The Unofficial
GT-3 Owner’s Manual
Supplement
Second Edition © January,
2001, December 2008
NOTICE: This document is copyrighted material.
Permission is granted to reproduce
this document under the following conditions:
1.
It may be distributed, posted, printed
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2.
It must be offered freely and without
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It may not be republished or altered
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Jumping through the parameters:
Expression (EXP) and Control (CTL) Pedals
Using the Control pedal to set the BPM
rate
Connecting SUB CTL 1
& 2 to the GT-3 (Insert Cable)
Discussion on some Esoteric Effects
COSM - Composite Object Sound Modeling
USER Auto-Riff Phrase definition
Setting up the
Auto-Riff Effect in the Patch
Setting the
Control/Assigns to Trigger the Riff
Setting up the
Auto-Riff in the patch
Using the RETURN SEND EXT OD/DS jacks:
BOSS Recommended
Effect Sequence
Expression Pedal as a Volume pedal
Simultaneous Volume and Tuner on the
Expression Pedal
Expression pedal as a Feedbacker
Expression Pedal as Volume and Wah
Using Harmonist to tune down ˝ step:
Using Feedbacker for Octave boost
Keeping the same delay and reverb across
patches:
Some things to try with Vocals through the
GT-3:
Getting that Big Body
Guitar Sound
Using the GT-3 to Breathe Life into Your Guitar:
What’s so special about the GT-3?
The
GT-3 Guitar Effects Processor was introduced by BOSS®[1]
on
While
the GT-3 itself is a terrific guitar signal processor, the manual is unclear to
many and is silent on various features.
So we put together this supplement.
This
document is not intended as a replacement for the Owner’s Manual, but rather as
a supplement to be used in conjunction with the manual. As such, references to the Owner’s Manual
will be made throughout this supplement.
References
to buttons, switch pedals, and the value dial on the GT-3 will be represented
as bold black letters between braces.
Example: [BUTTON].
References
to information shown in the display area on the GT-3 will be represented as
bold green letters between braces.
Example: {Display Area} .
NOTE:
When this supplement is printed using a non-color printer, the green letters
will appear gray.
NOTE:
Page references in Italics
refer to the GT-3 Owner’s Manual (e.g. (O.
M. pp.9-12.)). Page references not
in italics refer to pages in this supplement.
The
objective of this supplement is not to duplicate information already covered in
the Owner’s Manual. Rather, it has been
written to provide clarification in areas where the manual does not provide
clear understanding for many. As a
result, reading only the supplement may not tell you everything you need to
know.
We
suggest you read the Owner’s Manual first to get the information offered
there. Then consult this supplement to
see if there is additional information provided on that subject area.
The
layout of this supplement does not follow the same order as the Owner’s
Manual. Instead it follows the path I
think users will want to take when starting out with the GT-3. It flows from simple concepts to more
complicated. Items in the beginning of
this supplement may found in the middle or end of the Owner’s Manual. Use the table of contents in the front of
this supplement, and the index in the back to determine whether a particular
subject has been included here.
Some
of you may not want to read this Supplement from cover to cover, and because of
how we’ve attempted to write it, you shouldn’t have to. Many of you will want to read it just to see
whether you’ve missed anything along the way.
(Others may want to read the entire supplement just to point out errors
and discrepancies. J )
If
there is a feature of the GT-3 that has not been covered here or one that you
think needs further clarification, please send us a message. You can contact Stephen Golden at <forsmg-gt3@yahoo.com>.
In
general, the connections and interface descriptions in the Owner’s Manual are
clear, so they will not be discussed in detail in this supplement. (O. M.
pp.9-12.) For additional information
about MIDI connections and MIDI in general, please see the
The
top face of the GT-3 has a lighted display, a [VALUE] dial, two [BANK]
pedals ([UP] and [DOWN]), twelve effect buttons,
eight feature/edit-related buttons, four numbered pedals, one [CTL] pedal, and one expression
pedal (EXP).
Sounds
in the GT-3 are composed of effect sets called “patches.” They are grouped in “banks” of four patches
each. There are 35 banks containing a
total of 140 patches that are user editable and 50 banks containing 200 patches
that are permanent, non-editable standard sounds.
NOTE:
In the display window,
the bank-indicator-number changes when switched between a user patch and a
permanent patch. When a user patch is
selected, (patch locations 1-1 through 35-4), the number is light on a dark
background. However, when a patch from one of the permanent banks is selected,
the patch number displays in “reverse video” meaning that the background is
light, and the number is dark.
You
can modify an effect by pressing the appropriate effect button. From there, you can turn the effect on or off
by either pressing the button again, or by rotating the [VALUE] dial either clockwise or counterclockwise as
appropriate.
To
switch between patches within a bank, press one of the numbered pedals, [1] through [4], or you can turn the [VALUE] dial.
To
switch between banks, press one of the bank pedals, [UP] or [DOWN],
and then press the desired numbered pedal, [1] through [4],
to access the patch location within the new bank.
NOTE: “Patch
Change Mode” (O. M. p.36) defaults to the setting {Wait for a NUM}. What does this mean? Normally when you change banks on the GT-3,
the effect will not switch until you select one of the patch pedals in that
bank. The light on the pedal
corresponding to the patch that was active in the previous bank will flash
indicating for you to select one of the patches in the bank. If you want the effect in a patch to be heard
as soon as you switch banks, you can modify the “patch change mode parameter”
to say {Switch
It Now}. The effect will
change as soon as you switch banks. This
is explained in greater detail on p.13.
Perhaps
the easiest way to edit a patch is to start by pressing one of the Effect Select Buttons. For example, to modify the delay effect in
the patch, press [DELAY]. You will be able to turn the [VALUE] dial to set the effect
either on or off. From that point, if
you continue turning the [VALUE]
dial clockwise, you will see first the current USER settings in the display,
(labeled U1 - U4) and then the preset Quick Setting options (labeled P1 - P10)
for the effect. (O. M. p.21)
If
you choose to use one of the Quick
Setting options, you do not need to manually set the effect parameters.
Turn
the [VALUE] dial clockwise or
counterclockwise until the function to be controlled is shown in the
display. This sets the effect for the
patch using preset values. At this
point, if you want to edit another effect, press the corresponding effect
button, otherwise, press [WRITE]
to save the settings.
NOTE:
If you forget to press [WRITE] after your final edit for the patch, not only will
you lose these edits, but you will also lose any other settings changed since
the last time you saved the patch.
Press the [>] parameter button once.
You
will see the first value that can be edited for the effect in the display. From here, you can press the [<] and [>] parameter buttons as desired to modify the effect
parameters. Since each effect has many
different parameters, they will not be discussed in detail here. (O. M.
p.22-24)
Jumping
through the parameters:[2]
The
jump feature allows you to jump from the Start to the End of each effect
parameter group and the Next and Previous assigns without having to key through
each parameter
To
jump to the end of a parameter string for a given effect, instead of hitting
the [>] button repeatedly,
if you press and hold [>]
and then press [<], you
will arrive at the last parameter of the group or the “right” end of the string
of parameters. Likewise, if you press
and hold [<] and then
press [>], you will arrive
at the first parameter of the group or the “left” end of the string of
parameters. The Jump feature works in a
similar way for the [PEDAL/ASSIGN]
settings however, instead of the Jump taking you to either the “left” or the
“right” end of a parameter string, the jump takes you to the label or header of
each [PEDAL/ASSIGN]
area.
For
example: Rather than hitting [>]
25 times or more to get to Assign #4, press and hold [>] and then hit [<]
5 times and you’ll be at ASSIGN 4.
Starting from {EXP PEDAL}, you’ll go to {CTL PEDAL},
{ASSIGN 1},
{ASSIGN 2},
etc. To go back, press and hold [<] and then hit [>].
NOTE:
When editing an effect for a patch, if that particular
effect is not turned {ON}, the name of the effect in the display
as well as the light on the effect button will blink.
EZ Edit
is an editing method that allows you to create a new sound using factory-preset
values. It steps you through six
categories of effects and lets you select from various preset parameter sets.
Whether
EZ Edit is easier than finding a
patch similar to the sound you want and editing it directly is a matter of
opinion. The EZ Edit method is likely to be most useful when starting from
nothing to create a new patch.[3] (O. M.
p.19.) One advantage to this method
is that you can create and edit the patch using the foot pedals while you play.
(O. M. p.20)
Order of Effects
You
can choose the order of effects for your patch.
That is, whether you want chorus before distortion or delay before the
chorus, etc. (Also see Recommended Effect Sequence on p.39.)
To
set the order in specific patch,
Press
[MASTER],
Press
the [>] parameter button
six times until you come to the {Effect Chain} field.
Turn the [VALUE] dial to select the desired position in the chain for
the effect you are inserting. (Effects
can be inserted at the beginning of the chain, the end of the chain or between
any two other effects in the chain).
Next,
press the effect button for the effect you wish to insert. Ex: To insert reverb as the first effect in a
chain, use the [VALUE] dial
to position the bar at the beginning of the chain and press [REVERB]. (Abbreviations for the effects are listed in the Owner’s Manual on p.38.)
When
you have finished making changes to a patch, you will want to save it. To save a patch, press [WRITE]. You will
first be asked so specify a patch location in which to save it. The default is always the current patch. If that is where you want to save it, press [WRITE] a second time. Otherwise, turn the [VALUE] dial either clockwise or counterclockwise until the
desired patch number appears in the display and then press [WRITE] a second time. If at any time you decide to not
save the patch or the changes made to a patch, press [EXIT]. (O. M. p.32)
After
writing a patch, you will probably want to give it a meaningful name.
To
do this,
Press
[MASTER].
Press
the [>] parameter button
seven times until you come to the Name
field.
Turn
the [VALUE] dial until the
appropriate letter appears on the display.
Use
the [>] parameter button
to move to the next character. To back
up, use the [<] parameter
button.
NOTE:
Stenciled under [EZ EDIT], [MANUAL], and [TUNER/BYPASS] you will notice
the following secondary functions for these buttons which are used in this
mode. They are [CAPS], [INSERT],
and [DELETE], which simplify
creating and editing the patch name.
To
make a letter toggle between upper and lower case, press [CAPS].
To insert a space, press [INS]. If desired, you can then replace the space
with a character by selecting a character value with the [VALUE] dial.
To
delete a character, press [
When
finished, press [WRITE], and
confirm it by pressing [WRITE]
a second time. (O. M. p.31)
To
cancel an edit at any point before you [WRITE]
it, simply press [EXIT]. The changes you made will still be present in
the patch, but once you select a different patch, the edits will be
removed. (O. M. p.31)
User
settings are tied to effects (delay, mod, chorus, od/ds), not to patches. The user settings are defined with default
parameters from the factory. When you
press an effect button and turn the [VALUE]
dial, you will see U1=… U2=… and so on.
Four {USER}
settings for each effect are available to every patch. (O. M.
p.21)
For
example, if you like a particular type of chorus, delay, or overdrive, the GT-3
lets you save this effect into one of the four {USER} areas for that
effect. Once stored as a user setting,
it can be applied to any other patch.
Instead of having to tweak each patch manually to get this sound, you
can simply retrieve it from your User Settings just as you saved it.
To set up a USER area for easy access
in other patches, select the effect by pressing the appropriate effect
button.
Modify
the parameters of that effect to your liking.
Press and hold the NUMBER PEDAL ( [1] - [4] ) corresponding to the desired {USER} setting “slot.” (For example: to save it in {USER 1}
– press pedal [1], in {USER 2} –
press pedal [2], and
etc.) While holding the pedal down,
press [WRITE].
You will be presented with a {NAME}
field in the display. Give the {USER}
setting a meaningful name that will enable you to identify it later. (Use the same method as Naming a Patch above.)
Press
[WRITE] again. The {USER} setting is now saved.
To
access a user setting for any patch, press the corresponding effect button, and
turn the [VALUE] dial. The user setting you named should appear
under U1, U2, U3, or U4. Once it shows
in the display, press [WRITE]
or you can press another effect button and modify another effect. When you’re finished editing the patch, press
[WRITE], confirm the location
for the write, and press [WRITE]
again.
NOTE:
If you forget to press [WRITE] after your final edit for the patch, not only will
you lose these edits, but you will also lose any other settings changed since
the last time you saved the patch.
The
[EXIT], [<] and [>]
parameter, [WRITE], and [EZ EDIT] buttons are discussed
in context elsewhere in this supplement.
MANUAL Button
When
you invoke manual mode you can dynamically turn on and off up to six
effects/features with your foot as if you had six individual stomp boxes (individual
effect pedals) in front of you. I think
a better name to call this mode would have been "STOMP BOX
MODE." Manual mode essentially
enables you to have multiple "patches" within a single patch. Turn on manual mode by pressing [MANUAL]. Turn it off by pressing [MANUAL] again. The
display will show a mapping of which effect is on each pedal. These assignments can be changed by using the
[<] and [>] parameter buttons to move
the cursor to the desired pedal position and then turning the [VALUE] dial until the desired
effect appears in that position.
While
in Manual Mode, effects in displayed in CAPS are on. Effects displayed in lower case are off.
NOTE:
You can turn manual mode on and off with the [CTL] pedal if you have assigned
the [CTL] pedal to control {MANUAL ON}
for the patch. Assigning the [CTL] pedal is discussed on p.23 (Manual ON) and on
p.24 (“Global Manual
Mode”) of this supplement.
TUNER/BYPASS Button
The
GT-3 has an accurate, well-designed Guitar Tuner built right into it. When you press [TUNER/BYPASS], the display shows a representation of arrows
with a center box. When you play a
guitar string, the name of the musical note being played is shown in the
display as well as an indication of how far off true the
played note is, whether high or low. As
you tune the string, the representation should approach the center and when
true, only the center box will be lit.
In the Bypass mode, the output
is not muted so if you want to mute the output as you tune up, rock the
Expression pedal all the way toward you.
If you always want to tune silently, you can set the tuner to Mute mode, which will cut the GT-3
output whenever the Tuner is
accessed.
To
set the tuner to {Mute} mode
Press [TUNER].
Press the [>] parameter twice until you see {TUNER Out} in the display.
Turn the [VALUE] dial counterclockwise to change the setting from {Bypass}
to {Mute}
and turn the [VALUE] dial
clockwise to change the setting from {Mute} to {Bypass}.
NOTE:
All effects are bypassed when you are in TUNER mode.
The tuner defaults to A-440 but can
also be set to non-standard pitch instead by adjusting the TUNER PITCH
parameters. (O. M. p.16)
To
set the tuner to a non-standard pitch
Press [TUNER].
Press the [>] parameter once.
You will see {TUNER Pitch} in the display.
Turn the [VALUE] dial clockwise or counterclockwise to change the
pitch.
The
GT-3 Owner’s Manual does a reasonably good job describing the [UTILITY] settings, so most of
them will not be discussed in detail here.
(O. M. pp.33-37)
GLOBAL
settings allow you to make immediate overall settings to the GT-3’s output.
Output Setting – Allows you to configure the GT-3 to
be best suited to the type of amplification you will be using.
Low
EQ – Allows you to adjust the Low EQ for
all patches.
High
EQ – Allows you to adjust the High EQ for
all patches.
NS
Threshold – Allows you to adjust the Noise
Suppressor threshold for all patches.
Reverberation
level – Allows you to adjust the
reverberation level for all patches.
The
METER function allows you to graphically view the volume levels of either the
input, output or the output level of an individual effect.
The
SYSTEM function allows you to set system-related features.[4]
LCD Contrast – Allows you to adjust the contrast of
the display for optimized viewing.
Dial Function – Allows you to control whether turning
the [VALUE] dial will change
patches when not in patch edit mode.
SUB CTL 1 – Allows you to set the function of
external CTL pedal #1, whether it will be “assignable,” set to toggle MANUAL
mode on and off, or set to toggle TUNER on and off.
SUB CTL 2 – Allows you to set the function of
external CTL pedal #2, whether it will be “assignable,” set to toggle MANUAL
mode on and off, or set to toggle TUNER on and off.
Patch Change Mode – There are two
options that can be selected under {Patch
Change Mode}. The first option is {Switch It Now}. In this mode as you press the up and down [BANK] pedals, the sound of each
new bank will be immediately heard. This
may not be desirable if your destination patch is several banks up or down from
the present one. In this case the
factory-preset mode, “Wait for Num” may be the better choice. In {Wait for a NUM} mode, once you leave the
current bank by pressing either [UP]
or [DOWN] bank pedal, the
sound remains unchanged until you specify a patch location by pressing one of
the numbered pedals, [1]
through [4]. This means that if you are at bank 3-1 and
your destination is patch 5-4, the sound will not change until you press patch
pedal [4] after having switched to
bank 5.
NOTE:
As you change banks up or down, the individual patch number indicator, the
light on pedals [1] through [4], will stay on the number of
the previously selected patch. In the
example above, pressing the [UP]
bank pedal would change the Bank from 3-1 to 4-1, then to 5-1, until the last
step where patch pedal [4] is
pressed changing the selected patch number from 1 to 4.
Bank Extent – Allows you to
limit the range of banks accessed by the bank pedals. For example, if all the patches you use are
contained in banks 1 - 7, you could set the bank extent to 7 and successively
pressing the [BANK] pedals
will cycle only through these seven banks.
This enables you to access bank 7 from bank 1 by a single press of the [DOWN] bank pedal.
Assign Hold[5] –
On
- The current value of the expression pedal is read upon loading a new
patch. For example, if you have the
expression pedal returned in one patch, and without moving the expression
pedal, you change to a patch where the expression pedal controls volume, the
patch will be silent. This is the way
Norm apparently wanted the pedal to work.
Off-
The current value of the expression pedal is not read upon loading a new
patch. For example, if you have the
expression pedal returned in one patch, and without moving the expression
pedal, you change to a patch where the expression pedal controls volume, the
patch will be at full volume until you move the expression pedal. This is the behavior Norm was complaining
about below.
In
other words, with Assign Hold: On, when you switch from a patch where the EP
controls the same parameter (Volume, for example), the parameter will retain
the setting established in the previous patch (the volume will not change). With Assign Hold OFF, when you switch from a
patch where the EP controls the same parameter (Volume, for example), the
parameter will be set at the maximum level (the volume will not change).
(Also see the Owner’s Manual p.36)
Here is a simple example demonstrating
how ASSIGN HOLD works:[6]
Set
in the global parameters ASSIGN HOLD to ON.
Go
to patch 36/1 (Tube Stack).
Rock
the expression pedal back. There will be
no sound because the pedal is controlling foot volume.
Now
change the patch to 36/2(Cool crunch).
Again
there is no sound. The position of the
expression pedal is respected.
(In
patch 36/2 it is also controlling the foot volume).
Now
do the same with the ASSIGN HOLD to OFF.
When
you make the change to patch 36/2 there is sound, in spite of the expression
pedal being rocked back. Its position is
not respected. The initial value of foot
volume (100) defined under the master button is taken.
That's
all. Positions of controls are respected
while a patch is changed.
The MIDI function allows you to set
and access
The Harmonist is an intelligent pitch
shifter that can add harmony to the notes you play on your guitar. However, for the Harmonist to know what note
is correct for the scale of the song being played, you must tell it the scale
of the song relative to the key of C.
The Harmonist Scale allows you
to set the scale for correct notes played by the Harmonist when it is set to the Harmony
mode. If you’re not proficient in
scales, a little trial and error will usually produce the correct Harmonist Scale.
(O. M. p.36)
The Auto-Riff Phrase area is where you
define your own phrases for the Auto-Riff effect. Auto-Riff is an effect that plays a phrase of
notes when you play a single note on the guitar. There are 30 factory-preset riff definitions
for you to use, and you can program and save up to ten definitions your
own. To select an Auto-Riff, access it
from the [MOD] effect. See Auto-Riff on p.30 of this document.
(Also
see O. M. pp.34, 37, 47, & 49)
The transmission and reception of
(Also
see
GT-3
Controls the
(See p.61 of the Owner’s Manual.)
The
term DUMP seems to imply
transferring all available data, but this is not the case. You do have some limited control over what
data is actually transmitted. For more
information on how to specify what
Press [UTILITY] four times to get to the
Press the [>] parameter button until you see {MIDI Bulk Dump} (to transmit
Determine the range of
The range can include:
SYSTEM data (Tuner, Utility, and
Manual settings),
Quick FX (Effect settings, Pedal
Settings, and control assign settings stored in the USER areas.)
Any contiguous set of user bank/patch
numbers from 1-1 to 35-4, and the
TEMP area (the contents of the
currently selected patch).
To start the transfer, press [WRITE].
External
Device (PC) Controls the
(See
p.62 of the Owner’s Manual)
Press [UTILITY] four times to get to the
Press the [>] parameter button until you see {MIDI Bulk Load} (to receive
NOTE:
Some PC programs, such as GT-3 Editor[8]
and GT-3 Manager[9],
perform both transmit and receive functions from the {MIDI Bulk Load} mode and
allow considerably more flexibility in setting up your GT-3 from your PC.
Expression (EXP) and Control (CTL) Pedals
The
Expression and Control pedals allow you to modify the sound produced by the
GT-3 while you’re playing through it.
For each patch, these pedals are set to specific functions at the
factory. You cannot permanently change
the control functions for the preset patches. However, for the {USER} patches, the
functions of these pedals can be changed.
When
setting the EXP and [CTL]
pedals, the “target” refers to the function to be controlled; the “source”
refers to the pedal that is going to be used to control it.
In
reference to Expression Pedals, when the toe of the pedal is down, we will
refer to the pedal as being “rocked forward.” When the toe of the pedal is up, we will
refer to the pedal as being “rocked back.”
For
each patch (including both user and preset patches) the Expression pedal has
been factory set to control a specific function. In the user patches, you can change the
Expression pedal to control a different function from the one set at the
factory.
The
functions the Expression pedal can control are: (O. M. p.24)
P1:
Foot Volume
P2:
Wah
Pedal
P3:
Pedal Shift
P4:
Delay Level
P5:
P6:
Preamp Volume
P7:
Chorus Level
P8:
Reverberation Level
P9:
Human Pedal
P10:
Master Level
P11:
Auto-Wah Level
P12:
Pedal Ring
To
set the Expression Pedal to perform a different function,
Press
[PEDAL/ASSIGN]
Set the Expression Pedal to {ON}
by turning the [VALUE] dial
clockwise one notch position. (If the
value already says {ON}, no action is necessary to activate
it.)
If you continue to turn the [VALUE] dial clockwise, you will
first see the current USER settings.
Next are the pre-set Quick Setting options for this effect, which are
available for use in all user patches. Quick
Settings are factory-preset parameter settings.
(O. M. p.21)
Normal
Setting Method:
Press the [>] parameter button once.
Turn the [VALUE] dial either clockwise or counterclockwise until the
function to be controlled by the Expression pedal is shown on the display.
Press the [>] parameter button again.
Set the “minimum” value for the
function as appropriate by turning the [VALUE]
dial clockwise or counterclockwise.
(e.g. Volume, minimum would likely be zero). This will be the value attained when the
pedal is rocked back.
Press the [>] parameter button again.
Set the “maximum” value for the
function as appropriate by turning the [VALUE]
dial clockwise or counterclockwise.
(e.g. Volume, maximum would likely be 100). This will be the value attained when the
pedal is rocked forward.
To go back to a previous parameter,
press the [<] parameter
button.
If you want to save the patch at this
time, press [WRITE], specify
or confirm the destination patch, and press [WRITE] again. Instead, you may choose to edit another effect
in the patch by pressing the appropriate effect button.
If you choose to use one of the Quick
Setting options, you do not need to go through the “Normal Setting Method”
steps described below.
Turn the [VALUE] dial clockwise or counterclockwise until the function
to be controlled is shown in the display.
This sets the factory-preset values for the effect. At this point you can edit another effect by
pressing the corresponding effect button or press [WRITE] to save the settings.
NOTE: If you forget to press [WRITE] after your final edit for
the patch, not only will you lose these edits, but you will also lose any other
settings changed since the last time you saved the patch.
For
each patch, user and preset, the [CTL]
pedal has been factory set to control a specific function. In the user patches, you can change the [CTL] pedal to control a
different function from the one set at the factory.
The
functions the [CTL] pedal can
control are: (O. M. p.24)*
P1:
Master BPM
P2:
Feedbacker
P3:
Vibrato
P4:
Delay on
P5:
Anti-feedback (AFB) search
P6:
Auto Riff (AR) Hold
P7:
Synth Hold
P8:
Mute
P9:
Tuner On
P10:
Manual On
*Other effects and parameters can be
turned on and off using the [CTL]
pedal.
To
set the [CTL] pedal to a
different function,
Press
[PEDAL/ASSIGN].
Press the [>] parameter four times.
Set the [CTL] pedal to {ON} by turning the [VALUE] dial clockwise one position. (If the value already says {ON},
no action is necessary to activate it.)
NOTE:
If you continue to turn the [VALUE] dial clockwise, you will first see the current USER
settings. Next are the pre-set Quick Setting options for this effect which are
available for use in all user patches.
Quick Settings are simply factory-preset parameter settings. (O. M.
p.21)
Normal
Setting Method:
Press the [>] parameter button once.
Turn the [VALUE] dial either clockwise or counterclockwise until the
function to be controlled by the [CTL]
pedal is shown on the display.
Press the [>] parameter button once.
Set the “minimum” value for the
function as appropriate by turning the [VALUE]
dial clockwise or counterclockwise.
(e.g. Volume, minimum would likely be zero). This will be the value attained when the
pedal is rocked forward.
Press the [>] parameter button once.
Set the “maximum” value for the
function as appropriate by turning the [VALUE]
dial clockwise or counterclockwise.
(e.g. Volume, maximum would likely be 100). This will be the value attained when the
pedal is rocked back.
To go back to a previous parameter,
press the [<] parameter
button.
If you want to save the patch at this
time, press [WRITE], specify
or confirm the destination patch, and press [WRITE] again. Instead, you may choose to edit another effect
in the patch by pressing the appropriate effect button.
NOTE:
If you forget to press [WRITE] after your final edit for the patch, not only will
you lose these edits, but you will also lose any other settings changed since
the last time you saved the patch.
Quick
Setting Method:
If
you choose to use one of the Quick Setting options, you do not need to go
through the “Normal Setting Method” steps described below.
Turn
the [VALUE] dial clockwise or
counterclockwise until the function to be controlled is shown in the
display. At this point you can edit
another effect by pressing the corresponding effect button, otherwise, press [WRITE] to save the settings.
NOTE:
If you forget to press [WRITE] after your final edit for the patch, not only will
you lose these edits, but you will also lose any other settings changed since
the last time you saved the patch.
(O. M. p.26)
If
you’ve read the above topics, you’re already familiar with the Expression
Pedal, and the [CTL]
pedal. These devices allow you to
control parameters dynamically with your foot while playing the guitar. In terms of the PEDAL/ASSIGN, these are
referred to as “sources.” The function,
effect or parameter, you will control with the source is called the
“target.” An ASSIGN is a definition of a source and its associated target. With the ASSIGNS you set up the source that
will do the controlling and target to be controlled. In other words, you are assigning
control. There are a total of ten source
“definition areas” available for each patch: the EXP Pedal and [CTL]
pedal where the source is unchangeable, and eight ASSIGNS. In other words, for the EXP Pedal and the CTL
pedal sources, they are the source. (You
cannot set the source for EXP Pedal to be CTL; that would be a
contradiction.) For the ASSIGNS, you can
set the source yourself to one of the sources available in the GT-3 (see p.20
below).
To
see these definition areas,
Press
[PEDAL/ASSIGN].
You
will see {EXP
PEDAL} in the display.
If
the Expression pedal is currently turned {OFF}, pressing the [>] parameter button again, will bring up the CTL PEDAL in
the display. If the [CTL] pedal is currently set to {ON},
press the [>] parameter
button again. A menu will appear in the
display where the target for the Expression Pedal can be set. From here, pressing the [>] parameter button successively after that will step you
through the various parameters that can be assigned. Once you reach the end of the {EXP PEDAL}
definition fields, pressing the [>]
parameter button will take you to the beginning of the {CTL PEDAL} parameter
menu.
Press
the [>] parameter button.
You
will see {CTL
PEDAL} in the display.
If
the [CTL] pedal is currently
set to {OFF},
press the [>] parameter
button again. You will see {ASSIGN 1} in the display. If it is {ON}, pressing the [>] parameter button again
will bring up a menu where the target for the [CTL] pedal can
be set. Pressing the [>] parameter button
successively will step you through the various parameters to be assigned. Once you reach the end of the [CTL] pedal definition fields,
pressing the [>] parameter
button will take you to the {ASSIGN 1}.
Press
the [>] parameter button.
You
will see {ASSIGN
1} in the display.
If
it is {OFF},
pressing the [>] parameter
button again will display {ASSIGN 2}.
Successive presses of the [>]
parameter button will display each {ASSIGN} in sequence through {ASSIGN 8}
for each {ASSIGN}
that is {OFF}.
For
each {ASSIGN}
that is {ON},
pressing the [>] parameter
button again will produce a menu in the display where you can set the target
for that particular assign. Pressing the
[>] parameter button
successively will step you through the rest of the parameters that can be
modified for this {ASSIGN}.
One
of these parameters will be the source, or the device that will control the
target. Once you reach the end of the {ASSIGN}
definition fields for the current {ASSIGN}, pressing the [>] parameter button will take you to the next {ASSIGN}.
You
only need to set up the assigns you plan to use. You can also set up multiple assigns, but
only turn {ON}
the ones you want to use in the patch at the moment. Leave the others {OFF}. They can still be enabled at a later
time.
Control sources you can use in the
GT-3 are:
EXP Pedal
CTL Pedal
SUB EXP Pedal – (External Expression Pedal - optional
accessory)[10]
SUB CTL 1 –
(External Control pedal - optional accessory)[11]
SUB CTL 2 –
(External Control pedal - optional accessory)[12]
Internal Pedal –
Must be triggered by either one of the [EXP]
or [CTL] pedals, a Patch
Change, or a
Wave Pedal –
Automatically varies the effect or function as if it were being controlled by
an Expression Pedal. The effect
continues to be sounded until you stop it. (See p.37.)
(O. M. p.30)
MIDI Control
Channel 1 through 95 – The MIDI Control Channels allow an
external
A
single source can control multiple targets.
That is, you can assign more than one feature to the same control source
at the same time in a given patch. For
example, you can assign both chorus and delay to the [CTL] pedal and turn them both on and off with the press of
one pedal. A control source can control
up to a maximum of nine different effects or functions simultaneously from the
press of a single pedal.
For
effects that incorporate modulation, such as Phasing, Flanging, Chorusing, and
Delay, you have the option of adjusting the BPM rate. The GT-3 also has a feature that allows you
to tie all of the BPM values for individual effects to a MASTER BPM rate. You can even assign the MASTER BPM to a
control pedal enabling dynamic synchronization of the BPM rate to match the
tempo of the song you’re playing.
NOTE:
See the Owner’s Manual for which effects use BPM and the name of the
parameter. The name of the parameter
might be rate or tempo but it will not be “BPM”
(O. M. pp.38-57)
To tie the BPM of an individual effect
to the MASTER BPM
Press
the effect button you would like to control with the MASTER BPM.
Press the [>] Parameter button until you arrive at a parameter that
allows BPM as a value. (Delay, Chorus, or etc.)
Set the BPM rate according to the note
type that represents the frequency of the recurring effect, for example,
quarter note, eighth note, or etc.
If
you want to save the patch at this time, press [WRITE], specify or confirm the destination patch, and press
[WRITE] again. Instead, you may choose to edit another
effect in the patch by pressing the appropriate effect button.
NOTE:
If you forget to press [WRITE] after your final edit for the patch, not only will
you lose these edits, but you will also lose any other settings changed since
the last time you saved the patch.
The
Master BPM setting below is the BPM rate, which will be used for all effects that
have the BPM rate set to be controlled by the Master BPM.
Now
set the Master BPM rate (O. M. pp.57)
Press
[MASTER].
Press
the [>] Parameter button
until you see Master BPM.
Set the default master BPM rate.
NOTE:
This value can be made to change dynamically by setting the
Master BPM to be controlled by a pedal.
If
you want to save the patch at this time, press [WRITE], specify or confirm the destination patch, and press
[WRITE] again. Instead, you may choose to edit another
effect in the patch by pressing the appropriate effect button.
NOTE:
If you forget to press [WRITE] after your final edit for the patch, not only will
you lose these edits, but you will also lose any other settings changed since
the last time you saved the patch.
To
set the MASTER BPM to be controlled by a source, see ”Setting the [CTL] pedal” (p.18).
Using the Control pedal to set the BPM
rate
In
some circles, this function is called “Tap Tempo.” However, the “Tap Tempo” feature of the GT-3
has nothing to do with the “Tap setting” and “Tap time” parameters, which are
part of the delay effect. It is an
unfortunate coincidence in terminology.
The Tap in the delay effect is related to the “tap”[13]
of the left channel into the right channel if running a stereo delay. This allows you to change the moment at which
the signal arrives at the right channel with respect to the left channel. (O. M.
p.54, 55, & 57)
With
that issue behind us, let’s discuss using the [CTL] pedal to set the effect BPM (Beats Per Minute) rate
with the tempo of the song you’re playing.
The BPM rate can be set for a variety of effects. The most profound of which is the Delay
effect. Often you may want to set the
BPM rate dynamically with the song you’re playing. To do this, you must first set the effect BPM
(Delay, for example) to point to the Master BPM (described on p.21).
To do this, turn the knob past the specific millisecond BPM rates to the point
where you see BPM and notes representing the frequency of the delay. This will be in terms of the Master BPM. For example, if the Master BPM is set to 120,
that is the tempo of a quarter note in the patch BPM. An eighth note in the patch BPM will repeat
twice as fast.
Now
set the [CTL] pedal
(described on p.18)
to control the Master BPM. As a quick recap: press [Pedal Assign], select [CTL]
for control using the [>]
button until you see [CTL PEDAL Target
MST], then turn the [VALUE] knob
clockwise nearly all the way to the end (199th option) to find {MST:Master BPM}. Save
the patch by pressing [WRITE]
and selecting the place to store it.
When
you hear the tempo of the song, tap the [CTL] pedal with the
tempo of the song and the MASTER BPM rate will be set accordingly. All effects that are set to use the MASTER
BPM will now be operating according to the tempo of the song.
A
preset patch that does this is 59-3 TEMPO DELAY.[14]
Setting
Feedbacker to [CTL] allows you to trigger the FEEDBACKER effect with your
foot. Once the [CTL] pedal is set as a source, play a note and press the
pedal. The GT-3 will produce a feedback
sound the same frequency as the note played.
This effect will last until the pedal is released. (See “Setting the [CTL] pedal” p.18. Also see “Using the Expression Pedal as a
feedbacker “ p.41.)
Setting
Vibrato to [CTL] allows you to trigger the Vibrato effect with your
foot. Once the [CTL] pedal is set as a source, play a note or chord and
press the pedal. If set to {
Setting
Delay On to [CTL] allows you to trigger the delay effect with your
foot. Once the [CTL] pedal is set as a source, play a note or chord and
press the pedal. If set to {
Setting
AFB to [CTL] allows you to trigger the Anti-feedback Search function
with your foot. When you press the
pedal, the GT-3 performs a scan of frequencies that might cause feedback and
suppresses them. All other operations
are interrupted during the anti-feedback scan.
(O.M. p.39)
Synth
Hold causes the current synth sound being played to hold continuously while the
[CTL] pedal is pressed in {Normal}
mode, or until the [CTL]
pedal is pressed a second time in {Toggle} mode.
NOTE:
This feature only works with synth patches using a Square
or Saw waveform. (For an example of
this, try 71-3 GATE SYNTH. Play a note
and press [CTL].)
Setting
Mute to [CTL] allows you to silence the output of the GT-3 with your
foot.
Setting
Tuner On to [CTL] allows you to access the guitar tuner with your
foot. (See “TUNER” on p.12.)
Setting
the Manual Mode to [CTL] allows you to turn on
manual mode with your foot. (See
“MANUAL” on p.11.)
Momentary Manual Mode Access[15]
You
can place these settings into a patch to cause it to enter manual mode for
about 7 seconds. This will allow you to make stomp-box-like changes when you
first switch to the patch. If you need
to use manual mode again, just press the patch number again. It works using the internal pedal. Use the following settings:
Assign
1
Target:
MANUAL On/Off
Min:
On
Max:
Off
Source:
Internal Pedal
Mode:
Act.
Range Lo: 0
Act.
Range Hi: 127
Trig:
Patch Change
Time:
70
Curve:
Slow Rise
You
can attach either one external Expression pedal or up to two external [CTL] pedals to the GT‑3. This adds greater versatility to use of the
GT-3 because you get additional sources for controlling EXP functions or up to
three CTL functions.
Judging
by the settings available for the external (Sub) CTL pedals, the Sub CTL1/2
feature seems to be primarily designed for use with the tuner and manual
functions. With the [UTILITY]-{SYSTEM} definitions under
CTL 1 and 2 you are defining the global use of the external [CTL] pedals. You can either set them to be globally
available, for use as sources by the patches, or set them to be globally
available for TUNER or MANUAL. When you
go into the [UTILITY]-{SYSTEM}
menu, for CTL 1 and 2 there are three options: {ASSIGNABLE} (to whatever
you set in your individual patch), {TUNER}, or {MANUAL}.
Assigning
one of the external pedals to TUNER and the other to MANUAL is a really useful
feature because the on-board [CTL]
pedal can then be assigned to any of the other pedal functions. This allows the MANUAL and TUNER functions to
be available in every patch. (See
“Global Manual Mode” below.)
If
you're buying external pedals, I strongly recommend the momentary type, like
the BOSS®
FS-5U, instead of the
latching type, like the BOSS® FS-5L. Even though in a patch you can set the GT-3
to recognize any of the [CTL]
pedals as either "normal" or "toggle," and the owner's
manual indicates you can use either type with the GT-3 (O. M. p.28-29), it's not quite that simple. After trying both types (FS-5L and FS-5U) I
discovered that the [UTILITY]-{SYSTEM}
option for external pedals does not
offer the "normal/toggle" setting option. As a result, the latching type pedal requires
four presses to accomplish what the unlatching does in two. (O. M.
p.35)
Connecting SUB CTL 1 & 2 to the
GT-3 (Insert Cable)
To connect two foot-switch pedals to
the GT-3 you need a cable that is Ľ” Stereo (TRS) on one end that splits into
two cables each having a Ľ” mono (TS) plug on the other. This type of cable is often called an insert
cable. So, if your sound guy has an
extra insert cable lying around, that will work.
Having
manual mode available to all patches with the press of a [CTL] pedal is a feature many
of us want. This allows you to
essentially set all patches to work as if they were six patches in one by being
able to turn individual effects on and off within the patch. (See Manual Button on p.11 above.) To set up
“Global Manual Mode” first connect an external [CTL] pedal to the GT-3.
I recommend using the BOSS® FS-5U pedal. (See Sub EXP Pedal / Sub CTL 1,2 above.) Then, under the [UTILITY]-{SYSTEM} menu you can assign the external
pedal to invoke manual mode whenever pressed.
NOTE:
“Global Manual Mode” seems to be an option available only with external control
pedals (Sub CTL 1 and 2). For any patch,
you can set the [CTL] pedal to invoke the
manual mode under the Pedal/Assign feature, but this only sets up manual mode
access while you’re in that patch. I
don’t believe there is any way to invoke “Global Manual Mode” using the
on-board pedals.
Discussion on some Esoteric Effects
The
Harmonist is an effect that produces a note synchronized to the note you play
on your guitar.
(See also Utility: Harmonist Scale p.14)
Harmonist:Pitch Shift[16]
The
Harmonist pitch shift feature doesn't so much raise the pitch an octave, but it
can add a note an octave higher to your sound.
You can also have an octave lower, an octave higher AND an octave lower,
or you can mix & match 3rds and 5ths (that quite an interesting sound),
have it add 'tonics' or harmonies. The
Preset section and the factory user set have some examples - patch 77.1 has a
5th harmony and 76.4 has a 3-part harmony - see the Harmonist settings under
the modulation button - in the manual see page 47 - it's very interesting
experimenting with these!
Harmonist note:[17]
The
feedback function on the Harmonist is somewhat like the delay feedback. If you set the Harmonist pitch and fine
parameters to zero, set the pre-delay to 240, and the feedback to 50 you will
basically get around 5 or 6 repeats out of the Harmonist. Now try setting the
pitch for HR1 to +1. When you play a single note this time, the Harmonist will
slowly run through the chromatic scale. One of the presets, (81-3, DIMINISHED)
uses the Harmonist to similarly run through the diminished scale. As far as I can tell, the feedback control
for HR1 only feeds back HR1 into HR1. HR2 does not seem to be affected.
Auto-Riff
is a feature that allows you to turn out entire multi-note riffs by playing a
single note on your guitar. (See Using Auto-Riff p.30)
Another deep effect
is the Ring Modulator. In a classic Ring
Modulator circuit, two notes or tones interact with each other to produce the
sum and the difference of their frequencies, with none of the original frequencies
present. The resulting sounds are often
referred to as "metallic", and BOSS goes so far as to call them
"unmusical", but they can sound quite nice (as well as totally
alien). In the GT-3, one of the
interacting notes is your guitar input, and the other is an internal
oscillator. As a general guideline, when
these two notes are "musically stable" the resulting sound is
relatively "musical" and similar to the note you're playing on the
guitar. But the further from a
"musically stable" interval you program the internal oscillator, the
wackier your output.
There are two modes
in which the internal oscillator works: the "
In the GT-3's
"Intelligent" mode, the input signal is tracked to create a
"movable" internal oscillator, so any texture you conjure up will
remain consistent for every note you play.
This tracking oscillator may be set to any interval in QUARTER-TONES!!! with 72 being a unison, 48 being an octave down,
24 being two octaves down, 0 being three octaves down, and 96 being one octave
up. With tweaking, the
"unison" setting of 72 and the "octave down" setting of 48
will produce some excellent Roger Mayer Octavia/Fuzzface
effects, while the 24 setting makes for a skroinky slap'n'pop bass sound and 96 does a good
"chipmunks" sound.
A good place to
begin exploring the possibilities of the Ring Modulator feature is with preset
78-1 ("RING PAN"). Change the
preamp type to "Clean Twin" or something equally clear and low-gain,
set the Ring Modulator's "Direct Level" to 0, and you'll get a very
pure Ring Mod effect.
COSM - Composite Object Sound Modeling
COSM Preamp Analysis
COSM
technology analyzes the sound of the original amplifier creating a digital
algorithm or model of the sonic characteristics and response. These precise models are placed into digital
processors, allowing the GT-3 to reproduce the modeled sound quite closely to
the original including dynamic and transient responses. An advantage of the modeled sound is that the
digital model produces the characteristics consistently every time, as opposed
to real amplifiers that can sound different from day to day and year to year. No need to worry about precise mic placement
or waiting for tubes to warm up.
COSM
Modeling technology gives the GT-3’s preamp section an excellent collection of
vintage and modern amplifier sounds.
|
JC-120 |
- Roland JC-120 Jazz Chorus amp |
|
|
Clean Twin |
- Fender Twin Reverb |
|
|
Crunch |
- Overdriven Fender type amp (M80) |
(uncertain) |
|
Match drive |
- Matchless |
|
|
Voxy |
- A VOX AC30 |
|
|
Blues |
- Fender Blues DeVille
or Marshall Bluesbreaker |
(uncertain) |
|
BG Lead |
- |
|
|
MS1959 (I, II, I+ll)
|
- I - low gain input, II - high gain input, I & II - simulates a guitar jacked
into both inputs using a splitter; which seems to be popular with this amp. |
|
|
SLDN Lead |
- Soldano |
|
|
Metal 5150 |
- Peavey 5150 amp |
|
|
Metal Drive |
- Undetermined. Boss's invention
perhaps |
(uncertain) |
|
AC. Guitar |
- Acoustic Guitar simulator |
|
It’s like having 11 Different Guitar Amps![20]
Here’s
something you might want to try.
I
entered into the last 3 user banks (33-35) patches of each preamp model,
naked. Just the preamp itself, with all
EQ levels set to 50, all other effects off, Expression pedal set to volume
(0-100), CTL pedal set to Tuner toggle.
(Also had to neutralize or zero some settings like Presence and Boost
Low/Mid/High in the preamp, to get some kind of neutrality. I suppose one could argue that this makes
them impure, but then, they're all adjustable and nothing is pure about an amp
if you want to get skeptical about any setting.)
With
this, I have just added
And
I have to tell you, there are some darn nice "bare" sounds in JUST
the preamps alone! I was very impressed
by the natural distortion I could get from some.
Thoughts to consider when using the Preamps and Speaker
Sims:[21]
When
using the GT-3’s preamp and speaker simulations, you don't want to have
additional coloration from any pre-amps or speakers that come behind the
GT-3. That is why you have to indicate
by means of the global settings what your real back-end system is, so that the
GT-3 can take the necessary compensatory actions. If you put the GT-3’s preamp or speaker sim's
OFF, the compensations would need to go also.
Otherwise you would wind up with what's effectively a preamp- or
speaker-less system.
However,
some people at Roland claim that the compensations always take place, because
acoustic guitar simulations and guitar synth's benefit from the resulting 'full
range' systems. Here's a test to find
out what's right for your system.[22]
1.1. For the speaker compensation:
a. Set the global setting to Power Amp (Combo)
and put the speaker sim effect OFF (happens automatically with the GT-3). Choose a combo preamp sim (for instance
JC-120).
b. Play some stuff and listen through your real
amp (don't matter if you use the guitar input or FX return, nor if your amp is
actually a combo or stack).
c. Put the global settings to Line, set the
speaker sim ON (automatic with the GT-3) and set MIC LEVEL=0, DIRECT LEVEL=100
(do not forget this).
d. Play the same stuff through the same setup
e. If b. and d. sound equal, then
putting the speaker sim OFF, also turns the speaker compensation off. If, on the other hand, b. sounds brighter
than d. the compensation is always present regardless of the speaker sim
status.
1.2
For the guitar preamp compensation:
a. Set the global setting to Power Amp (Combo)
and put the GT's preamp sim effect OFF.
b. Play some stuff and listen through your real
amp (don't matter if you use the guitar input or FX return, nor if your amp is
actually a combo or stack).
c. Put the global settings to Guitar (Combo) and
leave the GT's preamp sim effect OFF.
d. Play the same stuff through the same setup
e. If b. and d. sound equal, then
putting the GT preamp sim OFF, also turns the preamp compensation off. If on the other hand, b. sounds duller than
d.
the
compensation is always present regardless of the GT preamp sim status.
When using COSM Preamps....
David
Stewart <ds@marcen.com>
One
mistake often made when setting up amp simulator-only patches: is to set the
Exp pedal to do Foot Volume. Instead, set it to do Preamp level (volume), since
that will control the clean/dirt ratio of the preamp itself.
Speaker Simulator
William
K. Brown <William.Brown@PHL.Boeing.com>
Speaker
Simulator is not engaged unless your Utility-Global setting is Line(Headphones)
Now make sure your preamp menu SP Simulation has Mic Level 100 and Direct Level
0. This is towards the end of the preamp menus.
Speaker Simulator Default
Barry
Pearce <bsp.egroups@freenet.co.uk>
If you don’t have the speaker sim when using line/headphones then this is what
you get. Its
what I use all the time.
Testimonials for COSM
David
Wilson <Guitargod91@aol.com>
I've
found something that really helped me get a great 5150 patch out of my
GT-3. The other guitar player in my band
has 2 wolfgang's [guitars] and a 5150. I had him plug into his 5150 and get a sound
I liked. I then grabbed his other wolfgang (so we had identical guitars) and plugged into my
GT-3 then into the KB/A100 peavey I use for an amp. I then set the virtual controls on the
modeled 5150 sim to the exact same settings he had.
I
swear, the GT-3 nailed it perfectly. To
get realistic simulations (I feel that's the beauty of a GT-3. To sound like other amps and do it well, not
to have its own sound), we'd all do better to a/b the GT-3 with the sound we're
going for.
As
I do this, I'm getting more and more impressed with what the GT-3 can actually
do with its modeling.
Greg
Miller <GMiller@PIRNIE.COM>
I've
had the VG-8 for a couple of years now, and I'll warn that these devices (inc.
the GT-3, -5, GP-100, etc.) play with
your mind. You "know" you need tubes to get great tube tones and/or a
way cool guitar with hot pickups and technique to burn, and then you plug into
one of these and get all these great sounds. But your head tells you they can't
be real because there are no tubes, and that modeled tubes are not tubes at
all. Nonsense. I have fooled a lot of great players into thinking they are
hearing a real Boogie or Fender, and they walk away in disgust when they see my
COSM stuff on the floor. It really annoys them (and amuses me). Their heads can't accept what their ears are
telling them. Consider this - if these guys can't tell, then most of us can't
tell either. And I'll bet none of our listeners can ever tell. So if you can
get past this mental fart thing, you will live a long and happy life as a
virtual tube amp guitarist, and in the process, save a lot of $$$ and your
backs.
Matthias
Miller <openthepodbaydoor_hal@yahoo.com>
When
I first used the GT-3 I thought the amp sims and distortions were quite harsh
and lacking in warmth. Once I got deep into programming it and learning how the
amp sims, distortions and EQ's all worked together I got extremely warm sounds,
did my entire album using just the GT-3 and a Tech21 combo, and plenty of
people have asked me about the at least 5 different tube amps I must have used
on my album.... The GT-3? As warm as you want it baby.
When
fully utilized, the Auto-Riff function consists of three parts:
1. The
Auto-Riff Phrase.
2. Setting
up the Auto-Riff effect in the patch.
3. Setting
the Control/Assigns to trigger the riff (unless it is always in effect for the
patch).
The
Auto-Riff Phrase is a sequence of notes that will be heard when you play the
trigger note. You can use one of the
preset Auto-Riff phrases, or you can define your own.
To
set up your own Auto-Riff phrases, press [UTILITY]
six times until {Auto-Riff Phrase} appears in the
display. Turn the [VALUE] dial to select one of the ten Auto-Riff {USER}
areas.
USER
Auto-Riff Phrase definition
Defining
an auto-riff is a bit cumbersome until you get used to it. Actually, it’s cumbersome even after you get
used to it.
For
each {USER}
Auto-Riff definition, you can set up to 12 riffs, one riff for each semi-tone
in the scale:
Ab A Bb B C Db D Eb E F Gb G
In
other words, for every note in the scale, you can specify the riff you want played
whenever you play that note on the guitar.
The note names act as labels for the riffs. In fact, since the User Auto-Riff definitions
are set up with factory-preset riffs, any note you do not define will keep it’s factory riff setting and play that riff when you play
the corresponding note on the guitar. So
I recommend you re-define an {END} in step 2 below, for any note to which
you do not assign a riff. (More on this
in a bit.)
For
each note in the scale there is an IN note definition, the note that will
trigger the riff, a step definition where you define each of the notes in the
riff, one at a time, and an OUT note for each step.
NOTE:
When you set an IN note name for an auto-riff, that note
does not have to be part of the riff.
Think of the IN notes as labels for storing a particular riff inside the
Auto-Riff set.
You
can set an OUT note to be any note up to two octaves higher or lower than the
IN note.
Let’s
take a moment to describe what you will see when you use the [VALUE] dial to input the OUT
note. As you turn the [VALUE] dial with the cursor in
the OUT position of the display, certain symbols will appear to the right and
left of the note names.
If the note you want OUT is the same
as the IN note, only the note name will appear in the OUT position of the
display.
If the note you want OUT is higher
than the IN note, the display will show a + to the left of the note name.
If the note you want OUT is more than
an octave higher than the IN note, the display will show a + to the left of the
note name and an upward pointing triangle to the right of the note name.
If the note you want OUT is two octaves
higher than the IN note, the display will show a + to the left of the note name
and two upward pointing triangles to the right of the note name.
If the note you want OUT is lower than
the IN note, the display will show a –
to the left of the note name.
If the note you want OUT is more than
an octave lower than the IN note, the display will show a – to the left of the note name and a
downward pointing triangle to the right of the note name.
If the note you want OUT is two
octaves lower than the IN note, the display will show a – to the left of the note name and two
downward pointing triangles to the right of the note name.
To set up the riff
Let’s
say the IN note is C, the step is 1, and the output note is C. This means when you play a C, the auto-riff will
start the riff by playing a C as the first note in the riff.
Let’s
say we want a riff of C Db D Eb E.
Our
first note (C) is already set as we described above. Using the [>] parameter key, move the cursor to the step number and
turn the [VALUE] dial until
it reads 2.[23] This will be the second step, or the second
note played in the riff. Use the [>] parameter key to move the
cursor to the Out position. Now turn the
[VALUE] dial until it reads
the note you want for the second note of the riff. In our case, this will be Db. The display will show a +Db.
Using
the [<] parameter key,
move the cursor back to the step number and turn the [VALUE] dial until it reads 3. This will be the third note in the riff. Use the [>]
parameter key to move the cursor to the OUT position. Turn the [VALUE] dial until it reads +D.
Using
the [<] parameter key,
move the cursor back to the step number and turn the [VALUE] dial until it reads 4. This will be the fourth step or the fourth
note in the riff. Use the [>] parameter key to move the
cursor to the OUT position. Turn the [VALUE] dial until it reads +Eb.
Using
the [<] parameter key,
move the cursor back to the step number and turn the [VALUE] dial until it reads 5. This will be the fifth step, or the fifth note
in the riff. Use the [>] parameter key to move the
cursor to the OUT position. Turn the [VALUE] dial until it reads +E.
To
complete our riff, press the [<]
parameter key to move the cursor back to the step number and turn the [VALUE] dial until it reads
6. We are going to designate step 6 as
the end of our riff. Use the [>] parameter key to move the
cursor to the OUT position. Turn the [VALUE] dial clockwise until it
reads {END}
in the display. (It’s the last value in
the list.) There is no need to press [WRITE] because the changes are
“saved” dynamically as you work. Either
press [EXIT], or another
effect button if you want to continue editing the patch.
Now,
that’s a pretty simple five-note riff.
The GT-3 Auto-Riff feature is capable of much more.
The
note that triggers the riff does not need to be the first note played in the
riff. Let’s say you had two riffs that
started with C. You can’t program two
riffs in the same Auto-Riff definition to be triggered by the same note. However, you can set the first riff to start
with a C note but triggered by playing C on the guitar, and the second riff to
start with a C note to be triggered by playing Db instead of C.
For
example: { User1 STEP OUT }
{IN:C 1 C }
{ User1 STEP OUT }
{IN:Db 1 C }
Even
though the trigger notes are different, both riffs will play a C for the first
note. Whenever you play a C on your
guitar, the first riff will begin by playing a C. Whenever you play a Db on your guitar, the
second riff will begin by playing a C.
All
the USER Auto-Riffs have been preset at the factory with the same phrase for
each note. If you set up your riffs to
be triggered with a C and a Db, as described above, every other note you play
will cause the factory-preset riff to be triggered. This is probably not what you want. To
prevent the factory-preset riffs from being played, you will need to set each
note in the scale for which you have not defined a riff to play OUT the same
note that was put IN (yes, up to all of the eleven other notes). Then when you play a note, it will play
naturally, with only that note being heard and no Auto Riff will be triggered.
For
example: { User1 STEP OUT } {User1 STEP OUT }
{IN:E 1 E }
{IN:E 2
end }
{ User1 STEP OUT } {User1 STEP OUT }
{IN:F 1 F } {IN:F 2
end }
…and
so on.
NOTE:
If you set step 1 with an OUT value of {END}, no sound will be produced when you
play that note.
You
are probably well aware that notes are not always the same length in a
riff. To accommodate this, you can cause
a note in a riff to be held for more than one step by following it with a step
containing a dash in the OUT position.
The dash in the OUT position “maintains the state of the previous step
and no attack is added.” (O. M. p.37) In other words, a step with a note followed
by a step with a dash will hold the note for two steps. To specify a dash in the OUT position, use
the [>] parameter button
to place the cursor on the OUT position and turn the [VALUE] dial clockwise until a dash appears. The dash is the next to the last value in the
list — right before the {END}
value.
NOTE:
Steps with dashes count as one of the total sixteen steps that can be held in
an Auto-Riff definition.
While
you can hold a note in a riff by following it with one or more steps with
dashes, you cannot shorten a note in a riff.
The only thing you can do to make a note shorter (or play faster, if you
prefer) is to make all of the other notes longer by adding dashes after them,
and increasing the Auto-Riff tempo in the patch accordingly (see p.33). I strongly recommend you plan your riffs in
advance (perhaps even drawing them out on paper) before you try to program them
into the Auto-Riff Phrase.
To
program (or define) a riff that is more complicated than equal length notes,
you’ll need to incorporate some thought into your riff programming. In other words, the fastest note played will
need to be represented by a single step, and longer notes will need to be the
appropriate multiples of that note. If
your fastest note in the riff is a sixteenth note, an eighth note must be
represented by two steps: a step with the note followed by a step with a
dash. A dotted eighth note must be
represented by three steps: a step with the note followed by two steps with
dashes. A quarter note must be
represented by four steps: a step with the note followed by three steps with
dashes, and so on.
Remember,
an Auto-Riff holds a maximum of sixteen steps.
This includes any steps with dashes.
If your riff is more than a few notes, you may have to divide it into
two riffs.
Setting up the
Auto-Riff Effect in the Patch
Once
you’ve either decided on a preset riff or programmed your own riff as described
above, you’ll need to set the Auto-Riff Effect parameters in the patch. This is where you set the Auto-Riff tempo in
the patch to play at the correct speed, and assign other parameters as
well.
Press
[MOD].
Set
{Auto-Riff}
to {ON}.
Press
the [>] parameter button.
Make
sure the {FX}
is {AR}.
Press
the [>] parameter button.
Set
the phrase to the appropriate Riff (User 1, User 2, or etc.) using the [VALUE] dial.
Using the [>] parameter button and the [VALUE] dial, set the parameters for Auto-Riff in the
patch. For each parameter, set the
values as you like. (O.M. p.49)
For example:
{ON}
means the riff will play over and over again as long as you let the string on
your guitar vibrate at that note.
Tempo: Allows you to set the speed that the riffs will
play.
Sens: This sets how hard you have to
strike the string to trigger the Auto-Riff.
Attack:
This sets how strongly the Auto-Riff notes sound like they’re being played.
When you come to the {Effect level},
set it to the volume at which you want the riff to play.
When you come to the {Direct level},
set it to volume at which your own guitar notes will play.
If you want to save the patch at this
time, press [WRITE], specify
or confirm the destination patch, and press [WRITE] again. Instead, you may choose to edit another effect
in the patch by pressing the appropriate effect button.
NOTE:
If you forget to press [WRITE] after your final edit for the patch, not only will
you lose these edits, but you will also lose any other settings changed since
the last time you saved the patch.
Setting the
Control/Assigns to Trigger the Riff
Although
it is not necessary, you will probably want to enable the Auto-Riff to only
play at specific times. Otherwise, the
Auto-Riff will play whenever you happen to play the trigger note on the
guitar. To control when an Auto-Riff
plays and when it doesn’t you’ll have to assign it to a control source. (A discussion on available control sources
and how to use them starts on p16. A list of control sources is on p.20.) I suggest the [CTL] pedal because you can enable the Auto-Riffs with a
single press.
Press [PEDAL/ASSIGN].
Press the [>] parameter button until you come to [CTL] pedal.
Turn the [VALUE] dial to set the [CTL]
pedal to {ON}.
Press the [>] parameter button.
Set the Target to {AR: Effect
Level} using the [VALUE]
dial.
Press the [>] parameter button.
Set Min to 0 using the [VALUE] dial.
Press the [>] parameter button.
Set Max to 100 using the [VALUE] dial.
Press the [>] parameter button.
Set Mode using the [VALUE] dial. Use
If you want to save the patch at this
time, press [WRITE], specify
or confirm the destination patch, and press [WRITE] again. Instead, you may choose to edit another effect
in the patch by pressing the appropriate effect button.
NOTE:
If you forget to press [WRITE] after your final edit for the patch, not only will
you lose these edits, but you will also lose any other settings changed since
the last time you saved the patch.
Assigning the
Auto-Riff to the patch
This
is an example of setting the Auto-Riff so it is available to the patch for use
with the CTL pedal. Even after you
complete these settings, this “example” Auto-Riff will not play any riffs until
you complete “Controlling the Auto-Riff” steps documented below. Once we complete all the steps in this
example, your guitar will play normally (without Auto-Riffs) until you press
the CTL pedal. With the [CTL] pedal pressed, a riff will
kick-in whenever you play one of the trigger notes.
Press
[MOD]
Set
{Auto-Riff}
to {ON}.
Press
the [>] parameter button.
Make
sure the {FX}
is set to {AR}.
Press
the [>] parameter button.
Set
the phrase to the appropriate Riff (User 1, User 2, or etc.) using the [VALUE] dial.
Using the [>] parameter button and the [VALUE] dial, set the parameters for Auto-Riff in the patch. For each parameter, set the values as you
like. (O.M. p.49)
For
example:
{ON}
means the riff will play over and over again as long as you let the string on
your guitar vibrate at that note.
Tempo: Allows you to set the speed that the riffs will
play.
Sens: This sets how hard you have to
strike the string to trigger the Auto-Riff
Attack:
This sets how strongly the Auto-Riff notes sound like they’re being played.
When you come to the {Effect level},
set it to zero. This is the volume at
which the riff will play. (Yes,
zero! In this example, we want the riff
to only be in effect when we press [CTL]).
When you come to the {Direct level},
set it to 100. This is the volume at
which your own guitar notes will play.
Now our patch is set so that Auto Riff
mode is only active when the [CTL] pedal is pressed.
NOTE: If you want the Auto-Riff feature to be
active by default when you select this patch, do not set it up as we did in
this example. Two examples of the
Auto-Riff being on all the time are: 38-4 ARPEGGIATOR and 36-4 AUTO RIFF.
If
you want to be able to control when an Auto-Riff plays and when it doesn’t you’ll
have to assign it to a control source.
(A discussion on available control sources and how to use them begins on
p.16. A list of control sources can be found on p.20.) I suggest using the [CTL] pedal as the source pedal because you can set it to
make the Auto-Riffs play while the pedal is held down, and not play when the
pedal is released.
However,
when the Auto-Riff is playing, you may not want the actual guitar note you
played to be heard through the riff at the same time. So you’ll need to set one [CTL] pedal to do two functions
at once: Play the auto-riff and silence the note being played on the guitar.
CTL
Pedal
Continuing with this example, one [CTL] pedal is going to control
two things simultaneously:
1. We
want the Auto-Riff Effect Level to be 100 and
2. We
want the Auto-Riff Direct Level (guitar sound) to be 0 — but only while we are holding down
the [CTL] pedal.
Setting the [CTL] pedal to turn the
Auto-Riff Effect Level to 100:
Press [PEDAL/ASSIGN].
Press the [>] parameter button until you come to [CTL] pedal.
Turn the [VALUE] dial to set the [CTL]
pedal to {ON}.
Press the [>] parameter button.
Set the Target to {AR: Effect
Level} using the [VALUE]
dial.
Press the [>] parameter button.
Set Min to 0 using the [VALUE] dial.
Press the [>] parameter button.
Set Max to 100 using the [VALUE] dial.
Press the [>] parameter button.
Set the Mode to {
Setting
ASSIGN 1 to turn the Auto-Riff Direct Level (guitar sound) to 0:
Press the [>] parameter button.
You will see {ASSIGN 1}.
Turn the [VALUE] dial to set {ASSIGN 1} to {ON}.
Press the [>] parameter button.
Set the Target to {AR: Direct
Level} using the [VALUE]
dial.
Press the [>] parameter button.
Set Min to 100 using the [VALUE] dial.
Press the [>] parameter button.
Set Max to 0 using the [VALUE] dial.
Press the [>] parameter button.
Set the Source to {CTL PEDAL}
using the [VALUE] dial.
Press the [>] parameter button.
Set the Mode to {
When
you press and hold the [CTL]
pedal, then play the Auto-Riff trigger note, the riff assigned to that trigger
note will play. Likewise, as you play
other notes, the riffs assigned to those trigger notes will play assuming the [CTL] pedal is still held
down. Once you release the [CTL] pedal, normal guitar
playing resumes.
A novel technique from
Bill Davies <billdavies@psn.net>
I
have a great deal of fun using the Auto-Riff feature to simulate a walking bass
line (repeating a 16 note riff at the *slowest* possible speed, tempo = 1) and
playing rhythm, lead, or e-bow effects over that.
I
put the Auto-Riff as the last effect in the chain so that the bass line is not
affected by other effects (reverb, delay, chorus, etc.) and place the GT-3 in
manual mode so I can enable/disable effects as I am inspired.
To have an Auto-Riff play while you
play over it:
Here is an example that allows you to
have an Auto-Riff play continuously while you play your guitar along with it.
Press [MOD].
Set {Auto-Riff} to {ON}.
Press the [>] parameter button.
Make sure the {FX} is {AR}.
Press the [>] parameter button.
Set the phrase to the appropriate Riff
(User 1, User 2, or etc.) using the [VALUE]
dial.
Use the [>] parameter button to select the Auto-Riff parameters.
When
you come to {
When
you come to the {Effect level}, set it to 100 [VALUE] dial.
When
you come to the {Direct level}, set it to 0 [VALUE]
dial.
Press
{PEDAL/ASSIGN].
Set
the [CTL] pedal to {AR:Hold}.
Set
the {Mode:}
to {Toggle}.
Set
an {ASSIGN}
to turn on the {AR:Direct Level}.
Set
the level for both the {Min} and {Max} to be 100.
NOTE: You can also set another {ASSIGN}
to turn down the {AR:Effect Level} if the Auto-Riff
plays too loudly for your overlay.
Now, start the riff by playing a note
on your guitar. Press [CTL], and the riff will repeat
indefinitely while you play your guitar over it. To stop the riff, press [CTL] again.
This
function varies an effect as if an Expression Pedal was automatically
controlling it. You can trigger the
Internal Pedal by one of the EXP or [CTL]
pedals, a Patch Change, or a
In
other words, the Internal Pedal causes an effect to change automatically as if
you had it assigned to the Expression Pedal.
For example, if you set Wah to the Internal Pedal and then assign the
Internal Pedal to a [CTL]
pedal, pressing the [CTL]
pedal would cause the Wah effect to change as if you had moved the expression
pedal. This happens once for each time
you press the [CTL]
pedal. If you want the Wah to continue
once it starts, you would use the Wave Pedal described below.
This
function varies an effect as if an Expression Pedal was automatically and
continuously controlling it. The effect
is continual while the patch is active.
You can trigger the Wave Pedal by one of the EXP or [CTL] pedals, a Patch Change, or
a
In
other words, if you set the Wah
to the Wave Pedal and then assign the Wave Pedal to a [CTL] pedal, the Wah would cycle through its Wah effect until
you stopped it by either releasing the [CTL]
pedal, in {
Using the RETURN SEND EXT OD/DS jacks:
You
can use the EXT OD/DS jacks as an effects loop to incorporate the sounds from
another processor or preamp into the GT-3 path.
Example: Duplicating sounds from other
effect units in the GT-3
From:
G H <gh@sarkyweb.demon.co.uk>
1) Set
up a patch on the GT-3 (or in the PC editor program) that just uses an external
OD/DS. [Make sure all other effects are
off.] Set the BASS & TREBLE to 0
as these add EQ to the loop. [Write the settings to the patch.]
2) Plug
your pedal into the loop and set it up how you want it.
3) Now
turn off the EXT OD/DS and turn on GT-3 internal distortion. Now write this to
the patch. [Set up another patch to sound similar to the effect you’re trying to
duplicate.]
4) By
switching between the two patches you can now compare your pedal and the GT-3
easily. [As you switch back and forth, you can edit the GT-3 sound until it’s
just right.]
This
will work for other pedals as well, even multi-effects like the Zoom. I did
this with a Zoom 505, and the only real "problem" I had was that you
could really hear difference in quality!
These
are described in excruciating detail from pages 38 through 57 of the Owner’s
Manual. Users who see areas of ambiguity
or omission in the Owner’s Manual are encouraged to submit suggestions for
elaboration in the next version of this Supplement.
(Derived from the BOSS® Guitar Effects Guide Book, Vol.14)
Overdrive -
For
a mild overdrive sound, set the drive to a lower level and avoid excessively
high tone levels.
For
a hard overdrive sound, set the drive high and boost the highs with the tone
control.
For
natural overdrive, set the drive moderately high, and boost the mid to high
tone levels just a bit.
For
a hard rock overdrive, set the drive all the way up, give moderate tone and
boost the level.
For
mellow overdrive, set the drive to about a third, boost the low tone settings
and boost the overall level,
Reverb -
Reverb
time sets the length of reverberation or decay.
Reverb
level controls reverb intensity.
For
clean light reverb, reduce the reverb level and set a longer reverb time.
For
a thicker reverb, set a higher level and shorter time.
Use
the tone settings to add brightness or depth to the sound.
It’s
best to start with milder settings and then increase them to the desired
effect.
Delay -
To create a “doubling” sound for a
duet in unison, use short delay times (50 ms or less)
and cut feedback so only a single delay is produced.
You can get a reverb-like delay by
using about five delays at 100-200 ms and setting a
low volume.
To get an effect that repeats along
with the song’s beat set a delay time longer than 300 ms
and match it to your song’s tempo.
Delay times longer than 800 ms allow you to play harmony lines over the delayed sound.
Compression/Sustain
-
For solos in ballads and mellow songs,
set level to 50, attack about 60, and sustain about 60.
To balance the volume of each string
for smooth chord accompaniment set level to 50, attack to 25, and sustain to
40.
When playing sustaining chords, try
Attack at 50 and sustain at 75.
BOSS Recommended
Effect Sequence
(According to the BOSS® Guitar Effects Guide Book, Vol.14)
1.
Any effect that detects an envelope,
such as auto Wah
and octave, should be connected close to the guitar. Usually, you should connect the Wah pedal
before the distortion pedal so it can regulate the distortion however, hooking
it up after the distortion may produce a sound you want. Try it either way to see which sound you like
better.
2.
Volume pedals should occur before
delay effects so the volume can be lowered without cutting the reverb.
3.
Noise gates should occur before delay
effects so the can drop the guitar signal without
effecting the reverb.
So here’s the BOSS®
recommended effect sequence:
Guitar
Octave*
Auto-Wah*
Compressor
Wah
Distortion
EQ
Modulation
- Phaser, Flanger, Pitch Shifter as you like*
Noise gate
Volume
pedal
Delay*
Chorus*
Reverb*
Amp
*Effects at the same indentation level
can be in any order. Try different
configurations here to discover the sound you like best.
Expression
Pedal as a Volume pedal
Resolving volume pedal touchiness:
From:
Nick Oatley" <nick.oatley@seri.co.uk>
In
the assigns, turn the PEDAL Assign off (it's probably doing the Foot Volume
setting at the moment, but we don't need it here).
Set
Assign 1 to control the Foot Volume.
Then
the full range of the pedal is mapped onto the top 2/3 of the volume setting
(from 1/3 to full volume). If you still
want to be able to turn the volume to zero at the very first bit of pedal
travel (heel-down), then do this:
Set
Assign 1 to control the Foot Volume.
Set
Assign 2 to control the Foot Volume.
min=0,
max=32.
Then
the first tiny bit of pedal travel off the heel-down position takes the volume
from zero to 1/3, the remaining travel (which is most of it) takes the volume
from 1/3 to full.
If
Assign 1 and/or 2 are already being used for other things, then pick some other
ones. If you want to change a whole load
of patches to include these settings, save them as a couple of presets first,
then you can quickly recall them again for each patch.
Volume boost suggestions:
David
Stewart <ds@marcen.com>
Here
are two good ways to boost volume for lead levels:
1. Program the same patch, but at two levels,
and put them side-by-side. Use one for
rhythm; stomp on the next pedal for your solo; stomp back onto the rhythm patch
to get out to backing. I use this a lot;
I'll have a patch called, e.g., "TakeItEasyR"
and "TakeItEasyL." (I sometimes have
patches 1 and 2 in a bank with the same patch, 3 and 4 ditto, so I can stab at
the machine with my foot and have less chance of getting a pedal I didn't mean
to hit.)
2. Program the volume pedal so that the Min
level is where you want it for rhythm part, and the max where you want it for
lead part, and then go heel down for rhythm, toe down for lead, and back to
heel down out of the lead. Note that
your FV foot volume level range doesn't have to be 0 to 100; it can be 75 to
100, etc. That can help you switch
volumes for two song parts very easily, without stomping patch pedals, getting
discontinuous sounds, etc.
Simultaneous
Volume and Tuner on the Expression Pedal
From:
Russ Poncher <rponcher@earthlink.net>
On
patches where I am using the expression pedal for volume control, I add an
assign parameter to turn on the tuner when I have the pedal completely
returned. As I have the tuner set up to mute (instead of bypass), this works
very well.
ASSIGN 1 ON
Target: TUNER ON/OFF
Max: Off
Min: On
Source: EXP Pedal
Act. Range Lo:0
Act. Range Hi:1
Expression
pedal as a Feedbacker
From: Matthias Miller <openthepodbaydoor_hal@yahoo.com>
I
am employing feedback by using the Expression pedal to ramp up the dB's on the
EQ at upper mid frequencies of 400. This
is an Adrian Belew trick -- he used an EQ stomp-box
that had the 400's at like plus 8 to 12 dB. This does a great job of inducing real and
natural sounding feedback - and not always knowing with partial/overtone comes
rising out of the mix. This is different
than using the GT-3 feedbacker -- as you get a predictable tone on a single
note, and if you play more than a single note, the GT-3 feedbacker does not
know what to do and freaks. By blasting
the 400 Hz range with the expression pedal, you can not only bring in different
feedback tones according to how much you attenuate the 400 range, but you can
play multiple notes, chords, harmonics, etc, and use
them to trick the GT-3 into playing different partials. Depending on the amp sim and distortion box
used, the GT-3 creates some surprisingly good, useful and controllable
feedback. You can also have the
expression pedal increase or decrease other frequency ranges at the same time
you boost the 400 Hz range. Experiment!!
An alternative way
to program a Wah pedal on the GT-3/GT-5
Provided courtesy of Steve Coates <steve@westgardens.demon.co.uk>,
GT-5 owner,
The 'Pedal Wah' option accessed by the
Wah button on the GT-3/5 is quite limited.
It sets up a basic Wah, but I always felt the range was a bit limited
and it lacked poke compared to the Coloursound and
Vox WAH’s I have used previously.
As the expression pedal, or an
additional pedal connected to the Assign 1 jack (I heartily recommend this for
live use) are capable of controlling the majority of parameters in the GT-3/5
effects, one alternative was to use this process to create a Wah using the
Auto-Wah effect or the EQ section.
A Wah is essentially a sweepable band pass filter, in which a fixed boost is
applied to a swept frequency. It can be
simulated on many mixing desks with swept mid EQ by turning the boost up to
near maximum and sweeping the frequency back and forth.
The difference in sound between
various Wah pedals seems to be related to the Q or steepness of the boost and
the range over which the boost travels from bass to treble.
In the Auto-Wah and EQ setups these
parameters are editable, so setting the expression pedal to control the
frequency of a boost programmed into the EQ effect, or replacing the control of
the Auto-Wah by the pedal rather than the strength of the guitar signal should
produce a Wah effect, and one with more editing available than the normal pedal
setup. I tried both and the Auto-Wah
seems to do it best for me, with the following settings:
|
Wah select |
AW |
Auto-Wah |
|
Mode |
BPF |
|
|
Polarity |
Up |
|
|
Sens |
0, |
This effectively stops the Auto-Wah effect |
|
Frequency |
** |
Not critical, the pedal will change this value |
|
Peak |
80 |
This sets how 'sharp' the Wah boost is |
|
Rate |
50 |
Not sure whether this effects the sound at all when
controlled by a pedal--why not experiment! |
|
Depth |
0 |
Again not so important when pedal controlled |
|
Level |
80 |
This will depend very much on how high you set Peak,
and what you have following the Wah. |
Then go to the Pedal assign section,
choose the expression pedal (or ideally a pedal connected to the Assign 1 jack)
and set the following:
|
Expression Pedal |
On |
|
Target |
AW - Freq (Frequency) |
|
Min |
20 |
|
Max |
92 |
I did try the same process with the EQ
effect, programming a large mid boost and using the pedal to vary the frequency
boost is at in the same way. It is
equally effective, but to my ears the Auto-Wah adjustment sounds better. A posting on GT-5@onelist.com described how
it is possible to set the effect to be switched off by rocking the pedal all
the way back, heel down. This can also
be done using the Auto-Wah effect.
Although I have drawn comparisons with
the Coloursound Wah, this patch is not an
emulation. Ordinary Wah effects are VERY
analogue, but the sound I got from this patch was enough to persuade me to
leave my Coloursound in the Studio for recording
only, and keep to the GT-5 for live use.
An additional tip that applies to much
of the programming of the GT-5 but especially for Wah, is to set the parameters
while playing at the volume you intend to use them — especially the 'Peak' setting. The 'loudness' effect in human hearing will
tend to prompt you to set the peak far too high if done at domestic levels,
causing mayhem at gig volumes! And I
should know.
Expression
Pedal as Volume and Wah
A
common request on this group has been to be able to use the CTL pedal to switch
the function of the Expression Pedal between Volume and Wah.
It
seems to be the consensus of the group[25]
that you can’t have the CTL pedal switch the Volume parameter. It’s just not one of the parameters the CTL
pedal can control. However, Tony Ross
<6828@iname.com>
provided this solution where the EP controls the OD/DS level in the volume mode
and the CTL pedal switches the EP from Wah to OD/DS.
To set the Expression pedal as a
switchable on/off Wah pedal use the following settings:
Assign 1
Target: Overdrive/Distortion
Target Parameter: On/Off
Target min: On
Target Max: Off
Source Exp Pedal
Source Mode: Toggle
Active Range High: 127
Assign 2
Target: Overdrive/Distortion
Target Parameter: Level
Target min: 0
Target Max: 38 (or whatever works for your setup)
Source Exp Pedal
Source Mode:
Active Range High: 75
Assign 3
Target: WAH/Auto-Wah: Wah Pedal
Target Parameter: On/Off
Target min: Off
Target Max: On
Source Exp Pedal
Source Mode: Toggle
Active Range High: 127
Assign 4
Target: WAH/Auto-Wah: Wah Pedal
Target Parameter: Pedal
Target min: 0
Target Max: 100
Source Exp Pedal
Source Mode:
Active Range High: 75
In the Assign 1 and 3 positions, the
switch will operate if you move the pedal in the range from 126-127. This position on the pedal is at the end of
the forward movement of the expression pedal. The Assign 1 and 3 Min and Max
switch instructions are reversed. This
causes the switch from Vol to Wah.
In the Assign 2 and 4 positions, the
pedal will operate as either Wah or Vol
in the range from 0 to 75. The reason we
don’t set it up to operate as Wah or Vol all the way to 126 is because you
would be switching WAH on and off all the time.
Note: This technique requires placing
a rubber pad beneath the toe of the expression pedal to prevent some accidental
switching and to get some tactile sensation of the switching point. The disadvantage to this is that you will
not get use of the full expression pedal path for patches that do not use a
“toe switch” function (beyond 125).
Nick
Oatley nick.oatley@seri.co.uk
demonstrates a superb example of “thinking outside the box” by suggesting a
novel approach to this question. He
suggests making two identical patches side by side on the GT-3, and setting one
to use the EP as volume, and the other to use the EP as Wah. It’s still a single pedal push to switch the
EP function the same way the requested CTL function would work, so it
accomplishes the task simply and eloquently.
Additional notes on Wah
From:
Tony Ross <6828@iname.com>
The
GT-3 and GT-5 is just a preset Wah and you can't change it much. But the cool thing is because you can assign
8 things to the expression pedal you can change the Treble in the preamp or
maybe the high-mids in the EQ etc
etc. When you do that you can get a customised Wah sound that exceeds the sound of the standard
GT-3/5 Wah.
The
other thing you can do is set the Auto-Wah to come on when you
"click" the toe of the expression pedal, and assign the pedal to
change the Frequency of the Auto Wah.
When you do this you can get some really wild Wah sounds. The Auto-Wah has many more variables than the
Pedal Wah by the way.
From:
Bill Davies <billdavies@psn.net>
For what it's worth these days I prefer the Wah sound where the Expression
Pedal controls the AW:freq instead of the Wah effect.
Using
Harmonist to tune down ˝ step:
From: Paul Coleman <paulc500@hotmail.com>
As
you may know, while practicing (playing along with a CD), it is sometimes
necessary to tune down 1/2 step from standard pitch (440)to play along with
certain artists/songs (i.e. SRV, old Van
Halen, some Hendrix etc.). I have always
thought that it was a hassle to tune down or to switch guitars etc.
Using
the GT-3's Harmonist effect I found a way around this. Just add the following settings to your
favorite practice patch, press the CTRL pedal and all output will be 1/2 step
lower. Press it again and you're back to
normal.
In
theory this should work in reverse (although I haven't tested it). If you normally tune down 1/2 step change the
Max setting in Assign 1 to +1 and the output should be Standard pitch (440).
CTRL Pedal: On
Target = HR: On/Off
Min = Off
Max = On
Mode = Toggle
Harmonist: Off
Voice = 1 - Voice
Mode = Fast
Pitch = 0
Fine = 0
PreDly
= 0
Feedback = 0
Level = 100
Direct Level = 0
Assign 1: On
Target = HR1
Pitch Min = 0
Max = -1 (change to +1
to tune up 1/2 step)
Source = CTL
Pedal Mode =Toggle
Act.
Range Lo. = 0
Act.
Range Hi. =127
Assign 2: On
Target = HR1 Fine
Min = 0
Max = +50
Source = CTL
Pedal Mode = Toggle
Act.
Range Lo. = 0
Act.
Range Hi. = 127
Make
sure that MODE under the Harmonist effect is set to FAST and that DIRECT LEVEL
= 0. Verify that there are no other
effects being activated when the CTL pedal is pressed (i.e. Assign 3 thru
8). For best results, put the harmonizer
first in the chain.
From:
David Oliveira <dso@easyphone.pt>
Many
people have complained that the OD/DS distortions are too fuzzy and harsh. It could be an improper sp
sim selection (also could be improved with EQ).
However, what I usually do is to select a preamp/sp
sim model, adjust the gain in order not to get distortion (as you know, the
preamps simulate the gain distortion of each model...), and then add the OD/DS
that I want. This way, this distortion
effects sound much "warmer", more life-like.
From:
Russ Poncher
<rponcher@earthlink.net>
What is the purpose of 2x2 Chorus, and
how would you identify it?
Well,
if you are listening to fingerstyle guitar and you notice that there seems to
be chorus on the high strings and not on the low strings, that would be an
example of something distinctly 2x2. The
2x2 is especially good for when you want to add some shimmer but not be too
obvious.
The
effect is mostly used with acoustic guitar, although I use it on a 60's jangly
patch too.
Using
Feedbacker for Octave boost
From:
Jeff Brown <you_enjoy_myself@hotmail.com>
I've
been using the GT-3 feedbacker to simulate playing an octave higher. I'm learning a solo that goes too high for me
play comfortably on the neck. By setting
the feedbacker to boost +1 oct, the rise time to 0, and the depth to 100, it
adds enough overtone to simulate a higher note, and I can play it more
easily. I think this sounds much better
than using the harmonist to shift an octave higher. It also works great to simulate tapping
harmonics (i.e. holding a note and
tapping 12 frets above).
Infinite Delay Sound on Sound
From:
Bill Davies <billdavies@psn.net>
I
remember someone asking about how to set up the delay to capture a phrase and
repeat it indefinitely while playing over it.
The trick is to have the delay on and set your control pedal to
simultaneously turn the delay feedback to max (100) and turn *off* the delay. For example,
Press
[PEDAL/ASSIGN]
CTL PEDAL
Target
DD:Feedback
Min
40
Max
100
Mode
Toggle
ASSIGN 1
Target
DD:On/Off
Min
On
Max
Off
Source
[CTL] pedal
Mode
Toggle
Press
the [CTL] pedal to activate
infinite repeat, press it again to return to normal delay mode
Keeping
the same delay and reverb across patches:
From: Rich <rgb@richardb.screaming.net>
Page 14 of the 'official' GT3 manual
says, "*Delay & reverb sounds
are interrupted when the patch is changed."
If you want to keep the same reverb
and/or delay effect in another patch, you need to have these effects set to the
same delay/reverb level/type. To help you do this, there are both user
and pre-set
delay & reverb settings which you can use to keep continuity between
different patches, so that when you change patches, you get a smooth
transition. User settings can be
changed to your own tastes, pre-sets are factory set and can't
be changed. See p.11 (also see p 21, 26-27 in the O.M.).
Some
things to try with Vocals through the GT-3:
From: Russ Poncher <rponcher@earthlink.net>
Using the GT-3 for Voice Processing
Start out by turning off the preamp or
setting it to acoustic. The following effects are often used to record vocals:
- Compression/Limiting - EQ - Harmonizer (Set to be from 5-8 cents off to
fatten sound) - Chorus - Reverb Some special effects you
will hear used on vocals include: - The mechanical voice/bullhorn - experiment
with using distortion, short delay (10-40 ms), weird
EQ settings, Flanger - Charlie Brown's Parents - Try
using the Auto-Wah and seriously cutting treble. - Radio - Cut out low frequencies,
boost upper midrange, add slight ring modulation. - The Voice of Doom - An
octave below. Add some thunderous delay
and reverb...
From: Stephen M. Golden <forsmg-gt3@yahoo.com>
Demon voices
In a play we were performing, we
needed to modify various actors’ voices to sound like demons. I came up with this patch that sounded pretty
demonic through microphones.
Comp/Lim:
Sustain: 50
Attack: 40
Tone: 0
Level: 50
Preamp:
Clean Twin
Gain: Middle
Volume: 40
Bass: 60
Middle: 0
Treble: 30
Presence: 55
Master: 80
Mic Setting: Center
Mic Level: 100
Direct Level: 100
Noise Suppressor:
Threshold: 45
Release: 50
Ring Modulator:
Mode: Intelligent
Frequency: 17
Effect Level: 100
Direct Level: 0
Chorus:
Mode: Mono
Rate: 40
Depth: 50
PreDelay:
4.0 ms
High cut: Flat
Effect Level: 100
Getting that Big
Body Guitar Sound
From: "Sutton Reid" <suttonreid@hotmail.com>
As someone who has owned his share of
big body guitars, including a Johnny Smith (which I should never have sold),
let me say two things:
One - you aren't going to get there.
Two - you can get tone that will be VERY satisfying. (I use a Strat.)
The most important things you can do:
1) Use larger gauge strings. Bigger is better, but probably no more than 13’s.
10’s are an absolute minimum.
2) Use a thicker pick and pay close attention to what your technique does to
the tone.
3) Use your thumb and fingers paying close attention to what your technique
does to the tone.
4) Use the neck pickup.
Second most important:
5) Use the Twin amp sim with volume and tone set to 50ish.
6) Also try the JC120 and Match drive, possibly EQ to taste.
7) Also try the SLDN with the volume set to about 8 (try that on a
"real" amp). I haven't had a
chance to try this live, yet, so I'm not sure about it, but I think there is
potential here.
8) Optionally, use a little reverb, but no other effects (OK, you can
occasionally cheat on this).
Try this for a HollowBody sound:
From: "Suzanne Archibald"
<suzanne@crysalis.com>
The patch I have for my strat -> Hollowbody is this:
input č
Acoustic Sim č
EQ on 'hollow body' preset č JC120 Pre
Its not perfect, but it’s not bad either....
Using the GT-3 to Breathe Life into Your Guitar:
A mystical-magical mini-instruction
course on using your GT-3
— by Matthias Miller <openthepodbaydoor_hal@yahoo.com>[26]
The
real power of the GT-3 is in learning how to use the control and expression
pedals to alter sound in real time. This
makes your guitar breathe and quiver, surge and swell, fade and pan, tremble
and vibrate all in tandem with the specific notes you are playing. It's like surfing a huge sonic wave with your
guitar surfboard. And the wave is any size
and shape you want at any moment in your ride, and the wave goes on forever….
Altering
the sound on the fly is the real strength of the GT-3 and appears to be the
most confusing to people. Let’s examine
in detail how you can do this.
Simply
put you have a total of 10 assignments:
·
One dedicated to the cc pedal,
·
One dedicated to the expression pedal,
and
·
8 other assignments.
Each
of these assignments can be controlled by either the CTL pedal the Expression
pedal an external sub-CTL pedal, external sub-Expression pedal, the Internal
pedal, and the Wave pedal.
Each
assignment can be virtually any
element of any effect: turn it on/off, raise or lower the value of one
component of the chorus pedal, etc.
So,
you can hit the control pedal and
1. Raise the master volume from 70-72
2. Lower the pre-amp volume from 98 to 92
3. Change the gain on the pre-amp from medium to
high
4. Increase the depth of the chorus from 14 to
33
5. Increase the number of delay repeats from 2
to 7
6. Turn on the pickup simulator
7. Turn off the Wah
8.
Change the high-mid frequency band from 400 to 300 This would take care
of the 8 arbitrary assigns You then have a dedicated cc: pedal assign so you
could also
9.
Raise the preamp treble from 7 to 8 all of the above would happen
instantaneously as soon as you hit the cc button.
You
could assign all 8 assigns to the expression pedal and then view the expression
pedal as a range from 0 to 127 sliding the expression pedal from 0 to 10 would
do #1 above sliding from 10 to 23 would do #2 and so forth.
This
allows you to “morph” from sound to sound and is the real power of the GT-3.
Using
the expression pedal to control the value of the pre-amp volume is a great way
to dial in just the right amount of distortion for any moment of the song.
Assign
pedals 1-8 are used just like when you assign a parameter to the control pedal
or the expression pedal, but while the control pedal setting is dedicated to
the control pedal and the expression pedal setting is dedicated to the
expression pedal, assigns 1-8 can each be dedicated to either the control
pedal, the expression pedal, or, if you buy some external pedals, to the
sub-control pedals and sub-expression pedal.
Any parameter of any effect can be assigned to a control
pedal. You can set up a patch so that
when you touch the control pedal up to 9 different things happen; or if you
move the expression pedal, up to 9 different things happen.
Using Assigns (Sound on Sound example):
For
example, you could set your patch for a rhythm sound with no reverb and no
echoes.
Now, let’s say you want to sound like
two guitars and sneak in quick lead stabs around your rhythm. Set the control pedal to normal (that means
the parameters are changed while you hold it down, but as soon as you release
the pedal the patch goes back to the original sound).
On assign 1 put in a nice big reverb
on/off assign to the Control pedal
On assign 2 put in your delay on/off
with say four repeats.
On assign 3 put in a larger preamp
volume to give these lead stabs more volume (if your standard patch calls for a
pre-amp volume of say 25, go with 35 to give it a beefier tone. So hitting the control pedal ratchets the
pre-amp from 25 to 35.
On assign 4 put in either a master
volume control or a amp master volume control so that hitting the control pedal
reduces the volume of either of these to compensate for the increased volume
that happens when you raise the pre-amp volume on assign 3 to get a larger
tone. In this way you get a bigger tone
but the volume compensation means the lead stabs are not louder than the rhythm
figures.
So,
play your rhythm figure and then as you hit the control pedal, blast a couple
of quick lead notes, then let go of the control pedal and go back to your
rhythm figure. You will notice that the
delay repeats and the reverb tail will continue to play over your clean dry
rhythm figure. You sound like two
guitarists at once, with two completely different tones.
Using Assigns (another example):
Lets say your patch as a medium reverb of
say 3.5 seconds and a volume of 40.
Assign
volume to your expression pedal.
Take
assign #1 and assign a range of reverb time to your expression pedal.
When
your expression pedal is pushed down, make it your default 3.5 seconds and a
volume of 40. When you roll your
expression pedal back, make it 8 seconds and a volume of 80.
Now,
play some licks or chords with the expression pedal down, with some good sounds
happening, pull the expression pedal back.
The volume goes to zero but the reverb gets huge! So your note ends, but the reverb of that
note gets longer bigger wider louder and you get this swooshing white noise
thing flowing out of your amp. By
morphing back and forth with the pedal you play licks and push out all this
moving reverb stuff....
This
sort of stuff is useful if you are playing a guitar synth and using the GT-3 to
send patch changes to the synth as well.
In this way you can change your guitar sound without changing the synth
patch.
The Internal Pedal:
The
internal pedal is awesome. First you
assign a function that triggers the internal pedal, like changing a patch, or
fully depressing or pulling back on the expression pedal. That turns the internal pedal on. You assign a parameter change to the internal
pedal. For example, reduce the volume
from 100 to zero. You tell the internal
pedal how much time to wait before executing this function and you tell it to
make the change at a constant rate (linear), slowly (slow rise), or quickly
(fast rise). So you can switch patches
and blast all this loud cool stuff, and as you are banging on the guitar and
jumping up and down, the guitar slowly fades out. Without you having to touch anything.
I
use it for example on a synth solo, where the solo starts with just the synth
violin section, but slowly a big powerful guitar sound comes up in volume to
match the violin volume 00 creating a big rushing effect. You could assign the wave pedal to three
different assigns so that slowly or quickly you bring up the number of repeats,
the size of the reverb, the amount of distortion and turn the flanger on. You hit
a new patch or rock back on the expression pedal, etc,
etc, etc. Keep
playing and slowly all these parameters move and you just concentrate on riding
the wave.
You
can reverse of all this by assigning additional assigns to wave pedals to the
reverse of all of these parameters -- and just tell these assigns to wait much
longer before executing these functions.
In this way you start with all these clean normal sounds, the first set
of assign/wave pedals ramp your sounds up with distortion, echoes, flange etc, You riff for a few moments and all the sounds morph in
reverse back to your clean sounds.
All
this stuff can be used to make your guitar sound breathe, expand, contract etc.
The Wave Pedal:
The
wave pedal is great for tremolo but also does fantastic things when applied to
the ring modulation frequency or other elements for crazy sounds.
You
can assign ranges to the expression pedal to execute multiple commands. The range is 0 to 127. So you can say
0-25
brings up distortion,
26
turns on the phaser,
25
turns if off,
40
turns on the chorus,
39
turns it off,
50
changes the chorus depth, etc. etc.
So
when you play stuff and rock the expression pedal back and forth, all these
different things happen at different expression pedal positions. Your guitar can go through 8 personality
changes, all with overlapping ranges.
(“Here” just the chorus is on, “here” both the chorus and phaser are on,
“here” just the phaser is on, and so forth.)
You
can yank the expression pedal around and morph from 50 repeats to 0 repeats,
sweep your flanger, and have unbelievably huge and
powerful sound changes going on just by playing with the expression pedal.
The Feedbacker:
For
an example of using the Feedbacker, set the upper mid EQ at 400 and put the
boost for this on your expression pedal.
Play a solo, and hold a beautiful note and blast your expression pedal,
and feedback will start. In this way you
can bring melody feedback in and out, just by working your pedal. Do this with an increase in volume and reverb
time and volume and your solos go to a new dimension.
Guitar EQ traits:
Mike Apperson <mlapp5409@prodigy.net>
|
20Hz to 60Hz |
More felt than heard and will mud up
your sound real quick. |
|
80Hz to 250Hz |
Your power. It will make your sound
thin or fat |
|
Around 240Hz, |
The body of your sound |
|
250Hz to 2KHz |
Most important. |
|
500 to 1K |
Can cause horn like sounds, |
|
1k to 2k |
Will cause a tinny sound. -Too much and you'll sound like your playing through the telephone. |
|
Around 2.5KHz. |
Clarity |
|
2Khz to 5Khz |
Too much here will tire your ears. |
|
5Khz to 20Khz |
Brings out the clarity. Too much will get very harsh though. |
What’s so special about the GT-3?
1.
Having many of the benefits of owning
several different amps, with NONE of the drawbacks.
2.
Having amp sims that vintage/clean
freaks like as much as the overdrive maniacs.
Dial it in as you like it.
3.
Having most/all of the effects that
most guitarists want most of the time.
4.
Having really good control over all
the effects, effect chain, and amp sims.
5.
Having the quality of the sounds,
tone, and effects far higher than one floor mounted stomp box has any right to.
6.
Having speaker sim options that are
good enough to go straight into the board, either live or for recording. Check out some of the recordings on the
"sounds of the GT-3" for some samples. Follow the links to Dan Baker's site, I
believe.
7.
Having a usable midi implementation.
8.
Having a purchase price of under $400
USD.
9.
And did I say that it works real well
and the tubes never wear out?
10. I
probably left something out.
11. OK,
the GT3 is not perfect, but it is so close it is scary...
12. One
thing that is true, it is not as seductive as some of the other boxes, but as
you learn to use it you will value that this is the real deal.
13. I
was not paid to say this and I bought my GT-3 with my own money...
— Sutton Reid <suttonreid@hotmail.com>
For the creative person it is bound to
unleash a world of new things that some will be useful and some won't. For me
it gave me $1000s of dollars of equipment that can be driven by my Strat and
solid-state amp! — Tracy Adams <TAdams@cvps.com>
I simply got tired years ago of having
to deal with stomp boxes. Being in a dub reggae band, I go through a lot of
effects changes (mainly delays and similar noises) and having them consistent
and easily repeatable makes it well worth the time and money spent on the GT-3.
Also, I love the flexibility of it, once I got used to the interface. Also of
interest for me was having all the pre-amp sims, it means I can plug into
nearly anything amplified and still sound like "me"
– David <dh@monkey-boy.com>
How to think about
your GT-3[27]
O.K. Here we go, a FREE lesson in GT-3. The best way to work with the GT-3 is NOT to
think of it as a big blue box with loads of FX, or as a multi-FX unit. Think of it as a load of Stomp boxes. — You
know, like the small Boss pedals. Now
when making a sound, start with the amp and Speaker Sims. That will be your basic sound — the sound you
are trying to make. Is it a sound like
some known artist? What amp do they use? Start with that. Now add the FX, place things like, Comp,
Feedbacker, Wah, OD/Dist before the Amp Sims. Now what would you put in to a REAL amp FX
loop? Modulation FX right? Phaser, Flanger,
Harmonist, Chorus, Delay — then put the Speaker Sim. Reverb is for the room, this should go after every thing, it's the last effect, put it after the Speaker
Sim. As for the Volume Pedal ...well that is all down to taste. It can go be fore
the Amp Sim or before the Delay. Why
before the Delay? So that you can
“Swell” the Guitar in and out and the Delay “tails” (the repeats) do not cut
out or get cut short. All the above is what I think, it is not Gospel, it is
NOT the law. But it has ALWAYS worked
for me for many years with EVERY Multi FX unit on the market, and for many
others. After I have passed this information
to the paying GT-5 users out there, they have all come back and said how
much easier the GT-5 has become to them.
Once you have this way down-pat, you can then work the GT-3 any way you
like, change the order of the FX, what ever you
like. Just remember...... 'You are the GT-3's master, do not let it
master you!!'. After all... YOU, bought IT. I hope this has helped to get you started on
your way to better sounds.
(O. M. pp.10,33,36,58-67)
Musical Instrument Digital Interface (
This
cable can cost anywhere from $20 to $50 US.
One noteworthy source for one of these cables (at the time of this
writing) is at www.cable4pc.com/midi301.htm. The MIDI connectors on the joystick adapter
cable are sometimes female gender and so are the
(MIDI Connections: O. M. p.10, 58, 64)
If
you can afford to spend a few extra bucks (about $50-$100 US), instead of using
the joystick connector, you can get a dedicated MIDI interface such as the
parallel port PC-MIDI Flyer by Mark Of The Unicorn (MOTU) (www.motu.com) or one of the parallel, serial, or
USB interfaces by MidiMan (http://www.midiman.com/)
like the MidiSport 1x1 or 2x2 USB models. These interfaces allow
Can’t get your connection to work?
A
common mistake made by new users is to plug the IN cable from the PC to the IN
port of the GT-3 and the OUT cable from the PC to the OUT port of the GT‑3. This seems to make sense, but is
incorrect. Whenever you’re connecting
two
You
can also connect your GT-3 to keyboards, sequencers (such as the ROLAND
MC-50 mk II), and
Notes on
by
Kevin S. Miller <ksmiller@pipeline.com>
A
second function of
Another
thing I think you could do with the GT-3 (I know this can be done with other
MIDI devices) is to assign any number of GT-3 parameters to be controlled by
The
other function of
The
Bulk Load feature is also what makes it possible to exchange individual patches
with other GT-3 users.
For
more information on using MIDI with the GT-3, see the UTILITY topic,
This
glossary may contain some words, which on the surface, may seem to be
unnecessary. Keep in mind there are GT-3
users from around the world where English is a second language. For those people, additional words have been
included.
Activate - To turn on, start or begin
something.
Assign - A definition of a source and
its associated target. Refers to the two
parts that make up the control of a function, (effect or parameter). The pedal or control that will actually do
the controlling is called the “SOURCE”. The parameter or effect being controlled is
called the “TARGET”.
Attack - How quickly an effect engages
after it is triggered. Also, the time it
takes for a sound to reach its initial peak intensity. The first part of a sound’s “envelope.”
Auto-Riff - A definable sequence of
notes that will be heard when playing the single trigger note.
Bank - Four patches organized into a
numbered collection or group. The GT-3 has 85 Banks with four patches in each
bank.
Bank Indicator - The lighted number in
the display that shows the currently active bank.
Bank Pedal - A pair of pedals used to
move up or down through banks of patches.
BPM - Beats per minute, (as in tempo).
Bypass - The state or condition where
an effect or function is selectively disabled.
Cancel - To undo an action or free
oneself of a commitment.
Chorus - A slight delayed and
modulated signal combined with the original signal which creates a thick
shimmering sound.
Coincidence - An inadvertent
occurrence of two unrelated events.
Compressor – Reduces the loudest input
levels while boosting the softest input levels thus evening out the volume
levels of all input sounds. High and low
volume threshold levels are typically adjustable. Also improves sustain without adding
distortion.
Control Pedal (CTL) - Either the fifth
“push pedal” on the GT-3 counting from the left or one of the optional external
push pedals that allow you to control the sounds and settings of the GT‑3
with your foot.
Control Sources - Eight possible
controllers that can be set to control selected functions; EXP Pedal, CTL
Pedal, SUB EXP Pedal, SUB CTL 1, SUB CTL 2, Internal Pedal, Wave Pedal and MIDI
Control Change message, (Channel 1~31 and 64~95).
Data - Another word for information,
usually describing computer-specific information.
Decay - The way a sound diminishes in
intensity. The third and final part of a
sound’s “envelope.”
Default - The value or function preset
into the GT-3 at the factory.
Definitions - Values or choices, which
can be selected from within a menu.
Delay - Samples the original sound and
plays it back to simulate an echo.
Delete - Remove or cause to be gone.
Device - Generally, refers to any type
of electronic item.
Direct Level - The level of you
guitar’s sound.
Disable - To turn off or make
inactive.
Display - The window where all menus,
values and other data are read.
Distortion - Produces a harder,
metallic sound high in upper harmonics.
Dynamically - Something you can do
while the unit is being used. EX: As you
are playing the guitar through the GT-3.
Editing - The process of making
setting and value changes.
Effect - A processing of the original
sound which changes the sound resulting in a new and different sound.
Effect Button - A button on the GT-3
that allows you access effect parameters.
Effect Level - The sound level of the
effect produced in response to playing your guitar.
Enable - To turn on or make active.
Envelope - The way in which a sound
varies throughout its duration.
Generally speaking, there are three aspects of a sound’s envelope: attack, sustain, and decay.
Event - Something that happens.
Expression Pedal - The continuously
variable controller on the GT-3. (The
one that looks like a vehicle’s accelerator pedal.)
External - Any device that plugs into
the GT-3 like a SUB CTL pedal.
EZ Edit - An editing method that
allows you to create a new sound using factory preset values which can be
created and editing using the foot pedals while you play.
Feedback - An often unwanted squealing
sound usually caused by a given sound being amplified by the same amplifier
more than once. This is called a “feedback loop.” Sound is picked up through a microphone or
acoustic guitar pickup, amplified, and picked up by the microphone again, then
amplified again etc. This loop continues building until a runaway squealing
sound results. The AFB, (anti-feedback), effect in the GT-3 can be a useful
tool in preventing or recovering from unwanted feedback. However, in many circumstances while playing
Rock guitar, feedback is entirely desirable and even intentionally produced
under controlled conditions.
Feedbacker - An effect which will
produce a feedback sound of the same frequency as the note being played without
having to nurse it out of your guitar manually by holding it near the
amplifier’s speaker.
Flanger
- Combines a slight delay with the original signal for a swirling “doubled”
effect.
Foot switch - May also be referred to
as a foot pedal and will usually be a latching or non‑latching type.
Function - An effect or parameter
feature of the GT-3.
Fuzz - Distortion that radically
emphasizes harmonics.
Gate - A point at which something
turns on or shuts off. For example, a
noise gate shuts off the sound of your guitar once the decay reaches a specific
level which you set.
Gender - An important part of
describing a connector type. A connector
is designated as being either a male or female gender. A male type connector may also be referred to
as a plug. A female type connector may
also be referred to as a jack.
Global - Functions that cause a change
across the entire unit. “Global
Settings” on the GT-3 involve your “amp” setting, EQ, Noise suppressor, and
reverb level. Global settings enable
you to make quick changes across the entire GT-3 to match temporary changes in
your playing situation. For example:
plugging into your Boogie combo as opposed to setting up in a recording studio
directly into the mix. Two GLOBAL
functions that do not effect the sound are MANUAL and
TUNER which you can set under the <SYSTEM> parameters to be globally
dedicated to external CTL pedals.
Harmonist - An intelligent pitch
shifter that automatically adds harmony to the notes you play depending on the
key specified.
Infinite - Without ending, repeats or
continues without stopping.
Insert - A single jack on musical
equipment that allows you to both send a signal to an external device or path
and receive a return signal back from that device or path. It requires a special “Insert cable” in order
to do this.
Insert Cable - A special cable
consisting of a Tip-Ring-Sleeve (stereo Ľ”) plug on one end of the cable that
splits to two cables with Tip-Sleeve (mono Ľ”) plugs on the other. This cable is most commonly used as a means
to send and receive a signal through a single jack. The Tip conductor is usually the “send” and
the Ring conductor is the “return.” In
regard to the GT-3, an insert cable must be used to connect two external
CTL pedals to the
Sub CTL 1 / 2 jack.
Interface - The combination of
buttons, pedals and display which are used to play and make adjustments on the
GT-3.
Internal Pedal - A definable trigger
set to cause something to happen. This
trigger can be set up to coincide with the moving of the expression pedal, the
pressing of a Control pedal or even changing to a different patch. The Internal Pedal can also cause a variation
in the sound to occur as if you had rocked the expression pedal forward or
back. You can set the rate and envelope
of this variation to your liking.
Joystick - 15 pin connector on
virtually all modern PC sound cards used primarily to attach a controlling
device used mainly for playing computer games.
Fortunately, it is also capable of being used as a
Keyboard - Any piano style interface.
LCD - Liquid Crystal Display, one of
several types of electronic displays.
Level - Volume or depth of an effect.
Limiter - Limits the peak levels of
sounds so they do not exceed a set threshold.
Manual - With regard to operating the
GT-3, this is the ability to turn on and off specific effects individually
while you play by pressing the push pedals without making adjustments to the
patch.
Master BPM - Global setting of the
BPM, (Beats Per minute), for all effects having BPM as a featured parameter.
Maximum - Defines the highest, most or
largest value.
Menu - A selection of options from
which you can select one or more choices.
Meter - A graphical representation of
the volume levels of either the input, main output or the output of an
individual effect.
MIDI Bulk Load - A GT-3 MIDI Data
Transfer mode where an external
MIDI Storage Device - A device that
has as its primary purpose the function of storing
Minimum - Defines the lowest, least or
smallest value.
Mode - Defines the way a device will
react. There are usually several modes
which cause a device to behave differently depending on the mode selected.
Modify - Same as adjust, alter, or
program.
Modulation - Fluctuation of a sound or
sound feature.
Momentary - Usually associated with a
switch which is active only while the switch is pressed and shuts off once
released.
Mute - The condition where there is no
sound made from this effect or function.
NAMM - National Association of Music
Merchants - An international organization whose mission is to "unify, lead
and strengthen the global music products industry and to increase active
participation in music making." It
is supported by more than 7,000 music products retailers, manufacturers,
distributors, wholesalers and publishers located in the
Noise Gate - Another term for the
Noise Suppressor. This is a function
that shuts off the sound of your guitar after the decay drops below a specific
level which you set.
Noise Suppressor - Eliminates noise
resulting from connecting multiple effects units or using very high gain.
Normal - As opposed to Toggle, this
causes the push pedal to work in such a way that the switch is on while it is
being pressed, and off when you release it.
Normal Mode - See
Normal Setting Method - A method of
adding an effect to a patch using value settings which you select.
Numbered Pedal - Any of four pedals
numbered 1 through 4 having multiple functions.
Most common use is selecting individual patch numbers from within a
selected bank.
Octave - Creates a signal one or two
octaves lower than the original signal.
On–Board - Any part of the GT-3 that
is physically located on the unit itself, such as the Numbered pedals.
Order Of Effects - Defines where an
effect is placed in the signal path. If
you had individual effect pedals, this would be the sequence in which you
connect them with the cables. The sound can be drastically different using the
exact same effects and settings but rearranging where each effect is placed in
the chain of effects.
Overdrive - Simulates the sound of an
overdriven tube amp and responds to playing touch.
Owner’s Manual - The official manual
included with the GT-3 when purchased new.
Parameter - Adjustable values which
make up an effect.
Patch - A stored collection of
settings specifying haw various effects are to be fine tuned
and combined to create a specific sound.
PC - Personal Computer. This term is usually associated with DOS or
Windows based computers. Although
Macintosh, or Mac-type computers are considered by many to be “personal
computers,” the term “Personal Computer” or “PC” was once a registered
trademark of the IBM Corporation. The
term has since fallen into public domain, but generally is reserved for
“IBM/Intel/Microsoft compatible” computers.
(For those of us who are Macintosh people, take pride in this quote,
“It’s not a PC, it’s a MAC!”)
Phaser - Combines an out-of-phase
signal with the original signal to produce a sound similar to the sound of a
rotary speaker.
Phrase - A musical passage or sequence
of notes.
Pitch Shifter - Shifts the pitch of
the original sound by various intervals.
Preset - A value or setting which has
been predefined at the factory.
Program - With regard to the GT-3: To
edit, adjust, or modify any setting.
Quick Setting Method - A method of
adding an effect to patch using factory preset values.
Reverb - Adds the sound of natural
acoustic ambiance present in rooms and halls.
Sensitivity - How easily the vibration
of a string on the guitar will be “heard” by the GT-3.
Sequence - The order effects are
arranged, in other words; which effect is first, which is second, and so
on. In general terms, the order of
things.
Sequencer - A device that can record
and save
Source - The pedal or control that
will actually do the controlling of the target.
Step - A single numbered instruction
which is part of a logical series of numbered instructions.
Sub CTL 1 / 2 - A connector on the
back of the GT-3 where 2 additional latching or non-latching Control Pedals can
be connected.
Sub EXP - A connector on the back of
the GT-3 where a second expression pedal can be connected. (Same connector as Sub CTL 1 / 2.)
Successive - Repeating the same action
again and again.
Supplement - This document. An addition to something that provides what
the object of the supplement lacks. E.g.
This document is designed to be used together with the Owner’s Manual because
it provides what the Owner’s Manual lacks.
(We hope.)
Sustain - The relatively constant
intensity level of a sound. This occurs
between the attack and the decay.
In a sound’s envelope, if the decay begins immediately after the attack,
there will be no sustain.
Switch Pedal - Another term for one of
the “push” type pedals on the GT-3.
Synth - Abbreviation for synthesizer
or synthesized.
Synth Hold - Causes the current synth
sound being played to hold continuously until signaled to stop.
SysEx
- MIDI System Exclusive data.
Information that is specific to a given device and is usually unusable
to other
System
- With regard to the GT-3: A set of
system-related parameters which can be adjusted to the user’s preference. They include LCD Contrast, Dial function, SUB
CTL 1, and SUB CTL 2.
Tap Setting - In stereo delay, the
timing of the delayed signal reaching the right channel with respect to the
direct signal being sent to the left.
This has nothing to do with “Tap Tempo.”
Tap Tempo - The ability of the GT-3 to
dynamically set the rate of an effect, such as delay, to the rate at which you
press a CTL pedal.
Tap Time - See Tap Setting.
Target - The parameter or effect being
controlled by the source.
Terminology - Words specific to a
particular discipline. In this case,
words specific to the GT-3 or musical instruments.
Toggle - With each press of a button
an alternate state is reached, such as On/Off.
Press once, the function is on, press again and the function is off.
Toggle Mode - Setting a CTL pedal so
that it works as a Toggle. Press once,
the function is on, press again, it’s off.
Tremolo - Varies the volume of the
original sound to create a pulsating effect.
TRS - Tip–Ring–Sleeve. Refers to the electrical contacts of a Ľ “
phono, three conductor type connector, like the kind used on a stereo headphone
plug. The Tip, as the name implies, is
at the very tip of the connector. Next
is an insulating disk which separates the Tip from the next part of the
connector, the Ring. Next is another
insulating disc separating the Ring from the Sleeve which is the last
conductive part of the connector.
Tuner - A device that assists you in
tuning your guitar. A Guitar tuning
feature on the GT-3.
User - A storage area in the GT-3
where you can set your own favorite parameters for easy recall and
implementation later. For example: User
Bank, User Patch, User Setting.
Utility - A term generally referring
to functions that perform housekeeping type chores, most of which affect the
unit in a Global fashion.
Wave Pedal - Similar to the Internal
pedal except the Wave Pedal allows for different continuous variation of the
sound as if you were rocking the expression pedal back and forth.
Write - Same meaning as the word SAVE.
I
would like to thank John Sabbagh <Jgsabbagh@aol.com>
(invalid: current e-mail unknown) for
his extensive help in compiling and editing the first edition of this
manual. His persistence, perseverance,
and point of view covered great lengths in making this what we hope is a
friendly, easy to understand manual.
I
would also like to thank the following GT-3 wizards for their contributions to
this work:
(They are listed alphabetically by
first name or identifier.)
Barry
Pearce <bsp.egroups@freenet.co.uk>
Bill
Davies <billdavies@psn.net>
Bruce
Joyce <deadbeat@netdoor.com> (invalid:
current e-mail unknown)
David
Hathaway <dh@monkey-boy.com>
David
Oliveira <david.oliveira@altitude.com>
David
Stewart <ds@marcen.com>
David
Wilson <Guitargod91@aol.com>
G
H <gh@sarkyweb.demon.co.uk> (invalid:
current e-mail unknown)
Greg
Miller <GMiller@PIRNIE.COM>
Jeff
Brown <you_enjoy_myself@hotmail.com>
K. Douglas Baldwin <dbaldwin@suffolk.lib.ny.us>
Kevin S. Miller <ksmiller@pipeline.com>
Matthias Miller, alias: Podbaydoor <openthepodbaydoor_hal@yahoo.com>
Mike
Apperson <mlapp5409@prodigy.net>
Nick
Oatley" <nick.oatley@seri.co.uk>
Paul
Coleman <paulc500@hotmail.com>
PLANK,
Rich
"rgb" <rgb@richardb.screaming.net>
Russ
Poncher <rponcher@earthlink.net>
Steve
Coates <steve@westgardens.demon.co.uk>
Steve
Miers <steve_miers@bmc.com> (invalid: current e-mail unknown)
Sutton
Reid" <suttonreid@hotmail.com>
Suzanne
Archibald" <suzanne@crysalis.com>
Tony
Ross <6828@iname.com>
William
K. Brown <William.Brown@PHL.Boeing.com>
2
2x2 Chorus..................................................................... 45
A
Anti-feedback................................................................. 22
Assign Hold.................................................................. 14
Assigning
Control......................................................... 19
Auto-Riff........................................................................ 30
Controlling................................................................. 35
CTL
Hold................................................................... 22
Example...................................................................... 34
Phrase................................................................... 14,
30
display.................................................................... 30
Sound
on sound......................................................... 36
B
Bank................................................................................... 8
Bank
Extent.................................................................... 13
Big
Body Sound............................................................ 46
BPM
Effect........................................................................... 21
Master......................................................................... 21
Tap
Tempo................................................................. 22
C
Chorus
2x2............................................................................... 45
Connections...................................................................... 8
MIDI............................................................................ 51
Control
Anti-feedback............................................................ 22
Auto-Riff
Hold.......................................................... 22
BPM...................................................................... 21,
22
Delay........................................................................... 22
External
Pedals.......................................................... 24
Feedbacker................................................................. 22
functions..................................................................... 21
Manual........................................................................ 23
Master
BPM............................................................... 21
Multi-Function.......................................................... 21
Mute............................................................................ 23
Synth
Hold................................................................. 23
Tuner........................................................................... 23
Vibrato........................................................................ 22
Control
Assign............................................................... 19
Control
Pedal................................................................. 16
Setting......................................................................... 18
COSM............................................................................. 27
Preamps...................................................................... 27
Speaker
Simulator..................................................... 28
Testimonials............................................................... 29
D
Delay......................................................................... 22,
45
Sound
on sound......................................................... 38
E
Editing
a patch................................................................. 9
Direct............................................................................. 9
Easy............................................................................. 10
Effect................................................................................. 8
USER
Settings........................................................... 11
Effect
Sequence............................................................. 39
Effects
Loop................................................................... 37
EQ............................................................................. 13,
49
Expression
Pedal........................................................... 16
Setting......................................................................... 16
EXT
OD/DS................................................................... 37
External
Pedals.............................................................. 24
Connecting................................................................. 24
Control
Assign........................................................... 24
FS-5U.......................................................................... 24
Global
Manual Mode............................................... 24
EZ
Edit............................................................................ 10
F
Feedbacker........................................................ 22,
41, 45
G
GLOBAL........................................................................ 13
Global
Manual Mode.................................................... 24
H
Harmonist....................................................................... 44
Pitch
Shift................................................................... 25
scale............................................................................. 14
I
Insert
Cable.................................................................... 24
Internal
Pedal.......................................................... 20,
37
J
Jump
feature..................................................................... 9
M
Manual............................................................................ 23
MANUAL....................................................................... 11
Manual
Mode.......................................................... 23,
24
Master
BPM................................................................... 21
METER........................................................................... 13
MIDI......................................................................... 14,
15
Bulk
Dump.......................................................... 12,
15
Bulk
Load................................................................... 15
Data
Transfer............................................................. 15
Receive....................................................................... 15
Transmit...................................................................... 15
MIDI
Connections......................................................... 51
Multi-Function
Control................................................ 21
Mute................................................................................. 23
N
Naming
a patch.............................................................. 10
Normal/Toggle............................................................... 24
O
Order
of Effects............................................................. 10
P
Patch.................................................................................. 8
Editing........................................................................... 9
Direct........................................................................ 9
Easy........................................................................ 10
Jump
feature............................................................ 9
Naming....................................................................... 10
Writing........................................................................ 10
Patch
Change Mode.................................................. 8,
13
Pedal
Control
Assigning............................................................... 19
Setting.................................................................... 18
Expression.................................................................. 16
Assigning............................................................... 19
Setting.................................................................... 16
Internal................................................................. 20,
37
Normal/Toggle.......................................................... 24
Wave..................................................................... 20,
37
Pitch
Shift....................................................................... 25
R
Receive............................................................................ 15
Return/Send
Jacks......................................................... 37
Reverb............................................................................. 45
S
Setting
the Control Pedal............................................. 18
Setting
the Expression Pedal....................................... 16
Sound
on sound............................................................. 38
Sound
on Sound............................................... 36,
45, 48
Speaker
Simulator......................................................... 28
Sub
Ctl 1 / 2 Pedals....................................................... 24
Sub
EXP Pedal............................................................... 24
Synth
Hold...................................................................... 23
SysEx
Data..................................................................... 51
SYSTEM.................................................................. 13,
58
T
Tap
Tempo..................................................................... 22
Tempo............................................................................. 22
Transmit.......................................................................... 15
Tuner............................................................................... 23
Pitch
setting................................................................ 12
TUNER/BYPASS......................................................... 12
Tuner/Volume
EP.......................................................... 41
U
USER
Settings............................................................... 11
UTILITY........................................................................ 13
Auto-Riff
Phrase....................................................... 14
GLOBAL.................................................................... 13
Harmonist
Scale....................................................................... 14
METER....................................................................... 13
MIDI..................................................................... 14,
15
SYSTEM............................................................. 13,
58
V
Vibrato............................................................................ 22
Vocals.............................................................................. 46
Volume
boost................................................................. 40
W
Wah....................................................... 16,
37, 39, 42, 44
Warm Distortions.......................................................... 44
Wave
Pedal.............................................................. 20,
37
Writing
a patch.............................................................. 10
[1] BOSS is a registered trademark of the ROLAND corporation.
[2]
From Jeff Brown <you_enjoy_myself@hotmail.com>
[3] Perhaps someone else has a better idea of what BOSS had in mind for using this feature.
[4] Please see the Owner’s Manual. p.35
[5] From Russ Poncher <rponcher@earthlink.net>
[6] From: "Jan Huizinga" <janh@Unit4.nl>
[7] I’d like to thank Nick Oatley <nick.oatley@seri.co.uk> for making this concept clear to me.
[8] http://www.kagi.com/amcsoftware/gt3.html
[9] http://www.bossgt3.co.uk/
[10] Precludes the use of the SUB CTL devices.
[11] Precludes the use of the SUB EXP Pedal.
[12] Must be used in conjunction with SUB CTL 1. An insert cable is required. (See p.24)
[13] “Tap” as in “tapping into” a water or electrical line.
[14] From: Russ Poncher <rponcher@earthlink.net>
[15] From: Russ Poncher <rponcher@earthlink.net>
[16] Rich "rgb" <rgb@richardb.screaming.net>
[17] Russ Poncher <rponcher@earthlink.net>
[18] K. Douglas Baldwin <dbaldwin@suffolk.lib.ny.us>
[19] Courtesy of Steve Miers <steve_miers@bmc.com> and Bruce Joyce <deadbeat@netdoor.com>
[20] David Stewart <ds@marcen.com>
[21] Ronny Willems <ronny.willems@nbb.be>
[22] Ronny Willems: Not currently being a GT-3 owner, I have not performed these tests on the GT-3.
[23] The Owner’s Manual mentions that you can set the IN and the STEP by playing them on the guitar, but it can be pretty tricky and it’s easy to accidentally undo any programming you might have done manually. (O. M. p.37)
[24] Your contributions are encouraged, not only in the Tips and Tricks section, but in every area of the Supplement. Please submit suggestions and tips to <forsmg-gt3@yahoo.com>
[25] http://www.egroups.com/group/GT-3
[26] Pay close attention to what this man’s got to say! He’s got an incredible grasp of the GT-3!
[27] PLANK,