Using BOSS TONE STUDIO for KATANA Mk II
This document explains basic operation of BOSS TONE STUDIO for KATANA Mk II
(subsequently referred to as “TONE STUDIO”).
Getting Ready to Use TONE STUDIO
Installing the USB Driver
Before you use TONE STUDIO, the appropriate USB driver for the product
you’re using must be installed on your computer.
Starting TONE STUDIO
1. Use a USB cable to connect the KATANA Mk II to your
computer, and then turn on the power of the KATANA Mk II.
MEMO
You can edit livesets and download livesets from BOSS TONE CENTRAL
even if the KATANA Mk II is not connected to your computer via a USB
cable.
However, you can’t save the result of editing a patch. In order to save
the edited patch, you’ll need to be connected to your computer.
1. From the product support page, download the KATANA
Driver.
To obtain the latest USB driver, access the following URL, and
download and install the appropriate driver for the product you’re
using.
http://www.boss.info/support/
2. Double-click the downloaded KATANA Driver.
Installation begins.
Proceed with the installation as directed by the installation screens.
When the screen indicates “Installation has been completed.” click
the [Close] button.
The KATANA Driver has been installed on your computer.
Installing TONE STUDIO
MEMO
Before you install TONE STUDIO, the USB driver must be installed in your
computer as described in “Installing the USB Driver” (p. 1).
Windows Users
1. Unpack the Zip le.
2. In the [Start] menu, choose [All Programs]
STUDIO for KATANA Mk II] & [BOSS TONE STUDIO for
KATANA Mk II].
The rst time you start up, the dialog box “Choose a device connect
with.” appears.
MEMO
On the second and subsequent startups, the device is selected
automatically.
Mac OS users
From the Finder, in the application/BOSS/KATANA Mk II folder,
double-click [BOSS TONE STUDIO for KATANA Mk II (.app)].
&
[BOSS TONE
3. Choose “KATANA,” and click the [OK] button.
2. Double-click “BOSS TONE STUDIO for KATANA Mk II
Installer.exe.”
Installation begins.
3. Proceed with installation as directed by the install screens.
4. When the screen indicates “Completing the BOSS TONE
STUDIO for KATANA Mk II Setup Wizard,” click the [Finish]
button.
Mac Users
1. Unpack the Zip le.
2. Double-click “BOSS TONE STUDIO for KATANA Mk II
Installer.pkg.”
Installation begins.
3. Proceed with installation as directed by the install screens.
4. When the screen indicates “The installation was successful.
The software was installed.,” click the [Close] button.
TONE STUDIO starts.
MEMO
Since data will be loaded from the KATANA Mk II, it may take some
time until you can use TONE STUDIO.
© 2019 Roland Corporation
1
01
Using BOSS TONE STUDIO for KATANA Mk II
Editor Basic Screen
2
3
1
4
5
1. Tone Setting select area
2. Function select area
3. [CLEAR] / [WRITE] button
If you click the [CLEAR] button, all settings are initialized to the KATANA Mk II’s original settings. By clicking the [WRITE] button you can save the edited
settings in the tone setting select area (p. 3).
4. Amp setting editing area
5. Eect editing area
Here you can specify the eects that you want to assign to the [BOOSTER], [MOD], [FX], [DELAY], and [REVERB] knobs, and to the expression pedal.
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Using BOSS TONE STUDIO for KATANA Mk II
Editing a Tone Setting
1. At the top of KATANA Mk II Editor screen, click the [EDITOR]
button.
2. Click the tone setting that you want to edit.
3. To edit the settings, use the mouse to operate the knobs
and buttons in the screen.
Saving Edited Settings (WRITE)
Here’s how to save the edited settings.
1. In the upper right of the KATANA Mk II Editor screen, click
the [WRITE] button.
The “WRITE” dialog box appears.
2. If you want to change the name of the tone setting, click
the TONE SETTING NAME eld. You can use your computer
keyboard to enter a tone setting name.
3. Select the write-destination.
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Using BOSS TONE STUDIO for KATANA Mk II
NOTE
When you save, the tone setting of the selected number is
overwritten; the original settings cannot be recovered. Select a tone
setting that you don’t mind overwriting.
4. Click [WRITE].
The settings of the new tone setting are saved in the specied
destination.
MEMO
If you want to discard the settings, click the [CLEAR] button located
in the upper right of the screen.
4
Using BOSS TONE STUDIO for KATANA Mk II
LIBRARIAN Basic Screen
1
2
3
5 6
4
1. [CREATE LIVESET] button
Press this button to create a new empty liveset.
2. Liveset name
Shows the name of the liveset and the number of tone settings.
3. Liveset name edit button
Click this to edit the name of the liveset. You can click the trash can symbol to delete the liveset.
4. TONE SETTING name edit button
Click this to edit the name of the tone setting. You can click the trash can symbol to delete the tone setting.
5. [Import] button
This lets you import all of the KATANA Mk II unit’s tone settings into the LIBRARIAN, or import a LIBRARIAN le from your computer into the LIBRARIAN.
6. [Export] button
This lets you export a liveset to the KATANA Mk II unit, or export a liveset and save it on your computer.
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Using BOSS TONE STUDIO for KATANA Mk II
Importing All the Tone Settings into the LIBRARIAN (Import From KATANA Mk II)
Here’s how to import all of the KATANA Mk II’s tone settings into LIBRARIAN.
All tone settings are saved as a liveset.
1. In TONE STUDIO screen, click the [LIBRARIAN] button.
2. At the top of the TONE STUDIO screen, click the [Import]
button.
5. Click the [OK] button.
The tone settings are saved as a liveset in the LIBRARIAN.
Exporting a LIBRARIAN Liveset to the
KATANA Mk II (EXPORT TO KATANA Mk II)
Here’s how a liveset that you saved can be restored to the KATANA Mk II’s
user patch.
1. At the top of the TONE STUDIO screen, click the [Export]
button.
3. Click the [KATANA Mk II] button.
The CREATE LIVESET screen appears.
2. From SELECT LIVESET, select the liveset that you want to
export.
4. Enter the liveset name, and click the [OK] button.
Import begins. If you decide to cancel during the operation, click the
[CANCEL] button.
It will take some time to import all of the KATANA Mk II’s tone
settings. When import is nished, the message “Completed.” appears.
3. Click the [KATANA Mk II] button.
Export begins. If you decide to cancel during the operation, click the
[CANCEL] button.
When export is nished, the message “Completed.” appears.
4. Click the [OK] button.
The selected liveset is written back into the KATANA Mk II.
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Using BOSS TONE STUDIO for KATANA Mk II
Restoring a Tone Setting to the KATANA Mk II
Here’s how to select a tone setting from a liveset that you saved, and
restore it back to the KATANA Mk II.
1. Drag the tone setting that you want to restore and drop it
onto the desired user patch number of the KATANA Mk II.
NOTE
When you drop a tone setting, it overwrites the tone setting of the
selected number; the original settings cannot be recovered. Select a
user tone setting that you don’t mind overwriting.
Saving a Liveset to a Computer (EXPORT TO FILE)
A liveset that you backed up can be exported to your computer (Export).
1. At the top of the TONE STUDIO screen, click the [Export]
button.
2. From SELECT LIVESET, select the liveset that you want to
export.
3. Click the [FILE] button.
The “Save As” dialog box appears.
4. Enter a name and save-destination, and click the [Save]
button.
A liveset le (.tsl) is created at the save-destination.
Ways to use an exported liveset
5 Use a USB ash drive to copy the liveset to a dierent computer.
5 Sent the liveset via email to another KATANA Mk II user.
MEMO
You can also select multiple tone settings as described in “Selecting
multiple tone settings” (p. 9).
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Using BOSS TONE STUDIO for KATANA Mk II
Importing a Liveset from a Computer into the LIBRARIAN (IMPORT FROM FILE)
A liveset that you exported to a computer can be imported into a TONE
STUDIO library (Import).
1. At the top of the TONE STUDIO screen, click the [Import]
button.
2. Click the [FILE] button.
The “Open” dialog box appears.
3. Select the liveset le (extension: .tsl) that you want to
import into the library, and click the [Open] button.
The liveset is imported into the LIBRARIAN.
MEMO
The TONE STUDIO can also import the livesets created by KATANAArtist, KATANA-100/212, KATANA-100, KATANA-50, KATANA-HEAD
into the LIBRARIAN.
Creating an Original Liveset
You can collect your favorite tonesettings to create an original liveset.
1. At the top of the TONE STUDIO screen, click the [CREATE
LIVESET] button.
2. Input a name for the liveset.
3. Click the [OK] button.
An empty liveset containing no tone settings is created.
4. From the tone setting list at the left of the TONE STUDIO
screen, drag and drop your favorite tone settings into the
new liveset.
The selected tone settings are registered in the new liveset.
MEMO
5 A maximum of 15 tone settings can be registered in one liveset. If
inserting tone settings would cause the liveset to exceed 15 tone
settings, the tone settings that exceed 15 are not inserted (a message
is displayed).
5 Tone settings that are registered in another liveset can also be
dragged and dropped into the new liveset.
5 You can drag and drop the tone settings in the liveset to change
their order.
5 TONE STUDIO lets you create up to 50 livesets. If you want to create
and save more than 50 livesets, use the EXPORT TO FILE function to
save existing livesets on your computer.
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Using BOSS TONE STUDIO for KATANA Mk II
Copying Tone settings
Here’s how to copy a tone setting to another liveset or to an KATANA Mk II
tone setting.
1. Click the tone setting that you want to copy.
MEMO
You can also select and copy multiple tone settings as described in
“Selecting multiple tone settings” (p. 9).
2. Drag and drop the selected tone settings onto the desired
copy-destination.
NOTE
When you drop the tone settings, they are overwritten onto the tone
settings of the selected red area, and the original settings cannot be
recovered. Select tone settings that you don’t mind overwriting.
Selecting multiple tone settings
By using your computer’s mouse and keyboard together, you can select
multiple tone settings.
Selecting a range of tone settings
Here’s how to select a range of consecutive tone settings.
1. Click the rst tone setting that you want to select.
2. While holding down your computer keyboard’s [Shift] key,
click the last tone setting that you want to select.
The rst through last tone settings that you click are selected.
Selecting tone settings individually
Here’s how to select just the individual tone settings that you click.
1. While holding down your computer keyboard’s [Ctrl] key,
click a tone setting that you want to select.
The tone setting you click is selected. The selected tone setting is
highlighted.
Mac OS users
While holding down your computer keyboard’s [command] key, click
a tone setting that you want to select.
2. If you want to select other tone settings, repeat step 1.
If you hold down the [Ctrl] key and click a selected (highlighted) tone
setting once again, the selection is cleared (that tone setting is no
longer highlighted).
MEMO
5 If you select non-consecutive tone settings and copy them, they are
copied as successive tone settings.
5 A maximum of 50 tone settings can be registered in one liveset. If
inserting tone settings would cause the liveset to exceed 50 tone
settings, the tone settings that exceed 50 are not inserted (a message
is displayed).
5 Tone settings that are registered in a liveset can be copied to your
own liveset or to a new liveset.
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Using BOSS TONE STUDIO for KATANA Mk II
The dierence between operations when
selecting and copying multiple tone settings
When you drag and drop the selected tone settings, the copy result
will dier depending on your mouse operation.
Drag and drop when a red area is shown at the copydestination (overwrite copy)
The tone settings are copied to the area indicated by the red color.
Drag and drop between copy-destination tone settings
(insert)
Moving Tone settings
Here’s how to move a tone setting to another liveset or to an KATANA Mk II
tone setting. When you move a tone setting, it disappears from its previous
location.
1. Click the tone setting that you want to move.
MEMO
You can also select and move multiple tone settings as described in
“Selecting multiple tone settings” (p. 9).
2. While holding down your computer keyboard’s [Alt] key,
drag and drop the selected tone setting to the desired
copy-destination.
Mac OS users
While holding down your computer keyboard’s [option] key, drag
and drop.
Deleting Tone settings
Here’s how to delete an unwanted tone setting.
1. Click the tone setting that you want to delete.
MEMO
You can also select and delete multiple tone settings as described in
“Selecting multiple tone settings” (p. 9).
The tone settings are inserted at the position of the red line.
Subsequent tone settings are moved backward.
2. Press your computer keyboard’s [Delete] key.
The “DELETE TONE SETTING” message appears.
NOTE
Deleted tone settings cannot be recovered. If you decide not to
delete, click the [CANCEL] button.
3. Click the [OK] button.
The selected tone settings are deleted.
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Using BOSS TONE STUDIO for KATANA Mk II
Editing a Liveset Name
1. Click the [ ] button located at the right of the name of the
liveset that you want to edit.
Rearranging Livesets
Here’s how to rearrange the livesets that are displayed.
1. Click the liveset that you want to rearrange.
2. Drag and drop the liveset name.
The liveset moves to the position indicated by the red line.
Deleting a Liveset
Here’s how to delete a liveset that you no longer need.
1. Click the [ ] button located at the right of the name of the
liveset that you want to delete.
2. Click the [ ] button.
The “Delete liveset” message appears.
NOTE
The deleted liveset cannot be recovered. If you decide to cancel
without deleting, click the [CANCEL] button.
3. Click the [OK] button.
The selected liveset is deleted.
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Using BOSS TONE STUDIO for KATANA Mk II
Using the BOSS TONE CENTRAL Library
Downloading Livesets from BOSS TONE CENTRAL
Livesets that have been published on BOSS TONE CENTRAL can be
downloaded and used on the KATANA Mk II.
1. In the lower left of the TONE STUDIO screen, click the
[TONE CENTRAL] button.
The tone settings published on BOSS TONE CENTRAL are listed
together with explanations of the tone settings.
2. In LIVESET, select the liveset that you want to download.
In this example, select “Metal Collection 1”
4. Click the [OK] button, and click the [LIBRARIAN] button
once again.
The liveset you downloaded appears.
5. Drag and drop tone settings from the downloaded liveset
into the desired tone setting numbers of the KATANA Mk II.
NOTE
When you drop a tone setting, it overwrites the tone setting of the
selected number; the original settings cannot be recovered. Select a
tone setting that you don’t mind overwriting.
3. At the bottom of the screen, click the [ADD] button.
The liveset is downloaded, and the message “Completed.” appears.
MEMO
Downloads from BOSS TONE STUDIO are done in units of livesets.
You can’t download individual tone settings, nor add individual tone
settings to the library.
In this example, drag and drop the tone setting “01 METAL DRIVE”
onto “PANEL.”
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Using BOSS TONE STUDIO for KATANA Mk II
Selecting the Device Controlled by TONE STUDIO
Here’s how to select the device controlled by TONE STUDIO.
1. At the top of the TONE STUDIO screen, click the [SYSTEM]
button.
The MENU screen appears.
2. Click the [DEVICE SETTING] button.
The “Device” screen appears.
3. Click SELECT DEVICE, and from the list choose
[KATANA Mk II].
Saving All GT-1000 Settings to the Computer (ALL DATA BACKUP)
Here’s how all data saved in the KATANA Mk II can be backed-up to the
computer.
1. At the top of the TONE STUDIO screen, click the [SYSTEM]
button.
2. Click [ALL DATA BACKUP].
The ALL DATA BACKUP screen appears.
3. Click the [TO FILE] button.
The “Save As” dialog box appears.
4. Input a name and save-destination, and click the [Save]
button.
Export begins.
It will take some time for all data to be exported.
When the operation is nished, the message “Completed.” appears.
5. Click the [OK] button.
An all data le (.alb le) is created in the save-destination.
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Using BOSS TONE STUDIO for KATANA Mk II
Restoring an All Data File from the Computer to the GT-1000 (ALL DATA RESTORE)
Here’s how an all data le previously saved on the computer can be
restored to the KATANA Mk II.
NOTE
When you restore, all data is overwritten, and cannot be returned to its
previous settings.
1. At the top of the TONE STUDIO screen, click the [SYSTEM]
button.
2. Click [ALL DATA BACKUP].
The ALL DATA BACKUP screen appears.
3. Click the [FROM FILE] button.
The “Open” dialog box appears.
4. Select the all data le (extension: .alb) that you want to
restore, and click the [Open] button.
Import begins.
Since all data is being imported, this will take some time. When the
operation is nished, the message “Completed.” appears.
5. Click the [OK] button.
All data is restored to the KATANA Mk II.
14
KATANA Mk II Eect Parameter list
MEMO
•
This eect sound is mono.
•
This eect sound is output with two channels.
These eects take a mono input and output it on two
•
channels.
BOOSTER
Various boosters and distortion eects can be selected.
BOOSTER Type
Type Explanation
CLEAN BOOST
TREBLE BOOST This is a booster that has bright characteristics.
MID BOOST
CRUNCH OD
BLUES DRIVE
OVERDRIVE
NATURAL OD
WARM OD This is a warm overdrive.
TURBO OD This is the high-gain overdrive sound of the BOSS OD-2.
T-SCREAM This models an Ibanez TS-808.
DISTORTION This gives a basic, traditional distortion sound.
FAT DS A distortion sound with thick distortion.
DST+ This models a MXR DISTORTION+.
GUV DS This models a Marshall GUV’NOR.
RAT This models a Proco RAT.
METAL ZONE
METAL DS
'60S FUZZ
MUFF FUZZ This models an Electro-Harmonix Big Mu π.
OCT FUZZ A fuzz sound with rich harmonic content.
BOOSTER Parameters
Parameter Value Explanation
TYPE Refer to BOOSTER Type
DRIVE 0–120 Adjusts the depth of distortion.
TONE -50–+50 Adjusts the tone.
BOTTOM -50–+50
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
SOLO SW OFF, ON Switches to a tone that is suitable for solos.
SOLO LEVEL 0–100
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
This not only functions as a booster, but also produces a
clean tone that has punch even when used alone.
This is a booster with unique characteristics in the midrange.
Making the connection before the preamp produces sound
suitable for solos.
A lustrous crunch sound with an added element of amp
distortion.
This is a crunch sound of the BOSS BD-2.
This produces distortion that faithfully reproduces the
nuances of picking.
This models the sound of the BOSS OD-1.
This produces sweet, mild distortion.
This is an overdrive sound that provides distortion with a
natural feeling.
This models the sound of the BOSS MT-2.
It produces a wide range of metal sounds, from old style to
slash metal.
This is distortion sound that is ideal for performances of
heavy ris.
This models a FUZZFACE.
It produces a fat fuzz sound.
Adjusts the tone for the low frequency range.
Turning this to the left (counterclockwise)
produces a sound with the low end cut;
turning it to the right boosts the low end in
the sound.
Adjusts the volume level when the Solo Sw
is ON.
MOD/FX
With MOD and FX, you can select the eect to be used from the following.
You can select the same eect for MOD and FX.
MOD/FX Type
This is a list of the eects that can be selected for MOD/FX.
Eect Name Explanation
CHORUS
FLANGER
PHASER
UNI-V
TREMOLO Tremolo is an eect that creates a cyclic change in volume.
VIBRATO This eect creates vibrato by slightly modulating the pitch.
ROTARY This produces an eect like the sound of a rotary speaker.
RING MOD
(Ring Modulator)
SLOW GEAR This produces a volume-swell eect (“violin-like” sound).
SLICER
COMP
(Compressor)
LIMITER The limiter attenuates loud input levels to prevent distortion.
T. WAH
(Touch Wah)
AUTO WAH
PEDAL WAH
GRAPHIC EQ
(Graphic Equalizer)
PARAMETRIC EQ
(Parametric Equalizer)
GUITAR SIM
(Guitar Simulator)
AC.GUITAR SIM
(Acoustic Guitar
Simulator)
AC. PROCESSOR
(Acoustic Processor)
WAVE SYNTH This is a synth sound that processes the guitar input signal.
OCTAVE This adds a note one octave lower, creating a richer sound.
HEAVY OCTAVE
PITCH SHIFTER
HARMONIST
HUMANIZER This can create human vowel-like sounds.
PHASER 90E This models an MXR EVH-90 Phase Shifter.
FLANGER117E This models an MXR EVH-117 Flanger.
Frequency band division is employed to produce two dierent
choruses, one for low frequencies and one for higher frequencies. This allows you to achieve a more natural chorus sound.
The anging eect gives a twisting, jet-airplane-like character
to the sound.
By adding varied-phase portions to the direct sound, the phaser
eect gives a whooshing, swirling character to the sound.
This models a Uni-Vibe.
Although this resembles a phaser eect, it also provides a
unique undulation that you can’t get with a regular phaser.
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.
This consecutively interrupts the sound to create the impression
that a rhythm backing phrase is being played.
This is an eect 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.
You can produce a wah eect with the lter changing in
response to the guitar level.
This changes the ltering over a periodic cycle, providing an
automatic wah eect.
You can use an expression pedal connected to the FX jack on
the rear panel of the GA-FC foot controller (sold separately) to
control the wah eect in real time.
Adjusts the tone. You can adjust the sound quality in ten bands.
Adjusts the tone. You can adjust the sound quality in four bands.
Simulation of the characteristics of particular guitar components such as pickups and dierent guitar bodies allows you to
switch among a number of dierent guitar types all while using
a single guitar.
This transforms the sound of an electric guitar into the sound of
an acoustic guitar.
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.
This adds sound lowered by an octave to the original sound.
Since you can play chords even when using this eect, you can
use it to fatten the sound of your chordal playing as well.
This eect changes the pitch of the original sound (up or down)
within a range of two octaves.
Harmonist is an eect where the amount of shifting is adjusted
according to an analysis of the guitar input, allowing you to
create harmony based on diatonic scales.
15
KATANA Mk II Eect Parameter list
Eect Name Explanation
This models a Jim Dunlop EVH-95 Wah pedal.You can control
WAH 95E
DC-30 This models a Roland DC-30.
the wah eect in real time by adjusting the expression pedal
connected to the SEL CH1 CH2/EXP PEDAL jack on the rear
panel, or to the rear panel of the GA-FC foot controller (sold
separately).
MOD/FX Efect Parameters
CHORUS
Frequency band division is employed to produce two dierent
choruses, one for low frequencies and one for higher frequencies.
This allows you to achieve a more natural chorus sound.
Parameter Value Explanation
LOW RATE 0–100,
LOW DEPTH 0–100
LOW PRE DELAY 0.0 ms–40.0 ms
LOW LEVEL 0–100
Adjust the speed of the chorus eect for the
low frequency range.
Adjust the depth of the chorus eect for the
low frequency range. If you wish to use this as
a doubling eect, use a setting of 0.
Adjusts the delay of the eect sound in the
low-frequency range. Extending the pre-delay
will produce the sensation of multiple sounds
(doubling eect).
Adjusts the volume of the eect sound in the
low-frequency range.
PHASER
By adding varied-phase portions to the direct sound, the phaser eect
gives a whooshing, swirling character to the sound.
Parameter Value Explanation
Selects the number of stages that the phaser eect will use.
4 STAGE
TYPE
RAT E 0–100 This sets the rate of the phaser eect.
DEPTH 0–100 Determines the depth of the phaser eect.
RESONANCE 0–100
MANUAL 0–100 Adjusts the center frequency of the phaser eect.
EFFECT LEVEL 0–100 Adjusts the volume of the phaser.
STEP RATE
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
8 STAGE
12 STAGE
BiPHASE
OFF,
0–100
This is a four-phase eect. A light phaser eect is
obtained.
This is a eight-phase eect. It is a popular phaser
eect.
This is a twelve-phase eect. A deep phase eect is
obtained.
This is the phaser with two phase shift circuits
connected in series.
Determines the amount of resonance (feedback).
Increasing the value will emphasize the eect, creating
a more unusual sound.
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.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
HIGH RATE 0–100,
HIGH DEPTH 0–100
HIGH PRE DELAY 0.0 ms–40.0 ms
HIGH LEVEL 0–100
CROSSOVER
FREQUENCY
100 Hz–4.00
kHz
Adjust the speed of the chorus eect for the
high frequency range.
Adjust the depth of the chorus eect for the
high frequency range. If you wish to use this as
a doubling eect, use a setting of 0.
Adjusts the delay of the eect sound in the
high-frequency range. Extending the pre-delay
will produce the sensation of multiple sounds
(doubling eect).
Adjusts the volume of the eect sound in the
high-frequency range.
This sets the frequency dividing the low- and
high-frequency ranges.
FLANGER
The anging eect gives a twisting, jet-airplane-like character to the
sound.
Parameter Value Explanation
RAT E 0–100 This sets the rate of the anging eect.
DEPTH 0–100 Determines the depth of the anging eect.
RESONANCE 0–100
MANUAL 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the anger.
LOW CUT
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
FLAT,
55 Hz–800 Hz
Determines the amount of resonance (feedback).
Increasing the value will emphasize the eect,
creating a more unusual sound.
Adjusts the center frequency at which to apply
the eect.
This sets the frequency at which the low cut lter
begins to take eect. When “Flat” is selected, the
low cut lter will have no eect.
UNI-V
This models a Uni-Vibe.
Although this resembles a phaser eect, it also provides a unique
undulation that you can’t get with a regular phaser.
Parameter Value Explanation
RAT E 0–100 Adjusts the rate of the UNI-V eect.
DEPTH 0–100 Adjusts the depth of the UNI-V eect.
LEVEL 0–100 Adjusts the volume.
TREMOLO
Tremolo is an eect that creates a cyclic change in volume.
Parameter Value Explanation
WAVE SHAPE 0–100
RAT E 0–100 Adjusts the frequency (speed) of the change.
DEPTH 0–100 Adjusts the depth of the eect.
LEVEL 0–100 Adjusts the volume.
Adjusts changes in volume level. A higher value will
steepen wave’s shape.
VIBRATO
This eect creates vibrato by slightly modulating the pitch.
Parameter Value Explanation
RAT E 0–100 Adjusts the rate of the vibrato.
DEPTH 0–100 Adjusts the depth of the vibrato.
LEVEL 0–100 Adjusts the volume.
16
KATANA Mk II Eect Parameter list
ROTARY
This produces an eect like the sound of a rotary speaker.
Parameter Value Explanation
RAT E 0–100 Adjusts the speed of the rotation.
DEPTH 0–100 Adjusts the amount of depth in the rotary eect.
LEVEL 0–100 Adjusts the volume.
RING MOD
The sound can be unmusical and lack distinctive pitches.
Parameter Value Explanation
This selects the mode for the ring modulator.
NORMAL This is a normal ring modulator.
By ring-modulating the input signal, a bell like
sound is created. The intelligent ring modulator
MODE
INTELLIGENT
FREQUENCY 0–100 Adjusts the frequency of the internal oscillator.
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
changes the oscillation frequency according to the
pitch of the input sound and therefore produces
a sound with the sense of pitch, which is quite
dierent from NORMAL. This eect does not give
a satisfactory result if the pitch of the guitar sound
is not correctly detected. So, you must use single
notes, not chords.
COMP
This is an eect 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.
Parameter Value Explanation
BOSS COMP This models a BOSS CS-3.
HI-BAND
LIGHT This is a compressor with a light eect.
TYPE
SUSTAIN 0–100
ATTAC K 0–100
LEVEL 0–100 Adjusts the volume.
TONE -50–+50 Adjusts the tone.
D-COMP This models a MXR DynaComp.
ORANGE
FAT
MILD
This is a compressor that adds an even stronger eect in
the high end.
This is modeled on the sound of the Dan Armstrong
ORANGE SQUEEZER.
When applied heavily, this compressor eect provides a
fat tone with a boosted midrange.
When applied heavily, this compressor eect 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 picking attack when the
strings are played. Higher values result in s sharper
attack, creating a more clearly dened sound.
LIMITER
SLOW GEAR
This produces a volume-swell eect (“violin-like” sound).
Parameter Value Explanation
Adjusts the sensitivity of the slow gear. When it is set to a
SENS 0–100
RISE TIME 0–100
LEVEL 0–100 Adjusts the volume of the eect sound.
lower value, the eect of the slow gear can be obtained only
with a stronger picking, while no eect is obtained with a
weaker picking. When the value is set higher, the eect is
obtained even with a weak picking.
Adjusts the time needed for the volume to reach its maximum
from the moment you begin picking.
SLICER
This consecutively interrupts the sound to create the impression that a
rhythm backing phrase is being played.
Parameter Value Explanation
PATTERN P1–P20
RAT E 0–100 Adjust the rate at which the sound will be cut.
TRIGGER SENS 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
Select the slice pattern that will be used to cut the
sound.
Adjust the sensitivity of triggering.
With low settings of this parameter, softly picked
notes will not retrigger the phrase (i.e., the phrase
will continue playing), but strongly picked notes will
retrigger the phrase so that it will playback from the
beginning. With high settings of this parameter, the
phrase will be retriggered even by softly picked notes.
The limiter attenuates loud input levels to prevent distortion.
Parameter Value Explanation
Selects the limiter type.
BOSS LIMITER This selects a stereo limiter.
TYPE
THRESHOLD 0–100
RATIO 1:1–INF:1
ATTAC K 0–100
RELEASE 0–100 Adjusts the release time.
LEVEL 0–100 Adjusts the volume.
RACK 160D This models a dbx 160X.
VTG RACK U
(VINTAGE RACK U)
This models a UREI 1178.
Adjust this as appropriate for the input signal
from your guitar. When the input signal level
exceeds this threshold level, limiting will be
applied.
This selects the compression ratio used with
signals in excess of the threshold level.
Adjusts the strength of the picking attack when
the strings are played. Higher values result in s
sharper attack, creating a more clearly dened
sound.
17
KATANA Mk II Eect Parameter list
T. WAH
You can produce a wah eect with the lter changing in response to the
guitar level.
Parameter Value Explanation
Selects the wah mode.
Low pass lter. This provides a wah eect over a wide
MODE
POLAR
SENS 0–100
FREQ 0–100 Adjusts the center frequency of the Wah eect.
PEAK 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
LPF
frequency range.
Band pass lter. This provides a wah eect in a narrow
BPF
frequency range.
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.
Species the sensitivity with which the lter changes in
the direction specied by the POLAR setting.
Higher values will produce a stronger tone which
emphasizes the wah eect more. With a setting of 0, the
strength of picking will have no eect.
Adjusts the way in which the wah eect applies to the
area around the center frequency.
Higher values will produce a stronger tone which
emphasizes the wah eect more. With a value of 50 a
standard wah sound will be produced.
PEDAL WAH
You can control the wah eect in real time by adjusting the expression
pedal connected to the SEL CH1 CH2/EXP PEDAL jack on the rear panel, or
to the rear panel of the GA-FC foot controller (sold separately).
Parameter Value Explanation
Selects the wah mode.
CRY WAH
VO WAH This models the sound of the VOX V846.
FAT WAH This is a wah sound featuring a bold tone.
TYPE
PEDAL POS
(PEDAL POSITION)
PEDAL MIN 0–100
PEDAL MAX 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
LIGHT WAH
7STRING WAH
RESO WAH
0–100
This models the sound of the CRY BABY wah
pedal popular in the ’70s.
This wah has a rened sound with no unusual
characteristics.
This expanded wah features a variable range
compatible with seven-string and baritone
guitars.
This completely original eect oers enhancements on the characteristic resonances
produced by analog synth lters.
Adjusts the position of the wah pedal.
* This parameter is used after it’s been as-
signed to an EXP 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.
AUTO WAH
This changes the ltering over a periodic cycle, providing an automatic
wah eect.
Parameter Value Explanation
Selects the wah mode.
MODE
RAT E 0–100 Adjusts the frequency (speed) of the change.
DEPTH 0–100 Adjusts the depth of the eect.
FREQ 0–100 Adjusts the center frequency of the Wah eect.
PEAK 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
LPF
BPF
Low pass lter. This provides a wah eect over a wide
frequency range.
Band pass lter. This provides a wah eect in a narrow
frequency range.
Adjusts the way in which the wah eect applies to the
area around the center frequency.
Higher values will produce a stronger tone which
emphasizes the wah eect more. With a value of 50 a
standard wah sound will be produced.
GRAPHIC EQ
This adjusts the tone. You can adjust the sound quality in ten bands.
Parameter Value
31 Hz
62 Hz
125 Hz
250 Hz
500 Hz
1 kHz
2 kHz
4 kHz
8 kHz
16 kHz
LEVEL -20–+20 dB
-20–+20 dB
18
KATANA Mk II Eect Parameter list
PARAMETRIC EQ
This adjusts the tone. You can adjust the sound quality in four bands.
Parameter Value Explanation
LOW GAIN -20–+20 dB
LOW-MID GAIN -20–+20 dB
HIGH-MID GAIN -20–+20 dB
HIGH GAIN -20–+20 dB
LEVEL -20–+20 dB
LOW-MID FREQUENCY 20 Hz–10.0 kHz
LOW-MID Q 0.5–16
HIGH-MID FREQUENCY 20 Hz–10.0 kHz
HIGH-MID Q 0.5–16
LOW CUT FLAT, 20 Hz–800 Hz
HIGH CUT
630 Hz–
12.5 kHz, FLAT
Adjusts the low frequency range
tone.
Adjusts the low-middle frequency
range tone.
Adjusts the high-middle frequency
range tone.
Adjusts the high frequency range
tone.
Adjusts the overall volume level of
the equalizer.
Species the center of the frequency
range that will be adjusted by the
LOW-MID GAIN.
Adjusts the width of the area
aected by the EQ centered at the
LOW-MID FREQ. Higher values will
narrow the area.
Species the center of the frequency
range that will be adjusted by the
HIGH-MID GAIN.
Adjusts the width of the area
aected by the EQ centered at the
HIGH-MID FREQ. Higher values will
narrow the area.
This sets the frequency at which the
low cut lter begins to take eect.
When “Flat” is selected, the low cut
lter will have no eect.
This sets the frequency at which the
high cut lter begins to take eect.
When “FLAT” is selected, the high cut
lter will have no eect.
GUITAR SIM
Simulation of the characteristics of particular guitar components such as
pickups and dierent guitar bodies allows you to switch among a number
of dierent guitar types all while using a single guitar.
Parameter Value Explanation
Selects the type of the guitar simulator.
S0H
H0S
H0HF
(HALF TONE)
S0HOLLOW
TYPE
H0HOLLOW
S0AC
(ACOUSTIC)
H0AC
(ACOUSTIC)
P0AC
(PIEZO
0ACOUSTIC)
LOW -50–+50 Adjusts the low frequency range tone.
HIGH -50–+50 Adjusts the high frequency range tone.
BODY 0–100
LEVEL 0–100 Adjusts the volume of the eect sound.
Changes from a single-coil pickup tone to a
humbucking pickup tone.
Changes from a humbucking pickup tone to a
single-coil pickup tone.
Changes from a humbucking pickup tone to a
single-coil pickup half tone.
Changes a single-coil pickup tone to a hollow
body tone with the body resonance added.
Changes a humbucking pickup tone to a hollow
body tone with the body resonance added.
Changes a single-coil pickup tone to an acoustic
guitar tone.
Changes a humbucking pickup tone to an
acoustic guitar tone.
Changes a piezo pickup tone to an acoustic guitar
tone.
Adjusts the way the body sounds when TYPE is set
to S0HOLLOW, H0HOLLOW, S0AC, H0AC
or P0AC.
The body sound increases as the value is raised;
reducing the value produces a tone similar to that
from a piezo pickup.
AC. GUITAR SIM
This eect simulates the tonal character of an acoustic guitar.
Parameter Value Explanation
BODY 0–100 Adjusts the body resonance.
LOW -50–+50 Species the sense of volume for the low-frequency range.
HIGH -50–+50 Species the sense of volume for the high-frequency range.
LEVEL 0–100 Species the volume of the eect.
19
KATANA Mk II Eect Parameter list
AC. PROCESSOR
This processor allows you to change the sound produced by the pickup on
an acoustic electric guitar, creating a richer sound similar to that obtained
with a microphone placed close to the guitar.
Parameter Value Explanation
Selects the modeling type.
SMALL This is the sound of a small-bodied acoustic guitar.
TYPE
BASS -50–+50 Adjusts the tone for the low frequency range.
MIDDLE -50–+50 Adjusts the midrange balance.
TREBLE -50–+50 Adjusts the tone for the high frequency range.
PRESENCE -50–+50 Adjusts the balance in the extended upper range.
LEVEL 0–100 Adjusts the volume.
MIDDLE FREQ
MEDIUM
BRIGHT This is a bright acoustic guitar sound.
POWER This is a powerful acoustic guitar sound.
20.0 Hz–10.0
kHz
This is a standard, unadorned acoustic guitar
sound.
Species the frequency range to be adjusted with
Middle.
WAVE SYNTH
This is a synth sound that processes the guitar input signal.
* When you use a wave synthesizer, observe the following points.
• 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.
• If the unit cannot detect the attack, it may not sound correctly. 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 a wave type which the synth sound is based.
WAVE
CUTOFF 0–100
RESONANCE 0–100
SYNTH LEVEL 0–100 Adjusts the volume of the synth sound.
FILTER SENS 0–100
FILTER DECAY 0–100
FILTER DEPTH 0–100
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
SAW
SQUARE
Creates a synth sound with a saw waveform (
Creates a synth sound with the
square waveform (
Adjusts the frequency where the harmonics contents of
the sound are cut o.
Adjusts the amount of resonance (and the tone
coloration) in the synth sound. The higher the value, the
more the synth tone coloration is emphasized.
Adjusts the amount of ltering applied in response to
the input.
This sets the time needed for the lter to nish its
sweep.
Adjusts the depth of the lter. When the value is higher,
the lter will change more drastically.
).
).
OCTAVE
This adds a note one octave lower, creating a richer sound.
Parameter Value Explanation
This selects the register to which the eect is applied.
RANGE 1 (B1–E6)
RANGE 2 (B1–E5)
RANGE
RANGE 3 (B1–E4)
RANGE 4 (B1–E3)
EFFECT LEVEL 0–100
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
B1 (corresponds to the sound of an open 7th
string) to E6 (corresponds to the 1st string
played at the 24th fret)
B1 (corresponds to the sound of an open 7th
string) to E5 (corresponds to the 1st string
played at the 12th fret)
B1 (corresponds to the sound of an open 7th
string) to E4 (corresponds to the sound of an
open 1st string)
B1 (corresponds to the sound of an open 7th
string) to E3 (corresponds to the 4th string
played at the 2nd fret)
Adjusts the volume of the sound one octave
below.
HEAVY OCTAVE
This adds sound lowered by an octave to the original sound. Since you can
play chords even when using this eect, you can use it to fatten the sound
of your chordal playing as well.
Parameter Value Explanation
1OCT LEVEL 0–100
2OCT LEVEL 0–100
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
Adjusts the volume of the sound one
octave below.
Adjusts the volume of the sound two
octaves below.
PITCH SHIFTER
This eect 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.
VOICE
PS1:PITCH
PS2:PITCH
1:LEVEL
2:LEVEL
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
PS1:MODE
PS2:MODE
PS1:FINE
PS2:FINE
PS1:PRE DELAY
PS2:PRE DELAY
PS1:FEEDBACK 0–100
1VOICE
2VOICE
-24–+24
0–100 Adjusts the volume of the pitch shifter.
Selection for the pitch shifter mode.
FAST,
MEDIUM,
SLOW
MONO
-50–+50
0 ms–300 ms
20
One-voice pitch-shifted sound output in
monaural.
Two-voice pitch-shifted sound (PS1, PS2) output
in monaural.
Adjusts the amount of pitch shift (the amount of
interval) in semitone steps.
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
eect 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 0 ms.
Adjusts the feedback amount of the pitch shift
sound.
KATANA Mk II Eect Parameter list
HARMONIST
Harmonist is an eect 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.
* If the unit cannot detect the attack, it may not sound correctly. 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 One pitch-shifted voice is output in monaural.
2VOICE Two pitch-shifted voices are output in monaural.
This determines the pitch of the sound added
to the input sound, when you are making a
-2 oct–+2
oct, USER
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.
The key setting corresponds to the key of the
song (#, b) as follows.
Major
HUMANIZER
This can create human vowel-like sounds.
Parameter Value Explanation
This sets the mode that switches the vowels.
MODE
VOWEL 1 a, e, i, o, u Selects the rst vowel.
VOWEL 2 a, e, i, o, u Selects the second vowel.
RAT E 0–100 Adjusts the cycle for changing the two vowels.
DEPTH 0–100 Adjusts the depth of the eect.
LEVEL 0–100 Adjusts the volume.
SENS *1 0–100
MANUAL *2 0–100
*1 Setting available when MODE is set to PICKING.
*2 Setting available when MODE is set to AUTO.
PICKING
AUTO
It changes from VOWEL 1 to VOWEL 2 along with the
picking. The time spent for the change is adjusted with
the rate.
By adjusting the rate and depth, two vowels (VOWEL 1
and VOWEL 2) can be switched automatically.
Adjusts the sensitivity of the humanizer.
When it is set to a lower value, no eect of the humanizer is obtained with weaker picking, while stronger
picking produces the eect. When it is set to a higher
value, the eect of the humanizer can be obtained
whether the picking is weak or strong.
Adjusts the cycle for changing the two vowels. When it
is set to lower than 50, the time for VOWEL 1 is shorter.
When it is set to higher than 50, the time for VOWEL 1
is longer.
MASTER KEY
DIR.MIX
(DIRECT MIX)
HR1:PRE DELAY
HR2:PRE DELAY
HR1:FEEDBACK 0–100
HR1:LEVEL
HR2:LEVEL
Parameter Value Explanation
USER SCALE
*1 *2
C (Am)–B
(G#m)
0–100 Adjusts the volume of the direct sound.
0 ms–300
ms,
0–100 Adjusts the volume of the harmony sound.
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
Minor
Major
Minor
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.
-24
C–+24 C
D²–+24 D²
-24
D–+24 D
-24
E²–+24 E²
-24
-24
E–+24 E
-24
-24
-24
-24
-24
-24
-24
F–+24 F
F¾–+24 F¾
G–+24 G
A²–+24 A²
A–+24 A
B²–+24– B²
B–+24 B
You can specify a pitch in the range
two octaves above or below the
direct sound.
PHASER 90E
This models an MXR EVH-90 Phase Shifter.
Parameter Value Explanation
Switches the character of the phaser.
SCRIPT OFF, ON
SPEED 0–100 Sets the rate and the depth of the phaser eect.
OFF: Modern
ON: Vintage
FLANGER117E
This models an MXR EVH-117 Flanger.
Parameter Value Explanation
MANUAL 0–100
WIDTH 0–100 Determines the depth of the anging eect.
SPEED 0–100 This sets the rate of the anging eect.
REGEN. 0–100
Adjusts the center frequency at which to apply
the eect.
Determines the amount of feedback. Increasing
the value will emphasize the eect, creating a
more unusual sound.
*1 This can be specied if HR1:HARMONY or HR2:HARMONY is “USER.”
*2 The correspondence between the note names and the knobs diers depending
on the specied KEY. Knob [1] of the rst page is the tonic (root note) of the
specied KEY. The table shows the example of when KEY is set to C (Am).
21
KATANA Mk II Eect Parameter list
WAH 95E
This models a Jim Dunlop EVH-95 Wah pedal.You can control the wah
eect in real time by adjusting the expression pedal connected to the SEL
CH1 CH2/EXP PEDAL jack on the rear panel, or to the rear panel of the GAFC foot controller (sold separately).
Parameter Value Explanation
PEDAL POS
(PEDAL POSITION)
PEDAL MIN 0–100
PEDAL MAX 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
0–100
Adjusts the position of the wah pedal.
* This parameter is used after it’s been as-
signed to an EXP 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.
DC-30
This models a Roland DC-30.
Parameter Value Explanation
TYPE
CHORUS INTENSITY 0–100
ECHO REPEAT RATE 40ms–600ms
EHO INTENSITY 0–100
ECHO LEVEL 0–100
INPUT VOLUME 0–100 Adjusts the input level.
TONE -50–+50 Adjusts the tone.
OUTPUT
CHORUS Chorus eect
ECHO Echo eect
Adjust the depth of the chorus eect.
* Only when TYPE is CHORUS.
Adjusts the delay time.
* Only when TYPE is ECHO.
Adjusts the volume that is returned to
the input. A higher value will increase
the number of the delay repeats.
* Only when TYPE is ECHO.
Adjusts the volume of the delay sound.
* Only when TYPE is ECHO.
D/E
D+E
Direct sound and eect sound are
output respectively.
Direct sound and eect sound are mixed
and output.
DELAY/DELAY 2
This eect adds delayed sound to the direct sound, giving more body to
the sound or creating special eects.
DELAY Type
TYPE Explanation
DIGITAL This is a simple monaural delay.
PAN
STEREO This is a stereo-in/out delay.
ANALOG This gives a mild analog delay sound.
TAPE ECHO
REVERSE This produces an eect where the sound is played back in reverse.
MODULATE This delay adds a pleasant wavering eect to the sound.
SDE-3000 This models the sound of the Roland SDE-3000.
DELAY Parameters
Parameter Value Explanation
TYPE Refer to DELAY Type
DELAY TIME 1 ms–2000 ms Adjusts the delay time.
FEEDBACK 0–100
HIGH CUT
TAP TIME 0–100%
EFFECT LEVEL 0–120 Adjusts the volume of the delay sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
MOD RATE
(MODULATION
RATE)
MOD DEPTH
(MODULATION
DEPTH)
MOD SW
(MODULATION
SW)
FILTER OFF, ON
RANGE 8kHz, 17kHz
DELAY PHASE
FEEDBACK
PHASE
This allows you to obtain the tap delay eect that divides the delay
time, then deliver them to L and R channels.
This setting provides the characteristic wavering sound of the tape
echo.
Adjusts the volume that is returned to the input.
A higher value will increase the number of the
delay repeats.
630 Hz–
12.5 kHz, FLAT
0–100
0–100
OFF, ON
NORMAL,
INVERSE
NORMAL,
INVERSE
This sets the frequency at which the high cut lter
begins to take eect. When “FLAT” is selected, the
high cut lter will have no eect.
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%).
* Only when TYPE is PAN.
Adjusts the modulation rate of the delay sound.
* Only when TYPE is MODULATE or SDE-3000.
Adjusts the modulation depth of the delay sound
* Only when TYPE is MODULATE or SDE-3000.
Turns the modulation on/o.
* Only when TYPE is SDE-3000.
Turns the lter on/o.
* If this is on, a natural-sounding eect is
obtained when you're using the delay as an
echo.
* Only when TYPE is SDE-3000.
* Models the way in which the SDE-3000's
frequency response is aected by the delay
range.
* Only when TYPE is SDE-3000.
Species the phase of the delay sound. Selecting
INV inverts the phase.
* Only when TYPE is SDE-3000.
Species the phase of the delay sound feedback.
Selecting INV inverts the phase.
* Only when TYPE is SDE-3000.
22
KATANA Mk II Eect Parameter list
REVERB
This eect adds reverberation to the sound.
REVERB Type
TYPE Explanation
PLATE
ROOM
HALL 1
SPRING This simulates the sound of a guitar amp’s built-in spring reverb.
MODULATE
REVERB Parameters
Parameter Value Explanation
TYPE Refer to REVERB Type
REVERB TIME 0.1 s–10.0 s Adjusts the length (time) of reverberation.
PRE DELAY 0 ms–500 ms Adjusts the time until the reverb sound appears.
EFFECT LEVEL 0–100 Adjusts the volume of the reverb sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
LOW CUT
HIGH CUT
DENSITY 0–10 Adjusts the density of the reverb sound.
COLOR
(TYPE =
SPRING only)
Simulates plate reverberation (a reverb unit that uses the vibration
of a metallic plate). Provides a metallic sound with a distinct upper
range.
Simulates the reverberation in a small room. Provides warm
reverberations.
Simulates the reverberation in a concert hall. Provides clear and
spacious reverberations.
This reverb adds the wavering sound found in hall reverb to
provide an extremely pleasant reverb sound.
FLAT,
20 Hz–800 Hz
630 Hz–
12.5 kHz, FLAT
0–100 Adjust the unique tone of the spring reverb.
This sets the frequency at which the low cut lter
begins to take eect. When “Flat” is selected, the
low cut lter will have no eect.
This sets the frequency at which the high cut
lter begins to take eect. When “FLAT” is
selected, the high cut lter will have no eect.
EQ
This adjusts the tone.
PARAMETRIC EQ
You can adjust the sound quality in four bands.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
LOW GAIN -20–+20 dB
LOW-MID GAIN -20–+20 dB
HIGH-MID GAIN -20–+20 dB
HIGH GAIN -20–+20 dB
LEVEL -20–+20 dB
LOW-MID FREQUENCY 20 Hz–10.0 kHz
LOW-MID Q 0.5–16
HIGH-MID FREQUENCY 20 Hz–10.0 kHz
HIGH-MID Q 0.5–16
LOW CUT FLAT, 20 Hz–800 Hz
HIGH CUT
POSITION
630 Hz–
12.5 kHz, FLAT
AMP IN
AMP OUT
Adjusts the low frequency range
tone.
Adjusts the low-middle frequency
range tone.
Adjusts the high-middle frequency
range tone.
Adjusts the high frequency range
tone.
Adjusts the overall volume level of
the equalizer.
Species the center of the frequency
range that will be adjusted by the
LOW-MID GAIN.
Adjusts the width of the area
aected by the EQ centered at the
LOW-MID FREQ. Higher values will
narrow the area.
Species the center of the frequency
range that will be adjusted by the
HIGH-MID GAIN.
Adjusts the width of the area
aected by the EQ centered at the
HIGH-MID FREQ. Higher values will
narrow the area.
This sets the frequency at which the
low cut lter begins to take eect.
When “Flat” is selected, the low cut
lter will have no eect.
This sets the frequency at which the
high cut lter begins to take eect.
When “FLAT” is selected, the high cut
lter will have no eect.
Positions the EQ in front of the
amplier unit within the KATANA's
eect chain.
Positions the EQ behind the
amplier unit within the KATANA's
eect chain.
GE-10
This models a BOSS GE-10 graphic equalizer. You can adjust the sound
quality in ten bands.
Parameter Value
31 Hz
62 Hz
125 Hz
250 Hz
500 Hz
1 kHz
2 kHz
4 kHz
8 kHz
16 kHz
LEVEL -12–+12 dB
POSITION
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-12–+12 dB
AMP IN
AMP OUT
Positions the EQ in front of the amplier unit within
the KATANA's eect chain.
Positions the EQ behind the amplier unit within the
KATANA's eect chain.
KATANA Mk II Eect Parameter list
NS (NOISE SUPPRESSOR)
This eect 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 eect on the guitar sound, and does not harm the natural character
of the sound.
NS Parameters
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Adjust this parameter as appropriate for the volume
of the noise. If the noise level is high, a higher setting
is appropriate. If the noise level is low, a lower setting
THRESHOLD 0–100
RELEASE 0–100
is appropriate.
* High settings for the threshold parameter may result
in there being no sound when you play with your
guitar volume turned down.
Adjusts the time from when the noise suppressor
begins to function until the noise level reaches “0.”
SEND/RETURN
These are settings for the EFFECT LOOP (SEND/RETURN) jacks.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
POSITION
MODE SERIES, PARALLEL
SEND LEVEL 0–100
RETURN LEVEL 0–100
* The S/R setting is valid if a plug is connected to the RETURN jack.
POST AMP, POST
REV
Species the position at which the
external eect unit is connected within
the KATANA's eect chain.
Species whether the external eect unit
is connected in series or in parallel.
Adjusts the volume of the output to the
external eects device.
Adjusts the volume of the input from the
external eects device.
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