s CLEAN WITH A SOFT, DRY CLOTH
Never use solvents such as benzine or thinner to clean the unit, since these will damage the finish. Wipe clean with a soft, dry cloth. If necessary, use a soft, clean cloth slightly moistened with a diluted, mild detergent making sure to wipe the case off again with a dry cloth.
s ELECTRICAL INTERFERENCE s DO NOT OPEN THE CASE OR ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer all maintenance to qualified Yamaha service personnel. Opening the case and/or tampering in any way with the internal circuitry will void the warranty. Since the GW50 contains digital circuitry, it may cause interference and noise if placed too close to TV sets, radios or similar equipment. If such a problem occurs, move the GW50 further away from the affected equipment.

s MIDI CABLES

When connecting the GW50 to other MIDI equipment, be sure to use only high-quality cables made especially for MIDI data transmission. Also avoid cables longer than 15 meters, since long cables can result in data errors.
s MAKE SURE POWER IS OFF BEFORE MAKING OR REMOVING CONNECTIONS
Always turn the power off prior to connecting or disconnecting cables.
s HANDLE ALL CONNECTIONS CAREFULLY
Always be careful to connect and disconnect all cables and cords by gripping the connector itself, not by pulling on the cord.

TABLE OF CONTENTS

PRECAUTIONS.. HOW TO USE THIS MANUAL (READ THIS FIRST!!)... THE GW50: WHAT IT IS AND WHAT IT CAN DO. PANEL CONTROLS AND TERMINALS.. ASSIGNABLE BLOCK AND PEDAL SWITCH FUNCTIONS..
GUIDED TOUR (TUTORIAL) SETTING UP, PLAYING AND USING YOUR GW50

REFERENCE/EFFECT SECTION

ABOUT THE MANUAL, MEMORY AND MEMORY EDIT MODES. MANUAL MODE..
Selecting an Effect Type. Turning Individual Effects On and Off. Editing Parameters.. Utility Functions.. Determining the Order of the Effect Blocks CONNECT. Bypass Switching of Effect Blocks GROUP...
SETTING UP AND PLAYING YOUR GW50... DEMO MODE PLAYING THE DEMONSTRATION SONGS.. EFFECT SECTION.. PLAYING WITH SOME OF THE EFFECTS... CHANGING THE SOUND OF THE EFFECTS.. CHANGING (EDITING) AN EFFECT PROGRAM AND SAVING IT. USING THE NOISE GATE TO GET A CLEAN SIGNAL.. BACKING SECTION.. PLAYING PATTERNS PATTERN MODE.. PLAYING AND RECORDING SONGS SONG MODE... USING THE BUILT-IN TUNER..

In Song/Pattern mode: For decreasing the value at the cursor position (for example, Tempo or Pattern). In Memory mode: For moving backward through the effect programs, one by one (when the cursor arrow is not shown in the display). In Manual and Memory Edit mode (sub parameters, MIN VOL, and AUTO VOL): For decreasing the value of the selected sub parameter (when the cursor arrow is at the bottom of the display). With [SHIFT] (in the Song/Pattern modes): For turning the sound of the Backing Accompaniment on and off, while the song or pattern is playing. ^+ (BASS) For increasing a selected parameter value (as described for the modes below). Hold down for rapid operation. In Song/Pattern mode: For increasing the value at the cursor position (for example, Tempo or Pattern). In Memory mode: For moving forward through the effect programs, one by one (when the cursor arrow is not shown in the display). In Memory Edit mode (sub parameters, MIN VOL, and AUTO VOL): For increasing the value of the selected sub parameter (when the cursor arrow is at the bottom of the display). With [SHIFT] (in the Song/Pattern modes): For turning the sound of the Backing Bass on and off, while the song or pattern is playing. &6 CURSOR (DRUMS) In Song/Pattern modes: For moving the cursor arrow in the display. With [SHIFT] (in Song/Pattern modes): For turning the sound of the Backing Drums on and off, while the song or pattern is playing.
*SONG/PATTERN (SONG REC) For switching between the Song and Pattern modes. The LED of the selected function lights. With [SHIFT]: For enabling realtime recording of a song (the LED flashes to indicate record standby). (See pages 37, 84.) (START/STOP (A-B REPEAT ) For starting/stopping the Backing Song or Pattern (the LED flashes). With [SHIFT]: For enabling the Repeat function. (See pages 92, 93.) )CHORD Similar to [SHIFT], for selecting the secondary (lower) functions of the Chord buttons. The arrow mark pointing right (printed with the button name) indicates the direction in which the appropriate buttons can be found. (For details on this and other chord-related functions, refer to pages 74-76.) qChord Buttons For selecting the chord root note, or (after pressing [CHORD] + [on/ROOT]) for selecting the bass note. With [CHORD]: For selecting the chord type. wENTER (on/ROOT) In Song mode (step recording): For recording or entering event data to a song. With [CHORD]: For enabling selection of the bass note.

LCD Display 2 4

ASSIGNABLE Block Controls eASSIGNABLE Block Type Switch For selecting various control functions for the ASSIGNABLE Block Pedal Switch and the other Pedal Switches including effect program selection, turning individual effect blocks (or groups) on and off, MIN/MAX Volume, Auto Volume, Backing Control and Chord Recall. rASSIGNABLE Block Pedal Switch For performing various control functions, including effect program selection, turning individual effect blocks (or groups) on and off, MIN/MAX Volume, Auto Volume, Backing Control and Chord Recall. (The arrow mark printed with the button name at the bottom left indicates the direction in which the appropriate buttons can be found.) For more information on the ASSIGNABLE Block Pedal Switch and the other Pedal Switches, see the section ASSIGNABLE BLOCK AND PEDAL SWITCH FUNCTIONS on pages 10-14.

3PHONES Jack For output of both the Backing sound (mono) and the instrument/effect sound (stereo) to a set of stereo headphones. 4Headphone LEVEL Control For adjusting only the headphone output; this does not affect the output of the other output jacks.
8Input LEVEL Control For adjusting the level of the input signal. 9INPUT Jack For connection of an instrument (guitar, bass, etc.). (See pages 19, 20 for more information on input/output connections.)
0LCD SETTING Switch Two-position (Floor/Desktop) switch for setting the display contrast for optimum viewing. !FOOT SW Jack For connection of an optional footswitch (Yamaha FC5 or FC4), for controlling certain functions and parameters as you play. (See pages 56, 57.)
@FOOT CONTROLLER Jack For connection of an optional foot controller (Yamaha FC7), for controlling certain functions and parameters as you play. (See page 46.) #MIDI IN/OUT Terminals For connection of MIDI cables, when using the GW50 with other MIDI devices. (See page 101.)
SETTING UP AND PLAYING YOUR GW50... DEMO MODE PLAYING THE DEMONSTRATION SONGS.. EFFECT SECTION.. PLAYING WITH SOME OF THE EFFECTS... CHANGING THE SOUND OF THE EFFECTS.. CHANGING (EDITING) AN EFFECT PROGRAM AND SAVING IT. USING THE NOISE GATE TO GET A CLEAN SIGNAL.. BACKING SECTION.. PLAYING PATTERNS PATTERN MODE.. PLAYING AND RECORDING SONGS SONG MODE... USING THE BUILT-IN TUNER.. 19

GUIDED TOUR (TUTORIAL)

SETTING UP AND PLAYING YOUR GW50
Once youve taken your GW50 out of the box and are ready to use it, follow the simple instructions below in making the connections and setting it up.
First, make sure that the power switch on the GW50 is off before making ANY connections.
Plug the DC output cable from the supplied PA-3 adaptor into the DC IN terminal on the rear panel, then plug the adaptor into a convenient AC outlet. For the sake of these instructions, well assume youre using an electric guitar; however, most any electronic instrument can be used.

Select Pattern Demo Select Song Demo
The Song or Pattern Demo begins playing once you press the appropriate button. (The [START/STOP] LED flashes.) (You can abort or exit the Demo mode at this stage by pressing any of the mode buttons.)
Select the Song Demo by pressing [SET-A] (below SONG in the display), or the Pattern Demo by pressing [SET-B] (below PTN in the display).
While the Song Demo or Pattern Demo is playing back, try playing your guitar along with the song or pattern. Youll notice that some effect program changes have been recorded to the Demo, automatically changing the sound as you play. If youve selected the Pattern Demo, you can change chords as it plays by pressing Pedal Switches 1 4. The following chords have been assigned to the Pedal Switches:
DEMO MODE PLAYING THE DEMONSTRATION SONGS
To stop the Demo, press [SET-B] (below STOP in the display) or [START/STOP] (or any of the mode buttons).
Note: All the songs or patterns play in succession
indefinitely until stopped.
Note:While the Demo mode is called up, other functions are not active.

EFFECT SECTION

The GW50 is equipped with a comprehensive set of effects designed specifically for the guitar player. As youll see below, the GW50 lets you switch these effects on and off as needed and adjust them quickly and easily from the panel controls and Pedal Switches. The effects are divided into five groups or blocks, and they include the following specific effects:
Compressor Distortion Equalizer Chorus Reverb/Delay
Compressor Distortion 1, 2, 3, 4, and Overdrive Four-band Parametric EQ, Wah + Two-band EQ, and Amp Simulator + Two-band EQ Chorus 1, 2, Pitch Shifter, Flanger, and Phaser Reverb, Delay, and Delay + Reverb,
(Refer to the EFFECTS AND PARAMETERS section, page 58, for more detailed descriptions and explanations of these effects.) A programmable Noise Gate is also included for filtering out hum, hiss and other undesirable noise when the signal is low. (See pages 31, 69.)
PLAYING WITH SOME OF THE EFFECTS
Now that youve got sound out of the GW50 and have heard some of the Demo Songs, lets try playing with some of the effects.
First, try playing with a clean chorus and delay effect. Use the []/[+] buttons to select program number 25. (The []/[+] buttons also feature rapid operation; see page 5.)
Press [MEMORY], even if the MEMORY LED is lit.
Now, try a heavy distortion sound. Use the []/[+] buttons again, this time selecting program number 74.

ABOUT THE PARAMETER KNOBSIn the Memory and Memory Edit modes, remember that the position of the parameter knobs in the effect blocks does not necessarily correspond to the actual value of the parameters. Also, in the Memory Edit mode, once you adjust a parameter knob even slightly the value of that parameter instantly changes to the new position of the knob. (Only the knob adjusted will correspond to the actual value.)
To select the Memory Edit mode, press [EDIT/COMPARE] from the Memory mode. (The EDIT/COMPARE LED lights.)

MANUAL MODE

Selecting an Effect Type
The Distortion, Equalizer, Chorus and Reverb/ Delay effect blocks feature different effect types. Press the Type switch to step through the available effects. The LED of the selected effect lights.
Editing the Sub Parameters and Noise Gate
1. Simultaneously hold down [SHIFT] and press [SUB PARAM].
Turning Individual Effects On and Off
When not assigned to a group, individual effect blocks can be turned on and off in the Manual mode. To do this, make sure that MEMORY ON/ OFF is selected in the ASSIGNABLE Block (the MEMORY LED flashes), then press the Pedal Switch of the appropriate effect block. The LED of the selected effect lights when the effect is on. (For information on assigning effects to a group, see page 45.) 2. To select a parameter, keep holding down [SHIFT] and repeatedly press [SUB PARAM] to step through the sub parameters for all selected Equalizer, Chorus and Reverb/Delay effects (indicated by the lit green LEDs in the effect blocks) and the Noise Gate. Or, after step #1, release [SHIFT] and simply press one of the effect selector buttons beneath the LCD ([EQ], [CHO], and [REV]) to step through the sub parameters of the corresponding effect. Pressing [CMP] or [DST] selects the Noise Gate parameter.

Editing Parameters

Effect parameters can be edited in the Manual mode. The Manual mode is designed to be a kind of blank slate on which you can make settings as you wish. If you create some settings in the Manual mode that you want to keep as an effect program, save them to a program number (see Saving the Manual Mode Settings to an Effect Program, page 50).
Editing the Main Parameters
1. 2. Select the desired type of effect with the Type button in each effect block. Adjust the desired parameters with the knobs in each effect block. (The display automatically shows the adjusted parameter name and value.)

Release the Pedal Switch and the level begins to fade up. (The LED stays flashing during the fade up.)
The LED stops flashing and remains lit when the fade up is complete and the volume is at maximum.
Setting the AUTO VOLUME Rate AUTO VOL
When using the ASSIGNABLE Block Pedal Switch to control the Auto Volume (see page 48), this parameter determines the rate (speed) at which the volume automatically fades up. Operation 1. From the Manual mode, repeatedly press the Utility button until AT VOL is shown in the display. 2. Use the []/[+] buttons to set the desired Auto Volume Rate. (Range: 110) A minimum setting of 1 results in a slow fade in, while a maximum of 10 results in a nearly instantaneous return to normal level. (See the graph below.)

Level Switch is pressed.

When LED stops flashing, volume reaches maximam. Press and hold Pedal Switch Release Pedal Switch
Applications of this would include imitating the slow attack of other instrument sounds like a softly-bowed violin, or a pedal steel guitar. Since Auto Volume cuts off the picking sound and slowly brings up the level, it is ideal for playing soft, lyrical solos.

Maximum (normal) volume

Note: The low volume of this function (or the level at which the fade in starts) is determined by the Minimum Volume parameter. (See page 47.)
Volume pedal position Minimum volume

Rate = 10

Rate = 1
Time Sound is at minimum volume as long as Switch is held. Switch is released.

MANUAL JOB MODE

Saving the Manual Mode Settings to an Effect Program
Operation 1. After making the desired effect settings in the Manual mode, simultaneously hold down [MANUAL] and press [MEMORY]. (The [MEMORY] LED and BANK/MEMORY indicator flash.)
Note: When the settings have been saved, COMPLETED is shown in the display and operation automatically goes to the Memory mode.
Data Saved to an Effect Program
When you save an effect program, all the following data is saved together with it: * Effect types for each block * Effect parameters (main and sub) for each block * Bypass status of each effect block * Noise gate setting * Utility function settings (Connect, Group, Foot Controller, Minimum Volume, Auto Volume)
Note: When you save the settings in the Manual
mode to an effect program, the GW50 automatically gives it a name, starting with the letters MEM and followed by the bank number and memory number to which it has been saved (e.g., MEM 15).
Select the destination program number with the []/[+] buttons. To save, select GO (press [SET-B]). To cancel and return to Manual mode, select EXIT (press [SET-A]).
Be careful when performing this operation, since it automatically and irretrievably erases the program at the destination.

Saving the Memory Edit Mode Settings to an Effect Program Compare Mode (Comparing the Edited Program with the Original)
Once youve made edits to a program, you can compare the sound (and values) of the new program with that of the original one. To do this, press [EDIT/COMPARE]. (The orange LED above the button and the program number in the display both flash, indicating that the original program settings are active.) Press [EDIT/COMPARE] again to return to the edited values. In the compare condition, you can also check the main parameter values of the original program simply by turning the desired parameter knob. To check its sub parameters, follow the same steps as given in Editing the Sub Parameters in MANUAL MODE above. (The parameter values cannot be changed here, however; an EXIT COMPARE message appears if you press the []/[+] buttons.) Operation After making the desired effect settings in the Memory Edit mode, simply press either [MANUAL] or [MEMORY]. The following display appears.
The mode then returns to either Manual or Memory, depending on the button pressed.
AVOID LOSING IMPORTANT DATAAfter youve made edits to the program, be careful NOT to press [MANUAL] or [MEMORY] unless you are absolutely sure that you want to either recall the original program or save the new one. Be careful also to check which condition is active Edit (with the continuously lit LED) or Compare (with the flashing LED). If you mistakenly press [MANUAL] or [MEMORY] in either condition, you may irretrievably lose important data!
Recalling the Settings of the Original Program (in Compare Condition)
At any time during editing, you can recall the settings of the original program. Keep in mind, however, that this permanently erases whatever edits you have made. Operation To recall the original program settings, simply press either [MANUAL] or [MEMORY] while in the Compare condition (the EDIT/COMPARE LED is flashing). The following display appears.

MEMORY JOB MODE

Copying an Effect Program
Operation 1. In the Memory mode, select the effect program to be copied. 2. Simultaneously hold down [SHIFT] and press [COPY/NAME] repeatedly until the Copy display appears.
MEMORY EDIT MODE / MEMORY JOB MODE
Select the destination program number with the []/[+] buttons. To copy the selected program to the destination number, select GO (press [SET-B]). To cancel and return to Memory mode, select EXIT (press [SET-A]), or press any of the mode buttons.
To swap the two selected programs, select GO (press [SET-B]). To cancel and return to Memory mode, select EXIT (press [SET-A]), or press any of the mode buttons.
Note: This operation changes or swaps all data, including the program name, to the designated program number.

Naming an Effect Program

Note: If you press the Fill Pedal Switch on the last
16th note of a measure, the fill in pattern will play in its entirety from the next measure.
Note: When pressing [SONG/PATTERN] to select the
Pattern or Song mode, Backing Control will automatically be selected.
PLAYING AN ENDING PATTERNRather than simply stopping the pattern with [START/STOP], you can use Pedal Switch 4 (End) to play a simple ending pattern. Press it during the measure previous to the intended ending.
Chord Recall Backing Control s Selecting and Playing Patterns Operation 1. Use the ASSIGNABLE Block Type switch to select BACKING CONTROL. (The LED next to the function name lights.) 2. The Pedal Switches function as shown below. Press the appropriate Pedal Switch for the desired function. s Selecting Chords Operation 1. Use the ASSIGNABLE Block Type switch to select CHORD RECALL. (The LED next to the function name lights.) 2. The Pedal Switches function as shown below. Press the appropriate Pedal Switch for the desired function. Chords can be selected whether a pattern is playing or not.
Decreases pattern number by 2 (every other odd numbered pattern)
Plays fill in pattern Starts/stops (during pattern pattern play play only) Plays ending pattern (during pattern play only) Increases pattern number by 2 (every other odd Switches to Chord Recall (Hold this and press numbered pattern) one of Pedal Switches to assign current chord to the pressed Pedal Switch.)

Selects chord 1

Selects chord 2

Selects chord 3

Selects Starts/stops chord 4 pattern play
Switches to Backing Control (Hold this and press one of Pedal Switches to assign current chord to the pressed Pedal Switches.)
3. While holding down the Pedal Switch, play a note on the connected instrument. If youve played a note other than the root note of the chord currently playing, the root note will change to the note you just played. The note you play on the instrument is muted and not output until you release the Pedal Switch. In this way you can hold down the Pedal Switch, play a note to change the root, then let up on the Pedal Switch and play along with the backing part as usual. (When this is done, CHORD RECALL is automatically selected in the ASSIGNABLE Block.)

Note: POSITION CONTROLS IN REPEAT RECORDING
Press [START/STOP] to stop playback. To turn off the repeat function, simultaneously hold down [SHIFT] and press [A-B REPEAT ] again.
Loop (Repeat) Recording (A to B)
This function allows you to record events in realtime, while a specified range of measures (A to B) loops or repeats indefinitely.
The Position Controls are only effective within the A-B range in Repeat recording. Moreover, the jump-to-beginning ( b ) and jump-to-end ( ) controls function respectively the same as JUMP-A and JUMP-B. In other words, pressing [n] + [v] moves the position to the beginning of measure A, not the beginning of the song, and pressing [ /] + [ m] moves the position to the beginning of measure B, not the last event of

the song.

6. Press [START/STOP] to stop recording. To turn off the repeat function, simultaneously hold down [SHIFT] and press [A-B REPEAT] again.
Press [START/STOP] to begin recording. Recording will start from the point selected, continue to measure B, go back to measure A, and repeat between A and B indefinitely.

SONG JOB MODE

Copying Measures Between A and B
This function allows you to copy the data between the two marked measures to another location in the song. This is a convenient composing tool, since it lets you easily copy parts of the song that are similar (such as the verse sections), without having to program each measure. Operation 1. Mark the A and B points of the measures you wish to copy. 2. 3. Use the position controls to select the destination measure. Simultaneously hold down [SHIFT] and press [MEAS COPY]. (You can still use the position controls to select the destination measure here, if you wish.) Press [SET-B] (below GO) to copy the measures, or press [SET-A] (below EXIT) to abort the operation.
Original measures 17 and beyond are moved forward the end of the song to make room for the copied measures. Before copying
Notice that this operation inserts the measures at the destination and shifts all existing measures there forward toward the end of the song to make room for the copied measures.
Deleting Measures Between A and B
This function allows you to delete a specified range of measures from a song. Operation 1. Mark the A and B points of the measures you wish to delete. 2. 3. Simultaneously hold down [SHIFT] and press [MEAS DEL]. Press [SET-B] (below GO) to delete the selected measures, or press [SET-A] (below EXIT) to abort the operation.
Note: In the Copy and Delete operations, the
measure numbers for the A and B points do not change after the operations, but the actual contents may be altered. For this reason, you should be careful when copying the same section to different parts of the song, for example; the desired section may have been moved from its original location because of a Copy or Delete operation.

USING THE BACKING PATTERNS TO PLAY OTHER SOUND MODULES
The accompaniment, bass and drum patterns of the GW50 are stored in the unit as MIDI data, and can be used to play back sounds from connected synthesizers, rhythm machines and sound modules. For example, the GW50 could be hooked up to the Yamaha TG500 Tone Generator, and be used to play the bass, drums, and various accompaniment instrument sounds (such as piano, guitar, organ, etc.) on the TG500, to complement or even replace the Backing sounds of the GW50. Operation 1. Make sure all MIDI connections have been made properly (see connection example F on page 101). 2. Make the following settings on the connected instrument (referring to the owners manual of that instrument for details): * Set up different instrumental parts (for example, piano, guitar, bass and drums) as part of a multi-timbral program. 3. * The GW50 transmits accompaniment sounds on channels 2 and 3, bass on channel 4, and drums on channel 5.
Note: Program change messages (effect program changes on the GW50) are transmitted on Channel 1.
MATCHING ACCOMPANIMENT SOUNDS Since the specific accompaniment instruments differ according to the pattern selected, refer to the Preset Pattern List on page 144; this will help you decide what kinds of accompaniment sounds you should select on your tone generator, depending on the Backing pattern. Refer also to the chart on page 146 for specific drum and percussion sound assignments.
Now, select a song or pattern on the GW50 and press [START/STOP] to start it. The Backing tracks will now play on both the GW50 and the connected instrument. (If the BACKING LEVEL is set to 0, only the connected tone generator will sound.)
Note: PROBLEMS WITH PATTERN CHANGESIf there are pattern changes in the song, the accompaniment sounds of the GW50 may change (in an extreme example, from guitar to strings when changing from a rock pattern to a ballad). However, the tone generator will not change but continue to play the accompaniment sound which was set for the start of the song. To get around this problem, follow the hint below and record the accompaniment to a sequencer, then make the necessary program changes from the sequencer.
RECORDING THE GW50S BACKING TRACKS TO A SEQUENCERIn a variation of the above operation, you could connect a MIDI sequencer to the GW50, and connect the tone generator to the sequencer (as shown in connection example E on page 101), then record the Backing tracks to the sequencer. In this way, you take advantage of the editing functions and conveniences of your sequencer, making program changes and changing the tracks as you like, then playing them back on another sound module. (The Backing sounds of the GW50 cannot be played from another device.)

Input (Equalizer)... 60

Left Delay Feedback... Left Delay Time (Pitch Shift).. Left Delay Time (Flanger).. Loop playback... Loop recording.. Low (Equalizer)... Low (Reverb)... Low Frequency.. Low Mid.... Low Mid Frequency... Low Mid Q... 60
Manual Job mode... 2, 50 Manual mode.. 2, 43, 44-49 Manual mode settings, saving to an effect program.. 50 measure A/B checking current settings.. 92 copying.. 94 deleting.. 94 jumping to... 92 Loop playback... 92 Loop recording.. 93 marking.. 92 using to delete a single song.. 95 measure/event section... 79, 81 Memory Edit mode... 2, 43, 53-54 Memory Edit mode settings, saving to an effect program... 53 Memory Job mode... 2, 54-57 Memory mode... 2, 43, 51-52 Metronome patterns.. 73 MIDI Bulk Transmission mode.. 102 changing effect programs on connected device from GW50... 104 changing effect programs on GW50 from connected device... 103 connection examples.. 101 Control Change number to effect correspondence. 106 Control Change numbers. 104-105 MIDI clock messages.. 106 MIDI to GW50 program number correspondence. 104 restoring GW50 data from MDF2 MIDI Data Filer... 103 storing GW50 data to MDF2 MIDI Data Filer. 102 synchronizing another device with GW50. 105 transmit channels for Backing parts and effect program changes... 107 turning effects on and off from connected device.. 104 types of transmitted data.. 102 using patterns to play connected sound modules. 106 MIN VOL... 47 minimum/maximum (MIN/MAX) volume. 48 Mix Balance (Amp Simulator + EQ).. 63 multiple events, display of.. 91 muting accompaniment bass and drums parts in Pattern mode.. 76 bass and drums parts in Song mode. 80, 86, 88 muting data (Backing mute status), recording in realtime.. 85, 86

Noise Gate... 31, 69

Output (Compressor)... Output (Distortion)... Output (Equalizer).. Overdrive... 61 59
parameter values, checking.. 51 parameters main.... 44 sub... 44 Pattern Demo... 22 Pattern mode... 2, 32, 73 patterns selecting and playing... 73 selecting with ASSIGNABLE Block and Pedal Switches (Backing Control).. 77 Pedal (Wah + EQ).. 62 Pedal Switch functions.. 11-13 Pedal Switches using for Backing Control.. 12, 13, 77, 86 using for Chord Recall.. 12, 13, 77, 86 using for effect on/off (bypass) switching. 11, 52 using to select effect bank/program numbers. 11, 25 Phaser... 66 Pitch Left... 64 Pitch Right... 64 Pitch Shift... 64 playing songs... 36 Position Controls... 81 Position Controls using to pause Realtime recording. 84, 87, 88 using to view recorded events. 81, 90 position indicator... 79

Amp Simulator+EQ
Low Gain Dry Time Feedback Mix Doubling Time Doubling Balance Dry Delay Time Delay Mix Reverb Mix Delay Feedback Doubling Time Doubling Balance Delay Dry Reverb Type

Chorus1

Reverb Time Reverb Low Gain Reverb High Reverb Dry Utility Settings Connect Group Foot Controller Minimum Volume Auto Volume Noise Gate

Chorus2

cmp, dst, eq, cho, rev cmp, dst, eq, cho, rev vol pedal, wah pedal, dst drive, cho depth, rev fb, rev mix 0~9 1~10 0~9

Pitch Shifter

Effect Parameter Blank Chart
Copy this page and use it for keeping records of your own original parameter settings.
Effect Compressor Effect Type Comp Parameter Attack Sense Output Drive Tone Output Low Gain Low Middle Gain High Middle Gain High Gain Input Low Frequency Low Mid Frequency High Mid Frequency High Frequency Low Mid Q High Mid Q Output Type Range Effect Effect Type Parameter L Delay Time L Delay FB R Delay Time R Delay FB Dry Speed Feedback Depth Mix L Delay Time R Delay Time Dry Speed Feedback Depth Mix Dry Time High Mix Type Range
Sense (Touch types) Speed (Auto type) (no parameter for Pedal type) Center Frequency Range Feedback EQ Input EQ Low Gain EQ Low Frequency EQ High Gain EQ High Frequency EQ Output Type
EQ Low Gain EQ High Gain Mix Balance EQ Input EQ Low Frequency EQ High Frequency EQ Output Speed Brilliance Depth Mix AMD (Chorus1 only) Dry Speed Brilliance Depth Mix Dry Pitch L Pitch R Mix
SUPPLEMENTAL INFORMATION FACTORY SET MEMORY EFFECT PROGRAM LIST
FACTORY SET MEMORY EFFECT PROGRAM LIST
1 Loc. Heavy Metal 35 Funk & Jazz 45 British Progressive Rock 55 60s & 70s Rock 65 RocknRoll & Blues 75 Special Trick Effects 85 Line Sound Styles American Hard Rock Name SO FAT POPTOP CHINA TALKBX BIGBOT HIWAY ALIEN CROWS DRYBAK SWIRL METAL DRIVER TOKYO TOUCH WOMEN JAZZY FUNKY COMP+D QUACK SKANK PROGRE OWNER BREATH MYSTRY CHURCH ERA 66 TROWER BUSTER WOW 70/90 TELE TURKEY RHYFAT *TUSH* LONDON TRICK GHOSTS HORROR 5 /11TH OCTAVE HARD-L LEAD-L META-L COMP-L CLN-L BACK-L NECK-L OLD-L PHAS-L JAZZ-L Note Foot Controller Function Fat distortion for hard rock Volume Volume before Distortion Tight, bright distortion with chorus and delay Overdrive with rhythmic delay Reverb Mix Fat distortion with Touch Wah Volume Fat distortion with detuning and delay Volume Straight crunch distortion Distortion Drive Heavy distortion for solos Volume Tight distortion Volume Dry distortion for backing parts Volume Soft, clean sound with chorus and delay Volume Fat and warm metal distortion Volume Tight, dry metal distortion, with small room ambience Reverb Mix Hard, bright metal distortion Volume Metal distortion with Touch Wah Volume Clean, bright sound for rhythm parts Volume Clean jazz sound, with small room ambience Volume Slow phase sound for funky chicken scratching, etc. Phaser Depth American rock/fusion sound, with long delay, reverb Volume Dry, funky phase sound with Touch Wah Volume Clean sound for funky rhythm parts Volume Warm fuzz distortion, with long delay Volume Distortion with fifths (in octaves) for solos Volume Clean sound with short delay and heavy chorus Volume Distortion with Touch Wah and long delay Volume Three-octave pitch shift sound Volume Vintage 60s sound Volume 70s spacey flanger/distortion sound, with long delay Volume Classic smooth and loud overdrive Volume Fat distortion with half-open Pedal Wah Wah Vintage phaser sound Volume Slap back delay for rocknroll Volume Dry overdrive sound for heavy comping and rhythm parts Volume Fat sound for rhythm parts Volume Heavy distortion for blues rhythm or slide parts Volume Clean, warm amp sound with slight reverb Volume Spacey phaser sound with long, rhythmic delay Volume Distant modulated sound with heavy, cavernous reverb Volume Heavy modulated phaser sound with Auto Wah and long rhythmic delay Volume Three-pitch distortion sound for solos Reverb Mix Clean, two-octave sound, with slight detuning for natural chorus Volume Distortion for hard rock Volume Bright distortion with long delay for lead parts Volume Metal distortion with chorus for solos Volume Funky sound for rhythm parts Volume Clean sound with slight detuning Volume Distortion for backing parts Volume Blues sound (for use with the neck pickup) Volume Old style rocknroll sound, slightly detuned with small room ambience Distortion Drive Distortion with classic phaser sound Distortion Drive Modern jazz sound, with chorus and heavy reverb Volume

Pop fusion Latin fusion West coast Bebop Jazz ballad Swing Jazz waltz Bossa nova Rock cha cha Salsa
8-beat shuffle 250 8-beat shuffle 80
8-beat shuffle 126 3/4 time 8-beat 8-beat 16-beat 16-beat 16-beat shuffle 2-beat 3/4 time 8-beat 116
Modern with strings Piano Basic Polka New age ethnic Organ 1 Folk Guitar Synth Bell Piano Piano Electric Piano 1 Piano
8-beat shuffle 146 16-beat 16-beat shuffle 100 100
the currently sounding voice(s)
METRO 4/4 time MET 3 BLANK 3/4 time
* The Retrigger function lets you record rhythmic hits in which some of the Backing parts sound altogether, to create accents in a song. Special Retrigger patterns (nos. 241244) are provided for this purpose, letting you enter the retrigger hits by entering a chord event at the desired 16th note position. However, the Retrigger function can be used with any of the other patterns by entering a chord event while a note of the pattern data is playing (in other words, not during a rest).
SUPPLEMENTAL INFORMATION DRUM AND PERCUSSION SOUNDS USED FOR DRUMS PARTS
DRUM AND PERCUSSION SOUNDS USED FOR DRUMS PARTS
This chart lists the instrument sounds used for the Drums parts in the Backing section, along with their assigned note values (given here both in conventional form and MIDI note number). Drums part data is transmitted over MIDI channel 5. Note name C1 C1 D1 D1 E1 F1 F1 G1 G1 A A1 B1 C2 C3 C3 D3 D3 E3 F3 F3 G3 G3 A3 A3 B3 CMIDI Note 36 Instrument Bass drum Bass drum 2 Snare drum Snare drum 2 Tom low Tom mid 42 Tom high Handclaps 44 Crash cymbal Rimshot 46 Ride cymbal Closed hi-hat Open hi-hat Bass drum Cowbell Snare drum Snare drum 4 Conga low Conga high 66 Conga muted Agogo low 68 Agogo high Timbale low 70 Timbale high Hi-hat 2 Shaker

FACTORY SET SONG LIST

Song number Song name BOOGIE FUNK REGGAE BALLAD BOSSA R*B 4MEAS Beat 4/4 4/4 4/4 4/4 4/4 4/4 4/4 Tempo 120 Length (in measures) 60 Description Two-part medley: old-style boogie and hard rock version Funk motif Reggae motif Slow ballad motif Bossa nova motif Funky R&B motif
Special four-measure chord progressions/patterns for practice purposes
No recorded data (left blank for user recording)
All songs also have their own effect program setting (or settings) specially chosen to match the style, allowing you to play your guitar along with the song. Song #7 features several four-measure phrases in different styles, each preceded by a one-bar metronome introduction. These phrases are intended especially for practice purposes. Each phrase has been recorded with a different chord progression, and the phrases increase in difficulty, with easy progressions in the first phrases and more difficult ones in the latter. Use the Repeat A-B function to repeat a single phrase indefinitely while you practice a guitar part over it. These phrases (as well as the other six songs) also should provide helpful hints as to how to use the Backing section of the GW50 in your own compositions.