Let's have a look at some effects and sound processing facilities available in the GX700.
Noise gate: with user control of threshold setting.
Compressor: with variable attack and release characteristics, plus control over sustain and tone. In common with all the other effects blocks, this also has a level parameter.
Wah: this classic effect is familiar to guitarists everywhere, and can be recreated quite convincingly with the GX700, either under LFO or pedal control. The resonance of the wah effect can be varied, as can the frequency range over which the effect sweeps.
Distortion: I suspect this section is based around the concepts used in the Boss analogue pedals. The choices available include Vintage OD, Turbo OD, Blues, Distortion, Turbo Distortion, Metal and Fuzz. In addition to an adjustable drive level, the distortion settings also have a basic 2?band bass/treble equaliser.
Preamp: this is where COSM modelling comes into play, because here you can select from several amplifier characteristics, including JC120, Clean Twin, Match Drive, Big Lead, MS1959 (I), MS1959 (II), MS1959 (I+II), SLDN Lead and Metal 5150. The available controls include the usual Bass, Middle, Treble and Presence, as well as the Volume/Master Volume method of setting the amount of amp distortion, and a 'Bright' switch. A gain parameter is also included, which affects the distortion amount.
Loop: this isn't an effect at all, but rather a means of switching in an external effect or processor. The Loop function connects via the rear panel jacks, and has adjustments for both send and return levels, which is a sensible inclusion.
3?band EQ: despite the fact that the overdrive section and the preamplifier both have tone controls, there's also a 3?band equaliser with a fully parametric mid section.
Speaker Simulator: this again offers several choices: Small, Middle, JC?120, Built?In 1?4, Big Stack 1?2, MS Stack 1?2 and Metal stack. There are also three possible virtual mic settings, for close miking and more distant miking, and separate level controls are provided for the mic level and the direct level.
Noise Suppressor: this comes at the end of the amplifier chain, but before the effects. However, because the effects can be connected in any order, it can be used elsewhere if you have a reason for doing so. Personally, I'd be inclined to use it after the modulation effects (for anything that doesn't involve level modulation, such as panning or vibrato), but before any delay or reverb effects. As far as the user parameters go, these are really down to Threshold and Release time, though you can also choose to key the gate from either the noise reduction block's own input or from the guitar input jack.
GX-700 Studio Effects Processor
Released 1996, the GX-700 took over as the new rack mount guitar multi effects processor. It builds on the earlier GL-100 Guitar Driver and also borrows much of its functionality from the Roland GP-100. It features analog overdrive/distortion, a number of digital effects and a COSM amp modeller. The amp modeller contains 7 models ranging from the Roland JC-120 to the Peavey 5150 higain amp and there are 9 different speaker simulations to choose from.
The following effects are included in the GX-700: Overdrive/Distortion, Wah, 3 Band Equalizer, Noise Suppressor, Modulation (Flanger, Phaser, Pitch Shifter, Harmonist, Vibrato, Ring Modulator, Humanizer), Delay, Chorus, Tremolo/Pan and Reverb. Only one modulation effect can be used at the same time so the Flanger and Vibrato can not be used simultaneously. There is mono or stereo outputs.
The GX-700 has 100 factory presets and another 100 memory locations for storing user patches. The patches can be chosen from the front panel or through a MIDI foot pedal like the FC-200. The FC-200 can be used in either manual mode for switching effects on or off or in editing mode for creating new sounds.