Direct To A Mixing Console; Applying Power; About The Gnx1; The Presets - DigiTech GNX1 User Manual

S O - I
ECTION NE NTRODUCTION

Direct to a Mixing Console

The GNX1 can be connected directly to the inputs of a house PA system, or to a recording console. Connect the
guitar to the input of the GNX1. Connect from the outputs of the GNX1 to the channel inputs of the mixing console.
If the GNX1 is to be used in Stereo mode, set the pan controls of the mixer hard left and right, and select stereo as
the output mode in the GNX1's Utility menu. See page 34 for more information on the output mode.

Applying Power

Once the audio connections have been made, turn the Output Level on the rear panel of the GNX1 all the way down
(counterclockwise). Connect the PS0913B to the power jack on the back of the GNX1 and the other end to an AC
outlet. Turn the power switch of the GNX1 to the On position.Turn the power to your amplifier(s) on. Set the amp(s)
to a clean tone and set the tone controls to a flat EQ response (on most amps, this would be 0 or 5 on the tone con-
trols).Turn the Output Level of the GNX1 up to achieve the desired volume level.

About the GNX1

The Presets

Presets are named and numbered locations of programmed sounds which reside in the GNX1. Presets can be recalled
with the Footswitches or the Data Up and Down Switches.The GNX1 comes with 48 Factory and 48 User Presets
available.The Factory Presets will not allow you to store any changes to them.The User Presets are locations where
your creations may be stored. From the factory, the 48 User Presets are exact duplicates of the 48 Factory Presets.
This allows you to make your own Presets without the worry of losing any of the original sounds that the GNX1 came
with.When you select a Preset, the name of the Preset will be shown in the green alpha-numeric Display and the
number of the Preset will be shown in the red numeric Display. The LED at the top of the Bank/Preset Footswitch will
light green to indicate a User Preset and red to indicate a Factory Preset.
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