Fender Mustang GTX Series - Dynamics and EQ Effects; Descriptions of Dynamics+EQ Effects; Filters and Pitch Effects; Descriptions of Filters+Pitch Effects

MODULATION EFFECTS (CONT’D.)
Vibratone
Classic late-’60s/early-’70s Fender eect with a
rotating speaker bae
Vintage Tremolo
Classic Fender “stuttering” photoresistor tremolo, as heard in Fender amps such
as the Twin Reverb
Sine Tremolo
Smoothly pulsating tube bias tremolo, as heard in amps such as the Fender
Princeton Reverb
Ring Modulator
Creatively non-harmonic dissonance from the early era
of electronic music
Phaser
Long-indispensable jetliner “whoosh” heard on
countless recordings
Phaser 90 Phase shifter eect inspired by the classic ’70s MXR Phase 90
Vibe Unit Based on the late-’60s Uni-Vibe phaser/vibrato pedal
Harmonic Tremolo Based on the distinctive eect built into certain early-’60s Fender amps
4-Knob Flanger Based on the MXR M117 Flanger
JC Chorus
Based on the bucket-brigade analog chorus of the classic
Roland JC-120 Jazz Chorus amplier
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All non-FMIC product names and trademarks appearing in this manual are the property of their respective owners and are used solely to identify the products whose tones
and sounds were studied during sound model development for this product. The use of these products and trademarks does not imply any aliation, connection, sponsor-
ship, or approval between FMIC and with or by any third party.
DELAY EFFECTS
Note that the TAP utility button works with Mustang GTX delay eects, and ashes when a preset using one
or more delay eects is in use.
Mono Delay Clean, simple and pristine signal repetition
Mono Echo Filter
Mono echo with an evenly spaced wah-like eect
on the signal repetitions
Stereo Echo Filter
Stereo echo with an evenly spaced wah-like eect
on the signal repetitions
Tape Delay
Based on an classic analog tape echo unit with imperfections
that created distinctive “wow” and “utter”
Stereo Tape Delay Similar to Tape Delay above, but with stereo eld expansion
Multi Tap Delay
Rhythmic delay that can be subdivided into multiple
“taps” with diering time intervals
Reverse Delay
Reverses the shape of notes for the classic
“backwards guitar” eect
Ping Pong Delay
Repetitions in the stereo eld alternate between right and left,
imparting a “ping pong” eect
Ducking Delay
Delayed notes “duck” out of the way while playing, and
ll in gaps when not playing