Guitar Effects Processor

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Forty-four effects categories are built into the GT-8. Up to 13 effect blocks can be used simultaneously to create complex textures and routings. All of your FX bases are covered compressors, reverbs, choruses, EQs, COSM-modeled wahs, and much more. There are 200 preset patches built into the GT-8, plus 140 user patches for storing your custom amp/effects creations. As a special bonus, theres a selection of synth waves onboard, plus sitar and an acoustic processor. From subtle to sizzling, where will you take your tone? ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Another area where the GT-8 stomps the competition is in its powerful effects routing. Internally, the 13 FX blocks can be configured in any order you desire (for example, you can freely assign an equalizer after a distortion effect or before it). And if youd care to take your tone outside the box and incorporate some external effects into the GT-8s signal path, you can do so with the Ext Loop send and return. Flexibility in routing is the name of the game. ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------The GT-8 is stocked with enough I/O options to satisfy even the most demanding pro. In addition to its stereo analog outs, it offers a 24-bit coaxial output for ultra-clean digital transfer, an Amp Control jack for switching between two amp channels on an external amp, an external expression/control pedal input, effects send and returns, MIDI in and out, and a headphone output.
BOSSs Flagship Multi-Effects Floor Processor
Double your power with BOSSs new GT-8 floor-based mega processor. Loaded with twin COSM modeling engines, it brings unprecedented performance and tonal control to the stage and studio. The Dual COSM amp section provides two discrete amp channels; you can layer and manipulate each engine independently to create wildly expressive sounds. Thanks to the Solo Switch function, lead sounds can be immediately activated perfect for ripping through the mix. BOSSs mega-popular GT-6 was a smash hit with guitarists, now the GT-8 is destined to become the go-to box for gigging and recording guitarists alike.
-----------------------------------------------------------------------------------------------------------------------------------The GT-8 boasts the latest top-quality COSM amp models with complete dual channel configuration. Explore new sonic dimensions by combining two amp models, or by switching between them during performance. Select a high-gain amp such as Metal Stack and set it for deadly distortion. Then add clarity to the raw power by using the Smooth Drive model on the other channel. Prepare to be impressed as you tap into the expressive Dynamic mode, where two channels can be controlled based on picking strength. Transition smoothly from clean to mean by simply picking harder or softer.

Single Dual Mono Dual L/R Dynamic

Dual COSM Amps

Extreme Effects

Effects Chain

----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Step into the spotlight with the new Solo Switch feature. Each of the 46 COSM amp models contains a specially programmed variation thats optimized for soloing. Simply click the Solo switch to activate the lead tone, and off you go its like having a separate solo channel on every COSM amp!

Solo Switch

Connectivity
*Product pictured is a prototype model. Actual product appearance may be subject to change.
BOSSs most powerful floor-based processor! Dual COSM Amp engine allows two different amp types to be assigned to the two channels Amp channels can be switched, layered, or panned in real-time; Dynamic mode allows channel switching by picking dynamics 200 stunning preset patches and 140 user patches; 44 effects categories, up to 13 simultaneous FX blocks
User configurable effect chain; any effect can be in any order in the signal path; independent External Effects loop section for inserting external effects anywhere in the signal patch Solo Switch on the COSM amp section for instant lead tone Amp Control jack for switching external guitar amp channels 24-bit converters and coaxial digital output for high-resolution recording applications

GT-8 Specifications

AD Conversion 24 bit + AF method DA Conversion 24 bit Sampling Frequency 44.1 kHz Program Memories 340: 140 (User) + 200 (Preset) Nominal Input Level INPUT: -10 dBu, RETURN: -10 dBu Input Impedance INPUT: 1 M , RETURN: 220 k Nominal Output Level OUTPUT: 0 dBu, SEND: -10 dBu Output Impedance OUTPUT: 2 k, SEND: 2 k Digital Output EIAJ CP1201, S/P DIF Dynamic Range 100 dB or greater (IHF-A) Display 16 characters, 2 lines (backlit LCD), 2 characters, 7 segment LED Connectors INPUT jack, OUTPUT jacks L (MONO)/R, PHONES jack, SEND jack, RETURN jack, DIGITAL OUT connector (coaxial), AMP CONTROL jack, SUB EXP PEDAL/SUB CTL PEDAL1,2 jack, MIDI connectors IN/OUT, AC Adaptor jack Power Supply AC 14 V; Supply AC adaptor (BOSS BRC series) Current Draw 650 mA Dimensions 515 (W) x 261 (D) x 75 (H) mm, 20-5/16 (W) x 10-5/16 (D) x 3 (H) inches Weight 4.8 kg/ 10 lbs 10 oz (excluding AC Adaptor) Accessories AC Adaptor (BRC series), Owners Manual Options Foot Switch: FS-5U, FS-5L, Expression Pedal: EV-5 (Roland), FV-300L + PCS-33 (Roland), Foot Switch Cable: PCS-31 (Roland), (1/4 inches Phone Plug (stereo) - 1/4 inches Phone Plug (mono) x 2) * 0 dBu = 0.775 Vrms * The specifications are subject to change without notice.

ADVARSEL

Eksplosjonsfare ved feilaktig skifte av batteri. Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten. Brukte batterier kasseres i henhold til fabrikantens instruks joner.

VAROITUS

Paristo voi rjht, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hvit kytetty paristo valmistajan ohjeiden mukaisesti.
Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information sheet....
Never use or store the unit in places that are: Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are Damp (e.g., baths, washrooms, on wet floors); or are Humid; or are Exposed to rain; or are Dusty; or are Subject to high levels of vibration....
This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist....
For EU Countries This product complies with the requirements of European Directive 89/336/EEC.

For the USA

Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.
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.

Use a reasonable amount of care when using the units buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.
Never strike or apply strong pressure to the display.
When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.
When connecting / disconnecting all cables, grasp the connector itselfnever pull on the cable. This way you will avoid causing shorts, or damage to the cables internal elements.
To avoid disturbing your neighbors, try to keep the units volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

Maintenance

For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.
When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.
Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.
Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.
Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions. Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

Contents

USING THE UNIT SAFELY. 2 IMPORTANT NOTES. 4 Main Features.. 8
Storing Settings by Effect (User Quick Settings)... 24 Copying the PREAMP/SPEAKER Settings to Another Channel.. 25
Names of Things and What They Do. 9
Front Panel... 9 Rear Panel... 12
Chapter 4 Introduction to Effects and Parameters..26

PREAMP/SPEAKER (Preamp/Speaker Simulator).. 26 OVERDRIVE/DISTORTION.. 29 DELAY... 30 Using the HOLD (Hold Delay)..31 CHORUS.. 32 REVERB.. 33 COMP (Compressor).. 33 WAH... 34 FX-1/FX-2... 34 ACS (Advanced Compressor)..35 LM (Limiter)...35 TW (Touch Wah)..35 AW (Auto Wah)...36 TM (Tone Modify)..36 GS (Guitar Simulator)..36 TR (Tremolo)...37 PH (Phaser)...37 FL (Flanger)...38 PAN...38 VB (Vibrato)...38 UV (Uni-V)..39 RM (Ring Modulator)..39 SG (Slow Gear)..39 DF (Defretter)..39 STR (Sitar Simulator)..40 FB (Feedbacker)...40 AFB (Anti-feedback)...41 HU (Humanizer)..41 SL (Slicer)...41 WSY (Wave Synth)...42 SEQ (Sub Equalizer)...42 FX-2... 43 HR (Harmonist)...43 Creating Harmonist Scales (User Scale).44 PS (Pitch Shifter)..44
Chapter 1 Playing Sounds.. 13
Making the Connections... 13 Turning on the Power.. 14 Adjusting the Output Level. 14
Making Settings for a Connected Device (Amp) (Output Select)... 14
Turning Off the Power.. 15
Chapter 2 Creating Your Own Favorite Tones (Patches). 16
What is a Patch?... 16 How to Switch Patches (Patch Change).. 16 Switching Only the Number..16 Switching the Bank and Number..17 Adjusting the Tones with the Knobs. 17 Turning the Effect On and Off.. 18 Setting the Effects Simply (QUICK FX).. 18 Calling Up Existing Patch Settings.. 19 Making More Precise Effect Settings.. 20 Changing the Connection Order of Effects (Effect Chain). 20 Naming Patches (Patch Name).. 21
Chapter 3 Saving the Tones You Have Created.. 22
Storing Patches (Patch Write).. 22 Copying Patches (Patch Copy).. 22 Exchanging Patches (Patch Exchange). 23 Initializing Patches.. 23 Initializing Patches with a Tone Similar to What You Have in Mind.. 24
PB (Pedal Bend)...45 OC (Octave)...45 RT (Rotary)...45 2CE (2 x 2 Chorus)..46 AR (Auto Riff)...46 Creating Original Phrases (User Phrase).47 SYN (Guitar Synth)..47 AC (Acoustic Processor)..48 SH (Sound Hold)...49 SDD (Sub Delay)..49 EQ (Equalizer)... 49 LOOP (External Effects Loop).. 50 AMP CTL (Amp Control)... 50 MASTER.. 51 NS (Noise Suppressor)..51 Patch Level...51 Master BPM...51 FV (Foot Volume)..51 FX CHAIN (Effect Chain)... 52 NAME (Patch Name).. 52 ASSIGN... 52
Chapter 6 Creating Original Effects Types (Customize).63
Customizing the COSM Preamps. 63 Customizing the Speakers.. 64 Customizing Overdrive/Distortion.. 65 Customizing Pedal Wah... 66
Chapter 7 Other Features..67
Controlling Various Parameters Through the Guitar Volume. 67 Switching Preamp Channels A and B Dynamically with the Guitar Volume.67 Using the Guitar Volume to Change Selected Effect Parameters (Assign Source)..67 Adjusting the Overall Sound to Match the Usage Environment (Global). 68 Global EQ...69 Total NS..69 Total REVERB...69 Adjusting the Display Contrast (LCD Contrast).. 70 Adjusting the Tone to Suit the Guitar Being Used.. 70

Switching the Bank and Number

fig.02-070

Knob TYPE

PREAMP/SPEAKER

* After pressing [TYPE VARIATION], you can select variations by turning the knob to the type you want.
Adjusts the degree of preamp distortion. The distortion gets stronger as the knob is turned to the right. Adjusts the sound quality of the preamps low-frequency range. The low frequencies are boosted as the knob is turned to the right. Adjusts the sound quality of the preamps midrange. The midrange frequencies are boosted as the knob is turned to the right. Adjusts the sound quality of the preamps high-frequency range. The high frequencies are boosted as the knob is turned to the right. Adjusts the sound quality of the preamps Ultra-high-frequency range. The high frequencies are boosted as the knob is turned to the right. Adjusts the preamp volume level. The volume increases as the knob is turned to the right. Selects the type of overdrive or distortion.

Chapter 2

MIDDLE
1. Press a BANK pedal. The bank switches, then the indicator for the numbered pedal that was active before the BANK pedal was pressed starts flashing, indicating that the GT-8 is ready for selection of the patch number (at this stage, however, the patch is not switched yet). 2. Select the number of the patch you want to switch to by pressing the corresponding number pedal. The indicator for the selected number pedal lights up, and the GT-8 switches to that patch.

TREBLE

PRESENCE

OVERDRIVE/DISTORTION

Adjusts the degree of overdrive or distortion. The distortion appears stronger as the knob is turned to the right. Adjusts the overdrive/distortion volume level. The volume increases as the knob is turned to the right. Adjusts the number of times the delay is repeated. The number of repeats increases as the knob is turned to the right. Adjusts the volume level of the delay sound. The delay sound increases as the knob is turned to the right. Adjusts the volume level of the chorus sound. The chorus sound increases as the knob is turned to the right. Adjusts the volume level of the reverb sound. The reverb sound increases as the knob is turned to the right.
If the Patch Does Not Switch
On the GT-8, you cannot switch patches in any screen other than the Play screen. Press [EXIT] to return to the Play screen (p. 14).

Parameter/ Range

Parameter/ Range 4X10
This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers. This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers. This is a double stack of two cabinets, each with four 12-inch speakers. Custom speaker 1 Custom speaker 2 This setting selects the simulated mic type. General dynamic mic used for instruments and vocals. Optimal for use in miking guitar amps. Dynamic mic with extended low end. Small condenser mic for use with instruments. Condenser mic with flat response. Simulates a mic with perfectly flat response. Produces a sonic image close to that of listening to the sound directly from the speakers (on site). Simulates the distance between the mic and speaker.

Type *1

refer to Type List This sets the type of the guitar preamp.

Gain *1

0120 Adjusts the distortion of the amp. Adjusts the tone for the low frequency range. Adjusts the tone for the middle frequency range. Adjusts the tone for the high frequency range. Adjusts the tone for the ultra high frequency range. Adjusts the volume of the entire preamp.
4X12 8X12 Custom1 Custom2

Bass *1

Middle *1

Mic Type *1

see below

Treble *1

DYN57 DYN421 CND451 CND87 FLAT

Presence *1

Level *1
0100 * Be careful not to raise the Level setting too high.

Chapter 4

Bright *1
Off, On Turns the bright setting on/off.
Mic Dis. (Mic Distance) *1

Off Mic, On Mic

Bright is not used.

Off Mic

This setting points the mic away from the speaker.
Bright is switched on to create a lighter and crisper tone. * Depending on the Type setting, this may not be displayed.

On Mic

Provides conditions whereby the mic is directed more towards the speaker.

Gain SW *1

Low, Middle, High Provides for selection from three levels of distortion: Low, Middle, and High. Distortion will successively increase for settings of Low, Middle and High.
Mic Pos. (Mic Position) *1
Center, 110 This simulates the microphone position.

Center

Simulates the condition that the microphone is set in the middle of the speaker cone.
* The sound of each Type is created on the basis that the Gain is set to Middle. So, normally set it to Middle.

Solo Sw *1

Off, On Pressing [SOLO] switches the tone to one suitable for solos. Adjusts the volume level when the Solo switch is ON. Select the speaker type.

Modulate

This delay adds a pleasant wavering effect to the sound.
Off, On Turns the DELAY Effect on/off. This selects which type of delay.
Up to 2.8 seconds of performance content is recorded, then played back repeatedly. You can also layer this as you perform something else, then record these together (overdub), allowing you to produce what is called sound-on-sound.
Delay sound of 0 to 1800 ms delay time.

Delay Time

0 ms1800 ms, BPM BPM This determines the delay time.
This delay is specifically for stereo output. This allows you to obtain the tap delay effect that divides the delay time, then deliver them to L and R channels.

fig.04-050

Tap Time

OUTPUT L OUTPUT R

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 51) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the time to twice or four times the time length of the BPM when the set time is increased). When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen. Adjusts the delay time of the right channel delay. This setting adjusts the R channel delay time relative to the L channel delay time (considered as 100%). Adjusts the amount of feedback.

Feedback

Stereo
The direct sound is output from the left channel, and the effect sound is output from the right channel.

0%100% (Type = Pan)

0100 Feedback is returning a delay signal to the input. A higher value will increase the number of the delay repeats.

Dual Series

This is a delay comprising two different delays connected in series. Each delay time can be set in a range from 0 ms to 900 ms.

fig.04-051

High Cut (High Cut Filter)
700 Hz11.0 kHz, Flat This sets the frequency at which the high cut filter begins to take effect.
* The FEEDBACK and LEVEL knobs at the top of the panel are enabled for Dly2.

Dual Parallel

This is a delay comprising two delays connected in parallel. Each delay time can be set in a range from 0 ms to 900 ms.

fig.04-052

This allows you to get a mild effect sound by cutting the high-end component above the set frequency. When it is set to Flat, the high cut filter is off or has no effect.

0100 Adjusts the depth of the chorus effect. To use it for doubling effect, set the value to 0.

Pre Delay

0.0 msec40.0 msec Adjusts the time needed for the effect sound to be output after the direct sound has been output.
By setting a longer pre delay time, you can obtain an effect that sounds like more than one sound is being played at the same time (doubling effect).

Low Cut (Low Cut Filter)

Flat, 55 Hz800 Hz This sets the frequency at which the low cut filter begins to take effect.
This lets you cut the low-end component below the set frequency to create a clear, distinct low end, thereby bringing out the high end of the effect. When Flat is selected, the low cut filter will have no effect.
This allows you to get a mild effect sound by cutting the high-end component above the set frequency. When Flat is selected, the high cut filter will have no effect.
0100 Adjusts the volume of the effect sound.
This effect adds reverberation to the sound. Parameter/ Range Explanation
This is an effect that produces a long sustain by evening out the volume level of the input signal. You can switch it to a limiter to suppress only the sound peaks and prevent distortion. Parameter/ Range Explanation
Off, On Turns the REVERB effect on/off. This selects the reverb type. Various different simulations of space are offered.
Off, On Turns the COMP effect on/off. This selects whether the compressor or limiter is used. Adjusts the range (time) over which lowlevel signals are boosted. Larger values will result in longer sustain.

Ambience

Simulates an ambience mic (off-mic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.

Compressor, Limiter

Sustain (Type= Compressor)
Simulates the reverberation in a small room. Provides warm reverberations.
Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
Attack (Type= Compressor)
Adjusts the strength of the picking attack when the strings are played.
Simulates the reverberation in a concert hall. Provides warm reverberations.
Higher values result in s sharper attack, creating a more clearly defined sound.
Threshold (Type= Limiter)
0100 Adjust this as appropriate for the input signal from your guitar.
Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.

Spring

This adjusts the tone as a sub equalizer. A parametric type is adopted for the high-middle and low-middle range. Parameter/ Range Explanation
Saw, Square Selects a wave type which the synth sound is based. ). ).
Creates a synth sound with a saw waveform (

Square

Creates a synth sound with the square waveform (
Cutoff Freq (Cutoff Frequency)
0100 Adjusts the frequency where the harmonics contents of the sound are cut off. This adjusts the amount of resonance (and the tone coloration) in the synth sound.

Low EQ

-20 dB+20 dB Adjusts the low frequency range tone. Specify the center of the frequency range that will be adjusted by the Low-Middle EQ. Adjusts the width of the area affected by the EQ centered at the Low-Middle Frequency.

Low-Middle Frequency

20.0 Hz10.0 kHz
The higher the value, the more the synth tone coloration is emphasized.

Low-Middle Q

FLT.Sens (Filter Sensitivity)
0100 This adjusts the amount of filtering applied in response to the input. This sets the time needed for the filter to finish its sweep. Adjusts the depth of the filter.

FLT.Decay (Filter Decay)

Higher values will narrow the area.

Low-Middle EQ

-20 dB+20 dB Adjusts the Low-Middle Frequency range tone. Specify the center of the frequency range that will be adjusted by the High-Middle EQ. Adjusts the width of the area affected by the EQ centered at the High-Middle Frequency.

FLT.Depth (Filter Depth)

0100 When the value is higher, the filter will change more drastically.

High-Middle Frequency

Synth Level
0100 Adjusts the volume of the synth sound. Adjusts the volume of the direct sound.

High-Middle Q

High-Middle EQ
-20 dB+20 dB Adjusts the High-Middle Frequency range tone. Adjusts the high frequency range tone. This sets the frequency at which the high cut filter begins to take effect.

High EQ

-20 dB+20 dB
-20 dB+20 dB Adjusts the volume after the equalizer.
You can use the following effects in FX-2 in addition to whatever effect is shared by FX-1 and FX-2. Effect HR PS PB OC RT 2CE AR SYN AC SH SDD Parameter/ Range
harmonist Pitch Shifter Pedal Bend Octave Rotary 2 x 2 Chorus Auto Riff Guitar Synth Acoustic Processor Sound Hold Sub Delay p. 43 p. 44 p. 45 p. 45 p. 45 p. 46 p. 46 p. 47 p. 48 p. 49 p. 49

Pre Delay *1

0 ms300 ms, BPM BPM Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally you can leave this set at 0ms.
0100 Adjusts the feedback amount of the harmonist sound. Adjusts the volume of the harmony sound.

C (Am)B (G#m)

Off, On Switches the FX-2 effect on/off. Selects the effect to be used.
Specify the key of the song you are playing. By specifying the key, you can create harmonies that fit the key of the song.
The key setting corresponds to the key of the song (#, b) as follows.

fig.04-070

FX2 Select

p. 34, see above

HR (Harmonist)
Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmonics based on diatonic scales. * Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Parameter/ Range
0100 Adjusts the volume of the direct sound.
1-Voice, 2-Mono, 2-Stereo This selects the number of voices for the pitch shift sound (harmony).
*1 HR1 and HR2 are set individually.

1-Voice

One-voice pitch-shifted sound output in monaural.

2-Mono

Two-voice pitch-shifted sound (HR1, HR2) output in monaural.

2-Stereo

Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels.

Harmony *1

-2 oct+2 oct, Scale 1Scale29 This determines the pitch of the sound added to the input sound, when you are making a harmony.
It allows you to set it by up to 2 octaves higher or lower than the input sound. When the scale is set to Scale 1Scale29, this parameter sets the user scale number to be used.
Creating Harmonist Scales (User Scale)
When Harmony is set to any value from -2oct to +2oct, and the harmony does not sound the way you intend, use a User scale. You can set any of 29 different User scales. 1. Press [FX-2], then press PARAMETER [ that FX Select is displayed. ][ ] so

PS (Pitch Shifter)

This effect changes the pitch of the original sound (up or down) within a range of two octaves. Parameter/ Range Explanation
1-Voice, 2-Mono, 2-Stereo Selects the number of voices for the pitch shift sound.
2. Rotate the PATCH/VALUE dial to select HR. 3. Press PARAMETER [ ][ ] to select HR1 Harm (or HR2 Harm), then rotate the PATCH/ VALUE dial to select a setting from Scale 1-29. 4. Press PARAMETER [ ] a number of times so that the User scale settings screen is displayed.

fig.04-080d

Two-voice pitch-shifted sound (PS1, PS2) output in monaural.
Two-voice pitch-shifted sound (PS1, PS2) output through left and right channels.

Setting the Operation of the CTL Pedal (CTL Pedal Function) (p. 54) Setting the Operation of the EXP Pedal Switch (EXP Switch Function) (p. 54) Setting the Operation of the EXP Pedal (EXP Pedal Function) (p. 54)
Setting the Operation of the GT-8 and External Controllers (Assign Variable) (p. 57)
Using External Controllers With the Same Functions Assigned at All Times
You can have settings assigned to a foot switch (FS-6/FS-5U) or expression pedal (EV-5) connected to the rear panels EXP PEDAL/CTL1,2 jacks as common settings applied globally to the GT-8.
When using ASSIGN CTL/EXP and ASSIGN VARIABLE, set the following settings to Assignable (or Auto). ASSIGN CTL/EXP and ASSIGN VARIABLE do not function when a different setting is selected. CTL Pedal Function (p. 54) EXP Switch Function (p. 54) EXP Pedal Function (p. 54) Sub CTL 1, 2 Function (p. 55) Sub EXP Pedal Function (p. 56)
Setting the Operation of External Foot Switches (Sub CTL 1, 2 Function) (p. 55) Setting the Operation of an External EXP Pedal (Sub EXP Pedal Function) (p. 56)
Setting the Operation of the CTL Pedal (CTL Pedal Function) Setting the Operation of the EXP Pedal Switch (EXP Switch Function)
This applies the functions of the CTL pedal and EXP pedal switch globally to the GT-8.

fig.05-009

Value Chorus On/Off Reverb On/Off Amp Ctl On/Off MANUAL On/Off TUNER On/Off Master BPM (TAP) Delay Time (TAP) MIDI Start/Stop MMC Play/Stop Patch Level Inc1 Patch Level Inc2 Patch Level Dec1 Patch Level Dec2 Hold Delay Stop
Switches the CHORUS on and off. Switches the REVERB on and off. Switches the AMP CTL on and off. Switches the MANUAL on and off. Switches the TUNER/BYPASS on and off. Used for tap input of the Master BPM. Used for tap input of the delay time. Controls the Start/Stop of external MIDI devices (such as sequencers). Controls the Play/Stop of external MIDI devices (such as hard disk recorders). Increases the patch volume level by 10 units. Increases the patch volume level by 20 units. Decreases the patch volume level by 10 units. Decreases the patch volume level by 20 units. When Hold (p. 30) is selected for the DELAY type, the performance is instantly stopped. Switches the preamp SOLO, for both channel A and B, on and off. * If one of the two channels is off, both will be turned on.

Solo A&B On/Off

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that CTL PDL Func (CTL pedal) or EXP SW Func (EXP pedal switch) is displayed.

fig.05-010d

Setting the Operation of the EXP Pedal (EXP Pedal Function)
This determines the function of the EXP pedal that applies globally to the GT-8.
2. Use the PATCH/VALUE dial to select the controller function. 3. Press [EXIT] to return to the Play screen. Value Assignable Preamp Ch A/B Solo On/Off FX-1 On/Off Comp On/Off Wah On/Off Loop On/Off OD/DS On/Off Preamp On/Off EQ On/Off FX-2 On/Off Delay On/Off Explanation

1. Press [OUTPUT SELECT], then press PARAMETER [ ][ ] so that the Global setting screen.

fig.07-040d

(Example)
2. Rotate the PATCH/VALUE dial to change the settings value. 3. Repeat Steps 1 and 2 as needed. 4. Press [EXIT] to return to the Play screen.

Global EQ

This adjusts the tone regardless of the equalizer on/off settings of individual patches. Parameter/ Range Explanation

Total REVERB

This has no effect on patches in which reverb is turned off. Parameter/ Range Explanation

Rev Level

fig.07-046d

fig.07-042d

fig.07-043d
Adjusts the tone in the low frequencies.

0%200%

Adjusts the reverb level settings for each patch in a range from 0% to 200%.

Mid EQ (Middle EQ)

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.

fig.07-044d

Adjusts the tone in the middle frequencies.
Mid Freq (Middle Frequency)

20 Hz10.0 kHz

Specify the center of the frequency range that will be adjusted by the Mid EQ.

fig.07-045d

Adjusts the tone in the high frequencies.

Total NS

This has no effect on patches in which the noise suppressor is turned off.

fig.07-047d

NS Thres (Noise Suppressor Threshold)
Adjusts the noise suppressor threshold level settings for each patch in a range from -20 dB to +20 dB.
This adjustment is an effective way to get equivalent output with each of your guitars when you are connecting more than one guitar. * Set to 0 dB when using this in individual patch settings.
Adjusting the Display Contrast (LCD Contrast)
Depending on where the GT-8 is placed, the display (on the right) may become difficult to read. If this occurs, adjust the display contrast.

fig.07-151

Adjusting the Tone to Suit the Guitar Being Used
The GT-8 includes a function used for adjusting the tone to match the connected guitar. This is effective when you are connecting a different guitar from the one used when the patch was created.
When adjusting the input level and input presence, the input signals for all patches are affected. Note that the nuances of the effect sounds that occur in response to guitar volume may change, particularly with patches in which effects are controlled by the guitar volume.

fig.07-041

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that SYS: LCD Contrast is displayed.

fig.07-160d

Setting the System Preamp
When the Preamp Mode is set to System, preamp settings made by adjusting the panel controls are treated as system preamp settings. The stored content is updated each time the settings are changed.
Patches are changed normally. The unit switches to the subsequent patch without any carry-over of the decay from the previous patchs reverb or chorus.

Smooth

The unit switches to the subsequent patch with the decay from the previous patchs reverb or delay continued after the switch is made. * For smooth switching, patches may be switched with one tempo delayed.
Limiting the Banks That Can Be Switched (Bank Extent)
By setting an upper limit to the banks, thus limiting the range of banks that can be switched, you can set the GT-8 so that only the patches you need can be selected.

fig.07-161

Setting the Timing Used for Switching Patches (Bank Change Mode)
This sets the timing with which the GT-8 switches to the next patch when switching patches with the pedals.

fig.07-171

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that SYS: BANK Extent is displayed.

fig.07-170d

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that SYS: Bnk Chg Mode is displayed.

fig.07-180d

2. Rotate the PATCH/VALUE dial to set the upper limit for the banks. Valid Settings: 185 3. Press [EXIT] to return to the Play screen.
2. Rotate the PATCH/VALUE dial to set the timing for switching patches. Value Immediate Explanation
The patch switches instantly when a BANK pedal or any of the number pedals is pressed. Although the indication in the display is updated to reflect the change in the bank when a BANK pedal is pressed, the patch will not change until a number pedal has been pressed.

Wait for a NUM.

Changing the EXP Pedal Mode When Patches are Switched (EXP Pedal Hold)
This setting determines whether or not the Assigns (p. 57) operational status is carried over to the next patch when patches are switched. * Expression Pedal Hold does not function if the Assign Source mode is set to Toggle (whereby the value is toggled between Min and Max each time the pedal is pressed).

fig.07-181

Selecting the PATCH/VALUE Dial Function (Dial Function)
This setting determines whether or not rotating the PATCH/ VALUE dial switches the patches.

Remotely Controlling the GT-8 Using an External MIDI Device

Switching Patch Numbers

When the GT-8 receive Program Change messages from the external MIDI device, its patches are simultaneously switched.

Operating From the GT-8

Outputting Program Change Messages
When a patch is selected on the GT-8, a Program Change message corresponding to the patch number is transmitted simultaneously. The external MIDI device then switches its settings according to the Program Change message it receives.

fig.08-010

You can set up the correspondence between MIDI Program Change messages and the GT-8s patches using the Program Change Map (p. 83). You may need to work on these correspondences when you want to line up some effects in combination with other MIDI devices. The connections shown in the figure below are for a sequencer automatically performing the backing as a guitar is being played. The patches are switched automatically when the program numbers corresponding to the patches are input along with the performance data at the points where you have determined the GT-8 patches are to be switched.

fig.08-020

MIDI IN

MIDI OUT

Outputting Control Change Messages
Data describing the actions of the CTL pedal, EXP pedal, EXP 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.
Receiving Control Change Messages
You can control specified parameters during a performance by having the GT-8 receive Control Change messages. Parameters to be controlled are set with Assign Variable (pp. 57).

Transmitting Data

You can use Exclusive messages to transmit the settings for effect sounds and other content stored in the GT-8 to other MIDI devices. For example, you can provide another GT-8 with the same settings, and save effect sound settings to a sequencer or other device.

Chapter 8

Receiving Data
The GT-8 can receive data transmitted from another GT-8, as well as data thats been stored on a sequencer.
Making the Settings for MIDI Functions
Here is a description of the GT-8s MIDI functions. Set them as needed, depending on the intended use.

fig.08-021

fig.08-050d
MIDI TX Channel (MIDI Transmit Channel)
116, Rx This sets the MIDI Transmit channel used for transmitting MIDI messages. When set to Rx, this MIDI channel is same as the MIDI Receive channel. * This is set to Rx when shipped from the factory.

MIDI Device ID

fig.08-060d