Boss SY-1000 User Manual

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Page 1

Reference Manual

Page 2

Contents

Getting Ready ........................ 4

Connecting the Equipment ............ 4

Turning the Power On/O .............. 4

Auto O Function ..................... 4

Panel Descriptions ..................... 6

Selecting the Instrument (Guitar/

Bass) to Use (MODE SETTING) .......... 7

Specifying the Device Connected to

OUTPUT Jacks (OUTPUT SELECT) ....... 7

Making Pickup Settings (GK SETTING) .. 8

Specifying the Pickup Type ............ 8

Specifying Your Guitar’s (Bass’s) Scale Length

............................... 9

Specifying the Pickup Position (Bass

Mode Only) .......................... 9

Specifying the Distance from the

Bridge .............................. 10

Adjusting the Pickup Sensitivity. . . . . . . 10

Tuning the Guitar (TUNER) ............ 10

Making Tuner Settings ............... 10

Basic Operation ..................... 11

Display (Play Screen) .................. 11

About the Icons. . . . . . . . . . . . . . . . . . . . . . 11

Screen Operations .................... 12

Operating Example 1 (INST Screen) ... 12 Operating Example 2 (INST Edit

Screen) .............................. 12

Operating Example 3 (EFFECT Edit

Screen) .............................. 12

Switching Patches (Tone) ........... 13

The Structure and Patches of the SY-

1000 .................................13

Types of Bank ........................13

Types of Patch .......................13

Selecting a Patch .....................13

Editing a Patch ...................... 14

Changing the INST .................... 14

Editing the INST ......................14

Viewing All Parameters While You Edit . 14

Saving the Edited INST Settings

(VARIATION) .......................... 15

Recalled a Saved INST Variation ....... 15

Editing the Eects .................... 16

Basic Operation for Eect Editing ..... 16

Editing While Viewing All Parameters .. 16

Changing the Eect Order ............ 16

Saving the Edited Eect Settings (VARIATION)

Recalled a Saved Eect Variation ...... 17

Assigning Functions to the Foot

Switches and Expression Pedal ........18

Making Assignments from the Eect Edit Screen (Quick Assign)

.......................... 17

............ 18

Saving a Patch. . . . . . . . . . . . . . . . . . . . . . . 19

Settings for the Entire SY-1000 (System Parameters)

Settings for the SY-1000 ..............20

Restoring the Factory Default

Settings (Factory Reset) .............. 20

Turning O the Auto O Function ..... 20

................ 20

The Internal Structure of the SY-

1000 ................................. 21

INST (Instrument) Block ............... 21

EFFECT (Eects) Block ................. 21

INST Parameters .................... 22

Availability of Functions for Each

INST TYPE (GUITAR MODE) ............ 22

Availability of Functions for Each

INST TYPE (BASS MODE) .............. 22

INST TYPE ............................23

Parameters Common to Each INST

TYPE (COMMON) .................... 23

Parameters Common to Each INST

TYPE (ALT TUNE) ..................... 24

DYNAMIC SYNTH Parameters .......... 25

OSC ................................. 25

FILTER ............................... 26

AMP ................................ 26

LFO1, LFO2 .......................... 27

SEQ ................................. 27

LAYER ............................... 29

OSC SYNTH Parameters ............... 29

OSC ................................. 29

FILTER ............................... 30

AMP ................................ 31

LFO1, LFO2 .......................... 31

GR-300 (In GUITAR MODE) / ANALOG

GR (In BASS MODE) Parameters .......32

GR-300/ANALOG GR ................. 32

E.GUITAR Parameters ................. 33

GUITAR (In GUITAR MODE) ............ 33

GUITAR (In BASS MODE) ..............33

AMP (AMP Modeling) ................ 34

NS .................................. 35

EQ .................................. 35

ACOUSTIC Parameters ................36

ACOUSTIC ........................... 36

AMP (AMP Modeling) ................ 37

NS .................................. 37

EQ .................................. 37

AC BASS Parameters .................. 37

AC BASS ............................. 37

AMP (AMP Modeling) ................ 37

NS .................................. 37

EQ .................................. 37

E.BASS Parameters .................... 38

BASS (In GUITAR MODE) ..............38

BASS (In BASS MODE) ................ 38

AMP (AMP Modeling) ................ 39

NS .................................. 39

EQ .................................. 39

VIO GUITAR Parameters ............... 39

GUITAR ..............................39

HARMO ............................. 40

FILTER ............................... 40

NS .................................. 40

EQ .................................. 40

POLY FX Parameters .................. 41

NS .................................. 41

EFFECT Parameters .................42

FX1–FX3 .............................. 42

AC RESONANCE. . . . . . . . . . . . . . . . . . . . . . 43

AUTO WAH .......................... 43

CHORUS ............................ 43

CLASSIC-VIBE ........................ 44

COMPRESSOR ....................... 44

DEFRETTER .......................... 44

DEFRETTER BASS .................... 45

DELAY .............................. 45

FLANGER/FLANGER BASS ............. 46

FOOT VOLUME .......................46

GRAPHIC EQ ......................... 47

HARMONIST ......................... 47

HUMANIZER ......................... 48

ISOLATOR ........................... 48

LIMITER ............................. 48

LO-FI ................................ 48

OCTAVE/OCTAVE BASS ............... 49

PAN ................................. 49

PARAMETRIC EQ ..................... 49

PEDAL BEND ........................ 49

PHASER ............................. 50

PITCH SHIFTER ....................... 50

REVERB ............................. 51

RING MOD .......................... 51

RO TA RY .............................51

SITAR SIM ........................... 52

SLICER .............................. 52

SLOW GEAR/SLOW GEAR BASS ........52

SOUND HOLD ....................... 52

TOUCH WAH/TOUCH WAH BASS ...... 53

TREMOLO ........................... 53

VIBRATO ............................ 53

WAH ................................ 54

AMP (AMP Modeling) ................. 54

TYPE ................................ 55

SP TYPE .............................55

MIC TYPE ............................ 55

CHORUS .............................. 56

COMPRESSOR ........................ 57

TYPE ................................ 57

DISTORTION .......................... 57

TYPE ................................ 57

EQ 1, EQ2 ............................. 58

MASTER DELAY ....................... 59

TYPE ................................ 59

DELAY 1, DELAY 2 ..................... 60

REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

NOISE SUPPRESSOR .................. 62

FOOT VOLUME 1, FOOT VOLUME 2 .....62

SEND/RETURN ........................ 63

MODE ............................... 63

DIVIDER .............................. 64

MIXER ................................ 64

BALANCER 1–BALANCER 3 ............ 65

MAIN OUT/SUB OUT .................. 65

MASTER .............................. 66

NORMAL INPUT ....................... 66

CONTROL ASSIGN Parameters ......67

CONTROL FUNCTION .................67

FUNCTION .......................... 67

MODE ............................... 69

PREFERENCE. . . . . . . . . . . . . . . . . . . . . . . . . 69

Page 3

ASSIGN SETTING ...................... 70

ASSIGN 1–ASSIGN 16 ................. 70

Virtual Expression Pedal System

(Wave Pedal) .........................77

STRING1–STRING6, STR HiC–STR LowB, STRING ALL, NORMAL IN

INPUT SENS (Input Sens) ............. 77

PATCH MIDI ........................... 78

PATCH MIDI 1–PATCH MIDI 4 ..........78

GUITAR TO MIDI/BASS TO MIDI ........79

LED COLOR ...........................80

[BANKI]/[BANKH] switch, [CTL1]/ [CTL2] switch, [1]–[4] switch, CUR

NUM ................................ 80

PREFERENCE. . . . . . . . . . . . . . . . . . . . . . . . . 80

....... 77

SYSTEM Parameters .................81

CONTROL MODE ...................... 81

IN/OUT SETTING ...................... 81

GK SETTING .........................81

NORMAL SETTING ................... 83

MAIN OUT, SUB OUT ................. 83

TOTAL ............................... 85

USB AUDIO .......................... 85

HARDWARE SETTING ................. 87

KNOB SETTING ...................... 87

ASSIGN HOLD .......................87

GROUND LIFT ....................... 87

OTHER .............................. 88

PLAY OPTION ......................... 88

MIDI .................................. 89

Operations from the SY-1000 ......... 89

Operations from an External MIDI

Device .............................. 89

MIDI SETTING. . . . . . . . . . . . . . . . . . . . . . . . 89

PROGRAM MAP BANK1–BANK4 ....... 90

BULK DUMP ......................... 90

GUITAR TO MIDI/BASS TO MIDI ........ 91

TUNER ............................... 91

TUNER MODE ........................ 91

FACTORY RESET ...................... 92

MODE SETTING ....................... 92

Contents

Saving a Sound (WRITE) ............ 93

Saving a Patch (PATCH WRITE) ......... 93

Exchanging Patches (PATCH EXCHANGE)

Initializing Patches (PATCH

INITIALIZE) ...........................94

Inserting a Patch (PATCH INSERT) ...... 94

.......................... 93

Connecting to a Computer .......... 95

Installing the USB Driver .............. 95

Using the as an Audio Interface ....... 95

Troubleshooting .................... 96

When Using the SY-1000 on Its Own ... 96 When Connected to a MIDI Device or

Computer

............................ 97

Block Diagram ......................98

When Using a GK Patch ............... 98

When Using a NORMAL Patch ......... 99

Page 4

Getting Ready

Connecting the Equipment

* To prevent malfunction and equipment failure, always turn down the volume, and turn o all the units before making any connections.

GK IN connector

Connect a guitar or bass equipped with the Roland Divided Pickup (Roland GK-3/GK-3B) or a GK-compatible guitar such as the Roland V-Guitar GC-1 to this connector.

In addition to the signal from the divided pickup, the conventional guitar signal (normal pickup) is also input to the GK IN connector.

* Never connect anything other than the dedicated GK cable.

Roland GK-3 users Roland V-Guitar GC-1 users

You must set this to the center (MIX) position!

GUITAR INPUT jack

Use this control if you’re directly inputting a conventional guitar.

* The guitar connected to the

GUITAR INPUT jack can only use normal patches.

* Use the “PATCH TYPE”

parameter (p. 66) to switch to a normal patch.

DC IN jack

Connect the included AC adaptor here.

* Place the AC adaptor so the

side with the indicator faces upwards. The indicator will light when you plug the AC adaptor into an AC outlet.

Indicator

SEND/RETURN jacks

Connect an external eect processor here.

(USB) port

Use a commercially available USB 2.0 cable to connect this port to your computer. It can be used to transfer USB MIDI and USB audio data.

You must install the USB driver when connecting the unit to your computer.

Download the USB driver from the BOSS website. For details, refer to Readme.htm which is included in the download.

http://www.boss.info/support/

For details on the settings, refer to

“Reference Manual” (PDF).

Turning the Power On/O

This turns the power on/o.

* Before turning the unit on/o, always be sure to turn the volume down. Even with

the volume turned down, you might hear some sound when switching the unit on/ o. However, this is normal and does not indicate a malfunction.

Auto O Function

The power to this unit will be turned o automatically after a predetermined amount of time has passed since it was last used for playing music, or its buttons or controls were operated (Auto O function). If you do not want the power to be turned o automatically, disengage the Auto O function.

* Any settings that you are in the process of editing will be lost when the power is

turned o. If you have any settings that you want to keep, you should save them beforehand.

* To restore power, turn the power on again.

For details on the settings, refer to “Reference Manual” (PDF).

Page 5

Getting Ready

MAIN OUTPUT jack / SUB OUTPUT jack

Connect these jacks to your guitar amp, headphones (sold separately), or to PA (LINE).

* Connect your headphones to the MAIN OUTPUT L/PHONES jack.

* If your system is mono, use only the R/MONO jack.

* If you’re using headphones, don’t connect anything to R/MONO jack.

MIDI IN, MIDI OUT/THRU jacks

Connect an external MIDI device here.

For details, refer to “Reference Manual”

(PDF).

Ground Terminal

Connect this to an external earth or ground if necessary.

CTL 3, 4/EXP 1, CTL 5, 6/EXP 2 jacks

You can connect an expression pedal (EV-30, FV-500L, FV-500H, or EV-5: sold separately) or footswitch (FS-5U, FS-6, FS-7: sold separately), and use it to control various functions.

For details on the settings, refer to “Reference Manual” (PDF).

To use these as EXP 1, EXP 2 jacks

Connect an expression pedal.

* Use only the

specied expression pedal (EV-30, FV500L, FV-500H, or EV5: sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

To use these as CTL 3,4 or CTL 5,6 jacks

Connect a footswitch.

FS-5U x 1 FS-5U x 2 FS-7FS-6

1/4” phone type

. /

1/4” phone type

CTL 3 CTL 5

MODE / POLARITY switch

FS-5U FS-6 FS-7

Stereo 1/4” phone type

. /

1/4” phone type x 2

CTL 4 CTL 6

CTL 3 CTL 5

Stereo 1/4” phone type

. /

Stereo 1/4” phone type

CTL 4 CTL 6

CTL 3 CTL 5

Stereo 1/4” phone type

. /

Stereo 1/4” phone type

CTL 4 CTL 6

CTL 3 CTL 5

Page 6

Getting Ready

Panel Descriptions

11 12

4 5 6

7 8 9

No. Name Explanation Page

Display Various information regarding the SY-1000 is indicated here. p. 11

[1]–[6] knobs Use this to select or edit the value of the parameter that’s shown in the display. p. 12

This adjusts the volume level for the MAIN OUTPUT jack.

[OUTPUT LEVEL] knob

[INST] button Species the sound of the INST (sound engine). p. 14

[EFFECTS] button Species the eect settings and the order in which eects are connected. p. 16

[CTL] button Accesses the CTL screen, where you can assign functions to the buttons and switches. p. 18

[EXIT] button Used to return previous screens and to undo operations. –

[WRITE] button Use for storing settings in patches and executing operations. p. 19

[SYSTEM] button Used for making settings related to the SY-1000’s operating p. 20

[K] [J] (PAGE) buttons

BANK [I], BANK [H] switches

[CTL 1] [CTL 2] switches By default, the [CTL 1] and [CTL 2] pedals control a function that’s assigned by each patch. –

[1]–[4] switches Switch patches. –

* Depending on how you switch the settings, you can also adjust the MAIN OUTPUT and

SUB OUTPUT volumes simultaneously. [SYSTEM] button0HARDWARE SETTING0KNOB0OUTPUT LEVEL KNOB

This switches the screens displayed in the display. p. 11

Switch banks. p. 13

–

Page 7

Getting Ready

Selecting the Instrument (Guitar/Bass) to Use (MODE SETTING)

Here you can select whether you’re connecting a guitar or a bass to the SY-1000.

Choose guitar mode (GUITAR) if you’re using a guitar, or choose bass mode (BASS) if you’re using a bass.

1. Press the [SYSTEM] button.

2. Use the [K] [J] (PAGE) buttons to access the “MODE

SETTING” icon.

Specifying the Device Connected to OUTPUT Jacks (OUTPUT SELECT)

Use this procedure to set the type of device connected to the output jacks (MAIN OUT, SUB OUT).

This applies the optimal adjustments for the device that is connected.

1. Press the [SYSTEM] button.

2. Use the [K] [J] (PAGE) buttons to access the “IN/

OUT SETTING” icon.

3. Press the [2] knob.

The IN/OUT SETTING screen appears.

3. Press the [2] knob.

The message appears.

4. To change the mode, press the [6] knob.

If you decide to cancel, press the [5] knob. When you press the [6] knob, a message appears.

5. Turn the power of the SY-1000 o, then on again.

If you decide to cancel, press the [EXIT] button. Verify that the SY-1000 has started with the mode that you specied.

MEMO

5 With the factory settings, this is set to “GUITAR.” 5 The SY-1000 starts with the specied mode until the next time

you change the mode.

5 Some parameters are displayed dierently depending on the

selected mode.

5 Patches are saved separately for guitar mode and bass mode.

4. Press the [3] knob or [4] knob.

The MAIN OUT screen or SUB OUT screen appears.

5. Press the [1] knob.

The OUTPUT SELECT screen appears.

6. Turn the [1] knob.

Select the connected device (type of amp).

OUTPUT SELECT Explanation

Choose this setting if you’re using

LINE/PHONES

JC-120 RETURN

JC-120 INPUT

COMBO AMP 1 RETURN

headphones, or if the SY-1000 is connected to a keyboard amp, mixer, or digital recorder.

Choose this setting if the SY-1000 is connected to the RETURN jack of the Roland JC-120 guitar amp.

Choose this setting if the SY-1000 is connected to the guitar input jack of a JC120 guitar amp.

Choose this setting if the SY-1000 is connected to the RETURN jack of a combo type amp (with amp and speaker in a single unit) equipped with one speaker.

Page 8

Getting Ready

OUTPUT SELECT Explanation

Choose this setting if the SY-1000 is

COMBO AMP 1 INPUT

COMBO AMP 2 RETURN

COMBO AMP 2 INPUT

STACK AMP RETURN

STACK AMP INPUT

BASS AMP WITH TWEETER

BASS AMP NO TWEETER

connected to the guitar input jack of a combo type amp (with amp and speaker in a single unit) equipped with one speaker.

Choose this setting if the SY-1000 is connected to the RETURN jack of a combo type amp (with amp and speaker in a single unit) equipped with two speakers.

Choose this setting if the SY-1000 is connected to the guitar input jack of a combo type amp (with amp and speaker in a single unit) equipped with two speakers.

Set this when connecting to the RETURN jack on a stack-type amp.

Set this when connecting to the guitar input jack on a stack-type amp.

Use this setting when connecting to a tweeter-equipped bass amp.

Use this setting when connecting to a bass amp that has no tweeter. The high-frequency range is adjusted.

7. Press the [EXIT] button.

You’ll be returned to the Play screen.

Making Pickup Settings (GK SETTING)

Make settings for the divided pickup in order to ensure that you’ll always be playing the SY-1000 in the optimal state.

The SY-1000 can save ten types of these settings (GK SETTING).

Here we explain the example of saving pickup settings in SETTING: [1].

MEMO

The GK SETTING is saved even when the power is turned o. You don’t need to make this setting again each time you perform.

1. Press the [SYSTEM] button.

2. Use the [K] [J] (PAGE) buttons to access the “IN/

OUT SETTING” icon.

3. Press the [2] knob.

The IN/OUT SETTING screen appears.

4. Press the [1] knob.

The GK SETTING screen appears.

5. Turn the [1] knob to select SETTING: [1].

The pickup settings will be saved in SETTING: [1].

MEMO

Pickup settings are automatically saved in the number (SETTING: [1]– [10]) that you selected in step 5.

Specifying the Pickup Type

Choose the type of pickup that’s installed on your guitar (bass).

6. If using guitar mode, turn the [5] knob.

If using bass mode, turn the [4] knob.

Page 9

Getting Ready

GK PU TYPE

(GUITAR MODE)

Explanation

GK-3 Choose this if you’re using a Roland GK-3.

Choose this if you’re using a Roland GK-2A,

GK-2A

or if you’re using a (commercially available) guitar with a built-in divided pickup.

GC-1

PIEZO

Choose this if you’re using a Roland V-Guitar GC-1.

(at response)

PIEZO F Fishman

PIEZO G Graph Tech

Piezo Pickup

PIEZO L L.R. Baggs

PIEZO R RMC

GK PU TYPE

(BASS MODE)

Explanation

GK-3B Choose this if you’re using a GK-3.

Choose this if you’re using a Roland GK-2B, or

GK-2B

if you’re using a (commercially available) bass with a built-in divided pickup.

PIEZO

PIEZO G Graph Tech

Piezo Pickup

(at response)

PIEZO R RMC

7. If using guitar mode, turn the [6] knob.

If using bass mode, turn the [5] knob.

Specify the length that is correct for your guitar (bass).

If you’re using GUITAR MODE, choose “ST (648mm)” for a standard Stratocaster type, or choose “LP (628mm)” for a Les Paul type.

If you’re using BASS MODE, For a standard Jazz Bass type or Precision Bass type, choose LONG JB/PB (864 mm).

MEMO

This parameter is not shown if GK PU TYPE is set to “Roland V-Guitar GC-1.”

Specifying the Pickup Position (Bass Mode Only)

Specify the position of the divided pickup that’s installed on your bass.

MEMO

If you’ve installed a divided pickup on your guitar, proceed to step 9 “Specifying the Distance from the Bridge” (p. 10) (this step is not needed).

8. Turn the [6] knob

Specify the GK PU POSITION according to the position of the divided pickup that’s installed.

MEMO

5 A piezo pickup is a type of pickup that is mounted on the bridge

of the guitar, and uses a piezoelectric element to detect the vibrations of the strings.

5 If you don’t know the type of your piezo pickup, try selecting

dierent choices while you play your guitar, and choose the setting that produces the most natural sound.

5 If you’ve chosen piezo type, you’ll be able to make further

adjustments to the tone quality of the high range and low range.

Specifying Your Guitar’s (Bass’s) Scale Length

Specify your guitar’s (bass’s) scale length (the distance from the bridge to the nut).

Guitar

For a 4-string bass

GK PU POSITION

1st string

2nd string

3rd string 4th string

For a 5-string bass

GK PU POSITION

1st string

2nd string

3rd string 4th string

Low B string

For a 6-string bass

GK PU POSITION

High C string

4STR-1

5STR-Lo1

1st string

2nd string

3rd string 4th string

Low B string

4STR-2 4STR-3

High C

1st string

2nd string

3rd string 4th string

6STR

5STR-Hi15STR-Lo2 5STR-Hi2

string

Bass

Page 10

Getting Ready

Specifying the Distance from the Bridge

For each string, specify the distance from the bridge to the center of the pickup.

9. Use the [K] [J] (PAGE) buttons to access the

DISTANCE screen.

10.

Turn the [1]–[6] knobs.

Specify the distance from the bridge to the center of the pickup.

MEMO

This setting is not needed if GK PU TYPE is “Roland V-Guitar GC-1” or if you selected a piezo type pickup.

Adjusting the Pickup Sensitivity

The volume will dier if the distances between each string and the divided pickup are dierent. Specify the sensitivity of the pickup to compensate for this volume dierence.

11.

Use the [K] [J] (PAGE) buttons to access the SENS screen.

Tuning the Guitar (TUNER)

Tune the guitar (bass).

The SY-1000 is equipped with a conventional monophonic tuner which lets you tune your instrument one string at a time (SINGLE MODE), and a polyphonic tuner which lets you play and tune all of your open strings simultaneously (MULTI MODE).

1. Press the BANK [I] switch and BANK [H] switch

simultaneously.

The TUNER screen appears.

2. Use the [K] [J] (PAGE) buttons to select the tuner

mode.

TUNER MODE Explanation

MULTI MODE

SINGLE MODE

3. Play an open string, and tune it so that only the

center indicator in the screen is lit.

Making Tuner Settings

These settings specify how the tuner operates.

Parameter Value Explanation

PITCH

OUTPUT

You can play and tune six strings simultaneously

You can play one individual string to tune that string.

435–445Hz

(default: 440Hz)

MUTE

BYPASS

THRU

Species the reference pitch.

Sound will not be output while tuning.

While tuning, the sound from the GK IN connector/GUITAR INPUT jack will be output without change.

All modelings and eects will be o.

Allows you to tune while hearing the current eect/modeling sound.

* Only for single mode.

12.

While playing the strings strongly, turn the [1]–[6] knobs so that the level meters reach the triangular marks.

MEMO

Depending on the guitar (bass) you’re using, the level meter might reach full-scale even if the sensitivity is at minimum. If this is the case, adjust the distance between the divided pickup and the string so it’s somewhat greater than the recommendation.

Page 11

Basic Operation

Here we explain how you can use the buttons and knobs to operate the SY-1000, and how to switch screens.

Display (Play Screen)

The screen that appears after you start the SY-1000 is called the “play screen.”

Screen 1

This screen shows the bank number and patch number in especially large characters.

Bank number

Screen 2

This screen shows the bank number, patch number, and patch name.

Patch number

Patch name

About the Icons

Icon Explanations

Indicates the input level of the GK IN connector.

* When using a normal patch (p. 13),

this indicates the level of the guitar signal.

Indicates the output level of the MAIN OUTPUT jacks and SUB OUTPUT jacks.

Indicates the input level of the RETURN jack.

* Shown in the EFFECTS edit screen.

Indicates the output level of the SEND jack.

* Shown in the EFFECTS edit screen.

Indicates the output level of the selected eect block.

* Shown in the EFFECTS edit screen.

Indicates BALANCER1–3 and MIXER BALANCE.

* Shown in the EFFECTS edit screen.

Indicates the BPM.

Screen 3

This screen shows the functions that are assigned to the pedal switches of the unit.

Screen 4

This screen shows how the INST and eects are connected (CHAIN).

Blinks in time with the BPM.

Shown when a GK patch (p. 13) is selected.

When using a normal patch (p. 13), this icon goes dark.

When the screen contains multiple pages, this indicates the position of the current page.

Indicates the page to which you navigate using the [K] [J] (PAGE) buttons (edit screen).

Page 12

Basic Operation

Screen Operations

In the play screen, you can turn or press the [1]–[6] knobs to adjust the parameters that are shown in the lower part of the display.

Operating Example 1 (INST Screen)

Press operation

Turn operation

Operation Explanation

Turn the [1] knob Changes the INST TYPE of INST1.

Accesses a screen where you can

Press the [1] knob

Turn the [2] knob

Press the [2] knob Accesses the edit screen for INST1.

switch the INST TYPE variation of INST1.

Turns INST1 on/o.

When o, the icon is shown in gray.

Operating Example 3 (EFFECT Edit Screen)

Turn operation

Operation Explanation

Turn the [1]–[5] knobs

Turn the [6] knob Selects the block to edit.

Press the [6] knob Turns the selected block on/o.

Long-press the [6] knob

Turn the [6] knob while pressing it

MEMO

To change a value in larger steps, turn a [1]–[5] knob while pressing it.

Changes the value of the setting for the parameter

Shows a list with all parameters of the selected block.

Changes the position of the selected block.

MEMO

As for INST1, you can operate INST2 with the [3] knob and [4] knob, and operate INST3 with the [5] knob and [6] knob.

Operating Example 2 (INST Edit Screen)

Use the [6] knob to select

Turn operation

Operation Explanation

Turn the [1]–[5] knobs

Turn the [6] knob Selects the block to edit.

Press the [6] knob

Press the [K] [J] (PAGE) buttons

Use the PAGE [K] [J]

buttons to switch

Changes the value of the setting for the parameter

Shows a list with all parameters of the selected block.

Switches the parameters to show.

Press operation

Page 13

Switching Patches (Tone)

The Structure and Patches of the SY-1000

The SY-1000 consists of three sound engines (the INST blocks) and eects whose connections you are free to change (the FX block).

INST1

INST2

FX1

FX2

S/R

EQ2 DLY1 SUB L/R

INST3

NORMAL

The INST settings together with the combination of eects are collectively called a “patch.”

A set of four patches is called a “bank.”

Patches are managed by their bank (1–50) and number (1–4); the SY-1000 can store 200 patches.

Bank 3

Bank 2

Bank 1

Patch 1 Patch 3

Types of Bank

The SY-1000 has two types of bank.

Types of bank Explanation

Preset bank (P01–P50)

User bank (U01– U50)

FX3

CMP DS AMP EQ1 NS FV1 DLY2

Bank 50

Patch 2 Patch 4

[1]–[4] switch

Cannot be overwritten, however, you can write a patch into the User bank, modify the settings to your needs and store your modied version in the User bank.

Can be overwritten.

BANK [I], BANK [H]

CHO

switch

MST DLY REV FV2 DIV MIX MAIN L/R MST

Selecting a Patch

When you switch patches, the tonal character changes.

BANK [I] [H] switches

Types of Patch

The SY-1000 has two types of patch.

Types of patch Explanation

Patches for a guitar (bass) that uses a divided

GK patch

Normal patch

pickup.

If these patches are selected, the display shows the GK icon

Patches for a conventional guitar (bass) that is connected to the GUITAR INPUT. These can be used even if you don’t have a divided pickup.

You can also use these patches with the conventional guitar (bass) signal (normal pickup) that is routed through the divided pickup.

If you’re using Normal patch, the GK icon goes dark.

* DYNAMIC SYNTH is the only INST TYPE that

can be selected for normal patches.

[1]–[4] switches

1. Use the BANK [I] [H] switches to select a bank.

2. Use the [1]–[4] switches to select a patch within the

selected bank.

Bank number

MEMO

You can also change patches by turning [1] knob below the display.

Patch number

Patch name

Page 14

Editing a Patch

Here’s how to create a patch by editing the parameters of the INST blocks and the eect block, and combining them.

Changing the INST

Editing the INST

You can edit each INST in detail.

Here we explain using the example of the DYNAMIC SYNTH screen of INST1.

1. Press the [INST] button.

The INST screen appears.

2. Turn the [1]–[6] knobs.

The INST screen shows the INST TYPE for INST1–INST3.

Operation Explanation

Turn the [1] knob Changes the INST TYPE of INST1.

Accesses a screen where you can

Press the [1] knob

Turn the [2] knob

Press the [2] knob Accesses the edit screen for INST1.

MEMO

As for INST1, you can operate INST2 with the [3] knob and [4] knob, and operate INST3 with the [5] knob and [6] knob.

switch the INST TYPE variation of INST1.

Turns INST1 on/o.

When o, the icon is shown in gray.

1. In the INST screen, press the [2] knob.

The INST1 screen appears.

* The pages diers depending on the INST TYPE.

2. Turn the [6] knob to select the block that you want

to edit.

The selected block is shown in white.

3. Turn the [1]–[5] knobs to edit the setting of the

parameter.

MEMO

5 To change a value in larger steps, turn a knob while pressing it. 5 You can use the PAGE [K] [J] buttons to switch between the

parameters.

5 The number of parameters and pages diers depending on the

eect.

5 In the edit screen, you can press the [INST] button to switch to the

edit screen of another INST.

Viewing All Parameters While You Edit

You can also edit while viewing a list of all parameters for the selected block.

1. In the edit screen, press the [6] knob.

Shows a list with all parameters of the selected block.

2. Turn the [1]–[6] knobs to edit the setting of the

parameter.

MEMO

You can use the PAGE [K] [J] buttons to switch between the parameters.

Page 15

Editing a Patch

Saving the Edited INST Settings (VARIATION)

Your preferred settings for each instrument can be saved as a “VARIATION.” Since a variation can also be used from another patch, it is convenient for sound design.

1. In the INST screen, press the [1] knob.

The VARIATION screen appears.

MEMO

From the INST edit screen, you can also access the variation screen using the following methods.

1. In the edit screen, select the “COMMON” block.

Recalled a Saved INST Variation

1. In the INST screen, press any one of the knobs [1]

(INST1), [3] (INST2), or [5] (INST3).

The VARIATION screen appears.

2. Turn the [6] knob to select a variation.

You can also audition the sound while selecting a variation.

3. Press the [5] knob to recall the selected variation.

2. Use the PAGE [J] buttons to move to the last page.

3. Press the [5] knob.

4. Press the [2] knob.

The VARIATION WRITE screen appears.

5. Turn the [1] knob to select the save-destination

number.

6. Use the [3]–[6] knobs to specify the variation name.

7. Press the [WRITE] button.

The variation is saved.

To cancel this procedure, press the [4] knob.

Page 16

Editing a Patch

Editing the Eects

You can edit the eect settings, and change the order of blocks such as output and send/return (the eect chain).

Basic Operation for Eect Editing

1. Press the [EFFECT] button.

The edit screen (eect chain) appears.

2. Turn the [6] knob to select the block that you want

to edit.

The selected block is enclosed by a thick frame.

* By pressing the [6] knob you can turn the selected eect on/o.

Eects that are o are shown in gray. When the eect is turned on, it is shown in white.

O On

Editing While Viewing All Parameters

You can also edit while viewing a list of all parameters for the selected block.

1. In the edit screen, long-press the [6] knob.

Shows a list with all parameters of the selected block.

2. Turn the [1]–[6] knobs to edit the parameter

settings.

MEMO

You can use the PAGE [K] [J] buttons to switch between the parameters.

Use the PAGE [K] [J]

buttons to switch

Changing the Eect Order

3. Use knobs [1]–[5] to adjust the parameters that are

shown below the screen.

Use the PAGE [K] [J] buttons to switch between the parameters that you want to edit. The current page is indicated in the lower center of the screen.

* To change a value in larger steps, turn a knob while pressing it.

* The number of parameters and pages diers depending on the

eect.

By moving blocks such as eects, output, and send/return, you can freely change the order in which the eects are placed, or arrange them in parallel.

MEMO

5 You can change the order of the INST1–3 blocks and the NORMAL

block.

5 The MST (MASTER) block cannot be moved.

1. Press the [EFFECT] button.

The eect chain is shown.

2. Use the [6] knob to select the block that you want

to move.

3. While pressing the [6] knob, turn it left or right.

The selected block moves left or right.

Page 17

Editing a Patch

Saving the Edited Eect Settings (VARIATION)

Your preferred settings for each eect can be saved as a “VARIATION.”

Since a variation can also be used from another patch, it is convenient for sound design.

1. Press the [EFFECT] button.

2. Use the [6] knob to choose the eect you’re going

to edit.

3. Use the PAGE [K] [J] buttons to move to the last

page.

4. Press the [5] knob.

The VARIATION screen appears.

Recalled a Saved Eect Variation

1. Press the [EFFECT] button.

2. Use the [6] knob to choose the eect you’re going

to edit.

3. Use the PAGE [K] [J] buttons to move to the last

page.

4. Press the [5] knob.

The VARIATION screen appears.

5. Turn the [6] knob to select a variation.

You can also audition the sound while selecting a variation.

6. Press the [5] knob to recall the selected variation.

5. Press the [2] knob.

The VARIATION WRITE screen appears.

6. Turn the [1] knob to select the save-destination

number.

7. Use knobs [3]–[6] to name the VARIATION.

8. Press the [WRITE] button.

The variation is saved.

To cancel this procedure, press the [4] knob.

Page 18

Editing a Patch

Assigning Functions to the Foot Switches and Expression Pedal

A variety of functions can be assigned to each of the top panel footswitches, and expression pedals or footswitches that are connected to the rear panel CTL3, 4/EXP1 jack and CTL5, 6/EXP2 jack (p. 5).

Built-in footswitches

Turning the knob will move the selected item vertically.

The settings of the selected item can now be edited.

4. Turn knobs [2]–[6] to edit the value of the item

selected for each switch.

MEMO

5 You can use the PAGE [K] [J] buttons to switch between the

parameters.

5 The footswitch and expression pedal functions must be specied

for each patch; however, if you set PREFERENCE to SYSTEM, all patches will use those functions in common.

Making Assignments from the Eect Edit

EXP1, EXP2

CTL3–CTL6

1. Press the [CTL] button.

The CONTROL/ASSIGN screen appears.

2. Press the [1] knob.

The CONTROL FUNCTION screen appears.

3. Turn the [1] knob to select the item that you want

to set.

Screen (Quick Assign)

In the eect edit screen (p. 16), you can select an eect parameter and assign that parameter to the switch of your choice.

1. Press the [EFFECT] button.

2. Turn the [6] knob to select the block that you want

to edit.

3. Long-press the [1]–[5] knobs for the parameter that

you want to assign.

The ASSIGN MATRIX screen appears.

* You can also access the ASSIGN MATRIX screen in the same way

from the all-parameter list screen (p. 14). You can also access it by selecting the [CTL] button0 “ASSIGN SET TING.”

4. Press the [1] knob to turn the SW on.

5. Turn knobs [2]–[6] to edit parameters.

If necessary, use the PAGE [K] [J] buttons to switch between pages of settings.

Use SOURCE to specify the pedal or MIDI message that you will operate.

Page 19

Saving a Patch

The INST settings and the combination of eects can be saved in a patch, and recalled at any time.

If you select a dierent patch or turn o the power after editing the settings, edited settings will be lost. If you want to keep the data, you must save it.

1. Press the [WRITE] button.

2. Press the [1] knob to select “WRITE” (PATCH WRITE).

3. Use the [1] knob to select the save-destination

(U01-1–U50-4).

You can use knobs [3]–[6] to edit the name.

Editing a name

To edit the patch name, use the [6] knob to move the cursor and use the [5] knob to change the character.

Operation Explanation

Turn the [3] knob Selects the type of characters

Press the [3] knob Delete one character (delete)

Turn the [4] knob Switch uppercase/lowercase

Press the [4] knob Insert one space (insert)

Turn the [5] knob Changes the character

Turn the [6] knob Moves the cursor

4. Press the [WRITE] button.

The patch is written.

To cancel this procedure, press the [4] knob.

Page 20

Settings for the Entire SY-1000 (System Parameters)

Settings for the SY-1000

Here you can make settings that are common to the entire SY-1000 (system parameters).

For details on each parameter, refer to “SY-1000 Reference Manual” (PDF).

1. Press the [SYSTEM] button.

MEMO

You can use the PAGE [K] [J] buttons to see additional items.

2. Press a [1]–[6] knob to select the item that you want

to edit.

A sub-menu appears.

Restoring the Factory Default Settings (Factory Reset)

Restoring the SY-1000’s settings to their original factory default settings is referred to as “Factory Reset.”

Not only can you return all of the settings to the values in eect when the SY-1000 was shipped from the factory, you can also specify the items to be reset.

* When you execute “Factory Reset,” the settings you made will

be lost. Save the data you need to your computer using the dedicated software.

1. Press the [SYSTEM] button.

2. Use the [K] [J] (PAGE) buttons to select “FACTORY

RESET.”

3. Choose the type of settings to be restored to the

factory default settings with knobs [1] and [6].

Knob Explanation

[1] Species FROM.

[6] Species TO.

3. Once again press a [1]–[6] knob to select the item

that you want to edit.

4. Use knobs [1]–[6] to select parameters or edit the

values.

MEMO

The method of selecting parameters and editing their value will dier depending on the item.

Value Explanation

SYSTEM System parameter settings

U01-1–U50-4

VARIATION Settings for VARIATION

Settings for Patch Numbers

U01-1–U50-4

4. Press the [WRITE] button.

Press the [6] knob to execute the factory reset.

To cancel factory reset, press the [5] knob.

Once the Factory Reset is complete, you are returned to the Play screen.

Turning O the Auto O Function

The SY-1000 can turn o its power automatically. The power will turn o automatically when 10 hours have passed since you last played or operated the unit. The display will show a message approximately 15 minutes before the power turns o.

With the factory settings, this function is turned “ON” (power-o in 10 hours). If you want to have the power remain on all the time, turn it “OFF.”

1. Press the [SYSTEM] button.

2. Choose “HARDWARE SETTING” 0 “OTHER.”

3. Use the [1] knob to select “OFF.”

4. Press the [EXIT] button a number of times to return

to the play screen.

Page 21

The Internal Structure of the SY-1000

INST (Instrument) Block

This is the sound engine section that generates sound based on the performance data from the divided pickup and the audio input from the guitar (bass).

This can produce a variety of tones, synthesizers such as DYNAMIC SYNTH and the POLY FX which can apply eects independently to each string. The SY-1000 lets you freely specify and combine three INST blocks.

INST1

INST2

INST3

NORMAL

FX1

S/R

FX2

FX3

CMP DS AMP EQ1 NS FV1 DLY2

EQ2 DLY1 SUB L/R

CHO

MST DLY REV FV2 DIV MIX MAIN L/R MST

EFFECT (Eects) Block

The SY-1000 is equipped with high-quality eects.

You can change the order in which the eects are connected.

You are also free to select the signals that are output from the MAIN OUTPUT jacks and the SUB OUTPUT jacks.

INST1

INST2

INST3

NORMAL

FX1

S/R

FX2

FX3

CMP DS AMP EQ1 NS FV1 DLY2

EQ2 DLY1 SUB L/R

CHO

MST DLY REV FV2 DIV MIX MAIN L/R MST

MEMO

5 In order to distinguish between the divided pickup and the conventional pickup installed on your guitar (bass), this manual uses the term

“normal pickup” when referring to the conventional pickup of your guitar (bass).

5 The sound of the normal pickup directly connected to the GUITAR INPUT jack or the sound of the normal pickup routed through the divided

pickup is input to the NORMAL block. You can mix this into the INST1–INST3 blocks.

Page 22

INST Parameters

1. Press the [INST] button.

The INST screen appears.

The INST screen shows the INST TYPE of INST1–INST3.

MEMO

5 The parameters shown depend on the type of instrument that you select. 5 INST1–INST3 are common parameters.

Availability of Functions for Each INST TYPE (GUITAR MODE)

INST TYPE ALT. TUNE 12STR STR BEND

DYNAMIC SYNTH

OSC SYNTH

GR-300

E.GUITAR

ACOUSTIC

E.BASS

VIO GUITAR

POLY FX

*1 If AMP Modeling is ON, the PAN eect disappears.

( ( ( ( ( ( ( ( *1 ( *1 ( ( ( ( ( ( ( *1 ( *1 ( ( ( ( ( ( ( *1 ( *1 ( ( ( (

–

( ( ( ( ( ( ( ( (

( ( ( ( ( (

STRING

LEVEL

STRING

PAN

AMP

Modeling

– – –

–

Availability of Functions for Each INST TYPE (BASS MODE)

INST TYPE ALT. TUNE 12STR STR BEND STR LEVEL STR PAN

DYNAMIC SYNTH

OSC SYNTH

ANALOG GR

E.BASS

AC BASS

E.GUITAR

POLY FX

( ( ( ( ( ( ( ( *1 ( *1 ( ( ( ( ( ( ( *1 ( *1 ( ( ( ( ( ( ( *1 ( *1 ( ( (

–

( ( ( ( ( ( ( ( (

( ( (

AMP

Modeling

– – –

–

NS EQ

( ( (

NS EQ

(

–

*1 If AMP Modeling is ON, the PAN eect disappears.

Page 23

INST Parameters > INST TYPE

INST TYPE

Value Explanation

DYNAMIC SYNTH

OSC SYNTH

GR-300

ANALOG GR

E.GUITAR

ACOUSTIC

*1 *2

AC BASS

*1 *3

E.BASS

VIO GUITAR

POLY FX

This is a synthesizer that produces a sound that responds to the natural nuances of your performance.

This is a synthesizer that detects the pitch and attack information in the input sound and outputs signals produced by the built-in oscillator.

This models the Roland GR-300, the famed analog polyphonic guitar synthesizer of yesteryear.

It provides hexa-distortion, with a hexa-VCO and VCF (variable frequency lter) that generates independent pitch-shiftable sawtooth waves for the six strings, letting you enjoy analog synthesizer sounds that reect the nuances of your guitar performance.

This is the sound of a vintage analog polyphonic bass synthesizer. It provides hexa-distortion, with a hexa-VCO and VCF (variable frequency lter) that generates independent pitch-shiftable sawtooth waves for the six strings, letting you enjoy analog synthesizer sounds that reect the nuances of your bass performance.

This provides a variety of electric guitar sounds.

This provides a variety of acoustic guitar sounds.

This provides a variety of acoustic bass sounds.

This provides a variety of electric bass sounds.

By adding overtones (harmonics), this provides a soft and distinctive tone.

This is an eect processor that independently processes the signal of each string.

Parameter Value Explanation

STRING PAN 6– STRING PAN 1

STR PAN LowB

STR PAN 4th,

STR PAN 3rd,

STR PAN 2nd,

L50–CENTER– R50

Species the left/right pan of each string.

* The pan eect is canceled if a

monaural eect is connected after the instrument.

STR PAN 1st,

STR PAN HiC

You can save and load 50 variations for each TYPE. (COMMON parameters and ALT TUNE parameters are

VARIATION PATCH, 01–50

excepted.)

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

*1 If the INST TYPE is E.GUITAR, ACOUSTIC, AC BASS, or E.BASS,

the signal that passes through NOR MIX LEVEL is mixed directly before AMP Modeling. Refer to “Signal ow for the NOR MIX LEVEL parameter” (p. 23).

*2 Valid in the GUITAR MODE.

*3 Valid in the BASS MODE.

Signal ow for the NOR MIX LEVEL parameter

The ow of the signal that passes through the NOR MIX LEVEL depends on the INST TYPE.

DYNAMIC SYNTH, OSC SYNTH

GK IN

Divided Pickup

Normal Pickup

INST

OSC FILTER AMP

INST LEVEL

NOR MIX LEVEL

Parameters Common to Each INST TYPE (COMMON)

Parameter Value Explanation

INST ON/OFF OFF, ON Instrument on/o

INST LEVEL 0–100

NOR MIX SW OFF, ON

NOR MIX SW

0–200

STRING LEVEL6– STRING LEVEL1

STR LEVEL LowB

STR LEVEL 4th,

STR LEVEL 3rd,

0–100

STR LEVEL 2nd,

STR LEVEL 1st,

STR LEVEL HiC

Species the volume of the instrument.

Turns on/o the signal of the normal pickup.

Adjusts the volume of the normal pickup.

Species the output level of each string.

GR-300, ANALOG GR, POLY FX

INST

GK IN

Divided Pickup

Normal Pickup

GR-300 ANALOG GR POLY FX

INST LEVEL

NOR MIX LEVEL

E.GUITAR, ACOUSTIC, AC BASS, E.BASS

INST

E.GUITAR

GK IN

Divided Pickup

Normal Pickup

ACOUSTIC

AC BASS

BASS

NOR MIX LEVEL

AMP

Modeling

VIO GUITAR

GK IN

Divided Pickup

Normal Pickup

INST

GUITAR HARMO FILTER

INST LEVEL

NOR MIX LEVEL

Page 24

INST Parameters > INST TYPE

Parameters Common to Each INST TYPE (ALT TUNE)

Without changing the tuning of the guitar (bass) on which the divided pickup is installed, you can instantly switch to a variety of other tunings.

By using the ALT TUNE function for each INST, you can simultaneously play a 6-string guitar and a 12-string guitar, create harmonies by yourself, or play rich unison sounds.

Parameter Value Explanation

ON/OFF OFF, ON

OPEN D, OPEN E, OPEN G, OPEN A

DROP D– DROP A

TUNING TYPE

PITCH 6–PITCH 1

*1 *3

PITCH LowB,

PITCH 4th,

PITCH 3rd,

PITCH 2nd,

PITCH 1st,

PITCH HiC

*2 *3

FINE 6–FINE 1

*1 *3

FINE LowB,

FINE 4th,

FINE 3rd,

FINE 2nd,

FINE 1st,

FINE HiC

*2 *3

D-MODAL

NASHVL

-12–+12 STEP

USER

-24–+24

-50–+50

Switches the alternate tuning function on/o.

Tuning that produces a major chord when you play the open strings.

DROP-D is a tuning in which only the 6th string is dropped to D. The other tunings are the variations that are transposed downward parallel to Drop D.

Tuning that drops the 6th, 2nd, and 1st string by a whole step to create an ethnic feel.

Tuning that raises the 6th, 5th, 4th, and 3rd strings by one octave; like a 12-string guitar’s secondary strings by themselves.

Raises/lowers the tuning of all strings in semitone steps.

User tuning in which each string can be specied individually.

Species the amount of pitch shift in semitones for each string.

Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is half a semitone up.

Parameter Value Explanation

Turn this on if you want the sound of a 12-string guitar.

12STR SW

12STR TYPE

12STR PITCH 6–12STR PITCH 1

*1 *4 *5

12PITCH LowB,

12PITCH 4th,

12PITCH 3rd,

12PITCH 2nd,

12PITCH 1st,

12PITCH HiC

*2 *4 *5

12STR LEVEL 6–12STR LEVEL 1

*1 *4 *5

12LEVEL LowB

12LEVEL 4th

12LEVEL 3rd

12LEVEL 2nd

12LEVEL 1st

12LEVEL HiC

*2 *4 *5

12STR FINE 6–12STR FINE 1

*1 *4 *5

12FINE LowB,

12FINE 4th,

12FINE 3rd,

12FINE 2nd,

12FINE 1st,

12FINE HiC

*2 *4 *5

12STR DELAY 6–12STR DELAY 1

*1 *4 *5

12DELAY LowB,

12DELAY 4th,

12DELAY 3rd,

12DELAY 2nd,

12DELAY 1st,

12DELAY HiC

*2 *4 *5

STR BEND SW OFF, ON

OFF, ON

NORMAL

USER

-24–+24

0–100

-50–+50

0ms–100ms

This changes the sound of a regular six-string guitar to that of a twelve-string guitar featuring secondary strings.

The conventional tuning of a 12-string guitar.

A user tuning that species the pitch of each secondary string.

This sets the amount of pitch shift for secondary strings, in semitone steps.

Species the volume of the secondary strings.

Finely adjusts the pitch of the secondary strings.

-50 is half a semitone down; +50 is half a semitone up.

Adjusts the time the sound of each secondary string is delayed relative to the respective main string.

Turns the String Bend function on/o.

Page 25

INST Parameters > DYNAMIC SYNTH Parameters

Parameter Value Explanation

Setting this to 0 makes for no shift in pitch by bend, and setting it to 100 produces shifting according

BEND CONTROL 0–100

BEND DEPTH6–BEND DEPTH1

BEND DEPTH LowB,

BEND DEPTH 4th,

BEND DEPTH 3rd,

BEND DEPTH 2nd,

BEND DEPTH 1st,

BEND DEPTH HiC

*1 Valid in the GUITAR MODE.

*2 Valid in the BASS MODE.

*3 Valid when the TUNING TYPE is set to USER.

*4 Valid when the INST TYPE is set to E.GUITAR, E.BASS, ACOUSTIC,

or AC BASS.

*5 Valid when the 12STR TYPE is set to USER.

-24–+24

to the settings for BEND DEPTH6–BEND DEPTH1 (LowB–HiC). Normally, this pitch bend is set to 0, and the setting 0–100 assigned with Control Assign is used.

This sets the amount of pitch shift in each string when the BEND CONTROL is set to 100.

The amount of pitch shift from the current pitch is set in semitone increments.

DYNAMIC SYNTH Parameters

OSC

In the OSC section you specify the waveform that is the basis of the synthesizer sound.

Parameter Value Explanation

Selects the waveform that is the basis of the sound.

SIN Sine wave

SAW Sawtooth wave

TRI Triangle wave

SQR Square wave

PWM

DETUNE SAW

NOISE Noise

FEEDBACK OSC

WAVEFORM

PITCH -24–+24 Adjusts the pitch.

FINE -50–+50

PULSE WIDTH

PWM ENV ATTACK

PITCH ENV DEPTH

SUPER SAW

INPUT

0–100

-50–+50

Pulse wave (asymmetrical rectangular wave)

Two sawtooth waves of slightly dierent pitch

A sound containing high overtones similar to guitar feedback playing. Suitable for creating crisply aggressive tones that stand out.

The sound of seven sawtooth waves playing simultaneously. Pitch-shifted sounds are added to the center sound. This is appropriate when creating rich sounds such as strings.

The input signal is used without modication.

When using a GK PATCH

The signal of the divided pickup is used.

When using a NORMAL PATCH

The signal of the normal pickup is used.

Species a ner adjustment than PITCH.

Species the pulse width. This species the width of the upper portion of the rectangular wave as a percentage of the overall cycle.

Smaller values produce a narrower pulse, approaching a square wave (pulse width = 50%).

Larger values widen the pulse, producing a more distinctive sound.

Uses the dynamics of the input signal to control the pulse width of PWM.

Values in the positive direction speed up the release of the pulse width, and values in the negative direction slow down the attack of the pulse width.

Species the depth to which PWM is modulated by the dynamics of the input signal.

Page 26

INST Parameters > DYNAMIC SYNTH Parameters

Parameter Value Explanation

DETUNE

SHARPNESS

FEEDBACK

HARMONICS

S-SAW DETUNE

P. ENV ATTACK -50–+50

P. ENV DEPTH -50–+50

P. BEND DEPTH

P. BEND CTL 0–100

SYNC SW

*8 *9

RING SW

*1 Valid for the GK PATCH.

*2 If INPUT is selected as WAVEFORM, there are no editable

parameters in the OSC block.

*3 Valid when the WAVEFORM is set to PWM.

*4 Valid when the WAVEFORM is set to DETUNE SAW.

*5 Valid when the WAVEFORM is set to NOISE.

*6 Valid when the WAVEFORM is set to FEEDBACK OSC.

*7 Valid when the WAVEFORM is set to SUPER SAW.

*8 Valid only when the INST1 TYPE (p. 23) is set to DYNAMIC

SYNTH.

*9 Valid when the WAVEFORM is set to other than NOISE or INPUT.

-50–+50 Species the amount of detuning.

Species the frequency range

0–100

-24–+24 Species the depth of bend.

OFF, ON

of the noise that is heard. Larger values strengthen the sense of pitch.

Adjusts the amount of feedback. Larger values increase the amount of feedback, changing the volume of the harmonics.

Species the tonal character of the harmonics.

Species the amount of pitch spread between the seven sawtooth waves that are layered within one oscillator.

Uses the dynamics of the input signal to control the pitch.

Values in the positive direction speed up the pitch release, and values in the negative direction slow down the pitch attack.

Species the depth to which pitch is modulated by the dynamics of the input signal.

This parameter controls the bend.

Assign this when using a CTL pedal or EXP pedal to control bend.

Switches oscillator sync on/o.

If this is ON, it generates a complex waveform by forcibly resetting INST2 and INST3 to the beginning of their cycle in synchronization with the INST1 frequency.

Switches the ring modulator on/o.

If this is on, the signals of INST1 and INST2 (or INST1 and INST3) are multiplied with each other to produce a complex waveform.

FILTER

Sound consists of numerous overtones at various frequencies. By using a lter to pass or cut the overtones of specic frequency regions, you can modify the brightness of the sound.

In the FILTER section you can modify the brightness of the sound by changing the type of lter and applying various changes to the output waveform.

Parameter Value Explanation

ON/OFF OFF, ON Switches lter on/o.

Type of lter

The region above the cuto

LPF

HPF

TYPE

BPF

PKG

LADDER LPF A ladder-type low-pass lter.

LADDER HPF A ladder-type high-pass lter.

SLOPE

CUTOFF 0–100 Adjusts the cuto frequency.

RESONANCE 0–100

F. ENV ATTACK -50–+50

F. ENV DEPTH -50–+50

*1 Valid when the TYPE is set to LPF, HPF, BPF, PKG.

-12 dB, -24 dB

frequency will be cut, making the sound more mellow.

The region below the cuto frequency will be cut, emphasizing the high-frequency range.

It passes only the range of frequencies in the region of the cuto frequency, cutting the other frequencies.

Boosts the range of frequencies in the region of the cuto frequency.

Selects the slope (steepness) of the low-pass lter.

Resonance emphasizes the sound in the region of the lter cuto frequency.

Increasing the resonance setting will increase this emphasis, producing a distinctive sound that is characteristic of synthesizers.

Species how the dynamics of the input signal controls the lter.

Values in the positive direction speed up the lter release. Values in the negative direction slow down the lter attack.

Species the depth to which the lter is modulated by the dynamics of the input signal.

AMP

In the AMP section you can modify the sound by changing its volume and dynamics.

Parameter Value Explanation

A. ENV ATTACK

LOW CUT

HIGH CUT

-50–+50

FLAT, 20.0 Hz–16.0 kHz

20.0 Hz–16.0 kHz, FLAT

Species how the dynamics of the input signal controls the amp.

Cuts the frequency region below the specied frequency. When FLAT is selected, the low cut lter will have no eect.

Cuts the frequency region above the specied frequency. When FLAT is selected, the high cut lter will have no eect.

Page 27

INST Parameters > DYNAMIC SYNTH Parameters

LFO1, LFO2

Here you can cyclically modulate the sound by applying vibrato to modulate the pitch or applying tremolo to modulate the volume.

Parameter Value Explanation

ON/OFF OFF, ON Turns the LFO1/LFO2 on/o.

Selects the waveform of LFO1 and LFO2.

SIN Sine wave

SAW UP Sawtooth wave

SHAPE

RATE

DYNAMIC DEPTH OFF, ON

PITCH DEPTH 0–100

FILTER DEPTH 0–100

AMP DEPTH 0–100

PWM DEPTH

FADE TIME

SYNC OFF, ON

BPM 40–250

VARIATION1&2 PATCH, 01–50

*1 Valid when the WAVEFORM (p. 25) in the OSC section is set to

PWM.

*2 Valid when the DYNAMIC DEPTH is ON.

*3 Refer to “About eects when a note value is selected as a setting”

(p. 66).

SAW DOWN

TRI Triangle wave

SQR Square wave

RANDOM Random wave

S&H Sample and Hold

0–100, BPM Œ–`

0–100

Sawtooth wave (negative polarity)

Determines the speed of the LFO1/LFO2.

Species whether the dynamics of the input signal controls the depth at which LFO1 and LFO2 are applied.

Allows the LFO to modulate the pitch, producing a vibrato eect.

Allows the LFO to modulate the FILTER CUTOFF (cuto frequency),

Allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

Adjusts the depth at which PWM is modulated.

Species the time until the LFO reaches its maximum amplitude.

If SYNC is ON, you can use the CONTROL FUNCTION parameter SYNC TRIG (p. 68) or the ASSIGN SETTING parameter SYNC RETRIGGER (p. 73) to retrigger the start timing of the LFO.

Adjusts the BPM value for each patch.

LFO1 and LFO2 settings can be saved/loaded as 50 dierent variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

SEQ

This is a step sequencer function with up to 16 steps. You can create complex changes by combining steps with a dierent envelope at each step.

COMMON

Parameter Value Explanation

SEQUENCER1, SEQUENCER2, and TARGET settings can be saved/loaded as 50 dierent

VARIATION1&2 PATCH, 01–50

SEQUENCER 1, SEQUENCER 2

Parameter Value Explanation

ON/OFF OFF, ON

SYNC OFF, ON

1SHOT OFF, ON

TURBO OFF, ON

RATE

LOOP LENGTH

0–100, BPM Œ–`

1–16

TARGET

Parameter Value Explanation

PITCH

CUTOFF

LEVEL

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

*2 If the OSC section’s WAVEFORM (p. 25) is set to INPUT, the

PITCH does not change.

OFF, SEQ1, SEQ2

variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

Turns the SEQUENCER1/ SEQUENCER2 on/o.

Species whether the start timing of the LFO for which SYNC is ON is synchronized with the SEQUENCER.

The start timing is retriggered using the CONTROL FUNCTION parameter SYNC TRIG (p. 68) or the ASSIGN SETTING parameter SYNC RETRIGGER (p. 73).

If this is on, the steps specied by the LOOP LENGTH of SEQUENCER1 and SEQUENCER2 will play only once.

If this is ON, operation is twice as fast as specied by RATE.

Species the rate at which the sequence pattern of SEQUENCER1 or SEQUENCER2 repeats.

Species the length (number of steps) of SEQUENCER1 or SEQUENCER2 that is repeated.

Species the SEQUENCER that is assigned to the OSC section’s PITCH (p. 25).

Species the SEQUENCER that is assigned to the FILTER section’s CUTOFF (p. 26).

Species the SEQUENCER that is assigned to the INST COMMON section’s INST LEVEL (p. 23).

Page 28

INST Parameters > DYNAMIC SYNTH Parameters

SEQ1, SEQ2

Parameter Value Explanation

PITCH STEP1– STEP 16 MAX

PITCH STEP1– STEP16 MIN

CUTOFF STEP1– STEP16 MAX

CUTOFF STEP1– STEP16 MIN

LEVEL STEP1– STEP16 MAX

LEVEL STEP1– STEP16 MIN

STEP1–STEP16 CURVE

-24–+24

0–100

Specify the curve of change for each step of SEQUENCER1 and SEQUENCER2.

Specify the width of pitch change for each step.

Specify the width of cuto change for each step.

Specify the width of inst level change for each step.

About SEQUENCER

If you make eight steps of sequence settings with STEP CURVE, PITCH MIN, and PITCH MAX set as shown in the table below, the output will be as indicated by the graph.

Example of an eight-step sequence

STEP 1 2 3 4 5 6 7 8

STEP CURVE

PITCH MIN

PITCH MAX

-12 -9 -6 -3 0 +3 +6 +9

-9 -6 -3 0 +3 +6 +9 +12

Editing the sequencer

1. Turn the [6] knob to select “SEQ.”

2. Press the [6] knob.

The SEQUENCE COMMON screen appears.

3. Specify how SEQUENCER1 and SEQUENCER2

operate.

Knob Explanation

[1] knob

[2] knob Set the parameters of SEQUENCER1.

[4] knob Set the parameters of SEQUENCER2.

[6] knob

4. Use the [K] [J] (PAGE) buttons to switch to the

SEQUENCER1 or SEQUENCER2 screens.

Accesses the SEQUENCER1 and SEQUENCER2 VARIATION screen.

Specify which sequencer controls PITCH, CUTOFF, and LEVEL.

Output example

+12

-3

-6

-9

-12

STEP 1

STEP 2

STEP 3

STEP 4

STEP 5

STEP 6

STEP 7

STEP 8

About STEP CURVE

STEP CURVE provides a choice of the following 13 types.

Operation Explanation

Turn the [1] knob

Press the [1] knob Switch the SEQ1 and SEQ2 screens.

Turn the [2] knob

Turn the [3] knob

Turn the [4] knob

Turn the [5] knob

Press the [5] knob

Turn the [6] knob Select the step to edit.

Press the [6] knob Switch the sequencer on/o.

* If a parameter to be controlled (PITCH, CUTOFF, LEVEL) is not

assigned to the sequencer, these settings have no eect (they are shown in gray).

* Settings of steps that are beyond the value specied by LENGTH

have no eect (they are shown in gray).

Switch the TARGET editing screen (PITCH, CUTOFF, LEVEL).

Specify the LOOP LENGTH (length of the sequencer loop).

Specify the CURVE of the selected step.

Adjust the MIN value of the parameter selected by the cursor.

Adjust the MAX value of the parameter selected by the cursor.

Retrigger the LFO or SEQUENCER for which SYNC (p. 27) is ON.

Page 29

INST Parameters > OSC SYNTH Parameters

LAYER

Here you can specify the range of notes that are sounded. This is useful when layering multiple sounds together.

Parameter Value Explanation

L. FADE 1–60

LOWER A0–E6

UPPER A0–E6

U. FADE 1–60

* Valid when the WAVEFORM (p. 25) in the OSC section is set to

other than INPUT.

Species the area over which the low range will fade out.

Species the lowest note of the range that will sound.

Species the highest note of the range that will sound.

Species the area over which the high range will fade out.

OSC SYNTH Parameters

OSC

In the OSC section you specify the waveform that is the basis of the synthesizer sound.

Parameter Value Explanation

This creates the waveform that determines the character of the sound, and also species the pitch. There are two oscillators (OSC1 and OSC2).

SINGLE Only OSC1 is used.

DUAL OSC1 and OSC2 are used.

MODE

SYNC

RING

Selects the waveform that is the basis of the sound.

SIN Sine wave

WAVEFORM1

WAVEFORM2

PITCH1

PITCH2

FINE1

FINE2

PULSE WIDTH1

PULSE WIDTH2*10–100 Species the pulse width.

SAW Sawtooth wave

TRI Triangle wave

SQR Square wave

PWM

NOISE Noise

-24–+24 Adjusts the pitch.

-50–+50

This is oscillator sync. It generates a complex waveform by forcibly resetting OSC2 to the beginning of its cycle in synchronization with the OSC1 frequency.

This is a ring modulator. It generates a complex waveform by multiplying OSC1 and OSC2.

Pulse wave (asymmetrical rectangular wave)

Species a ner adjustment than PITCH.

PW MOD RATE1

PW MOD RATE2

P. ENV ATTACK1

P. ENV ATTACK2

P. ENV DECAY1

P. ENV DECAY2

P. ENV DEPTH1

P. ENV DEPTH2

LEVEL1

LEVEL2

MONO/POLY SW

0–100

MONO, POLY

Species the depth to which the LFO will modulate pulse width.

Species the attack/decay time of the pitch envelope.

Species the depth to which the envelope will modulate the pitch.

Species the volume of the oscillator.

If this is set to MONO, only a single note will sound even if you play a chord.

Page 30

INST Parameters > OSC SYNTH Parameters

Parameter Value Explanation

Turn this “ON” if you want to play tones in semitone increments.

CHROMATIC OFF, ON

PORTA SW OFF, ON

PORTA TIME 0–100

Selects how portamento is applied.

PORTA MODE

HOLD MODE

LOW VELO CUT OFF, 1–10

*1 Valid when the WAVEFORM1 or WAVEFORM2 is set to PMW.

*2 Valid when the MONO/POLY SW is set to POLY.

MODE1

MODE2

Species the operation of the Hold function using CONTROL FUNCTION and ASSIGN FUNCTION.

* In order to use the Hold function, make settings

for “CONTROL FUNCTION” (p. 67) and “ASSIGN SETTING” (p. 70).

MODE1

MODE2

MODE3

If this is “ON,” the pitch will change in semitone steps even when you bend notes.

Species whether portamento is applied.

When this is set to ON, you can create a smooth change in pitch from one note to the next.

Species the time required for the pitch change when using portamento.

Larger values lengthen the time during which the pitch of the next note is reached.

The portamento eect is applied starting at the nal pitch sounded by each string.

The portamento eect is applied starting at the nal pitch sounded, regardless of the string that was played.

Notes that are newly played while Hold is on will also be held.

Newly played notes are not accepted while Hold is on.

While Hold is on, notes newly played on a string that’s being held are accepted.

Adjust this if simply touching a string causes a note to be unintentionally triggered. Raising this value will make it more dicult to trigger notes.

FILTER

Sound consists of numerous overtones at various frequencies. By using a lter to pass or cut the overtones of specic frequency regions, you can modify the brightness of the sound.

In the FILTER section you can modify the brightness of the sound by changing the type of lter and applying various changes to the output waveform.

Parameter Value Explanation

ON/OFF OFF, ON Switches lter on/o.

Type of lter

The region above the cuto

LPF

HPF

TYPE

BPF

PKG

LADDER LPF A ladder-type low-pass lter.

LADDER HPF A ladder-type high-pass lter.

SLOPE

CUTOFF 0–100 Adjusts the cuto frequency.

CUTOFF FOLLOW

RESONANCE 0–100

VELOCITY SENS

F. ENV ATTACK 0–100

F. ENV DECAY 0–100

F. ENV SUSTAIN

F. ENV RELEASE

F. ENV DEPTH -50–+50

-12 dB, -24 dB

0–100

-50–+50

0–100

frequency will be cut, making the sound more mellow.

The region below the cuto frequency will be cut, emphasizing the high-frequency range.

It passes only the range of frequencies in the region of the cuto frequency, cutting the other frequencies.

Boosts the range of frequencies in the region of the cuto frequency.

Selects the slope (steepness) of the low-pass lter.

Species how the cuto frequency will be aected by the note position.

Resonance emphasizes the sound in the region of the lter cuto frequency.

Increasing the resonance setting will increase this emphasis, producing a distinctive sound that is characteristic of synthesizers.

Species how the lter envelope depth is aected by your picking dynamics.

Species the attack/decay/sustain level/ release time of the lter envelope.

Species the depth and direction of the cuto frequency change.

Higher values make the cuto frequency move upward.

Lower values make the cuto frequency move downward.

*1 Valid when the TYPE is set to LPF, HPF, BPF, or PKG.

Page 31

INST Parameters > OSC SYNTH Parameters

AMP

In the AMP section you can modify the sound by changing its volume and dynamics.

Parameter Value Explanation

Species the sensitivity to the

VELOCITY SENS 0–100

A. ENV ATTACK 0–100

A. ENV DECAY 0–100

A. ENV SUSTAIN 0–100

A. ENV RELEASE 0–100

LOW CUT

HIGH CUT

FLAT, 20.0 Hz–16.0 kHz

20.0 Hz–16.0 kHz, FLAT

strength at which you pick the string.

Species the attack/decay/ sustain level, and release time of the AMP.

Cuts the frequency region below the specied frequency. When FLAT is selected, the low cut lter will have no eect.

Cuts the frequency region above the specied frequency. When FLAT is selected, the high cut lter will have no eect.

LFO1, LFO2

Parameter Value Explanation

Species whether the start timing of the LFO for which SYNC is ON is synchronized with the SEQUENCER.

SYNC OFF, ON

BPM 40–250

VARIATION1&2 PATCH, 01–50

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

The start timing is retriggered using the CONTROL FUNCTION parameter SYNC TRIG (p.

68) or the ASSIGN SETTING parameter SYNC RETRIGGER (p.

73).

Adjusts the BPM value for each patch.

LFO1 and LFO2 settings can be saved/loaded as 50 dierent variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

Here you can cyclically modulate the sound by applying vibrato to modulate the pitch or applying tremolo to modulate the volume.

Parameter Value Explanation

ON/OFF OFF, ON Turns the LFO1/LFO2 on/o.

Selects the waveform of LFO1 and LFO2.

SIN Sine wave

SAW UP Sawtooth wave

SHAPE

RATE

PITCH1 DEPTH

PITCH2 DEPTH

FILTER DEPTH 0–100

AMP DEPTH 0–100

DELAY TIME 0–100

FADE TIME 0–100

SAW DOWN

TRI Triangle wave

SQR Square wave

RANDOM Random wave

S&H Sample and Hold

0–100, BPM Œ–`

0–100

Sawtooth wave (negative polarity)

Determines the speed of the LFO1/LFO2.

Allows the LFO to modulate the pitch, producing a vibrato eect.

Allows the LFO to modulate the FILTER CUTOFF (cuto frequency),

Allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

Species the time from when a note is played until the LFO begins to apply.

Species the time until the LFO reaches its maximum amplitude.

Page 32

INST Parameters > GR-300 (In GUITAR MODE) / ANALOG GR (In BASS MODE) Parameters

GR-300 (In GUITAR MODE) / ANALOG GR (In BASS MODE) Parameters

GR-300/ANALOG GR

Parameter Value Explanation

Species whether to sound the hexa-VCO (sawtooth wave), the hexa-distortion (square wave), or both.

MODE

COMP SW

CUTOFF 0–100

RESONANCE 0–100

ENV MOD SW

ENV MOD SENS

ENV MOD ATTACK

PITCH SW

PITCH A

PITCH B

VCO Only the hexa-VCO will sound.

V+D

DIST Only the hexa-distortion will sound.

OFF, ON

This automatically changes the VCF cuto frequency according to the amplitude of the string vibration. This allows you to change the tone with a wah-like eect each time you pick a string.

OFF Turns envelope modulation o.

INV

0–100

OFF, A, B

-12–+12

The hexa-VCO and hexa-distortion will sound together.

If this is “ON,” the decay time of the hexa-VCO will be extended.

Adjusts the cuto frequency at which the lter cuts o the sound’s harmonic components.

Adjusts the amount of lter resonance (distinctiveness of the sound) used.

This causes the VCF cuto frequency to change from a high to low frequency each time the string is picked.

This produces a wah-like eect, with the sound going from high frequencies to low.

As opposed to the ON setting, this allows you to have the VCF cuto frequency change from a low to high frequency each time the string is picked.

This produces a reverse wah-like eect, with the sound going from high frequencies to low.

Adjusts the input sensitivity of the envelope modulation. As the value is raised, the change from the envelope modulation broadens with even weaker picking.

Adjusts the attack time for the change in the envelope modulation produced by picking.

Raising the value slows the attack for this change.

This setting allows you to switch A, B and OFF the pitch shift, which enables the pitch of the HEXA-VCO sound to shift in response.

* Pitch shift applies only to the

hexa-VCO; it does not apply to hexa-distortion.

This sets the amount of shift in pitch from the original sound in semitone increments.

Parameter Value Explanation

FINE A

FINE B

DUET SW

SWEEP SW

SWEEP RISE

SWEEP FALL

VIBRATO SW

VIBRATO RATE

VIBRATO DEPTH

LOW CUT

HIGH CUT

*1 Valid when the MODE is set to VCO or V+D.

-50–+50

OFF, ON

0–100

OFF, ON

0–100 Adjusts the rate of the vibrato.

0–100 Adjusts the depth of the vibrato.

FLAT, 20.0 Hz–16.0 kHz

20.0 Hz–16.0 kHz, FLAT

This nely adjusts the pitch. -50 is half a semitone down; +50 is half a semitone up.

If this is “ON,” a sawtooth wave at the same pitch as the original sound will be added to the hexaVCO, making the sound richer.

MEMO

By setting the hexa-VCO’s pitch shift to a PITCH setting such as +/-12 (an octave up/down), +/- 7 (a perfect fth), or +/-5 (a perfect fourth), you can create thick, synthesizer-like sounds.

By setting PITCH FINE to about “+/5” to slightly skew the pitch shift of the hexa-VCO, you can give the sound greater depth.

This is a Sweep function that smoothly changes the amount of shift when you use PITCH SW to vary the amount of pitch shift.

Adjusts the amount of time for the pitch to shift when the PITCH SW parameter is switched and the sound changes to a higher pitch.

If this is “0,” the change will occur instantly; higher values produce slower change.

Adjusts the amount of time for the pitch to shift when the PITCH SW parameter is switched and the sound changes to a lower pitch.

If this is “0,” the change will occur instantly; higher values produce slower change.

Allows you to apply electronic vibrato to the hexa-VCO.

Cuts the frequency region below the specied frequency. When FLAT is selected, the low cut lter will have no eect.

Cuts the frequency region above the specied frequency. When FLAT is selected, the high cut lter will have no eect.

Page 33

INST Parameters > E.GUITAR Parameters

E.GUITAR Parameters

GUITAR (In GUITAR MODE)

Parameter Value Explanation

TYPE Select the electric guitar type “TYPE” (p. 33).

Selects the pickup position.

REAR Rear pickup

R+C

CENTER

PU SELECT

TONE TYPE

SENS

DEPTH

ATTACK

RESONANCE

DIRECT LEVEL

VOLUME 0–100

TONE 0–100

*1 Valid when the TYPE is set to CLA-ST, MOD-ST, or LIPS.

*2 Valid when the TYPE is set to TE, LP, P-90, 335, L4, RICK, WIDE

RANGE, or BRIGHT HUM.

*3 Valid when the TYPE is set to LIPS.

*4 Valid when the TYPE is set to FRETLESS.

C+F

FRONT Front pickup

R+F

ALL

MILD, STANDARD, BRIGHT1, BRIGHT2

0–100 This controls the input sensitivity.

0–100

TYPE

Value Explanation

The sound of a Fender Stratocaster. Simulates the

CLA-ST

MOD-ST

installation of three single-coil pickups (passive type).

This models a guitar with three EMG active singlecoil pickups.

The sound of a Fender Telecaster. This models a guitar with two single-coil pickups.

Rear and center pickups

Center pickup

Center and front pickups

Rear and front pickups

All pickups

Selects the fretless tone type.

This controls the volume of the harmonics.

Adjusts the attack of the picking sound.

Adds a characteristically resonant quality to the sound.

Adjusts the volume of the direct sound.

Adjusts the volume. With a setting of 0, there will be no sound.

Adjusts the tone of the body. The standard value is 100; lowering the value creates a softer tone.

Value Explanation

The sound of a Gibson Les Paul Standard. Simulates

P-90

335

RICK

LIPS

WIDE RANGE

BRIGHT HUM

FRETLESS This models a fretless guitar.

the installation of two humbucking pickups (passive type).

The sound of a Gibson Les Paul Junior. This provides two single-coil pickups of the type used on xedneck guitars and aectionately known as soap-bar or dog-ear pickups.

The sound of a Gibson ES-335 Dot. Typical semiacoustic guitar with two humbucking pickups.

The sound of a Gibson L-4 CES. Acoustic body guitar suited for jazz.

Equipped with two humbucking pickups and strung with at wound strings.

This models a Rickenbacker 360. Semi-hollow body guitar with two unique single-coil pickups.

The sound of a Danelectro 56-U3. This models a guitar equipped with three pickups noted for their visual resemblance to lipstick tubes.

This produces the fat sound typical of a larger number of coil windings than on a conventional single-coil pickup.

A conventional humbucking pickup places two coils side by side, causing the high frequencies to be canceled; however, this model produces a tone that preserves these high frequencies while retaining the characteristics of a humbucking pickup.

GUITAR (In BASS MODE)

Parameter Value Explanation

Select the electric guitar type.

The sound of a Fender Stratocaster.

TYPE

PU SELECT

TONE TYPE

SENS

DEPTH

FRETLESS This models a fretless guitar.

Selects the pickup position.

REAR Rear pickup

R+C

CENTER

C+F

FRONT Front pickup

R+F

MILD, STANDARD, BRIGHT1, BRIGHT2

0–100 This controls the input sensitivity.

0–100

Simulates the installation of three single-coil pickups (passive type).

The sound of a Gibson Les Paul Standard. Simulates the installation of two humbucking pickups (passive type).

Rear and center pickups

Center pickup

Center and front pickups

Rear and front pickups

Selects the fretless tone type.

This controls the volume of the harmonics.

Page 34

INST Parameters > E.GUITAR Parameters

Parameter Value Explanation

ATTACK

RESONANCE

DIRECT LEVEL

VOLUME 0–100

TONE 0–100

*1 Valid when the TYPE is set to ST.

*2 Valid when the TYPE is set to LP.

*3 Valid when the TYPE is set to FRETLESS.

0–100

Adjusts the attack of the picking sound.

Adds a characteristically resonant quality to the sound.

Adjusts the volume of the direct sound.

Adjusts the volume. With a setting of 0, there will be no sound.

Adjusts the tone of the body. The standard value is 100; lowering the value creates a softer tone.

AMP (AMP Modeling)

(When E.GUITAR, ACOUSTIC, AC BASS, or E.BASS is selected)

Parameter Value Explanation

ON/OFF OFF, ON Turns the AMP on/o.

TYPE Select the amp type “TYPE” (p. 34).

GAIN 0–120

SAG -10–+10

RESONANCE -10–+10

LEVEL 0–100

BASS 0–100

MIDDLE 0–100

TREBLE 0–100

PRESENCE 0–100

BRIGHT OFF, ON

GAIN SW

SOLO SW OFF, ON

LOW, MIDDLE, HIGH

Adjusts the distortion of the amp.

Adjusts the amount by which compression changes in response to the power amp.

Adjusts the amount by which dynamics is aected by the interaction between the power amp and the speaker transformer.

Adjusts the volume of the entire preamp.

* Be careful not to raise the

Level setting too high.

Adjusts the tone for the low frequency range.

Adjusts the tone for the middle frequency range.

Adjusts the tone for the high frequency range.

Adjusts the tone for the ultra high frequency range.

Turns the bright setting on/ o.

* BRIGHT is valid for some of

the amps in TYPE.

Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH.

Distortion will successively increase for settings of LOW, MIDDLE and HIGH.

* The sound of each Type is

created on the basis of the level of MIDDLE.

The tone to one suitable for solos.

Parameter Value Explanation

SOLO LEVEL 0–100

SP TYPE Select the speaker type “SP TYPE” (p. 35).

MIC TYPE

MIC DISTANCE

MIC POSITION

MIC LEVEL 0–100

DIRECT LEVEL 0–100

VARIATION PATCH, 01–10

This setting selects the simulated mic type “MIC TYPE” (p. 35).

SHORT, MEDIUM, LONG

This simulates the mic position.

CENTER

1 cm–10 cm

Adjusts the volume level when the SOLO SW is ON.

Simulates the distance between the mic and speaker.

The distance from the speakers is farther in the order of SHORT<MEDIUM<LONG.

Simulates the condition that the mic is set in the middle of the speaker cone.

Simulates the condition that the mic is moved away from the center of the speaker cone.

Adjusts the volume of the mic.

Adjusts the volume of the direct sound.

AMP settings can be saved/ loaded as ten dierent variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

These variations are shared with the AMP setting in EFFECT.

TYPE

Value Explanation

TRANSPARENT

NATURAL OD

BOUTIQUE

SUPREME

MAXIMUM

JUGGERNAUT

X-CRUNCH

X-HI GAIN

An amp with a broad frequency range and an extremely at response.

An unembellished, clean sound that minimizes the amp’s idiosyncrasies, such as its trebly character and boomy low end.

Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps.

Great-feeling crunch sound that responds to the nuances of your picking while taking advantage of the distinctive character of a 4x12” speaker cabinet.

An amp that delivers the distinctively great response and tone of a vintage Marshall, while making it even higher gain.

A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.

Crunch sound that uses MDP to deliver a crisp tone from all strings.

High-gain sound that uses MDP to obtain highgain sound with a wide range and a great-feeling sense of separation.

Page 35

INST Parameters > E.GUITAR Parameters

Value Explanation

X-MODDED

JC-120 This models the sound of the Roland JC-120.

TWIN COMBO This models a Fender Twin Reverb.

DELUXE COMBO This models a Fender Deluxe Reverb.

TWEED COMBO This models a Fender Bassman 4 x 10” Combo.

DIAMOND AMP Models the SWR AC30.

BRIT STACK This models a Marshall 1959.

RECTI STACK

MATCH COMBO

BG COMBO

ORNG STACK

BGNR UB METAL

NATURAL BASS Uncolored clean sound for bass.

X-DRIVE BASS

CONCERT This models the Ampeg SVT.

SUPER FLAT An amp with at response.

FLIP TOP Models the Ampeg B-15.

B MAN Models the Fender Bassman100.

BASS 360 Models the Acoustic 360.

SW-TOUR Models the SWR SM-400.

AC BASS An amp ideal for ACOUSTIC BASS.

GK BASS Models the Gallien-Krueger 800RB.

MARK Models the Markbass Little Mark III.

Core sound that uses MDP to preserve the denition of the sound even with extreme gain.

Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie DUAL Rectier.

This models the sound input to left input on a Matchless D/C-30.

This models the sound of the MESA/Boogie combo amp.

This models the dirty channel of an ORANGE ROCKERVERB.

This models the sound that models the high-gain channel of a Bogner Uberschall.

High-gain sound for bass, using MDP to provide wide range and a good-sounding sense of separation.

SP TYPE

Value Explanation

OFF Turns o the speaker simulator.

ORIGINAL

1x8”

1x10”

1x12”

2x12”

4x10”

4x12”

8x12”

B1x15”

B1x18”

This is the built-in speaker of the amp you selected with AMP TYPE.

This is a compact open-back speaker cabinet with one 8-inch speaker.

This is a compact open-back speaker cabinet with one 10-inch speaker.

This is a compact open-back speaker cabinet with one 12-inch speaker.

This is a general open-back speaker cabinet with two 12-inch speakers.

This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.

This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers.

This is a stack of two cabinets each with four 12-inch speakers.

This is a compact open-back speaker cabinet for the bass guitar with one 15-inch speaker.

This is a compact open-back speaker cabinet for the bass guitar with one 18-inch speaker.

Value Explanation

B2x15”

B4x10”

B8x10”

This is a general open-back speaker cabinet for the bass guitar with two 15-inch speakers.

This is a large speaker cabinet for bass, with four 10inch speakers in a sealed design.

This is a stack of two cabinets for bass, each with four 10-inch speakers.

MIC TYPE

Value Explanation

DYN57

DYN421

CND451

CND87

FLAT

This is the sound of the SHURE SM57. General dynamic mic used for instruments and vocals.

This is the sound of the SENNHEISER MD-421. Dynamic mic with extended low end.

This is the sound of the AKG C451B. Small condenser mic for use with instruments.

This is the sound of the NEUMANN U87. Condenser mic with at response.

Simulates a mic with perfectly at response. Produces a sonic image close to that of listening to the sound directly from the speakers (on site).

(When E.GUITAR, ACOUSTIC, AC BASS, E.BASS, VIO GUITAR, or POLY FX is selected)

This eect 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 eect on the guitar sound, and does not harm the natural character of the sound.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

Adjust this parameter as appropriate for the volume of the noise. If the noise level is high, a higher setting

NS THRESHOLD

RELEASE 0–100

0–100

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.

Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”

(When E.GUITAR, ACOUSTIC, AC BASS, E.BASS, or VIO GUITAR is selected)

Adjusts the tone. This is a parametric EQ that lets you adjust four separate frequency ranges.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

Sets the frequency at which the low

LOW CUT

LOW GAIN

FLAT, 20.0 Hz–16.0 kHz

-20 dB–+20 dBAdjusts the tone for the low

cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

frequency range.

Page 36

INST Parameters > ACOUSTIC Parameters

Parameter Value Explanation

LOW-MID FREQ

LOW-MID Q

LOW-MID GAIN

HIGH-MID FREQ

HIGH-MID Q

HIGH-MID GAIN

HIGH GAIN

HIGH CUT

LEVEL

20.0 Hz–16.0 kHz

0.5, 1, 2, 4, 8, 16

-20 dB–+20 dBAdjusts the low-middle frequency

20.0 Hz–16.0 kHz

0.5, 1, 2, 4, 8, 16

-20 dB–+20 dBAdjusts the low-middle frequency

-20 dB–+20 dBAdjusts the tone for the high

20.0 Hz–16.0 kHz, FLAT

-20 dB–+20 dBAdjusts the overall volume level of

Species the center of the frequency range that will be adjusted by the LOW-MID GAIN.

Adjusts the width of the area aected by the EQ centered at the LOW-MID FREQ.

Higher values will narrow the area.

range tone.

Species the center of the frequency range that will be adjusted by the HIGH-MID GAIN.

Adjusts the width of the area aected by the EQ centered at the HIGH-MID FREQ.

Higher values will narrow the area.

range tone.

frequency range.

Cuts the frequency region above the specied frequency. When FLAT is selected, the high cut lter will have no eect.

the equalizer.

ACOUSTIC Parameters

ACOUSTIC

Parameter Value Explanation

TYPE Select the acoustic guitar type “TYPE” (p. 37).

Adjusts the body resonation.

BODY

RESONANCE

VOLUME 0–100

TONE -50–+50

ATTACK

SUSTAIN

PU SELECT

SENS

COLOR

DECAY

BUZZ

0–100

Selects the pickup position.

FRONT Front pickup

R+F Rear and front pickups

REAR Rear pickup

PIEZO Piezo pickup

0–100 Adjusts the input sensitivity.

0–100

Raising the value produces more of a sense of the guitar body in the sound. Lower the value in conditions where feedback is prone to occur.

Adjusts the body resonance. The resonation increases as the value is raised.

Adjusts the volume. With a setting of 0, there will be no sound.

Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.

Species the strength of the attack when you pluck the string strongly. As this setting is increased, the attack will be sharper, and the sound will be crisper.

You can specify how the resulting volume will be aected by changes (loud/soft dynamics) in the guitar string vibrations that are input. Adjusts the range (time) over which low-level signals are boosted.

Larger values will result in longer sustain.

Adjusts the overall tone quality of the sitar.

Adjusts the time it takes following the attack for the tone to change.

Adjusts the amount of characteristic buzz produced by the buzz bridge when the strings make contact with it.

*1 Valid when the TYPE is set to other than RESO or BANJO.

*2 Valid when the TYPE is set to RESO or BANJO.

*3 Valid when the TYPE is set to NYLON, BANJO, or SITAR.

*4 Valid when the TYPE is set to RESO.

*5 Valid when the TYPE is set to SITAR.

Page 37

INST Parameters > AC BASS Parameters

TYPE

TYPE Explanation

MA28

TRP-0

GB45

GB SML

GLD40

NYLON This models a nylon-string guitar.

RESO This models a Dobro-type resonator guitar.

BANJO This models a conventional ve-string banjo.

SITAR

The sound of a Martin D-28. Older model known for its exquisitely balanced sound.

The sound of a Martin 000-28. This model features a full low-end resonance and crisp, distinct contour.

The sound of a Gibson J-45. This vintage model features a unique, seasoned tone with good response.

The sound of a Gibson B-25. Featuring a compact body, this vintage model is often used in blues.

The sound of a Guild D-40. This model features warm resonance from the body along with a delicate string resonance.

This models a Coral electric sitar. The sitar’s distinctive buzz and tonal change are modeled.

AMP (AMP Modeling)

Refer to “AMP (AMP Modeling)” (p. 34).

Refer to “NS” (p. 35).

Refer to “EQ” (p. 35).

AC BASS Parameters

AC BASS

Parameter Value Explanation

VOLUME 0–100

BODY 0–100

RESONANCE 0–100

SIZE -50–+50

ATTACK 0–100

BOTTOM 0–100

BUZZ SENS 0–100

DECAY 0–100

Adjusts the volume. With a setting of 0, there will be no sound.

This sets the volume level of the resonant sound produced by the panels and cavity (the body resonation).

Adjusts the body resonance. The resonation increases as the value is raised.

Species the size of the body. This modies the resonant frequency to simulate changes in body size. A setting of 0 will produce a normal resonance.

Species the strength of the attack when you pluck the string strongly. The higher the value you set, the greater the intensity of the sound produced when the strings are played. The attack of the body sound will increase as well.

This sets the volume level of string vibration.

This sets the sensitivity for the distinctive harmonics of an acoustic bass. Adjust this to match the velocity of ngering.

This sets the decay of the string vibration.

AMP (AMP Modeling)

Refer to “AMP (AMP Modeling)” (p. 34).

Refer to “NS” (p. 35).

Refer to “EQ” (p. 35).

Page 38

INST Parameters > E.BASS Parameters

E.BASS Parameters

BASS (In GUITAR MODE)

Parameter Value Explanation

Type of Bass

JB The sound of a Fender Jazz Bass.

TYPE

REAR VOLUME

FRONT VOLUME

TONE TYPE

SENS

DEPTH

ATTACK

RESONANCE

DIRECT LEVEL

VOLUME 0–100

TONE 0–100 Adjusts the tone of the body.

*1 Valid when the TYPE is set to JB.

*2 Valid when the TYPE is set to FRETLESS.

FRETLESS This models a fretless bass.

0–100 Sets the volume of the rear pickup.

0–100 Sets the volume of the front pickup.

Selects the fretless tone type.

JB (REAR)

JB (R+F)

JB (FRONT)

PB The sound of a Precision Bass.

0–100 This controls the input sensitivity.

0–100

BASS (In BASS MODE)

Parameter Value Explanation

TYPE Select the bass guitar type “TYPE” (p. 39).

MASTER VOLUME

REAR VOLUME

FRONT VOLUME

REAR TONE

FRONT TONE

0–100

0–100 Sets the volume of the rear pickup.

0–100 Sets the volume of the front pickup.

0–100 Adjusts the tone of the rear pickup.

0–100

The sound of a Fender Precision Bass.

The sound of the rear pickup of a Jazz Bass.

The sound of the rear pickup and front pickup of a Jazz Bass.

The sound of the front pickup of a Jazz Bass.

This controls the volume of the harmonics.

Adjusts the attack of the picking sound.

Adds a characteristically resonant quality to the sound.

Adjusts the volume of the direct sound.

Adjusts the volume. With a setting of 0, there will be no sound.

Sets the overall bass volume level. With a setting of 0, there will be no sound.

Adjusts the tone of the front pickup.

Parameter Value Explanation

TREBLE

BASS

PU SELECT

TREBLE ON

BASS ON

RHYTHM/ SOLO

TONE TYPE

SENS

DEPTH

ATTACK

RESONANCE

DIRECT LEVEL

VOLUME

TONE

*1 Valid when the TYPE is set to VINT JB, JB, RICK, T-BIRD, ACTIVE, or

VIOLIN.

*2 Valid when the TYPE is set to RICK.

*3 Valid when the TYPE is set to M-MAN or ACTIVE.

*4 Valid when the TYPE is set to RICK.

*5 Valid when the TYPE is set to VIOLIN.

*6 Valid when the TYPE is set to FRETLESS.

*7 Valid when the TYPE is set to VINT PB, PB, M-MAN, or FRETLESS.

*8 Valid when the TYPE is set to VINT JB, JB, VINT PB, PB, T-BIRD, or

FRETLESS.

0–100

Selects the pickup position.

REAR Use the rear pickup.

R+F Use both front and rear pickups.

FRONT Use the front pickup.

OFF, ON Switches the rear pickup on/o.

OFF, ON Switches the front pickup on/o.

Switches between rhythm and solo.

RHYTHM The volume will be set to 50.

SOLO The volume will be set to 100.

Selects the fretless tone type.

JB (REAR)

JB (R+F)

JB (FRONT)

PB The sound of a Precision Bass.

0–100 This controls the input sensitivity.

0–100

0–100 Adjusts the tone of the body.

Adjusts the tone for the high frequency range.

Adjusts the tone for the low frequency range.

The sound of the rear pickup of a Jazz Bass.

The sound of the rear pickup and front pickup of a Jazz Bass.

The sound of the front pickup of a Jazz Bass.

This controls the volume of the harmonics.

Adjusts the attack of the picking sound.

Adds a characteristically resonant quality to the sound.

Adjusts the volume of the direct sound.

Adjusts the volume. With a setting of 0, there will be no sound.

Page 39

INST Parameters > VIO GUITAR Parameters

TYPE

Value Explanation

VINT JB This models a Fender Jazz Bass from the sixties.

VINT PB

M-MAN

RICK This models a Rickenbacker 4001.

T-BIRD This models a Gibson Thunderbird.

ACTIVE

VIOLIN This models a Höfner Violin Bass.

FRETLESS This models a fretless bass.

This models a Fender Jazz Bass from the late seventies or later.

This models a Fender Precision Bass from the early sixties.

This models a Fender Precision Bass from the late seventies or later.

This models a Music Man StingRay Bass from the seventies.

This models a typical bass equipped with active pickups.

AMP (AMP Modeling)

Refer to “AMP (AMP Modeling)” (p. 34).

Refer to “NS” (p. 35).

Refer to “EQ” (p. 35).

VIO GUITAR Parameters

GUITAR

Parameter Value Explanation

TYPE Select the electric guitar type “TYPE” (p. 33).

Selects the pickup position.

REAR Rear pickup

R+C

CENTER

PU SELECT

TONE TYPE

SENS

DEPTH

ATTACK

RESONANCE

DIRECT LEVEL

VOLUME 0–100

TONE 0–100

C+F

FRONT Front pickup

R+F

ALL

MILD, STANDARD, BRIGHT1, BRIGHT2

0–100 This controls the input sensitivity.

0–100

Rear and center pickups

Center pickup

Center and front pickups

Rear and front pickups

All pickups

Selects the fretless tone type.

This controls the volume of the harmonics.

Adjusts the attack of the picking sound.

Adds a characteristically resonant quality to the sound.

Adjusts the volume of the direct sound.

Adjusts the volume. With a setting of 0, there will be no sound.

Adjusts the tone of the body. The standard value is 100; lowering the value creates a softer tone.

*1 Valid when the TYPE is set to CLA-ST, MOD-ST, or LIPS.

*2 Valid when the TYPE is set to TE, LP, P-90, RICK, 335, L4, WIDE

RANGE, or BRIGHT HUM.

*3 Valid when the TYPE is set to LIPS.

*4 Valid when the TYPE is set to FRETLESS.

Page 40

INST Parameters > VIO GUITAR Parameters

HARMO

Here you can add overtones (harmonics) to the sound specied in the GUITAR block.

Parameter Value Explanation

Species the pitch of the harmonics in semitone units. A setting of -24 produces a sound two octaves

PITCH -24–+24

GAIN 0–100

ATTACK 0–100

DIRECT LEVEL 0–100

below, and a setting of +24 produces a sound two octaves above. With a setting of 0, a harmonics sound at the same pitch as the original sound is heard.

Species the volume of the harmonics sound. Larger values increase the volume of the harmonics sound.

Emphasizes the attack portion of the harmonics sound. Larger values emphasize the attack.

Adjusts the volume of the direct sound. Larger values increase the volume of the direct sound.

FILTER

Parameter Value Explanation

Emphasizes the sound when single notes are played.

With VIO guitar, single-note (singlestring) playing produces a lower

LEAD EMPHASIS

0–100

output than when chords are played. Lead emphasis prevents this.

Larger values boost the volume level of single notes. With a setting of 0, single notes are not emphasized.

Refer to “NS” (p. 35).

Refer to “EQ” (p. 35).

Here you can use a lter to add depth to the sound and shape the tonal character.

Parameter Value Explanation

Modies the nuances of the

OVERTONE 0–100

ATTACK 0–100

POWER BEND 0–100

SLIDE TIME 0–100

OCTAVE -1, 0, +1

COLOR 0–100

TOUCH SENS 0–100

overtones. Larger values increase the overtones, giving the sound more depth.

Varies the nuances of the attack portion. Larger values emphasize the attack.

Increasing this value will darken the sound. At the same time, the tone and volume will vary more easily in response to pitch change such as when using the vibrato arm.

Larger values lengthen the time over which the tone changes from one note to the next on each string, producing an eect of smooth change between notes. At the same time, it tends to suppress the attack.

Adjusts the center frequency of the lter. A setting of 0 is the normal state, and a setting of -1 applies the lter at a frequency one octave below. A setting of +1 applies the lter at a frequency one octave above.

Modies the nuances of the overtones. Larger values produce a more detailed sound.

Species how your playing dynamics on the guitar aect the tonal character. With larger values, stronger playing gives the sound more depth.

Page 41

INST Parameters > POLY FX Parameters

POLY FX Parameters

POLY FX

Parameter Value Explanation

This selects the POLY FX type.

Distortion that allows chords to resonate clearly and beautifully

A sound with a metallic resonance and a transparent character

Rich and spacious modulation sound

Deep, fantasy-like pad-type sound

You can produce a wah eect with the lter changing in response to the input level.

Adjusts the distortion balance between the low and high strings.

Positive values make the lower strings distort more.

Negative values make the higher strings distort more.

Species the amount of the eect. The eect diers depending on the selected TYPE.

Adjusts the brightness of the sound.

Low pass lter. Creates a wah eect over a wide frequency range.

Band pass lter. Creates a wah eect in a narrow frequency range.

TYPE

GUITAR VOLUME

BASS VOLUME

GAIN

GAIN BALANCE

COLOR

TONE

FILTER MODE

DISTORTION

CRYSTAL

RICH MOD

SLOW PAD

TOUCH WAH

0–100 Adjusts the input volume.

0–100 Adjusts the amount of distortion.

-50–+50

0–100

DISTORTION:

Adjusts the amount of separation for chords. Higher settings produce chords less muddy.

CRYSTAL:

Adjusts the tone for the high frequency range. Higher settings make the tonal character more metallic.

RICH MODULATION:

Adjusts the depth of the eect. Higher settings make the modulation eect stronger.

SLOW PAD:

Adjusts the strength of the attack. Higher settings strengthen the attack.

-50–+50

Selects the wah mode.

LPF

BPF

Parameter Value Explanation

Selects the direction in which the lter will change in response to the input.

POLARITY

SENS

FREQUENCY

DECAY

PEAK

TONE TYPE

COMP SW

COMP SUSTAIN

COMP ATTACK

*1 Valid when the TYPE is set to DISTORTION.

*2 Valid when the TYPE is set to other than TOUCH WAH.

*3 Valid when the TYPE is set to TOUCH WAH.

DOWN

0–100

0–10

0–100

MILD, STANDARD, BRIGHT

OFF, ON Turns the compressor on/o.

0–100

The frequency of the lter will fall.

The frequency of the lter will rise.

Species the sensitivity with which the lter moves in the direction specied by the POLARITY setting.

Higher values will result in a stronger response. With a setting of 0, the strength of picking will have no eect.

Adjusts the center frequency of the Wah eect.

This sets the time needed for the lter to nish its sweep.

Adjusts the way in which the wah eect applies to the area around the center frequency.

Higher values will produce a stronger tone which emphasizes the wah eect more.

With a value of 50, a standard wah sound will be produced.

Selects the tone type.

Larger values will result in longer sustain.

Adjusts the strength of the picking attack when the strings are played.

Refer to “NS” (p. 35).

Page 42

EFFECT Parameters

FX1–FX3

With FX1, FX2 and FX3, you can select the eect to be used from the following.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

TYPE Refer to FX1/FX2/FX3 TYPE

FX1/FX2/FX3 TYPE

This is a list of the eects that can be selected for FX1/FX2/FX3.

Value Explanation Page

This processor allows you to change the sound produced by the pickup on

AC RESONANCE

AUTO WAH

CHORUS

CLASSIC-VIBE

COMPRESSOR

DEFRETTER This simulates a fretless guitar. p. 44

DEFRETTER BASS This simulates a fretless bass. p. 45

DELAY

FLANGER The anging eect gives a twisting,

FLANGER BASS

FOOT VOLUME

GRAPHIC EQ

HARMONIST

HUMANIZER

ISOLATOR

LIMITER

an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.

This changes the ltering over a periodic cycle, providing an automatic wah eect.

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

Although this resembles a phaser eect, it also provides a unique undulation that you can’t get with a regular phaser.

This is an eect 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.

Adds delayed sound to the direct sound, giving more body to the sound or creating special eects.

jet-airplane-like character to the sound.

This is a volume control eect. Typically, you will operate this using an expression pedal connected to the CTL3,4/EXP1 jack or the CTL5,6/EXP2 jack.

This eect adjusts the tonal character. Seven frequency bands can be adjusted.

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

This can create human vowel-like sounds.

An eect that cuts the sound of the specied region.

Attenuates loud input levels to prevent distortion.

p. 43

p. 44

p. 45

p. 46

p. 47

p. 48

Value Explanation Page

This deliberately degrades the

LO-FI

OCTAVE This adds a note one octave lower and

OCTAVE BASS

PAN

PARAMETRIC EQ

PEDAL BEND

PHASER

PITCH SHIFTER

REVERB

RING MOD

ROTARY

SITAR SIM This simulates the sound of the sitar. p. 52

SLICER

SLOW GEAR

SLOW GEAR BASS

SOUND HOLD

TOUCH WAH

TOUCH WAH BASS

TREMOLO

VIBRATO

WAH

audio quality to create a distinctive impression.

a note two octaves lower, creating a richer sound.

With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an eect that makes the guitar sound appear to y back and forth between the speakers.

This eect adjusts the tonal character. Four frequency bands can be adjusted.

This lets you use the pedal to get a pitch bend eect.

By adding varied-phase portions to the direct sound, the phaser eect gives a whooshing, swirling character to the sound.

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

This eect adds reverberation to the sound.

This creates a bell-like sound by ringmodulating the guitar sound with the signal from the internal oscillator. The sound can be unmusical and lack distinctive pitches.

This produces an eect like the sound of a rotary speaker.

This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.

This produces a volume-swell eect (“violin-like” sound).

You can have sound played on the guitar be held continuously. This eect allows you to perform the melody in the upper registers while holding a note in the lower registers.

You can produce a wah eect with the lter changing in response to the guitar (bass) level.

Tremolo is an eect that creates a cyclic change in volume.

This eect creates vibrato by slightly modulating the pitch.

You can control the wah eect in real time by the expression pedal connected to the CTL 3, 4/EXP 1 jack or CTL 5, 6/EXP 2 jack.

p. 48

p. 49

p. 50

p. 51

p. 52

p. 53

p. 54

Page 43

5 This eect sound is mono. 5

This eect sound is output with two channels.

These eects take a mono input and output it on two channels.

EFFECT Parameters > FX1–FX3

AC RESONANCE

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.

Parameter Value Explanation

NATURAL A natural and uncolored sound.

TYPE

RESONANCE 0–100

TONE -50–+50 Adjusts the tone.

LEVEL 0–100 Species the volume of the eect.

VARIATION PATCH, 01–10

WIDE

BRIGHT

Mellow sound that emphasizes the body resonance

Brilliant sound with an extended high-frequency range

Use this knob to adjust the balance between the body resonance eect of the acoustic guitar and the direct sound of the pickup.

AC RESONANCE settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

AUTO WAH

This changes the ltering over a periodic cycle, providing an automatic wah eect.

Parameter Value Explanation

Selects the wah mode.

LPF

FILTER MODE

RATE

DEPTH 0–100 Adjusts the depth of the eect.

EFFECT LEVEL 0–100

FREQUENCY 0–100

RESONANCE 0–100

WAVEFORM TRI, SINE Selects the type of wave.

DIRECT LEVEL 0–100

BPM 40–250

BPF

HPF

0–100, BPM Œ–`

Low pass lter. Passes only the lowfrequency region.

Band pass lter. Passes only the specied frequency region.

High pass lter. Passes only the high-frequency region.

Adjusts the frequency (speed) of the change.

Adjusts the volume of the eect sound.

Adjusts the center frequency of the Wah eect.

Adjusts the amount of wah eect applied in the range near the reference frequency.

Adjusts the volume of the direct sound.

Adjusts the BPM value for each patch.

Parameter Value Explanation

AUTO WAH settings can be saved/ loaded as ten variations.

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

CHORUS

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

Parameter Value Explanation

Selection for the chorus mode.

This chorus eect outputs the same sound from both L channel and R channel.

This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the eect sound output in the R channel.

This is a stereo chorus eect that adds dierent chorus sounds to L channel and R channel.

This lets you apply chorus independently to the L and R channels.

Adjusts the rate of the chorus eect.

Adjusts the depth of the chorus eect.

* To use it for doubling eect, set

the value to 0.

Adjusts the time needed for the eect sound to be output after the direct sound has been output. By setting a longer pre delay time, you can obtain an eect that sounds like more than one sound is being played at the same time (doubling eect).

Adjusts the volume of the eect sound.

MODE

RATE

RATE 1

RATE 2

*1 *2

DEPTH

DEPTH 1

DEPTH 2

PRE-DELAY

PRE-DELAY 1

PRE-DELAY 2

EFFECT LEVEL

EFFECT LEVEL 1

EFFECT LEVEL 2

MONO

STEREO1

STEREO2

DUAL

0–100, BPM Œ–`

0–100

0.0 ms–40.0 ms

0–100

Page 44

EFFECT Parameters > FX1–FX3

Parameter Value Explanation

WAVEFORM

TRI

WAVEFORM 1

WAVEFORM 2

LOW CUT

LOW CUT 1

LOW CUT 2

HIGH CUT

HIGH CUT 1

HIGH CUT 2

DIRECT LEVEL 0–100

OUTPUT MODE

BPM 40–250

VARIATION PATCH, 01–10

SINE

FLAT, 20.0 Hz–16.0 kHz

20.0 Hz–16.0 kHz, FLAT

MONO

STEREO

Produces a typical chorus eect.

Produces a deeper sense of modulation.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the volume of the direct sound.

Setting this to 0 cuts the direct sound.

This setting is appropriate for mono output.

Produces a rich spaciousness when stereo output is used.

Adjusts the BPM value for each patch.

CHORUS settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

COMPRESSOR

This is an eect that produces a long sustain by evening out the volume level of the input signal.

Parameter Value Explanation

BOSS COMP This models a BOSS CS-3.

Hi-BAND

LIGHT A compressor with a light eect.

D-COMP This models a MXR DynaComp.

TYPE

SUSTAIN 0–100

ATTACK 0–100

EFFECT LEVEL 0–100 Adjusts the volume.

TONE -50–+50 Adjusts the tone.

DIRECT LEVEL 0–100

VARIATION PATCH, 01–10

ORANGE

FAT

MILD

A compressor that adds an even stronger eect in the high end.

This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.

When applied heavily, this compressor eect provides a fat tone with a boosted midrange.

When applied heavily, this compressor eect produces a sweet tone with the high end cut.

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

Adjusts the strength of the attack when picking.

Adjusts the volume of the direct sound.

COMPRESSOR settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

*1 Valid when the MODE is set to DUAL.

*2 Refer to “About eects when a note value is selected as a setting”

(p. 66).

CLASSIC-VIBE

Although this resembles a phaser eect, it also provides a unique undulation that you can’t get with a regular phaser.

Parameter Value Explanation

RATE

*1 DEPTH 0–100 Adjusts the depth of the eect. EFFECT LEVEL 0–100 Adjusts the volume.

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

0–100, BPM Œ–`

Adjusts the rate of the eect.

Adjusts the BPM value for each patch.

CLASSIC-VIBE settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

DEFRETTER

This simulates a fretless guitar.

Parameter Value Explanation

SENS 0–100

DEPTH 0–100

TONE -50–+50

EFFECT LEVEL 0–100

ATTACK 0–100

RESONANCE 0–100

DIRECT LEVEL 0–100

VARIATION PATCH, 01–10

This controls the input sensitivity of the defretter.

This controls the volume of the harmonics.

Adjusts the amount of blurring between the notes.

Adjusts the volume of the eect sound.

Adjusts the attack of the picking sound.

Adds a characteristically resonant quality to the sound.

Adjusts the volume of the direct sound.

DEFRETTER settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

Page 45

EFFECT Parameters > FX1–FX3

DEFRETTER BASS

This simulates a fretless bass.

Parameter Value Explanation

SENS 0–100

ATTACK 0–100

TONE -50–+50

EFFECT LEVEL 0–100

DIRECT LEVEL 0–100

VARIATION PATCH, 01–10

This controls the input sensitivity of the defretter.

Adjusts the attack of the picking sound.

Adjusts the amount of blurring between the notes.

Adjusts the volume of the eect sound.

Adjusts the volume of the direct sound.

DEFRETTER BASS settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

DELAY

Adds delayed sound to the direct sound, giving more body to the sound or creating special eects.

Parameter Value Explanation

Selects the delay type “TYPE” (p. 46).

TYPE

TIME

*1 *12

D1 TIME

D2 TIME

*2 *12

FEEDBACK

D1 FEEDBACK

D2 FEEDBACK

EFFECT LEVEL

D1 EFFECT LEVEL

D2 EFFECT LEVEL

HIGH CUT

D1 HIGH CUT

D2 HIGH CUT

TAP TIME

* The stereo eect is canceled if a mono eect or

AMP Modeling is connected after a stereo delay eect.

1 ms–2000 ms, BPM `–Œ

0–100

0–120

20.0 Hz–16.0 kHz, FLAT

0–100%

Adjusts the delay time.

This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.

Adjusts the volume of the delay sound.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

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

Parameter Value Explanation

MOD RATE

MOD DEPTH

TRIGGER

MODE

TRIGGER

RISE TIME

FALL TIME

*9 *10

FADE TIME

*9 *11

DIRECT LEVEL

CARRY OVER OFF, ON

BPM 40–250

VARIATION PATCH, 01–10

*1 Valid when the TYPE is set to other than DUAL-S, DUAL-P, DUAL

L/R, or TWIST.

*2 Valid when the TYPE is set to DUAL-S, DUAL-P, or DUAL L/R.

*3 Valid when the TYPE is set to other than DUAL-S, DUAL-P, DUAL

L/R, WARP or TWIST.

*4 Valid when the TYPE is set to DUAL-S, DUAL-P, or DUAL L/R.

*5 Valid when the TYPE is set to other than WARP or TWIST.

*6 Valid when the TYPE is set to PAN.

*7 Valid when the TYPE is set to MOD.

*8 Valid when the TYPE is set to WARP.

*9 Valid when the TYPE is set to TWIST.

*10 Valid when the MODE is set to RISE0FALL. *11 Valid when the MODE is set to RISE0FADE.

*12 Refer to “About eects when a note value is selected as a setting”

(p. 66).

0–100

OFF, ON

RISE0FALL

RISE0FADE

OFF, ON

0–100

0–100 Adjusts the fade-out time.

0–100

Adjusts the modulation rate of the delay sound.

Adjusts the modulation depth of the delay sound.

If this is ON, the WARP eect is applied.

Rotation stops when you switch TRIGGER from ON to OFF.

When you switch TRIGGER from ON to OFF, fade-out occurs while continuing the rotation.

The TWIST eect is applied when you turn this ON.

This parameter adjusts the amount of time it is to take for the eect to transition to the maximum.

This parameter adjusts the amount of time it is to take for the eect to transition to the original.

Adjusts the volume of the direct sound.

Species whether the eect sound remains when you turn o the eect, or does not remain.

Adjusts the BPM value for each patch.

DELAY settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

These variations are shared with the MASTER DELAY setting.

Page 46

EFFECT Parameters > FX1–FX3

TYPE

Value Explanation

STEREO1

STEREO2

PAN

DUAL-S

DUAL-P

DUAL-L/R

REVERSE

ANALOG

TAPE

MOD

WARP

The direct sound is output from the left channel, and the eect sound is output from the right channel.

This is a stereo-in/out delay.

This delay is specically for stereo output. This allows you to obtain the tap delay eect that divides the delay time, then deliver them to L and R channels.

EFFECT LEVEL

INPUT

This is a delay comprising two dierent delays connected in series.

This is a delay comprising two delays connected in parallel.

This delay lets you specify the L and R channels independently. Delay 1 goes to the left channel, Delay 2 to the right.

This produces an eect where the sound is played back in reverse.

This gives a mild analog delay sound.

This setting provides the characteristic wavering sound of the tape echo.

A delay with a pleasant amount of modulation added.

Produces a dream-like sound.

DELAY

FEEDBACK

TAP TIME OUTPUT R

TIME OUTPUT L

Parameter Value Explanation

This sets the frequency at which

HIGH CUT

EFFECT LEVEL 0–100 Adjusts the volume of the anger.

DIRECT LEVEL 0–100

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

20.0 Hz–16.0 kHz, FLAT

the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the volume of the direct sound.

Adjusts the BPM value for each patch.

FLANGER and FLANGER BASS settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

FOOT VOLUME

This is a volume control eect.

Typically, you will operate this using an expression pedal connected to the CTL3,4/EXP1 jack or the CTL5,6/EXP2 jack.

Parameter Value Explanation

VOLUME MIN 0–100

VOLUME MAX 0–100

Sets the volume when the heel of the EXP Pedal is depressed.

Selects the volume when the toe of the EXP Pedal is depressed.

You can select how the actual volume changes relative to the amount the pedal is pressed. Volume

TWIST

Produces an aggressive sense of rotation.

Using this in conjunction with distortion will produce an even wilder sense of rotation.

FLANGER/FLANGER BASS

The anging eect gives a twisting, jet-airplane-like character to the sound.

Parameter Value Explanation

RATE

DEPTH 0–100

RESONANCE 0–100

MANUAL 0–100

SEPARATION 0–100

LOW CUT

0–100, BPM Œ–`

FLAT, 20.0 Hz–16.0 kHz

This sets the rate of the anging eect.

Determines the depth of the anging eect.

Determines the amount of resonance (feedback). Increasing the value will emphasize the eect, creating a more unusual sound.

Adjusts the center frequency at which to apply the eect.

Adjusts the diusion. The diusion increases as the value increases.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

SLOW1,

VOLUME CURVE

PEDAL POSITION

VARIATION PATCH, 01–10

SLOW2, NORMAL, FAST

0–100 Adjusts the volume.

FAST

NORMAL

SLOW 2

SLOW 1

When the pedal is fully raised

FOOT VOLUME settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

The variations are common to FOOT VOLUME 1 and FOOT VOLUME 2.

When the pedal

is fully advanced

Page 47

EFFECT Parameters > FX1–FX3

GRAPHIC EQ

You can adjust the tone character in seven bands.

Parameter Value Explanation

LEVEL -20–+20 dB

100 Hz

200 Hz

400 Hz

800 Hz

1.6 kHz

3.2 kHz

6.4 kHz

VARIATION PATCH, 01–10

-20–+20 dB

Adjusts the overall volume level of the equalizer.

Adjust the volume of each frequency band.

GRAPHIC EQ settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

HARMONIST

Harmonist is an eect 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.

Parameter Value Explanation

Selects the number of voices for the pitch shift sound.

VOICE

HR1:HARMONY

HR2:HARMONY

1VOICE

2MONO

2STEREO

-2 oct–+2 oct, USER

One-voice pitch-shifted sound output in mono.

Two-voice pitch-shifted sound (HR1, HR2) output in mono.

Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels.

This determines the pitch of the sound added to the input sound, when you are making a harmony.

It allows you to set it by up to 2 octaves higher or lower than the input sound. When the scale is set to USER, this parameter sets the user scale number to be used.

Parameter Value Explanation

C (Am)–B (G#m)

Major

KEY

Minor

Major

Minor

HR1:LEVEL

HR2:LEVEL

HR1:PRE-DELAY

HR2:PRE-DELAY

*1 *2

HR1:FEEDBACK 0–100

DIRECT LEVEL 0–100

BPM 40–250

VARIATION PATCH, 01–10

*1 Valid when the VOICE is set to 2MONO or 2STEREO.

*2 Refer to “About eects when a note value is selected as a setting”

(p. 66).

0–100

0–300 ms, BPM `–Œ

The key setting corresponds to the key of the song (#, b) as follows.

Adjusts the volume of the harmony sound.

Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally you can leave this set at 0 ms.

Adjusts the feedback amount of the harmonist sound.

Adjusts the volume of the direct sound.

Adjusts the BPM value for each patch.

HARMONIST settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

USER SCALE

* Eective with USER selected for HARMONY parameter.

Parameter Value

C D²

D E²

F F¾

G A²

A B²

C– C–C– C– C D²– D²–D²– D²– D²

D– D–D– D– D E²– E²–E²– E²– E²

E– E–E– E– E

F– F–F– F– F F¾– F¾–F¾– F¾– F¾

G– G–G– G– G A²– A²–A²– A²– A²

A– A–A– A– A B²– B²–B²– B²– B²

B– B–B– B– B

The minus (-) and plus (+) symbols indicate sounds above or below the specied original note.

Triangles next to the note names indicate octaves.

One downward-pointing triangle indicates a note one octave below the note displayed; two triangles indicates a two-octave drop.

One upward-pointing triangle indicates a note one octave above the note displayed; two triangles indicates a two-octave rise.

Page 48

EFFECT Parameters > FX1–FX3

HUMANIZER

This can create human vowel-like sounds.

Parameter Value Explanation

This sets the mode that switches the vowels.

It changes from VOWEL1 to VOWEL2

PICKING

MODE

AUTO

VOWEL1 a, e, i, o, u Selects the rst vowel.

VOWEL2 a, e, i, o, u Selects the second vowel.

SENS

RATE

DEPTH 0–100 Adjusts the depth of the eect.

MANUAL

EFFECT LEVEL 0–100 Adjusts the volume.

BPM 40–250

VARIATION PATCH, 01–10

*1 Setting available when MODE is set to PICKING.

*2 Setting available when MODE is set to AUTO.

*3 Refer to “About eects when a note value is selected as a setting”

(p. 66).

0–100

0–100, BPM Œ–`

0–100

along with the picking. The time spent for the change is adjusted with the rate.

By adjusting the rate and depth, two vowels (VOWEL1 and VOWEL2) can be switched automatically.

Adjusts the sensitivity of the slow gear.

When it is set to a lower value, no eect of the humanizer is obtained with weaker picking, while stronger picking produces the eect. When it is set to a higher value, the eect of the humanizer can be obtained whether the picking is weak or strong.

Adjusts the cycle for changing the two vowels.

This determines the point where the two vowels are switched. When it is set to 50, VOWEL1 and VOWEL2 are switched in the same length of time. When it is set to lower than 50, the time for VOWEL1 is shorter. When it is set to higher than 50, the time for VOWEL1 is longer.

Adjusts the BPM value for each patch.

HUMANIZER settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

ISOLATOR

An eect that cuts the sound of the specied region.

Parameter Value Explanation

BAND

RATE

DEPTH 0–100

BAND LEVEL 0–100 Species the amount to cut.

LOW, MIDDLE, HIGH

0–100, BPM Œ–`

Selects the frequency region to cut.

Adjusts the rate of the modulation.

Adjusts the depth of the modulation.

Parameter Value Explanation

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

Adjusts the BPM value for each patch.

ISOLATOR settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

LIMITER

Attenuates loud input levels to prevent distortion.

Parameter Value Explanation

Selects the limiter type.

TYPE

THRESHOLD 0–100

RATIO

EFFECT LEVEL 0–100 Adjusts the volume.

ATTACK 0–100

RELEASE 0–100 Adjusts the release time.

VARIATION PATCH, 01–10

BOSS LIMITER Selects a stereo limiter.

RACK 160D Models a dbx 160X.

VTG RACK U Models an UREI 1178.

Adjust this as appropriate for the input signal. When the input signal level exceeds this threshold level, compression will be applied.

1:1, 1.2:1,

1.4:1, 1.6:1,

1.8:1, 2:1,

2.3:1, 2.6:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1, 10:1, 12:1, 20:1, INF:1

Selects the compression ratio used with signals in excess of the threshold level.

Adjusts the strength of the attack when picking. Higher values result in sharper attack, creating a more clearly dened sound.

LIMITER settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

LO-FI

This deliberately degrades the audio quality to create a distinctive impression.

Parameter Value Explanation

BIT DEPTH OFF, 15–1 Species the bit depth.

SAMPLE RATE OFF, 1/2–1/32 Species the sample rate.

Adjusts the volume balance between the direct sound and the eect sound.

BALANCE

D100:E0– D0:E100

Page 49

EFFECT Parameters > FX1–FX3

Parameter Value Explanation

LO-FI settings can be saved/loaded as ten variations.

VARIATION PATCH, 01–10

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

OCTAVE/OCTAVE BASS

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

Parameter Value Explanation

-2OCT 0–100

-1OCT 0–100

DIRECT LEVEL 0–100

VARIATION PATCH, 01–10

Adjusts the volume of the sound two octave below.

Adjusts the volume of the sound one octaves below.

Adjusts the volume of the direct sound.

OCTAVE and OCTAVE BASS settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

PAN

Parameter Value Explanation

Varies the volume level on the left

AUTO

TYPE

MANUAL

WAVE SHAPE

RATE

*1 *3

DEPTH

EFFECT LEVEL

POSITION

BPM 40–250 Adjusts the BPM value for each patch.

VARIATION PATCH, 01–10

*1 Setting available when TYPE is set to AUTO.

*2 Setting available when TYPE is set to MANUAL.

*3 Refer to “About eects when a note value is selected as a setting”

(p. 66).

0–100

0–100, BPM Œ–`

0–100 Adjusts the depth of the eect.

0–100 Adjusts the volume.

L50–CENTER– R50

and right according to the settings for WAVE SHAPE, RATE, and DEPTH.

Output uses the volume balance set with POSITION.

Adjusts changes in volume level.

A higher value will steepen wave’s shape.

Adjusts the frequency (speed) of the change.

Adjusts the volume balance between the left and right channels.

PAN settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

PARAMETRIC EQ

You can adjust the tone character in four bands.

Parameter Value Explanation

This sets the frequency at which

LOW CUT

LOW GAIN -20–+20 dB

LOW-MID FREQ

LOW-MID Q 0.5–16

LOW-MID GAIN

HIGH-MID FREQ

HIGH-MID Q 0.5–16

HIGH-MID GAIN

HIGH GAIN -20–+20 dB

HIGH CUT

LEVEL -20–+20 dB

VARIATION PATCH, 01–10

FLAT, 20.0 Hz–16.0 kHz

20.0 Hz–16.0 kHz

-20–+20 dB

20.0 Hz–16.0 kHz

-20–+20 dB

20.0 Hz–16.0 kHz, FLAT

the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

Adjusts the tone for the low frequency range.

Species the center of the frequency range that will be adjusted by the LOW-MID GAIN.

Adjusts the width of the area aected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area.

Adjusts the low-middle frequency range tone.

Species the center of the frequency range that will be adjusted by the HIGH-MID GAIN.

Adjusts the width of the area aected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area.

Adjusts the low-middle frequency range tone.

Adjusts the tone for the high frequency range.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the overall volume level of the equalizer.

PARAMETRIC EQ settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

These variations are shared with the EQ1 and EQ2 block setting.

PEDAL BEND

This lets you use the pedal to get a pitch bend eect.

Typically, you will operate this using an expression pedal connected to the CTL3,4/EXP1 jack or the CTL5,6/EXP2 jack.

* Because of the need to analyze the pitch, chords (two or more

sounds played simultaneously) cannot be played.

Parameter Value Explanation

This sets the pitch at the point

PITCH -24–+24

PEDAL POSITION

0–100

where the EXP Pedal is all the way down.

Adjusts the pedal position for pedal bend. This parameter is used after it’s been assigned to an expression pedal or similar controller.

Page 50

EFFECT Parameters > FX1–FX3

Parameter Value Explanation

EFFECT LEVEL

DIRECT LEVEL

VARIATION PATCH, 01–10

0–100

Adjusts the volume of the pitch bend sound.

Adjusts the volume of the direct sound.

PEDAL BEND settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

PHASER

By adding varied-phase portions to the direct sound, the phaser eect gives a whooshing, swirling character to the sound.

Parameter Value Explanation

4STAGE,

TYPE

RATE

DEPTH 0–100

RESONANCE 0–100

MANUAL 0–100

STEP RATE

EFFECT LEVEL 0–100 Adjusts the volume of the phaser.

DIRECT LEVEL 0–100

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

8STAGE, 12STAGE, BiPHASE

0–100, BPM Œ–`

OFF, 0–100, BPM Œ–`

Selects the number of stages that the phaser eect will use.

This sets the rate of the phaser eect.

Determines the depth of the phaser eect.

Determines the amount of resonance (feedback). Increasing the value will emphasize the eect, creating a more unusual sound.

Adjusts the center frequency of the phaser eect.

This sets the cycle of the step function that changes the rate and depth. When it is set to a higher value, the change will be ner. Set this to “O” when not using the Step function.

Adjusts the volume of the direct sound.

Adjusts the BPM value for each patch.

PHASER settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

PITCH SHIFTER

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

Parameter Value Explanation

Selects the number of voices for the pitch shift sound.

1VOICE

VOICE

PS1:PITCH

PS2:PITCH

DIRECT LEVEL 0–100

PS1:MODE

PS2:MODE

PS1:FINE

PS2:FINE

PS1:PRE-DELAY

PS2:PRE-DELAY

*1 *2

PS1:LEVEL

PS2:LEVEL

PS1:FEEDBACK 0–100

BPM 40–250

VARIATION PATCH, 01–10

2MONO

2STEREO

-24–+24

Selection for the pitch shifter mode.

FAST, MEDIUM, SLOW

MONO

-50–+50

0 ms–300 ms, BPM `–Œ

0–100

One-voice pitch-shifted sound output in mono.

Two-voice pitch-shifted sound (PS1, PS2) output in mono.

Two-voice pitch-shifted sound (PS1, PS2) output through left and right channels.

Adjusts the amount of pitch shift (the amount of interval) in semitone steps.

Adjusts the volume of the direct sound.

The response is slower in the order of FAST, MEDIUM and SLOW, but the modulation is lessened in the same order.

MONO is used for inputting single notes.

You may be unable to produce the intended eect when playing chords (two or more notes played simultaneously).

Make ne adjustments to the interval. The amount of the change in the Fine 100 is equivalent to that of the Pitch 1.

Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard. Normally you can leave this set at 0ms.

Adjusts the volume of the pitch shifter.

Adjusts the feedback amount of the pitch shift sound.

Adjusts the BPM value for each patch.

PITCH SHIFTER settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

*1 Valid when the VOICE is set to 2MONO or 2STEREO.

*2 Refer to “About eects when a note value is selected as a setting”

(p. 66).

Page 51

EFFECT Parameters > FX1–FX3

REVERB

This eect adds reverberation to the sound.

Parameter Value Explanation

This selects the reverb type. Various dierent simulations of space are oered.

Simulates an ambience mic (omic, placed at a distance from the sound source) used in recording

AMBIENCE

ROOM

TYPE

TIME 0.1 s–10.0 s

PRE-DELAY 0 ms–500 ms

EFFECT LEVEL 0–100

LOW CUT

HIGH CUT

DENSITY 1–10

DIRECT LEVEL 0–100

CARRY OVER OFF, ON

SPRING SENS

VARIATION PATCH, 01–10

*1 Valid when the TYPE is set to SPRING.

HALL1

HALL2

PLATE

SPRING

MOD

FLAT, 20.0 Hz–16.0 kHz

20.0 Hz–16.0 kHz, FLAT

0–100

and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.

Simulates the reverberation in a small room. Provides warm reverberations.

Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.

Simulates the reverberation in a concert hall. Provides mild reverberations.

Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.

This simulates the sound of a guitar amp’s built-in spring reverb.

This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.

Adjusts the length (time) of reverberation.

Adjusts the time until the reverb sound appears.

Adjusts the volume of the reverb sound.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the density of the reverb sound.

Adjusts the volume of the direct sound.

Species whether the eect sound remains when you turn o the eect, or does not remain.

Adjusts the sensitivity of the spring eect. When the value is set higher, the eect is obtained even with a weak picking.

REVERB settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

RING MOD

This creates a bell-like sound by ring-modulating the guitar sound with the signal from the internal oscillator. The sound can be unmusical and lack distinctive pitches.

Parameter Value Explanation

If this is ON, the oscillator frequency changes according to the pitch of the input sound, producing a pitched sound. In this

INTELLIGENT OFF, ON

FREQUENCY 0–100

FREQ MOD RATE

FREQ MOD DEPTH

EFFECT LEVEL 0–100

DIRECT LEVEL 0–100

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

0–100, BPM Œ–`

0–100

case, the expected eect does not occur if the pitch of the guitar sound is not detected correctly. We recommend that you use this with single-note playing.

Adjusts the frequency of the internal oscillator.

Adjusts the rate at which the internal oscillator is modulated.

Adjusts the depth to which the internal oscillator is modulated.

Adjusts the volume of the eect sound.

Adjusts the volume of the direct sound.

Adjusts the BPM value for each patch.

RING MOD settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

ROTARY

This produces an eect like the sound of a rotary speaker.

Parameter Value Explanation

SPEED SELECT

RATE SLOW

RATE FAST

DEPTH 0–100

RISE TIME 0–100

FALL TIME 0–100

EFFECT LEVEL 0–100 Adjusts the volume.

DIRECT LEVEL 0–100

SLOW, FAST

0–100, BPM Œ–`

This parameter changes the simulated speaker’s rotating speed (SLOW or FAST ).

This parameter adjusts the SPEED SELECT of rotation when set to “SLOW.”

This parameter adjusts the SPEED SELECT of rotation when set to “FAST.”

Adjusts the amount of depth in the rotary eect.

This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from “SLOW” to “FAST.”

This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from “FAST” to “SLOW.”

Adjusts the volume of the direct sound.

Page 52

EFFECT Parameters > FX1–FX3

Parameter Value Explanation

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

Adjusts the BPM value for each patch.

ROTARY settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

SITAR SIM

This simulates the sound of the sitar.

Parameter Value Explanation

Adjusts the sensitivity of the sitar. When it is set to a lower value, no eect of the sitar is obtained with weaker picking, while stronger

SENS 0–100

DEPTH 0–100

TONE -50–+50

EFFECT LEVEL 0–100

RESONANCE 0–100

BUZZ 0–100

DIRECT LEVEL 0–100

VARIATION PATCH, 01–10

picking produces the eect. When it is set to a higher value, the eect of the sitar can be obtained whether the picking is weak or strong.

This adjusts the amount of eect applied.

Adjusts the tone character.

The high end is boosted as the value increases.

Adjust the volume of the sitar sound.

This adjusts the undulation of the resonance.

Adjusts the amount of characteristic buzz produced by the “buzz bridge” when the strings make contact with it.

Adjusts the volume of the direct sound.

SITAR SIM settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

Parameter Value Explanation

EFFECT LEVEL 0–100

ATTACK 0–100

DUTY 1–99

DIRECT LEVEL 0–100

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

Adjusts the volume of the eect sound.

Adjusts the volume of the attacks for the slice pattern (rhythm).

Adjusts the duration of the sound for the slice pattern (rhythm).

Adjusts the volume of the direct sound.

Adjusts the BPM value for each patch.

SLICER settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

SLOW GEAR/SLOW GEAR BASS

This produces a volume-swell eect (“violin-like” sound).

Parameter Value Explanation

Adjusts the sensitivity of the slow gear. When it is set to a lower value, the eect of the slow gear can

SENS 0–100

RISE TIME 0–100

LEVEL 0–100

VARIATION PATCH, 01–10

be obtained only with a stronger picking, while no eect is obtained with a weaker picking. When the value is set higher, the eect is obtained even with a weak picking.

Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.

Adjusts the volume of the eect sound.

SLOW GEAR and SLOW GEAR BASS settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

SOUND HOLD

SLICER

This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.

Parameter Value Explanation

PATTERN P1–P20

RATE

TRIGGER OFF, ON

0–100, BPM Œ–`

Select the slice pattern (rhythm) that will be used to cut the sound.

Adjust the rate at which the sound will be cut.

When you switch this from OFF to ON, the slice pattern (rhythm) returns to its beginning.

* Patches are written with the

TRIGGER parameter set to O.

You can have sound played on the guitar be held continuously. This eect allows you to perform the melody in the upper registers while holding a note in the lower registers.

* This function will not work properly when two or more notes are

played simultaneously.

Parameter Value Explanation

Switches the hold sound on and o. Normally, this is controlled with the CTL pedals.

TRIGGER OFF, ON

5 It is assumed that this parameter

will be assigned to the footswitch.

5 Patches are written with the

TRIGGER parameter set to O.

Page 53

EFFECT Parameters > FX1–FX3

Parameter Value Explanation

RISE TIME 0–100

EFFECT LEVEL 0–120

VARIATION PATCH, 01–10

Adjusts how rapidly the Sound Hold sound is produced.

Adjusts the volume of the hold sound.

SOUND HOLD settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

TOUCH WAH/TOUCH WAH BASS

You can produce a wah eect with the lter changing in response to the guitar/bass level.

Parameter Value Explanation

Selects the wah mode.

LPF

FILTER MODE

POLARITY

SENS 0–100

FREQUENCY 0–100

RESONANCE 0–100

DECAY 0–100

EFFECT LEVEL 0–100

DIRECT LEVEL 0–100

VARIATION PATCH, 01–10

BPF

HPF

Selects the direction in which the lter will change in response to the input.

DOWN The frequency of the lter will fall.

UP The frequency of the lter will rise.

Low pass lter. Passes only the lowfrequency region.

Band pass lter. Passes only the specied frequency region.

High pass lter. Passes only the high-frequency region.

Species the sensitivity with which the lter moves in the direction specied by the POLARITY setting.

Higher values will result in a stronger response. With a setting of 0, the strength of picking will have no eect.

Adjusts the center frequency of the Wah eect.

Adjusts the amount of wah eect applied in the range near the reference frequency.

Higher values will produce a stronger tone which emphasizes the wah eect more. With a value of 50, a standard wah sound will be produced.

Adjusts the rate at which the lter is moved.

Adjusts the volume of the eect sound.

Adjusts the volume of the direct sound.

TOUCH WAH and TOUCH WAH BASS settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

TREMOLO

Tremolo is an eect that creates a cyclic change in volume.

Parameter Value Explanation

Adjusts changes in volume level.

WAVE SHAPE 0–100

RATE

DEPTH 0–100 Adjusts the depth of the eect.

EFFECT LEVEL 0–100 Adjusts the volume.

DIRECT LEVEL 0–100

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

0–100, BPM Œ–`

A higher value will steepen wave’s shape.

Adjusts the frequency (speed) of the change.

Adjusts the volume of the direct sound.

Adjusts the BPM value for each patch.

TREMOLO settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

VIBRATO

This eect creates vibrato by slightly modulating the pitch.

Parameter Value Explanation

RATE

DEPTH 0–100 Adjusts the depth of the vibrato.

TRIGGER OFF, ON This selects on/o of the vibrato.

RISE TIME 0–100

EFFECT LEVEL 0–100 Adjusts the volume.

DIRECT LEVEL 0–100

BPM 40–250

VARIATION PATCH, 01–10

*1 Refer to “About eects when a note value is selected as a setting”

(p. 66).

0–100, BPM Œ–`

Adjusts the rate of the vibrato.

This sets the time passing from the moment the Trigger is turned on until the set vibrato is obtained.

Adjusts the volume of the direct sound.

Adjusts the BPM value for each patch.

VIBRATO settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

Page 54

EFFECT Parameters > AMP (AMP Modeling)

WAH

You can control the wah eect in real time by the expression pedal connected to the CTL 3, 4/EXP 1 jack or CTL 5, 6/EXP 2 jack.

Parameter Value Explanation

Selects the type of wah.

CRY WAH

VO WAH Models the VOX V846.

FAT WAH

LIGHT WAH

TYPE

PEDAL POSITION

PEDAL MIN 0–100

PEDAL MAX 0–100

EFFECT LEVEL 0–100

DIRECT LEVEL 0–100

VARIATION PATCH, 01–10

7STRING WAH

RESO WAH

BASS WAH

0–100

This models the sound of the CRY BABY wah pedal popular in the ‘70s.

This is a wah sound featuring a bold tone.

This wah has a rened sound with no unusual characteristics.

This expanded wah features a variable range compatible with seven-string and baritone guitars.

This completely original eect oers enhancements on the characteristic resonances produced by analog synth lters.

This wah has been specially adapted for use in the bass registers. Inclusion of the low-frequency range in the wah sound produces a robust wah eect, with no dilution of the sound.

Adjusts the position of the wah pedal.

* This parameter is used after it’s

been assigned to an expression pedal or similar controller.

Selects the tone produced when the heel of the EXP Pedal is depressed.

Selects the tone produced when the toe of the EXP Pedal is depressed.

Adjusts the volume of the eect sound.

Adjusts the volume of the direct sound.

WAH settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is convenient when you’re creating sounds.

AMP (AMP Modeling)

Simulates the response of the preamp, the size of the speakers, and the type of cabinet.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

TYPE Selects the AMP type “TYPE” (p. 55).

GAIN 0–120 Adjusts the distortion of the amp.

Adjusts the amount by which

SAG -10–+10

RESONANCE -10–+10

LEVEL 0–100

BASS 0–100

MIDDLE 0–100

TREBLE 0–100

PRESENCE 0–100

BRIGHT OFF, ON

GAIN SW

SOLO SW OFF, ON

SOLO LEVEL 0–100

SP TYPE

MIC TYPE

MIC DISTANCE

MIC POSITION

MIC LEVEL 0–100 Adjusts the volume of the mic.

DIRECT LEVEL 0–100

LOW, MIDDLE, HIGH

This setting selects the simulated speaker type “SP TYPE” (p. 55).

This setting selects the simulated mic type “MIC TYPE” (p. 55).

SHORT, MEDIUM, LONG

This simulates the mic position.

CENTER

1 cm–10 cm

compression changes in response to the power amp.

Adjusts the amount by which dynamics is aected by the interaction between the power amp and the speaker transformer.

Adjusts the volume of the entire preamp.

* Be careful not to raise the LEVEL

setting too high.

Adjusts the tone for the low frequency range.

Adjusts the tone for the middle frequency range.

Adjusts the tone for the high frequency range.

Adjusts the tone for the ultra high frequency range.

Turns the bright setting on/o.

* BRIGHT is valid for some of the

amps in TYPE.

Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH. Distortion will successively increase for settings of LOW, MIDDLE and HIGH.

* The sound of each Type is created

on the basis that the Gain is set to MIDDLE.

Switches the tone to one suitable for solos.

Adjusts the volume level when the SOLO SW is ON.

Simulates the distance between the mic and speaker.

The distance from the speakers is farther in the order of SHORT<MEDIUM<LONG.

Simulates the condition that the mic is set in the middle of the speaker cone.

Simulates the condition that the mic is moved away from the center of the speaker cone.

Adjusts the volume of the direct sound.

Page 55

EFFECT Parameters > AMP (AMP Modeling)

Parameter Value Explanation

AMP Modeling settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a dierent patch, which is

VARIATION PATCH, 01–10

convenient when you’re creating sounds.

The variations are common to AMP Modeling (when E.GUITAR, E.BASS, ACOUSTIC, or AC BASS is selected) within the INST.

TYPE

Value Explanation

TRANSPARENT

NATURAL

BOUTIQUE

SUPREME

MAXIMUM

JUGGERNAUT

X-CRUNCH

X-HI GAIN

X-MODDED

JC-120 This models the sound of the Roland JC-120.

TWIN COMBO This models a Fender Twin Reverb.

DELUXE COMBO This models a Fender Deluxe Reverb.

TWEED COMBO This models a Fender Bassman 4x10” Combo.

DIAMOND AMP This models a VOX AC30.

BRIT STACK This models a Marshall 1959.

RECTI STACK

MATCH COMBO

BG COMBO

ORNG STACK

BGNR UB METAL

NATURAL BASS Uncolored clean sound for bass.

X-DRIVE BASS

An amp with a broad frequency range and an extremely at response. Good for acoustic guitar.