Boss TONE STUDIO for KATANA Mk II User's Guide

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.
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
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Using BOSS TONE STUDIO for KATANA Mk II

Editor Basic Screen

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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. Eect editing area
Here you can specify the eects 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 specied destination.
MEMO
If you want to discard the settings, click the [CLEAR] button located in the upper right of the screen.
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Using BOSS TONE STUDIO for KATANA Mk II

LIBRARIAN Basic Screen

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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 dierent 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 dierence between operations when selecting and copying multiple tone settings
When you drag and drop the selected tone settings, the copy result will dier 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.
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KATANA Mk II Eect Parameter list
MEMO
This eect sound is mono.
This eect sound is output with two channels.
These eects take a mono input and output it on two
• channels.

BOOSTER

Various boosters and distortion eects 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 eect 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 ris.
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 eect to be used from the following. You can select the same eect for MOD and FX.
MOD/FX Type
This is a list of the eects that can be selected for MOD/FX.
Eect Name Explanation
CHORUS
FLANGER
PHASER
UNI-V
TREMOLO Tremolo is an eect that creates a cyclic change in volume.
VIBRATO This eect creates vibrato by slightly modulating the pitch.
ROTARY This produces an eect like the sound of a rotary speaker.
RING MOD
(Ring Modulator)
SLOW GEAR This produces a volume-swell eect (“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 dierent choruses, one for low frequencies and one for higher frequen­cies. This allows you to achieve a more natural chorus sound.
The anging eect gives a twisting, jet-airplane-like character to the sound.
By adding varied-phase portions to the direct sound, the phaser eect gives a whooshing, swirling character to the sound.
This models a Uni-Vibe.
Although this resembles a phaser eect, 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 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.
You can produce a wah eect with the lter changing in response to the guitar level.
This changes the ltering over a periodic cycle, providing an automatic wah eect.
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 eect 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 dierent guitar bodies allows you to switch among a number of dierent 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 eect, you can use it to fatten the sound of your chordal playing as well.
This eect changes the pitch of the original sound (up or down) within a range of two octaves.
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.
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KATANA Mk II Eect Parameter list
Eect 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 eect 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 Efect Parameters

CHORUS

Frequency band division is employed to produce two dierent 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 eect for the low frequency range.
Adjust the depth of the chorus eect for the low frequency range. If you wish to use this as a doubling eect, use a setting of 0.
Adjusts the delay of the eect sound in the low-frequency range. Extending the pre-delay will produce the sensation of multiple sounds (doubling eect).
Adjusts the volume of the eect sound in the low-frequency range.

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
Selects the number of stages that the phaser eect will use.
4 STAGE
TYPE
RAT E 0–100 This sets the rate of the phaser eect.
DEPTH 0–100 Determines the depth of the phaser eect.
RESONANCE 0–100
MANUAL 0–100 Adjusts the center frequency of the phaser eect.
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 eect. A light phaser eect is obtained.
This is a eight-phase eect. It is a popular phaser eect.
This is a twelve-phase eect. A deep phase eect 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 eect, 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 eect for the high frequency range.
Adjust the depth of the chorus eect for the high frequency range. If you wish to use this as a doubling eect, use a setting of 0.
Adjusts the delay of the eect sound in the high-frequency range. Extending the pre-delay will produce the sensation of multiple sounds (doubling eect).
Adjusts the volume of the eect sound in the high-frequency range.
This sets the frequency dividing the low- and high-frequency ranges.

FLANGER

The anging eect gives a twisting, jet-airplane-like character to the sound.
Parameter Value Explanation
RAT E 0–100 This sets the rate of the anging eect.
DEPTH 0–100 Determines the depth of the anging eect.
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 eect, creating a more unusual sound.
Adjusts the center frequency at which to apply the eect.
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.

UNI-V

This models a Uni-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
RAT E 0–100 Adjusts the rate of the UNI-V eect.
DEPTH 0–100 Adjusts the depth of the UNI-V eect.
LEVEL 0–100 Adjusts the volume.

TREMOLO

Tremolo is an eect 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 eect.
LEVEL 0–100 Adjusts the volume.
Adjusts changes in volume level. A higher value will steepen wave’s shape.

VIBRATO

This eect 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 Eect Parameter list

ROTARY

This produces an eect 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 eect.
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 eect 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 dierent from NORMAL. This eect 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 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.
Parameter Value Explanation
BOSS COMP This models a BOSS CS-3.
HI-BAND
LIGHT This is a compressor with a light eect.
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 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 picking attack when the strings are played. Higher values result in s sharper attack, creating a more clearly dened sound.

LIMITER

SLOW GEAR

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
SENS 0–100
RISE TIME 0–100
LEVEL 0–100 Adjusts the volume of the eect sound.
lower value, the eect of the slow gear can 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.

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 eect 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 dened sound.
17
KATANA Mk II Eect Parameter list

T. WAH

You can produce a wah eect with the lter changing in response to the guitar level.
Parameter Value Explanation
Selects the wah mode.
Low pass lter. This provides a wah eect over a wide
MODE
POLAR
SENS 0–100
FREQ 0–100 Adjusts the center frequency of the Wah eect.
PEAK 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
LPF
frequency range.
Band pass lter. This provides a wah eect 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.
Species the sensitivity with which the lter changes in the direction specied by the POLAR setting.
Higher values will produce a stronger tone which emphasizes the wah eect more. With a setting of 0, the strength of picking will have no eect.
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.

PEDAL WAH

You can control the wah eect 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 eect 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 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.
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 eect.
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 eect.
FREQ 0–100 Adjusts the center frequency of the Wah eect.
PEAK 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
LPF
BPF
Low pass lter. This provides a wah eect over a wide frequency range.
Band pass lter. This provides a wah eect in a narrow frequency range.
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.

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 Eect 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.
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.
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.
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.

GUITAR SIM

Simulation of the characteristics of particular guitar components such as pickups and dierent guitar bodies allows you to switch among a number of dierent 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 eect 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 eect simulates the tonal character of an acoustic guitar.
Parameter Value Explanation
BODY 0–100 Adjusts the body resonance.
LOW -50–+50 Species the sense of volume for the low-frequency range.
HIGH -50–+50 Species the sense of volume for the high-frequency range.
LEVEL 0–100 Species the volume of the eect.
19
KATANA Mk II Eect 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.
Species 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 eect 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 eect, 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 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.
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
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 0 ms.
Adjusts the feedback amount of the pitch shift sound.
KATANA Mk II Eect Parameter list

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.
* 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 eect.
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 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. 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 eect.
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 eect.
SPEED 0–100 This sets the rate of the anging eect.
REGEN. 0–100
Adjusts the center frequency at which to apply the eect.
Determines the amount of feedback. Increasing the value will emphasize the eect, creating a more unusual sound.
*1 This can be specied if HR1:HARMONY or HR2:HARMONY is “USER.”
*2 The correspondence between the note names and the knobs diers depending
on the specied KEY. Knob [1] of the rst page is the tonic (root note) of the specied KEY. The table shows the example of when KEY is set to C (Am).
21
KATANA Mk II Eect Parameter list

WAH 95E

This models a Jim Dunlop EVH-95 Wah pedal.You can control the wah eect 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 eect 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 eect
ECHO Echo eect
Adjust the depth of the chorus eect.
* 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 eect sound are output respectively.
Direct sound and eect sound are mixed and output.

DELAY/DELAY 2

This eect adds delayed sound to the direct sound, giving more body to the sound or creating special eects.
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 eect where the sound is played back in reverse.
MODULATE This delay adds a pleasant wavering eect 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 eect 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 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%).
* 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 eect 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 aected by the delay range.
* Only when TYPE is SDE-3000.
Species the phase of the delay sound. Selecting INV inverts the phase.
* Only when TYPE is SDE-3000.
Species the phase of the delay sound feedback. Selecting INV inverts the phase.
* Only when TYPE is SDE-3000.
22
KATANA Mk II Eect Parameter list

REVERB

This eect 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 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.
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 eect 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.
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.
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.
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.
Positions the EQ in front of the amplier unit within the KATANA's eect chain.
Positions the EQ behind the amplier unit within the KATANA's eect 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 amplier unit within the KATANA's eect chain.
Positions the EQ behind the amplier unit within the KATANA's eect chain.
KATANA Mk II Eect Parameter list

NS (NOISE SUPPRESSOR)

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.
NS Parameters
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 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 eect 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
Species the position at which the external eect unit is connected within the KATANA's eect chain.
Species whether the external eect unit is connected in series or in parallel.
Adjusts the volume of the output to the external eects device.
Adjusts the volume of the input from the external eects device.
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