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Set-up....
Welcome!
This document will provide you with all the information Roland/Boss
forgot to tell you about in the official Owner's manual, and much more
besides. This document isn't just about the GT-3/5 Guitar Effects
Processors. We will also examine your entire guitar system to ensure that
you can get the most from it and your GT-3/5.
I hope you find this document both informative and useful,
Barry Pearce
Release:
0.2 draft, 04 Feb 2002
Author:
Barry Pearce et al.
THIS IS NOT AN OFFICIAL BOSS/ROLAND MANUAL
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Summary of Contents for Boss GT-X
- Page 1 Set-up…. Welcome! This document will provide you with all the information Roland/Boss forgot to tell you about in the official Owner’s manual, and much more besides. This document isn’t just about the GT-3/5 Guitar Effects Processors. We will also examine your entire guitar system to ensure that you can get the most from it and your GT-3/5.
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Page 2: Table Of Contents
Contents IMPORTANT NOTES ............. 7 4 Cable Method (Mono) ........27 REVISION HISTORY............8 5 Cable Method (Stereo) ........27 OUTSTANDING ISSUES..........11 Power Amp Only and GT-3/5 External Effects Loop How to use this document ..........12 ................27 GT-3/5 as Two-Loop System ........ - Page 3 Contents Effects Chain Level Matching ....... 42 Section 11 Apparent Volume Adjustment....... 43 Manual Mode........ 62 Output Level Adjustment ........43 Level Matching Existing Patches........44 A Pedal Assignment Template ........62 Preset Patch Level Matching Example ....44 Switching In/Out ............. 62 Advanced Level Matching ..........
- Page 4 Contents Slicing Patterns ............... 91 Section 15a Rate ................. 91 Applied Principles of Distortion Problems ................. 92 Dynamics........78 Trigger Sensitivity............92 Using It For Effect ............92 Introduction..............78 Presets ................92 Frequency Control ............78 Equalization Theory............78 Section 20 More Theory…...
- Page 5 Contents Unusual Targets &Sources..........101 Summary.............. 117 Targets..............101 Sources ..............101 Section 28 The Internal Pedal Source..........101 All About MIDI ......118 Expression & Footswitch Triggers ...... 101 Using MIDI CC For Triggering......101 What MIDI Can and Can’t Do for You......118 Sweep Time............
- Page 6 Contents 1-3/U1-1-3 'Clean' ..........138 Appendix D Analysis Methods ........155 1-4/U1-1-4 'Ext FX Loop'........138 Equipment Set-up & Connections ....... 155 2-1/U1-1-5 'Noise check' ........139 GT-3 Patch used ..........155 2-2/U1-2-1 'YUK Noise 1'........139 Spectrum Analysis ..........155 2-3/U1-2-2 'YUK Noise 2'........
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Page 7: Important Notes
3/5 Owners Manual to provide a consistent style of ONLY under the following conditions: presentation. It must be noted however, that the presentation in no way represents any endorsement by the Roland 1. It must remain intact with no edits, additions or Corporation. -
Page 8: Revision History
Section 8 EV5 contents. Section 8 updated for my current set-up. Added additional sub-section on configuring and using a Roland EV5 expression pedal. Sections 22,23,24 updated for corrected spelling & rewording of confusing sentences. Appendix A updated for corrected spelling &... - Page 9 1024x768 for clearer viewing. Patch ‘1-4 Flat Amp’ removed to avoid perpetuating a Roland LIE about the AC.Guitar preamp. Section 27, recommendations about acceptable internal battery voltages added. …..and a huge number of other minor changes throughout the ENTIRE document way too many to mention…sorry.
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Page 10: Revision History
Revision History Version Status Date Name Description of Changes Section 26 – added some words explaining why signal delay & signal polarity are important and how they can affect the signal. Also added some additional measurements regarding delay caused by effect processing, and corrected the GT-3 bias of the text. -
Page 11: Outstanding Issues
OUSTANDING ISSUES Issue Date Raised By Description Number 0001 Ongoing Barry Pearce Section 13 – Compressor/limiter - to be completed © Copyright 2000-2002 Barry S. Pearce et al. -
Page 12: How To Use This Document
CTL & expression pedals, including are examined. We will look at what a Noise Gate does, and a walkthrough of connecting a Roland EV5 Expression how to use it to solve noise problems, and discover how to Pedal. -
Page 13: How To Use This Document
This section examines control assigns and I give you the Dynamics information that Roland forgot to put in their manual. We In this section Vince Baim takes us through getting that take a look at the technical aspects of the Internal and Wave killer distortion that we all strive for. -
Page 14: Section 28 All About Midi
How to use this document Section 27 Appendix E Factory Reset/Commissioning LCD Meter Overlay Templates This section takes a quick look at the two factory modes, Kindly provided by Jed, this section provides a single page how to get into them and what to watch out for! that maybe printed out on a transparency that may be used for more accurate metering measurements. -
Page 15: Introduction
Boss pedals.’ recommend that you read through the GT-3/5 owners manual supplied by Roland. I do assume that you have read This is why I level match as I do, so manual mode can be this. -
Page 16: Thank You
Section 1 Introduction Cheers PLANK for putting into words that which I had Manuel "Jed" Saldaña assumed everyone understood already! For his effort producing the LCD Meter Templates in Appendix E, and allowing me to include them here. Thank You Simonen Sampo There are one or two people that must be thanked for their For his description of the ‘Sutton Mod’... -
Page 17: And Finally
Section 1 Introduction I would also like to thank everyone who has made comments, given words of encouragement, or thanks. These have helped me understand that there was a need for this document and it wasn’t just me who needed the information! And Finally…... -
Page 18: Section 2 Audio Terminology
Section 2 Audio Terminology and on the cold wire we have –signal+noise. When the Audio Terms signal arrives at its destination the cold signal is inverted Before we get going, I feel that I should explain some giving us +signal–noise. The two wires have their signal common terms. -
Page 19: Clipping
Section 2 Audio Terminology signal level but 100 units noise. If I put a louder signal through the unit initially—for instance 200 units and amplify it by 10 the audio is 2000, however the noise is still only 100; Instead of 10% its now only 5%. Indeed If I now reduce the amplification—to say 5 times, I get 1000 units of audio and ONLY a mere 50 units of noise. -
Page 20: Guitar Set-Up
Section 3 Guitar Set-up OK. I know you are going to get all shirty (yes shirty—it's a Final Electrical quaint English thing) and whilst prodding me in the ribs say Actually, while you have the strings off – let’s do a quick 'What has this got to do with my GT-3/5?'. -
Page 21: Strings Ii
Section 3 Guitar Set-up OK...ditch the strings..take off every panel you can...and most cases I recommend the book ‘How to make your yes even the plate where the jack socket is. Electric Guitar Play Great’ by Dan Erlewine. This will help you sort it out or if you are feeling a bit squeamish go see a As a general rule—when placing two strips of this stuff side repairman. -
Page 22: Adjusting Pickup Height
Section 3 Guitar Set-up drastically alter the power output, tone, noise and sensitivity characteristics. An incorrectly set pickup can make you Less volume sound awful. Get it right and you can really make it sing beautifully. If the pickup is a bit too far away from the string you will get reduced sustain and OK, Barry, so what is correct? Well. -
Page 23: Connections
Section 4 Connections This section will deal with the wide and varied questions same type of connector and the cable is easy to find’. Yeah, regarding ALL aspects of connections and hook-ups. Here the cable might be easy to find, but it will NOT produce the we look at everything from cabling schemes through to GT- best results. -
Page 24: Unbalanced Stereo 0.25" & 3.5Mm Trs Jack
Section 4 Connections For guitarists this is the most common of wiring schemes. Balanced Mono XLR The cable used is normally a single lap spiral screened (typically 95% braid) coaxial cable, with a PVC insulated outer and conductive PVC inner surrounding a multi- stranded copper core. -
Page 25: Gt3/5 Audio Connections
Section 4 Connections systems. PA’s also use power amplifiers. The power GT3/5 Audio Connections amplifier actually powers the speakers and will ALWAYS First before I say anything else, let me say BUY THE BEST colour the sound to some degree; tube power amps will CABLES YOU CAN AFFORD. -
Page 26: Gt3/5 In Front (Mono/Stereo)
Section 4 Connections You can use a cable made by someone like HOSA here, and amp immediately prior to the power amp stage. Some these will have a TRS split into two TS 0.25” jacks, one amplifiers (like the Marshall Valvestate range – so I will be marked TIP and the other RING. -
Page 27: Cable Method (Mono)
Section 4 Connections If using a guitar amp the preamp will be in front of Not the simplest of methods. the GT-3. The guitar amplifiers volume controls may not work at all. In this case the GT-3/5 MUST be used to control volume. -
Page 28: Pa/Mixing Desk (Recording/Sound Reinforcement)
Section 4 Connections Can be easily used in a loop switching system. will be required. This should be connected to the LEFT out on the GT-3/5 and either input of your soundcard. Cons More equipment/cabling can mean more noise. Effects may only be used once. You cannot use the If your soundcard only offers balanced connectors then use same effect in both effects loops (With the a DI box to convert to a balanced signal. -
Page 29: Bypass Mode
Section 4 Connections Your Setting? Suggested use Headphones Power Amp (Stack) Use when you do NOT require use The headphone socket is a standard 3.5mm unbalanced of the built in speaker simulator. stereo jack. It is fairly certain that the headphone output is Use for: of a lower quality than the main outs and therefore should Effects return with guitar... -
Page 30: Extra Footswitches
If you find yourself running out of footswitches then you You do not have to use the Roland FS5U (non-latching) or can use an external intelligent MIDI foot controller OR you FS5L (latching) footswitches –... -
Page 31: External Expression Pedals
I did this the same applies to the blue wire! with a Roland EV-5, but there are a number of pedals (including from other manufacturers) that will work Therefore, as 3 wires are enough, you can use standard satisfactorily. -
Page 32: Midi Connections
Neither the GT-3 nor the GT-5 provides facilities to calibrate external expression pedals. Thus, the only problem with the Roland EV5 is that it suffers from LARGE dead spots at the top and bottom of the pedal travel making it unsuitable for use a WAH controller. -
Page 33: Basic Configuration
Section 5 Basic Configuration Introduction Utility Function Settings Many people on the group have asked about various general GT-5 additional sections; configuration issues, including how to organise patches on <Overdrive/Distortion Customize> <Preamp their GT-3/5s. In this section I present the philosophy I have Customize>. -
Page 34: System
Section 5 Basic Configuration expression pedal for FV all the time rather than alternating it between the two. If you do constantly change which <SYSTEM> pedal/footswitch does what then you will only cause On my GT-3 I use the following settings: yourself grief as you switch between patches and forget what’s what. -
Page 35: User (Quick) Settings
Section 5 Basic Configuration This is just one example of how patches may be organised. Patches are also organised by sound, i.e. bank 1 clean, bank 2 distorted and so on. Others who have to cope with using multiple guitars often use 1 & 2 from each bank for one guitar and 3 &... -
Page 36: Effects Ordering
Section 6 Effects Ordering common ordering. It should be noted though, that there are General Advice no effects *before* the NS. Check out the GT-3 FAQ and Official Manual for information about how to change the effect ordering. The Again the GT3 FAQ says 'The Foot Volume will give Unofficial GT-3 Owners Manual gives a recommendation different effects when used at various points in the chain. -
Page 37: Level Metering
Better to be safe. Roland tech support seem to be unaware of the calibration My personal recommendation is: of the scale of the meters. So here is the technical jargon. - Page 38 Section 7 Level Metering I now mark the display by drawing in a line in-between the character segments. The display is 2 characters high. I draw 2 high for 0%, 50%, and 100%, and 1 high for the others. You now have a meter use can refer to in terms of volume%.
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Page 39: Level Matching
Section 8 Level Matching This is the value of the master level setting that is Concepts reached AFTER the input-output levels have been Level matching is not an alien subject matter I just matched on a patch containing no effects (not even happened to think up one day. -
Page 40: Basic Level Matching Procedure
Section 8 Level Matching This is just all too easy to set up. Take patch ‘<BYPASS>’ apparent volume mean nothing – all will be revealed copy it, and add a control assign so the EXP PEDAL acts as shortly. a Foot Volume – you can use a quick setting to make it even Output Level Adjustment easier. -
Page 41: Input Level Adjustment
Section 8 Level Matching to pre-empt the level matching process by setting a different your input level is too low raise the device’s output level. value – always set it to 81. Input Level Adjustment OK. How the input level is adjusted is based very much on your set-up. -
Page 42: Determine Target Fx Chain Level
Section 8 Level Matching OK. So the input level has now been adjusted. Whatever PRE - Preamp level is shown on the input meter is the same level we want SEQ – Sub-Equaliser to see on the output meter. To find a suitable target by WAH –... -
Page 43: Apparent Volume Adjustment
Section 8 Level Matching parameter of the OD/DS (Ext OD/DS) to do this; whereas Unity Gain Effects GT-5 users should use the output level controls of the [GT-3] AFB – Anti-Feedback external effects to match the Target FX Chain Level. Have a [GT-5] FL - Flanger read through section 29. -
Page 44: Level Matching Existing Patches
Section 8 Level Matching If you require unity gain across the input/output of the GT- PREAMP 3/5 you will find that the output volume knob needs to be at Compared to where the input volume was before we altered about 7o clock. the OD/DS output level we find that we have raised the volume running into the preamp and this may cause an increase in distortion or a change of tone –... -
Page 45: Advanced Level Matching
Section 8 Level Matching Advanced Level Matching I personally found that playing and trying to alter levels and bounce around between meters was way too awkward. These days I now use my PC to generate either a 1kHz signal or white noise. I alter the level to match my guitar input level on the meter. -
Page 46: Noise Elimination
Section 9 Noise Elimination This section was written quite a long time ago – at least as effect 2 and then down effect 2's earth! This problem can far as my equipment, rig and set-up are concerned. My rig also manifest itself as crosstalk. Other interference is has now changed significantly, none more so than in the possible in such situation the ground loop acts like an studio/recording environment. -
Page 47: Clipping
Section 9 Noise Elimination Needless to say I have done this now to confirm what I have Noise Elimination done! Cables As a final note—prefer the use of GND LIFT or broken ground cables... First up we are going to check ALL your cables. Including those between your amp and the speaker cab (if you have ANY ATTEMPT TO REMOVE THE EARTH FROM such an arrangement—i.e. -
Page 48: Basics
Section 9 Noise Elimination always remain off the scale, or at the top end. ANY One more thing, please be careful with your ears when movement away from this will indicate a short. doing this. The volumes will be loud – at least they will if ANY failure however small, should result in the cable being you PLAY anything. -
Page 49: Amp & Speakers
Section 9 Noise Elimination Never coil power cords - inductance really increases (heat, Connect them up and do the same test. The results should current draw). Also if you must run a signal cable across a be exactly the same. power cable, do it at 90 degrees to minimize crosstalk. -
Page 50: Boss Gt-3/5
Section 9 Noise Elimination First off though, single coils will hum. Especially around from each other so you shouldn't have picked up a noise powered devices (amps, TVs, computers, neons or problem so far. In fact the old guitar seems very clean— fluorescent lights, etc.) and there is not a lot anyone can do even through the high gain channels of the amp. -
Page 51: Samson Wireless
Section 9 Noise Elimination Turn the amp volumes down (or switch to standby on amps expect with no volumes up. Plug in the wireless and feed like the Mesa Boogie MKIV), and bring the foot volume the output signal to the GT-3/5. Volumes up—should be no back to minimum. -
Page 52: Korg Dtr-1 Tuner
Section 9 Noise Elimination OK problem part deux. This was solved through the use of Palmer PGA-05 Speaker Simulator some plastic bolts of similar size to the metal ones I had Again, I try the same checks with both channels of the been using on the rack. -
Page 53: Removing Unwanted Distortion
Section 9 Noise Elimination be disappointed; indeed, I was about to throw out my GT-3 because I though it was too noisy—but having eliminated Again, there is a huge variety in equipment and possible noise from my system (which cost very little!), I realised the configurations out there so I will talk about my equipment GT-3 was great! Anyway...enjoy! so that you can relate my experience to your own particular... -
Page 54: Speakers/Headphones
Section 9 Noise Elimination that this is a hard wired thru connection. I therefore don't Speakers/Headphones believe that this unit is clipping the amp. OK, so where do we start? What we do here is work our way backwards through the system. I didn’t have a problem So, continuing to move backwards, we come to the dear old here, but I'll take you through the steps I would use so you faithful GT-3/5. -
Page 55: Mixing Desk
Section 9 Noise Elimination up to 125% with 100% representing unity gain. The 125% without clipping, you are getting the best Signal-Noise is in red. Samson state that its OK to have this light up ration possible. Fair dinkum. occasionally. Mine lights up a good deal more frequently than I would like, although my system appears not to be If you are clipping with all faders at unity and the input gain clipping. -
Page 56: Noise Elimination-Recording Onto Computer
Cakewalk for you. have a similar set-up with a digital multi-tracker such as the Roland BR-8 or a Tascam. The principles are basically the Whilst Sound Forge still doesn't show clipping, I used it to same, the details just need adapting to your particular set- monitor the setting up of record levels, as SF gives the peak as a figure not just a meter (you have peak hold!). -
Page 57: Section 9A
Let’s get this out the way now. Suppression = gating. Why this can bring with it other problems. If you recall from our Roland called it a noise suppressor instead of a noise gate I discussion above, when the signal drops below the threshold don't know;... -
Page 58: The Gt-3/5 Noise Suppressor
*** First turn down the guitar volume. Turn the NS off. You A friend I know uses this on a Roland GP-16 and a Boss should hear some noise. Now turn the threshold to 0 and the VF-1. -
Page 59: Effects Of Gt-3/5 Ns Parameters
Section 9a Noise Suppressor the notes, all you hear will be varying levels of forwards = increase it does the reverse—the GT-3 is more noise. than happy to do this for you. So as you rock backwards the release time increases from 0 to 20. As you rock forwards it decreases to 0. -
Page 60: Speaker Simulator
The speaker simulator provided on the GT-3 is fairly basic preamp and speaker sim as you wish. There is certainly no and is very limited. Roland haven’t seen fit to tell use what harm using a Clean TWIN preamp with an MS Stack. -
Page 61: Problems
– you similar effect is achievable with the EQ functionality. Mind could see Roland’s thinking behind this but I think their you the speaker simulator is certainly easier to use. It should... -
Page 62: Manual Mode
Section 11 Manual Mode Manual mode seems to have caused quite a few problems for some people and I just though that I'd take a couple of One quick thing the GT-3/5 official manual doesn't mention minutes to clear up some possible points of confusion. is that the display shows effects that are off as lowercase, and effects that are ON in uppercase. -
Page 63: Suggested Pedal Assignments
Section 11 Manual Mode Here is Russ's control assignment: Suggested Pedal Assignments Assign 1 I find the following pedal assignment template (I like re- Target: MANUAL On/Off emphasising this) useful: Min: Max: Source: Internal Pedal Mode: Normal Bank Up:CS, Bank Down:TR Act. -
Page 64: Patch Problems
Section 12 Patch Problems Another problem here is that the author will increase the Why Don’t Patches Sound distortion over and above what is needed in order to obtain Right? the correct sound with the speaker simulation on. This leaves us with two possibilities. If you are like me and pick Ever wondered why you've been disappointed with a patch up patches built with the speaker simulator, I suggest you that you have obtained from someone else? Why it is that it... -
Page 65: Noise Suppression
Section 12 Patch Problems chain target which we determined in section 8. This is likely to be fiddly. Sorry! Noise Suppression Some patches I have seen use no noise suppression, some use loads. The question is—effect or just problem solving? Bit hard to tell. -
Page 66: Compressor/Limiter
Section 13 Compressor/Limiter :::::2nd 5-1-3 BI PHASE 5-1-4 COMP PHASE 5-1-5 RHODES PAN Introduction to Dynamics 5-2-1 SURF MUSIC 5-2-2 MACHINE GUN 5-2-3 VIBRATO 5-2-4 PAN PHASE Dynamics Control 5-2-5 TALKING MOD 5-3-4 RING ECHO 5-4-2 –1 OCT RING 5-4-3 PEDAL RING 6-1-4 SYNTH + GT Limiting 6-2-1 FANTASY... -
Page 67: Section 14 Preamps
Section 14 Preamps the input signal. That’s it. End of story. Check out ‘Guitar General Gadgets’ by Craig Anderton for more in-depth descriptions The general consensus would appear to be that the GT-3/5 and diagrams. preamp simulations are pretty spot on and that you should set-up the preamps using the same settings as you would Right armed with this knowledge we can now see that the with the genuine article. -
Page 68: Using The Preamps For Clean Sounds
So with the speaker simulator turned on what else(???)….hmm…read on….apparently Roland seem happens? Well the speaker simulator itself boosts confused about a flat amp… the 8-4kHz region, with a slight drop off after 4kHz followed by a drastic cut starting at 7kHz [GTx-PRE-Compare.gif]... -
Page 69: Clean Twin
Section 14 Preamps [GTx-PRE-JC120-Bass.jpg] Clean TWIN The Bass control is a low pass shelving filter [GTx-PRE-CleanTWIN-Ref.jpg] operating at 80Hz. Again, far more cut than boost The Clean TWIN is similar to the JC-120, with its is available. mid scoop. However, the Clean Twin accentuates this by boosting the Bass and treble significantly. -
Page 70: Problems
This is basically the same as CLEAN TWIN and clipping providing you have matched the levels Roland have re-used it to show off the tremolo! properly. However, you will get distortion by driving the preamp sims hard. By this I mean on 68-4/PG3-2-3 CUTTING Middle gain anything with Volume>60 (Master... - Page 71 If you excuse the EQing you can hear the AC.Guitar preamp jangle from a mile away. Again, a familiar style of patch from Roland with a Limiter, Chorus and Reverb thrown in with the EQ to liven the sound up. This is a nice light patch—...
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Page 72: Clean Preamp Summary
Section 14 Preamps The groups are (along with a short summary of the tonal characteristics): Clean Preamp Summary In summary, the best way to use the preamps are as a base [GTx-PRE-CrMaVx.jpg] for a patch, providing the patch with the basic tone All these three are very similar. - Page 73 Section 14 Preamps the BG Lead. In practice this preamp treble in differing degrees. Also all three produces a light sound, with what is have low pass filters cutting the higher definitely describable as distortion rather frequencies at a lowest value of 15kHz, than overdrive.
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Page 74: Dirty Preamp Presets
Section 14 Preamps Dirty Preamp Presets Preamp Customisation OK, let’s take a look at some presets which highlight the My my! You GT-5 users are spoilt! You can even design characteristics of these preamps. you own preamps! The GT-5 allows two custom preamps to be defined. -
Page 75: Overdrive/Distortion
Section 15 Overdrive/Distortion This is a high pass shelving filter, providing boost Distortion Problems and cut to roughly the 500Hz-22kHz region. With Let me say this now. There is no such thing as a BAD the largest boost/cut available around about 5kHz. distortion—merely a distortion which you don't like or isn't Again slightly more boost than cut is available. -
Page 76: Noise
Section 15 Overdrive/Distortion distortions give differing amounts of distortion for the same 'fuzzy' or 'light distortion' and these can lead you into the drive figure. Well, there are two things affecting this, firstly distortions that you should use as a starting point. as described above is the clipping characteristics that are used—the form of the clip itself, and secondly is where the There are 11 internal distortions and 12 preamps!!!! It is... -
Page 77: Od/Ds Customisation
Section 15 Overdrive/Distortion Distortion Preset Patches Preset Patches Natural OD 61-3 CHK'NPIK'N 2-5-4 UK CRUNCH Vintage OD 39-2 STACK OD 2-4-5 LARRY’S 335 Turbo OD 43-3 TURBO LEAD 1-2-2 TURBO OD-2 46-3 TURBO OD 1-4-1 SWEET LEAD Blues 58-1 BLUES BD-2 1-5-4 BLUES MAN Crunch 58-2 CRUNCH OD... -
Page 78: Section 15A
Section 15a Applied Principles of Distortion Dynamics When Mark Meyer first e-mailed me Vince’s document I reacting to the signal being sent to it. Changing your guitar's was intrigued by the title. Already hooked, I eagerly read it pickups is one way to control your tone. However, unless through quite thoroughly and was excited to find that you can be sure exactly how a given pickup is going to someone had written down some real good tips on how to... -
Page 79: The Example
Section 15a Applied Principles of Distortion Dynamics amp. The result sometimes gave a “growling” or “roaring” Next, you’re going to see the difference made by distortion effect. With louder pickups, their preamps would using two methods of adding gain: add too this by overdriving the preamp a bit. (Incidentally, In the SLDN Lead preamp, scroll back to “A single 12AX7 Does Not A Tube-Amp Make”!). -
Page 80: The Results
Section 15a Applied Principles of Distortion Dynamics to select SUB EQUALIZER SEQ. Tap the right to crank the Amp up to get this effect, and it may not work well with all amp’s (some output stages arrow > and make the following settings: Low: - 9 / Lo-Mid f: 800Hz / Lo-Mid Q: 1 / Lo-Mid distort more easily than others). -
Page 81: Summary
Section 15a Applied Principles of Distortion Dynamics Vince Baim EQ the input signal (before distortion) to change your distortion characteristics, and to some degree, your tone. EQ the output signal (after distortion) to emphasize the CLEAN output, such as bass and treble. -
Page 82: Digital Aliasing (Yuk Noise)
The GT-3, GT-5, VF-1 suffer from it, and I’ve seen reports going backwards slowly when in reality they are on many other Roland COSM based units that suffer going forwards very quickly! The true rate of aliasing problems too. -
Page 83: Clean Preamps: Patch 'Yuk Noise 1
The GT-6 apparently (according to Roland) has the aliasing Avoiding Audible Aliasing problem fixed – but I am a little sceptical not having had access to assess a GT-6 yet. - Page 84 Section 16 Digital Aliasing (YUK Noise) OK. So hopefully you can now hear what I mean. The important thing is that you now know how to avoid the aliasing. © Copyright 2000-2002 Barry S. Pearce et al.
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Page 85: Slow Gear
Rise Time parameter..I feel a table but 10-20 is a better minimum for me. coming on!! Roland HAVEN'T supplied me with ANY information, so the timings are obtained from observations In all cases you will need to fiddle with this until you find using Sound Forge as a .wav recorder/editor, and... -
Page 86: Problems
Section 17 Slow Gear we can 'play' the slow gear—pick quietly on a run and no slow gear—same run pick loudly—slow geared! Sens Rise Note Time Patch Problems P3-4-4 SLOW ATTACK P4-2-1 DIMINISHED [CTL] ON I'm afraid that there are one or two more problems P4-4-2 CRYING CAT associated with attack-delay units: P5-1-2 PHASE ECHO... -
Page 87: Tremolo/Pan
NOT been supplied from wave parameter setting is increased, the peak becomes fatter Roland. Again these were tested using a 1kHz tone and the base thinner, but the time frame remains the same, generator. Cycle times for the tremolo and pan are identical. -
Page 88: Depth
Now, I first that wave type on/off cycle (albeit with different patterns) the this was completely pointless. Cheers Roland. Buggered variable wave shape of the tremolo provides a smoother that one up big time. But then I got thinking what if I set the sounding transition between on fully and off fully. -
Page 89: Presets
Slicer. a quick look at some of the presets that use this effect. Phew. The techies at Roland really liked this one! 82-2 ROTARY What a great patch. This really shows the tremolo... - Page 90 Section 18 Tremolo/Pan 4-5-2 JET POWER Type Wave Rate Depth An almost novelty effect with cool Flanging effects Shape that appear to use both Tremolo and Pan (but Patch really don’t since it’s either Tem or Pan). P2-3-2 CRUNCH TWIN [CTL] Trem P3-1-1 I WANT TELL [CTL]...
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Page 91: Slicer
Section 19 Slicer rise and decay time, which appear to be 10-20ms and 5- What is the Slicer? 15ms respectively. The Slicer is ONLY available on the GT-3. Rate As the Official Owners Manual says, the Slicer interrupts the sound you are playing. It is very similar to a square Rate is selectable between 0-100, and additionally has BPM wave tremolo, but rather than just interrupt it using an on- settings. -
Page 92: Problems
Section 16 Slicer from the timings that each time slice spans a time from as long as 187.50ms down to as little as 31.25ms, which is an The patch I have created is called 'Metal GibSL' and is extremely short length of time. based once again on 'Metal Dist*'. -
Page 93: Equalisation (Eq)
Section 20 Equalisation (EQ) I am especially pleased to be introducing this section, as This is what the curve made of x's represents, there. That's this has started to help me solve some of my problems. I am the equalizer's frequency response for this frequency. How indebted to Philippe Martin for producing this information, many and how much adjacent frequencies are affected as I am sure you all are too. -
Page 94: How To Use It
Section 20 Equalisation (EQ) While setting it to the minimum (0,5), would give something like this: Note that all "EQ" settings are set to 0 (and Level too) so our equalization is flat. As long as all EQ settings are set to 0, you can set the other settings to whatever you want, and you won't hear any difference. -
Page 95: Eq Update
Section 20 Equalisation (EQ) differentiate the frequencies. If you use your eyes too, EQPlot Software looking at the frequency on the display, you'll finish to For those of you who wish for a more graphic view of what associate the frequency with its name, and one of these days the GT-3/5 EQ parameters are all about a nice neat piece of you'll be able to tell your monitors engineer "gimme some software written by Nick Oatley called ‘EQPlot’... -
Page 96: Foot Volume
EXP PEDAL through the pickups. Of course this doesn't really absolve you from Roland factory-commissioning mode explained in section trying to obtain the minimum noise you can through noise 27. However, the problem with the EXP PEDAL when used elimination, as we have discussed earlier in the series. -
Page 97: Fade Out
Section 18 Foot Volume (expressional) control over the attack and you have the Modifying the Sweep Range option of turning the attack delay on and off at will! Normally the volume will change over the full sweep of the Although it takes a little practice, it is much easier than pedal. -
Page 98: The Guitar's Volume Control
Section 22 The Guitar’s Volume Control Okay, okay. So I'm talking about your guitar and not the This can get rapid sometimes! Not particularly easy to get GT-3/5. I did say the 'Set-up..' series would have a wider the right amount of turn on the volume control knob but scope than just the GT-3/5 but I have included comments on with practice this can work quite well. - Page 99 Section 19 The Guitar’s Volume Control about what you need, experiment and choose the best for the situation. Remember the options that exist. Doing so can mean that you free up one or two of the GT-3/5’s effect groups, so they are available for other tasks, or in the case where the effect you want is in a group that’s already in use, you may be able to obtain what you want form the guitar of volume pedal.
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Page 100: Control Assigns
Section 23 Control Assigns First up read the GT-3 user's manual pages 26-29, or pages pedal does not trigger the reverse toggling of the 24-27 of the GT-5 owners manual (which will probably parameters. confuse) and then the Unofficial GT-3 Owners Manual Supplement (well worth a read even if you own a GT-5), in To avoid this problem set the control assign active particular pages 13-18, 28 and 34-36. -
Page 101: Unusual Targets &Sources
Section 23 Control Assigns these references have been read. However, once again, I think there are a few blanks that need filling in. Unusual Targets &Sources The GT-3 and GT-5 both have some more unusual targets Firstly the internal pedal is triggered. So it is a single shot and sources for the control assigns. -
Page 102: Sweep Time
If a source mode of toggle is used, then the value change obtained from observation – none of the following data has will take place at the following points: come from Roland. As before, the timings were derived using a GT-3 but the GT-5 is expected to be identical. Linear (Rise) -
Page 103: Dynamic Volume Effects
Section 23 Control Assigns the fall. This effectively will create a SQUARE wave regardless of which waveform has been set. Use this with the 'Metal Trem' patch. Once again, strike a chord and come back on the pedal. This produces a nice slowing effect. -
Page 104: Control Assigns Using The Internal Pedal
Section 23 Control Assigns Min: Assign 2 Max: Target: NS: Release Source: Internal Pedal Min: Mode: Normal Max: Act.Range Lo: Source: EXP Pedal Act.Range Hi: Mode: Normal Trigger: Patch Change Act.Range Lo: Time: Act.Range Hi: Curve: Linear Assign 4 You may need to adjust the minimum threshold for your Target: PRE: Treble system. -
Page 105: Tuner On Using The Exp Pedal
Section 23 Control Assigns help you out. Set the min/max to correspond to the depth of Max: tremolo you require, and set the rate as appropriate, for Source: EXP PEDAL example: Mode: Normal Act.Range Lo: Act.Range Hi: Assign 1 Target: FV: Level However, this also presents itself with a problem. -
Page 106: Gt-3 Quick Settings
Section 23 Control Assigns Name Description GT-3 Quick Settings CHORUS LEV Target = CE:Effect Level, Min:0, Max:50 Source = EXP PEDAL, Mode:Normal Now, whilst the both official and unofficial manuals list the Act.Range Lo:0, Act.Range Hi:127 preset 'Quick Settings' for the EXP PEDAL and the CTL REVERB LEV Target = RV:Effect Level, Min:0, Max:50 PEDAL, neither provide the details. -
Page 107: Ctl Pedal
Section 23 Control Assigns CTL PEDAL Name Target Trgt Trgt Source Mode TEMPO DD: Tempo In Normal DELAY FEEDBACKER FB : On/Off Normal VIBRATO VB : Trigger Normal DELAY HOLD DD: Hold Normal DELAY S.O.S DD: Record Normal SYNTH HOLD Syn: Hold Normal TUNER ON... -
Page 108: Getting Boost For Your Solo
Section 24 Getting Boost for your Solo I have seen a lot of debate and confusion over how to give It is possible to use a two pedal set-up to help here as well. yourself a boost for a solo. Obviously life would be a little If you set up an external volume control after the GT-3/5 easier if we all had sound engineers available to move the that has a volume control minimum (like the FV300 has I... -
Page 109: Reduce Dynamics To Provide An Increase In Average Volume
Section 24 Getting Boost for your Solo Well, Kent’s question is related to the important aspect of clipping whilst using a volume boost. For some people (like myself) this can be a problem (e.g. already high levels caused by high output pickups). For these situations, Kent’s suggestion of lowering the master volume on a patch and using it normally at this lower volume and then boosting using the CTL pedal is a capital idea! -
Page 110: Using Multiple Guitars
Section 25 Using Multiple Guitars There are two problems associated with using multiple volume pedal. I think the volume pedal is the best guitars and the GT-3/5. These are: solution of the two, and a good quality one will add extremely little, if any, noise to the signal path. Difference in guitar tone It is possible to match the output levels between Difference in guitar output volume... -
Page 111: Signal Delay & Polarity
Section 26 Signal Delay & Polarity The issue of signal delay and signal polarity were raised on Although these times were measured on a GT-3, it is the GT-3 Yahoo Group by Sutton Reid. In this section we expected that the GT-5 is identical. will examine what they are, and I shall present the results from some tests that were performed to determine the GT- So why are these times important to you? Well, if you use... -
Page 112: Factory Reset/Commissioning
Factory Reset/Commissioning used for. The GT-3/5 has essentially the following GT-3 Factory Reset Mode architecture: The Roland published factory reset mode is described on Effects Effects page 66 of the official owners manual. It may be entered by holding down the following key combinations while turning... - Page 113 Normal voltage is 3.1v-3.2v. According to the GT-5 Service tone at about 500Hz or so. DON’T turn your speaker Manual issued by Roland, the battery low display comes on system up. In fact make sure it is at a VERY LOW if the battery voltage reaches 2.71v or less.
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Page 114: Factory Commissioning Mode
Section 27 Factory Rest/Commissioning 8. DS A/D/A:Low Check 15. Noise (IN->OUT) Check This test is checking a complex analogue test signal that is This test checks the residual noise of the I/O system with converted to digital, then back to analogue for comparison the INPUT and OUTPUT levels at MAX. - Page 115 3.1v-3.2v. According to the GT-5 Service Manual issued by This test has two parts- testing the LCD display, the LED’s Roland, the battery low display comes on if the battery in the effect switches, and the switches themselves. voltage reaches 2.71v or less. If your battery voltage is 2.8v-2.9v it’s probably time to prepare yourself for a battery...
- Page 116 Section 27 Factory Rest/Commissioning 5. MIDI IN/OUT Check 10. DS A/D/A:CV Check This appears to be a MIDI loopback style test. This is done This test is checking the DS Control Voltage test signal using a single MIDI cable in a simple connection from the using an Oscilloscope.
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Page 117: Summary
Section 27 Factory Rest/Commissioning 17. Expression Pedal Calibration! Crumbs. Probably the one you all wanted to know about and it’s here!!! If you are feeling a bit wimpy and don’t want to alter your GT-5 in any way, NOW is the time to hit the ‘Power Button’... -
Page 118: All About Midi
Section 28 All About MIDI What MIDI Can and Can’t Do for For receiving data, the GT-3/5 can be set to one specific MIDI channel (1-16), or it can be set to OMNI mode, which allows it to listen on all 16 channels. For transmitting data, MIDI opens up your GT-3/5 to control and be controlled by the GT-3/5 can be set to either one specific channel, or to other units automatically, with an almost seamless... -
Page 119: Bank Change Messages
GT-5 only bank 2 patches over 50 select the same patch as 50. The reason behind this will have been an ‘ease of Parameter design’ issue decided by Roland which make the PC map Bank Select MSB * easier to implement. -
Page 120: Velocity Messages
Section 28 All About MIDI Parameter Pitch Bend Messages Channel Volume These messages are the sent from equipment such as Balance keyboards and synthesizers. The GT-3 is unable to use these Not Defined messages but they can be used by the GT-5 to trigger the internal pedal as part of a control assign. -
Page 121: Connections
Section 28 All About MIDI ALL units. Break the cycle on at least one unit by turning MIDI THRU off. Failing to do so can lead to a MIDI Connections feedback loop, which results in bizarre and unwanted things Lets now deal with how you physically connect MIDI happening! Typically this feedback is manifested as either a devices. - Page 122 Section 28 All About MIDI Cons Chain Cabling Scheme 1. Failure of a single unit affects all subsequent units. The MIDI chain is the most basic MIDI configuration – and 2. MIDI THRU features required on ALL units. probably the most widely used – simply because its easy 3.
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Page 123: Computer Hook-Ups
PC, "whatever became popular first, Failure of the splitter brings down the entire dictates what user's will use in the future" The Roland system. MPU-401 MIDI Interface is the de-facto standard. The Long chains can cause signal loss issues and MPU-401 came on the scene in 1983, and the Soundblaster, message corruption. - Page 124 Other interfaces separately. such as some soundcards like the early SB Live card have 3. -Units such as the newer Roland Sound Canvas, mini-DIN MIDI connectors. The mini-DIN (which look like Alesis QS keyboards, and a few others use a third...
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Page 125: Configuration
Section 28 All About MIDI have more that one GT-3/5 (you show off!), then both GT- 3/5’s will load the ‘DUMP’ if they are set to the same midi Configuration channel at the same time; unless the DEVICE ID’s are set to The GT-3/5 has three sets of configuration data;... -
Page 126: System> Utility Function Settings
GT-3/5 receives are resolved into actual patch selections. If this value is set to ‘Fix’ the ‘map’ used to resolve the PC number to a patch is that defined by Roland at the factory. However, if it is set to ‘Prog’ the map is user defined. -
Page 127: Control Assigns
Section 28 All About MIDI MMC Play/Stop MIDI P.B: A pitch bend message is used to as the source This is short for ‘MIDI Machine Control’. With this setting for the control assign. This means the modulation wheel you can use an EXP or CTL pedal to start and stop units from a synth can be used to directly control a real-time with a ‘MMC IN’... -
Page 128: Common Connection & Configuration Problems
Section 28 All About MIDI ROBLEM 1. GT-3/5 (built-in/external) footswitches do not send Common Connection & MIDI but everything else is OK Configuration Problems YPICAL AUSES 2. MIDI utility function settings not configured OK. Before we go any further lets now look at some of the correctly reasons why your MIDI devices wont talk to each other. - Page 129 Section 28 All About MIDI ROBLEM ROBLEM GT-3/5 is either mid-chain or at the end of the 1. The GT-3/5 doesn’t change a real-time parameter chain but does not receive MIDI from the device value when using real-time controls via CC preceding it even though the preceding device is messages receiving the messages OK –...
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Page 130: Bulk Dump/Load
Section 28 All About MIDI 8. When the GT-3/5 has dumped the portion of its memory that you selected, the display will return to the Bulk Dump/Load screen were you made your data dump selections. What is a “BULK DUMP”? Well, in this case, it is not the 9. -
Page 131: Midi Applications
Section 28 All About MIDI 4. Press PARAMETER > and set OMNI MODE to ‘OFF’, MIDI Applications 5. Press PARAMETER > and set MIDI TX to either ‘1 or We will now explore how to apply all of the MIDI theory, RX’. -
Page 132: Midi Devices Controlling The Gt-3/5
7. Custom Audio Electronics RS-10 Steinberg’s Nuendo & Cubase VST, Emagic’s Logic series, MOTU’s Digital Performer and finally the high-end package, Protools. Hardware Sequencers are items such as those from Yamaha, Roland and others. © Copyright 2000-2002 Barry S. Pearce et al. -
Page 133: Midi Switching/Loop Systems
Section 28 All About MIDI allow you to specify the direction of the guitar signal along with your patch changes (Program Change Messages). So MIDI Switching/Loop Systems what good is all this nonsense? It will allow you to switch in Thanks to the development of some of the really cool MIDI or out an effects units (like the effects loop on most amps), control technology mentioned above, we can now set up the... -
Page 134: Patch Editors
GT-5. If you have an older version contact your the software runs up under Win2K most will NOT nearest Roland Service Centre about getting an upgrade. communicate with your GT-3 via MIDI. Often the result is a This will involve upgrading the EPROM chip. -
Page 135: Midi Implementation
(if that much). For those of you who are curious (or sick) enough to go deeper, Roland offers lots of in-depth MIDI data. On the next two pages are the basic MIDI Implementation charts from the GT-5 and GT-3 manuals. -
Page 136: External Effects Loop
Section 29 External Effects Loop internal level parameter to control the send level so as to The ‘External Effects Loop’ avoid clipping the external device’s input. Whilst the concept of an external effects loop is fairly obvious to GT-5 owner, GT-3 owners are probably say ‘Eh? On the GT-5 this is simple, as there is a parameter to What loop? Well the GT-3 has one just as good as the GT-5 control the actual volume level of the SEND output. -
Page 137: Applications
Section 29 External Effects Loop effect allowing you quick switching between your new Jam Along 'recreation' patch and the sound you are trying to emulate. One or two people asked in March this year about the possibility of a 'Jam Along Jack' on the GT-3/5. Well, here This is dead simple really. -
Page 138: Appendices
Appendix A Patch Reference Library The Patch Reference Library was built up over the series Equalizer and contains useful patches which will help you get the Noise Sup most from your GT-3/5 and its volume control capabilities. Foot Volume Modulation A sysex file of the patches presented in this document is Delay available. -
Page 139: 2-1/U1-1-5 'Noise Check
Appendix A Patch Reference Library EXP PEDAL Target: FV: Level OVERDRIVE/DISTORTION Target Min: Type: EXT OD/DS Target Max: Bass: CTL PEDAL Treble: Target: MANUAL On/Off Level: Target Min: Target Max: Source Mode: Toggle LOOP Send Level: 2-2/U1-2-1 'YUK Noise 1' 2-1/U1-1-5 'Noise check' Description: Shows YUK Noise on Clean Preamps. -
Page 140: 2-4/U1-2-3 'Yuk Noise 3
Appendix A Patch Reference Library Effect Level: 2-4/U1-2-3 'YUK Noise 3' MASTER Description: Shows digital aliasing on Clean Preamps. Master Level: Based On: YUK Noise 1 [GT-3]Master BPM: Uses: No use. Only in hearing the digital Noise Suppressor Effect: aliasing! NS Threshold: Settings: Differences from 'YUK Noise 1' ONLY>... -
Page 141: 3-4/U1-3-2 'Metal Pan
Appendix A Patch Reference Library [GT-5]Balance: L50:50R 4-2/U1-3-4 ‘C.TWIN Pan’ Description: Pan demonstration producing a gentle 3-4/U1-3-2 ‘Metal Pan’ meandering between channels. Based On: JC-120 Trem Description: Distortion based demonstration, producing an effect similar to slicing but Uses: General effect. aggressively panned between channels. -
Page 142: 4-4 'Metal Gibsl
Appendix A Patch Reference Library Type: Room 2 FX Select: Slicer Reverb Time: Pattern: Pre Delay: Rate: Low Cut Filter: 55.0Hz Trigger Sens: High Cut Filter: 4.00kHz CHAIN Density: Modulation Effect Level: Comp/Lim MASTER Master Level: Overdrive [GT-3]Master BPM: Preamp Noise Suppressor Effect: Equalizer NS Threshold:... -
Page 143: Appendix B Level Settings Overview
OD/DS Level Signal Volume Signal Master Volume Signal In general Roland has been very consistent. Where they say Gain Signal 'effect level' or 'direct level' they mean just that and plain Effect Level Effect Only old 'level' means signal level. -
Page 144: Appendix C Quick Settings Overview
Appendix C Quick Settings Overview Well, while I'm on the subject of overview tables I thought I Effect Group: COMP/LM would fill in what I believe is a glaring gap in the GT-3/5 Effect Name Description manuals and provide a list of all the Quick Settings that are NORMA LCOMP Sustain=50, Attack=40, available for each of the individual effects. -
Page 145: Effect Group: Pre/Sp Sim
Appendix C Quick Settings Overview Effect Name Description Effect Name Description METAL 1 Type=Metal 1, Drive=35 METAL 5150 Type=Metal 5150, Volume=75, Bass=0, Treble=0, Level=50 Bass=50, Middle=50, Treble=50, Presence=0, METAL 2 Type=Metal 2, Drive=35 Master=50, Gain=Middle, Bass=0, Treble=0, Level=50 SP Sim: Mic set.=Center, FUZZ Type=Fuzz, Drive=40 Mic Level=100, Direct Level=0... -
Page 146: Effect Group: Mod
Appendix C Quick Settings Overview Effect Name Description Effect Name Description MID BOOST 1 Low EQ=-2dB, -1 OCTAVE Voice=1-Voice, Lo-Mid f=500Hz, Lo-Mid Q=1, HR1: Mode=Mono, Lo-Mid EQ=+8dB HR1: Pitch=-12, Fine=0, Hi-Mid f=8.00kHz, Hi-Mid Q=1, HR1: PreDly=0ms, Feedback=0, Hi-Mid EQ=+4dB HR1: Level=100, High EQ=0dB Direct Level=100 Level=-2dB... - Page 147 Appendix C Quick Settings Overview Effect Name Description Effect Name Description Hi BAND FL Rate=25, Depth=40, Manual=85, MILD TONE Low EQ=0dB, Resonance=50, Separation=0, Lo-Mid f=500Hz, Lo-Mid Q=1, Level=70 Lo-Mid EQ=+2dB Hi-Mid f=2.00kHz, Hi-Mid Q=0.5, LIGHT FL Rate=20, Depth=35, Manual=70, Hi-Mid EQ=+5dB Resonance=35, Separation=0, High EQ=-20dB Level=70...
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Page 148: Effect Group: Delay
Appendix C Quick Settings Overview Effect Name Description Effect Name Description DEEP VB Rate=90, Depth=15, Trigger=On, SLOW ATTACK Sens=100, Wave=Saw, Rise Time=0 Chromatic=Off, Octave Shift=0, Cutoff Freq=75, Resonance=20 SQUARE LEAD Sens=100, Wave=Square, FLT.Sens=0, FLT.Decay=70, Chromatic=Off, Octave Shift=0, FLT.Depth=+50, PWM Rate=50, PWM Depth=0, Attack=94, Release=70, Velocity=0 Cutoff Freq=50, Resonance=15 Hold=Off,... -
Page 149: Effect Group: Reverb
Appendix C Quick Settings Overview Effect Name Description Effect Name Description LIGHT CE Mode=Mono, Rate=30, Depth=45 SLOW GEAR 3 Sens=50, Rise Time=90 Pre Delay=4.0ms, High cut=Flat, Effect Level 50 SLOW CHORUS Mode=Stereo, Rate=20, Depth=75 Effect Group: COMP/LM Pre Delay=2.0ms, High cut=Flat, Effect Level 100 Effect Name Description... -
Page 150: Effect Group: Preamp
Appendix C Quick Settings Overview Effect Name Description Effect Name Description DISTORTION 2 Type=Distortion2, Drive=40 VOXY BEAT Type=VOXY Drive, Volume=70, Bass=0, Treble=0, Level=40 Bass=20, Middle=50, Treble=60, Presence=0, GRUNGE Type=Grunge, Drive=40 Master=50, Gain=Middle, Bass=0, Treble=0, Level=40 FAT BG LEAD Type=BG Lead, Volume=100, METAL 1 Type=Metal 1, Drive=35 Bass=50, Middle=100, Treble=50,... -
Page 151: Effect Group: Eq
Appendix C Quick Settings Overview Effect Name Description FLAT Low EQ=0dB, Lo-Mid f=500Hz, Lo-Mid Q=1, Effect Group: EQ Lo-Mid EQ=0dB Effect Name Description Hi-Mid f=4.00kHz, Hi-Mid Q=1, Hi-Mid EQ=0dB FAT LEAD Low EQ=0dB, High EQ=0dB Lo-Mid f=800Hz, Lo-Mid Q=1, Level=0dB Lo-Mid EQ=+10dB Hi-Mid f=6.30kHz, Hi-Mid Q=1, Hi-Mid EQ=+4dB... - Page 152 Appendix C Quick Settings Overview Effect Name Description Effect Name Description -3rd + -5th Voice=2-Stereo, BRIGHT TONE Low EQ=-2dB, HR1: Mode=Harmony, Lo-Mid f=500Hz, Lo-Mid Q=1, HR1: Harm=-3rd, Lo-Mid EQ=0dB HR1: PreDly=0ms, Feedback=0, Hi-Mid f=4.00kHz, Hi-Mid Q=1, HR1: Level=50, Hi-Mid EQ=+4dB HR2: Mode=Harmony, High EQ=0dB HR2: Harm=-5th,...
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Page 153: Effect Group: Delay
Appendix C Quick Settings Overview Effect Name Description PWM LEAD Sens=50, Wave=Square, Chromatic=Off, Octave Shift=0, Effect Group: DELAY PWM Rate=50, PWM Depth=50, Cutoff Freq=75, Resonance=10 Effect Name Description FLT.Sens=0, FLT.Decay=50, MEDIUM Mode: Normal Delay FLT.Depth=+20, DELAY1 Type=Single, DlyTime=400ms, Attack=0, Release=10, Velocity=0 Feedback=30, Hold: Off, Smooth: Off Hold=Off, High Cut=Flat, Effect level=30... -
Page 154: Effect Group: Trem/Pan
Appendix C Quick Settings Overview Effect Name Description Effect Name Description PRE DLY CHO Mode=Stereo, Rate=20, Depth=50 Low Cut=110Hz, High Cut=4.00kHz Pre Delay=10.0ms, Density=4, Effect Level=25 High cut=Flat, Effect Level 100 AMBIENCE Type=room 2, FAST CHORUS Mode=Mono, Rate=75, Depth=15 Rev Time=0.8s, Pre Delay=0ms Pre Delay=2.0ms, Low Cut=55.0Hz, High Cut=4.00kHz High cut=Flat, Effect Level 100... -
Page 155: Copyright 2000-2002 Barry S. Pearce Et Al
Appendix D Analysis Methods This appendix will provide information about the methods Spectrum analysis was used to determine the various and settings used during the spectrum and level analysis of frequency characteristics of the GT-3. the GT-3/5 which has revealed so much technical information. -
Page 156: Level Analysis
Appendix D Analysis Methods http://groups.yahoo.com/gt-3/files/Set-up…/GTx- Reference.gif As can be seen, the GT-3 does affect the sound below 300Hz with a slight drop off. The only difference between the patch and the BYPASS mode was a slight drop off in the patch between 20-35Hz. Below 20Hz is outside of the GT-3 specifications and therefore should be disregarded. -
Page 157: Appendix Elcd Meter Overlay Templates
Appendix E LCD Meter Overlay Templates Jed (Manuel "Jed" Saldaña) from the GT-3 Yahoo Group has produced some great templates to as an alternative to marking up your LCD display. These templates may be used for a better reference in % of the levels signals on the GT-3/5. -
Page 158: Appendix F Electrical Safety
Appendix F Electrical Safety Now I know this may seem like an odd subject to include in WARRANTY PLACE YOUR LIFE a document about the GT-3/5, but as the document has been SOMEONE ELSE'S LIFE DANGER. DECIDE. pretty much all encompassing I cannot pass by the opportunity to make you more aware about electrical safety If you have problems with ground/earth causing noise check and what it means to you as a musician.
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