Boss GT-6B

Owner’s Manual
Thank you, and congratulations on your choice of the BOSS

GT-6B Bass Effects Processor.
Before using this unit, carefully read the sections entitled:

• USING THE UNIT SAFELY (page 2–3)
• IMPORTANT NOTES (page 4)
These sections provide important information concerning
the proper operation of the unit.
Additionally, in order to feel assured that you have gained a

good grasp of every feature provided by your new unit,
Owner’s manual should be read in its entirety. The manual
should be saved and kept on hand as a convenient reference.
■ Printing Conventions in This Manual

• Text or numerals enclosed in square brackets [ ] indicate buttons.
[WRITE] WRITE button
[UTILITY] UTILITY button
• Reference such as (p. **) indicate pages in this manual to which
you can refer.
* All product names mentioned in this document are trademarks or
registered trademarks of their respective owners.
Copyright © 2002 BOSS CORPORATION

All rights reserved. No part of this publication may be reproduced in any form
without the written permission of BOSS CORPORATION.
USING THE UNIT SAFELY
Used for instructions intended to alert The symbol alerts the user to important instructions
the user to the risk of death or severe or warnings.The specific meaning of the symbol is
injury should the unit be used determined by the design contained within the
improperly. triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material The symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
damage should the unit be used
must not be done is indicated by the design contained
improperly. within the circle. In the case of the symbol at left, it
* Material damage refers to damage or means that the unit must never be disassembled.
other adverse effects caused with The ● symbol alerts the user to things that must be
respect to the home and all its carried out. The specific thing that must be done is
furnishings, as well to domestic indicated by the design contained within the circle. In
animals or pets. the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
001 009
• Before using this unit, make sure to read the • Do not excessively twist or bend the power cord,
instructions below, and the Owner’s Manual. nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
.......................................................................................................... short circuits. Damaged cords are fire and shock
002c
• Do not open (or modify in any way) the unit or its hazards!
AC adaptor. ..........................................................................................................
010
.......................................................................................................... • This unit, either alone or in combination with an
003 amplifier and headphones or speakers, may be
• Do not attempt to repair the unit, or replace parts capable of producing sound levels that could
within it (except when this manual provides cause permanent hearing loss. Do not operate for
specific instructions directing you to do so). Refer a long period of time at a high volume level, or at
all servicing to your retailer, the nearest Roland a level that is uncomfortable. If you experience
Service Center, or an authorized Roland any hearing loss or ringing in the ears, you should
distributor, as listed on the “Information” page. immediately stop using the unit, and consult an
.......................................................................................................... audiologist.
004
• Never use or store the unit in places that are: ..........................................................................................................
011
• Subject to temperature extremes (e.g., direct • Do not allow any objects (e.g., flammable material,
sunlight in an enclosed vehicle, near a heating coins, pins); or liquids of any kind (water, soft
duct, on top of heat-generating equipment); or drinks, etc.) to penetrate the unit.
are
• Damp (e.g., baths, washrooms, on wet floors);
..........................................................................................................
or are 012b
• Humid; or are • Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
• Exposed to rain; or are
your retailer, the nearest Roland Service Center, or
• Dusty; or are an authorized Roland distributor, as listed on the
• Subject to high levels of vibration. “Information” page when:
.......................................................................................................... • The AC adaptor, the power-supply cord, or the
007
• Make sure you always have the unit placed so it is plug has been damaged; or
level and sure to remain stable. Never place it on • Objects have fallen into, or liquid has been
stands that could wobble, or on inclined surfaces. spilled onto the unit; or
.......................................................................................................... • The unit has been exposed to rain (or otherwise
008c
• Be sure to use only the AC adaptor supplied with has become wet); or
the unit. Also, make sure the line voltage at the • The unit does not appear to operate normally or
installation matches the input voltage specified on exhibits a marked change in performance.
the AC adaptor’s body. Other AC adaptors may ..........................................................................................................
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
..........................................................................................................
2
013 101b
• In households with small children, an adult • The unit and the AC adaptor should be located so
should provide supervision until the child is their location or position does not interfere with
capable of following all the rules essential for the their proper ventilation.
safe operation of the unit. ..........................................................................................................
.......................................................................................................... 102c
014 • Always grasp only the plug on the AC adaptor
• Protect the unit from strong impact. cord when plugging into, or unplugging from, an
(Do not drop it!) outlet or this unit.
..........................................................................................................
.......................................................................................................... 103b
015 • Whenever the unit is to remain unused for an
• Do not force the unit’s power-supply cord to share extended period of time, disconnect the AC
an outlet with an unreasonable number of other adaptor.
devices. Be especially careful when using ..........................................................................................................
extension cords—the total power used by all 104
devices you have connected to the extension • Try to prevent cords and cables from becoming
cord’s outlet must never exceed the power rating entangled. Also, all cords and cables should be
(watts/amperes) for the extension cord. Excessive placed so they are out of the reach of children.
loads can cause the insulation on the cord to heat ..........................................................................................................
up and eventually melt through. 106
• Never climb on top of, nor place heavy objects on
..........................................................................................................
016
the unit.
• Before using the unit in a foreign country, consult
..........................................................................................................
with your retailer, the nearest Roland Service 107c
Center, or an authorized Roland distributor, as • Never handle the AC adaptor or its plugs with
listed on the “Information” page. wet hands when plugging into, or unplugging
.......................................................................................................... from, an outlet or this unit.
..........................................................................................................
108b
• Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
..........................................................................................................
109b
• Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 12).
..........................................................................................................
110b
• Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
3
IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Power Supply Memory Backup

301 501b
• Do not use this unit on the same power circuit with any • This unit contains a battery which powers the unit’s
device that will generate line noise (such as an electric memory circuits while the main power is off. When this
motor or variable lighting system). battery becomes weak, the message shown below will
302 appear in the display. Once you see this message, have the
• The AC adaptor will begin to generate heat after long battery replaced with a fresh one as soon as possible to
hours of consecutive use. This is normal, and is not a avoid the loss of all data in memory. To have the battery
cause for concern. replaced, consult with your retailer, the nearest Roland
307 Service Center, or an authorized Roland distributor, as
• Before connecting this unit to other devices, turn off the listed on the “Information” page.
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
Placement
351
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. Additional Precautions
To alleviate the problem, change the orientation of this 551
unit; or move it farther away from the source of inter- • Please be aware that the contents of memory can be
ference. irretrievably lost as a result of a malfunction, or the
352a improper operation of the unit. To protect yourself against
• This device may interfere with radio and television the risk of loosing important data, we recommend that
exception. Do not use this device in the vicinity of such you periodically save a backup copy of important data
receivers. you have stored in the unit’s memory in another MIDI
352b device (e.g., a sequencer).
• Noise may be produced if wireless communications 552
devices, such as cell phones, are operated in the vicinity of • Unfortunately, it may be impossible to restore the contents
this unit. Such noise could occur when receiving or initi- of data that was stored in another MIDI device (e.g., a
ating a call, or while conversing. sequencer) once it has been lost. Roland Corporation
Should you experience such problems, you should assumes no liability concerning such loss of data.
relocate such wireless devices so they are at a greater 553
• Use a reasonable amount of care when using the unit’s
distance from this unit, or switch them off.
355
buttons, sliders, or other controls; and when using its jacks
• To avoid possible breakdown, do not use the unit in a wet and connectors. Rough handling can lead to malfunctions.
554
area, such as an area exposed to rain or other moisture. • Never strike or apply strong pressure to the display.
556
• When connecting / disconnecting all cables, grasp the
Maintenance connector itself—never pull on the cable. This way you
401a will avoid causing shorts, or damage to the cable’s
• For everyday cleaning wipe the unit with a soft, dry cloth internal elements.
or one that has been slightly dampened with water. To 558a
remove stubborn dirt, use a cloth impregnated with a • To avoid disturbing your neighbors, try to keep the unit’s
mild, non-abrasive detergent. Afterwards, be sure to wipe volume at reasonable levels. You may prefer to use
the unit thoroughly with a soft, dry cloth. headphones, so you do not need to be concerned about
402 those around you (especially when it is late at night).
• Never use benzine, thinners, alcohol or solvents of any 559a
kind, to avoid the possibility of discoloration and/or • When you need to transport the unit, package it in the box
deformation. (including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
• Use only the specified expression pedal (EV-5; sold
Repairs and Data separately). By connecting any other expression pedals,
452 you risk causing malfunction and/or damage to the unit.
• Please be aware that all data contained in the unit’s 562
memory may be lost when the unit is sent for repairs. • Use a cable from Roland to make the connection. If using
Important data should always be backed up in another some other make of connection cable, please note the
MIDI device (e.g., a sequencer), or written down on paper following precautions.
(when possible). During repairs, due care is taken to avoid • Some connection cables contain resistors. Do not use
the loss of data. However, in certain cases (such as when cables that incorporate resistors for connecting to this
circuitry related to memory itself is out of order), we unit. The use of such cables can cause the sound level
regret that it may not be possible to restore the data, and to be extremely low, or impossible to hear. For infor-
Roland assumes no liability concerning such loss of data. mation on cable specifications, contact the manufac-
turer of the cable.
4
Contents
USING THE UNIT SAFELY .............................. 2 Chapter 4 The Effects Explained..................25
COMP/LIMITER (Compressor/Limiter) ................................25
IMPORTANT NOTES...................................... 4 OD/DIST (Overdrive/Distortion)..............................................26
■ OD: Overdrive ..............................................................................26
■ DST: Distortion .............................................................................26
Main Features ............................................. 7 ■ FUZ: Fuzz ......................................................................................26
CHORUS ..............................................................................................27
Panel Descriptions ....................................... 8 REV/DLY (Reverb/Delay)/SOS (Sound On Sound) ......27
Front Panel ........................................................................................... 8 ■ REV: Reverb ..................................................................................28
■ DLY: Delay ....................................................................................28
Rear Panel...........................................................................................11 ■ R&D: Reverb & Delay..................................................................29
■ SOS: Sound On Sound.................................................................29
Chapter 1 PREAMP/SPEAKER........................................................................29
Playing Sounds ......................................... 12 ■ Preamp...........................................................................................29
■ Speaker ..........................................................................................30
Making Connections .....................................................................123 BAND PARAMETRIC EQ .........................................................31
Turning On the Power ..................................................................13 WAH........................................................................................................31
Adjusting the Output Level............................................................13 ■ WH: Pedal Wah ............................................................................31
What is a Patch?...............................................................................14 ■ TW: Touch Wah............................................................................32
■ AW: Auto Wah .............................................................................32
Selecting Patches ...........................................................................14
How to Switch Patches....................................................................14 FX-1.........................................................................................................33
Turning Each of the Effects in a Patch On and Off .....................15 ■ OCT: Octave..................................................................................33
About the Information Appearing in the Display.......................15 ■ ENH: Enhancer.............................................................................33
If the Patch Does Not Switch..........................................................15 ■ SG: Slow Gear ...............................................................................34
■ DEF: Defretter ...............................................................................34
Turning Off the Power..................................................................15 ■ R.M: Ring Modulator...................................................................34
FX-2.........................................................................................................35
■ PH: Phaser .....................................................................................35
Chapter 2
■ FL: Flanger.....................................................................................36
Creating You Own Favorite Tones (Patches) .. 16 ■ HRM: Harmonist..........................................................................36
■ P.S: Pitch Shifter ...........................................................................37
Getting the Tones You Want-Fast (EZ Tone)...................16
■ PB: Pedal Bend..............................................................................38
Adjusting the Tones with the Knobs....................................16 ■ 2CE: 2x2 Chorus ...........................................................................38
■ ASL: Auto Slap .............................................................................39
Adding and Omitting Effects....................................................18 ■ SDD: Short Delay .........................................................................40
Using the Buttons to Switch Effects On and Off..........................18 ■ VIB: Vibrato...................................................................................41
Switching Effects with the Pedals..................................................18 ■ HMN: Humanizer ........................................................................41
Setting the Effect Tones (Quick Settings)........................19 ■ T/P: TREMOLO/PAN ................................................................42
■ SYN: Bass Synth ...........................................................................42
Making More Detailed Settings with Individual Parameters....19
NS: Noise Suppressor .................................................................44
Using the Pedal Effects
(Wah, Pedal Bend, Ring Modulator).....................................20 MASTER ...............................................................................................44
Wah ....................................................................................................20 FV: Foot Volume .............................................................................44
Pedal Bend.........................................................................................20
Ring Modulator ................................................................................21
Chapter 5
Naming Tones...................................................................................21
Setting the Pedal Functions (Pedal Assign) ..45
Changing the Order of the Effects (Effect Chain) .......22
Selecting Each Effect to Be Turned On and Off
with the Number Pedals...............................................................45
Chapter 3
Saving the Tones You Have Created .......... 23 Settings for Using the Expression Pedal...........................45
Setting the Range of the Volume Change.....................................45
If You Don’t Want to Use the Expression Pedal as a “Volume Pedal” ...46
Write .......................................................................................................23
Settings for Using the Expression Pedal Switch/
Copying Patches .............................................................................23
CTL Pedal............................................................................................46
Exchanging Patches ......................................................................24 Making Settings Instantly (Quick Settings)..................................46
If You Don’t Want to Use the Expression Pedal Switch or CTL Pedal ...47
Editing “Quick Settings”.................................................................47
5
Contents
Controlling Effects with the GT-6B Pedals, Chapter 10

External Pedals, and External MIDI Devices.....................48 Using MIDI .................................................64
Making the Assign On/Off Setting ...............................................48
Making Settings Instantly (Quick Settings)..................................48 What Can You Do with MIDI?....................................................64
Making the Parameter Settings ......................................................49
Making the Settings for MIDI Functions.............................65
Controlling Foot Volume and Pitch Shifter
Transmitting and Receiving MIDI Data ................................67
with an External Expression Pedal.........................................51
Transmitting Data to an External MIDI Device (Bulk Dump)...67
Receiving Data from an External MIDI Device (Bulk Load) .....68
Chapter 6 Setting the Program Change Map .........................................69

Using the Customize Function .................... 52 Initial Program Change Map Settings...........................................69
Enabling/Disabling the Program Change Map Settings
Making “Custom” Overdrive/Distortion Settings ..........52 (MIDI Map Select) ............................................................................70
Making “Custom” Pedal Wah Settings................................53 Changing Patch Numbers on an External MIDI
Device From the GT-6B................................................................70
Chapter 7
Using Sound On Sound.............................. 54 Appendices ................................................71
About MIDI..........................................................................................71
How MIDI messages are transmitted and received....................71
Chapter 8 Main types of MIDI message used by the GT-6B ........................71
Convenient Features of the GT-6B .............. 55 About the MIDI implementation ...................................................72
Outputting Sounds Without Effects Applied (Bypass) .......55 Factory Settings...............................................................................72

Using the Expression Pedal Even When Bypass Is in Effect......55
Restoring the Factory Settings (Factory Reset) ............73
Switching Bypass On and Off ........................................................55
Adjusting the Expression Pedal .............................................73
Connecting Directly to a Recording
Mixer or PA Mixer (XLR Balanced Output)........................55 Troubleshooting..............................................................................74
Switching the XLR Output Connector Signals ............................55
Error Messages................................................................................75
Quick Patch Volume Adjustment (EFFECT LEVEL Knob).......56
MIDI Implementation Chart ........................................................76
Tuning the Bass ...............................................................................56
Main Specifications .......................................................................77
Turning the Tuner Function On.....................................................56
About the Display During Tuning ................................................56
How to Tune .....................................................................................57
Changing the Tuner Settings ..........................................................57 Index .........................................................78
Adjusting the Overall Sound to Match the Usage
Environment (Global)....................................................................58
Patch List ...................................................81
Using the Digital Out.....................................................................58
Adjusting the Output Level from DIGITAL OUT .............58
Checking the Effect Output Level with the Level Meter .....59
Chapter 9
Other Functions ......................................... 60
Adjusting the Display Contrast (LCD Contrast).............60
Limiting the Banks That Can Be Switched (Bank Extent)........60
Setting the Timing Used for Switching Patches
(Patch Select Mode)......................................................................60
Selecting Patches by Directly Specifying the Bank and Number....60
Setting the Timing Used for Switching Patches
(Patch Change Mode) ..................................................................61
Setting “Expression Pedal Hold”...........................................62
Selecting the PATCH/VALUE Dial Function (Dial Function) ...62
Setting the Knob Functions (Knob Mode).......................63
Setting the External Foot Switch Functions
(SUB CTL 1, 2 Function)..............................................................63
6
Main Features
Powerful COSM Modeling Effects Built-In Quick Settings

Features internal high-quality modeled effects, including Each effect contains pre-programmed settings for each effect.
bass amp, overdrive/distortion, compressor/limiter, touch Creating the effect sounds you want is simple—just select the
wah, pedal wah, and more. preset settings for the effect you are using.
Internal Analog Bypass Circuitry A Wide Variety of Effects

When bypass is activated, signals can be output without The GT-6B provides 35 different effects, from pro-quality
passing through the AD/DA converter. Moreover, analog chorus, delay and reverb, to octave, defretter, synth-bass, a
signals also can be output without passing through the AD/ newly developed Auto Slap, and numerous other effects.
DA converter when only chorus or reverb/delay is used.
Expression Pedal/Expression Pedal
Equipped with XLR Balanced Output Switch and Control Pedal
Connectors
The unit features an expression pedal and control pedal that
The GT-6B features two XLR type output jacks, enabling you you can use in setting the functions in each patch. The
to connect to PAs and recording decks. And not only can you functions that can be assigned to the expression pedal vary
output in stereo, these can also be selected as monaural with each patch you select, allowing you to use it as a wah
outputs and direct outs. pedal, volume pedal, or other kind of pedal.
Furthermore, you can use the pedal as an “expression pedal
Customize Function switch” to control (turn on and off) the current effect by
firmly pressing down at the front tip. (p. 46)
The GT-6B’s internal Customize function lets you bring your
own sensibilities into play, and design totally new effects by
tweaking the settings for the “Overdrive/Distortion,” and
Includes Digital Outs
“Pedal Wah” effects. The unit also includes digital out connectors (coaxial),
The resulting creations can then be saved on the GT-6B as convenient for digital recording. (p. 58)
“Custom” settings. (p. 52)
EZ Tone
The GT-6B includes thirty representative effect sounds used
for creating new sounds. Now it’s easy to select just the
sounds you like. (p. 16) COSM (Composite Object Sound Modeling)
Composite Object Sound Modeling (COSM) is an
original sound modeling technology developed by
Roland, in which the many factors that make up the
original sound, such as the electrical circuitry, structural
characteristics, materials used, and acoustics, are
analyzed and then recombined to reproduce that same
sound.
7
Panel Descriptions
Front Panel
fig.00-01
44
1 30 43
2 39
42
40 41
3 4 5 8 9 12 14
31
6 7 10 11 13 15 32 33
27
16 17 18 19 20 21 22 28 35
23
24 26 29 36
25 37 38
34
1 Display ■ COMP/LIMITER (p. 25)

A variety of information about the GT-6B appears here. (Compressor/Limiter)
The left display shows the bank number.
The right display indicates patch names, parameters, 3 ATK/THR (Attack/Threshold) Knob
and a variety of other information. Adjusts the compressor’s attack and the volume at which
the limiter begins to affect the sound.
2 EFFECT LEVEL Knob
Adjust the overall volume. 4 SUS/RATIO (Sustain/Ratio) Knob
Adjusts the length of the compressor decay and adjusts
* When the Bypass EXP Mode (p. 55) and Noise Suppressor (p.
the limiter’s compression ratio.
44) is set to “Off,” only CHORUS or REV/DLY is used, so
turning this knob does not change the volume of the direct
sound. 5 LEVEL Knob
Adjusts the compressor/limiter volume level.
8
Panel Descriptions
6 COMP/LIMITER ON/OFF Button ■ PREAMP/SPEAKER (p. 29)

Press this to switch the compressor/limiter on and off (Preamp/Speaker)
and when changing other settings.
16 TYPE Knob
7 TYPE VARIATION Button Selects the preamp type.
Selects the compressor or limiter type.
17 GAIN Knob
Adjusts the amount of amplification from the preamp.
■ OVERDRIVE/DISTORTION (p. 26) This changes the sort of distortion you get with the amp.
8 DRIVE Knob
18 TREBLE/Q Knob
Adjusts the distortion effect from the overdrive or
Adjusts the sound quality of the preamp’s upper range.
distortion.
Also adjusts the EQ bandwidth when the 3-band
parametric EQ is operational.
9 LEVEL Knob
Adjusts the volume of the overdrive or distortion sound. 19 MIDDLE/FREQ (Frequency) Knob
Adjusts the sound quality of the preamp’s midrange.
10 OVERDRIVE/DISTORTION ON/OFF Button Also adjusts the ED’s midrange frequency when the 3-
Press this to switch the overdrive or distortion on and off band parametric EQ is operational.
and when making changes to other settings.
20 BASS/GAIN Knob
11 TYPE VARIATION Button Adjusts the sound quality of the preamp’s lower range.
Selects the type of overdrive or distortion. Also adjusts the amount of EQ amplification when the 3-
band parametric EQ is operational.
■ CHORUS (p. 27)

21 LEVEL/TOTAL (Total Gain) Knob
Adjusts the overall preamp volume level. Also adjusts
12 LEVEL Knob
the amount of amplification for the EQ overall when the
Adjusts the volume of the chorus sound. The chorus
3-band parametric EQ is operational.
sound increases as the knob is turned more to the right.
22 SPEAKER Knob
13 CHORUS ON/OFF Button
Selects the speaker type.
Press this to switch the chorus on and off and when
changing other settings.
23 PREAMP ON/OFF Button
Press this to switch the preamp on and off and when
■ REV/DLY (p. 27) changing other settings.
(Reverb/Delay)
24 3 BAND PARAMETRIC EQ ON/OFF Button
14 LEVEL Knob Switches the 3-band parametric EQ on and off.
Adjusts the volume level of the reverb and delay sounds.
The reverb or delay sound increases as the knob is 25 SELECT Button
turned more to the right. Switches the band for 3-band parametric EQ.
15 REV/DLY ON/OFF Button 26 SPEAKER ON/OFF Button

Press this to switch the reverb or delay on and off and Press this to switch the speakers on and off and when
when changing other settings. changing other settings.
* The PREAMP turns on automatically when the SPEAKER is
turned on. Additionally, turning off the SPEAKER
automatically turns off the PREAMP.
9
Panel Descriptions
■ WAH (p. 31) 36 NAME/NS/MASTER Button (p. 21, 44)

Use for naming patches (NAME), making noise
27 WAH ON/OFF Button suppressor settings (NS), and making the master settings
Press this to switch the wah on and off and when (MASTER).
changing other settings.
37 UTILITY Button
This is used for making settings for the GT-6B’s overall
■ FX-1 (p. 33) operating environment.
28 FX-1 ON/OFF Button

38 EZ TONE Button (p. 16)
Press this to switch FX-1 on and off and when changing
Use this button when you want to use the EZ tones, and
other settings.
when searching for a desired tone.
■ FX-2 (p. 35) 39 BANK/PATCH Pedals

Switch patches or banks with these pedals. Press both
29 FX-2 ON/OFF Button pedals simultaneously to switch to Tuner mode (p. 56).
Press this to switch FX-2 on and off and when changing
other settings. 40 EFFECT ON/OFF / NUMBER Pedal
Use these to switch effects on and off and to switch patch
numbers.
30 PATCH/VALUE Dial 41 BYPASS/CTL (CONTROL) Pedal (p. 46, 55)

Use this to switch patches and make changes to settings Use this to switch between bypass and the sound with
values. the effects added; you can also use this as a control pedal
for any of a number of different functions that can be
31 PARAMETER Button assigned to the pedal.
Press to select parameters.
42 Expression Pedal
* To jump to the main parameters, hold down one of these
buttons while you press the other. With items for which there Controls volume, wah, and other parameters.
aren’t that many parameters, the GT-6B jumps to the last (or
initial) parameter.
When you operate the expression pedal, please be
careful not to get your fingers pinched between the
32 EXIT Button
movable part and the panel. When using the GT-6B in
Use this to undo operations and to return to the Play
households with small children, take care not to allow
screen (p. 13).
young children to handle the unit or play with it. An
adult should always be on hand to provide supervision
33 WRITE Button
and guidance with the operation of the unit.
Press to store settings.
43 EXP PEDAL SW (Expression Pedal Switch)

34 PEDAL ASSIGN Button (p. 45) (p. 46)
Use this to make settings for the expression pedal and Firmly press the front tip of the pedal down to switch the
control pedal. effect on and off.
35 TUNER/BYPASS Button (p. 55, 56) 44 EXP PEDAL SW ON/OFF (Expression Pedal
Press to use the tuner and bypass functions. Switch On/Off) Indicator
Lights up when the effect being controlled with the
Expression Pedal Switch is on, and goes out when the
effect is turned off.
10
Panel Descriptions
Rear Panel
fig.00-02
1 2 3 4 8 9 10 11 12
5 6 7
1 INPUT Jack 7 DIGITAL OUT Connector (p. 58)

The bass guitar is connected here. Outputs digital audio signals.
2 OUTPUT LEVEL Knob 8 SUB EXP PEDAL/SUB CTL 1,2 Jack

Adjusts the volume level of the output from the output (SUB EXP Pedal/SUB CONTROL Pedal) (p. 48)
(1/4” phone) jack and headphone jacks. Connect an optional expression pedal (such as the EV-5)
or foot switch (such as the FS-5U) here.
3 OUTPUT R/L (MONO) Jacks
These are standard jacks that output unbalanced signals. 9 MIDI IN/OUT Connectors (p. 64)
Connect to amps, mixers, or other such devices. Connect an external MIDI device to these connectors to
transmit and receive MIDI messages.
4 PHONES Jack
A pair of stereo headphones can be connected to this 10 POWER Switch
jack. Switches the power to the on and off.
5 OUTPUT Jacks (XLR) 11 AC Adaptor Jack

These are XLR jacks that provide balanced output. Connect the included AC adaptor (BRC-series) here.
6 SELECT (Output Select) Switch (p. 55) 12 Cord Hook

This switch setting determines whether the signals Hook the AC adaptor cord here to prevent the adaptor
output from the XLR output jacks are in stereo (L/R), or plug from becoming disconnected.
as direct/mono output.
11
Chapter 1 Playing Sounds
Making Connections
* To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices
before making any connections.
* Raise the amp volume only after turning on the power to all connected devices.
* When using mono output, connect the cable only to the OUTPUT L (MONO) jack.
* Use only specified expression pedals (optional Roland EV-5 or Roland FV-300L and PCS-33). Use of other manufacturer’s products may
result in damage to the unit.
fig.01-01
Bass Guitar
AC Adaptor
Stereo BRC-series
Headphones
EV-5
Bass Amp
FV-300L
Mixer etc.
FS-5U
FS-5L
etc.
* To prevent the disruption of power to your unit (should the * The pin assignment for the OUTPUT (XLR) connector
plug be pulled out accidentally), and to avoid applying undue connectors is as shown below. Before making any connections,
stress to the AC adaptor jack, anchor the power cord using the make sure that this pin assignment is compatible with that of
cord hook, as shown in the illustration. all your other devices.
fig.01-02 fig.01-50
1: GND
2: HOT
3: COLD
For more on how to use the OUTPUT (XLR) connectors,

refer to p. 55
* When using the unit with an expression pedal connected to the

SUB EXP PEDAL/SUB CTL 1,2 jack, set Minimum Volume
of an expression pedal to the “MIN” position.
12
* When using the GT-6B with a foot switch (the optional FS-
Turning On the Power
Chapter 1
5U) connected to the SUB EXP PEDAL/SUB CTL 1,2 jack,
set the polarity switch as shown in the following. Once the connections have been completed, turn on power to
fig.01-03
your various devices in the order specified. By turning on
devices in the wrong order, you risk causing malfunction
and/or damage to speakers and other devices.
1. Before you turn the power on, make sure of the

Polarity Switch following points.
• Are all external devices properly connected?
* You can use the special (optional Roland) PCS-31 connector • Is the volume on the GT-6B, your amp, and all other
cord to connect two foot switches. connected devices turned down to the minimum level?
fig.01-04
* The GT-6B's volume is adjusted with the OUTPUT LEVEL
knob on the rear panel. Turning this completely to the left
(counterclockwise) sets the volume to the minimum level.
PCS-31
2. Switch ON the POWER switch on the GT-6B’s rear
White Red panel.
The display changes, and the following appears in the
display. After a brief interval (a few seconds), the unit
switches to regular performance mode. The screen that
appears at that point is called the “Play screen.”
fig.01-05
When using the unit with a foot switch connected to the

SUB EXP PEDAL/SUB CTL 1,2 jack, make the settings
given on p. 63.
* When the GT-6B is turned on, the patch most recently selected
when the power was last turned off is selected.
* This unit is equipped with a protection circuit. A brief interval
(a few seconds) after power up is required before the unit will
operate normally.
3. Next, turn on the power to the bass amp (power amp).
Adjusting the Output Level

The explanations in this manual include illustrations that Adjust the GT-6B’s output level with the OUTPUT LEVEL
depict what should typically be shown by the display. knob on the rear panel.
Note, however, that your unit may incorporate a newer, * Turn the knob to the marked range to set the volume to a
enhanced version of the system (e.g., includes newer standard level.
sounds), so what you actually see in the display may not fig.01-06
always match what appears in the manual.
13
What is a Patch? Numbers

The number appears at the left side of the right display, and
When performing on your bass, you may select a variety of is indicated by a numeral from “1” through “4.”
different tones according to what and where you are playing.
The effects you want to use and the parameter settings (knob
positions) will vary depending on the tone. Selecting Patches
You can store combinations, or “sets,” of volume level and
other of these parameter settings, and by using the pedals to
switch these sets, you can change tones instantly. Each of these How to Switch Patches
stored sets is called a “patch.” The GT-6B can store 80 “User Patches are switched by rotating the PATCH/VALUE dial
patches,” the content of which you can change as you like, while in the “Play screen.” You can also switch patches by
along with 40 “Preset patches” which cannot be changed or pressing the PATCH pedals.
overwritten. These 120 patches are divided into groups called fig.01-10
“banks,” with each bank containing four patches.

Patches within each bank are distinguished by the patch
“number” (1-4).
fig.01-07
Preset Bank 10 (P0)

Patch
Preset Bank 1 (P1)
User Bank 20 (u0) Patch
Patch
User Bank 1 (U1) ● When you turn the PATCH/VALUE dial to the right
(clockwise) or press the PATCH pedal, the patch
Patch Patch Patch Patch
numbers are switched in ascending order, i.e., 1 → 2 → 3
→ 4 → (next bank) 1 → 2 → ...etc.
● When you turn the PATCH/VALUE dial to the left
(counterclockwise) or press the PATCH pedal, the
User Banks (U1–U0, u1–u0) patch numbers are switched in descending order, i.e., 4
These are indicated by a “U*” or “u*” appearing in the left display. → 3 → 2 → 1 → (bank before the current bank) 4 → 3 →
fig.01-08 ...etc.
* You cannot switch patches unless the Play screen (p. 13) is
displayed. Press [EXIT] (p. 10) to return to the Play screen.
* You cannot switch patches with the PATCH/VALUE dial
when the dial function (p. 62) is set to VALUE only.
Preset Banks (P1–P0)

These are indicated by a “P*” appearing in the left display.
fig.01-09
Number
* Although you cannot overwrite the Preset patches, you can

change (edit) a Preset patch’s settings. You can then save the
resulting changes in the setting as a User patch.
14
Turning Each of the Effects in a Turning Off the Power
Chapter 1
Patch On and Off
1. Before turning off the power, confirm the following.
You can use pedals 1–4 to switch on and off the individual
• Is the volume on the GT-6B, your amp, and all other
effects that are used in a patch. Each pedal shows the names
connected devices turned down to the minimum level?
of two effects; the effect that you are currently able to switch
on and off is indicated in the lower row of the right display. 2. Turn off the power of the bass amp (power amp) and
You can also change these with [PEDAL ASSIGN] (p. 45). other devices.
3. Turn the GT-6B’s power off.

Switching Patches by Specifying the Bank
and Number
The GT-6B has been set at the factory so that you can
switch patches using the PATCH/VALUE dial or the
PATCH and PATCH pedals, but you can change
the settings by switching patches directly with the bank
and number. For more detailed information, refer to p. 60.
About the Information Appearing

in the Display
The following information is shown in the display.
fig.01-11
Number Patch Name
Bank Effects
If the Patch Does Not Switch

On the GT-6B, you cannot switch patches in any screen other
than the Play screen. If you are having this problem, press
[EXIT] to return to the Play screen.
15
Chapter 2 Creating You Own Favorite Tones (Patches)
Getting the Tones You Want- Adjusting the Tones with the
Fast (EZ Tone) Knobs
In addition to tones (patches) that you can actually use in The GT-6B panel features fifteen knob controls. These knobs
performances, the GT-6B also features internal sample let you make changes to the selected patch’s tone quickly and
settings that are very useful when you want to create such easily.
tones on your own. This feature is called “EZ Tone.” * There are also other methods you can use to adjust the tone.
Using the EZ Tone function lets you quickly find tone For more details, refer to p. 19.
settings similar to the ones you want to create. fig.02-03
fig.02-01
3 4 1
COMP ATK (Compressor attack)
1. Press [EZ TONE]. This gives you a strong attack from picking when “BOSS
Comp”, “D-Comp” is selected as the type. The attack
2. Rotate the VALUE dial to select the settings resembling
becomes sharper as you turn the knob to the right, giving a
those for the tone you want.
sound with greater bite.
3. Press the ON/OFF buttons to turn effects on and off,
and turn the knobs to adjust the tone. LIMITER THR (Limiter threshold)
fig.02-02 This adjusts the volume level at which the limiter is activated
when “Rack 160D” is selected as the type. As the knob is
turned to the left, the limiter effect is apparent at lower
volume levels.
When “Vtg Rack U” is selected as the type, this adjusts the
volume of the sound input to the limiter. The effect becomes
deeper as you turn the knob to the right.
COMP SUS (Compressor sustain)

This adjusts the amount of sustain when “BOSS Comp”, “D-
ON/OFF button
Comp” is selected as the type. More of the effect is added as
* You can press [EZ TONE] again to compare the tone in use you turn the knob to the right, lengthening the sustain time,
before entering EZ Tone mode with the present tone. while also bringing out noise that occurs when you are not
playing the instrument.
4. Press [EXIT] to return to the Play screen.
The tone switches to the tone selected in EZ Tone. LIMITER RATIO
* Pressing [EXIT] while the readout is flashing (when the tone This adjusts the limiter’s compression ratio when “Rack
prior to switching to EZ Tone mode is selected) returns you to 160D” or “Vtg Rack U” is selected as the type. The
the patch that was selected before going into EZ Tone mode. compression gets stronger as the knob is turned to the right.
* If you want to save a tone you’ve created, use the Write * By pressing [TYPE VARIATION], you can then switch the
procedure (p. 23) to save it to a User patch. COMP/LIMITER type.
16
COMP/LIMITER LEVEL SPEAKER

Adjusts the compressor/limiter volume level. The volume Selects the speaker type.
increases as the knob is turned to the right. When ORIGINAL is selected, you can select the speakers that
are best suited for the PREAMP TYPE settings.
OD/DIST DRIVE (Overdrive/Distortion Drive)
In addition, when [SELECT] is pressed, the PREAMP knobs
Adjusts the degree of distortion in the overdrive or distortion
Chapter 2
then function as control knobs for adjusting the 3-band
sound. The distortion gets stronger as the knob is turned to
parametric EQ.
the right.
The adjustment screen for each band (LOW, MID, HIGH)
OD/DIST LEVEL (Overdrive/Distortion Level) appearing in the display alternates each time you press
Adjusts the volume of the overdrive or distortion sound. The [SELECT]. You can adjust the Q, frequency, and gain for each
volume increases as the knob is turned to the right. band.
* By pressing [TYPE VARIATION], you can then switch the Q

OVERDRIVE/DISTORTION type. This adjusts the Equalizer bandwidth (the range of frequencies
affected by that EQ control). The bandwidth is narrowed as the
CHORUS LEVEL
knob is turned to the right, resulting in a more notched
Adjusts the volume of the chorus sound. The chorus sound
equalization. Use higher Q settings to affect specific
increases as the knob is turned to the right, deepening the
frequencies and give the tone particular qualities. Conversely,
effect.
the bandwidth becomes broader as the knob is turned to the
left. Use lower Q settings when you want to adjust the overall
REV/DLY LEVEL (Reverb/Delay Level)
low end or high end and change the overall tone.
Adjusts the volume level of the reverb or delay sounds. The
reverb or delay sound increases as the knob is turned to the
FREQ (Frequency)
right.
Adjusts the center frequency for the equalizer. The frequency
Only the reverb sound is adjusted when Fx Select (p. 27) is (upper range) increases as the knob is turned to the right.
set to R&D (Reverb&Delay). When SOS (SoundOnSound) is
selected, this adjusts the playback level. GAIN
Adjusts the volume level for the equalizer adjusted with the
PREAMP TYPE Q and FREQ settings above. The volume level for the
Selects the preamp type. frequency range is boosted more as the knob is turned
further to the right of center; turning the knob to the left of
PREAMP GAIN
the center position cuts those frequencies.
Adjusts the amount of amplification for the preamp, which
changes the degree of distortion. The distortion gets stronger TOTAL (Total Gain)
as the knob is turned to the right. Adjusts the overall volume level of the 3-band equalizer. The
overall volume level is boosted more as the knob is turned
PREAMP TREBLE
further to the right of center; turning the knob to the left of
Adjusts the sound quality of the preamp’s upper range. The
the center position cuts those frequencies.
high frequencies are boosted as the knob is turned to the right.
EFFECT LEVEL
PREAMP MIDDLE
Adjusts the overall effect volume level. The volume increases
Adjusts the sound quality of the preamp’s midrange. The
as the knob is turned to the right.
midrange frequencies are boosted as the knob is turned to
the right. * When the Bypass EXP Mode (p. 55) and Noise Suppressor (p.
44) is set to “Off,” only CHORUS or REV/DLY is used, so
PREAMP BASS turning this knob does not change the volume of the direct
Adjusts the sound quality of the preamp’s lower range. The sound.
low frequencies are boosted as the knob is turned to the right.
PREAMP LEVEL When you want to save a tone created with EZ Tone, or
Adjusts the preamp volume level. The volume increases as changed with the knob controls, use the Write procedure
the knob is turned to the right. (p. 23) to save the tone to a User patch.
17
Adding and Omitting Effects Switching Effects with the Pedals

The GT-6B is set at the factory so that you can use Pedals “1”
You can switch the internal effects on and off, which lets you
through “4” to switch specific effects on and off. The names
change tones by adding and omitting effects.
of effects that can be controlled with these pedals appear in
the lower row of the display.
Using the Buttons to Switch * The effects that can controlled can be selected individually for
Effects On and Off each patch (p. 45).
fig.02-06
You can switch each of the internal effects on and off with the
respective effect ON/OFF button.
fig.02-04
1
1,2,3 4 1. Press the pedal corresponding to the effect you want to
switch on and off.
1. Press the ON/OFF button for the effect you want to be Each time you press the pedal, the effect is alternately
able to switch on and off. turned on or off, and the pedal indicator lights up or
The effect's name and on/off status appear in the display. goes out.
The indicator for an effect’s ON/OFF button lights up * While enabled, effects are indicated in capital letters in the
when the effect is enabled, and flashes when that effect is display; disabled effects are indicated in lowercase letters.
disabled. fig.02-07
fig.02-05
Effects
2. Press the ON/OFF button again to switch the effect on

or off, changing the indicator light status.
If you want to save a tone for which you have made
* The PREAMP turns on automatically when the SPEAKER is settings, use the Write procedure (p. 23) to save the tone
turned on. Additionally, turning off the SPEAKER to a User patch.
automatically turns off the PREAMP.
* As set at the factory, the indicator for the pedal corresponding
to the effect being used also lights up and goes out in response
to the effect status.
* The effect name flashes in the display when that effect is
turned off.
* When you press [FX-1] or [FX-2] in Step 1, the effect set with
the FX Select parameter (“Making More Detailed Settings
with Individual Parameters,” see p. 19) is switched on and off.
3. To select another effect to be switched on and off,

repeat Steps 1 and 2.
18
Setting the Effect Tones Making More Detailed Settings

(Quick Settings) with Individual Parameters
Quick Settings are preprogrammed effect settings. Each The effects include extra parameters in addition to those that
effect in the GT-6B has some available quick settings. You can be adjusted directly with the knobs.
Chapter 2
can easily create new effect sounds, without having to make You can more precisely create the sounds you want by
any detailed adjustments, just by selecting and combining editing each of these parameters individually.
these Quick Settings. fig.02-10
fig.02-08
3
3
2
2
1 6
1 4
1. Press the ON/OFF button for the effect with the
1. Press the ON/OFF button for the effect with the settings you want to change.
settings you want to change. The parameters for the selected effect appear in the
The parameters for the selected effect appear in the display.
display.
2. Press PARAMETER [ ][ ] to select the
* During editing, the most recently edited parameter for each
parameter whose settings are to be changed.
effect is indicated in the display.
When more than one parameter is shown in the display,
2. Press PARAMETER [ ][ ] to display the press PARAMETER [ ][ ] to move the cursor to
“Quick Setting--.” the parameter to be set.
fig.02-09
You can jump to the most important parameters by

pressing PARAMETER [ ] (or [ ]) while holding
down PARAMETER [ ] (or [ ]). With items for
3. Rotate the VALUE dial to select the effect setting you which there aren’t that many parameters, the GT-6B
want. jumps to the last (or first) parameter.
* When you press [FX-1], [FX-2], [WAH], or [REV/DLY] in 3. Rotate the VALUE dial to change the settings value.
Step 1, the settings for the effect selected by means of the FX
4. Repeat Steps 2 and 3 for any other parameter settings
Select parameter (refer to the following item) are switched.
you want to change.
5. If you want to change parameter settings in any other
effects, repeat Steps 1 through 4.

settings, use the Write procedure (p. 23) to save the tone
to a User patch.
19
Using the Pedal Effects (Wah, Pedal Bend

Pedal Bend, Ring Modulator) fig.02-12
4
You can use the GT-6B’s expression pedal to obtain wah,
pedal bend (pedal-controlled pitch bend), and ring
modulator effects.
Wah 3
fig.02-11
1 4
1 5
1. Press [FX-2].
3 2. Turn on the FX-2 effect (“Adding Effects”; p. 18).
* This step is not required if the effect is already on.
3. Press PARAMETER [ ][ ] to select the FX

Select parameter.
5
4. Rotate the VALUE dial to change the setting value to
1. Press [WAH]. “PB.”
Moving the expression pedal now gives you a pitch bend
2. Turn on the wah effect (“Adding Effects”; p. 18).
effect.
* By assigning PB on/off to the expression pedal switch, you can
3. Press PARAMETER [ ][ ] to select the FX switch the Pedal Bend effect on and off by firmly pressing
Select parameter. down on the pedal’s toe. (p. 46)
4. Rotate the VALUE dial to change the setting value to 5. Press [EXIT] to return to the Play screen.
“WH.”
A wah effect can now be obtained by moving the
expression pedal. If you want to save a tone for which you have made
* By assigning WAH on/off to the expression pedal switch, you
to a User patch.
can switch the wah effect on and off by firmly pressing down
on the pedal’s toe. (p. 46)

to a User patch.
20
Ring Modulator Naming Tones

fig.02-13
Each patch can be given a name (Patch Name) consisting of
4 up to fourteen characters. You can assign whatever names
you like, such as names suggesting the sound created or the
Chapter 2
name of the song in which it is to be used.
fig.02-14
3
3
1 6 2
1. Press [FX-1].
2. Turn on the FX-1 effect (“Adding Effects”; p. 18).

1 3
3. Press PARAMETER [ ][ ] to select the FX 1. Press [NAME/NS/MASTER] until “Name” appears in

Select parameter. the display.
4. Rotate the VALUE dial to change the setting value to * Each time [NAME/NS/MASTER] is pressed, the item that
“R.M.” can be set is changed, following this order:
Name → Noise Suppressor → Master → Bypass EXP Mode
5. Set Pedal Assign (p. 48) so that “Freq” (the frequency)
→ Foot Volume → Effect Chain.
for R.M (the ring modulator) is controlled with the
fig.02-15
expression pedal.
* By assigning R.M on/off to the expression pedal switch, you
can switch the Pedal Bend effect on and off by firmly pressing
down on the pedal’s toe. (p. 46)
Cursor
2. Press PARAMETER [ ][ ] to move the cursor to
the portion of text you want to edit.
3. Rotate the VALUE dial to change the characters.
to a User patch. * You can use the following functions when changing text
characters.
CAPS: Switches the character at the cursor position
between uppercase and lowercase.
INS: Inserts a blank space at the cursor position.
DEL: Deletes the character at the cursor position and
shifts the characters following it to the left.
4. If you want to edit names further, repeat Steps 2 and 3.
5. If you want to save the sequence you’ve set up, use the
Write procedure (p. 23) to save it to a User patch.
Press [EXIT] to return to the Play screen.
21
Changing the Order of the

Effects (Effect Chain) You can switch effects on and off even while making the
settings for the connection order. You can use the ON/
You can freely change the order in which the effects are OFF buttons corresponding to the effects appearing to
connected. the left and right of the cursor to turn these effects on
fig.02-16
and off.
2
3 1
1. Press [NAME/NS/MASTER] until “Effect Chain”

appears in the display.
* Each time [NAME/NS/MASTER] is pressed, the item that
can be set is changed, following this order:
Name → Noise Suppressor → Master → Bypass EXP Mode-
→ Foot Volume → Effect Chain.
fig.02-17
* Effects are shown in lowercase letters when turned off.
2. Use the VALUE dial or PARAMETER [ ][ ] to

move the cursor to the point where you want to have
the effect inserted.
3. Press the ON/OFF button for the effect you want to

insert.
The selected effect is inserted at the cursor position.
* You cannot directly switch placement of the noise suppressor
in the order of effects. However, you can change the placement
indirectly by changing the order of other effects placed before
and after the noise suppressor.
* Use [PEDAL ASSIGN] to assign Foot Volume.
4. If you want to change the sequence further, repeat

Steps 2 and 3.
5. If you want to save the sequence you’ve set up, use the
Write procedure (p. 23) to save it to a User patch.
22
Chapter 3 Saving the Tones You Have Created
Write Copying Patches

When you want to save a tone created, or a tone for which You can copy a Preset or User patch to another User patch.
changes have been made, use the Write procedure to save the fig.03-03
tone to a User patch. 3

* The newly created tone will be discarded if the power is turned
off, or if the tone is switched (“How to Switch Patches’; p. 14)
before you’ve carried out the Write procedure.
fig.03-01
Chapter 3
2,4
1,3 1. Select the copy-source patch (refer to “How to Switch

Patches”; p. 14).
2. Press [WRITE].
The content of the display changes, and the GT-6B is
ready for a User patch to be specified as the copy
1. Press [WRITE]. destination.
The content of the display changes, and the GT-6B is fig.03-04
ready for a patch to be specified as the save destination. Destination Patch

fig.03-02
Destination Patch
3. Rotate the VALUE dial to select the copy-destination

patch.
2. Rotate the VALUE dial to select the save-destination
* To cancel the copy, press [EXIT]. The Play screen returns to
patch.
the display.
* Only User patches can be selected as the save destination.
4. Press [WRITE] once more.
* This step is unnecessary if the current patch may be used.
The GT-6B copies a tone to the copy-destination patch,
* To cancel the Write procedure, press [EXIT]. The Play screen and you’re returned to the Play screen.
returns to the display.
* The sound of the patch previously stored at the copy
3. Press [WRITE] once more. destination is permanently deleted once the write is executed.
The tone is saved to the save-destination patch, and the
Play screen returns to the display.
* The sound of the patch previously stored at the save-
destination is permanently deleted once the write is executed.
23
Chapter 3 Saving the Tones You Have Created
Exchanging Patches
On the GT-6B, you can exchange the positions of two User
patches.
fig.03-05
3
2,5
1. Select the exchange-source patch (refer to “How to

Switch Patches”; p. 14).
2. Press [WRITE].
3. Press PARAMETER [ ].
The content of the display changes, and the GT-6B is
ready for a User patch to be specified as the exchange
destination.
fig.03-06
Destination Patch
4. Rotate the VALUE dial to select the exchange-

destination User patch.
* To cancel the exchange, press [EXIT]. The Play screen returns
to the display.
5. Press [WRITE] once more.

The tone stored in the exchange-source patch and the
tone stored in the exchange-destination patch are
exchanged, and you’re returned to the Play screen.
24
Chapter 4 The Effects Explained
This chapter describes the particular qualities of each of the Rack 160D Models the dbx 160x.
GT-6B’s internal effects, as well as the parameters used to
Vtg Rack U Models the UREI 1178.
control them.
Attack
The sound that is input to each effect is called the “direct (with BOSS Comp, D-Comp)
sound ,” and the sound modified by the effect is called Adjusts the strength of the picking attack when the strings
the “effect sound .” are played. Higher values result in a sharper attack, creating
a more clearly defined sound.
(with Vtg Rack U)
All product names mentioned in this document are
This adjusts the amount of time that is to pass between the
trademarks or registered trademarks of their respective
point at which the input level exceeds the set threshold level
owners.
and compression begins, and the time at which the
The names used for the sounds mentioned in this
compression ratio set with the Ratio setting is achieved.
document are intended to be descriptive in nature, used
Compression is applied more rapidly as the value is
solely to identify the equipment whose sound is
increased.
Chapter 4
simulated using COSM technology.
Sustain
(with BOSS Comp, D-Comp)
Boosts low-level signals, adjusting the time over which
COMP/LIMITER sounds are sustained. Higher values deepen the effect,
resulting in a longer sustain.
(Compressor/Limiter)
Threshold
The compressor is an effect that compresses (or attenuates)
(with Rack 160D, Vtg Rack U)
loud input levels and expands (boosts) low input levels, thus
Adjust this as appropriate for the input signal from your
evening out the volume to create sustain without distortion.
bass. When the input signal level exceeds this threshold
It also has the effect of evening out the sound.
level, limiting will be applied. The limiter goes onto effect at
The limiter is an effect that prevents distortion by
lower levels as the value is reduced with Rack 160D.
suppressing input signals that exceed a set value (threshold).
This controls the input level with Vtg Rack U. Increasing the
You can get the same effect achieved with the compressor by
value deepens the effect.
setting the threshold at a low value.
(“Thres (input)” appears in the display.)
The GT-6B’s COSM technology provides you with four types
of modeled compressor/limiter perfectly suited for the bass.
Ratio
Parameter Value (with Rack 160D, Vtg Rack U)
Adjusts the limiter compression ratio. Higher values create a
On/Off Off, On
stronger compression effect.
Type BOSS Comp, D-Comp, Rack 160D,
Vtg Rack U
Attack 0–100
Release
(with Vtg Rack U)
Sustain 0–100
Threshold 0–100 This adjusts the time from when the signal level drops below
Ratio 1:1– ∞:1 (Rack 160D) the threshold until when the compression is removed. The
4:1– 20:1 (Vtg Rack U) higher the values set, the more rapidly the compression is
Release 0–100 released, and the more clearly the sound from the next string
Tone -50–+50 played is heard.
Level 0–100
Tone
On/Off (with BOSS Comp)
Sets the compressor/limiter effect to ON or OFF. Adjusts the tone. The higher the value set, the more the high
frequencies are boosted, resulting in a harder sound.
Type
Selects the compressor/limiter type. Level
Adjusts the volume.
BOSS Comp Models the BOSS CS-3
D-Comp Models the MXR dyna comp.
25
OD/DIST (Overdrive/Distortion) Custom 2 Type 2 for custom settings.
This effect distorts the sound to create long sustain. The GT-
6B provides nine types of distortion with two different ● When CUSTOM is Selected for TYPE
custom settings. When the TYPE is set to CUSTOM, you can set the following
parameters.
■ OD: Overdrive “Making ‘Custom’ Overdrive/Distortion Settings” (p. 52)

This provides the warm, natural type of distortion that
occurs naturally when you turn up the volume on a tube Parameter Value
amp. This effect is often used as an amp pre-booster. Type (1–2) OD-2, BD-2, ODB-3, DS-1, MT-2, FUZZ
Bottom (1–2) -50–+50
Top (1–2) -50–+50
■ DST: Distortion Low (1–2) -50–+50
High (1–2) -50–+50
This effect features a deep, powerful distortion that is
difficult to achieve with amp distortion alone.
Drive
Adjusts the amount of distortion. The distortion gets more
intense as the value is increased.
■ FUZ: Fuzz
This effect gives an even more powerful and intense Bass
distortion than you get with regular distortion. Adjusts the tone of the lower range. The bass is given more
emphasis as the value is increased.
Parameter Value
On/Off Off, On Treble
Type Blues OD, Turbo OD, Bass OD, Adjusts the tone of the upper range. The treble is given more
Distortion, GUV DS, Metal Zone, emphasis as the value is increased.
’60s FUZZ, Oct FUZZ, MUFF FUZZ,
Custom 1, Custom 2 Effect Level
Drive 0–100 Adjusts the volume of the distorted sound.
Bass -50–+50
Treble -50–+50 Direct Level
Effect Level 0–100 Adjusts the level of the Bass direct sound.
Direct Level 0–100
On/Off (Effect On/Off)

Sets the overdrive/distortion effect to ON or OFF.
Type
Selects the type of distortion.
Blues OD Models the sound of the BOSS BD-2.

Turbo OD Models the sound of the BOSS OD-2.
Bass OD Models the sound of the BOSS ODB-3.
Distortion Standard distortion sound.
GUV DS Models the sound of the Marshall
GUV’NOR.
Metal Zone Models the sound of the BOSS MT-2.
‘60s FUZZ Models the sound of the FUZZFACE.
Oct FUZZ Models the sound of the ACETONE
FUZZ.
MUFF FUZZ Models the sound of the Electro-Har-
monix Big Muff π.
Custom 1 Type 1 for custom settings.
26
CHORUS Pre Delay

Adjusts the time needed for the effect sound to be output
This is an effect that adds a slightly detuned sound to the after the direct sound has been output. Setting a longer pre-
original bass sound, resulting in a beautiful sound with delay time results in a doubling effect.
greater depth and breadth. Developed by BOSS, this is one
effect that is popular the world over. Low Cut
* When the Bypass EXP Mode (p. 55) and Noise Suppressor (p. 44) The low-cut cuts the frequencies in the chorus sound that are
is set to “Off” and only CHORUS or REV/DLY is used, the direct below a specified frequency. When the low end of the chorus
sound is output as analog output. sound is cut so that the chorus is applied only to the higher
frequencies, the chorus sound appears only in the harmonics,
Parameter Value without any modulation of the fundamental frequencies,
On/Off Off, On creating a great sound effect for the bass. This setting adjusts
Mode Mono, Stereo the frequency at which the low-cut begins to take effect.
When “Flat” is selected, the low-cut has no effect.
Rate 0–100, BPM –BPM
Depth 0–100
Effect Level
Chapter 4
Pre Delay 0.0 msec–40.0 msec
Low Cut Flat, 55.0 Hz –800 Hz This adjusts the volume level of the chorus sound that is
Effect Level 0–100 mixed with the direct sound. The effect deepens as the value
is increased.
Sets the chorus effect to ON or OFF.
Mode REV/DLY (Reverb/Delay)/

Selects the chorus mode. SOS (Sound On Sound)
Mono: You can select and use the reverb/delay or Sound On Sound
Chorus with the same sound output from both the left and with Fx Select.
right channels.
Stereo: 44) is set to “Off” and only CHORUS or REV/DLY is used,
This is a stereo chorus effect that adds different chorus the direct sound is output as analog output.
sounds to the left and right channels.
Parameter Value
Rate On/Off Off, On
Adjusts the rate of the chorus effect. Fx Select REV, DLY, R&D, SOS
* When set to BPM, the value of each parameter is set according
to the value of the Master BPM (p. 44) specified for each patch. On/Off (Effect On/Off)
This makes it easy to achieve effect sound settings that match Sets the reverb/delay effect to ON or OFF.
the tempo of the song (synchronizing the cycle to one-half or * This setting is not available when SoundOnSound is selected.
one-fourth of the BPM when the set cycle rate is increased).
When setting to the BPM, press PARAMETER [ ] to Fx Select (Effects Select)
display the Master BPM settings screen.
REV (Reverb):
This effect adds reverberation to the sound.
Depth
Adjusts the depth of the chorus effect. To use it for doubling, DLY (Delay):
set the value to “0.” This effect creates and outputs a delayed sound from the
direct sound.
Doubling R&D (Reverb&Delay):

With doubling, a slightly delayed sound (short delay You can also use reverb and delay simultaneously.
sound) is added to the original sound, creating an effect
SOS (SoundOnSound)
that sounds like two people playing simultaneously
With this effect, a sound is played and recorded, and then
(multiple sounds played), for an effect with greater depth.
while playback of that sound repeats (loops), following
sounds are layered onto the sound one after another.
27
* When SOS is selected, Pedal 4 and the BYPASS/CTL pedal High Cut
function as SOS controls. For more detailed information, refer to The high-cut filter cuts the frequencies above the specified
“Using Sound On Sound” (p. 54). frequency. This setting adjusts the frequency at which the
high-cut filter begins to take effect. When “Flat” is selected,
the high-cut filter has no effect.
■ REV: Reverb
Density
Parameter Value Adjusts the density of the reverb sound.
Type Room1, Room2, Hall1, Hall2, Plate
Reverb Time 0.1 s–10.0 s (0.1 s step) Effect Level
Pre Delay 0 ms–10 0ms (1 ms step) Adjusts the volume of the reverb sound.
Low Cut Flat, 55.0 Hz, 110 Hz, 165 Hz, 200 Hz,
280 Hz, 340 Hz, 400 Hz, 500 Hz,
630 Hz, 800 Hz ■ DLY: Delay
Hi Cut 700 Hz, 1.00 kHz, 1.40 kHz, 2.00 kHz,
3.00 kHz, 4.00 kHz, 6.00 kHz, 8.00 kHz, Parameter Value
11.0 kHz, Flat
Type Single, Pan
Density 0–10
Effect Level 0–100 Delay Time 0 ms–1400 ms, BPM –BPM
(20 ms step)
Type Delay Time Fine 0 ms–20 ms (1 ms step)
This selects the reverb type. You can change the settings to TapTime 0 % –100 %
obtain simulations of various different spaces. FeedBack 0–100
Hi 700 Hz, 1.00 kHz, 1.40 kHz, 2.00 kHz,
Room 1: 3.00 kHz, 4.00 kHz, 6.00 kHz, 8.00 kHz,
Simulates the reverberation in a small room. Provides the 11.0 kHz, Flat
bright reverberation of a live room. Effect Level 0–120
Room 2:
Simulates the reverberation in a small room. Provides warm
Type
Select from the following two types.
reverberations.
Single:
Hall 1:
This is a conventional delay
This simulates the reverberation of a concert hall. Provides
clear reverberation that spreads out through the sound space. Pan:
This is a delay effect for use only with stereo output. Delay
Hall 2:
times are assigned individually to the left and right channels,
This simulates the reverberation of a concert hall. Provides a
providing a tap delay effect.
mild, understated reverberation sound. fig.04-01
Plate: Feedback
Simulates plate reverberation (a reverb unit that uses the

Effect Level
vibration of a metallic plate). Provides a metallic sound with INPUT DELAY
Delay Time
OUTPUT L
an extended upper range. Effect Level
Tap Time
OUTPUT R
Reverb Time
Adjusts the length (time) of reverberation.
Delay Time
This determines the delay time. You can make settings in 20-
Pre Delay
millisecond units.
Adjusts the time until the reverb sound appears.
Low Cut to the value of the Master BPM (p. 44) specified for each patch.
The low-cut filter cuts the frequencies below the specified This makes it easy to achieve effect sound settings that match
frequency. This setting adjusts the frequency at which the the tempo of the song (synchronizing the cycle to one-half or
low-cut filter begins to take effect. one-fourth of the BPM when the set cycle rate is increased).
When setting to the BPM, press PARAMETER [ ] to
28
Delay Time Fine Tempo

Makes fine adjustments (in units of 1 ms) to the delay time. This sets the tempo that determines the length of the loop.
The CTL pedal indicator flashes at the rate set here.
Tap Time When this is set to “BPM,” you can set the tempo with the
(Used Only with Pan) Number 4 pedal (tap input).
Adjusts the delay time of the right channel delay. This setting
adjusts the right channel delay time relative to the left Playback Level
channel delay time, which is referenced as 100%. Sets the volume level of the loop as it is played back.
Feedback
“Feedback” refers to the return of a delay signal back to the
input. This parameter adjusts the amount of signal returned. PREAMP/SPEAKER
Higher values increase the number of the delay repeats.
COSM technology is used to simulate the distinguishing bass
amp characteristics in the “Preamp” section, and is used to
High Cut simulate various speaker sizes and cabinet constructions in
The high-cut cuts the frequency component above the set
Chapter 4
“Speaker Simulator.”
frequency. This parameter adjusts the frequency where the
high-cut starts working. When set to “Flat,” the high-cut does
not affect the sound.
■ Preamp
Delay Level
Parameter Value
Adjusts the volume of the delay sound.
On/Off Off, On
Type FLIP TOP, B MAN, BASS 360, T.E.,
SESSION, CONCERT 810
■ R&D: Reverb & Delay Bright Off, On
You can use REV. (p. 28) and DLY (p. 28) simultaneously. Deep Off, On
Response BASS, FLAT
Enhancer 0–100
■ SOS: Sound On Sound Pre Shape Off, 1, 2
Gain 0–100
For more detailed instructions on using Sound On Sound,
Treble -50– +50 (or 0–100)
refer to p. 54.
Ultra Hi Off, On
Middle -50– +50
Parameter Value
Mid Frequency 220 Hz, 800 Hz, 3.0 kHz
SOSMode HiQuality, LongTime Bass -50– +50 (or 0–100)
Quantize Off, On Ultra Lo -, 0, +
Tempo 60–160, BPM Level 0–100
Playback Level 0–100
SOSMode (Sound On Sound Mode) Sets the preamp effect to ON or OFF.
Selects the recording mode.
HiQuality: Type
This mode gives priority to higher sound quality. You can Selects the type of preamp.
record approximately 3 seconds of sound.
FLIP TOP Models the Ampeg B-15.
LongTime: B MAN Models the Fender Bassman 100.
This mode gives priority to longer recording time. You can
BASS 360 Models the acoustic 360.
record approximately 6 seconds of sound.
T.E. Models the Trace Elliot AH600SMX.
Quantize SESSION Models the SWR SM-400.
When Quantize is set to ON, the length of the loop is CONCERT 810 Models the Ampeg SVT.
adjusted automatically according to the tempo set in
“Tempo” (next item), even if the position at which recording Gain
was stopped is somewhat off. Adjusts the amount of amp distortion.
29
Treble ● When Type is Set to CONCERT 810

Adjusts the tone of the upper range. Bright Off, On
Turns the bright setting on/off. Turn this on to make the
Middle sound brighter.
Adjusts the tone of the midrange.
* While some amps do not feature a middle control, this control Ultra Hi Off, On
still functions even when simulating such amps. If you want This controls the ultra high-frequency range lying beyond treble.
to recreate the sound as output by the original amp, set Middle
to “0.” Ultra Lo –, 0, +
This controls the character of the lower range.
Middle Freq (Middle Frequency)
This control adjusts the center frequency of the frequency
range adjusted with the Middle control. ■ Speaker
* You cannot set this parameter when TYPE is set to “BASS
360” (it is not displayed). Parameter Value
On/Off Off, On
Bass Type 1x15”, 1x18”, 2x15”, 4x10”, 8x10,
Adjusts the tone of the lower range. ORIGINAL
Mic Setting Center, 1 cm–10 cm
Level Mic Level 0–100
Adjusts the volume level for the overall preamp. Direct Level 0–100
In addition to these general controls, also included are the
following controls particular to each amp. On/Off (Effect On/Off)
Sets the speaker effect to ON or OFF.
● When Type is Set to FLIP TOP * The PREAMP turns on automatically when the SPEAKER is
Bright Off, On turned on. Additionally, turning off the SPEAKER
Turns the bright setting on/off. Turn this on to make the automatically turns off the PREAMP.
sound brighter.
TYPE
Response BASS, FLAT This selects the speaker type.
This controls the overall amp characteristics. Select the
1x15” Models the Trace Elliot 1518.
position corresponding to the characteristics for one of the
two types of sound. 1x18” Models the SWR Big Ben.
2x15” Models the Acoustic 402.
● When Type is Set to B MAN 4x10” Models the SWR Goliath.
Deep Off, On 8x10” Models the Ampeg 810E.
This switch changes the character of the lower range.
ORIGINAL Built-in speaker for the amp selected in
“Type.” (*)
● When Type is Set to BASS 360 (*) The following speaker connections are assumed: 810E (8 x
Bright Off, On 10”) for the “CONCERT 810”; Goliath (4 x 10”) + Big Ben (1 x
Turns the bright setting on/off. Turn this on to make the 18”) for the “SESSION”; and 1048 (4 x 10”) + 1518 (1 x 15”)
sound brighter. for the “T.E.”
● When Type is Set to T.E. Mic Set. (Mic Setting)

Pre Shape Off,1, 2 This simulates the microphone position. “Center” simulates
This is a shape switch that adds a particular nuance to the the conditions when the microphone is pointed at the middle
midrange. of the speaker cone. “1–10 cm” indicates the distance
separating the microphone from the center of the speaker
● When Type is Set to SESSION cone.
Enhancer 0–100
This controls the clarity and presence of the sound.
Mic Level
Adjusts the volume of the microphone
30
Direct Level Level

Adjusts the volume of the direct sound. Adjusts the overall volume level of the 3-band equalizer. The
volume level is boosted more as the knob is turned further to
the right of center; turning the knob to the left of the center
position cuts those frequencies.
3 BAND PARAMETRIC EQ
This is a 3-band parametric equalizer allowing EQ for the
lower range, midrange, and upper range. WAH
* Each press of [SELECT] takes you to the next available
selection for the band, in this order: Lo → Mid → High → Lo. The wah effect creates a unique tone by changing the
frequency response of a filter.
Parameter Value With WAH, you can select the type to be used from the
following.
On/Off Off, On
• Pedal Wah
Low Q 0.5–16
Low Frequency 31 Hz–500 Hz • Touch Wah
Chapter 4
Low Gain -20 dB–+20 dB • Auto Wah
Mid Q 0.5–16
Mid Frequency 164 Hz–2.6 kHz Parameter Value
Mid Gain -20 dB–+20 dB On/Off Off, On
High Q 0.5–16 FX Select Pedal Wah, Touch Wah, Auto Wah
High Frequency 1.0 kHz–16 kHz
High Gain -20 dB–+20 dB On/Off (Effect On/Off)
Total Gain -20 dB–+20 dB Switches the Wah effect on and off.
On/Off (Effect On/Off) FX Select (Effect Select)

Switches the 3-band parametric EQ effect on and off. Selects the wah effect function.
* The following parameters affect the Lo, Mid, and High EQ
together.
■ WH: Pedal Wah
Q The Expression pedal is used for real-time control of the wah
This adjusts the equalizer bandwidth (the range of effect.
frequencies to which the equalizer is applied). The The GT-6B’s expression pedal automatically switches to the
bandwidth is narrowed as the value is increased, resulting in wah pedal function when “WAH” is selected in FX Select.
a more precise (“notched”) equalization. Use higher Q
settings to affect specific frequencies and give the tone Parameter Value
particular qualities. Conversely, the bandwidth becomes
Type CRY WAH, VO WAH, Bass WAH,
broader as the value is lowered. Use lower Q settings when
Custom1, Custom2, Custom3
you want to adjust the overall low end or high end and
Pedal Position 0–100
change the overall tone. Level 0–100
Freq (Frequency) Type

Adjusts the EQ’s center frequency (for the range affected). Selects the type of wah effect.
The frequency increases (upper range) as the value is raised.
CRY WAH Models the ’70s sound of the CRY BABY
Gain pedal.
Adjusts the volume level for the equalizer adjusted with the VO WAH Models the sound of the VOX V846.
Q and FREQ settings above. The volume level for the
Bass WAH A broader wah that features a variable
frequency range is boosted more as the value is increased. range, making it suitable for the bass range.
Conversely, the volume level for the frequency range is cut
Custom 1–3 Custom wah sounds that are created by
more as the value is lowered. editing the parameters.
31
● When Type is Set to Custom 1–3 Down:

You can make settings for the following parameters when The filter falls from higher to lower frequencies in response
TYPE is set to Custom 1–3. to the input level.
Sens
Making “Custom” Pedal Wah Settings (p. 53) This adjusts the sensitivity at which the filter changes
according to the polarity setting. Higher values result in a
Parameter Value
stronger response, such that the filter responds with great
Type (1–3) CRY WAH, VO WAH, Bass WAH sensitivity even when the strings are played lightly.
Q (1–3) -50–+50
Range Low (1–3) -50–+50 Freq (Frequency)
Range High (1–3) -50–+50 This adjusts the reference frequency for the Wah effect.
Presence (1–3) -50–+50
Peak
Pdl Position (Pedal Position) This adds a particular character to the sound. Higher values
This adjusts the position of the wah pedal. produce a stronger tone which emphasizes the wah effect more.
* This parameter is actually controlled with the expression pedal.
Depth
Level This adjusts the depth of the effect.
Adjusts the volume.
Level
Adjusts the volume.
■ TW: Touch Wah
The filter behaves differently, depending on the volume level
of the instrument being input. This provides a unique effect ■ AW: Auto Wah
whereby the filter changes according to how you play. This allows you to have the filter change cyclically or in
response to the instrument’s volume, as with Touch Wah.
Parameter Value
Mode LPF, BPF, HPF Parameter Value
Polarity Up, Down Mode LPF, BPF,
Sens 0–100 Rate 0–100, BPM –BPM
Frequency 0–100 Depth 0–100
Depth 0–100 Frequency 0–100
Peak 0–100 Peak 0–100
Level 0–100 Polarity Down, Up
Sensitivity 0–100
Mode Level 0–100
Selects the wah mode.
LPF (Low Pass Filter): Mode

This creates a wah effect over a wide frequency range, Selects the wah mode.
including the low end. LPF (Low Pass Filter):
BPF (Band Pass Filter): This creates a wah effect over a wide frequency range,
This creates a wah effect in a narrow range of midrange frequencies. including the low end.
HPF (High Pass Filter): BPF (Band Pass Filter):

This creates a wah effect over a wide range of frequencies in This creates a wah effect in a narrow range of midrange
the upper range. frequencies.
HPF (High Pass Filter):

Polarity This creates a wah effect over a wide range of frequencies in
This selects the direction in which the filter changes in the upper range.
response to the input.
Up:
The filter rises from lower to higher frequencies in response
to the input level.
32
Rate FX-1
This selects the auto wah cycle.
With FX-1, you can select the effect to be used from the
following.
to the value of the Master BPM (p. 44) specified for each patch.
• OCTAVE
This makes it easy to achieve effect sound settings that match
• ENHANCER
the tempo of the song (synchronizing the cycle to one-half or
• SLOW GEAR
• DEFRETTER
• RING MOD (Ring Modulator)
Parameter Value
Depth
Adjusts the depth of the auto wah effect. On/Off Off, On
FX Select Octave, Enhancer, Slow Gear,
Freq (Frequency) Defretter, Ring Mod
This adjusts the reference frequency for the Wah effect.
Chapter 4
Peak Switches the FX-1 effect on and off.
This adds a particular character to the sound. Higher values
produce a stronger tone which emphasizes the wah effect
FX Select (Effect Select)
Selects the effect to be used.
more.
Polarity
This selects the direction in which the filter changes in ■ OCT: Octave
response to the input. This adds a sound one octave below the original sound,
Up: resulting in a fatter sound.
The filter rises from lower to higher frequencies in response * Use this effect only when playing one note at a time. The
to the input level. octave sound does not sound good with chords.
Down: * The unit may not operate correctly if the order in which the
The filter falls from higher to lower frequencies in response effects are connected is changed so that this is connected after
to the input level. FX-2, causing the sound to become muddy and indistinct.
Sens Parameter Value

This adjusts the sensitivity at which the filter changes Effect Level 0–100
according to the polarity setting. Higher values result in a Direct Level 0–100
stronger response, such that the filter responds with great
sensitivity even when the strings are played lightly. Effect Level
This adjusts the volume of the sound played one octave
* When the filter is set to be altered cyclically, set this to “0.”
below the original sound.
Level
Adjusts the volume.
Direct Level
This adjusts the volume of the original sound.
■ ENH: Enhancer
This is an effect that clarifies the contour of the input sound
by emphasizing the attack of the sound following changes in
the input level.
Parameter Value
Sensitivity 0–100
Frequency 800 Hz–4.00 kHz
Mix Level 0–100
33
Sens Depth
This adjusts the Enhancer sensitivity. The more the value is This controls the ratio of harmonics. Raising the value
increased, the more softly you can play and still have the increases the harmonic components, resulting in a unique
effect applied. and different tone.
Freq (Frequency) Level

Sets the frequency range for the enhanced sound. Adjusts the volume.
Mix Level
Adjusts the amount of enhanced sound added to the mix. ■ R.M: Ring Modulator
This effect combines the bass sound with the sound from the
internal oscillator, creating a sound with a pitchless, metallic,
■ SG: Slow Gear bell-like character.
This produces a volume-swell effect (similar to how a violin
is played). Parameter Value
Mode Normal, Intelligent
Parameter Value Frequency 0–100
Sens 0–100 Effect Level 0–100
Rise Time 0–100 Direct Level 0–100
Sens Mode
This adjusts the sensitivity of the slow gear. When the Selects the ring modulator mode.
sensitivity is set to a lower value, the effect of the slow gear
Normal:
can be obtained only with somewhat stronger picking, while This is a regular ring modulator effect.
no effect is obtained with weaker picking. When the
sensitivity is raised, the effect is obtained even with weak Intelligent:
picking. The oscillator frequency changes according to the pitch of the
input sound, yielding a sound with more distinct changes in
Rise Time pitch, something that differs from the effect you get with the
This adjusts the time needed for the volume to reach its “Normal” setting. This effect won’t sound right unless the
maximum from the moment you begin picking. pitch of the bass is detected correctly. So it’s best to use this
effect only when playing notes one at a time.
Freq (Frequency)
■ DEF: Defretter Adjusts the frequency of the internal oscillator.
This effect allows you to use a conventional bass to simulate
a fretless bass. Effect Level
Adjusts the volume of the processed sound.
Parameter Value
Sens 0–100 Direct Level
Attack 0–100 Adjusts the volume of the direct sound.
Depth 0–100
Level 0–100
Sens
This controls the sensitivity to the input sound. Adjust this
setting while playing your bass until you obtain the most
natural-sounding tone changes.
Attack
Adjusts the tone of the attack portion of the sound. The tone
changes more slowly as the value is increased.
34
FX-2 12Stage:
This is a twelve-stage phaser. This produces a phase effect
With FX-2, you can select the effect to be used from the with greater depth.
following.
Bi-Phase:
• PHASER
This is a phaser effect in which two phase shift circuits are
• FLANGER
connected in series.
• HARMONIST
• PITCH SHIFTER Rate
• PEDAL BEND This sets the rate of the phaser effect.
• 2x2 CHORUS
• AUTO SLAP
• SHORT DELAY
• VIBRATO
• HUMANIZER
• TREMOLO/PAN
Chapter 4
• BASS SYNTH
Parameter Value
Depth
On/Off Off, On Determines the depth of the phaser effect. The swirling effect
FX Select Phaser, Flanger, Harmonist, spreads out more as the value is increased.
PitchShifter, PedalBend, 2x2Chorus,
AutoSlap, ShortDelay, Vibrato, Manual
Humanizer, Tremolo/Pan, BassSynth
Adjusts the center frequency for the phaser effect. The
swirling effect occurs in a higher range of frequencies as the
value is increased.
Switches the FX-2 effect on and off.
Resonance
FX Select (Effect Select)
Adjusts the resonance (the amount of feedback). Increasing
Selects the effect to be used.
the value emphasizes the effect, creating a more unusual
sound.
■ PH: Phaser Step

This effect adds a rotating, swirling character to the sound. This turns the step function on and off. When the step
Although it resembles the flanger effect, the sense of swirling function is turned on, changes in the sound occur in steps.
from the phaser is mellower and more natural.
Step Rate
Parameter Value This adjusts the rate at which the step effect occurs. Raising
Type 4stage, 8stage, 12stage, Bi-Phase the value increases the resolution (steps are shorter).
Rate 0–100, BPM –BPM * When set to BPM, the value of each parameter is set according
Depth 0–100 to the value of the Master BPM (p. 44) specified for each patch.
Manual 0–100 This makes it easy to achieve effect sound settings that match
Resonance 0–100 the tempo of the song (synchronizing the cycle to one-half or
Step Off, On one-fourth of the BPM when the set cycle rate is increased).
Step Rate 0–100, BPM –BPM When setting to the BPM, press PARAMETER [ ] to
Level 0–100 display the Master BPM settings screen.
Type Level
Selects the arrangement (number of stages) for the phaser Adjusts the volume.
effect.
4Stage:
This is a four-stage phaser. This provides a light phaser.
8Stage:
This is an eight-stage phaser. It is a popular phaser effect.
35
■ FL: Flanger ■ HRM: Harmonist

This produces a flanging effect that gives a sort of “twisting” This effect adjusts the shift in pitch according to an analysis
character to the sound. Although it resembles the phaser of the pitch of the bass input, allowing you to create
effect, the flanger yields a colder, more metallic twisting harmonics based on Diatonic or user definable scales.
effect. * Because of the need to analyze the pitch, chords (two or more
sounds played simultaneously) cannot be played.
Parameter Value
Parameter Value
Depth 0–100 Voice 1-Voice, 2-Mono, 2-Stereo
Manual 0–100 Harmony -2oct–+2oct, Scale 1–Scale29
Resonance 0–100 Pre Delay 0 ms–300 ms, BPM –BPM
Separation 0–100 Feedback 0–100
Level 0–100 Level 0–100
Key C(Am)–B(G#m)
Rate Direct Level 0–100
This sets the rate of the flanging effect.
* When set to BPM, the value of each parameter is set according Voice
to the value of the Master BPM (p. 44) specified for each patch. This selects the number of voices for the pitch shift sound
This makes it easy to achieve effect sound settings that match (harmony).
the tempo of the song (synchronizing the cycle to one-half or 1-Voice:
one-fourth of the BPM when the set cycle rate is increased). One-voice pitch-shifted sound output in mono.
2-Mono:
Two-voice pitch-shifted sound (HR1, HR2) output in mono.
Depth 2-Stereo:
Adjusts the modulation depth. The twisting effect spreads Two-voice pitch-shifted sound (HR1, HR2) output through
out more as the value is increased. the left and right channels.
Manual Harm (Harmony)

Adjusts the center frequency for the flanger effect. The This determines the pitch of the sound added to the input
twisting effect occurs in a higher range of frequencies as the sound, when you are making a harmony. You can have this
value is increased. sound play up to 2 octaves higher or lower than the input
sound.
Resonance When the scale is set to “Scale 1–Scale29,” harmonies
Adjusts the resonance (the amount of feedback). Increasing the corresponding to the user-set scale are produced.
value emphasizes the effect, creating a more unusual sound. The following shows the parameters that can be set for User
scales.
Separation User 1–29
Adjusts the amount of separation. Raising the value increases DIR C–B
the separation between the left and right sides. EFF C–B (+/- 2 octave)
Level
“Creating Harmonist Scales (User Scale)” (p. 37)
Adjusts the volume.
PreDly (Pre Delay)

Adjusts the time from when the direct sound is played until
the harmonist sounds are produced. Normally, you can leave
this set at “0 ms.”
36
Feedback 5. Press PARAMETER [ ][ ] to move the cursor,

This adjusts the feedback amount of the harmonist sound. then rotate the PATCH/VALUE dial to set the User scale.
* Only HR1 can be selected when this is set to 2-Mono or 2-
Stereo. Scale
You can switch the number of the user scale.
Level
This adjusts the volume of the harmonist sound. DIR (Direct)
Sets the note name of the input sound.
Key
This specifies the key of the song you are playing. By EFF (Effect)
specifying the key, you can create harmonies that fit the key Sets the note name of the output sound.
of the song. The key setting corresponds to the key of the The triangle next to the note name indicates the octave.
song (#, b) as follows. One downward-pointing triangle indicates a note one octave
fig.04-02 below the note displayed; two triangles indicate a two-octave
drop.
One upward-pointing triangle indicates a note one octave
Chapter 4
above the note displayed; two triangles indicate a two-octave
rise.
■ P.S: Pitch Shifter

This effect changes the pitch of the original sound (up or
down) within a range of two octaves.
Parameter Value
Voice 1-Voice, 2-Mono, 2-Stereo
Mode Fast, Medium, Slow, Mono
Direct Level
Pitch -24 –+24
Adjusts the volume of the direct sound.
Fine -50–+50
Pre Delay 0 ms–300 ms, BPM –BPM
Creating Harmonist Scales (User Scale)
Feedback 0–100
If the harmony does not sound the way you intend when
Level 0–100
“Harmony” is set to any value from “-2oct to +2oct,” then
use a “User scale.”
You can set any of 29 different “User scales.”
Voice
* User scales represent settings common to all patches, so they This selects the number of voices for the pitch shift sound
are constantly updated (saved) without the Write procedure (the harmony).
being carried out. You can carry out Factory Reset for the
1-Voice:
system to restore the settings to their original factory-set
One-voice pitch-shifted sound output in mono.
values (p. 73).
2-Mono:
1. Press [FX-2], then press PARAMETER [ ][ ] so
Two-voice pitch-shifted sound (PS1, PS2) output in mono.
that “FX Select” is displayed.
2-Stereo:
2. Rotate the PATCH/VALUE dial to select “HRM.” Two-voice pitch-shifted sound (PS1, PS2) each output
3. Press PARAMETER [ ][ ] to select “HR1 through left and right channels.
Harm” (or “HR2 Harm”), then rotate the PATCH/
Mode
VALUE dial to select a setting from “Scale 1–29.”
Selects the pitch shifter mode.
4. Press PARAMETER [ ] a number of times so that Fast, Medium, Slow:
the User scale settings screen is displayed. This is a normal pitch shifter capable of inputting chords.
fig.04-03
The response becomes slower as you switch from Fast to
Medium and then Slow, but the modulation (off-key sounds)
decreases at the same time.
37
Mono: Pitch Min

This mode is for the input of individual notes. This sets the pitch at the point where the expression pedal is
Select this setting when you want to obtain a pedal bend fully lifted.
effect using an external expression pedal.
* Because of the need to analyze the pitch, chords (two or more Pitch Max
sounds played simultaneously) cannot be played. This sets the pitch at the point where the expression pedal is
all the way down.
Pitch
Adjusts the amount of pitch shift (the amount the pitch Pdl Position (Pedal Position)
changes) in semitone steps. This adjusts the pedal position for pedal bend.
Fine Effect Level

Makes fine adjustments to the pitch shift. This adjusts the volume of the pitch bend sound.
* “100” units of change in Fine is equivalent to “1” full change

Direct Level
in pitch.
PreDly (Pre Delay)

Adjusts the time from when the direct sound is played until
the pitch shifted sounds are produced. Normally, you can ■ 2CE: 2x2 Chorus
leave this set at “0 ms.” Two separate stereo chorus units are used for the lower and
* When set to BPM, the value of each parameter is set according upper ranges in order to create a more natural chorus sound.
Parameter Value
the tempo of the song (synchronizing the cycle to one-half or Crossover Frequency 100 Hz–4.00 kHz
one-fourth of the BPM when the set cycle rate is increased). Low Rate 0–100, BPM –BPM
When setting to the BPM, press PARAMETER [ ] to Low Depth 0–100
display the Master BPM settings screen. Low Pre Delay 0.0 msec–40.0 msec
Low Level 0–100
Feedback High Rate 0–100, BPM –BPM
This adjusts the feedback amount of the pitch shift sound. High Depth 0–100
Increasing the Feedback level produces an effect whereby the High Pre Delay 0.0 msec–40.0 msec
sound seems to rise and fall with the reverberations. High Level 0–100
* Only PS1 can be selected when this is set to 2-Mono or 2-Stereo.

Xover f (Crossover frequency)
This parameter sets the frequency at which the direct sound
Level
is divided into low- and high-frequency ranges.
This adjusts the volume of the pitch shift sound.
Lo Rate (Low Rate)

Direct Level
Adjusts the rate of the chorus effect in the lower range.
■ PB: Pedal Bend the tempo of the song (synchronizing the cycle to one-half or
This lets you use the pedal to get a pitch bend effect. The GT- one-fourth of the BPM when the set cycle rate is increased).
6B’s expression pedal automatically switches to the pedal When setting to the BPM, press PARAMETER [ ] to
bend function when PB is selected. display the Master BPM settings screen.
Parameter Value
Lo Depth (Low Depth)
Pitch Min -24–+24 Adjusts the depth of the chorus effect for the lower range. If
Pitch Max -24–+24 you wish to use this as a doubling effect, use a setting of “0.”
Pedal Position 0–100
Effect Level 0–100
38
Lo PreDly (Low Pre Delay) Parameter Value

Adjusts the time from when the direct sound in the lower Step 1–17
range is output until the effect sound is output. Extending Pitch -24 – +24
the pre-delay produces the sensation of multiple sounds Length , , , , , ,
being played (doubling effect). Sound Mute, Stacc, Full
Attack Less, Thumb, Pluck
Lo Level (Low Level)
Adjusts the volume of the lower range.
“Creating Original Phrases (User Phrase)” (p. 39)
Hi Rate (High Rate)
Adjusts the rate of the chorus effect for the upper range. Loop
When set to “OFF,” the phrase plays one time, and then
stops. When set to “On,” the phrase plays continuously.
Tempo
Adjusts the rate for the phrase.
Chapter 4
When setting to the BPM, press PARAMETER [ ] to * When set to BPM, the value of each parameter is set according
display the Master BPM settings screen. to the value of the Master BPM (p. 44) specified for each patch.
Hi Depth (High Depth) the tempo of the song (synchronizing the cycle to one-half or
Adjusts the depth of the chorus effect for the upper range. If one-fourth of the BPM when the set cycle rate is increased).
you wish to use this as a doubling effect, use a setting of “0.” When setting to the BPM, press PARAMETER [ ] to
Hi PreDly (High Pre Delay)
Adjusts the time from when the direct sound in the upper Sens
range is output until the effect sound is output. Extending Adjusts the sensitivity for the triggering. With low settings,
the pre-delay will produce the sensation of multiple sounds softly picked notes will not retrigger the phrase (i.e., the
being played (doubling effect). phrase will continue playing), but strongly picked notes will
retrigger the phrase so that it will play back from the
Hi Level (High Level) beginning. With high settings of this parameter, the phrase
Adjusts the volume of the upper range. will be retriggered even when you play softly.
Effect Level
Adjusts the phrase volume.
■ ASL: Auto Slap
This effect lets you have phrases play automatically, just by Direct Level
playing a single string. Simply slap a string to play a phrase. Adjusts the volume of the direct sound.
* Sounds may become jumbled if large amounts of MIDI data
are received while Auto Slap is in use. Creating Original Phrases (User Phrase)
In addition to the 20 different prepared phrases, you can also
Parameter Value create up to ten of your own original phrases (User phrases).
Phrase Preset1–Preset20, User1–User10 * User phrases represent settings common to all patches, so they
Loop Off, On are constantly updated (saved) without the Write procedure
Tempo 0–100, BPM –BPM being carried out. You can carry out Factory Reset for the
Sensitivity 0–100 system to restore the settings to their original factory-set
Effect Level 0–100 values (p. 73).
1. Press [FX-2], then press PARAMETER [ ][ ] so
Phrase that “FX Select” is displayed.
Selects the phrase played with Auto-Slap.
2. Rotate the PATCH/VALUE dial to select “ASL.”
When User 1–10 is selected, the user-set phrase is played.
The following shows the parameters that can be set for User 3. Press [ ] a number of times to select “Phrase,” then
phrases. rotate the PATCH/VALUE dial to make the desired
choice from User 1–10.
39
4. Press PARAMETER [ ] a number of times until the Attack

User Phrase settings screen is displayed. Specifies that the note is to be played with an attack.
fig.04-04
Less:
The note is played with no attack. Good for hammering and
other such techniques.
Thumb:
5. Press PARAMETER [ ][ ] to move the cursor, The note is played with the sound as if the string is struck
with the thumb.
then rotate the PATCH/VALUE dial to set the User
phrase. Pluck:
fig.04-50 The note is played with the sound as if the string is plucked
with the index finger.
Step
You can express ghost notes by setting “Mute” and
specifying “Thumb” or “Pluck.”
Pitch
Length ■ SDD: Short Delay

This is a delay with the maximum delay time of 700 ms. This
is an effective way to make the sound fatter.
Sound
Parameter Value
Attack
Delay Time 0 ms–700 ms, BPM –BPM
Feedback 0–100
Effect Level 0–120
* When you want to place the currently set step at the very end,
turn the PATCH/VALUE dial clockwise in the settings screen Delay Time
for the step that follows it (it does not matter which parameter Adjusts the delay time.
is selected), until “---” appears in the bottom row of the screen.
STEP
Sets the step number. The number within the phrase is
displayed.
one-fourth of the BPM when the set cycle rate is decreased).
Pitch
Inputs the pitches of the notes. Specify by how many
semitones notes are to be raised or lowered.
Feedback
Feedback refers to returning the delayed signal back into the
Length
input of the delay. This parameter adjusts the volume that is
Inputs the note lengths. Specify the length of notes on the
returned to the input. Higher settings result in more delay
score.
repeats.
Sound
Effect Level
This setting determines the manner in which sounds are
Adjusts the volume of the delay sound.
played.
Mute:
Mutes are specified as note lengths without the sound being
played.
Stacc:
Staccato, whereby the sound is played extremely briefly.
Full:
The note is played for its full specified length.
40
■ VIB: Vibrato Mode

The vibrato effect is created by slightly modulating the pitch. This sets the mode used to switch the vowels.
1 Shot:
Parameter Value The tone changes from Vowel 1 to Vowel 2 one time only as
Rate 0–100, BPM –BPM the strings are played. The time required for the change is
Depth 0–100 adjusted with the Rate setting.
Trigger Off, On Auto:
Rise Time 0–100
The change in tone between the two vowels (Vowel 1 and
Vowel 2) is repeated.
Rate
This adjusts the period of the vibrato. Random:
Five vowels (a, e, i, o, u) are switched randomly.
Vowel 1
(with 1 Shot and Auto)
Chapter 4
Selects the first vowel.
one-fourth of the BPM when the set cycle rate is increased). fig.04-05
Depth
This adjusts the depth of the vibrato. Vowel 1 Vowel 2
Trigger Vowel 2
The vibrato is turned on and off with the foot switch. (with 1 Shot and Auto)
* This parameter is premised on the trigger being turned on Selects the second vowel.
with the foot switch only when producing the vibrato effect.
Use this by assigning it to the CTL pedal or other control (p. Trigger
46). (with Auto and Random)
This selects whether or not the tone changes start
Rise Time simultaneously as the strings are played.
This adjusts the time from the moment the trigger is turned It could be said that when “1 Shot” is selected, the trigger is
on until the set vibrato effect is obtained. always on.
Sens
■ HMN: Humanizer This adjusts the trigger sensitivity. With the sensitivity at a
low setting, the trigger is activated only when greater force is
This effect changes the sound of the bass guitar into sounds
used to play the strings, but not when the strings are played
resembling the human voice. Applying this after distorting
softly.
the sound with OD/DIST or other such effect strengthens the
effect.
Rate
For more on the order in which effects are connected, refer to
This adjusts the cycle over which the two vowels change.
p. 22.
Parameter Value to the value of the Master BPM (p. 44) specified for each patch.
Mode 1 Shot, Auto, Random This makes it easy to achieve effect sound settings that match
Vowel1 a, e, i, o, u Mode= 1 Shot, Auto the tempo of the song (synchronizing the cycle to one-half or
Vowel2 a, e, i, o, u Mode= 1 Shot, Auto one-fourth of the BPM when the set cycle rate is increased).
Trigger On, Off When setting to the BPM, press PARAMETER [ ] to
Sensitivity 0–100 display the Master BPM settings screen.
Depth 0–100 Depth
Manual 0–100 Adjusts the depth of the effect. The transition between
Level 0–100 vowels becomes clearer as the value is increased.
41
Manual ■ SYN: Bass Synth

(with Auto) This effect produces a synth bass sound. Two methods are
Sets the point at which the two vowels will be switched. used, the “Internal Sound Generator method” and the
When set to “50,” an equal length of time is used to switch “Waveform Shaping method.”
Vowel 1 and Vowel 2. When it is set to lower than “50,” the
time for Vowel 1 is shorter. When it is set to higher than “50,” Internal Sound Generator Method
the time for Vowel 1 is longer. The unit detects pitch and attack information in the input
bass sound and causes the internal sound generator to
Level generate sound. Please note the following points.
This sets the volume of the humanizer.
* This function does not work properly with chords. Be sure to
mute all the other strings and play single notes.
■ T/P: TREMOLO/PAN * If you want to play a string before a previous sound has
stopped, completely mute the previous sound first, and then
This provides a tremolo or auto pan effect.
play the next string with a firm, clear attack.
Parameter Value * Sounds may not be generated correctly if the unit is unable to
Mode Tremolo, Pan detect the attack.
Wave Shape 0–100
Waveform Shaping Method
The synth bass sound is created by serial processing of the
Depth 0–100
input bass sound.
Mode Parameter Value
This selects either the tremolo or auto pan.
Wave Square, Saw, Brass, Bow
Tremolo: Octave Shift 0, -1
This is an effect that cyclically changes the volume. PWM Rate 0–100
Pan: PWM Depth 0–100
This effect alternately switches the volume levels set for the Noise Level 0–100
Sens 0–100
left and right sides, making sounds played in stereo appear
Hold Off, On
to fly back and forth between the speakers.
Attack Trigger Off, On
Resonance 0–100
Wave Shape
Cutoff Freq 0–100
This adjusts how changes in volume level are made. When
Depth -100–+100
set to lower values, the change occurs smoothly; the change
Decay 0–100
becomes progressively more sudden as the value is Synth Level 0–100
increased. Direct Level 0–100
Bend Off, On
Rate Pitch Min -24–+24
This adjusts the cycle for the change in volume. Pitch Max -24–+24
* When set to BPM, the value of each parameter is set according Pedal Position 0–100
This makes it easy to achieve effect sound settings that match Wave
the tempo of the song (synchronizing the cycle to one-half or This selects the type of waveform used as the foundation of
one-fourth of the BPM when the set cycle rate is increased). the bass synthesizer.
When setting to the BPM, press PARAMETER [ ] to Square:
display the Master BPM settings screen. A “square wave ( )” is produced by the internal
sound generator.
Depth
Adjusts the depth of the volume change. Saw:
A “saw wave ( )” is produced by the internal sound
generator.
Brass:
Waveform shaping outputs a soft sound with a fast attack
and a sharp edge.
42
Bow: * When using the synth bass with this parameter on, errors may
Waveform shaping outputs a soft sound with no attack. occur if the unit is unable to detect the attack properly.
Completely mute the other strings, and play single notes.
Octave Shift
(with Square and Saw) Resonance
This outputs sound one octave below the original sound. This adjusts the filter resonance (the amount of feedback).
Increasing the value emphasizes the effect, creating a more
PWM Rate (Pulse Width Modulation Rate) unusual sound.
(with Square)
Modulation is applied to the waveform (Square wave only) Cutoff Freq (Cutoff frequency)
to create a broader, fatter sound. Higher values increase the This adjusts the frequency at which the harmonic
rate of the modulation. components are cut off (the cutoff frequency). This parameter
determines the tone at the point that the filter movement
PWM Depth (Pulse Width Modulation Depth) finally stops.
(with Square)
This adjusts the PWM depth. When set to “0,” no PWM effect Depth
Chapter 4
is obtained. This adjusts how much the filter shifts. When a positive
value is set, playing a string causes the filter to go upwards,
Noise Level starting from the conditions determined with the cutoff
This adjusts the noise added to the sound from the sound frequency. Conversely, the movement is downward when
generator. Adding noise gives the synth bass a special type of the value is negative. The change becomes more dramatic as
ambience. the numerical value is increased.
Sens Decay
This adjusts the input sensitivity. (with Square and Saw, or Attack Trig On)
In Internal Sound Generator method, although the response This sets the rate for the filter’s movement. The filter moves
of the internal sound generator improves as the sensitivity more slowly as the value is increased.
value is increased, errors occur more often. Try to set the
value as high as possible without causing errors. Synth Level
In Waveform Shaping method, this lets you adjust the This determines the volume of the synthesizer sound.
sensitivity of the shifting filter in response to the strings as
they are played when the attack trigger is turned off. Raising Direct Level
this value allows the filter to respond with greater sensitivity, Adjusts the volume of the direct sound.
even when the strings are played softly.
Bend
Hold (with Square, Saw)
(with Square and Saw) You can use the expression pedal to control the frequency of
This sustains the sound output by the sound generator. You sounds from the internal sound generator.
can use a control pedal or other such control to hold synth Use this by setting the parameter to “On” and assigning the
bass sounds at the same pitch at which they are played. expression pedal or similar controller to Pdl Position.
* When using the Hold function, be aware of the importance of
the order in which the effects are connected. When the noise
Pitch Min
(with Square, Saw)
suppressor is connected after FX-2, held synth sounds are not
Sets the pitch produced when the expression pedal is
output when the bass input sound is stopped. In such cases, be
released.
sure to place FX-2 ahead of the noise suppressor (p. 22).
Attack Trig (Attack Trigger) Pitch Max

(with Square, Saw)
(with Brass and Bow)
Sets the pitch produced when the expression pedal is fully
This setting determines whether the filter acts according to
depressed.
the envelope of the input sound or mechanically by detecting
the vibration of the strings as they are played. When set to
OFF, the filter operates in response to the volume of the
Pdl Position (pedal position)
(with Square, Saw)
input bass sound, like a touch wah; when set to ON, the filter
Adjusts the Pedal Bend pedal position.
operates more mechanically, as with the Internal Sound
Generator method, by detecting the degree of attack.
43
NS: Noise Suppressor

Master BPM Tap Input
This effect reduces the noise and hum picked up by the bass.
You can use the CTL pedal to set the Master BPM by
Use this when noise that occurs when you are not playing the
means of tap input.
bass becomes noticeable. Since it suppresses the noise by
Depress the CTL pedal two or more times in time with
monitoring the volume level of the actual bass sound being
the performance’s tempo, and the Master BPM is set to
input, it always gives a natural effect.
match the timing you’ve used while depressing the
Parameter Value pedal.
To use the CTL pedal and tap tempo to set the Master
On/Off Off, On
BPM, set Pedal Assign as follows:
Threshold 0–100
Release 0–100 Quick Settings (p. 46)
CTL PEDAL: BPM (TAP)
This parameter turns the noise suppressor on/off. Manual Settings (p. 47)
This setting can be made with the PATCH/VALUE dial. CTL PEDAL: On
CTL PEDAL Target: Master BPM (Tap)
* You cannot switch the noise suppressor on and off by pressing
CTL PEDAL Target Min: Off
[NAME/NS/MASTER].
CTL PEDAL Target Max: On
CTL PEDAL Source Mode: Normal
Threshold
Adjust this parameter as appropriate for the volume of the
noise. If the noise level is high, a higher setting is
appropriate. Use a lower setting when the noise level is low.
* High threshold settings may prevent sounds from being
output when you play with your bass volume turned down. FV: Foot Volume
This is a volume control effect.
Release
This is normally controlled with the expression pedal.
Adjusts the time from when the noise suppressor begins to
function until the noise level reaches “0.” Parameter Value
Level 0–100
MASTER Level
This sets the volume level for the Foot Volume.
Parameter Value
* Note the following points when Bypass EXP Mode (p.55) is
Effect Level 0–120 set to “Off.”
Master BPM 40–250
• Analog bypass sound is output when all effects are
set to “OFF,” and the volume level cannot be
Effect Level
controlled using the Foot Volume.
Adjusts the overall volume of the processed sound.
• When CHORUS or REV/DLY are the only effects
being used, only the analog bypass sound is output
44) is set to “Off” and only CHORUS or REV/DLY is used, the
direct sound is output as analog output. In this case, EFFECT for the direct sound, so only the effect sound's
LEVEL does not change the volume of the direct sound. volume level is controlled with Foot Volume.
Master BPM
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note
beats that occur in one minute.
* When you have an external MIDI device connected, the
Master BPM is synchronized to the external MIDI device’s
tempo, so you cannot set the Master BPM. If you want to be
able to set the Master BPM, set the “MIDI: Sync Clock” (p.
65) to Internal.
44
Chapter 5 Setting the Pedal Functions (Pedal Assign)
Settings for Using the

These settings can be saved separately to individual Expression Pedal
patches.
Normally, “FV” (Foot Volume) is assigned to the

Selecting Each Effect to Be Turned expression pedal, allowing it to be used as a “volume
On and Off with the Number Pedals pedal” to control the volume level.
You can change the effects that are turned on and off with
the number pedals 1–4. * When bypass is in effect, you may be unable to control the
volume level with the expression pedal. In such instances, set
1. Press PARAMETER [ ][ ] in the Play screen to Bypass EXP Mode to “On” (p. 55).
display the following screen.
fig.05-01
Setting the Range of the Volume

Change
You can set the minimum and maximum values determining
the range over which the volume level changes when you
2. Press PARAMETER [ ][ ] to move the cursor,
move the expression pedal.
Chapter 5
and turn the PATCH/VALUE dial to select the effect to
be assigned to the pedal. 1. Press [PEDAL ASSIGN].
The effects that can be assigned to each pedal are shown 2. Press PARAMETER [ ][ ] to display the
below. following screen.
Number 1: COMP/LIMITER or WAH (Setting the minimum value)
Number 2: OD/DIST or FX-1 fig.05-02
Number 3: CHORUS or FX-2

Number 4: This pedal is a dedicated PEV/DLY pedal.
However, when selecting Sound On Sound
with the REV/DLY FX Select (p. 27), the
(Setting the maximum value)
Sound On Sound control function is fig.05-03
automatically assigned to this pedal and the

CTL pedal. Refer to p. 54 for more
information when using this function.
* The name and on/off status of the selected effect appear in the
display in capitals when the effect is on, and in lowercase when 3. Rotate the PATCH/VALUE dial to set the value.
the effect is off. Values: 0–100
* Each of the effect names indicated in the display are the actual 4. To save the settings, perform the Write procedure (p. 23).
effect names as selected with FX Select and other controls. Press [EXIT] to return to the Play screen.
3. To save the settings, perform the Write procedure (p. 23).
When “WAH” (Pedal Wah: p. 20, 31) or FX-2 “PB”

(Pedal Bend: p. 20, 38) is on, the expression pedal
automatically functions as a “pedal wah” or “pedal
bend.”
* When these are off, the expression pedal automatically
functions as a “volume pedal.”
45
If You Don’t Want to Use the Settings for Using the Expression
Expression Pedal as a “Volume Pedal” Pedal Switch/CTL Pedal
Use the procedure below to turn the expression pedal off.
1. Press [PEDAL ASSIGN]. Making Settings Instantly

2. Press PARAMETER [ ][ ] a number of times (Quick Settings)
until you have one of the following screens displayed.
Quick Settings is a function that lets you set the most
fig.05-04
appropriate values for related effect parameters instantly,
just by selecting the preset “pedal settings.” This greatly
reduces the hassle of selecting and setting parameters one by
one.
Pedal Settings for the Expression Pedal Switch

Select the parameter to be controlled when you press down
on the toe of the expression pedal.
3. Press [PEDAL ASSIGN] once more, to set it to “Off.”
• WAH Effect On/Off
4. To save the settings, perform the Write procedure (p. • FX-2 Effect On/Off
23). • OD/DIST Effect On/Off
Press [EXIT] to return to the Play screen. • REV/DLY Effect On/Off
• CHORUS Effect On/Off
• PARAMETRIC EQ Effect On/Off
• FX-1 Effect On/Off
• LEVEL INC Increase the volume level gradually
• PATCH SELECT Switch for Patch Select Mode (p. 60)
• BYPASS Bypass On/Off
Pedal Settings for the CTL Pedal

• OD/DIST Effect On/Off
• REV/DLY Effect On/Off
• CHORUS Effect On/Off
• PARAMETRIC EQ Effect On/Off
• WAH Effect On/Off
• PATCH SELECT Switch for Patch Select Mode (p. 60)
• BPM (TAP) Master BPM Tap Input
• BYPASS Bypass On/Off
1. Press [PEDAL ASSIGN].
2. Press PARAMETER [ ][ ] to display the

following screens.
46
(Expression pedal switch) Editing “Quick Settings”

fig.05-05
Whenever necessary, you can edit parameter values set in the

Quick Settings.
(CTL pedal) 2. Press PARAMETER [ ][ ] to display the

fig.05-06
following screen.
* Screens related to EXP SW (CTL PEDAL) are not displayed
when EXP SW (CTL PEDAL) is set to “Off.”
fig.05-07
Expression Pedal Switch

Target
Holding down [ ] (or [ ]) and pressing [ ]
(or [ ]) causes the GT-6B to jump to the main screen, Target value range: Min
allowing you to reduce the number of times you need to
press the buttons. Target value range: Max
3. Rotate the PATCH/VALUE dial to select the pedal Expression Pedal Switch
setting. Source Mode
Chapter 5
4. Repeat steps 2–3 as necessary. CTL Pedal
Target
5. To save the settings, use the Write procedure (p. 23).
CTL Pedal
Press [EXIT] to return to the Play screen. Target value range: Min
CTL Pedal
Target value range: Max
If You Don’t Want to Use the
Expression Pedal Switch or CTL Pedal CTL Pedal
Source Mode
2. Press PARAMETER [ ][ ] to display the 3. Rotate the PATCH/VALUE dial to change the setting
following screens. value.
(Expression pedal switch) 4. Repeat steps 2–3 as necessary.

fig.05-05
5. To save the settings, use the Write procedure (p. 23).
Target
(CTL pedal) Select the parameters to be controlled.
fig.05-06
Target Variation Range

This sets the range within which the parameter being
controlled can be changed.
The range between the minimum value (Min) and the
3. Press [PEDAL ASSIGN] once more, to set it to “Off.” maximum value (Max) is changed.
Source Mode
This selects the function of the foot switch (p. 50).
47
Controlling Effects with the GT-6B Pedals, 5. To save the settings, use the Write procedure (p. 23).
External Pedals, and External MIDI Devices
Make these settings when controlling effects with the GT- Making the Assign On/Off Setting
6B’s expression pedal, expression pedal switch, or CTL
fig.05-10
pedal, or with external pedals or external MIDI devices
connected to the GT-6B.
You can make up to eight separate settings per patch (using
Assign numbers 1–8) determining what parameters are
controlled by which controllers. This selects the eight Assign ON/OFF settings (ASSIGN 1–8).
fig.05-08
Only set the assigns you will be using to “On.”
3 * Be sure to set any Assign settings not being used to “Off.”
2. Press PARAMETER [ ][ ] to select the Assign

ON/OFF setting screen (ASSIGN 1–8).
2
3. Press [PEDAL ASSIGN] to set the function to ON or
OFF.
The setting is toggled between “On” and “Off” each time
[PEDAL ASSIGN] is pressed.
1

Making Settings Instantly
(Quick Settings)
2. Press PARAMETER [ ][ ] to display the
Using Quick Settings lets you quickly finish making the
following screen.
settings to the parameters described below, without having
* Screens for ASSIGN (1–8) that are set to “Off” are not to set them all individually.
displayed.
As you rotate the PATCH/VALUE dial in the Quick Setting
fig.05-09
screen to select the prepared pedal settings, the most
Assign On/Off
Quick Setting appropriate values for related parameters are selected
instantly.
Target
• PATCH LEVEL
• PREAMP GAIN
Target value range: Min
• OD/DST DRIVE
Target value range: Max • DELAY LEVEL

• CHORUS LEVEL
Sourece • REVERB LEVEL
• MASTER BPM
Source Mode • SUB EXP FV
Controlling Foot Volume with the External Expression
Active Range Low Pedal
• SUB EXP PS
Active Range High Controlling Pitch Shifter with the External Expression
Pedal
3. Rotate the VALUE dial to change the setting value.
4. Repeat Steps 2 and 3 as needed until the settings are

completed.
48
Making the Parameter Settings Target Range (Min, Max)

fig.05-12
This sets the parameters to be controlled with Assign.
Target
fig.05-11
The parameter value selected as the target changes within the

This sets the parameter to be affected.
range defined by the “Min” and “Max,” set this parameter.
You can make adjustments to more parameters than those
When using the CTL pedal, foot switch, or other controller
available in the Quick Settings.
that acts as an on/off switch, the “minimum value” (Min) is
The parameters that you can select as the target are shown
produced when you release your foot from the pedal, while
below.
depressing the pedal produces the “maximum value” (Max).
• Effect On/Off for each effect
• Effect parameters When using the foot switch
fig.05-13
• Patch Level
Amount of Change
• Master BPM in parameter Value
Chapter 5
• Foot Volume maximum value
• Bypass On/Off Target Max
• Switch for Patch Select Mode (p. 60)

• Master BPM Tap Input
• Delay Time Tap Input
(displayed only when using the delay) minimum value
Target Min
• MIDI Start/Stop
MIDI Start and Stop messages are output from the MIDI OUT
Off On
connector, and these control the performance of the sequencer Release Depress
or other external MIDI device. Foot Switch
• MMC Start/Stop When using an expression pedal or other controller that

MMC Start and Stop messages are output from the MIDI OUT changes values over a continuous range, the value of the
connector, and these control the performance of the recorder or
setting changes accordingly within the range set by the
other external MIDI device.
minimum (MIN) and maximum (MAX) values.
• Patch Level INC/DEC (increase/decrease)
* Although you can set this so that the same target is controlled When using the expression pedal
by more than one controller, in such cases make sure not to fig.05-14
have different sources changing the parameter at the same maximum value
time. Changing the parameter simultaneously while using Target Max
different sources may result in noise being generated.
* The GT-6B does not transmit MIDI clock. Therefore, when
selecting MIDI Start/Stop as the target, be sure the connected
receiving device is capable of being set to receive MIDI Start/ minimum value
Stop messages, as well as performing according to its own Target Min
clock. When the pedal When the pedal
is fully raised is fully advanced
Expression Pedal
Additionally, when the target is of an on/off type, the

median value of the received data is used as the dividing line
in determining whether to switch it on or off.
49
When controlling an On/Off target with the * The CTL pedal indicator lights according to the settings made
expression pedal with the CTL pedal.
fig.05-15
Source Mode
On
Target Max fig.05-17
ON
Off This determines the manner in which the setting is to be

Target Min OFF
changed when a momentary-type foot switch (such as the
When the pedal When the pedal When the pedal optional FS-5U) is used.
is fully raised is advanced halfway is fully advanced
Expression Pedal * The GT-6B’s control pedal is a momentary-type pedal. Switch
the settings as needed to accommodate your setup.
* The range that can be selected changes according to the target
setting. Normal
The normal state is Off (minimum value), with the switch On
* When the “minimum” is set to a higher value than the
(maximum value) only while the foot switch is depressed.
“maximum,” the change in the parameter is reversed.
* The values of settings may change if the target is altered after Toggle
the “minimum value” and “maximum value” are set. Be sure The setting alternately switches between On (maximum
to check the “minimum value” and “maximum value” settings value) and Off (minimum value) with each press of the foot
after changing the target. switch.
Source Example (1)

fig.05-16
When switching effects on and off with a foot switch
Source Source Mode

Momentary-Type Toggle
CTL pedal
FS-5U (external)
This sets the controller (source) that affects the target
Latch Type Normal
parameter. Controllers that can be selected as the source are
FS-5L (external)
shown below.
Expression pedal Normal
• EXP PEDAL Expression pedal EV-5 (external)
• EXP SW Expression pedal switch
• CTL PEDAL CTL pedal
Example (2)
* The CTL pedal indicator is not lit. The indicator lights up When the effect is applied more, or is on only while the
according to the CTL pedal setting (p. 46). foot switch is being pressed
• SUB EXP PEDAL
External expression pedal connected to the SUB EXP Source Source Mode
PEDAL/SUB CTL 1, 2 jack. Momentary-Type Normal
CTL pedal
* Set SYS: Sub CTL 1 Func (p. 63) to “Assignable.” FS-5U (external)
• SUB CTL 1, 2 Latch Type cannot function
Foot switch connected to the SUB EXP PEDAL/SUB CTL FS-5L (external)
1, 2 jack. Expression pedal Normal
EV-5 (external)
* Set SYS: Sub CTL 1, 2 Func (p. 63) to “Assignable.”
• MIDI CC# 1–31, 64–95
Control Change messages from an external MIDI device
(1–31, 64–95).
50
Active Range Controlling Foot Volume and Pitch Shifter

fig.05-18
with an External Expression Pedal
Make the following settings to use an expression pedal
connected to the SUB EXP PEDAL/SUB CTL 1,2 jack to
control foot volume and pitch shifter.
* Set SYS: Sub CTL1 Func (p. 63) to “Assignable.”

When an expression pedal or other controller that changes
2. Press PARAMETER [ ][ ], to display one of the
the value consecutively is used as the source, this sets the
Assign On/Off screens for ASSIGN 1–8.
operational range within which the value of the setting
fig.05-10
changes. If the controller is moved outside the operational
range, the value does not change, but instead stops at
“minimum” or “maximum.”
(Example) Act. Range Lo: 40, Act. Range Hi: 80

* When the upper row of the screen indicates “OFF” (flashing),
fig.05-19a
press [PEDAL ASSIGN] to set it to “ON” (lit).
maximum value
3. Rotate the PATCH/VALUE dial to select the following
Chapter 5
Target Max
settings:
For Foot Volume:
SUB EXP FV
For Pitch Shifter:
minimum value
Target Min SUB EXP PS
fig.05-20
0 40 80 127
Act. Range Act. Range
Lo Hi
fig.05-19b
On
ON
4. If Pitch Shifter has been selected in Step 3, carry out the
following.
Off
OFF Press [FX-2] so that “On” appears in the display.
0 40 60 80 127 Next, press PARAMETER [ ][ ] to display “FX
Act. Range Center Act. Range
Lo value Max Select,” then select “P.S” with the PATCH/VALUE dial.
* When using a foot switch or other on/off switching controller

as the source, leave these at “Lo: 0” and “Hi: 127.” With
certain settings, the value may not change.
51
Chapter 6 Using the Customize Function
With the GT-6’s Customize function, you can rely on your 3. Press PARAMETER [ ][ ] to show the special
own sensibilities and create a totally new effect by tweaking Custom parameters.
the settings for the “Preamp/Speaker Simulator,” fig.06-02
“Overdrive/Distortion,” and “Pedal Wah.” The result can Custom

Type
then be saved on the GT-6 as “Custom” settings.
You can also use these custom settings in other patches. Custom
Bottom
Custom
Top
“Custom” settings are automatically updated (saved),
even if you don't carry out the Write procedure. For this Custom
Low
reason, you need to keep in mind that once you change
the settings, the previous settings can no longer be Custom
High
restored.
* You can restore “custom” settings to their original factory-set
4. Rotate the PATCH/VALUE dial to change the setting
values by carrying out Factory Reset for the system (p. 73).
value.
5. Repeat Steps 3 and 4 as needed.

All product names mentioned in this document are
trademarks or registered trademarks of their respective 6. Press [EXIT] to return to the Play screen.
owners.
The names used for the sounds mentioned in this Type
document are intended to be descriptive in nature, used Selects the basic type of preamp.
solely to identify the equipment whose sound is
OD-2:
simulated using COSM technology.
This is the sound of the BOSS OD-2.
BD-2:
This is a crunch sound produced with the BOSS BD-2.
Making “Custom” ODB-3:

This is the sound of the BOSS ODB-3.
Overdrive/Distortion Settings DS-1:
This gives a basic, traditional distortion sound.
You can prepare two different sets of settings in the GT-6B,
Custom 1 and Custom 2. MT-2:
This is the sound of the BOSS MT-2.
* Editing the Custom 1 or Custom 2 settings alters all tones in
FUZZ:
patches that use these custom settings.
This models the sound of the FUZZ.
1. Press the OD/DS ON/OFF switch.
The OD/DS Edit screen appears. Bottom -50–+50
Adjusts the amount of distortion in the lower range.
2. Press OVERDRIVE/DISTORTION [TYPE
VARIATION] to display “Custom 1” or “Custom 2.” Top -50–+50
fig.06-01
Adjusts the amount of distortion in the upper range.
Low -50–+50
Adjusts the tone of the lower range.
High -50–+50
Adjusts the tone of the upper range.
52
Chapter 6 Using the Customize Function
Making “Custom” Pedal Type

Selects the basic type of wah.
Wah Settings CRY WAH:
Here, you can make three different sets of settings, Custom 1, This models the ‘70s-type sound of the CRY BABY wah
Custom 2, and Custom 3. pedal.
* Editing the Custom 1, 2, or 3 settings alters all tones in VO WAH:

patches that use these custom settings. This models the sound of the VOX V846.
Bass WAH:
1. Press [WAH].
Wah featuring a broader range of variations for the bass
The WAH edit screen appears. range.
2. Press PARAMETER [ ][ ] so that “FX Select” is
Q -50–+50
displayed, then rotate the PATCH/VALUE dial to select
Adjusts the amount of characteristic effect applied to the wah
“WH.”
tone.
3. Press PARAMETER [ ][ ] until “Type”
appears in the display. Range Low -50–+50
Selects the tone produced when the pedal is rocked back.
4. Rotate the PATCH/VALUE dial to select from “Custom
1–3.” Range High -50–+50
fig.06-03
Selects the tone produced when the pedal is pressed fully
forward.
Presence -50–+50
Adjusts the tonal quality of the wah effect.
Chapter 6
5. Press PARAMETER [ ][ ] to show the custom
parameters.
fig.06-04
Custom
Type
Custom
Q
Custom
Range Low
Custom
Range High
Custom
Presence

value.
7. Repeat Steps 4 through 6 as needed.
53
Chapter 7 Using Sound On Sound
You can use the “Sound On Sound function” by selecting 3. Press the CTL pedal to end the recording.
“SOS” with the REV/DLY Fx Select (p. 27). When you stop recording, the recorded phrases
Here, the Number 4 pedal and the BYPASS/CTL pedal simultaneously starts playing back. The CTL pedal’s red
automatically function as Sound On Sound controls. indicator light goes out, and the green indicator flashes,
fig.07-01
indicating that playback is in progress.
In addition, the Number 4 pedal’s indicator lights up,
indicating that the memory contains recorded data.
fig.07-04
Lit Dark Blink
Number 4 pedal: Stop, (Tap tempo input), Erase fig.07-05
CTL pedal: Record, Play, Overdub 4. Press the CTL pedal once again to Lit Blink
begin overdubbing.
* The Number 4 pedal won’t function as the Sound On Sound
Synchronize the overdub to the
control pedal if the Patch Select mode (p. 60) has been set to
recorded phrase.
the Bank/Number method of selection.
The CTL pedal’s green indicator
flashes and the red indicator light
The available recording time in “HiQlty” mode (in goes on, indicating that playback
which priority is placed on sound quality) is and recording are being carried out simultaneously.
approximately 3 seconds, and approximately 6 seconds Each time the CTL pedal is pressed, playback and
in “LongTime” mode (in which priority is placed on overdubbing repeat.
longer recording time).
5. When you have finished playback and overdubbing,
press the Number 4 pedal.
Procedure fig.07-06
fig.07-02
6. If you want to erase the results of Dark
1. Confirm that the CTL pedal’s red Blink
your recording, press and hold
indicator is flashing.
down the Number 4 pedal for at
This means that the GT-6B is in
least two seconds.
recording standby mode and that
there is nothing in the memory.
Additionally, the rate at which the
indicator flashes indicates the * The recorded content is temporary. Note that carrying out the
tempo, allowing you to use this as a quick tempo check following procedures erases the recording.
during recording.
• Turning off the power to the GT-6B.
* Depress the Number 4 pedal at least twice while Tempo (p. 29) • Switching to another patch
is set to“BPM,” and Quantize (p. 29) is set to “On,” and the
• Setting the REV/DLY Fx Select to anything other than
tempo is set to matchthe timing you've used while depressing
“SOS.”
the pedal (tap input).
fig.07-03
• Switch for SOSMode
2. Press the CTL pedal to begin Lit
* For more information about each of the “SOS” parameters,
recording.
refer to p. 29.
The CTL pedal’s red indicator stops
flashing and stays lit, indicating that
the GT-6B is recording.
* Recording stops automatically as soon
as the amount that's been recorded
exceeds the available recording time.
54
Chapter 8 Convenient Features of the GT-6B
Outputting Sounds Without Switching Bypass On and Off

Effects Applied (Bypass)
Using the Pedal
The GT-6B features bypass circuitry. By using the bypass, the When the BYPASS/CTL pedal or the expression pedal
signal path, from input to output, consists entirely of analog switch function is set to “Bypass,” these pedals then toggle
circuitry. To switch to bypass, carry out the following between “bypass” or “effect on” each time they are pressed.
procedure. The green BYPASS/CTL pedal is lit while the unit is in
bypass mode (refer to “Settings for Using the Expression
Using the Expression Pedal Even Pedal Switch/CTL Pedal”: p. 46).
When Bypass Is in Effect

Using the Buttons
You can use Bypass EXP Mode to set the routing of the
Each time the panel button [TUNER/BYPASS] is pressed, the
signals when bypass is in effect; these settings can be made
unit switches between “Tuner mode (p. 56),” “Bypass mode”
separately for each individual patch.
and “Play mode.”
1. Press [NAME/NS/MASTER] until “Bypass EXP Mode”
appears in the display.
* Each time [NAME/NS/MASTER] is pressed, the item that Connecting Directly to a Recording Mixer
can be set is changed, following this order: or PA Mixer (XLR Balanced Output)
Name → Noise Suppressor → Master → Bypass EXP Mode
→ Foot Volume → Effect Chain. The GT-6B features balanced outputs that utilize XLR
fig.08-50 connectors. Although direct boxes are generally used to
connect bass (effects processor) outputs to mixers in concert
halls and recording studios, you can connect the GT-6B
directly to the mixer, which lets you avoid degradations in
the sound quality, as well as any additional problems that
2. Rotate the PATCH/VALUE dial to select “On” or “Off.” might occur as the result of connecting multiple devices.
fig.08-02
Off:
Chapter 7 Chapter 8
You cannot use the expression pedal while bypass is in
effect. The bypass sound does not pass through the AD/
DA converter, and analog bypass sound is output. The
analog bypass sound is also output for the direct sound
when only CHORUS or REV/DLY is used. (However,
the expression pedal affects only the effect sound.)
On:
You can use the expression pedal while bypass is in
effect. The bypass sound is output after passing through
the AD/DA converter. Also, the direct sound is output Switching the XLR Output
after passing through the AD/DA converter even when Connector Signals
CHORUS or REV/DLY is used, so you can use the
You can select the signals to be output from the XLR
expression pedal to control the volume level for sounds
connectors with the OUTPUT SELECT switch on the rear
including the direct sound.
panel.
R-OUTPUT-L: Stereo Output
The GT-6B’s stereo output is output as is, without change. Set
the switch to this position when recording in stereo or
sending stereo signals to a PA.
55
DIRECT/MONO: Direct/Mono Output Tuning the Bass

Output from one of the connectors is the GT-6B’s stereo
output mixed to mono; the direct bass direct sound (the The GT-6B is equipped with an Internal automatic chromatic
analog bypass sound from the input jack) is output from the tuner. Turning on the tuner mutes the output and activates
other connector. the tuner.
This switch setting determines whether the signals output
from the XLR output jacks are output in stereo (L/R) or as
Turning the Tuner Function On
direct mono output. Set the switch to this position when
using only one mixer channel, for example during concerts. Use the following procedure to switch to Tuner mode.
fig.08-04
Additionally, for recording, you can record the direct bass
sound on a separate channel, then later on you can remix the
direct sound with the effect sound during mixdown.
Quick Patch Volume Adjustment

(EFFECT LEVEL Knob)
For quick and easy adjustment of the current patch’s volume,
use the EFFECT LEVEL knob.
You can control the patch level of the currently selected
Using the Pedal
patch directly by turning the EFFECT LEVEL knob.
fig.08-03 To switch to Tuner mode, simultaneously press the PATCH
and PATCH pedals.
Press either the PATCH or PATCH pedals to return
to the original mode.
Using the Buttons

Each time the panel button [TUNER/BYPASS] is pressed, the
unit switches between “Tuner mode,” “Bypass mode (p. 55)”
and “Play mode.”
About the Display During Tuning

* When the Bypass EXP Mode (p. 55) and Noise Suppressor (p. With the GT-6B’s internal tuner, the note name is indicated in
44) is set to “Off” and only CHORUS or REV/DLY is used, the upper row of the display and the Tuning Guide is shown
the direct sound is output as analog output.In this case, in the lower row, indicating the difference between the input
EFFECT LEVEL does not change the volume of the direct sound and the sound in the display.
sound. Furthermore, the tuning status is also indicated by the
* The patch level as adjusted with the PATCH LEVEL knob is pedals' indicators.
fig.08-05
saved when the Write procedure (p. 23) is carried out.
Note Name
Tuning Guide
When the difference from the correct pitch falls within 50

cents, the Tuning Guide then indicates the size of that
difference. As you watch the Tuning Guide, tune the bass so
that the “■” appears in the center.
56
At this time, the indicators of the PATCH and When the sound is higher than the indicated note name
PATCH pedals light, indicating that the instrument is “ ” appears to the right of center in the Tuning Guide.
precisely in tune. fig.08-52
fig.08-06
too high
tuned
The pedals' indicators flash from left to right.
too low 4. Repeat Steps 1–3 until all of the strings are tuned.
Changing the Tuner Settings

How to Tune You can change the following tuner-related settings.
1. Play a single open note on the string being tuned.
The name of the note closest to the pitch of the string that Standard Pitch (435–445 Hz)
was played appears in the display. fig.08-07
* Only play a single note on the one string being tuned.
2. Tune the string until the string name appears in the

display.
The frequency of A4 (the middle A on a piano keyboard)
General Four-String Bass
played by an instrument (such as a piano) that provides the
4th 3rd 2nd 1st
pitch to which the other instruments refer in tuning before a
Regular E A D G performance begins is called the standard pitch. You can set
1/2 Step Down D# G# C# F# the standard pitch on the GT-6B to frequencies from 435 to
1 Step Down D G C F 445 Hz.
* This is set to 440 Hz when shipped from the factory.
General Five-String Bass
5th 4th 3rd 2nd 1st 1. Turn the Tuner function on.
Regular B E A D 2. Press PARAMETER [ ] until “TUNER Pitch” is
1/2 Step Down A# D# G# C# F# displayed.
1 Step Down A D G C F
3. Rotate the VALUE dial to change the settings.
Chapter 8
General Six-String Bass
4. Press [TUNER/BYPASS] or [EXIT] to return to the Play
6th 5th 4th 3rd 2nd 1st screen, or press PARAMETER [ ] to return to the
Regular B E A D G Tuner screen.
1/2 Step Down A# D# G# C# F# B
1 Step Down A D G C F A#
3. As you watch the Tuning Guide, adjust the bass’s

tuning until “■” appears in the center.
When the sound is lower than the indicated note name
“ ” appears to the left of center in the Tuning Guide.
fig.08-51
The pedals' indicators flash from right to left.
57
Adjusting the Overall Sound to Match Using the Digital Out

the Usage Environment (Global) Digital signals are output from the DIGITAL OUT connector
on the rear panel. You can connect this directly to the digital
The GT-6B includes a feature that allows you to change all of
in connector of a digital recorder or other device and record
the patch settings temporarily. This is called the “Global
with no degradation in sound quality.
function.”
fig.08-10
With the Global function, you can temporarily change your
settings to match those of your equipment and the operating
environment, while leaving the settings in the patches
untouched.
1. Press [UTILITY], then press PARAMETER [ ]

DIGITAL IN
[ ] to display the following screen.
fig.08-53
Global: Noise Suppressor Threshold
Global: Reverb Level

Adjusting the Output Level
from DIGITAL OUT
With the GT-6B, you can adjust the output level of DIGITAL
OUT independently of the analog output level.
2. Rotate the PATCH/VALUE dial to change the setting’s
value. 1. Press [UTILITY], then press PARAMETER [ ]
[ ] so that “Digital Out” is displayed.
3. Repeat Steps 1 and 2 as needed.
fig.09-52
NS Thrshold (Noise Suppressor Threshold)

-20 dB–+20 dB
Adjusts the noise suppressor threshold level settings for each 2. Rotate the PATCH/VALUE dial to set the digital output
patch in a range from -20 dB to +20 dB. level.
This adjustment is an effective way to get equivalent output Valid settings: 0–200
with each of your basses when you are connecting more than
* Raising the level too high may cause clipping of the signal
one bass.
within the unit. Check the meter (p. 59) or otherwise monitor
* Set to “0 dB” when using this in individual patch settings. the signal while setting this to an appropriate level.
* This has no effect on patches in which the noise suppressor is
turned off.
Revrb Level (Reverb Level) 0%–200%

Adjusts the reverb level settings for each patch in a range
from 0% to 200%.
Adjusting the reverb level is an effective way to match the
reverberation of the performance venue.
* Set to “100%” when using this in individual patch settings.
* This has no effect on patches in which reverb is turned off.
58
Checking the Effect Output

Level with the Level Meter
You can meter the output level of each effect. This is handy
for checking the effects’ output levels.
1. Press [UTILITY] a number of times until “METER” is

displayed.
* You can also select this by pressing [UTILITY], and then
pressing PARAMETER [ ][ ].
fig.08-11
2. Rotate the PATCH/VALUE dial to select the effect

whose level you want to check.
* Only effects that are turned on can be selected.
* You can check the level of signals being input to the INPUT
jack by selecting “Input.” Selecting “Output” allows you to
check the level of signals output from the GT-6B.
* You may not be able to achieve the effects adequately if your
output levels are set too high. While checking the meter and
making sure the needle doesn’t fluctuate, adjust the output
level of each of your effects to the optimum value.
Chapter 8
59
Chapter 9 Other Functions
Adjusting the Display Contrast Setting the Timing Used for Switching
(LCD Contrast) Patches (Patch Select Mode)
Depending on where the GT-6B is placed the display may This setting determines how patches are switched with the
become hard to read. If this occurs, adjust the display pedals.
contrast.
1. Press [UTILITY] a number of times until “LCD [ ] so that “Patch Select” is displayed.
Contrast” is displayed. fig.09-03
* You can also select this by pressing [UTILITY], and then

pressing PARAMETER [ ][ ].
* Turning on the power while holding down [UTILITY] enables
you to display this screen directly. 2. Rotate the PATCH/VALUE dial to set the method to be
fig.09-01
used for switching patches.
UP/DOWN:
Patches are switched only with the PATCH and
PATCH pedals.
2. Rotate the PATCH/VALUE dial to adjust the contrast. * This is the setting made at the factory.
Values: 1–16 * For more on how the unit operates while switching patches
when set to “UP/DOWN,” refer to “Selecting Patches” (p. 14).
BANK/NUMBER:
Patches are switched by directly specifying the bank and
Limiting the Banks That Can number.
Be Switched (Bank Extent) 3. Press [EXIT] to return to the Play screen.
By setting an upper limit to the banks, thus limiting the range

of banks that can be switched, you can set the GT-6 so that Selecting Patches by Directly
only the patches you need can be selected. Specifying the Bank and Number
1. Press [UTILITY], then press PARAMETER [ ] This is good way to change tones by switching patches one
[ ] so that “Bank Extent” is displayed. after another.
fig.09-50
Switching Only the Number

fig.09-04
2. Rotate the PATCH/VALUE dial to set the upper limit

for the banks.
Valid Settings: U1–P0
1. Press the number pedal matching the number of the

patch you want to use.
That pedal’s indicator lights up, and the GT-6B switches
to that patch.
60
Switching the Bank and Number Setting the Timing Used for Switching
fig.09-05
Patches (Patch Change Mode)
1
This sets the timing with which the GT-6B switches to the
next patch when switching patches with the pedals.
The Patch Change mode appears only when “BANK/

NUMBER” has been chosen as the Patch Select mode.

[ ] so that “Patch Change” is displayed.
fig.09-51
1. Press the BANK or BANK pedal to select the

desired bank.
2. Rotate the PATCH/VALUE dial to set the timing for
When you switch banks, the indicator for number pedal
switching patches.
last pressed before pressing the BANK pedal flashes, and
the GT-6B is ready for the patch number to be specified Immediate:
(the patch cannot yet be switched in this condition). The patch switches the instant a BANK pedal or any of
the number pedals is pressed.
2. Press a number pedal to select the patch you want to
Wait for a NUM.:
use.
Although the indication in the display is updated to
The indicator for the selected number pedal lights up, reflect the change in the bank when a BANK pedal is
and the GT-6B switches to that patch. pressed, the patch doesn’t get changed at that point. The
* The delay and reverb sounds are suspended while patches are actual change to the newly selected patch takes place
switched. only after a number pedal has been pressed, and a
complete bank and number combination has thus been
entered.
Chapter 9
61
Setting “Expression Pedal Hold” Selecting the PATCH/VALUE

This setting determines whether or not the Pedal Assign’s (p.
Dial Function (Dial Function)
45) operational status is carried over to the next patch when This setting determines whether or not patches are switched
patches are switched. by rotating the PATCH/VALUE dial.
* Expression Pedal Hold does not function if the Assign Source
mode is set to Toggle (whereby the value is toggled between
[ ] so that “Dial Func” is displayed.
Min and Max each time the pedal is pressed).
fig.09-02

[ ] so that “EXP Pdl Hold” is displayed.
fig.09-06
2. Rotate the PATCH/VALUE dial to select the PATCH/

VALUE dial function.
PATCH No.& VALUE:
2. Rotate the PATCH/VALUE dial to set Expression Pedal The dial is used both for switching patches and changing
Hold. the value of settings. In addition to switching patches
On: The Pedal Assign status is carried over. with the pedals, you can also switch them by rotating the
(Example) PATCH/VALUE dial.When shipped from the factory,
If a patch is switched while the volume is being you can use this setting.
controlled with the expression pedal, the volume of the VALUE Only:
subsequent patch will take on the value determined by In this setting, the PATCH VALUE Dial is used only for
the current pedal position (angle). changing the value of parameter settings, not patches.
If the expression pedal is controlling the wah effect in the
patch being switched to, then the volume assumes the
value set in the patch, and the patch’s wah effect is given
the value corresponding to the current pedal position
(angle).
Off: The Pedal Assign status is not carried over.
(Example)
If a patch is switched while the volume is being
controlled with an expression pedal, the volume of the
subsequent patch is set to the value set in that patch.
If the expression pedal is operated, and that information
is transmitted to the GT-6B, the volume changes in
accordance with the movement of the pedal.
62
Setting the Knob Functions Setting the External Foot Switch

(Knob Mode) Functions (SUB CTL 1, 2 Function)
This sets the way the values of settings are changed when the This sets the foot switch functions for “Sub Control 1” and
control knobs are turned. “Sub Control 2” when you have an external foot switch
connected to the rear panel’s SUB EXP PEDAL/SUB CTL1,2
jack.
[ ] so that “Knob Mode” is displayed.
fig.09-07 * When connecting two foot switches using the special optional
Roland PCS-31 connector cord, the foot switch connected
using the plug with the white stripe functions according to the
Sub Control 1 settings, and the foot switch connected using
the plug with the red stripe functions according to the Sub
2. Rotate the PATCH/VALUE dial to set the Knob mode. Control 2 settings.
Immediate: * When you have only one foot switch connected, the Sub
Turning the knobs immediately changes the values. Control 1 settings are used.
Current Setting:
Values begin to change only once the knob position
[ ] so that “SubCTL 1 Func” or “SubCTL 2 Func” is
reaches the values set in the patch.
displayed.
3. Press [EXIT] to return to the Play screen. fig.09-08
2. Rotate the PATCH/VALUE dial to set the function for

the foot switch.
Assignable:
The controller set in each patch’s Pedal Assign (p. 48) is
used.
BYPASS On/Off:
The foot switch is used as a bypass On/Off switch.
Patch Select:
The foot switch is used for switching Patch Select mode
(p. 60).
Chapter 9
MIDI Start/Stop:
The foot switch is used for starting and stopping an
external MIDI device (such as a sequencer).
MMC Play/Stop:
The foot switch is used for controlling Play and Stop for
the external MIDI device (such as a hard disk recorder).
63
Chapter 10 Using MIDI
What Can You Do with MIDI? Controlling the GT-6B Remotely From
an External MIDI Device
You can perform the following operations using MIDI with
the GT-6B. Switching Patch Numbers
When the GT-6B receives Program Change messages from
* The use of MIDI requires that the MIDI channels of the
the external MIDI device, the corresponding patches are
connected devices match. If the MIDI channel settings are not
switched simultaneously.
correct, the GT-6B will be unable to exchange data with other
MIDI devices.
You can set the correspondence between MIDI Program

Operating From the GT-6B Change messages and the GT-6B’s patches using the
Program Change Map (p. 69). Make these settings when
Outputting Program Change Messages
you create correspondences for effect sounds with other
When a patch is selected on the GT-6B, a Program Change
MIDI devices.
message corresponding to the patch number is transmitted
simultaneously. The external MIDI device then switches its The connections shown in the figure below are for a
settings according to the Program Change message it receives. sequencer automatically performing the backing as a bass is
fig.10-01
being played. The patches are switched automatically when
the program numbers corresponding to the patches are input
along with the performance data at the points where you
have determined the GT-6B patches are to be switched.
fig.10-02
MIDI OUT
MIDI IN
MIDI OUT
Outputting Control Change Messages MIDI IN

Data describing the actions of the CTL pedal, expression
pedal, expression pedal switch, and external devices
connected to the SUB EXP PEDAL/SUB CTL 1,2 jack are
output as Control Change messages. Such messages can be
used to (among other things) manipulate the parameters of
an external MIDI device.
MIDI Start/Stop, MMC Play/Stop

MIDI Start/Stop or MMC Start/Stop messages are output Receiving Control Change Messages
when the CTL pedal, the expression pedal, the expression
pedal switch, or the external device connected to the SUB
EXP PEDAL/SUB CTL 1,2 jack is operated, allowing you to You can control specified parameters during a
control the performance of the external MIDI device. performance through Control Change messages received
by the GT-6B. Parameters to be controlled are set with
* For more on how to make the settings, refer to p. 48 and 63.
Pedal Assign (p. 48).
Transmitting Data
Receiving Data
You can use Exclusive messages to transmit the settings for
The GT-6B can receive data transmitted from another GT-6B,
effect sounds and other content stored in the GT-6B to other
as well as data that’s been stored on a sequencer.
MIDI devices. For example, you can provide another GT-6B
with the same settings, and save effect sound settings to a
sequencer or other device.
64
Making the Settings for MIDI MIDI TX Channel (MIDI Transmit Channel)
1–16, Rx
Functions fig.10-06
Here is a description of the GT-6B’s MIDI functions. Set them

as needed, depending on the intended use.
1. Press [UTILITY] a number of times until the following

This sets the MIDI Transmit channel used for transmitting
screen appears.
fig.10-03 MIDI messages. When set to “Rx,” this MIDI channel is same
as the MIDI Receive channel.
* This was set to “Rx” when the unit was shipped from the
factory.
2. Press PARAMETER [ ][ ] so that the MIDI Device ID

parameter that you want to set appears in the display. 1–32
fig.10-07

value.
4. Repeat steps 2–3 as necessary.
5. Press [EXIT] to return to the Play screen. This sets the Device ID used for transmitting and receiving
Exclusive messages.
MIDI RX Channel (MIDI Receive Channel)
* This was set to 1 when the unit was shipped from the factory.
1–16
fig.10-03
MIDI Sync Clock
Auto, Internal
fig.10-08
This sets the MIDI channel used for receiving MIDI

messages.
* This was set to 1 when the unit was shipped from the factory. You can synchronize the performance of a sequencer or other
external MIDI device.
MIDI Omni Mode Auto: When no MIDI Clock from the external MIDI
Omni Off, Omni On
device is being received, the performance is
fig.10-05
synchronized to the tempo set in MASTER BPM;
when the external MIDI device’s MIDI Clock is
being received, the performance is synchronized
to that.
When set to “Omni On,” messages are received on all Internal: The performance is synchronized to the tempo set
channels, regardless of the MIDI channel settings. in MASTER BPM.
* Even when Omni Mode is set to ON, the only Exclusive * This was set to “Auto” when the unit was shipped from the
messages received are those for Device ID data set with factory.
Chapter 10
“Device ID.”
* When you have an external MIDI device connected, the
* This was set to “Omni On” when the unit was shipped from Master BPM is then synchronized to the external MIDI
the factory. device’s tempo, thus disabling the Master BPM setting. If you
want to be able to set the Master BPM, set to “Internal.”
* When synchronizing performances to the MIDI Clock signal
from an external MIDI device, timing problems in the
performance may occur due to errors in the MIDI Clock.
65
MIDI PC OUT (MIDI Program Change Out) MIDI SUB CTL 1 OUT (MIDI Sub Control 1 Out)
Off, On Off, 1–31, 33–95
fig.10-09 fig.10-13
This setting determines whether or not Program Change This sets the controller number when operation data from
messages are output when patches are switched on the GT- the external pedal connected to the SUB CTL 1 jack is output
6B. as Control Change messages. When set to “Off,” Control
Off: Program Change messages are not output, even when Change messages are not output.
patches are switched.
MIDI SUB CTL 2 OUT (MIDI Sub Control 2 Out)
On: Program Change messages are simultaneously output
Off, 1–31, 33–95
when patches are switched. fig.10-14
MIDI EXP OUT (MIDI Expression Pedal Out)

Off, 1–31, 33–95
fig.10-10
This sets the controller number when operation data from

the external pedal connected to the SUB CTL 2 jack is output
as Control Change messages. When set to “Off,” Control
This sets the controller number when expression pedal Change messages are not output.
operation data is output as Control Change messages. When
set to “Off,” Control Change messages are not output.
MIDI EXP SW OUT

(MIDI Expression Pedal Switch Out)
Off, 1–31, 33–95
fig.10-11
This sets the controller number when expression pedal

switch operation data is output as Control Change messages.
When set to “Off,” Control Change messages are not output.
MIDI CTL OUT (MIDI Control Pedal Out)

Off, 1–31, 33–95
fig.10-12
This sets the controller number when CTL pedal operation

data is output as Control Change messages. When set to
“Off,” Control Change messages are not output.
66
Transmitting and Receiving When Transmitting Data to Another GT-6B

Connect as shown in the figure below, and match the Device
MIDI Data ID for the transmitting and receiving devices.
fig.10-16
On the GT-6B, you can use Exclusive messages to provide
another GT-6B with identical settings, and save effect
settings on a sequencer or other device. This transmission of
data is called “Bulk Dump,” while receiving such data is
referred to as “Bulk Load.”
Transmitting Data to an External

MIDI Device (Bulk Dump) MIDI OUT
The following types of data can be transmitted. You can MIDI IN

transmit data by specifying the range from the start to the
end of transmission.
Displayed Data Transmitted

System Includes settings for utility parameters,
Harmonist scales, Auto Slap phrases and
overdrive/distortion, and wah custom
edit parameters.
U1-1–U0-4, Settings for patch Numbers U1-1 through
u1-1–u0-4 U0-4 and u1-1 through u0-4 Transmitting
Temp Settings for what is currently being played fig.10-17
2
Making the Connections
When Saving to a MIDI Sequencer
Connect as shown in the figure below, and put the sequencer
in the mode where it is standing by, ready to receive
Exclusive messages. 1,2
fig.10-15
4 3 1

[ ] so that “Bulk Dump” is displayed.
fig.10-18
MIDI OUT
MIDI IN
Chapter 10
2. Press PARAMETER [ ][ ] to move the cursor,
and rotate the PATCH/VALUE dial to select the start
and end of the data to be transmitted.
3. When the data to be sent has been determined, press

[WRITE].
* For instructions on operating the sequencer, refer to the
owner’s manual for the sequencer you are using. The data is transmitted.
67
fig.10-19
Receiving
[ ] so that “Bulk Load” is displayed.
fig.10-20
When the transmission is completed, the screen prior to

transmission returns to the display.
2. Transmit the data from the external MIDI device.

Receiving Data from an External The following appears in the display when the GT-6B
MIDI Device (Bulk Load) receives the data.
fig.10-21
Making the Connections

When Receiving Data Saved on a MIDI
Sequencer
The following appears in the display when the GT-6B
Connect as shown below. Set the GT-6B’s Device ID to the
finishes receiving the data.
same number that was used when the data was transmitted
fig.10-22
to the MIDI sequencer.
fig.10-02
Further data can be received at this point.
3. Press [EXIT] to quit Bulk Load.

After you press [EXIT], “Checking...” appears in the
MIDI OUT display, indicating that the GT-6B is checking the
received data. When the check is completed, the Play
MIDI IN screen returns to the display.
* For instructions on operating the sequencer, refer to the

owner’s manual for the sequencer you are using.
68
Setting the Program Change Map Procedure

fig.10-24
When switching patches using Program Change messages

2
transmitted by an external MIDI device, you can freely set
the correspondence between Program Change messages
received by the GT-6B and the patches to be switched to in
the “Program Change Map.”
3
Initial Program Change Map Settings
The Program Change Map set at the factory is shown below.
Program Number Bank/Patch Number 1,4 6 1

1 U1-1
2 U1-2 1. Press [UTILITY], then press PARAMETER [ ]
3 U1-3 [ ] so that “MIDI Map Select” is displayed.
fig.10-25
4 U1-4
5 U2-1
: :
: :
: : 2. Rotate the PATCH/VALUE dial to select “Prog.”
39 U0-3
* You cannot set the Program Change Map when “Fix” is
40 U0-4
selected (it is not displayed).
41 u1-1
* See the following item for more on “MIDI Map Select.”
42 u1-2
: : 3. Press PARAMETER [ ] until “MIDI Program Map”
: : appears in the display.
fig.10-26
: :
79 u0-3
80 u0-4
81 P1-1
Program Number Patch Number
82 P1-2
: : 4. Press PARAMETER [ ][ ] to move the cursor,
: : and rotate the PATCH/VALUE dial to set the received
: : Program number and the corresponding patch number.
119 P0-3 5. Repeat Step 4 as needed, setting patch numbers to their
120 P0-4 corresponding Program numbers, until the Program
121 P0-4 Change Map is completed.
122 P0-4
Chapter 10
: :
128 P0-4
69
Enabling/Disabling the Program Changing Patch Numbers on an

Change Map Settings (MIDI Map Select) External MIDI Device From the GT-6B
This setting determines whether patches are switched
When patches are switched with the GT-6B, a Program
according to the Program Change Map settings, or to the
Change message is transmitted. The correspondence
default settings when the GT-6B receives Program Change
between the GT-6B’s initial bank and patch numbers and the
messages.
transmitted Program Change messages is shown in the table
1. Press [UTILITY], then press PARAMETER [ ] below.
[ ] so that “MIDI Map Select” is displayed.
fig.10-25
Bank/Patch Number Program Number
U1-1 1
U1-2 2
U1-3 3
2. Rotate the PATCH/VALUE dial to select “Fix” or U1-4 4
“Prog.” U2-1 5
Fix: Switches to the patches according to the : :
default settings. For more on the default
: :
settings, refer to “Initial Program Change Map
: :
Settings” (p. 69).
U0-3 39
Prog: Switches to the patches according to the
Program Change Map settings. U0-4 40
u1-1 41
u1-2 42
: :
: :
: :
u0-3 79
u0-4 80
P1-1 81
P1-2 82
: :
: :
: :
P0-3 119
P0-4 120
70
Appendices
About MIDI fig.11-102
T.V. information from many different broadcasting station is

Broadcasting sent through an antena.
MIDI is an acronym for Musical Instrument Digital Interface, Station A
and is a world-wide standard for allowing electronic musical Broadcasting

Station B
equipment to communicate by transmitting messages such as
Broadcasting
performance information and sound selections. Any MIDI Station C
equipped device is able to transmit applicable types of data Select the channel of the
to another MIDI equipped device, even if the two devices are broadcasting station you
wish to watch
different models or were made by different manufacturers.
In MIDI, performance information such as playing a key or
MIDI has sixteen channels 1 – 16, and MIDI messages will be
pressing a pedal are transmitted as MIDI Messages.
received by the instrument (the receiving device) whose
channel matches the channel of the transmitter.
How MIDI messages are * If omni mode is on, data of all MIDI channels will be received
transmitted and received regardless of the MIDI channel setting. If you do not need to
control a specific MIDI channel, you may set Omni On.
First, we will explain briefly how MIDI messages are
transmitted and received.
MIDI connectors
Main types of MIDI message
The following types of connector are used to convey MIDI
used by the GT-6B
messages. MIDI cables are connected to these connectors as MIDI includes many types of MIDI messages that can convey
needed. a variety of information. MIDI messages can be broadly
fig.11-101 divided into two types; messages that are handled separately
by MIDI channel (channel messages), and messages that are
handled without reference to a MIDI channel (system
messages).
Channel messages
These messages are used to convey performance
information. Normally these messages perform most of the
control. The way in which a receiving device will react to
each type of MIDI message will be determined by the
MIDI IN: This connector receives messages from another settings of the receiving device.
MIDI device.
Program change messages
MIDI OUT: This connector transmits messages from this
device. These messages are generally used to select sounds, and
include a program change number from 1 to 128 which
MIDI THRU: This connector re-transmits the messages that
specifies the desired sound.
were received at MIDI IN.
* The GT-6B features both “MIDI IN” and “MIDI OUT” Control change messages
connectors. These messages are used to enhance the expressiveness of a
performance. Each message includes a controller number,
MIDI channels and the settings of the receiving device will determine what
MIDI is able to independently control more than one MIDI aspect of the sound will be affected by control change
device over a single MIDI cable. This is possible because of messages of a given controller number.
the concept of MIDI channels. The specified parameters can be controlled with the GT-6B.
Appendices
The idea of MIDI channels is somewhat similar to the idea of

television channels. By changing channels on a television set,
you can view a variety of programs. This is because the
information of a particular channel is received when the
channels of the transmitter and receiver match.
71
Appendices
System messages Factory Settings

System messages include exclusive messages, messages used
for synchronization, and messages used to keep a MIDI
Tuner
system running correctly.
TUNER Pitch: A= 440 Hz (p. 57)
Exclusive messages
Exclusive messages handle information related to a unit’s Global
own unique sounds, or other device-specific information. NS Threshold: 0 dB (p. 58)
Generally, such messages can only be exchanged between Reverb Level: 100% (p. 58)
devices of the same model by the same manufacturer.
Exclusive messages can be employed to save the settings for System
effects programs into a sequencer, or for transferring such
LCD Contrast: 16 (p. 60)
data to another GT-6B.
BANK Extent: P0 (p. 60)
The two instruments must be set to the same device ID
Patch Select Mode: UP/DOWN (p. 61)
numbers when exchanging SysEx messages.
EXP Pedal Hold: On (p. 62)
Dial Function: PATCH No.& VALUE (p. 62)
About the MIDI implementation Knob Mode: Immediate (p. 63)
Sub CTL1 Func: Assignable (p. 63)
MIDI allows a variety of messages to be exchanged between
Sub CTL2 Func: Assignable (p. 63)
instruments, but it is not necessarily the case that all types of
Digital Out Level 100 (p. 58)
message can be exchanged between any two MIDI devices.
Two devices can communicate only if they both use the types
MIDI
of messages that they have in common.
MIDI RX Channel: 1 (p. 65)
Thus, every owner’s manual for a MIDI device includes a
MIDI Omni Mode: Omni On (p. 65)
“MIDI Implementation Chart.” This chart shows the types of
MIDI TX Channel: Rx (p. 65)
message that the device is able to transmit and receive. By
MIDI Device ID: 1 (p. 65)
comparing the MIDI implementation charts of two devices,
MIDI Sync Clock: Auto (p. 65)
you can tell at a glance which messages they will be able to
MIDI PC OUT: On (p. 66)
exchange. Since the charts are always of a uniform size, you
MIDI EXP OUT: 7 (p. 66)
can simply place the two charts side by side.
fig.11-103
MIDI EXP SW OUT: 81 (p. 66)
Fold here MIDI CTL OUT: 80 (p. 66)
MIDI Device A MIDI Device B MIDI Sub CTL1OUT: Off (p. 66)
MIDI Sub CTL2OUT: Off (p. 66)
Function Transmit Recognized Remarks
MIDI Map Select: Fix (p. 69)
A separate publication titled “MIDI Implementation” is

also available. It provides complete details concerning
the way MIDI has been implemented on this unit. If you
should require this publication (such as when you intend
to carry out byte-level programming), please contact the
nearest Roland Service Center or authorized Roland
distributor.
72
Appendices
Restoring the Factory Adjusting the Expression Pedal

Settings (Factory Reset) Although the GT-6B’s expression pedal has been set for
optimum operation at the factory, extended use and the
Restoring the GT-6B to the settings made at the factory is
operating environment can result in the pedal going out of
referred to as “Factory Reset.”
adjustment.
Not only can you return all of the settings to the values in
If you encounter problems such as being unable to fully cut
effect when the GT-6B was shipped from the factory, you can
off the sound with the volume pedal, you can use the
also specify the range of settings to be reset.
fig.11-201 following procedure to readjust the pedal.
2 1 3 1. Hold down [PEDAL ASSIGN] while you switch on the

power.
The following messages alternate in the display.
fig.11-601
1. Turn off the power. 2. With the pedal completely released, press [WRITE].
2. While holding down COMP/LIMITER ON/OFF button The message “---OK! ---” appears, and then the following
and [TYPE VARIATION], turn on the power. messages alternate in the display.
fig.11-602
The Factory Reset range setting screen appears in the
display.
fig.11-202
The area of data you wish to factory reset
* To cancel the Factory Reset, press [EXIT].
3. Press PARAMETER [ ][ ] to move the cursor, * If you press [WRITE] when the pedal is not completely
and rotate the PATCH/VALUE dial to specify the range released, or when the pedal position (angle) is not correct, the
of settings you want to restore to the factory settings. message “--- Area Over! ---” appears in the display, and you
are prevented from proceeding to the next step. If this occurs,
System:
readjust the pedal position.
System parameters, Harmonist scales, Auto Slap phrases
and overdrive/distortion, and wah custom edit 3. With the pedal fully depressed, press [WRITE].
parameters “--- OK! ---” appears, followed by “press [EXIT].”
#U1-1–#u0-4: * If you press [WRITE] when the pedal is not fully depressed, or
Settings for patch Numbers U1-1 through u0-4 when the pedal position (angle) is not correct, the message “---
4. If you want to proceed with the factory reset, press Area Over! ---” appears in the display, and you are prevented
[ENTER]. from proceeding to the next step. If this occurs, readjust the
Appendices
The specified range of data is restored, and the Play pedal position.
screen returns to the display. 4. Press [EXIT].
After the message “Checking data please wait...” has
been displayed, the Play screen returns to the display.
73
Appendices
Troubleshooting The volume level of the instrument

connected to INPUT jack is too low:
If there is no sound, or if the GT-6B does not function as you
expect, first check the following points. If the measures in ❍ Could you be using a connection cable that contains a
this checklist do not resolve your problem, you should resistor?
contact your dealer or the nearest Roland Service Center. → Use a connection cable that does not contain a resistor.
No sound / Volume is weak I Can’t Change Patches
❍ Are the connection cables broken? ❍ Is something other than the Play screen shown in the
→ Try exchanging the connection cable. display?
→ On the GT-6B, patches can be selected only when the
❍ Is the GT-6B correctly connected to the other devices? Play screen is displayed. Press [EXIT] to return to the
→ Check connections with the other devices (p. 12). Play screen (p. 10).
❍ Is the connected amp/mixer turned off, or the volume ❍ Is SYS: Bank Extent (p. 60) set properly?
lowered? → Check the setting's value. The value set here constitutes
→ Check the settings of the connected device. the upper limit, so you cannot switch to any higher bank.
❍ Is the OUTPUT LEVEL knob lowered?

Parameters specified with control
→ Adjust the OUTPUT LEVEL knob to an appropriate
assign can’t be controlled as intended
position (p. 13).
❍ Is the effect switched off?
❍ Is the EFFECT LEVEL knob lowered? → To control a parameter using the expression pedal or
→ Adjust the EFFECT LEVEL knob to an appropriate CTL pedal, make sure the effect that contains the
position (p. 17). parameter you intend to control is switched on.
* The position of the EFFECT LEVEL knob may not correspond
to the Effect Level setting. ❍ Is something other than “Assignable” selected for the
SUB CTL 1,2 function setting?
❍ Has the value for the “FV: Level” setting (p. 44) been → When operating a foot switch connected to the SUB
decreased? EXP/SUB CTL 1, 2 jack, set the SUB CTL 1, 2 function to
→ Check the value set in the patch. “Assignable.” (p. 63)
❍ Is Tuner/Bypass set to ON? ❍ Is Source mode (p. 50) set properly?

→ The direct sound is not output by setting the Tuner/ → Check the setting.
Bypass to “On” (p. 56).
❍ Do the MIDI channel settings of both devices match
❍ Is each effect set correctly? (when using MIDI)?
→ Use the “Meter function” (p. 59) to check the output level → Make sure that the MIDI channels of both devices match
of each effect. If there is an effect for which the meter is (p. 65).
not moving, check the settings for that effect. * When “Omni On” is selected in Omni mode, messages on all
MIDI channels are received, regardless of the MIDI channel
❍ Is “FV: Level” or “MST: Effect Level” specified as a Pedal
settings (p. 65).
Assign Target?
→ Make sure that the source (controller number) of both
→ Carry out the operation in accordance with the source (p.
devices match (p. 50).
50).
74
Appendices
Volume level does not change with Error Messages

Foot Volume
If an incorrect operation is attempted or execution is not
❍ Is EXP PEDAL (p. 46) set to “Off”? possible, an error message will appear in the display. When
→ Set this to "On" when you want to control the volume this occurs, continue by following the instructions indicated
with the expression pedal. in the error message.
❍ Has the value for the EXP PEDAL Foot Vol Max setting
fig.11-301
(p. 45) been lowered?
→ Check the setting.
❍ Is “OFF” selected in Bypass EXP Mode (p. 55) and Noise

Suppressor (p. 44)? ● The memory backup battery inside the GT-6B has run
→ If “OFF” is set in Bypass EXP Mode, note the following: down. (This message appears when the power is turned
• When all effects are set to OFF, the analog bypass sound on.)
is output, and the volume cannot be controlled with Foot ❍ Replace the battery as soon as possible. For battery
Volume (p. 44). replacement, please contact the nearest Roland Service
• When CHORUS or REV/DLY are the only effects being Center or your dealer.
used, analog bypass sound is output for the direct
sound, so only the effect sound is controlled with the fig.11-302
FOOT VOLUME (p. 44).
MIDI messages are not transmitted/

received ● There is a problem with the MIDI cable connections.
❍ Check that MIDI cables have not been disconnected or
❍ Is the MIDI cable broken?
broken.
→ Try using a different MIDI cable.
❍ Is the GT-6B correctly connected to the external MIDI fig.11-303
device?
→ Check connections with the other MIDI device.
❍ Do the MIDI channel settings of both devices match?

● You’ve attempted to switch patches by rotating the
→ Make sure that the MIDI channels on both devices match
PATCH/VALUE dial, but the Dial function (p. 62) is set
(p. 65).
to “VALUE Only.”
❍ If sending messages from the GT-6B, have you set the ❍ If you want to be able to switch patches using the
settings necessary for sending data? PATCH/VALUE dial, set the Dial function to “PATCH
→ Check the on/off status (p. 66) for transmission of No. & VALUE.”
Program Change messages, the MIDI Transmit Channel
(p. 65), and the settings for the controller numbers to be fig.11-304
transmitted (p. 66).
❍ If transmitting/receiving System Exclusive messages,

does the Device ID setting match that of the external
● More MIDI messages were received in a short time than
MIDI device?
could be processed correctly.
→ Check the Device ID setting (p. 65).
Appendices
75
Appendices
MIDI Implementation Chart

fig.11-401
BASS EFFECTS PROCESSOR Date: Dec. 10, 2001

Model GT-6B MIDI Implementation Chart Version: 1.00
Transmitted Recognized Remarks

Function...
Basic Default 1–16 1–16 Memorized

Channel Changed 1–16 1–16
Default X OMNI ON/OFF Memorized

Mode Messages X X
Altered ************** X
Note X X
Number : True Voice ************** **************
Note ON X X
Velocity Note OFF X X
After Key's X X
Touch Ch's X X
Pitch Bend X X
1–31 O O *1
33–63 O X
64–95 O O *1
Control
Change
Prog O O Program Number

Change : True # 0–120 0–127 1–128
System Exclusive O O
: Song Pos X X
System
: Song Sel X X
Common
: Tune X X
System : Clock X O
Real Time : Command O X
: All sound off X X
: Local ON/OFF X X
: All Notes OFF X X
Aux : Active Sense X O
Message : Reset X X
* 1 Recognizes messages designated for use for “realtime control over parameters.”
Notes A separate publication titled “MIDI Implementation” is also available. It provides complete
details concerning the way MIDI has been implemented on this unit. If you should require this
publication (such as when you intend to carry out byte-level programming), please contact the
nearest Roland Service Center or authorized Roland distributor.
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO O : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No
76
Appendices
Main Specifications
GT-6B: Bass Effects Processor
AD Conversion (CHORUS) Connectors

24-bit + AF method LEVEL knob INPUT jack
ON/OFF button Output Jacks L (MONO)/R
DA Conversion Headphone Jack
(REVERB/DELAY)
24-bit XLR OUTPUT jacks L/R (MONO/DIRECT)
LEVEL knob
ON/OFF button DIGITAL OUT connector (coaxial)
Sampling frequency SUB EXP PEDAL/SUB CTL PEDAL 1,2 jack
44.1 kHz (PREAMP/SPEAKER, 3 BAND PARAMETRIC EQ) MIDI connectors IN/OUT
TYPE knob AC Adaptor Jack
Program Memories GAIN knob
120: 80 (User) + 40 (Preset) TREBLE knob (also used as Q knob) Power Supply
MIDDLE knob (also used as FREQUENCY knob) AC 14 V: Supplied AC adaptor
Nominal Input Level BASS knob (also used as GAIN knob)
INPUT: -10 dBu LEVEL knob (also used as TOTAL knob) Current Draw
SPEAKER knob 800 mA
Input Impedance
PREAMP ON/OFF button
INPUT: 1 MΩ Dimensions
SPEAKER ON/OFF button
EQ ON/OFF button 515 (W) x 261 (D) x 75 (H) mm
Nominal Output Level
EQ SELECT button 20-5/16 (W) x 10-5/16 (D) x 3 (H) inches
OUTPUT:
-10 dBu (1/4 inch Phone jack, (WAH) Weight
at OUTPUT LEVEL marking position) ON/OFF button 4.7 kg/10 lbs 6 oz (excluding AC Adaptor)
OUTPUT:
(FX-1)
-10 dBu (XLR jack, 600 Ω load) Accessories
ON/OFF button
AC adaptor (BRC-series)
Output Impedance (FX-2) Owner’s Manual
OUTPUT: ON/OFF button Roland Service (Information sheet)
2 k Ω (1/4 Phone jack)
(MASTER)
OUTPUT:
EFFECT LEVEL knob
Options
600 kΩ (XLR jack, HOT–COLD) Foot Switch:
PARAMETER buttons L/R
300 kΩ (XLR jack, HOT–GND, COLD–GND) FS-5U, FS-5L
EXIT button
Expression Pedal:
Digital Output WRITE button
EV-5 (Roland)
EIAJ CP1201, S/P DIF PEDAL ASSIGN button
FV-300L + PCS-33 (Roland)
TUNER/BYPASS button
Connection Cord:
Dynamic Range NAME/NS/MASTER button
PCS-31 (Roland) (1/4” stereo phone
95 dB or greater (IHF-A) UTILITY button
plug - 1/4” phone plug x 2)
EZ TONE button
Control Number pedals 1–4
< Front panel > PATCH pedals (Up/Down) * 0 dBu = 0.775 Vrms
(COMP/LIMITER) BYPASS/CONTROL pedal
ATTACK/THRESHOLD knob Expression pedal
SUSTAIN/RATIO knob Expression pedal switch
In the interest of product improvement, the
LEVEL knob PATCH/VALUE dial
specifications and/or appearance of this unit
ON/OFF button
< Rear panel > are subject to change without prior notice.
TYPE VARIATION button
OUTPUT LEVEL knob
(OVERDRIVE/DISTORTION) OUTPUT SELECT switch
DRIVE knob Power Switch AF Method
LEVEL knob (Adaptive Focus Method)
Appendices
ON/OFF button Display This is a proprietary method from

TYPE VARIATION button 16 characters, 2 lines (backlit LCD) Roland that vastly improves the signal-
7 segments, 2 characters (LED) to-noise (S/N) ratio of the A/D and
D/A converters.
77
Index
Numerics Digital Out ...................................................................... 58

12Stage ............................................................................ 35 Direct Level .............................................................. 26, 31
2CE .................................................................................. 38 Distortion ........................................................................ 26
2x2 Chorus ...................................................................... 38 DLY .................................................................................. 28
3 BAND PARAMETRIC EQ .................................. 17, 31 Drive ................................................................................ 26
4Stage .............................................................................. 35 DST .................................................................................. 26
8Stage .............................................................................. 35
E
A Effect Chain .................................................................... 22
Active Range .................................................................. 51 EFFECT LEVEL ............................................................. 56
ASL .................................................................................. 39 Effect Level ............................................................... 26–28
ASSIGN ........................................................................... 48 ENH ................................................................................. 33
ATK ................................................................................... 8 Enhancer ................................................................... 30, 33
Attack .............................................................................. 25 EXP PEDAL .............................................................. 45–46
Auto Slap ........................................................................ 39 EXP SW ..................................................................... 46–47
Auto Wah ....................................................................... 32 Expression Pedal Hold ................................................. 62
AW ................................................................................... 32 Expression Pedal Switch .............................................. 46
EZ TONE ........................................................................ 16
B EZ Tone ........................................................................... 16
Balanced Output ............................................................ 55
BANK .............................................................................. 14 F
Bank Extent .................................................................... 60 Factory Reset .................................................................. 73
Bass ............................................................................ 26, 30 Feedback ................................................................... 29, 40
Bass Synth ....................................................................... 42 FL ..................................................................................... 36
Bend ................................................................................ 43 Flanger ............................................................................ 36
Bi-Phase .......................................................................... 35 Foot Volume ................................................................... 44
Bottom ............................................................................. 52 FUZ .................................................................................. 26
BPF ................................................................................... 32 Fuzz ................................................................................. 26
Bright ............................................................................... 30 FV ..................................................................................... 44
Bulk Dump ..................................................................... 67 Fx Select .......................................................................... 27
Bulk Load ....................................................................... 68 FX-1 .................................................................................. 33
Bypass ............................................................................. 55 FX-2 .................................................................................. 35
Bypass EXP Mode ......................................................... 55
G
C Gain ................................................................................. 29
CHORUS ........................................................................ 27 GLOB ............................................................................... 58
COMP ............................................................................. 25 Global .............................................................................. 58
Contrast .......................................................................... 60
Control Change ............................................................. 64 H
COSM ................................................................................ 7 Harm ............................................................................... 36
CTL PEDAL ................................................................... 47 Harmonist ....................................................................... 36
CTL Pedal ....................................................................... 46 High ................................................................................. 52
CUSTOM ........................................................................ 26 High Cut ................................................................... 28–29
Custom ............................................................................ 52 HiQuality ........................................................................ 29
Cutoff Freq ..................................................................... 43 HMN ............................................................................... 41
HPF .................................................................................. 32
D HRM ................................................................................ 36
Deep ................................................................................ 30 Humanizer ...................................................................... 41
DEF .................................................................................. 34
Defretter .......................................................................... 34 I
Delay ......................................................................... 27–28 Intelligent ........................................................................ 34
Delay Level ..................................................................... 29
K
Delay Time ..................................................................... 40
Key ................................................................................... 37
Delay Time Fine ............................................................. 29
Knob Mode ..................................................................... 63
Density ............................................................................ 28
Depth ......................................................................... 27, 35 L
Device ID ........................................................................ 65 Length ............................................................................. 40
Dial Function ................................................................. 62 Level .......................................................................... 25, 30
78
Index
Level Meter .................................................................... 59 PLAY ............................................................................... 54

LIMITER ......................................................................... 25 Playback Level ............................................................... 29
LongTime ....................................................................... 29 Polarity ............................................................................ 32
Loop ................................................................................ 39 Pre Delay .................................................................. 27–28
Low .................................................................................. 52 Pre Shape ........................................................................ 30
Low Cut .................................................................... 27–28 Preamp ............................................................................ 29
LPF ................................................................................... 32 PreDly ............................................................................. 36
Preset Bank ..................................................................... 14
M Program Change ............................................................ 64
Manual ............................................................................ 35 Program Change Map .................................................. 69
Map Select ...................................................................... 70 PWM Depth .................................................................... 43
Master BPM .................................................................... 44 PWM Rate ....................................................................... 43
Mic Level ........................................................................ 30
Mic Set. ............................................................................ 30 Q
Middle ............................................................................. 30 Q ....................................................................................... 31
Middle Freq .................................................................... 30 Quantize .......................................................................... 29
MIDI RX Channel .......................................................... 65 Quick Setting ...................................................... 19, 46, 48
Mix Level ........................................................................ 34
Mode ............................................................................... 27 R
Mono ............................................................................... 27 R&D ................................................................................. 29
R.M .................................................................................. 34
N Rate ............................................................................ 27, 35
Noise Level ..................................................................... 43 RATIO ............................................................................... 8
Noise Suppressor .......................................................... 44 Ratio ................................................................................ 25
Normal ............................................................................ 34 REC .................................................................................. 54
NS .................................................................................... 44 Receive Channel ............................................................ 65
NS Thrshold ................................................................... 58 Release ....................................................................... 25, 44
Number Pedal ................................................................ 45 Resonance ....................................................................... 35
Response ......................................................................... 30
O REV .................................................................................. 28
OCT ................................................................................. 33 Reverb ............................................................................. 28
Octave ............................................................................. 33 Reverb & Delay ........................................................ 27, 29
Octave Shift .................................................................... 43 Reverb Time ................................................................... 28
OD ................................................................................... 26 Ring Modulator ....................................................... 21, 34
Omni Mode .................................................................... 65 Rise Time ........................................................................ 34
OVER DUB ..................................................................... 54
Overdrive ....................................................................... 26 S
overdubbing ................................................................... 54 SDD ................................................................................. 40
Sens .................................................................................. 32
P SG ..................................................................................... 34
P.S .................................................................................... 37 Short Delay ..................................................................... 40
PAN ................................................................................. 42 Single ............................................................................... 28
Pan ................................................................................... 28 Slow Gear ....................................................................... 34
PATCH ........................................................................... 14 SOS .................................................................................. 29
Patch .......................................................................... 14, 16 SOSMode ........................................................................ 29
Patch Change Mode ...................................................... 61 Sound .............................................................................. 40
Patch Select Mode ......................................................... 60 Sound On Sound ............................................... 27, 29, 54
Pdl Position .................................................................... 32 Source .............................................................................. 50
Peak ................................................................................. 33 Source Mode ............................................................ 47, 50
Pedal Bend ...................................................................... 20 Speaker ............................................................................ 30
Pedal Wah ...................................................................... 31 Step .................................................................................. 35
PH .................................................................................... 35 Step Rate ......................................................................... 35
Phaser .............................................................................. 35 Stereo ............................................................................... 27
Phrase .............................................................................. 39 SUB CTL 1, 2 .................................................................. 63
Pitch ................................................................................. 40 SUS .................................................................................... 8
Pitch Max .................................................................. 38, 43 Sustain ............................................................................. 25
Pitch Min .................................................................. 38, 43 SYN .................................................................................. 42
Pitch Shifter .................................................................... 37 Sync Clock ...................................................................... 65
79
Index
T
T/P .................................................................................. 42
Tap Time ......................................................................... 29
Target ........................................................................ 47, 49
Target Range .................................................................. 49
Tempo ....................................................................... 29, 39
THR ................................................................................... 8
Threshold .................................................................. 25, 44
Tone ................................................................................. 25
Top ................................................................................... 52
Touch Wah ..................................................................... 32
Treble ........................................................................ 26, 30
TREMOLO ...................................................................... 42
Trigger ............................................................................ 41
Tuner ............................................................................... 56
TW ................................................................................... 32
TYPE ................................................................................ 30
Type ........................................................................... 25, 28
U
Ultra Hi ........................................................................... 30
Ultra Lo ........................................................................... 30
User Bank ....................................................................... 14
User Phrase .................................................................... 39
User Scale ....................................................................... 37
V
VIB ................................................................................... 41
Vibrato ............................................................................ 41
Voice ................................................................................ 36
Vowel .............................................................................. 41
W
WAH ............................................................................... 31
Wah ................................................................................. 20
Wave ............................................................................... 42
Wave Shape .................................................................... 42
WH .................................................................................. 31
X
XLR .................................................................................. 55
80
Patch List P/U1-1 – P/U0-4
Bank-No. Name Effects
P1-1/U1-1 Pitch Double ENH + P.EQ + NS + P.S

P1-2/U1-2 M Slap P.EQ + COMP + NS
P1-3/U1-3 Anthony Flange COMP + FL + NS
P1-4/U1-4 Demon Child COMP + DIST + PRE AMP + P.EQ + NS + CHORUS + SOS
P2-1/U2-1 Funk Wah TW + PRE AMP + COMP + SPEAKER + NS
P2-2/U2-2 PseudoFretless COMP + DEF + PRE AMP + P.EQ + NS + 2CE + SOS
P2-3/U2-3 Lowdown COMP + OCT + PRE AMP + NS + REV&DLY
P2-4/U2-4 ObjctFrmPlnt DIST + NS + ASL + CHORUS + DLY
P3-1/U3-1 M-town Lowdown COMP + PRE AMP + SPEAKER + P.EQ + NS
P3-2/U3-2 B Man Exposed PRE AMP + SPEAKER + NS
P3-3/U3-3 Bare Bass 360 PRE AMP + SPEAKER + NS
P3-4/U3-4 Slapn'theTrace PRE AMP + SPEAKER + NS
P4-1/U4-1 Closed Session PRE AMP + SPEAKER + NS
P4-2/U4-2 Rock Session! PRE AMP + SPEAKER + P.EQ + NS
P4-3/U4-3 Deep & Throaty PRE AMP + SPEAKER + NS
P4-4/U4-4 Grunge COMP + PRE AMP + SPEAKER + NS
P5-1/U5-1 Sledgehammer COMP + OCT + NS + CHORUS
P5-2/U5-2 Rockabilly DEF + P.EQ + SDD + NS
P5-3/U5-3 Pseudo Clav! COMP + R.M + PRE AMP + P.EQ + NS + REV
P5-4/U5-4 Cry Of Baby FUZZ + WAH + DLY + PRE AMP + SPEAKER + NS + CHORUS
P6-1/U6-1 Human Funk COMP + HMN + PRE AMP + SPEAKER + NS
P6-2/U6-2 Triad In CMaj COMP + ENH + NS + HRM + CHORUS + REV
P6-3/U6-3 StepPhaser FUZZ + PH + NS
P6-4/U6-4 Bend Up Above COMP + PB + NS + CHORUS + REV&DLY
P7-1/U7-1 Synth Session SYN + TW + PRE AMP + NS + CHORUS
P7-2/U7-2 In A Club PRE AMP + SPEAKER + SYN + COMP + NS
P7-3/U7-3 Underground COMP + FUZZ + SYN + NS
P7-4/U7-4 Synth on/EXP SYN + PRE AMP + NS + DLY
P8-1/U8-1 Auto Slap COMP + ASL + PRE AMP + P.EQ + NS
P8-2/U8-2 Emotion PRE AMP + SPEAKER + NS + ASL
P8-3/U8-3 Red Auto Chili PRE AMP + COMP + SPEAKER + NS + ASL
P8-4/U8-4 Slam the Clown COMP + PRE AMP + SPEAKER + NS + ASL
P9-1/U9-1 2x2 DblChorus P.EQ + NS + 2CE + CHORUS
P9-2/U9-2 12 Strng Trick PRE AMP + SPEAKER + P.EQ + NS + HRM + REV
P9-3/U9-3 Big Wah P.S + OD + TW + COMP + CHORUS + NS
P9-4/U9-4 SDD Defretter DEF + OD + SDD + NS
P0-1/U0-1 EnhancedSlapbk ENH + P.EQ + NS + DLY
P0-2/U0-2 Deep Drive COMP + AW + FUZZ + P.EQ + NS
P0-3/U0-3 5th Metal DIST + P.S + NS
P0-4/U0-4 Pedal Ringer OD + R.M + NS
81
Patch List u1-1 – u0-4
Bank-No. Name Effects
u1-1 No.1BassPlayer PRE AMP + CHORUS + SPEAKER + NS

u1-2 Raney Wah WAH + PRE AMP + SPEAKER + NS
u1-3 Liverpool COMP + PRE AMP + SPEAKER + NS
u1-4 Graham Slap FUZZ + PH + PRE AMP + SPEAKER + COMP + NS
u2-1 Rasta Rumble COMP + PRE AMP + SPEAKER + P.EQ + NS
u2-2 Solid Shooter COMP + PRE AMP + SPEAKER + P.EQ + NS
u2-3 FloatingWarmth COMP + PRE AMP + SPEAKER + NS + HRM + CHORUS
u2-4 Octave Talker HMN + COMP + OCT + TW + PRE AMP + SPEAKER + P.EQ + NS
u3-1 Slow Strings SG + CHORUS + OD + NS + DLY
u3-2 Roto Drive COMP + PRE AMP + SPEAKER + NS + 2CE
u3-3 Wah-ctaver mb OCT + WAH + P.EQ + NS
u3-4 Resonance Funk COMP + FUZZ + SYN + NS
u4-1 Billy Solo COMP + PRE AMP + HRM + SPEAKER + NS
u4-2 PunchieChorus P.EQ + NS + 2CE
u4-3 Saw Oct Below SYN + COMP + CHORUS + PRE AMP + SPEAKER + NS
u4-4 Out Of Tune R.M + NS + VIB + CHORUS + REV
u5-1 Berlin Chorus P.EQ + NS + CHORUS
u5-2 Glass Backward SG + PRE AMP + SPEAKER + P.EQ + NS + PH + REV
u5-3 Pitch Syns COMP + R.M + P.EQ + NS + REV
u5-4 Square SynBass FUZZ + NS + SYN + CHORUS
u6-1 Karn Fretless P.S + PRE AMP + SPEAKER + NS
u6-2 Geddy's PRE AMP + COMP + SPEAKER + NS + CHORUS
u6-3 Deep Thunder OD + PRE AMP + P.EQ + NS
u6-4 Synth Faker HMN + COMP + OCT + TW + P.EQ + NS
u7-1 Tap Tremolo COMP + NS + T/P + CHORUS + DLY
u7-2 Detune Chorus COMP + ENH + NS + P.S
u7-3 De Toon Town COMP + ENH + PRE AMP + P.EQ + NS + P.S + SOS
u7-4 OverdrivenSyn HMN + COMP + OCT + TW + OD + P.EQ + NS
u8-1 Sweet Warmth P.EQ + NS + CHORUS + REV
u8-2 Rock Solid PRE AMP + SPEAKER + P.EQ + NS
u8-3 Firmwhere P.EQ + NS + T/P
u8-4 Auto W-00-10 COMP + ASL + PRE AMP + SPEAKER + NS
u9-1 Brite Isle COMP + PRE AMP + P.EQ + NS
u9-2 Toobular Daze FL + COMP + PRE AMP + P.EQ + NS
u9-3 Progressive COMP + ASL + OD + P.EQ + NS + CHORUS
u9-4 SynthHold&Bend OD + NS + SYN + CHORUS
u0-1 Mod Squad COMP + ENH + P.EQ + NS + P.S + CHORUS + SOS
u0-2 Fieldy's PRE AMP + COMP + P.EQ + NS
u0-3 Funkadelicious TW + COMP + OD + P.EQ + PRE AMP + SPEAKER + NS
u0-4 Little Glay R.M + COMP + FUZZ + P.EQ + NS + HMN + CHORUS
82
For EU Countries
CAUTION
Danger of explosion if battery is
Apparatus containing incorrectly replaced.
Replace only with the same or
Lithium batteries equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
ADVARSEL! VARNING
Lithiumbatteri - Eksplosionsfare ved Explosionsfara vid felaktigt batteribyte.
fejlagtig håndtering. Använd samma batterityp eller en
Udskiftning må kun ske med batteri af ekvivalent typ som rekommenderas av
samme fabrikat og type. apparattillverkaren.
Levér det brugte batteri tilbage til Kassera använt batteri enligt
leverandøren. fabrikantens instruktion.
ADVARSEL VAROITUS
Eksplosjonsfare ved feilaktig skifte av Paristo voi räjähtää, jos se on
batteri. virheellisesti asennettu.
Benytt samme batteritype eller en Vaihda paristo ainoastaan
tilsvarende type anbefalt av laitevalmistajan suosittelemaan
apparatfabrikanten. tyyppiin. Hävitä käytetty paristo
Brukte batterier kasseres i henhold til valmistajan ohjeiden mukaisesti.
fabrikantens instruks joner.
For EU Countries
This product complies with the requirements of European Directive 89/336/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
G601731001 ’00-xx-xx-xxx

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Owner’s Manual

Thank you, and congratulations on your choice of the BOSS

Before using this unit, carefully read the sections entitled:

Additionally, in order to feel assured that you have gained a

■ Printing Conventions in This Manual

Copyright © 2002 BOSS CORPORATION

Power Supply Memory Backup

Controlling Effects with the GT-6B Pedals, Chapter 10

Chapter 6 Setting the Program Change Map .........................................69

Outputting Sounds Without Effects Applied (Bypass) .......55 Factory Settings...............................................................................72

Powerful COSM Modeling Effects Built-In Quick Settings

Internal Analog Bypass Circuitry A Wide Variety of Effects

1 Display ■ COMP/LIMITER (p. 25)

6 COMP/LIMITER ON/OFF Button ■ PREAMP/SPEAKER (p. 29)

■ CHORUS (p. 27)

15 REV/DLY ON/OFF Button 26 SPEAKER ON/OFF Button

■ WAH (p. 31) 36 NAME/NS/MASTER Button (p. 21, 44)

28 FX-1 ON/OFF Button

■ FX-2 (p. 35) 39 BANK/PATCH Pedals

30 PATCH/VALUE Dial 41 BYPASS/CTL (CONTROL) Pedal (p. 46, 55)

43 EXP PEDAL SW (Expression Pedal Switch)

1 INPUT Jack 7 DIGITAL OUT Connector (p. 58)

2 OUTPUT LEVEL Knob 8 SUB EXP PEDAL/SUB CTL 1,2 Jack

5 OUTPUT Jacks (XLR) 11 AC Adaptor Jack

6 SELECT (Output Select) Switch (p. 55) 12 Cord Hook

For more on how to use the OUTPUT (XLR) connectors,

* When using the unit with an expression pedal connected to the

1. Before you turn the power on, make sure of the

When using the unit with a foot switch connected to the

3. Next, turn on the power to the bass amp (power amp).

Adjusting the Output Level

always match what appears in the manual.

What is a Patch? Numbers

“banks,” with each bank containing four patches.

Preset Bank 10 (P0)

Preset Banks (P1–P0)

* Although you cannot overwrite the Preset patches, you can

Turning Each of the Effects in a Turning Off the Power

3. Turn the GT-6B’s power off.

About the Information Appearing

Number Patch Name

If the Patch Does Not Switch

COMP SUS (Compressor sustain)

COMP/LIMITER LEVEL SPEAKER

* By pressing [TYPE VARIATION], you can then switch the Q

Adding and Omitting Effects Switching Effects with the Pedals

2. Press the ON/OFF button again to switch the effect on

3. To select another effect to be switched on and off,

4. Press [EXIT] to return to the Play screen.

Setting the Effect Tones Making More Detailed Settings

You can jump to the most important parameters by

6. Press [EXIT] to return to the Play screen.

If you want to save a tone for which you have made

Using the Pedal Effects (Wah, Pedal Bend

3. Press PARAMETER [ ][ ] to select the FX

5. Press [EXIT] to return to the Play screen.

If you want to save a tone for which you have made

Ring Modulator Naming Tones

2. Turn on the FX-1 effect (“Adding Effects”; p. 18).