Fender Mustang GTX50 GTX100 User Manual PRESETS

PRESET BASICS

Mustang GTX comes with more than 100 sequentially numbered presets, and users can create and add even more. Each preset has three “layers” that appear in the DISPLAY WINDOW. These are the PRESET LAYER (top), SIGNAL PATH LAYER (middle) and CONTROLS LAYER (bottom); the three LAYER BUTTONS provide access to each layer (see illustration below).

The PRESET LAYER is active when the amplifier is first turned on; the default setting is the first preset (01). To scroll through presets, turn the ENCODER (see illustration below); whichever preset is displayed becomes active. Presets can also be selected by footswitch (see page 40).

The SIGNAL PATH LAYER of each preset consists of one of Mustang GTX’s many amplifier models, and one or more of dozens of effects and their order (or no effects in some cases). The amp model appears in the center of the SIGNAL PATH LAYER display. Effects appear to either side of the amp model, representing their position in the signal path—“pre” to the left of the amp model (placed “before” the amp) or “post” to the right of the amp model (as in an effects loop). Select any of these items by turning the ENCODER; the selected item in the SIGNAL PATH LAYER will have a white indicator arrow below it and text describing its position above it (see illustration below).

Flanked by two effects, the amp model within the preset is selected here in the SIGNAL PATH LAYER, as indicated by the white arrow and the word “amplifier.”

The CONTROLS LAYER of each preset displays information on whatever amp or effect is highlighted in the SIGNAL PATH LAYER. Amp control knob settings are displayed by default (see illustration below); effects control settings are displayed when an effect is highlighted in the SIGNAL PATH LAYER. Amp and effects controls are selected by turning the ENCODER.

Close-up detail of the CONTROLS LAYER, in which the gain control for the amp model within the preset is selected.

Each preset can be used as is. With many different amp models, effects types and control settings to choose among, however, each preset’s SIGNAL PATH LAYER and CONTROLS LAYER settings can easily be modified and saved for personally individualized sounds (see next section, “Editing and Saving Presets”).

A preset can also be moved to a different position or cleared from the list of presets. Further, the entire list of presets can be restored to its factory state. To perform these functions, see “Preset Organizer” (page 51).

EDITING AND SAVING PRESETS

Within each preset, the amplifier control knob settings, amp models, and effects types and parameters can be tailored to individual preference. When a preset is selected, the box containing its number is blue, indicating that no edits have been made to it (see illustration below).

When edits to a preset have been made, the box containing the preset number changes to red, and the SAVE utility button illuminates (see illustration below).

If an edited setting is not saved, the preset will revert to its previous settings when returning to the preset after leaving it, or when turning the amplifier off and back on again. To save a preset edit, press the illuminated SAVE utility button to get three options (see illustration below): SAVE (keep preset as edited), RENAME (save preset with a new name in its current position) and SAVE AS NEW (save preset in a new position with a new name). Turn the ENCODER to highlight an option; press it to select one.

To enter a new preset name after choosing RENAME or SAVE AS NEW, use the ENCODER to spell out a new name of your choice. Press the ENCODER once to activate the cursor; turn it to choose a character (see illustration below). Press ENCODER again to enter that character and move to the next. Repeat until new name is complete; press the SAVE utility button to keep completed new name, or press the top LAYER button (corresponding with onscreen prompt “back”) to return to the previous screen. Note that when choosing SAVE AS NEW, the preset will be saved in the next available open position (“101” in the illustration below).

A favorite preset can be saved quickly and conveniently to a “FAVORITES Setlist” (see page 31). Also, note that Mustang GTX includes cloud-based backup and restore functions for presets (see page 56).

EDITING PRESET AMPLIFIER CONTROL KNOB SETTINGS

As noted in the “Control Panel” section above, users can change a preset’s amplifier control knob settings by turning the physical control knobs on the top panel (except for Master Volume). This synchronizes the modified settings of the physical control knobs with their corresponding digital counterparts.

These settings can also be changed by editing the digital control knob positions within the CONTROLS LAYER, which displays the controls specific to the amp in use. To do this, first access the CONTROLS LAYER by pressing its LAYER BUTTON (see illustration below).

Press the bottom LAYER BUTTON to access the CONTROLS LAYER for the amp model within the preset.

Once in the CONTROLS LAYER, turn and press the ENCODER to scroll through and select a specific digital amp control knob. Then turn the ENCODER again to change that control’s setting. When a control setting is changed, the box containing the preset number changes from blue to red (indicating that a preset edit has been made), and the SAVE utility button illuminates. With the new control setting in place, further edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below).

Turn the ENCODER again to adjust the selected amp model control knob to preference.

Additional amp and control settings can be found by continuing to scroll through the CONTROLS LAYER of various amp models within the presets. These consist of “deeper” parameters including sag, bias and gate controls. Different speaker cabinet models are also included. Scroll through, select, adjust and save these additional parameters in the same manner described directly above (see illustrations below).

Close-up detail showing additional amp and control settings found in the CONTROLS LAYER; in this case for the Twin Reverb amp model.

Scroll among, select and adjust additional CONTROLS LAYER amp and control settings using the ENCODER.

REPLACING PRESET AMPLIFIER MODELS

To replace an amplifier model within a preset, access the SIGNAL PATH LAYER by pressing its LAYER BUTTON. The preset amp model will be highlighted. Press the ENCODER to access and scroll through a menu of amp models; select a new amp model by pressing the ENCODER again. When a new amp model is selected, the box containing the preset number changes from blue to red (indicating that a preset edit has been made), and the SAVE utility button illuminates (see illustrations below). With the new amp model in place, further edits can then be made or the SAVE utility button can be pressed to keep completed edits. Note that pressing the PRESET LAYER button corresponding to the circled “X” in the DISPLAY WINDOW closes the amp menu.

To replace preset amp model highlighted in the SIGNAL PATH LAYER (as indicated here by the white arrow below it and the label “amplifier” above it) with a different amp model, first press ENCODER to access a menu of other amp models.

Turn ENCODER to scroll through menu of amp models.

With the new amp model in place, continue editing other parameters or press the illuminated SAVE utility button to keep completed edits.

LIST OF AMPLIFIER MODELS

This table lists all the preset amp models in Mustang GTX, with a brief description of each. Mustang GTX amps will be continually revised and updated; this manual indicates current amp models in use.

Acoustasonic, Bassbreaker, Bassman, Blues Junior, Champ, Deluxe, Deluxe Reverb, Excelsior, Princeton, Showman, Super Reverb, Super-Sonic, Twin Reverb and Vibro-King are trademarks of FMIC. All other 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 affiliation, connection, sponsorship, or approval between FMIC and with or by any third party.

LIST OF AMPLIFIER MODELS (CONT’D.)

LIST OF CABINET MODELS

This table lists all the preset speaker cabinet models in Mustang GTX, with a brief description of each. Mustang GTX cabinets will be continually revised and updated; this manual indicates current amp models in use.

Acoustasonic, Bassbreaker, Bassman, Blues Junior, Champ, Deluxe, Deluxe Reverb, Excelsior, Princeton, Showman, Super Reverb, Super-Sonic, Twin Reverb and Vibro-King are trademarks of FMIC. All other 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 affiliation, connection, sponsorship, or approval between FMIC and with or by any third party.

LIST OF CABINET MODELS (CONT’D.)

Acoustasonic, Bassbreaker, Bassman, Blues Junior, Champ, Deluxe, Deluxe Reverb, Excelsior, Princeton, Showman, Super Reverb, Super-Sonic, Twin Reverb and Vibro-King are trademarks of FMIC. All other 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 affiliation, connection, sponsorship, or approval between FMIC and with or by any third party.

EDITING EFFECTS

In addition to amp models, each preset also features various combinations of effects. Effects can be edited in several ways—they can be bypassed, replaced, moved, added or deleted. Further, the individual settings of each effect can be modified. Each option is explained below and on the following pages.

Editing the types of effects in use and their position in the signal path happens in the SIGNAL PATH LAYER. To do this, first access the SIGNAL PATH LAYER by pressing its corresponding LAYER BUTTON, which will automatically highlight the amplifier model in use first. To highlight an effect, turn the ENCODER in either direction (see illustrations below). The effect will be highlighted with a white arrow below it and a label above it.

To access effects, first press the middle LAYER BUTTON to enter SIGNAL PATH LAYER.

Turn the ENCODER in either direction to highlight an effect (as indicated here by the white arrow below it and label above it).

For each preset, note that a placeholder symbol consisting of a plus sign (+) in a circle appears at the right and left ends of the SIGNAL PATH LAYER (see illustration below). This symbol indicates an open slot into which an effect can be moved or added (see “Adding an Effect,” page 16). In many presets that include one or more effects, the user must scroll to the far right or far left using the ENCODER in order to see this symbol.

Close-up detail—of a different preset that doesn’t include one or more effects—in which open slots that effects can be placed in are marked by a placeholder symbol consisting of a plus sign in a circle at both ends of the SIGNAL PATH LAYER.

BYPASSING AN EFFECT

There are two ways to bypass effects. The first is a general on-off feature that simply turns off all effects in all presets with a single press of a button. The second lets users bypass specific individual effects within a preset.

To turn off all Mustang GTX effects in every preset (and turn them back on), press the X FX utility button. There is no option to save; this is merely a quick way to turn all effects off and back on. When the X FX utility button is pressed it will illuminate, and a blue “bypass” label will appear above each effect (see illustration below). If specific individual effects have already been bypassed in a preset, use of the X FX utility button will not turn them back on.

The “X FX” utility button illuminates when pressed, bypassing all effects in all presets (as indicated by blue “BYPASS” labels above each effect).

To bypass specific individual effects within a preset, highlight it in the SIGNAL PATH LAYER and press the ENCODER. Select “BYPASS” from the menu of effects placement options and press the ENCODER again. The SIGNAL PATH LAYER will then indicate that the effect has been bypassed; the box containing the preset number will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button will illuminate. With the effect now bypassed, further edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below).

To bypass a highlighted effect, first press the ENCODER to access the menu of effects placement options.

Turn ENCODER to highlight “BYPASS” in effects placement options menu, then press the ENCODER to select it.

With the effect bypassed (as indicated here by white arrow below it and blue box containing the label “BYPASS” above it), continue editing other parameters or press the illuminated SAVE utility button to keep completed edits.

REPLACING AN EFFECT

To replace an effect, highlight the effect to be replaced in the SIGNAL PATH LAYER and press the ENCODER. Select “REPLACE” from the menu of effects placement options and press the ENCODER again. Select one the four effects categories that will appear—Stomp Box, Modulation, Delay or Reverb—and press the ENCODER to access the effects in that category. Scroll through the effects and press the ENCODER to select one as a replacement.

The SIGNAL PATH LAYER will then display the new effect and indicate that the original effect has been replaced; the box containing the preset number will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button will illuminate. With the effect now replaced, further edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below and on next page). Note that pressing the PRESET LAYER button corresponding to the circled “X” in the DISPLAY WINDOW closes the effects placement option and effects category menus; pressing it when it corresponds to the label “back” (as on the effects menu) returns the user to the previous screen.

To replace a highlighted effect, first press the ENCODER to access the menu of effects placement options.

Turn the ENCODER to highlight “REPLACE” in effects placement options menu, then press the ENCODER to select it.

Turn the ENCODER to highlight one of four effects categories, then press ENCODER to select effects category.

Turn the ENCODER to highlight a replacement effect, then press ENCODER to select it.

With the effect replaced (as indicated here by white arrow below it and label above it), continue editing other parameters or press the illuminated SAVE utility button to keep completed edits.

MOVING AN EFFECT

To move an effect to a different position in the signal path, highlight the effect to be moved in the SIGNAL PATH LAYER and press the ENCODER. Select “MOVE” from the menu of effects placement options and press the ENCODER again. An orange box will appear around the selected effect name, along with a blinking white arrow indicating that the effect is ready to be moved. Turn the ENCODER to reposition the selected effect; press the ENCODER to place the effect in a new position.

The SIGNAL PATH LAYER will then display the effect in its new position; the box containing the preset number will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button will illuminate. With the effect now moved, further edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below and on next page).

To move a highlighted effect, first press the ENCODER to access the menu of effects placement options.

Turn the ENCODER to highlight “MOVE” in effects placement options menu, then press the ENCODER to select it.

The selected effect, highlighted with a white arrow below it and label above it, appears in an orange box indicating that it is ready to be moved to a different position in the signal path by turning the ENCODER.

After moving the selected effect by turning the ENCODER, press the ENCODER to select its new position in the signal path.

With the effect moved to a new position (as indicated here by white arrow below it and label above it), continue editing other parameters or press the illuminated SAVE utility button to keep completed edits.

ADDING AN EFFECT

There are two ways to add an effect.

In the first method, highlight one of the two placeholder plus-sign symbols in the SIGNAL PATH LAYER by turning the ENCODER. The circle containing the plus-sign symbol will turn green. Press the ENCODER to see a menu of four effects categories—Stomp Box, Modulation, Delay and Reverb. Highlight a category by turning the ENCODER, then press the ENCODER to access the effects in that category. Scroll through the effects and press the ENCODER to select an effect.

The SIGNAL PATH LAYER will then display the newly added effect in a green box with a blinking white arrow below it and a label above it, indicating that the effect can be moved to a different position (if preferred) by turning and then pressing the ENCODER.

When an effect is added, the box containing the preset number will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button will illuminate. With the effect now added, further edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below and on next page). Note that pressing the PRESET LAYER button corresponding to the circled “X” in the DISPLAY WINDOW closes the effects category and effect menus; pressing it when it corresponds to the label “back” returns the user to the previous screen.

To add an effect, highlight the placeholder plus-sign symbol by turning the ENCODER to it. The circle containing the plus-sign symbol will turn green. Press the ENCODER to access a menu of four effects categories.

The newly added effect, highlighted with a white arrow below it and label above it, appears in a green box indicating that it can be left in place or moved to a different position in the signal path by turning the ENCODER.

After moving the newly added effect by turning the ENCODER, press the ENCODER to select its new position in the signal path.

With the added effect in position (as indicated here by white arrow below it and label above it), continue editing other parameters or press the illuminated SAVE utility button to keep completed edits.

In the second method of adding an effect, highlight an existing effect in the SIGNAL PATH LAYER and press the ENCODER. Select “ADD FX” from the menu of effects placement options and press the ENCODER again. Select one the four effects categories that will appear and press the ENCODER to access the effects in that category. Scroll through the effects and press the ENCODER to select an effect.

The SIGNAL PATH LAYER will then display the newly added effect in a green box with a blinking white arrow below it and a label above it, indicating that the effect can be moved to a different position (if preferred) by turning and then pressing the ENCODER.

When an effect is added, the box containing the preset number will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button will illuminate. With the effect now added, further edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below and on next page).

In another way to add an effect, highlight an existing effect within a preset by turning the ENCODER to it and pressing the ENCODER to see a menu of four effects categories.

Select “ADD FX” in the effects placement options menu by scrolling to it and pressing the ENCODER.

Select an effects category by scrolling to it and pressing the ENCODER.

The newly added effect, highlighted with a white arrow below it and label above it, appears in an green box indicating that it can be left in place or moved to a different position in the signal path by turning the ENCODER.

After moving the newly added effect by turning the ENCODER, press the ENCODER to select its new position in the signal path.

With the added effect in position (as indicated here by white arrow below it and label above it), continue editing other parameters or press the illuminated SAVE utility button to keep completed edits.

DELETING AN EFFECT

To delete an effect from the signal path, highlight the effect in the SIGNAL PATH LAYER and press the ENCODER. Select “DELETE” from the menu of effects placement options and press the ENCODER again; the effect will be removed from the signal path and another effect in use (if any) will shift into its place. If the deleted effect was the only effect in the signal path (pre or post), a placeholder symbol consisting of a plus sign (+) in a circle will appear in its spot.

When an effect is deleted, the box containing the preset number will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button will illuminate. With the effect now deleted, further edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below and on next page).

To delete a highlighted effect, first press the ENCODER to access the menu of effects placement options.

Select “DELETE” in the effects placement options menu by scrolling to it and pressing the ENCODER.

The SIGNAL PATH LAYER will then show the effect has been deleted (as indicated by white arrow), either by replacing it with a plus-sign placeholder symbol (as seen here) or by shifting another effect (if present) into its position.

EDITING EFFECTS SETTINGS

To edit the control settings of a particular effect, turn the ENCODER to highlight the effect in the SIGNAL PATH LAYER, then press the CONTROLS LAYER button, which presents the individual controls for each effect. Turn the ENCODER to scroll through available effect controls, which will each turn blue as they’re highlighted, and press the ENCODER to select a specific effect control, which will then turn red.

After selecting a specific effect control, turn the ENCODER to edit that specific effect control to preference, and press the ENCODER again to keep the edited effect control setting. The edited effect control will then turn from red back to blue. When an effect control is edited, the box containing the preset number will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button will illuminate. With the effect now edited, further effects control edits can then be made or the SAVE utility button can be pressed to keep completed preset edits (see illustrations below and on next page).

To edit the settings of a particular effect, highlight the effect in the SIGNAL PATH layer by scrolling to it with the ENCODER; then press the CONTROLS LAYER button.

In the CONTROLS LAYER, highlight an effect control by scrolling to it using the ENCODER; each effect control turns blue as it’s highlighted.

Press the ENCODER to select a specific effect control for adjustment, which will then turn red.

Press the ENCODER to keep the edited effect control setting; the effect control will return to blue.

With the specific effect control edited to preference, continue editing other parameters or press the illuminated SAVE utility button to keep completed edits.

USING THE TAP TEMPO BUTTON

In presets that include Modulation effects, Delay effects or both*, the TAP utility button flashes in time with the default rate of the last delay effect in the signal path (or last modulation effect if no delay effect is present). This rate can be left as is, or it can be modified using the TAP utility button. To set a new TAP tempo, tap the flashing TAP utility button at the desired tempo at least two times (see illustration below). The TAP utility button will function regardless of which layer is highlighted (PRESET LAYER, SIGNAL PATH LAYER or CONTROLS LAYER).

To change the tempo of the first delay effect (or modulation effect if no delay effect is present), tap the TAP utility button at the desired tempo.

Various time parameters for all delay and modulation effects in the signal path can be adjusted in the CONTROLS LAYER without use of the TAP utility button. In the SIGNAL PATH LAYER, use the ENCODER to highlight the delay or modulation effect to be modified; its controls will then appear in the CONTROLS LAYER. Enter the CONTROLS LAYER by pressing its corresponding layer button, and scroll to the time parameter to be changed using the ENCODER. Press and turn the ENCODER to select and adjust the desired time value, during which the window containing the time value will turn red; press the ENCODER again to keep the new time value (see illustration below).

Delay and modulation effects tempos can also be changed by highlighting the time parameter’s numerical value in the CONTROLS LAYER, then pressing and turning the ENCODER to set the desired tempo.

TAP TEMPO SUBDIVISIONS

Mustang GTX delay and modulation effects can be synched to the player’s preferred BPM rate. To see the current BPM rate, press the TAP utility button once; the rate will appear in the DISPLAY WINDOW:

* Mustang GTX modulation and delay effects are listed on pages 24-26.

There are two modes for BPM—”global” and “preset”. “Global” mode applies a single BPM to all presets. In “preset” mode, each preset has its own BPM, which can be set individually per preset (the default rate is 120 BPM). To switch from one BPM mode to the other, press the bottom LAYER BUTTON corresponding to “mode: preset” or “mode: global” in the DISPLAY WINDOW; turn the ENCODER to adjust the BPM rate:

SETTING NOTE DIVISIONS

To synch an effect to the BPM rate, the user can set a specific “note division” for modulation and delay effects. When the note division is set, the time value is automatically calculated to fit with the current BPM setting. If the time parameter is changed, the note division is automatically set to “off”.

Note divisions values are off, whole note, half note, dotted half note, half note triplet, quarter note, dotted quarter note, quarter note triplet, eighth note, dotted eighth note, eighth note triplet, sixteenth note, dotted sixteenth note, sixteenth note triplet, thirty second note, dotted thirty second note and thirty second note triplet.

To set note divisions, go to the CONTROLS LAYER of the selected modulation or delay effect by pressing the corresponding bottom LAYER BUTTON. Use the ENCODER to scroll to and select “NOTE DIVISION” (abbreviated “DIV”); then turn and press the ENCODER to select a note division value:

If all note divisions are off, BPM will correspond to rate of last delay or modulation effect in the signal path.

LIST OF EFFECTS TYPES

Mustang GTX onboard effects are organized into six category menus: Stompbox effects (15), Modulation effects (15), Delay effects (13), Reverb effects (14), Dynamics+EQ effects (7) and Filters+Pitch effects (9). Names and descriptions of each appear below, by category. Mustang GTX effects will be continually revised and updated.

STOMPBOX EFFECTS

MODULATION EFFECTS

Note that the TAP utility button works with Mustang GTX modulation effects, and flashes when a preset using one or more modulation effects is in use.

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 affiliation, connection, sponsorship, or approval between FMIC and with or by any third party.

MODULATION EFFECTS (CONT’D.)

DELAY EFFECTS

Note that the TAP utility button works with Mustang GTX delay effects, and flashes when a preset using one or more delay effects is in use.

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 affiliation, connection, sponsorship, or approval between FMIC and with or by any third party.

DELAY EFFECTS (CONT’D.)

REVERB EFFECTS

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 affiliation, connection, sponsorship, or approval between FMIC and with or by any third party.

DYNAMICS+EQ EFFECTS

FILTERS+PITCH EFFECTS

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 affiliation, connection, sponsorship, or approval between FMIC and with or by any third party.