter shifts. When a positive
value is set, playing a string causes the filter to go upwards,
starting from the conditions determined with the cutoff
frequency. Conversely, the movement is downward when
the value is negative. The change becomes more dramatic as
the numerical value is increased.
is obtained.
N o ise Le ve l
This adjusts the noise added to the sound from the sound
generator. Adding noise gives the synth bass a special type of
ambience.
De ca y
Se n s
(with Square and Saw, or Attack Trig On)
This sets the rate for the filter’s movement. The filter moves
more slowly as the value is increased.
This adjusts the input sensitivity.
In Internal Sound Generator method, although the response
of the internal sound generator improves as the sensitivity
value is increased, errors occur more often. Try to set the
value as high as possible without causing errors.
In Waveform Shaping method, this lets you adjust the
sensitivity of the shifting filter in response to the strings as
they are played when the attack trigger is turned off. Raising
this value allows the filter to respond with greater sensitivity,
even when the strings are played softly.
Sy n th Le ve l
This determines the volume of the synthesizer sound.
Dire ct Le ve l
Adjusts the volume of the direct sound.
Be n d
(with Square, Saw)
Ho ld
You can use the expression pedal to control the frequency of
sounds from the internal sound generator.
Use this by setting the parameter to “On” and assigning the
expression pedal or similar controller to Pdl Position.
(with Square and Saw)
This sustains the sound output by the sound generator. You
can use a control pedal or other such control to hold synth
bass sounds at the same pitch at which they are played.
* When using the Hold function, be aware of the importance of
the order in which the effects are connected. When the noise
suppressor is connected after FX-2, held synth sounds are not
output when the bass input sound is stopped. In such cases, be
sure to place FX-2 ahead of the noise suppressor (p. 22).
Pitch Min
(with Square, Saw)
Sets the pitch produced when the expression pedal is
released.
Pitch Ma x
(with Square, Saw)
Atta ck Trig (Atta ck Trig g e r)
(with Brass and Bow)
Sets the pitch produced when the expression pedal is fully
depressed.
This setting determines whether the filter acts according to
the envelope of the input sound or mechanically by detecting
the vibration of the strings as they are played. When set to
OFF, the filter operates in response to the volume of the
input bass sound, like a touch wah; when set to ON, the filter
operates more mechanically, as with the Internal Sound
Generator method, by detecting the degree of attack.
Pd l Po sitio n (p e d a l p o sitio n )
(with Square, Saw)
Adjusts the Pedal Bend pedal position.
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Ch a p te r 4 Th e Effe cts Ex p la in e d
N S: N o ise Su p p re sso r
Master BPM Tap Input
You can use the CTL pedal to set the Master BPM by
This effect reduces the noise and hum picked up by the bass.
Use this when noise that occurs when you are not playing the
bass becomes noticeable. Since it suppresses the noise by
monitoring the volume level of the actual bass sound being
input, it always gives a natural effect.
means of tap input.
Depress the CTL pedal two or more times in time with
the performance’s tempo, and the Master BPM is set to
match the timing you’ve used while depressing the
pedal.
Parameter
Value
To use the CTL pedal and tap tempo to set the Master
BPM, set Pedal Assign as follows:
On/Off
Threshold
Release
Off, On
0–100
0–100
Quick Settings (p. 46)
CTL PEDAL:
BPM (TAP)
O n / O ff (Effe ct O n / O ff)
This parameter turns the noise suppressor on/ off.
Manual Settings (p. 47)
CTL PEDAL:
On
This setting can be made with the PATCH/ VALUE dial.
CTL PEDAL Target:
CTL PEDAL Target Min:
Master BPM (Tap)
Off
* You cannot switch the noise suppressor on and off by pressing
[NAME/NS/MASTER].
CTL PEDAL Target Max: On
CTL PEDAL Source Mode: Normal
Th re sh o ld
Adjust this parameter as appropriate for the volume of the
noise. If the noise level is high, a higher setting is
appropriate. Use a lower setting when the noise level is low.
* High threshold settings may prevent sounds from being
output when you play with your bass volume turned down.
FV: Fo o t Vo lu m e
This is a volume control effect.
Re le a se
This is normally controlled with the expression pedal.
Adjusts the time from when the noise suppressor begins to
function until the noise level reaches “0.”
Parameter
Value
Level
0–100
Le ve l
MASTER
This sets the volume level for the Foot Volume.
Parameter
Value
* Note the following points when Bypass EXP Mode (p.55) is
set to “Off.”
Effect Level
Master BPM
0–120
40–250
•
Analog bypass sound is output when all effects are
set to “OFF,” and the volume level cannot be
controlled using the Foot Volume.
Effe ct Le ve l
Adjusts the overall volume of the processed sound.
•
When CHORUS or REV/DLY are the only effects
being used, only the analog bypass sound is output
for the direct sound, so only the effect sound's
volume level is controlled with Foot Volume.
*
When the Bypass EXP Mode (p. 55) and Noise Suppressor (p.
direct sound is output as analog output. In this case, EFFECT
LEVEL does not change the volume of the direct sound.
Ma ste r BPM
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note
beats that occur in one minute.
* When you have an external MIDI device connected, the
Master BPM is synchronized to the external MIDI device’s
tempo, so you cannot set the Master BPM. If you want to be
able to set the Master BPM, set the “MIDI: Sync Clock” (p.
65) to Internal.
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Ch a p te r 5 Se ttin g th e Pe d a l Fu n ctio n s (Pe d a l Assig n )
Se ttin g s fo r Usin g th e
Ex p re ssio n Pe d a l
These settings can be saved separately to individual
patches.
Normally, “FV” (Foot Volume) is assigned to the
Se le ctin g Ea ch Effe ct to Be Tu rn e d
O n a n d O ff w ith th e N u m b e r Pe d a ls
expression pedal, allowing it to be used as a “volume
pedal” to control the volume level.
You can change the effects that are turned on and off with
* When bypass is in effect, you may be unable to control the
the number pedals 1–4.
volume level with the expression pedal. In such instances, set
1 . Press PARAMETER [
] [
] in the Play screen to
Bypass EXP Mode to “On” (p. 55).
display the following screen.
fig.05-01
Se ttin g th e Ra n g e o f th e Vo lu m e
Ch a n g e
You can set the minimum and maximum values determining
the range over which the volume level changes when you
move the expression pedal.
2 . Press PARAMETER [
] [
] to move the cursor,
and turn the PATCH/VALUE dial to select the effect to
be assigned to the pedal.
1 . Press [PEDAL ASSIGN].
The effects that can be assigned to each pedal are shown
below.
2 . Press PARAMETER [
] [
] to display the
following screen.
Number 1: COMP/ LIMITER or WAH
Number 2: OD/ DIST or FX-1
Number 3: CHORUS or FX-2
(Setting the minimum value)
fig.05-02
Number 4: This pedal is a dedicated PEV/ DLY pedal.
However, when selecting Sound On Sound
with the REV/ DLY FX Select (p. 27), the
Sound On Sound control function is
fig.05-03
automatically assigned to this pedal and the
CTL pedal. Refer to p. 54 for more
information when using this function.
* The name and on/off status of the selected effect appear in the
display in capitals when the effect is on, and in lowercase when
the effect is off.
3 . Rotate the PATCH/VALUE dial to set the value.
Values: 0–100
* Each of the effect names indicated in the display are the actual
effect names as selected with FX Select and other controls.
4 . To save the settings, perform the Write procedure (p. 23).
Press [EXIT] to return to the Play screen.
3 . To save the settings, perform the Write procedure (p. 23).
Press [EXIT] to return to the Play screen.
When “WAH” (Pedal Wah: p. 20, 31) or FX-2 “PB”
automatically functions as a “pedal wah” or “pedal
bend.”
* When these are off, the expression pedal automatically
functions as a “volume pedal.”
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Ch a p te r 5 Se ttin g th e Pe d a l Fu n ctio n s (Pe d a l Assig n )
If Yo u Do n ’t W a n t to Use th e
Ex p re ssio n Pe d a l a s a “ Vo lu m e Pe d a l”
Se ttin g s fo r Usin g th e Ex p re ssio n
Pe d a l Sw itch / CTL Pe d a l
Use the procedure below to turn the expression pedal off.
1 . Press [PEDAL ASSIGN].
Ma k in g Se ttin g s In sta n tly
(Q u ick Se ttin g s)
2 . Press PARAMETER [
] [
] a number of times
until you have one of the following screens displayed.
fig.05-04
Quick Settings is a function that lets you set the most
appropriate values for related effect parameters instantly,
just by selecting the preset “pedal settings.” This greatly
reduces the hassle of selecting and setting parameters one by
one.
Pe d a l Se ttin g s fo r th e Ex p re ssio n Pe d a l Sw itch
Select the parameter to be controlled when you press down
on the toe of the expression pedal.
3 . Press [PEDAL ASSIGN] once more, to set it to “Off.”
•
•
•
•
•
•
•
•
•
•
WAH
Effect On/ Off
FX-2
Effect On/ Off
4 . To save the settings, perform the Write procedure (p.
OD/DIST
Effect On/ Off
23).
REV/DLY
CHORUS
PARAMETRIC EQ
FX-1
Effect On/ Off
Press [EXIT] to return to the Play screen.
Effect On/ Off
Effect On/ Off
Effect On/ Off
LEVEL INC
PATCH SELECT
BYPASS
Increase the volume level gradually
Switch for Patch Select Mode (p. 60
Bypass On/ Off
)
Pe d a l Se ttin g s fo r th e CTL Pe d a l
•
•
•
•
•
•
•
•
•
•
OD/DIST
Effect On/ Off
REV/DLY
CHORUS
PARAMETRIC EQ
FX-1
Effect On/ Off
Effect On/ Off
Effect On/ Off
Effect On/ Off
FX-2
Effect On/ Off
WAH
Effect On/ Off
PATCH SELECT
BPM (TAP)
BYPASS
Switch for Patch Select Mode (p. 60
Master BPM Tap Input
Bypass On/ Off
)
1 . Press [PEDAL ASSIGN].
2 . Press PARAMETER [
] [
] to display the
following screens.
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Ch a p te r 5 Se ttin g th e Pe d a l Fu n ctio n s (Pe d a l Assig n )
(Expression pedal switch)
fig.05-05
Ed itin g “ Q u ick Se ttin g s”
Whenever necessary, you can edit parameter values set in the
Quick Settings.
1 . Press [PEDAL ASSIGN].
(CTL pedal)
2 . Press PARAMETER [
] [
] to display the
fig.05-06
following screen.
fig.05-07
Expression Pedal Switch
Target
Expression Pedal Switch
Target value range: Min
Holding down [
] (or [
]) and pressing [
]
Expression Pedal Switch
Target value range: Max
(or [ ]) causes the GT-6B to jump to the main screen,
allowing you to reduce the number of times you need to
press the buttons.
Expression Pedal Switch
Source Mode
3 . Rotate the PATCH/VALUE dial to select the pedal
CTL Pedal
Target
setting.
CTL Pedal
Target value range: Min
4 . Repeat steps 2–3 as necessary.
5 . To save the settings, use the Write procedure (p. 23).
Target value range: Max
Press [EXIT] to return to the Play screen.
CTL Pedal
Source Mode
If Yo u Do n ’t W a n t to Use th e
Ex p re ssio n Pe d a l Sw itch o r CTL Pe d a l
3 . Rotate the PATCH/VALUE dial to change the setting
value.
1 . Press [PEDAL ASSIGN].
4 . Repeat steps 2–3 as necessary.
2 . Press PARAMETER [
] [
] to display the
following screens.
5 . To save the settings, use the Write procedure (p. 23).
(Expression pedal switch)
fig.05-05
Press [EXIT] to return to the Play screen.
Ta rg e t
Select the parameters to be controlled.
Ta rg e t Va ria tio n Ra n g e
(CTL pedal)
fig.05-06
This sets the range within which the parameter being
controlled can be changed.
The range between the minimum value (Min) and the
maximum value (Max) is changed.
So u rce Mo d e
3 . Press [PEDAL ASSIGN] once more, to set it to “Off.”
This selects the function of the foot switch (p. 50).
4 . To save the settings, perform the Write procedure (p. 23).
Press [EXIT] to return to the Play screen.
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Ch a p te r 5 Se ttin g th e Pe d a l Fu n ctio n s (Pe d a l Assig n )
Ma k in g th e Assig n O n / O ff Se ttin g
Co n tro llin g Effe cts w ith th e GT-6 B Pe d a ls,
Ex te rn a l Pe d a ls, a n d Ex te rn a l MIDI De vice s
fig.05-10
Make these settings when controlling effects with the GT-
6B’s expression pedal, expression pedal switch, or CTL
pedal, or with external pedals or external MIDI devices
connected to the GT-6B.
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
* Be sure to set any Assign settings not being used to “Off.”
Assign numbers 1–8) determining what parameters are
controlled by which controllers.
fig.05-08
1 . Press [PEDAL ASSIGN].
2 . Press PARAMETER [
] [
] to select the Assign
3
ON/OFF setting screen (ASSIGN 1–8).
3 . Press [PEDAL ASSIGN] to set the function to ON or
OFF.
The setting is toggled between “On” and “Off” each time
2
[PEDAL ASSIGN] is pressed.
Ma k in g Se ttin g s In sta n tly
(Q u ick Se ttin g s)
1
Using Quick Settings lets you quickly finish making the
settings to the parameters described below, without having
to set them all individually.
1 . Press [PEDAL ASSIGN].
2 . Press PARAMETER [
] [
] to display the
As you rotate the PATCH/ VALUE dial in the Quick Setting
screen to select the prepared pedal settings, the most
appropriate values for related parameters are selected
instantly.
following screen.
fig.05-09
Assign On/Off
Quick Setting
•
•
•
•
•
•
•
•
PATCH LEVEL
PREAMP GAIN
OD/DST DRIVE
DELAY LEVEL
CHORUS LEVEL
REVERB LEVEL
MASTER BPM
Target
Target value range: Min
Target value range: Max
Sourece
SUB EXP FV
Controlling Foot Volume with the External Expression
Pedal
Source Mode
Active Range Low
Active Range High
•
SUB EXP PS
Controlling Pitch Shifter with the External Expression
Pedal
3 . Rotate the VALUE dial to change the setting value.
4 . Repeat Steps 2 and 3 as needed until the settings are
completed.
5 . To save the settings, use the Write procedure (p. 23).
Press [EXIT] to return to the Play screen.
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Ch a p te r 5 Se ttin g th e Pe d a l Fu n ctio n s (Pe d a l Assig n )
Ta rg e t Ra n g e (Min , Ma x )
fig.05-12
Ma k in g th e Pa ra m e te r Se ttin g s
This sets the parameters to be controlled with Assign.
Ta rg e t
fig.05-11
The parameter value selected as the target changes within the
This sets the parameter to be affected.
range defined by the “Min” and “Max,” set this parameter.
You can make adjustments to more parameters than those
available in the Quick Settings.
When using the CTL pedal, foot switch, or other controller
that acts as an on/ off switch, the “minimum value” (Min) is
produced when you release your foot from the pedal, while
depressing the pedal produces the “maximum value” (Max).
The parameters that you can select as the target are shown
below.
•
•
•
•
•
•
•
•
•
Effect On/ Off for each effect
Effect parameters
Patch Level
W h e n u sin g th e fo o t sw itch
fig.05-13
Amount of Change
in parameter Value
Master BPM
Foot Volume
maximum value
Target Max
Bypass On/ Off
Switch for Patch Select Mode (p. 60)
Master BPM
MIDI Start/ Stop
MIDI Start and Stop messages are output from the MIDI OUT
connector, and these control the performance of the sequencer
or other external MIDI device.
minimum value
Target Min
Off
On
•
•
MMC Start/ Stop
Release
Depress
Foot Switch
MMC Start and Stop messages are output from the MIDI OUT
connector, and these control the performance of the recorder or
other external MIDI device.
When using an expression pedal or other controller that
changes values over a continuous range, the value of the
setting changes accordingly within the range set by the
minimum (MIN) and maximum (MAX) values.
Patch Level INC/ DEC (increase/ decrease)
* 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 while using
different sources may result in noise being generated.
W h e n u sin g th e e x p re ssio n p e d a l
fig.05-14
maximum value
Target Max
* The GT-6B does not transmit MIDI clock. Therefore, when
MIDI Start/Stop is selected as the target, set the receiving
device so its own clock is used for the performance.
minimum value
Target Min
When the pedal
is fully raised
When the pedal
is fully advanced
Expression Pedal
Additionally, 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.
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Ch a p te r 5 Se ttin g th e Pe d a l Fu n ctio n s (Pe d a l Assig n )
* The CTL pedal indicator lights according to the settings made
W h e n co n tro llin g a n O n / O ff ta rg e t w ith th e
e x p re ssio n p e d a l
with the CTL pedal.
fig.05-15
So u rce Mo d e
fig.05-17
On
Target Max
ON
This determines the manner in which the setting is to be
changed when a momentary-type foot switch (such as the
optional FS-5U) is used.
Off
Target Min
OFF
When the pedal
When the pedal
is fully raised
When the pedal
is fully advanced
is advanced halfway
* The GT-6B’s control pedal is a momentary-type pedal. Switch
the settings as needed to accommodate your setup.
Expression Pedal
* The range that can be selected changes according to the target
setting.
N o rm a l
The normal state is Off (minimum value), with the switch On
(maximum value) only while the foot switch is depressed.
* When the “minimum” is set to a higher value than the
“maximum,” the change in the parameter is reversed.
To g g le
* The values of settings may change if the target is altered after
the “minimum value” and “maximum value” are set. Be sure
to check the “minimum value” and “maximum value” settings
after changing the target.
The setting alternately switches between On (maximum
value) and Off (minimum value) with each press of the foot
switch.
Ex a m p le (1 )
So u rce
fig.05-16
When switching effects on and off with a foot switch
Source
Source Mode
Momentary-Type Toggle
CTL pedal
FS-5U (external)
This sets the controller (source) that affects the target
parameter. Controllers that can be selected as the source are
shown below.
Latch Type
FS-5L (external)
Normal
Normal
Expression pedal
EV-5 (external)
•
•
•
EXP PEDAL
EXP SW
Expression pedal
Expression pedal switch
CTL pedal
CTL PEDAL
Ex a m p le (2 )
* The CTL pedal indicator is not lit. The indicator lights up
according to the CTL pedal setting (p. 46).
When the effect is applied more, or is on only while the
•
SUB EXP PEDAL
Source
Source Mode
External expression pedal connected to the SUB EXP
PEDAL/ SUB CTL 1, 2 jack.
Momentary-Type Normal
CTL pedal
FS-5U (external)
* Set SYS: Sub CTL 1 Func (p. 63) to “Assignable.”
•
SUB CTL 1, 2
Latch Type
FS-5L (external)
cannot function
Normal
Foot switch connected to the SUB EXP PEDAL/ SUB CTL
1, 2 jack.
Expression pedal
EV-5 (external)
* Set SYS: Sub CTL 1, 2 Func (p. 63) to “Assignable.”
•
MIDI CC# 1–31, 64–95
Control Change messages from an external MIDI device
(1–31, 64–95).
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Ch a p te r 5 Se ttin g th e Pe d a l Fu n ctio n s (Pe d a l Assig n )
Active Ra n g e
fig.05-18
Co n tro llin g Fo o t Vo lu m e a n d Pitch Sh ifte r
w ith a n Ex te rn a l Ex p re ssio n Pe d a l
Make the following settings to use an expression pedal
connected to the SUB EXP PEDAL/ SUB CTL 1,2 jack to
control foot volume and pitch shifter.
* Set SYS: Sub CTL1 Func (p. 63) to “Assignable.”
1 . Press [PEDAL ASSIGN].
When an expression pedal or other controller that changes
the value consecutively is used as the source, this sets the
operational range within which the value of the setting
changes. If the controller is moved outside the operational
range, the value does not change, but instead stops at
“minimum” or “maximum.”
2 . Press PARAMETER [
] [
], to display one of the
Assign On/Off screens for ASSIGN 1–8.
fig.05-10
(Ex a m p le ) Act. Ra n g e Lo : 4 0 , Act. Ra n g e Hi: 8 0
fig.05-19a
* When the upper row of the screen indicates “OFF” (flashing),
press [PEDAL ASSIGN] to set it to “ON” (lit).
maximum value
Target Max
3 . Rotate the PATCH/VALUE dial to select the following
settings:
For Foot Volume:
SUB EXP FV
For Pitch Shifter:
minimum value
Target Min
SUB EXP PS
fig.05-20
0
40
80
127
Act. Range Act. Range
Lo
Hi
fig.05-19b
On
Off
ON
4 . If Pitch Bend has been selected in Step 3, carry out the
following.
OFF
Press [FX-2] so that “On” appears in the display.
0
40 60 80
Act. Range Center Act. Range
Lo value Max
127
Next, press PARAMETER [
] [
] to display “FX
Select,” then select “P.S” with the PATCH/ VALUE dial.
* 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.
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Ch a p te r 6 Usin g th e Cu sto m ize Fu n ctio n
With the GT-6’s Customize function, you can rely on your
own sensibilities and create a totally new effect by tweaking
the settings for the “Preamp/ Speaker Simulator,”
3 . Press PARAMETER [
] [
] to show the special
Custom parameters.
fig.06-02
Custom
Type
“Overdrive/ Distortion,” and “Pedal Wah.” The result can
then be saved on the GT-6 as “Custom” settings.
Custom
Bottom
You can also use these custom settings in other patches.
Custom
Top
“Custom” settings are automatically updated (saved),
even if you don't carry out the Write procedure. For this
reason, you need to keep in mind that once you change
the settings, the previous settings can no longer be
restored.
Custom
Low
Custom
High
* You can restore “custom” settings to their original factory-set
values by carrying out Factory Reset for the system (p. 73).
4 . Rotate the PATCH/VALUE dial to change the setting
value.
5 . Repeat Steps 3 and 4 as needed.
All product names mentioned in this document are
trademarks or registered trademarks of their respective
owners.
6 . Press [EXIT] to return to the Play screen.
The names used for the sounds mentioned in this
document are intended to be descriptive in nature, used
solely to identify the equipment whose sound is
simulated using COSM technology.
Ty p e
Selects the basic type of preamp.
OD-2:
This is the sound of the BOSS OD-2.
BD-2:
This is a crunch sound produced with the BOSS BD-2.
ODB-3:
Ma k in g “ Cu sto m ”
This is the sound of the BOSS ODB-3.
O ve rd rive / Disto rtio n Se ttin g s
DS-1:
This gives a basic, traditional distortion sound.
You can prepare two different sets of settings in the GT-6B,
Custom 1 and Custom 2.
MT-2:
This is the sound of the BOSS MT-2.
* Editing the Custom 1 or Custom 2 settings alters all tones in
patches that use these custom settings.
FUZZ:
This models the sound of the FUZZ.
1 . Press the OD/DS ON/OFF switch.
Bo tto m -5 0 –+5 0
The OD/ DS Edit screen appears.
Adjusts the amount of distortion in the lower range.
2 . Press OVERDRIVE/DISTORTION [TYPE
VARIATION] to display “Custom 1” or “Custom 2.”
fig.06-01
To p -5 0 –+5 0
Adjusts the amount of distortion in the upper range.
Lo w -5 0 –+5 0
Adjusts the tone of the lower range.
Hig h -5 0 –+5 0
Adjusts the tone of the upper range.
5 2
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Ch a p te r 6 Usin g th e Cu sto m ize Fu n ctio n
Ty p e
Ma k in g “ Cu sto m ” Pe d a l
W a h Se ttin g s
Selects the basic type of wah.
CRY WAH:
This models the ‘70s-type sound of the CRY BABY wah
Here, you can make three different sets of settings, Custom 1,
Custom 2, and Custom 3.
pedal.
VO WAH:
* Editing the Custom 1, 2, or 3 settings alters all tones in
patches that use these custom settings.
This models the sound of the VOX V846.
Bass WAH:
1 . Press [WAH].
Wah featuring a broader range of variations for the bass
range.
The WAH edit screen appears.
2 . Press PARAMETER [
] [
] so that “FX Select” is
Q -5 0 –+5 0
displayed, then rotate the PATCH/VALUE dial to select
“WH.”
Adjusts the amount of characteristic effect applied to the wah
tone.
3 . Press PARAMETER [
] [
] until “Type”
Ra n g e Lo w -5 0 –+5 0
appears in the display.
Selects the tone produced when the pedal is rocked back.
4 . Rotate the PATCH/VALUE dial to select from “Custom
1–3.”
fig.06-03
Ra n g e Hig h -5 0 –+5 0
Selects the tone produced when the pedal is pressed fully
forward.
Pre se n ce -5 0 –+5 0
Adjusts the tonal quality of the wah effect.
5 . Press PARAMETER [
] [
] to show the custom
parameters.
fig.06-04
Custom
Type
Custom
Q
Custom
Range Low
Custom
Range High
Custom
Presence
6 . Rotate the PATCH/VALUE dial to change the setting
value.
7 . Repeat Steps 4 through 6 as needed.
8 . Press [EXIT] to return to the Play screen.
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Ch a p te r 7 Usin g So u n d O n So u n d
You can use the “Sound On Sound function” by selecting
“SOS” with the REV/ DLY Fx Select (p. 27).
3 . Press the CTL pedal to end the recording.
When you stop recording, the recorded phrases
simultaneously starts playing back. The CTL pedal’s red
indicator light goes out, and the green indicator flashes,
indicating that playback is in progress.
Here, the Number 4 pedal and the BYPASS/ CTL pedal
automatically function as Sound On Sound controls.
fig.07-01
In addition, the Number 4 pedal’s indicator lights up,
indicating that the memory contains recorded data.
fig.07-04
Lit
Dark Blink
Number 4 pedal:
CTL pedal:
Stop, Erase
fig.07-05
Lit Blink
4 . Press the CTL pedal once again to
Record, Play, Overdub
begin overdubbing.
* The Number 4 pedal won’t function as the Sound On Sound
control pedal if the Patch Select mode (p. 60) has been set to
the Bank/Number method of selection.
Synchronize the overdub to the
recorded phrase.
The CTL pedal’s green indicator
flashes and the red indicator light
goes on, indicating that playback
The available recording time in “HiQlty” mode (in
which priority is placed on sound quality) is
approximately 3 seconds, and approximately 6 seconds
in “LongTime” mode (in which priority is placed on
longer recording time).
and recording are being carried out simultaneously.
Each time the CTL pedal is pressed, playback and
overdubbing repeat.
5 . When you have finished playback and overdubbing,
press the Number 4 pedal.
fig.07-06
Pro ce d u re
Dark
6 . If you want to erase the results of
your recording, press and hold
down the Number 4 pedal for at
least two seconds.
fig.07-02
Blink
1 . Confirm that the CTL pedal’s red
indicator is flashing.
This means that the GT-6B is in
recording standby mode and that
there is nothing in the memory.
Additionally, the rate at which the
indicator flashes indicates the
* The recorded content is temporary. Note that carrying out the
following procedures erases the recording.
tempo, allowing you to use this as a quick tempo check
during recording.
•
•
•
Turning off the power to the GT-6B.
Switching to another patch
* Depress the Number 4 pedal at least twice while “Tempo” (p.
you' ’ve used while depressing the pedal (tap input).
Setting the REV/ DLY Fx Select to anything other than
“SOS.”
fig.07-03
•
Switch for SOSMode
Lit
2 . Press the CTL pedal to begin
recording.
* For more information about each of the “SOS” parameters,
refer to p. 29.
The CTL pedal’s red indicator stops
flashing and stays lit, indicating that
the GT-6B is recording.
* Recording stops automatically as soon
as the amount that' s been recorded
exceeds the available recording time.
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Ch a p te r 8 Co n ve n ie n t Fe a tu re s o f th e GT-6 B
Sw itch in g By p a ss O n a n d O ff
O u tp u ttin g So u n d s W ith o u t
Effe cts Ap p lie d (By p a ss)
Usin g th e Pe d a l
The GT-6B features bypass circuitry. By using the bypass, the
signal path, from input to output, consists entirely of analog
circuitry. To switch to bypass, carry out the following
procedure.
When the BYPASS/ CTL pedal or the expression pedal
switch function is set to “Bypass,” these pedals then toggle
between “bypass” or “effect on” each time they are pressed.
The green BYPASS/ CTL pedal is lit while the unit is in
bypass mode (refer to “Settings for Using the Expression
Pedal Switch/ CTL Pedal”: p. 46).
Usin g th e Ex p re ssio n Pe d a l Eve n
W h e n By p a ss Is in Effe ct
Usin g th e Bu tto n s
You can use Bypass EXP Mode to set the routing of the
signals when bypass is in effect; these settings can be made
separately for each individual patch.
Each time the panel button [TUNER/ BYPASS] is pressed, the
unit switches between “Tuner mode (p. 56),” “Bypass mode”
and “Play mode.”
1 . Press [NAME/NS/MASTER] until “Bypass EXP Mode”
appears in the display.
Co n n e ctin g Dire ctly to a Re co rd in g Mix e r
o r PA Mix e r (XLR Ba la n ce d O u tp u t)
* Each time [NAME/NS/MASTER] is pressed, the item that
can be set is changed, following this order:
Name → Noise Suppressor → Master → Bypass EXP Mode
The GT-6B features balanced outputs that utilize XLR
connectors. Although direct boxes are generally used to
connect bass (effects processor) outputs to mixers in concert
halls and recording studios, you can connect the GT-6B
directly to the mixer, which lets you avoid degradations in
the sound quality, as well as any additional problems that
→ Foot Volume → Effect Chain.
fig.08-50
2 . Rotate the PATCH/VALUE dial to select “On” or “Off.”
might occur as the result of connecting multiple devices.
fig.08-02
Off:
You cannot use the expression pedal while bypass is in
effect. The bypass sound does not pass through the AD/
DA converter, and analog bypass sound is output. The
analog bypass sound is also output for the direct sound
when only CHORUS or REV/ DLY is used. (However,
the expression pedal affects only the effect sound.)
On:
You can use the expression pedal while bypass is in
effect. The bypass sound is output after passing through
the AD/ DA converter. Also, the direct sound is output
after passing through the AD/ DA converter even when
CHORUS or REV/ DLY is used, so you can use the
expression pedal to control the volume level for sounds
including the direct sound.
Sw itch in g th e XLR O u tp u t
Co n n e cto r Sig n a ls
You can select the signals to be output from the XLR
connectors with the OUTPUT SELECT switch on the rear
panel.
3 . To save the settings, perform the Write procedure (p. 23).
R-O UTPUT-L: Ste re o O u tp u t
Press [EXIT] to return to the Play screen.
The GT-6B’s stereo output is output as is, without change. Set
the switch to this position when recording in stereo or
sending stereo signals to a PA.
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Ch a p te r 8 Co n ve n ie n t Fe a tu re s o f th e GT-6 B
DIRECT/ MO N O : Dire ct/ Mo n o O u tp u t
Tu n in g th e Ba ss
Output from one of the connectors is the GT-6B’s stereo
output mixed to mono; the direct bass direct sound (the
analog bypass sound from the input jack) is output from the
other connector.
The GT-6B is equipped with an Internal automatic chromatic
tuner. Turning on the tuner mutes the output and activates
the tuner.
This switch setting determines whether the signals output
from the XLR output jacks are output in stereo (L/ R) or as
direct mono output. Set the switch to this position when
using only one mixer channel, for example during concerts.
Additionally, for recording, you can record the direct bass
sound on a separate channel, then later on you can remix the
direct sound with the effect sound during mixdown.
Tu rn in g th e Tu n e r Fu n ctio n O n
Use the following procedure to switch to Tuner mode.
fig.08-04
Q u ick Pa tch Vo lu m e Ad ju stm e n t
(EFFECT LEVEL Kn o b )
For quick and easy adjustment of the current patch’s volume,
use the EFFECT LEVEL knob.
You can control the patch level of the currently selected
Usin g th e Pe d a l
patch directly by turning the EFFECT LEVEL knob.
fig.08-03
To switch to Tuner mode, simultaneously press the PATCH
and PATCH
pedals.
Press either the PATCH
to the original mode.
or PATCH
pedals to return
Usin g th e Bu tto n s
Each time the panel button [TUNER/ BYPASS] is pressed, the
unit switches between “Tuner mode,” “Bypass mode (p. 55)”
and “Play mode.”
Ab o u t th e Disp la y Du rin g Tu n in g
* When the Bypass EXP Mode (p. 55) and Noise Suppressor (p.
the direct sound is output as analog output.In this case,
EFFECT LEVEL does not change the volume of the direct
sound.
With the GT-6B’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
sound and the sound in the display.
Furthermore, the tuning status is also indicated by the
pedals' indicators.
fig.08-05
* The patch level as adjusted with the PATCH LEVEL knob is
saved when the Write procedure (p. 23) is carried out.
Note Name
Tuning Guide
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 bass so
that the “■” appears in the center.
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Ch a p te r 8 Co n ve n ie n t Fe a tu re s o f th e GT-6 B
When the sound is higher than the indicated note name
At this time, the indicators of the PATCH
and
PATCH pedals light, indicating that the instrument is
“
” appears to the right of center in the Tuning Guide.
fig.08-52
precisely in tune.
fig.08-06
too high
tuned
The pedals' indicators flash from left to right.
4 . Repeat Steps 1–3 until all of the strings are tuned.
too low
Ch a n g in g th e Tu n e r Se ttin g s
Ho w to Tu n e
You can change the following tuner-related settings.
1 . Play a single open note on the string being tuned.
Sta n d a rd Pitch (4 3 5 –4 4 5 Hz)
fig.08-07
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
display.
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-6B to frequencies from 435 to
445 Hz.
General Four-String Bass
4th 3rd 2nd 1st
Regular
E
D#
D
A
G#
G
D
C#
C
G
F#
F
1/ 2 Step Down
1 Step Down
* This is set to 440 Hz when shipped from the factory.
General Five-String Bass
1 . Turn the Tuner function on.
5th
4th 3rd 2nd 1st
Regular
B
E
G#
G
A
C#
C
D
F#
F
2 . Press PARAMETER [
] until “TUNER Pitch” is
1/ 2 Step Down
1 Step Down
A#
A
D#
D
displayed.
3 . Rotate the VALUE dial to change the settings.
General Six-String Bass
4 . Press [TUNER/BYPASS] or [EXIT] to return to the Play
6th
5th
B
4th 3rd 2nd 1st
screen, or press PARAMETER [
Tuner screen.
] to return to the
Regular
E
G#
G
A
C#
C
D
F#
F
G
B
1/ 2 Step Down
1 Step Down
A#
A
D#
D
A#
3 . As you watch the Tuning Guide, adjust the bass’s
tuning until “■” appears in the center.
When the sound is lower than the indicated note name
“
” appears to the left of center in the Tuning Guide.
fig.08-51
The pedals' indicators flash from right to left.
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Ch a p te r 8 Co n ve n ie n t Fe a tu re s o f th e GT-6 B
Ad ju stin g th e O ve ra ll So u n d to Ma tch
th e Usa g e En viro n m e n t (Glo b a l)
Usin g th e Dig ita l O u t
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
The GT-6B includes a feature that allows you to change all of
the patch settings temporarily. This is called the “Global
function.”
with no degradation in sound quality.
fig.08-10
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 [
]
DIGITAL IN
[
] to display the following screen.
fig.08-53
Global: Noise Suppressor Threshold
Global: Reverb Level
Ad ju stin g th e O u tp u t Le ve l
fro m DIGITAL O UT
With the GT-6B, you can adjust the output level of DIGITAL
OUT independently of the analog output level.
2 . Rotate the PATCH/VALUE dial to change the setting’s
value.
1 . Press [UTILITY], then press PARAMETER [
]
[
] so that “Digital Out” is displayed.
3 . Repeat Steps 1 and 2 as needed.
fig.09-52
4 . Press [EXIT] to return to the Play screen.
N S Th rsh o ld (N o ise Su p p re sso r Th re sh o ld )
-2 0 d B–+2 0 d B
Adjusts the noise suppressor threshold level settings for each
patch in a range from -20 dB to +20 dB.
2 . Rotate the PATCH/VALUE dial to set the digital output
level.
This adjustment is an effective way to get equivalent output
with each of your basses when you are connecting more than
one bass.
Valid settings: 0–200
* Raising the level too high may cause clipping of the signal
within the unit. Check the meter (p. 59) or otherwise monitor
the signal while setting this to an appropriate level.
* 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.
3 . Press [EXIT] to return to the Play screen.
Re vrb Le ve l (Re ve rb Le ve l) 0 %–2 0 0 %
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.
* Set to “100%” when using this in individual patch settings.
* This has no effect on patches in which reverb is turned off.
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Ch a p te r 8 Co n ve n ie n t Fe a tu re s o f th e GT-6 B
Ch e ck in g th e Effe ct O u tp u t
Le ve l w ith th e Le ve l Me te r
You can meter the output level of each effect. This is handy
for checking the effects’ output levels.
1 . Press [UTILITY] a number of times until “METER” is
displayed.
* You can also select this by pressing [UTILITY], and then
pressing PARAMETER [
] [
].
fig.08-11
2 . Rotate the PATCH/VALUE dial to select the effect
whose level you want to check.
* Only effects that are turned on can be selected.
* 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-6B.
* You may not be able to achieve the effects adequately if your
output levels are set too high. While checking the meter and
making sure the needle doesn’t fluctuate, adjust the output
level of each of your effects to the optimum value.
3 . Press [EXIT] to return to the Play screen.
5 9
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Ch a p te r 9 O th e r Fu n ctio n s
Ad ju stin g th e Disp la y Co n tra st
(LCD Co n tra st)
Se ttin g th e Tim in g Use d fo r Sw itch in g
Pa tch e s (Pa tch Se le ct Mo d e )
Depending on where the GT-6B is placed the display may
become hard to read. If this occurs, adjust the display
contrast.
This setting determines how patches are switched with the
pedals.
1 . Press [UTILITY], then press PARAMETER [
]
1 . Press [UTILITY] a number of times until “LCD
[
] so that “Patch Select” is displayed.
fig.09-03
Contrast” is displayed.
* You can also select this by pressing [UTILITY], and then
pressing PARAMETER [
] [
].
* Turning on the power while holding down [UTILITY] enables
you to display this screen directly.
2 . Rotate the PATCH/VALUE dial to set the method to be
fig.09-01
used for switching patches.
UP/DOWN:
Patches are switched only with the PATCH
PATCH pedals.
* This is the setting made at the factory.
and
2 . Rotate the PATCH/VALUE dial to adjust the contrast.
Values: 1–16
*
For more on how the unit operates while switching patches
when set to “UP/DOWN,” refer to “Selecting Patches” (p. 14).
3 . Press [EXIT] to return to the Play screen.
BANK/NUMBER:
Patches are switched by directly specifying the bank and
number.
Lim itin g th e Ba n k s Th a t Ca n
Be Sw itch e d (Ba n k Ex te n t)
3 . Press [EXIT] to return to the Play screen.
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.
Se le ctin g Pa tch e s b y Dire ctly
Sp e cify in g th e Ba n k a n d N u m b e r
This is good way to change tones by switching patches one
after another.
1 . Press [UTILITY], then press PARAMETER [
]
[
] so that “Bank Extent” is displayed.
fig.09-50
Sw itch in g O n ly th e N u m b e r
fig.09-04
2 . Rotate the PATCH/VALUE dial to set the upper limit
for the banks.
Valid Settings: U1–P0
3 . Press [EXIT] to return to the Play screen.
1
1 . Press the number pedal matching the number of the
patch you want to use.
That pedal’s indicator lights up, and the GT-6B switches
to that patch.
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Ch a p te r 9 O th e r Fu n ctio n s
Sw itch in g th e Ba n k a n d N u m b e r
fig.09-05
Se ttin g th e Tim in g Use d fo r Sw itch in g
Pa tch e s (Pa tch Ch a n g e Mo d e )
1
This sets the timing with which the GT-6B switches to the
next patch when switching patches with the pedals.
The Patch Change mode appears only when “BANK/
NUMBER” has been chosen as the Patch Select mode.
1 . Press [UTILITY], then press PARAMETER [
]
[
] so that “Patch Change” is displayed.
fig.09-51
2
1 . Press the BANK
or BANK
pedal to select the
desired bank.
2 . Rotate the PATCH/VALUE dial to set the timing for
When you switch banks, the indicator for number pedal
last pressed before pressing the BANK pedal flashes, and
the GT-6B is ready for the patch number to be specified
(the patch cannot yet be switched in this condition).
switching patches.
Immediate:
The patch switches the instant a BANK pedal or any of
the number pedals is pressed.
2 . Press a number pedal to select the patch you want to
Wait for a NUM.:
use.
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.
The indicator for the selected number pedal lights up,
and the GT-6B switches to that patch.
* The delay and reverb sounds are suspended while patches are
switched.
3 . Press [EXIT] to return to the Play screen.
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Ch a p te r 9 O th e r Fu n ctio n s
Se ttin g “ Ex p re ssio n Pe d a l Ho ld ”
Se le ctin g th e PATCH/ VALUE
Dia l Fu n ctio n (Dia l Fu n ctio n )
This setting determines whether or not the Pedal Assign’s (p.
patches are switched.
This setting determines whether or not patches are switched
by rotating the PATCH/ VALUE dial.
* 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 “Dial Func” is displayed.
fig.09-02
1 . Press [UTILITY], then press PARAMETER [
]
[
] so that “EXP Pdl Hold” is displayed.
fig.09-06
2 . Rotate the PATCH/VALUE dial to select the PATCH/
VALUE dial function.
PATCH No.& VALUE:
2 . Rotate the PATCH/VALUE dial to set Expression Pedal
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.When shipped from the factory,
you can use this setting.
Hold.
On: The Pedal Assign status is carried over.
(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).
VALUE Only:
In this setting, the PATCH VALUE Dial is used only for
changing the value of parameter settings, not patches.
If the expression pedal is controlling the wah effect in the
patch being switched to, then the volume assumes the
value set in the patch, and the patch’s wah effect is given
the value corresponding to the current pedal position
(angle).
3 . Press [EXIT] to return to the Play screen.
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-6B, the volume changes in
accordance with the movement of the pedal.
3 . Press [EXIT] to return to the Play screen.
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Ch a p te r 9 O th e r Fu n ctio n s
Se ttin g th e Kn o b Fu n ctio n s
(Kn o b Mo d e )
Se ttin g th e Ex te rn a l Fo o t Sw itch
Fu n ctio n s (SUB CTL 1 , 2 Fu n ctio n )
This sets the way the values of settings are changed when the
control knobs are turned.
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.
1 . Press [UTILITY], then press PARAMETER [
]
[
] so that “Knob Mode” is displayed.
* When connecting two foot switches using the special optional
Roland PCS-31 connector cord, the foot switch connected
using the plug with the white stripe functions according to the
Sub Control 1 settings, and the foot switch connected using
the plug with the red stripe functions according to the Sub
Control 2 settings.
fig.09-07
2 . Rotate the PATCH/VALUE dial to set the Knob mode.
Immediate:
* When you have only one foot switch connected, the Sub
Control 1 settings are used.
Turning the knobs immediately changes the values.
Current Setting:
1 . Press [UTILITY], then press PARAMETER [
] so that “SubCTL 1 Func” or “SubCTL 2 Func” is
displayed.
]
Values begin to change only once the knob position
reaches the values set in the patch.
[
fig.09-08
3 . Press [EXIT] to return to the Play screen.
2 . Rotate the PATCH/VALUE dial to set the function for
the foot switch.
Assignable:
The controller set in each patch’s Pedal Assign (p. 46) is
used.
Bypass On/Off:
The foot switch is used as a bypass On/ Off switch.
Patch Select:
The foot switch is used for switching Patch Select mode
(p. 60).
MIDI Start/Stop:
The foot switch is used for starting and stopping an
external MIDI device (such as a sequencer).
MMC Play/Stop:
The foot switch is used for controlling Play and Stop for
the external MIDI device (such as a hard disk recorder).
3 . Press [EXIT] to return to the Play screen.
6 3
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Ch a p te r 1 0 Usin g MIDI
Co n tro llin g th e GT-6 B Re m o te ly Fro m
a n Ex te rn a l MIDI De vice
W h a t Ca n Yo u Do w ith MIDI?
You can perform the following operations using MIDI with
the GT-6B.
Sw itch in g Pa tch N u m b e rs
When the GT-6B receives Program Change messages from
the external MIDI device, the corresponding patches are
switched simultaneously.
* The use of MIDI requires that the MIDI channels of the
connected devices match. If the MIDI channel settings are not
correct, the GT-6B will be unable to exchange data with other
MIDI devices.
You can set the correspondence between MIDI Program
Change messages and the GT-6B’s patches using the
Program Change Map (p. 69). Make these settings when
you create correspondences for effect sounds with other
MIDI devices.
O p e ra tin g Fro m th e GT-6 B
O u tp u ttin g Pro g ra m Ch a n g e Me ssa g e s
When a patch is selected on the GT-6B, a Program Change
message corresponding to the patch number is transmitted
simultaneously. The external MIDI device then switches its
The connections shown in the figure below are for a
settings according to the Program Change message it receives.
fig.10-01
sequencer automatically performing the backing as a bass 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 you
have determined the GT-6B patches are to be switched.
fig.10-02
MIDI OUT
MIDI IN
MIDI OUT
MIDI IN
O u tp u ttin g Co n tro l Ch a n g e Me ssa g e s
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.
MIDI Sta rt/ Sto p , MMC Pla y / Sto p
MIDI Start/ Stop or MMC Start/ Stop messages are output
when the CTL pedal, the expression pedal, the expression
pedal switch, or the external device connected to the SUB
EXP PEDAL/ SUB CTL 1,2 jack is operated, allowing you to
control the performance of the external MIDI device.
Re ce ivin g Co n tro l Ch a n g e Me ssa g e s
You can control specified parameters during a
performance through Control Change messages received
by the GT-6B. Parameters to be controlled are set with
Pedal Assign (p. 46).
* For more on how to make the settings, refer to p. 48 and 63.
Tra n sm ittin g Da ta
Re ce ivin g Da ta
You can use Exclusive messages to transmit the settings for
effect sounds and other content stored in the GT-6B to other
MIDI devices. For example, you can provide another GT-6B
with the same settings, and save effect sound settings to a
sequencer or other device.
The GT-6B can receive data transmitted from another GT-6B,
as well as data that’s been stored on a sequencer.
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Ch a p te r 1 0 Usin g MIDI
MIDI TX Ch a n n e l (MIDI Tra n sm it Ch a n n e l)
1 –1 6 , Rx
Ma k in g th e Se ttin g s fo r MIDI
Fu n ctio n s
fig.10-06
Here is a description of the GT-6B’s MIDI functions. Set them
as needed, depending on the intended use.
1 . Press [UTILITY] a number of times until the following
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.
screen appears.
fig.10-03
* This was set to “Rx” when the unit was shipped from the
factory.
MIDI De vice ID
1 –3 2
2 . Press PARAMETER [
] [
] so that the
parameter that you want to set appears in the display.
fig.10-07
3 . Rotate the PATCH/VALUE dial to change the setting
value.
4 . Repeat steps 2–3 as necessary.
This sets the Device ID used for transmitting and receiving
Exclusive messages.
5 . Press [EXIT] to return to the Play screen.
MIDI RX Ch a n n e l (MIDI Re ce ive Ch a n n e l)
1 –1 6
* This was set to 1 when the unit was shipped from the factory.
fig.10-03
MIDI Sy n c Clo ck
Au to , In te rn a l
fig.10-08
This sets the MIDI channel used for receiving MIDI
messages.
* This was set to 1 when the unit was shipped from the factory.
You can synchronize the performance of a sequencer or other
external MIDI device.
MIDI O m n i Mo d e
O m n i O ff, O m n i O n
fig.10-05
Auto:
When no MIDI Clock from the external MIDI
device is 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.
When set to “Omni On,” messages are received on all
Internal: The performance is synchronized to the tempo set
channels, regardless of the MIDI channel settings.
in MASTER BPM.
* Even when Omni Mode is set to ON, the only Exclusive
messages received are those for Device ID data set with
“Device ID.”
* This was set to “Auto” when the unit was shipped from the
factory.
* 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. If you
want to be able to set the Master BPM, set to “Internal.”
* This was set to “Omni On” when the unit was shipped from
the factory.
* 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.
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Ch a p te r 1 0 Usin g MIDI
MIDI PC O UT (MIDI Pro g ra m Ch a n g e O u t)
MIDI SUB CTL 1 O UT (MIDI Su b Co n tro l 1 O u t)
O ff, O n
O ff, 1 –3 1 , 3 3 –9 5
fig.10-09
fig.10-13
This setting determines whether or not Program Change
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.
messages are output when patches are switched on the GT-
6B.
Off: Program Change messages are not output, even when
patches are switched.
MIDI SUB CTL 2 O UT (MIDI Su b Co n tro l 2 O u t)
O ff, 1 –3 1 , 3 3 –9 5
On: Program Change messages are simultaneously output
when patches are switched.
fig.10-14
MIDI EXP O UT (MIDI Ex p re ssio n Pe d a l O u t)
O ff, 1 –3 1 , 3 3 –9 5
fig.10-10
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 O UT
(MIDI Ex p re ssio n Pe d a l Sw itch O u t)
O ff, 1 –3 1 , 3 3 –9 5
fig.10-11
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 O UT (MIDI Co n tro l Pe d a l O u t)
O ff, 1 –3 1 , 3 3 –9 5
fig.10-12
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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Ch a p te r 1 0 Usin g MIDI
W h e n Tra n sm ittin g Da ta to An o th e r GT-6 B
Tra n sm ittin g a n d Re ce ivin g
MIDI Da ta
Connect as shown in the figure below, and match the Device
ID for the transmitting and receiving devices.
fig.10-16
On the GT-6B, you can use Exclusive messages to provide
another GT-6B with identical settings, and save effect
settings on a sequencer or other device. This transmission of
data is called “Bulk Dump,” while receiving such data is
referred to as “Bulk Load.”
Tra n sm ittin g Da ta to a n Ex te rn a l
MIDI De vice (Bu lk Du m p )
MIDI OUT
MIDI IN
The following types of data can be transmitted. You can
transmit data by specifying the range from the start to the
end of transmission.
Displayed
Data Transmitted
System
Includes settings for utility parameters,
Harmonist scales, Auto Slap phrases and
overdrive/ distortion, and wah custom
edit parameters.
U1-1–U0-4,
u1-1–u0-4
Settings for patch Numbers U1-1 through
U0-4 and u1-1 through u0-4
Tra n sm ittin g
fig.10-17
Temp
Settings for what is currently being played
2
Ma k in g th e Co n n e ctio n s
W h e n Sa vin g to a MIDI Se q u e n ce r
Connect as shown in the figure below, and put the sequencer
in the mode where it is standing by, ready to receive
1,2
Exclusive messages.
fig.10-15
4 3 1
1 . Press [UTILITY], then press PARAMETER [
]
[
] so that “Bulk Dump” is displayed.
fig.10-18
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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Ch a p te r 1 0 Usin g MIDI
fig.10-19
Re ce ivin g
1 . Press [UTILITY], then press PARAMETER [
]
[
] so that “Bulk Load” is displayed.
fig.10-20
When the transmission is completed, the screen prior to
transmission returns to the display.
4 . Press [EXIT] to return to the Play screen.
2 . Transmit the data from the external MIDI device.
The following appears in the display when the GT-6B
Re ce ivin g Da ta fro m a n Ex te rn a l
MIDI De vice (Bu lk Lo a d )
receives the data.
fig.10-21
Ma k in g th e Co n n e ctio n s
W h e n Re ce ivin g Da ta Sa ve d o n a MIDI
Se q u e n ce r
The following appears in the display when the GT-6B
Connect as shown below. Set the GT-6B’s Device ID to the
finishes receiving the data.
fig.10-22
same number that was used when the data was transmitted
to the MIDI sequencer.
fig.10-02
Further data can be received at this point.
3 . Press [EXIT] to quit Bulk Load.
After you press [EXIT], “Checking...” appears in the
display, indicating that the GT-6B is checking the
received data. When the check is completed, the Play
screen returns to the display.
MIDI OUT
MIDI IN
* For instructions on operating the sequencer, refer to the
owner’s manual for the sequencer you are using.
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Ch a p te r 1 0 Usin g MIDI
Pro ce d u re
fig.10-24
Se ttin g th e Pro g ra m Ch a n g e Ma p
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-6B and the patches to be switched to in
the “Program Change Map.”
2
3
In itia l Pro g ra m Ch a n g e Ma p Se ttin g s
The Program Change Map set at the factory is shown below.
Program Number
Bank/ Patch Number
1
1,4 6
1
2
U1-1
U1-2
U1-3
U1-4
U2-1
:
1 . Press [UTILITY], then press PARAMETER [
]
3
[
] so that “MIDI Map Select” is displayed.
fig.10-25
4
5
:
:
:
:
:
2 . Rotate the PATCH/VALUE dial to select “Prog.”
39
40
41
42
:
U0-3
U0-4
u1-1
u1-2
:
* You cannot set the Program Change Map when “Fix” is
selected (it is not displayed).
* See the following item for more on “MIDI Map Select.”
3 . Press PARAMETER [
] until “MIDI Program Map”
appears in the display.
fig.10-26
:
:
:
:
79
80
81
82
:
u0-3
u0-4
P1-1
P1-2
:
Program 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.
:
:
119
120
121
122
:
P0-3
P0-4
P0-4
P0-4
:
5 . Repeat Step 4 as needed, setting patch numbers to their
corresponding Program numbers, until the Program
Change Map is completed.
6 . Press [EXIT] to return to the Play screen.
128
P0-4
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Ch a p te r 1 0 Usin g MIDI
En a b lin g / Disa b lin g th e Pro g ra m
Ch a n g e Ma p Se ttin g s (MIDI Ma p Se le ct)
Ch a n g in g Pa tch N u m b e rs o n a n
Ex te rn a l MIDI De vice Fro m th e GT-6 B
This setting determines whether patches are switched
according to the Program Change Map settings, or to the
default settings when the GT-6B receives Program Change
messages.
When patches are switched with the GT-6B, a Program
Change message is transmitted. The correspondence
between the GT-6B’s initial bank and patch numbers and the
transmitted Program Change messages is shown in the table
below.
1 . Press [UTILITY], then press PARAMETER [
]
[
] so that “MIDI Map Select” is displayed.
fig.10-25
Bank/ Patch Number
Program Number
U1-1
U1-2
U1-3
U1-4
U2-1
:
1
2
3
2 . Rotate the PATCH/VALUE dial to select “Fix” or
4
“Prog.”
5
Fix:
Switches to the patches according to the
default settings. For more on the default
:
:
:
settings, refer to “Initial Program Change Map
Settings” (p. 69).
:
:
U0-3
U0-4
u1-1
u1-2
:
39
40
41
42
:
Prog:
Switches to the patches according to the
Program Change Map settings.
3 . Press [EXIT] to return to the Play screen.
:
:
:
:
u0-3
u0-4
P1-1
P1-2
:
79
80
81
82
:
:
:
:
:
P0-3
P0-4
119
120
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Ap p e n d ice s
fig.11-102
Ab o u t 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.
Ho w MIDI m e ssa g e s a re
tra n sm itte d a n d re ce ive d
* 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.
First, we will explain briefly how MIDI messages are
transmitted and received.
Ma in ty p e s o f MIDI m e ssa g e
u se d b y th e GT-6 B
MIDI co n n e cto rs
The following types of connector are used to convey MIDI
messages. MIDI cables are connected to these connectors as
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).
needed.
fig.11-101
Ch a n n e l m e ssa g e s
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.
Pro g ra m ch a n g e m e ssa g e s
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.
device.
MIDI THRU: This connector re-transmits the messages that
were received at MIDI IN.
* The GT-6B features both “MIDI IN” and “MIDI OUT”
connectors.
Co n tro l ch a n g e m e ssa g e s
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 ch a n n e ls
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 specified parameters can be controlled with the GT-6B.
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.
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Ap p e n d ice s
Sy ste m m e ssa g e s
Fa cto ry Se ttin g s
System messages include exclusive messages, messages used
for synchronization, and messages used to keep a MIDI
system running correctly.
Tu n e r
TUNER Pitch:
A= 440 Hz (p. 57)
Ex clu sive m e ssa g e s
Glo b a l
Exclusive 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-6B.
NS Threshold:
Reverb Level:
0 dB (p. 58)
100% (p. 58)
Sy ste m
LCD Contrast:
BANK Extent:
16 (p. 60)
P0
The two instruments must be set to the same device ID
numbers when exchanging SysEx messages.
Patch Select Mode:
EXP Pedal Hold:
Dial Function:
Knob Mode:
UP/DOWN (p. 61)
On (p. 62)
PATCH No.& VALUE (p. 62)
Immediate (p. 63)
Assignable (p. 63)
Assignable (p. 63)
100
Ab o u t th e MIDI im p le m e n ta tio n
Sub CTL1 Func:
Sub CTL2 Func:
Digital Out Level
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.
MIDI
MIDI RX Channel:
MIDI Omni Mode:
MIDI TX Channel:
MIDI Device ID:
1 (p. 65)
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
Omni On (p. 65)
Rx (p. 65)
1 (p. 65)
MIDI Sync Clock:
MIDI PC OUT:
Auto (p. 65)
On (p. 66)
7 (p. 66)
MIDI EXP OUT:
can simply place the two charts side by side.
fig.11-103
MIDI EXP SW OUT:
MIDI CTL OUT:
81 (p. 66)
80 (p. 66)
Off (p. 66)
Off (p. 66)
Fix (p. 69)
Fold here
MIDI Device A
MIDI Device B
MIDI Sub CTL1OUT:
MIDI Sub CTL2OUT:
MIDI Map Select:
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.
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Ap p e n d ice s
Re sto rin g th e Fa cto ry
Ad ju stin g th e Ex p re ssio n Pe d a l
Se ttin g s (Fa cto ry Re se t)
Although the GT-6B’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.
Restoring the GT-6B to the settings made at the factory is
referred to as “Factory Reset.”
Not only can you return all of the settings to the values in
effect when the GT-6B was shipped from the factory, you can
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.
also specify the range of settings to be reset.
fig.11-201
2
1
3
1 . Hold down [PEDAL ASSIGN] while you switch on the
power.
The following messages alternate in the display.
fig.11-601
3
4
1 . Turn off the power.
2 . With the pedal completely released, press [WRITE].
The message “---OK! ---” appears, and then the following
2 . While holding down COMP/LIMITER ON/OFF button
messages alternate in the display.
fig.11-602
and [TYPE VARIATION], turn on the power.
The Factory Reset range setting screen appears in the
display.
fig.11-202
The area of data you wish to factory reset
* To cancel the Factory Reset, press [EXIT].
* 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 . Press PARAMETER [
] [
] to move the cursor,
and rotate the PATCH/VALUE dial to specify the range
of settings you want to restore to the factory settings.
System:
System parameters, Harmonist scales, Auto Slap phrases
and overdrive/ distortion, and wah custom edit
parameters
3 . With the pedal fully depressed, press [WRITE].
“--- OK! ---” appears, followed by “press [EXIT].”
#U1-1–#u0-4:
* 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.
Settings for patch Numbers U1-1 through u0-4
4 . If you want to proceed with the factory reset, press
[ENTER].
The specified range of data is restored, and the Play
screen returns to the display.
4 . Press [EXIT].
After the message “Checking data please wait...” has
been displayed, the Play screen returns to the display.
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Ap p e n d ice s
I Ca n ’t Ch a n g e Pa tch e s
Tro u b le sh o o tin g
■
Is something other than the Play screen shown in the
display?
If there is no sound, or if the GT-6B does not function as you
expect, first check the following points. If the measures in
this checklist do not resolve your problem, you should
contact your dealer or the nearest Roland Service Center.
→
On the GT-6B, patches can be selected only when the
Play screen is displayed. Press [EXIT] to return to the
Play screen (p. 10).
N o so u n d / Vo lu m e is w e a k
Pa ra m e te rs sp e cifie d w ith co n tro l
a ssig n ca n ’t b e co n tro lle d a s in te n d e d
■
Are the connection cables broken?
Try exchanging the connection cable.
→
■
Is the effect switched off?
→
To control a parameter using the expression pedal or
parameter you intend to control is switched on.
■
Is the GT-6B correctly connected to the other devices?
Check connections with the other devices (p. 12).
→
■
Is the connected amp/ mixer turned off, or the volume
lowered?
■
Is something other than “Assignable” selected for the
SUB CTL 1,2 function setting?
→
Check the settings of the connected device.
→
When operating a foot switch connected to the SUB
EXP/ SUB CTL 1, 2 jack, set the SUB CTL 1, 2 function to
“Assignable.” (p. 63)
■
Is the EFFECT LEVEL knob lowered?
Adjust the EFFECT LEVEL knob to an appropriate
position (p. 17).
→
■
Do the MIDI channel settings of both devices match
(when using MIDI)?
■
Is Tuner/ Bypass set to ON?
→
The direct sound is not output by setting the Tuner/
Bypass to “On” (p. 56).
→
Make sure that the MIDI channels of both devices match
(p. 65).
* When “Omni On” is selected in Omni mode, messages on all
MIDI channels are received, regardless of the MIDI channel
settings (p. 65).
■
Is each effect set correctly?
→
Use the “Meter function” (p. 59) to check the output level
of each effect. If there is an effect for which the meter is
not moving, check the settings for that effect.
→
Make sure that the controller numbers of both devices
match (p. 66).
■
Is “FV: Level” or “MST: Effect Level” specified as a Pedal
Assign Target?
Vo lu m e le ve l d o e s n o t ch a n g e w ith
Fo o t Vo lu m e
→
Carry out the operation in accordance with the source.(p.
50)
■
Is “OFF” selected in Bypass EXP Mode (p. 55) and Noise
Suppressor (p. 44)?
Th e vo lu m e le ve l o f th e in stru m e n t
co n n e cte d to IN PUT ja ck is to o lo w :
→
If “OFF” is set in Bypass EXP Mode, note the following:
•
When all effects are set to OFF, the analog bypass sound
is output, and the volume cannot be controlled with Foot
Volume (p. 44).
■
Could you be using a connection cable that contains a
resistor?
→
Use a connection cable that does not contain a resistor.
•
When CHORUS or REV/ DLY are the only effects being
used, analog bypass sound is output for the direct
sound, so only the effect sound is controlled with the
FOOT VOLUME (p. 44).
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Ap p e n d ice s
MIDI m e ssa g e s a re n o t tra n sm itte d /
re ce ive d
Erro r Me ssa g e s
If an incorrect operation is attempted or execution is not
possible, an error message will appear in the display. When
this occurs, continue by following the instructions indicated
in the error message.
■
Is the MIDI cable broken?
→
Try using a different MIDI cable.
■
Is the GT-6B correctly connected to the external MIDI
device?
fig.11-301
→
Check connections with the other MIDI device.
■
Do the MIDI channel settings of both devices match?
Make sure that the MIDI channels on both devices match
(p. 65).
→
■
■
The memory backup battery inside the GT-6B has run
down. (This message appears when the power is turned
on.)
■
If sending messages from the GT-6B, have you set the
settings necessary for sending data?
Replace the battery as soon as possible. For battery
replacement, please contact the nearest Roland Service
Center or your dealer.
→
Check the on/ off status (p. 66) for transmission of
Program Change messages and the settings for the
controller numbers to be transmitted (p. 66).
fig.11-302
■
■
There is a problem with the MIDI cable connections.
Check that MIDI cables have not been disconnected or
broken.
fig.11-303
■
■
You’ve attempted to switch patches by rotating the
PATCH/ VALUE dial, but the Dial function (p. 62) is set
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.11-304
■
More MIDI messages were received in a short time than
could be processed correctly.
7 5
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Ap p e n d ice s
MIDI Im p le m e n ta tio n Ch a rt
fig.11-401
BASS EFFECTS PROCESSOR
Date: Dec. 10, 2001
Version: 1.00
Model GT-6B
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
1–31
33–63
64–95
O
O
O
O
X
O
* 1
* 1
Control
Change
Prog
O
O
Program Number
: True #
Change
0–127
0–127
1–128
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 Recognizes messages designated for use for “realtime control over parameters.”
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.
Notes
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
X : No
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
7 6
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Ap p e n d ice s
Ma in Sp e cifica tio n s
GT-6 B: Ba ss Effe cts Pro ce sso r
(REVERB/ / DELAY)
LEVEL knob
XLR OUTPUT jacks L/ R (MONO/ DIRECT)
DIGITAL OUT connector (coaxial)
SUB EXP PEDAL/ SUB CTL PEDAL 1,2 jack
MIDI connectors IN/ OUT
AD Co n ve rsio n
24-bit + AF method
ON/ OFF button
DA Co n ve rsio n
(PREAMP/ SPEAKER, 3 BAND PARAMETRIC EQ)
TYPE knob
AC Adaptor Jack
24-bit
GAIN knob
Po w e r Su p p ly
Sa m p lin g fre q u e n cy
TREBLE knob (also used as Q knob)
MIDDLE knob (also used as FREQUENCY knob)
BASS knob (also used as GAIN knob)
LEVEL knob (also used as TOTAL knob)
SPEAKER knob
AC 14 V: Supplied AC adaptor
44.1 kHz
Cu rre n t Dra w
Pro g ra m Me m o rie s
800 mA
120: 80 (User) + 40 (Preset)
PREAMP ON/ OFF button
SPEAKER ON/ OFF button
EQ ON/ OFF button
Dim e n sio n s
N o m in a l In p u t Le ve l
515 (W) x 261 (D) x 75 (H) mm
INPUT: -10 dBu
20-5/ 16 (W) x 10-5/ 16 (D) x 3 (H) inches
EQ SELECT button
In p u t Im p e d a n ce
(WAH)
W e ig h t
INPUT: 1 MΩ
ON/ OFF button
4.7 kg/ 10 lbs 6 oz (excluding AC Adaptor)
(FX-1)
N o m in a l O u tp u t Le ve l
ON/ OFF button
Acce sso rie s
OUTPUT: -10 dBu
AC adaptor (BRC-series)
Owner’s Manual
(FX-2)
(Standard jack, at OUTPUT LEVEL marking position)
OUTPUT: -10 dBu (XLR jack, 600 Ω load)
ON/ OFF button
Patch List
(MASTER)
Roland Service (Information sheet)
O u tp u t Im p e d a n ce
EFFECT LEVEL knob
PARAMETER buttons L/ R
EXIT button
OUTPUT: 2 k Ω (Phone jack)
OUTPUT:
O p tio n s
Foot Switch:
600 kΩ (XLR jack, HOT–COLD)
300 kΩ, HOT–GND, COLD–GND)
WRITE button
FS-5U, FS-5L
PEDAL ASSIGN button
TUNER/ BYPASS button
NAME/ NS/ MASTER button
UTILITY button
Expression Pedal:
EV-5 (Roland)
Dig ita l O u tp u t
FV-300L + PCS-33 (Roland)
Connection Cord:
EIAJ CP1201, S/ P DIF
EZ TONE button
PCS-31 (Roland) (1/ 4” stereo phone
plug - 1/ 4” phone plug x 2)
Dy n a m ic Ra n g e
Number pedals 1–4
PATCH pedals (Up/ Down)
BYPASS/ CONTROL pedal
Expression pedal
95 dB or greater (IHF-A)
Co n tro l
*
0 dBu = 0.775 Vrms
< Front panel >
Expression pedal switch
PATCH/ VALUE dial
(COMP/ LIMITER)
ATTACK/ THRESHOLD knob
SUSTAIN/ RATIO knob
LEVEL knob
In the interest of product improvement, the
specifications and/ or appearance of this unit
are subject to change without prior notice.
< Rear panel >
OUTPUT LEVEL knob
OUTPUT SELECT switch
Power Switch
On/ Off button
TYPE VARIATION button
AF Me th o d
(Ad a p tive Fo cu s Me th o d )
Disp la y
(OVERDRIVE/ DISTORTION)
DRIVE knob
16 characters, 2 lines (backlit LCD)
7 segments, 2 characters (LED)
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.
LEVEL knob
ON/ OFF button
TYPE VARIATION button
Co n n e cto rs
INPUT jack
(CHORUS)
Output Jacks L (MONO)/ R
Headphone Jack
LEVEL knob
ON/ OFF button
7 7
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In d e x
Numerics
A
B
C
D
Delay Time Fine ............................................................. 29
7 8
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In d e x
M
MIDI RX Channel .......................................................... 65
N
O
P
Patch Change Mode ...................................................... 61
7 9
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In d e x
T
U
V
W
X
8 0
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MEMO
8 1
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MEMO
8 2
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For EU Countries
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Apparatus containing
Lithium batteries
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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G601744601
’00-xx-xx-xxx
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