BOSS Pocket GT Guitar Effects Processor User Guide

BOSS Pocket GT Guitar Effects Processor

FX1/FX2

With FX1 and FX2, you can select the effect to be used from the following. You can select the same effect for FX1 and FX2.

FX1/FX2 TYPE
This is a list of the effects that can be selected for FX1/FX2.

out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion.
LIMITER| The limiter attenuates loud input levels to prevent distortion.
TOUCH WAH| You can produce a wah effect with the filter changing in response to the guitar (bass) level.
GRAPHIC EQ| This effect adjusts the tonal character. Seven frequency bands can be adjusted.
PARAMETRIC EQ| This effect adjusts the tonal character. Four frequency bands can be adjusted.
TONE MODIFY| This changes the tone of the connected guitar.
GUITAR SIM (GUITAR SIMULATOR)| Simulation of the characteristics of particular guitar components such as pickups and different guitar bodies allows you to switch among a number of different guitar types all while using a single guitar.
AC.GUITAR SIM (AC.GUITAR SIMULATOR)| This effect simulates the tonal character of an acoustic guitar.
SLOW GEAR| This produces a volume-swell effect (“violin- like” sound).
OCTAVE| This adds a note one octave lower and a note two octaves lower, creating a richer sound.
PITCH SHIFTER| This effect changes the pitch of the original sound (up or down) within a range of two octaves.
HARMONIST| Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales.
OVERTONE| This effect uses MDP (Multi-Dimensional Processing) technology to add new harmonics to the sound, producing resonance and richness that was not present in the original sound.
FEEDBACKER| Generates feedback performance.
AC.PROCESSOR| This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.
PHASER| By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.
FLANGER| The flanging effect gives a twisting, jet-airplane- like character to the sound.
TREMOLO| Tremolo is an effect that creates a cyclic change in volume.
ROTARY| This produces an effect like the sound of a rotary speaker.
UNI-V| This models a Uni-Vibe.
Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.
VIBRATO| This effect creates vibrato by slightly modulating the pitch.
CHORUS| In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.
SUB DELAY| This is a delay with the maximum delay time of 1,000 ms. This effect is useful for making the sound fatter.

COMPRESSOR **

**

This is an effect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion.

end.
LIGHT| This is a compressor with a light effect.
D-COMP| This models a MXR DynaComp.
ORANGE| This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.
FAT| When applied heavily, this compressor effect provides a fat tone with a boosted midrange.
MILD| When applied heavily, this compressor effect produces a sweet tone with the high end cut.
STEREO| This selects a stereo compressor.
SUSTAIN| 0–100| Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.
ATTACK| 0–100| Adjusts the attack time.
LEVEL| 0–100| Adjusts the volume.
TONE| -50–+50| Adjusts the tone.

LIMITER

The limiter attenuates loud input levels to prevent distortion.

TYPE

| Selects the limiter type.
BOSS| This selects a stereo limiter.
RACK 160D| This models a dbx 160X.
VTG RACK U| This models a UREI 1178.
THRESHOLD|

0–100

| Adjust this as appropriate for the input signal from your guitar. When the input signal level exceeds this threshold level, limiting will be applied.
RATIO| 1:1–INF:1| This selects the compression ratio used with signals in excess of the threshold level.
LEVEL| 0–100| Adjusts the volume.
ATTACK| 0–100| Adjusts the attack time.
RELEASE| 0–100| Adjusts the release time.

TOUCH WAH

You can produce a wah effect with the filter changing in response to the guitar level.

MODE

| Selects the wah mode.
LPF| Low pass filter. This creates a wah effect over a wide frequency range.
BPF| Band pass filter. This creates a wah effect in a narrow frequency range.

POLARITY

| Selects the direction in which the filter will change in response to the input.
DOWN| The frequency of the filter will fall.
UP| The frequency of the filter will rise.

SENS

|

0–100

| Adjusts the sensitivity at which the filter will change in the direction determined by the polarity setting. Higher values will result in a stronger response. With a setting of 0, the strength of picking will have no effect.
FREQ| 0–100| Adjusts the center frequency of the Wah effect.
PEAK| 0–100| Adjusts the way in which the wah effect applies to the area around the center frequency. Higher values will produce a stronger tone which emphasizes the wah effect more. With a value of 50 a standard wah sound will be produced.
LEVEL| 0–100| Adjusts the volume of the effect sound.

GRAPHIC EQ

This effect adjusts the tonal character. Seven frequency bands can be adjusted.

200Hz
400Hz
800Hz
1.6kHz
3.2kHz
6.4kHz
LEVEL| -20–+20 dB

PARAMETRIC EQ

This effect adjusts the tonal character. Four frequency bands can be adjusted.

kHz

| Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN.

LOW-MID Q

|

0.5–16

| Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area.
LOW-MID GAIN| -20–+20 dB| Adjusts the low-middle frequency range tone.
HIGH-MID FREQ

(HIGH-MID FREQUENCY)

| 20 Hz–10.0

kHz

| Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN.

HIGH-MID Q

|

0.5–16

| Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area.
HIGH-MID GAIN| -20–+20 dB| Adjusts the low-middle frequency range tone.

TONE MODIFY

This changes the tone of the connected guitar.

resonance in the low-frequency range and midrange.
LOW| -50–+50| Adjusts the tone for the low frequency range.
HIGH| -50–+50| Adjusts the tone for the high frequency range.
LEVEL| 0–100| Adjusts the volume of the effect sound.
RESONANCE| 0–100| This adjusts the strength of the low-end and midrange resonance when TYPE is set to RESO 1, 2, or 3.

GUITAR SIMULATOR

Simulation of the characteristics of particular guitar components such as pickups and different guitar bodies allows you to switch among a number of different guitar types all while using a single guitar.

half tone.
S→HOLLOW| Changes a single-coil pickup tone to a hollow body tone with the body resonance added.
H→HOLLOW| Changes a humbucking pickup tone to a hollow body tone with the body resonance added.
S→AC| Changes a single-coil pickup tone to an acoustic guitar tone.
H→AC| Changes a humbucking pickup tone to an acoustic guitar tone.
PIEZO→AC| Changes a piezo pickup tone to an acoustic guitar tone.
LOW| -50–+50| Adjusts the tone for the low frequency range.
HIGH| -50–+50| Adjusts the tone for the high frequency range.
LEVEL| 0–100| Adjusts the volume of the effect sound.

AC.GUITAR SIMULATOR

This effect simulates the tonal character of an acoustic guitar.

range.
LEVEL| 0–100| Specifies the volume of the effect.

SLOW GEAR

This produces a volume-swell effect (“violin-like” sound).

a lower value, the effect of the slow gear can be obtained only with a stronger picking, while no effect is obtained with a weaker picking. When the value is set higher, the effect is obtained even with a weak picking.
RISE TIME| 0–100| Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.
LEVEL| 0–100| Adjusts the volume of the effect sound.

OCTAVE

This adds a note one octave lower and a note two octaves lower, creating a richer sound.

PITCH SHIFTER

This effect changes the pitch of the original sound (up or down) within a range of two octaves.

interval) in semitone steps.
DIRECT LEVEL| 0–100| Adjusts the volume of the direct sound.
FINE| -50–+50| Make fine adjustments to the interval. The amount of the change in the Fine 100 is equivalent to that of the Pitch 1.
PRE DELAY *1| 0 ms–300 ms, BPM ˜ –| Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard. Normally you can leave this set at 0 ms.
EFFECT LEVEL| 0–100| Adjusts the volume of the pitch shifter.
FEEDBACK| 0–100| Adjusts the feedback amount of the pitch shift sound.

HARMONIST

Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales.

• Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to mute all the other strings and play only one note at a time.
• When you are to play the next string while a certain sound is still playing, mute the previous sound and then play the next one with a clear attack. If the unit cannot detect the attack, it may not sound correctly.
• The sensitivity may vary according to the guitar’s TONE knob and pickup type.

OVERTONE

This effect uses MDP (Multi-Dimensional Processing) technology to add new harmonics to the sound, producing resonance and richness that was not present in the original sound.

octave below.
UPPER

(UPPER LEVEL)

| 0–100| Adjusts the volume of the harmonic one octave above.
DIRECT LEVEL| 0–100| Adjusts the volume of the direct sound.
DETUNE| 0–100| Adjusts the amount of the detune effect that adds depth to the sound.
TONE| -50–+50| Adjusts the tone.

FEEDBACKER

Generates feedback performance.

FEEDBACKER is on.

AC. PROCESSOR

This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.

PHASER
By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.

Increasing the value will emphasize the effect, creating a more unusual sound.
MANUAL| 0–100| Adjusts the center frequency of the phaser effect.
LEVEL| 0–100| Adjusts the volume of the phaser.

FLANGER

The flanging effect gives a twisting, jet-airplane-like character to the sound.

RATE

*1

| 0–100,

BPM ª – ˜

| This sets the rate of the flanging effect.
DEPTH| 0–100| Determines the depth of the flanging effect.

RESONANCE

|

0–100

| Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.
MANUAL| 0–100| Adjusts the center frequency at which to apply the effect.

LOW CUT

|

FLAT,

55 Hz–800 Hz

| This sets the frequency at which the low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect.
LEVEL| 0–100| Adjusts the volume of the flanger.

*1 Refer to “About effects when a note value is selected as a setting”.

TREMOLO

Tremolo is an effect that creates a cyclic change in volume.

WAVE

(WAVE SHAPE)

|

0–100

| Adjusts changes in volume level. A higher value will steepen wave’s shape.
RATE

*1

| 0–100,

BPM ª – ˜

| Adjusts the frequency (speed) of the change.
DEPTH| 0–100| Adjusts the depth of the effect.
LEVEL| 0–100| Adjusts the volume.

ROTARY

This produces an effect like the sound of a rotary speaker.

simulated speaker’s rotating speed (SLOW or FAST).
RATE SLOW *1| 0–100,

BPM ª – ˜

| This parameter adjusts the SPEED SELECT of rotation when set to “SLOW.”
RATE FAST *1| 0–100, BPM ª – ˜| This parameter adjusts the SPEED SELECT of rotation when set to “FAST.”
TRANSITION (TRANSITION TIME)| 0–100| Adjusts the time over which the rotational speed changes when SPEED SELECT is switched.
BASS/HORN BALANCE| 100:0–0:100| Adjusts the volume balance between the BASS rotor and the HORN rotor.
LEVEL| 0–100| Adjusts the volume.

*1 Refer to “About effects when a note value is selected as a setting”

UNI-V

This models a Uni-Vibe.
Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.

*1 Refer to “About effects when a note value is selected as a setting”

VIBRATO

This effect creates vibrato by slightly modulating the pitch.

is turned on until the set vibrato is obtained.

• When a user memory with TRIGGER set to ON is called up, the effect obtained is identical to what happens when TRIGGER is switched from Off to On. If you want the vibrato effect to be produced immediately after the user memories are switched, set RISE TIME to 0.
  LEVEL| 0–100| Adjusts the volume.

CHORUS

In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.

channel.
STEREO1| This is a stereo chorus effect that adds different chorus sounds to L channel and R channel.
STEREO2| This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the effect sound output in the R channel.
RATE *1| 0–100, BPM ª – ˜| Adjust the speed of the chorus effect for the high frequency range.
DEPTH*| 0–100| Adjusts the depth of the chorus effect. To use it for doubling effect, set the value to 0.
EFFECT LEVEL| 0–100| Adjusts the volume of the effect sound.
LOW CUT| FLAT, 20 Hz–800 Hz| This sets the frequency at which the low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect.
HIGH CUT**| 630 Hz–12.5 kHz, FLAT| This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.

SUB DELAY
This is a delay with the maximum delay time of 1,000 ms. This effect is useful for making the sound fatter.

and right channels.
DELAY TIME 1| 1 ms–1000 ms, BPM ˜ – ¸| Adjusts the delay time.
FEEDBACK| 0–100| Adjusts the volume that is returned to the input. Higher settings will result in more delay repeats.
EFFECT LEVEL| 0–120| Adjusts the volume of the delay sound.
HIGH CUT| 630 Hz–12.5 kHz, FLAT| This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
TAP TIME 2| 0–100%| Adjusts the delay time of the left channel delay. This setting adjusts the L channel delay time relative to the R channel delay time (considered as 100%).
DIRECT LEVEL| 0–100| Adjusts the volume of the direct sound.

PEDAL FX

This produces a pedal wah effect or a pitch bend effect.

seven-string and baritone guitars.
RESO WAH| This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters.
PEDAL BEND| This lets you use the pedal to get a pitch bend effect.

• Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.

• You can use the EV-1-WL (Wireless MIDI Expression Pedal, sold separately) to control the PEDAL POSITION. To use the EV-1-WL, you must upgrade the Pocket GT to Ver. 1.20 or later. https://www.boss.info/support/

Common to CRY WAH–RESO WAH

Pedal is depressed.
PEDAL MAX| 0–100| Selects the tone produced when the toe of the EXP Pedal is depressed.
EFFECT LEVEL| 0–100| Adjusts the volume of the effect sound.

PEDAL BEND

• Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.

all the way down.
PDL POS

(PEDAL POSITION)

| 0–100| Adjusts the pedal position for pedal bend.
LEVEL| 0–100| Adjusts the volume of the pitch bend sound.

OD/DS

This effect distorts the sound to create long sustain.

this to the left (counterclockwise) produces a sound with the low end cut; turning it to the right boosts the low end in the sound.
DIRECT LEVEL| 0–100| Adjusts the volume of the direct sound.

OD/DS TYPE
This is a list of distortion types that can be selected for OD/DS.

midrange.
CLEAN BOOST| This not only functions as a booster, but also produces a clean tone that has punch even when used alone.
TREBLE BOOST| This is a booster that has bright characteristics.
CRUNCH| A lustrous crunch sound with an added element of amp distortion.
NATURAL OD| This is an overdrive sound that provides distortion with a natural feeling.
WARM OD| This is a warm overdrive.
FAT DS| A distortion sound with thick distortion.
LEAD DS| Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.
METAL DS| This is distortion sound that is ideal for performances of heavy riffs.
OCT FUZZ| A fuzz sound with rich harmonic content.
A-DIST| This effect uses MDP (Multi-Dimensional Processing) technology to provide ideal distortion in all pitch ranges of the guitar, from low to high.
BLUES OD| This is a crunch sound of the BOSS BD-2. This produces distortion that faithfully reproduces the nuances of picking.
OD-1| This models the sound of the BOSS OD-1. This produces sweet, mild distortion.
T-SCREAM| This models an Ibanez TS-808.
TURBO OD| This is the high-gain overdrive sound of the BOSS OD-2.
DISTORTION| This gives a basic, traditional distortion sound.
RAT| This models a Proco RAT.
GUV DS| This models a Marshall GUV’ NOR.
DST+| This models a MXR DISTORTION+.
METAL ZONE| This models the sound of the BOSS MT-2.
It produces a wide range of metal sounds, from old style to slash metal.
‘60S FUZZ| This models a FUZZFACE.
It produces a fat fuzz sound.
MUFF FUZZ| This models an Electro-Harmonix Big Muff π.

PREAMP

COSM technology simulates different preamp characteristics, speaker sizes, and cabinet shapes.

• Be careful not to raise the Level setting too high.
  BASS| 0–100| Adjusts the tone for the low frequency range.
  MIDDLE| 0–100| Adjusts the tone for the middle frequency range.
  TREBLE| 0–100| Adjusts the tone for the high frequency range.
  PRESENCE| 0–100| Adjusts the tone for the ultra high frequency range.
• The PRESENCE parameter functions as a high-cut filter with some PREAMP TYPEs.
  zBRIGHT| OFF, ON| Turns the bright setting on/off.
• The BRIGHT parameter setting is available only with certain PREAMP TYPEs.
  SP TYPE| Select the speaker type.
  OFF| This turns off the speaker simulator.
  ORIGINAL| This is the built-in speaker of the amp you selected with PREAMP TYPE.
  1×8”| This is a compact open-back speaker cabinet with one 8-inch speaker.
  1×10”| This is a compact open-back speaker cabinet with one 10-inch speaker.
  1×12”| This is a compact open-back speaker cabinet with one 12-inch speaker.
  2×12”| This is a general open-back speaker cabinet with two 12-inch speakers.
  4×10”| This is an optimal speaker cabinet for a large enclosed amp with four 10- inch speakers.

4×12”

| This is an optimal speaker cabinet for a large enclosed amp with four 12- inch speakers.
8×12”| This is a double stack of two cabinets, each with four 12-inch speakers.

PREAMP TYPE list

idiosyncrasies, such as its trebly character and boomy low end.
FULL RANGE| An amp with a broad frequency range and an extremely flat response. Good for acoustic guitar.
COMBO CRUNCH| Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps.
STACK CRUNCH| Great-feeling crunch sound that responds well to picking dynamics while retaining all the defining characteristics of a 4 x 12” speaker cabinet.
HIGAIN STACK| High-gain sound of a vintage Marshall specially revamped in a way that is possible only with COSM modeling technology.
POWER DRIVE| A straight drive sound that works well in a broad range of situations, from backing to lead. A sound like this cannot be obtained from any existing combo amp or stack amp.
EXTREM LEAD| A new type of sound that smoothes out the uneven frequency response that is typical of existing large stack amps.
CORE METAL| A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.
JC-120| This models the sound of the Roland JC-120.
CLEAN TWIN| This models a Fender Twin Reverb.
PRO CRUNCH| This models a Fender Pro Reverb.
TWEED| This models a Fender Bassman 4 x 10” Combo.
DELUXE CRUNCH| This models a Fender Deluxe Reverb.
VO DRIVE| This models the drive sound of a VOX AC-30TB.
This is a sound that it suited to sixties-style British rock.
VO LEAD| This models the lead sound of the VOX AC- 30TB.
MATCH DRIVE| This models the sound input to left input on a Matchless D/C-30.
A simulation of the latest tube amp widely used in styles from blues and rock.
BG LEAD| This models the lead sound of the MESA/ Boogie combo amp.
The sound of a tube amp typical of the late ‘70s to ‘80s.
BG DRIVE| This models a MESA/Boogie with TREBLE SHIFT SW on.
MS1959 I| This models the sound input to Input I on a Marshall 1959.
This is a trebly sound suited to hard rock.
MS1959 I+II| The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.
R-FIER VINTAGE| Models the sound of the Channel 2 VINTAGE Mode on the MESA/Boogie DUAL Rectifier.
R-FIER MODERN| Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie DUAL Rectifier.
T-AMP LEAD| This models a Hughes & Kettner Triamp AMP3.
SLDN| This models a Soldano SLO-100. This is the typical sound of the eighties.
5150 DRIVE| This models the lead channel of a Peavey EVH 5150.
BGNR UB METAL| This is a heavy distortion sound that models the high-gain channel of a Bogner Uberschall.
ORNG ROCK REVERB| This models the dirty channel of an ORANGE ROCKERVERB.

NOISE SUPPRESSOR

This effect reduces the noise and hum picked up by guitar pickups. Since it suppresses the noise in synchronization with the envelope of the guitar sound (the way in which the guitar sound decays over time), it has very little effect on the guitar sound, and does not harm the natural character of the sound.

volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise level is low, a lower setting is appropriate. Adjust this value until the decay of the guitar sound is as natural as possible.

• High settings for the threshold parameter may result in there being no sound when you play with your guitar volume turned down.
• If this is turned “Off,” NS is off (bypassed).
  RELEASE| 0–100| Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”
  DETECT| This controls the noise suppressor based on the volume level for the point specified in Detect.
  INPUT| Input volume from input jack.
• Ordinarily, DETECT should be set to “INPUT.”
  NS INPUT| Noise suppressor input volume.
• When connected as illustrated below, and you want to prevent a spatial-type effects sound (such as a delay sound) from being eradicated by the NS, you should set DETECT to “NS INPUT.”
  FV OUT| Volume after passing through Foot Volume.
• If you want to use FV (Foot Volume) in place of the guitar’s volume control, you need to set DETECT to “FV OUT.”

FOOT VOLUME

This is a volume control effect.

depressed.
VOLUME MAX| 0–100| Selects the volume when the toe of the pedal is depressed.
LEVEL| 0–100| Adjusts the volume.

• You can control LEVEL using EV-1-WL (sold separately). To use the EV-1-WL, you must upgrade the Pocket GT to Ver. 1.20 or later. https://www.boss.info/support/

DELAY

This effect adds delayed sound to the direct sound, giving more body to the sound or creating special effects.

• The stereo effect is canceled if a monaural effect or COSM amp is connected after a stereo delay effect.
  STANDARD| This is a simple monaural delay.
  PAN| 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.
  REVERSE| This produces an effect where the sound is played back in reverse.
  ANALOG| This gives a mild analog delay sound. The delay time can be set within the range of 1 to 2000 ms.
  TAPE| This setting provides the characteristic wavering sound of the tape echo. The delay time can be set within the range of 1 to 2000 ms.
  MODULATE| This delay adds a pleasant wavering effect to the sound.
  TERA ECHO| This effect uses MDP (Multi-Dimensional Processing) technology to create a unique ambience and a spaciousness that changes according to your picking dynamics.

Common to STANDARD–MODULATE

input. A higher value will increase the number of the delay repeats.
HIGH CUT| 630 Hz–12.5 kHz, FLAT| This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
EFFECT LEVEL| 0–120| Adjusts the volume of the delay sound.

*1 Refer to “About effects when a note value is selected as a setting”

PAN

setting adjusts the L channel delay time relative to the R channel delay time (considered as 100%).

MODULATE

sound.

TERA ECHO

• User memories are written with the HOLD parameter set to Off.

REVERB

This effect adds reverberation to the sound.

space are offered.
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.
ROOM| Simulates the reverberation in a small room. Provides warm reverberations.
HALL 1| Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
HALL 2| Simulates the reverberation in a concert hall. Provides mild reverberations.
PLATE| 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 simulates the sound of a guitar amp’s built-in spring reverb.
MODULATE| This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.
DELAY| This effect adds delayed sound to the direct sound, giving more body to the sound or creating special effects.

Common to AMBIENCE–MODULATE

low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect.
HIGH CUT| 630 Hz–12.5 kHz, FLAT| This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
SPRING SENS *1| 0–100| Adjusts the sensitivity of the spring effect. When the value is set higher, the effect is obtained even with a weak picking.

DELAY

input. A higher value will increase the number of the delay repeats.
HIGH CUT| 630 Hz–12.5 kHz, FLAT| This sets the frequency at which the high cut filter begins to take effect. When “Flat” is selected, the high cut filter will have no effect.
DIRECT LEVEL| 0–100| Adjusts the volume of the direct sound.

MASTER SETTING

These settings are applied to the overall user memory.

About effects when a note value is selected as a setting

• When you specify a note value as the setting for a parameter (such as a RATE and DELAY TIME parameter), this specifies the length (time) of one note. Since this time is calculated based on the “BPM” (tempo) of the MASTER SETTINGS, you can easily design the sound to match the tempo of the song.
• If the note length (time) specified for a RATE or DELAY TIME parameter is longer than the allowable range of the setting, a time that is 1/2 or 1/4 of the specified time is assigned.

MASTER EQ

LOW GAIN
(MASTER LOW GAIN)| -20–+20 dB| Adjusts the tone for the low frequency range.
MID GAIN
(MASTER MID GAIN)| -20–+20 dB| Adjusts the tone for the middle frequency range.
HIGH GAIN (MASTER HIGH GAIN)| -20–+20 dB| Adjusts the tone for the high frequency range.
MID FREQ (MASTER MID FREQUENCY)| 20.0 Hz–10.0 kHz| Specify the center of the frequency range that will be adjusted by the MASTER MID GAIN.
MID Q
(MASTER MID Q)| 0.5–16| Adjusts the width of the area affected by the EQ centered at the MASTER MID FREQ. Higher values will narrow the area.

MENU

Parameters Available When Using BOSS TONE STUDIO

TUNER

will be output without change. All effects will be off.
THRU| Allows you to tune while hearing the current effect sound.
BASS MODE| OFF, ON| Turn this OFF if a guitar is connected, or ON if a bass is connected.

FAVORITE MEMORY
FAVORITE MEMORY is a function that lets you assign your favorite user memories to the [x] button, [r] button, and [y] button. When you press a button to which a user memory is assigned, the assigned favorite sound is recalled instantly.

Turning this off selects normal mode (MEMORY mode).
FAVORITE 1–

FAVORITE 3

| Specify the user memories that are assigned to the [x] button (FAVORITE 1), [r] button (FAVORITE 2), and [y] button (FAVORITE 3).
01–99| Assign user memory 01–99 to each of the buttons.

KNOB ASSIGN

You can assign the parameters of your choice to the [OD/DS] knob, [MOD] knob, and [DELAY] knob of the Pocket GT unit.
With the factory settings, DEFAULT is registered to each of the knobs. It is assigned Characteristic parameters of each effect.

PARAMETERS THAT CAN BE ASSIGNED TO THE KNOBS

Value

OFF
DEFAULT:OD/DS
DEFAULT:MOD
DEFAULT:DELAY
FX1:COMP TYPE
FX1:COMP SUSTAIN
FX1:COMP ATTACK
FX1:COMP TONE
FX1:COMP LEVEL
FX1:LIMITER TYPE
FX1:LIMITER ATTACK
FX1:LIMITER THRESHOLD
FX1:LIMITER RATIO
FX1:LIMITER RELEASE
FX1:LIMITER LEVEL
FX1:T.WAH MODE
FX1:T.WAH POLARITY
FX1:T.WAH SENS
FX1:T.WAH FREQ
FX1:T.WAH PEAK
FX1:T.WAH LEVEL
FX1:GEQ 100Hz
FX1:GEQ 200Hz
FX1:GEQ 400Hz
FX1:GEQ 800Hz
FX1:GEQ 1.6kHz
FX1:GEQ 3.2kHz
FX1:GEQ 6.4kHz
FX1:GEQ LEVEL
FX1:PEQ LOW GAIN
FX1:PEQ LOW-MID FREQ
FX1:PEQ LOW-MID Q
FX1:PEQ LOW-MID GAIN
FX1:PEQ HIGH-MID FREQ
FX1:PEQ HIGH-MID Q
FX1:PEQ HIGH-MID GAIN
FX1:PEQ HIGH GAIN
FX1:PEQ LEVEL
FX1:TONE MOD TYPE
FX1:TONE MOD RESONANCE
FX1:TONE MOD LOW
FX1:TONE MOD HIGH
FX1:TONE MOD LEVEL
FX1:GUITAR SIM TYPE
FX1:GUITAR SIM LOW
FX1:GUITAR SIM HIGH
FX1:GUITAR SIM LEVEL
FX1:GUITAR SIM BODY
FX1:A.GUITAR SIM HIGH
FX1:A.GUITAR SIM BODY
FX1:A.GUITAR SIM LOW
FX1:A.GUITAR SIM LEVEL
FX1:SLOW GEAR SENS
FX1:SLOW GEAR RISE TIME
FX1:SLOW GEAR LEVEL
FX1:OCTAVE -2OCT
FX1:OCTAVE -1OCT
Value
FX1:OCTAVE DIRECT
FX1:PITCH SHIFT PITCH

FX1:PITCH SHIFT FINE

FX1:PITCH SHIFT PRE-DELAY

FX1:PITCH SHIFT E.LEVEL

FX1:PITCH SHIFT FEEDBACK FX1:PITCH SHIFT D.LEVEL

FX1:HARMONIST HARMONY
FX1:HARMONIST PRE-DELAY
FX1:HARMONIST E.LEVEL
FX1:HARMONIST FEEDBACK FX1:HARMONIST D.LEVEL FX1:OVERTONE DETUNE
FX1:OVERTONE TONE
FX1:OVERTONE UPPER         FX1:OVERTONE LOWER
FX1:OVERTONE D.LEVEL
FX1:FEEDBACKER DEPTH
FX1:FEEDBACKER TRIGGER
FX1:AC.PROCESSOR TYPE FX1:AC.PROCESSOR BASS FX1:AC.PROCESSOR MIDDLE FX1:AC.PROCESSOR TREBLE FX1:AC.PROCESSOR PRESENCE
FX1:AC.PROCESSOR LEVEL
FX1:PHASER TYPE
FX1:PHASER RATE
FX1:PHASER DEPTH
FX1:PHASER MANUAL
FX1:PHASER RESONANCE
FX1:PHASER LEVEL
Value
FX1:FLANGER RATE
FX1:FLANGER DEPTH
FX1:FLANGER MANUAL
FX1:FLANGER RESONANCE
FX1:FLANGER LOW CUT
FX1:FLANGER LEVEL
FX1:TREMOLO WAVE
FX1:TREMOLO RATE
FX1:TREMOLO DEPTH
FX1:TREMOLO LEVEL
FX1:ROTARY BALANCE
FX1:ROTARY SPEED
FX1:ROTARY RATE SLOW
FX1:ROTARY RATE FAST
FX1:ROTARY TRANSITION
FX1:ROTARY LEVEL
FX1:UNI-V RATE
FX1:UNI-V DEPTH
FX1:UNI-V LEVEL
FX1:VIBRATO RATE
FX1:VIBRATE DEPTH
FX1:VIBRATO TRIGGER
FX1:VIBRATE RISE TIME
FX1:VIBRATO LEVEL
FX1:CHORUS MODE
FX1:CHORUS RATE
FX1:CHORUS DEPTH
FX1:CHORUS LOW CUT
FX1:CHORUS HIGH CUT
FX1:CHORUS E.LEVEL
FX1:SUB DELAY TYPE
FX1:SUB DELAY TIME
Value
FX2:GUITAR SIM HIGH FX2:GUITAR SIM LEVEL FX2:GUITAR SIM BODY FX2:A.GUITAR SIM HIGH FX2:A.GUITAR SIM BODY
FX2:A.GUITAR SIM LOW
FX2:A.GUITAR SIM LEVEL
FX2:SLOW GEAR SENS
FX2:SLOW GEAR RISE TIME
FX2:SLOW GEAR LEVEL
FX2:OCTAVE -2OCT FX2:OCTAVE -1OCT FX2:OCTAVE DIRECT FX2:PITCH SHIFT PITCH
FX2:PITCH SHIFT FINE
FX2:PITCH SHIFT PRE-DELAY FX2:PITCH SHIFT E.LEVEL FX2:PITCH SHIFT FEEDBACK FX2:PITCH SHIFT D.LEVEL FX2:HARMONIST HARMONY FX2:HARMONIST PRE-DELAY
FX2:HARMONIST E.LEVEL FX2:HARMONIST FEEDBACK FX2:HARMONIST D.LEVEL FX2:OVERTONE DETUNE FX2:OVERTONE TONE FX2:OVERTONE UPPER

FX2:OVERTONE LOWER

FX2:OVERTONE D.LEVEL

FX2:FEEDBACKER DEPTH

FX2:FEEDBACKER TRIGGER

FX2:AC.PROCESSOR TYPE

FX2:AC.PROCESSOR BASS

FX2:AC.PROCESSOR MIDDLE

FX2:AC.PROCESSOR TREBLE FX2:AC.PROCESSOR

PRESENCE

FX2:AC.PROCESSOR LEVEL

FX2:PHASER TYPE
FX2:PHASER RATE
FX2:PHASER DEPTH
FX2:PHASER MANUAL
FX2:PHASER RESONANCE
FX2:PHASER LEVEL
FX2:FLANGER RATE
FX2:FLANGER DEPTH
FX2:FLANGER MANUAL
FX2:FLANGER RESONANCE
FX2:FLANGER LOW CUT
FX2:FLANGER LEVEL

FX2:TREMOLO WAVE

FX2:TREMOLO RATE
FX2:TREMOLO DEPTH
FX2:TREMOLO LEVEL
FX2:ROTARY BALANCE
FX2:ROTARY SPEED
FX2:ROTARY RATE SLOW
FX2:ROTARY RATE FAST
FX2:ROTARY TRANSITION
FX2:ROTARY LEVEL
FX2:UNI-V RATE
FX2:UNI-V DEPTH
FX2:UNI-V LEVEL
FX2:VIBRATO RATE

FX2:VIBRATE DEPTH

FX2:VIBRATO TRIGGER

FX2:VIBRATE RISE TIME

FX2:VIBRATO LEVEL

FX2:CHORUS MODE

FX2:CHORUS RATE FX2:CHORUS DEPTH

FX2:CHORUS LOW CUT
FX2:CHORUS HIGH CUT
FX2:CHORUS E.LEVEL
FX2:SUB DELAY TYPE
FX2:SUB DELAY TIME
FX2:SUB DELAY FEEDBACK
FX2:SUB DELAY HIGH CUT
FX2:SUB DELAY E.LEVEL
FX2:SUB DELAY D.LEVEL
FX2:SUB DELAY TAP TIME
DELAY:TYPE
DELAY:TIME
DELAY:FEEDBACK
DELAY:HIGH CUT
DELAY:E.LEVEL
DELAY:TAP TIME
DELAY:MODULATION RATE
DELAY:MODULATION DEPTH
TERA ECHO:TIME
TERA ECHO:FEEDBACK
TERA ECHO:TONE
TERA ECHO:E.LEVEL
TERA ECHO:D.LEVEL
TERA ECHO:HOLD
REVERB:TYPE
REVERB:TIME
REVERB:LOW CUT
REVERB:HIGH CUT
REVERB:LEVEL
REVERB:SPRING SENS
REVERB:DELAY TIME
REVERB:DELAY FEEDBACK
REVERB:DELAY HIGH CUT
REVERB:DELAY E.LEVEL
REVERB:DELAY D.LEVEL
FOOT VOLUME:LEVEL
PEDAL FX:TYPE
PEDAL FX:WAH PEDAL POS
PEDAL FX:WAH LEVEL
PEDAL FX:PEDAL BEND PITCH
PEDAL FX:PEDAL BEND PEDAL POS
PEDAL FX:PEDAL BEND LEVEL
MASTER LOW GAIN
MASTER MIDDLE FREQ
MASTER MIDDLE Q
MASTER MIDDLE GAIN
MASTER HIGH GAIN
PATCH LEVEL
MASTER BPM
MASTER KEY
USB MIX
FX1

MEMORY EXTENT

memories that can be selected by turning the [VALUE] knob of the Pocket GT unit.
MAX| 01–99

REWIND, FAST FORWARD TIME

which the playback location is moved when you rapidly pressing the Pocket GT’s [x] button or [y]button twice.

USB SETTING

DRY

without change (DRY sound); it is not processed by effects.
TO EFX| 0–200%| Adjusts the input level from the computer to the Pocket GT’s effects.

MAIN

computer. At this time, the audio input from the computer is mixed at the final stage of the Pocket GT.
EFX OUT| 0–200%| Adjusts the level at which the sound processed by the effects of the Pocket GT is output to the computer.

User Memory List (Initial Settings)

Ideal for backing or riffs.
02| DELUXE CRUNCH| Crunch sound based on DELUXE CRUNCH.
03| NATURAL CLEAN| A versatile clean sound usable for everything from solos to rhythm.
04| VO CRUNCH| Crunch sound based on VO DRIVE.
05| BLUESY LEAD| A lead sound using T-SCREAM as a booster, suitable for single-coil pickups.
06| TWEED CLEAN| Crunch sound based on TWEED.
07| MODERN METAL| A metal sound, good for rhythm and lead.
08| 1959 LEAD| Lead sound based on MS1959.
09| 60’s FUZZ LEAD| Psychedelic rock sound of the late ‘60s.
10| LA BROWN| Hard rock sound of the late ‘70s.
11| MILD JAZZ| A mild jazz tone.
12| SLAPBACK CRUNCH| ‘50s-style crunch and echo sound.
13| 70’s BG LEAD| Latin rock sound of the ‘70s.
14| P.SHIFT LEAD| A lead sound adding an upper octave tone.
15| R-FIER METAL| Heavy metal sound based on R-FIER.
16| BRIGHT TW CLEAN| A bright clean sound, good for rhythm.
17| TWIN CRUNCH| Crunch sound based on CLEAN TWIN.
18| VO DRIVE| A full-driven sound of VO DRIVE.
19| MID BOOST LEAD| Mid-boosted lead sound, suitable for ‘80s hard rock.
20| FUSION 335| A lead tone of ‘70s fusion.
21| SPACY JAZZ| Contemporary jazz tone with deep reverb.
22| 1959 CRUNCH| Crunch sound based on MS1959.
23| COMP CRUNCH DLY| Crunch sound with delay, good for rhythm.
24| DELUXE LEAD| Lead sound based on DELUXE CRUNCH, with good sustain.
25| DEEP ECHO LEAD| Lead sound with deep delay and reverb effects.
26| RETRO TREMOLO| Crunch sound with tremolo effect.
27| CLEAN SUSTAIN| A clean sound with good sustain.
28| ACOUSTIC SIM| Changes electric guitar to acoustic guitar sound.
29| DIST FUSION| A distortion sound suitable for jazz fusion.
30| AMBIENT DRIVE| A drive sound with reverb.
31| SUPER CLEAN| Transparently clean sound. Ideal for arpeggios or chord rhythms.
32| OD+STACK LEAD| A lead sound placing an OD-1 before the MS1959, suitable for hard rock.
33| POWER METAL| A metal sound with powerful low end.
34| ROYAL LEAD| British lead tone of the ‘70s and ‘80s.
35| COMP CRUNCH LEAD| A lead sound suitable for jazz fusion.
36| JC-120 CLEAN| Clean sound based on JC-120.
37| SOFT JAZZ| A clean sound with less high-frequencies, suitable for jazz.
38| CHORUS 1959| Drive sound of MS1959 with chorus.
39| BGNR LEAD| Lead sound using BGNR, suitable for humbucking pickups.
40| POWER DRIVE| A straightforward and powerful drive sound that lets the character of the guitar come through.
41| JAZZ FIELD| An aggressive contemporary jazz tone.
42| FUNKY WAH CLEAN| Clean sound adding a wah effect according to the picking strength.
43| CRUNCH COMBO LEAD| Lead sound based on PRO CRUNCH.
44| COMP+OD LEAD| Lead sound combining compressor and overdrive.
45| LEGATO LEAD| A smooth lead sound suitable for legato-style playing.
46| SIMPLE CLEAN| A simple clean tone with less effects.
47| MUFF FUZZ LEAD| Lead sound using MUFF FUZZ.
48| P.SHIFT CLEAN| A clean sound adding an upper octave tone.
49| -1 OCT DRIVE| Drive sound adding a lower octave tone.
50| FUZZ ORGAN| An organ-type sound with fuzz.
51| MULTI DIMENSION| Psychedelic sound using OVERTONE effect.
52| COMP PHASE CLEAN| A clean sound with phaser, suitable for chord rhythm.
53| ORNG DRIVE| Drive sound based on ORNG ROCK REVERB.
54| VINT R-FIER| Drive sound based on R-FIER VINTAGE.
55| T-AMP DRIVE| Drive sound based on T-AMP LEAD.
56| DELUXE CLEAN| Clean sound based on DELUXE CRUNCH.
57| SLDN DRIVE| Drive sound based on SLDN.
58| 5150 DRIVE| Drive sound based on 5150 DRIVE.
59| LOW GAIN MS| Clean sound based on MS1959, reducing the amp gain.
60| BGNR METAL| Heavy metal sound based on BGNR UB METAL.
61| MATCH DRIVE| Drive sound based on MATCH DRIVE.
62| BRIGHT VO CLEAN| Clean sound based on VO DRIVE.
63| PRO CRUNCH| Crunch sound based on PRO CRUNCH.
64| COMBO CRUNCH| Crunch sound based on COMBO CRUNCH.
65| JC-120 + DIST| Drive sound made in combination of JC-120 and distortion pedal.
66| FULL RANGE CLEAN| A clean sound ranging from high frequencies to the low frequencies.
67| LOW OCTAVE CLEAN| Clean sound adding a lower octave tone.
68| FLANGE DRIVE| A drive sound with flanger.
69| DEEP PHASE| Clean sound using BI PHASE effect, resulting in unique tonal character.
70| for ACOUSTIC GTR| Acoustic processor useful for Acoustic- Electric guitars.
71| [BASS]CLEAN| A clean sound for bass guitar.
72| [BASS]LIMITER| Clean sound with limiter for bass guitar.
73| [BASS]CHORUS| Clean sound with chorus for bass guitar.
74| [BASS]VIBRATO| Clean sound with vibrato for bass guitar.
75| [BASS]DRIVE| A drive sound for bass guitar.
76| [BASS]SCOOP DRV| Drive sound for bass guitar, scooping mid frequencies.
77| [BASS]FUZZ| A fuzz sound for bass guitar.
78| [BASS]PHASE FUZZ| Fuzz sound with phaser for bass guitar.
79| [BASS]CHORUS+REV| Clean sound for bass guitar, with chorus and reverb.
80| [BASS]T.WAH| Clean sound for bass guitar, adding a wah effect according to the picking strength.
81| [BASS]OVERTONE| Organ-style bass sound.
82| [BASS]SPACY DLY| Bass sound with delay, suitable for solos.
83| [BASS]FLANGER| Clean sound with flanger for bass guitar.
84| [BASS]WIDE SLAP| Bass sound suitable for slap-style playing.
85| [BASS]DEEP LIMIT| A clean bass sound with good sustain.
86| [BASS]SLOW GEAR| Bass sound with volume swell effect.
87| [BASS]MS DRIVE| Drive sound for bass guitar using MS1959.
88| [BASS]TERA ECHO| Bass sound with unique reverberation using TERA ECHO.
89| [BASS]AC SIM| Bass sound inspired by acoustic bass.
90| [BASS]FRETLESS?| Bass sound inspired by fretless electric bass.
91| EMPTY| Empty memory for sound creation.
92| EMPTY
93| EMPTY
94| EMPTY
95| EMPTY
96| EMPTY
97| EMPTY
98| EMPTY
99| EMPTY

Block Diagram

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