Korg TouchView Trinity ProX, TouchView Trinity Plus, TouchView Trinity, TouchView Trinity Pro User Manual

Download

Table of Contents

Overview .........................................................................................................1

Insert Effects..............................................................................................1

Effect Size ...........................................................................................2

Effect Input/Output .........................................................................2

Grouping ............................................................................................ 3

Master Effects ...........................................................................................3

Program.....................................................................................................4

Program - Single/Double OSC mode ............................................4

Program - Drums OSC mode ..........................................................5

Combination .............................................................................................6

Sequencer ..................................................................................................8

Dynamic Modulation................................................................................... 10

Insert Effect size1

00: Amp Simulation......................................................................................13

01: Compressor .............................................................................................14

02: Limiter...................................................................................................... 15

03: Gate...........................................................................................................17

04: Overdrive/Hi-Gain................................................................................19

05: Parametric 4EQ (Parametric 4-Band EQ)............................................20

06: Graphic 7Band EQ.................................................................................. 22

07: Wah/Auto Wah...................................................................................... 23

08: Random Filter .........................................................................................25

09: Dyna Exciter............................................................................................26

10: Sub Oscillator..........................................................................................27

11: Decimator ................................................................................................28

12: Chorus......................................................................................................29

13: Harmonic Chorus...................................................................................30

14: Ensemble.................................................................................................. 31

15: Flanger .....................................................................................................32

16: Tempo Flanger........................................................................................33

17: Envelope Flanger....................................................................................34

18: Phaser.......................................................................................................35

19: Tempo Phaser ......................................................................................... 36

20: Envelope Phaser .....................................................................................37

21: Vibrato......................................................................................................38

22: Resonator................................................................................................. 39

23: Ring Modulator ......................................................................................40

24: Tremolo....................................................................................................42

25: Rotary Speaker........................................................................................ 43

26: Delay.........................................................................................................44

27: Multitap Delay........................................................................................45

28: Early Reflections..................................................................................... 46

Table of Contents

Insert Effect size2

00: St. Amp Simulation (Stereo Amp Simulation)................................... 47

01: Stereo Compressor................................................................................. 48

02: Stereo Limiter.......................................................................................... 49

03: Multiband Limiter.................................................................................. 50

04: Stereo Gate .............................................................................................. 51

05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah).................................. 53

06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ) .......................... 55

07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ).................................... 56

08: Graphic 13Band EQ................................................................................ 57

09: St. Random Filter (Stereo Random Filter)........................................... 58

10: Stereo Enhancer...................................................................................... 60

11: Talking Modulator................................................................................. 61

12: Stereo Decimator.................................................................................... 63

13: Stereo Chorus.......................................................................................... 64

14: St. Harmonic Chorus (Stereo Harmonic Chorus).............................. 66

15: Multitap Chorus/Dly (Multitap Chorus/Delay).............................. 67

16: Ensemble ................................................................................................. 68

17: Stereo Flanger......................................................................................... 69

18: St. Random Flanger (Stereo Random Flanger) .................................. 70

19: St. Tempo Flanger (Stereo Tempo Flanger)........................................ 72

20: Stereo Phaser........................................................................................... 73

21: St. Random Phaser (Stereo Random Phaser) ..................................... 74

22: St. Tempo Phaser (Stereo Tempo Phaser)........................................... 75

23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)............................... 76

24: Stereo Vibrato ......................................................................................... 78

25: 2-Voice Resonator .................................................................................. 80

26: Doppler.................................................................................................... 82

27: Stereo Tremolo........................................................................................ 84

28: Stereo Auto Pan...................................................................................... 85

29: St. Envelope Pan (Stereo Envelope Pan)............................................. 87

30: Stereo Dyna Pan..................................................................................... 89

31: Phaser+Tremolo ..................................................................................... 91

32: Shimmer .................................................................................................. 93

33: Detune...................................................................................................... 95

34: Pitch Shifter............................................................................................. 96

35: Pitch Shift Mod. (Pitch Shift Modulation).......................................... 98

36: Rotary Speaker...................................................................................... 100

37: Dual Delay............................................................................................. 102

38: Stereo Delay.......................................................................................... 103

39: St. Multitap Delay (Stereo Multitap Delay)...................................... 104

40: L/C/R Delay ........................................................................................ 105

41: Tempo Delay......................................................................................... 106

42: St. Modulation Delay........................................................................... 108

43: St. Dynamic Delay (Stereo Dynamic Delay)..................................... 110

44: Random Panning Dly (Random Panning Delay)............................ 112

45: Early Reflections .................................................................................. 113

46: Reverb-Hall .......................................................................................... 114

47: Reverb-SmoothHall ............................................................................ 114

48: Reverb-Room........................................................................................ 116

49: Reverb-BrightRoom ............................................................................ 116

50: Reverb-Wet Plate ................................................................................. 118

51: Reverb-Dry Plate ................................................................................. 118

Table of Contents

Insert Effect size4

00: Piano Body/Damper (Piano Body/Damper Simulation)..............119

01: St. Mlt.band Limiter (Stereo Multiband Limiter).............................120

02: OD/Hyper-Gain Wah (Overdrive/Hyper-Gain Wah)...................121

03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)...............................122

04: Vocoder..................................................................................................123

05: St. Harmonic Chorus (Stereo Harmonic Chorus)............................124

06: Multitap Chorus/Dly (Multitap Chorus/Delay) ............................126

07: Stereo Ensemble.................................................................................... 128

08: St. Tempo Flanger (Stereo Tempo Flanger)......................................129

09: St. Tempo Phaser (Stereo Tempo Phaser).........................................130

10: St. Pitch Shifter (Stereo Pitch Shifter) ................................................131

11: 2Band Pitch Shifter...............................................................................132

12: Rotary Speaker OD (Rotary Speaker Overdrive).............................133

13: Early Reflections................................................................................... 135

14: L/C/R Long Delay...............................................................................136

15: Stereo Long Delay ................................................................................137

16: Dual Long Delay................................................................................... 138

17: St. Tempo Delay (Stereo Tempo Delay)............................................ 139

18: Hold Delay ............................................................................................140

Master Effects

Modulation

00: Flanger ...................................................................................................142

01: Phaser.....................................................................................................143

02: Multitap Chorus/Dly (Multitap Chorus/Delay) ............................144

03: Ensemble................................................................................................ 145

04: Chorus....................................................................................................146

05: L/C/R Delay......................................................................................... 147

Reverb/Delay

00: L/C/R Long Delay...............................................................................148

01: Delay/Reverb........................................................................................149

02: Reverb-Room ........................................................................................151

03: Reverb-Bright Room ............................................................................151

04: Reverb-Hall ...........................................................................................153

05: Reverb-Smooth Hall............................................................................. 153

06: Reverb-Wet Plate..................................................................................153

07: Reverb-Dry Plate ..................................................................................153

Index............................................................................................................. 154

iii

Overview

The TRINITY series

has two types of effects:

Insert Effects

and

Master Effects

As shown in the ﬁgure below, you can use the Insert Effects in the process of sound creation after the Oscillator, Filter, and Amp. Then, reverberation and other effects are applied through the Master Effects.

One hundred

Insert Effects and

Oscillator

TRINITY series

The

fourteen

Filter

Master Effects enable highly ﬂexible sound production.

Send Return

Master Effect

Amp

Insert Effect

does not have an input level meter to recognize the effect input level. Please note that if the input level is not high enough, the S/N ratio may be reduced, and if the input level is excessive, clipping may occur. To obtain the optimum degree of effects, ﬁrst set the input level of the Insert Effect and Master Effect to the maximum possible without clipping, then adjust the effect output level using the Wet/ Dry parameter of the Insert Effects, and the Output Level parameter and/or Return 1 and 2 of the Master Effects.

The following table shows the parameters that can be used to adjust the input/output levels:

Program Edit mode Combination Edit mode Sequencer mode

OSC1/2 High, Low Level (P1)

Input

Output

* Certain effects may not utilize some of these parameters.

Filter1/2 A/B Gain (P3) Amp1/2 Level (P5) Send1/2 (P5 or P7) Trim Parameter (P7, P8)*

Wet/Dry (P7) Output Level (P8) Retrurn1, 2 (P8)

Volume (P1) Send1/2 (P1) Trim Parameter (P7, P8)*

Wet/Dry (P7) OutPut Level (P8) Return1, 2 (P8)

Volume (P1) Send1/2 (P1)

Output Level (P8) Return1, 2 (P8)

Insert Effects

Insert Effects are used as part of the sound creation process. You can select any effects from the effect library, which contains

100 effects

change tone and dynamics, such as the equalizer, limiter, exciter, etc.; to effects that simulate particular characteristics of certain musical instruments, such as amp simulation, rotary speaker, and piano body/ damper simulation; effects that create conventional effect sounds, such as ring modulator, talking modulator, vocoder, and pitch shifter; completely new types of effects, such as decimator and resonator; and classic effects, such as reverberation, chorus, delay, and overdrive.

Insert Effects employ the concept of “

size

”, which allows for more ﬂexible effect routing appropriate for your own application. In Program mode, you can use up to

three effects in series

(or up to Drum mode Program). In the Combination and Sequencer modes, you can use up to Track (or up to In total, you can use up to

four effects in series/parallel

eight effects

for all Timbres/Tracks.

for each Timbre or Track that uses a Drum mode Program).

three effects

For more detailed information, refer to the block diagrams and explanations below for each mode.

, ranging from effects that

four effects in series/parallel

in series for each Timbre or

for a

Overview

Effect Size

Insert Effects utilize effect sizes of 1, 2, and 4.

Program

(Single or Double mode Program):

Up to three effects with a total effect size of four or less can be inserted in series.

Size1Size

Program

(Drum mode Program):

Size

Up to four effects with a total effect size of four or less can be inserted in series/parallel. Use P5 (DrumKit) in Global mode to assign the DrumKit sounds to Insts 1–4 for each key.

Inst1

Inst2

Inst3

Inst4

Size

Inst1

Inst2

Size

Inst1

Size

Inst1

Inst3

Inst4

Size1Size

Size

Combination:

Up to eight effects with a total effect size of eight or less can be inserted.

Timbre1 Timbre2

Size

Timbre1

Size2Size

Size

Sequencer:

Up to eight effects with a total effect size of eight or less can be inserted.

Track1 Track2

Size

Track1

Size2Size

Size

Effect Input/Output

The following table shows the input/output of the the

Wet

sound (the sound with an effect applied) for each size.

Dry

size1

Wet Dry Wet Dry

size2 size4

Wet Dry Wet

Shown on the upper left corner of the effect block diagrams.

The Size 1 effects are all monaural in/monaural out for both dry and wet sounds. Therefore, Size 1 ef fects have monaural input as shown in the ﬁgure on the next page. If the Effect On/Off parameter is turned Off, the effect is bypassed. When a size 1 effect is selected, the bypass sound becomes monaural.

Regardless of the Effect On/Off setting, you can turn all Insert Effects Off by sending the Effect 2 Control message (Controller #92). When the Controller value is 0, all effects turn Of f. They turn On with a value of 1–127.

Dry

sound (the sound without any effect applied) and

Mono In - Mono Out Mono In - Mono Out

Stereo In - Stereo Out

Mono In - Mono Out

Stereo In - Stereo Out

Mono In - Stereo Out Stereo In - Stereo Out Stereo In - Stereo Out

Effect

Effect Effect

Overview

When you want to preserve the stereo image of a Double mode Program, use Insert Effects of size 2 or 4.

Stereo In

Mono In

Size

Size1 Size

Grouping

Y ou can use the grouping function in the Combination and Sequencer modes to use the Insert Effects efﬁ- ciently. The effect Effects will be applied to all of them.

Note the following when you are trying to place Timbres/Tracks that use Single or Double mode Programs, and Timbres/Tracks that use Drum mode Programs into a group:

• When you are adding Timbres/Tracks that use Single or Double mode Programs to a group of Timbres/Tracks that use Drum mode Programs: The Timbres/Tracks will be grouped (input) to Insert Effect inst1 of the Timbres/Tracks that use Drum mode Programs.

• When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/Tracks that use Single or Double mode Programs: Only DrumKit sounds that have been assigned to inst1 in P5 of Global mode will be grouped (input) to the Insert Effects of the Timbres/Tracks that use Single or Double mode Programs.

grouping

function places the Timbres/Tracks into one group so that the same Insert

Master Effects

Master Effects use a modulation and reverberation/delay, both vide overall ambience. It is possible to route the modulation effects and reverb/delay effects in series.

Send levels are set for each oscillator, or after the Insert Effects are applied. In the Combination and Sequencer modes, you can set the send levels for each Timbre/Track, allowing you to use the unit as a mixer to create a spacious effect for entire Programs, Combinations, or Songs.

A Low/High-type you to “ﬁne-tune” the tone of your sound. The Master Effect parameters are set for each Program, Combination, and Song. (Use P8 in each mode.)

The Effect 4 Control message (Controller #94) will turn the modulation effects on/off, and the Effect 5 control message (Controller #95) will turn the reverb/delay effects on/off. Both control messages are sent on the Global MIDI Channel. With a control value of 0, the effect is turned off, and with a value of 1–127, the effect is turned on. The Effect 3 Level message (Controller #93) will adjust the send level of the modulation effects, and the Effect 1 Level message (Controller #91) will adjust the send level of the reverb/delay effects. The control messages for Programs are sent on the Global MIDI Channel, and control messages for Combinations and Sequences are sent on the MIDI Channels speciﬁed for each Timbre and Track.

send

and

shelving EQ

return

routing regardless of the modes, and consist of

mono-in/stereo-out

. These fourteen effects can be used to pro-

two types of effects

is located before the output connectors 1/L/MONO and 2/R, and allows

Overview

Program

You can use the Insert Effects as long as the total of the effect size is four or less in Program mode. The conﬁguration of the Insert Effects is different when using a Single or Double mode Program than when using a Drum mode Program.

Program - Single/Double OSC mode

Amp1

Filter1

OSC1

Filter2

OSC2

* Insert Effect =Off: size =0

Amp2

Amp1/2 Mod (Program Edit P5)

in the case of

Insert Effect =Off *

Send1

Send2

Pan

Send1

Send2

Pan

in the case of

Insert Effect =On

Insert Effects (Program Edit P7)

Insert Effects

E1 E2 E3

Insert Effect =Off *

Send1

Send2

PanWidth

Master Effects

Modulation

Reverb/Delay

Return2

Master Effects (Program Edit P8)

Pan1

Pan2

Return1

LEQ HEQ

Low Gain High Gain

Program - Single / Double OSC Mode

OUT3

OUT4

OUT1

OUT2

Insert Effects

You can insert up to

three

effects in series as long as the total of the effect sizes is

four or less

when you are using a Program with the Oscillator Mode parameter (1–1c) set to single or double (shown as E1, E2, and E3 in the center of the ﬁgure above).

If you insert a size 1 effect, the input/output becomes monaural. In this case, the oscillator’s Pan parameter (P5 in Program Edit mode) becomes ineffective, and the pan setting will be in the center. Adjust the stereo pan position using the Pan parameter that comes after the Insert Effects (P7 in Program Edit mode).

If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of reverberation) using the Width parameter (P7 in Program Edit mode). If you wish to make the oscillator’s Pan setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set the Width to 127.

Pan=L000

Center

Pan=R127

Pan=C064, Width=127 Pan=C064, Width=64 Pan=C064, Width=32 Pan=C064, Width=0

RightLeft

Pan=L000

Center

Pan=R127

Pan=C064, Width=127 Pan=L048, Width=127 Pan=L032, Width=127 Pan=L016, Width=127

RightLeft

Pan=L000

Insert Effect - Pan, Width

Pan=R127

Center

Pan=R096, Width=127 Pan=R096, Width=64 Pan=L048, Width=127 Pan=L048, Width=64

RightLeft

Master Effects

The input level of the Master Effects is set by Send 1 and 2. Since the destination of the send routing changes depending on whether the Insert Effects have been

inserted or not, the parameters will change accordingly. If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Program Edit mode will become effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P5 in Program Edit mode will become effective. The Send 1 and 2 parameters are also used to set the level of the signal appearing at output connectors 3 and 4. Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound (without the Master Effects applied), set the Master Effect parameters of P8 in Program Edit mode to “Off.” In this case, however, the Master Effects will not be applied to the signal at outputs 1 and 2.

Overview

If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 in Program Edit mode).

To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Program Edit mode). If you check the check box located between Send 1 and Send 2 in the upper left corner of the LCD, the serial routing of Modulation

→

Reverb/Delay will be added. That is, the Right modulation output will be added to the Reverb/Delay input. In this case, you can still set the Return 1 and 2 parameters independently.

Program - Drums OSC mode

DrumKit (Global P5)

Kick

Snare

Tom

H.Hat

Conga

Insert Effect=Off

Send1

Send2

Pan

Send1

Send2

Pan Insert Effect=inst1 Insert Effect=inst2

Send1

Send2

Pan

Send1

Send2

Pan Insert Effect=inst3

Send1

Send2

Pan Insert Effect=inst4

Insert Effects

Amp1/2 Mod (Program Edit P5)

Send1

Send2

Insert

Effects

Inst1/2/3/4 ->E1/E2/E3/E4

Insert Effect=Off

(Program Edit P7)

Send1

Send2

Send1

PanWidth

Send2

Send1

PanWidth

Send2

Send1

PanWidth

Send2

PanWidth

Master Effects

Modulation

Reverb/Delay

Return2

Master Effects (Program Edit P8)

Pan1

Pan2

Return1

LEQ HEQ

Low Gain High Gain

Program - Drums OSC Mode

OUT3

OUT4

OUT1

OUT2

Insert Effects

You can insert up to

four

effects in series or parallel as long as the total of the effect sizes is

four or less

when you are using a Drum mode Program (shown as E1, E2, E3, and E4 in the center of the ﬁgure above).

Y ou can select Insert On/Off, and inst 1–4 (using E1–E4 input), and set the Pan and Send 1/2 parameters for each Drum sound in P5 of Global mode for each key. The ﬁnal send setting will use the value set here multiplied by the Send setting set in P5 of Program Edit mode.

If you insert a size 1 effect, the input/output becomes monaural. In this case, the DrumKit’s Pan parameter (P5 in Global mode) becomes ineffective, and the sound will be panned in the center . Adjust the ster eo position using the Pan parameter (P5 of Program Edit mode) that comes after the Insert Effects (P7 in Program Edit mode).

If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of reverberation) using the Width parameter (P7 in Program Edit mode). If you wish to make the DrumKit’s Pan setting (P5 in Global mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set the Width to 127.

Master Effects

The input level of the Master Effects is set by Send 1 and 2. Since the destination of the send routing changes depending on whether the Insert Effects have been inserted or not, the parameters will change accordingly.

Overview

If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Program Edit mode will become effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P5 in Global mode and P5 in Program Edit mode will become effective. The Send 1 and 2 parameters are also used to set the level of signal appearing at output connectors 3 and

If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 in Program Edit mode).

Reverb/Delay will be added. That is, the Right modulation output will be

→

added to the Reverb/Delay input. In this case, you can also set the Return 1 and 2 parameters independently.

Combination

Timbre1

OSC1

OSC2

Timbre2

OSC1

OSC2

Filter1

Filter2

Filter1

Filter2

Amp1

Amp2

Amp1

Amp2

Mixer (Combination Edit P1)

in the case of

Insert Effect =Off

Send1

Send2

Pan

Send1

Send2

Pan

in the case of

Insert Effect =On

in the case of

Insert Effect =Off

Send1

Send2

Pan

Send1

Send2

Pan

in the case of

Insert Effect =On

Insert Effect=Off

Insert Effects

E1 E2 E3

Assigning / Grouping

Timbre to Insert Effects

Insert Effects

E1 E2 E3

Insert Effect Grouping (Combination Edit P7)

Send1

Send2

Send1

Send2

PanWidth

Master Effects (Combination Edit P8)

Master Effects

Modulation

Reverb/Delay

Return2

Pan1

Pan2

Return1

LEQ HEQ

Low Gain High Gain

OUT3

OUT4

OUT1

OUT2

up to

Timbre8

Insert Effect=Off

Combination

Insert Effects

The Insert Effects selected in Program Edit mode are

not used

in Combination Edit mode. Instead, you

can set Insert Effects for up to eight Timbres in a Combination. Go to P7 in Combination Edit mode, and set the Insert Effect’s Off, size (1, 2, 4, 8), and grouping parame-

ters for each of Timbres 1–8. If you wish to use a Program’s Insert Effect settings by using the Copy function, ﬁrst select a size for the corresponding Timbre equal to or greater than the size of the effects used in the Program.

Y ou can r oute up to can use up to The total effect size for all the Timbres must be

four

three

Insert Effects for each Timbr e

effects

in series or parallel

eight or less

in series

. (If the Program is using a DrumKit, you

Overview

You can also set the total effect size for a single Timbre to eight. However, if you are routing three Insert Effects in series, you cannot place an effect of size 4 on the second position. For a T imbre that uses a Dr um mode Program, you can set the total effect size to eight. However, if you are routing three Insert Effects in series, you cannot place the effect of size 4 on the second position. If you are routing four effects in series, you cannot place an effect of size 4 on the second or third position.

If you insert a size 1 effect, the input/output becomes monaural. In this case, the Timbr e’s Pan parameter (P1 Timb Param1 in Combination Edit mode) becomes ineffective, and the pan setting will be in the center. Adjust the stereo pan position using the Pan parameter (P7 in Combination Edit mode) that comes after the Insert Effects.

If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of reverberation) using the Width parameter (P7 in Combination Edit mode). If you wish to make the oscillator’s Pan setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set the Width to 127. Refer to the “Program - Drums OSC mode” section for information regarding the setting of Programs that use a DrumKit.

When you are adding Timbr es/Tracks that use Single or Double mode Programs to a group of Timbres/Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect inst1 of the Timbres/Tracks that use Drum mode Programs. When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/ T racks that use Single or Double mode Programs, only Dr umKit sounds that have been assigned to inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/Tracks that use Single or Double mode Programs.

Master Effects

You need to set the Master Effects in the Combination, since the Master Effects set in Program Edit mode are ineffective here.

The input levels of the Master Effects are set by Send 1 and 2. Since the destination of the send routing changes depending on whether Insert Effects have been inserted or not, the parameters will change accordingly. If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Combination Edit mode will become effective (those of P1 Timb Param1 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P1 Timb Param1 in Combination Edit mode will become effective.

The Send 1 and 2 parameters are also used to set the level of signal appearing at output connectors 3 and

4. Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound (without the Master Effects applied), set the Master Effect parameters of P8 in Combination Edit mode to “Off.” In this case, however, the Master Effects will not be applied either to the output 1 or 2 signal. If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 in Combination Edit mode).

To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Combination Edit mode). If you check the check box located between Send 1 and 2 in the upper left corner on the LCD, the serial routing of Modulation

→

Reverb/Delay will be added. That is, the Right modulation output will be added to the Reverb/Delay input. In this case, you can still set the Return 1 and 2 parameters independently.

Overview

Sequencer

Track1

OSC1

OSC2

Track2

OSC1

OSC2

Track16

Track Play / Rec (Sequencer P1)

in the case of

Insert Effect =Off

Send1

Send2

Amp1

Filter1

Filter2

Filter1

Filter2

up to

Amp2

Amp1

Amp2

Pan

Send1

Send2

Pan

in the case of

Insert Effect =On

in the case of

Insert Effect =Off

Send1

Send2

Pan

Send1

Send2

Pan in the case of

Insert Effect =On

Insert Effect=Off

Insert Effects

E1 E2 E3

Assigning/Grouping

Track to Insert Effects

Insert Effects

E1 E2 E3

Insert Effect=Off

Insert Effect Grouping (Sequencer P7)

Send1

Send2

Send1

Send2

PanWidth

Master Effects (Sequencer P8)

Master Effects

Modulation

Reverb/Delay

Return2

Pan1

Pan2

Return1

LEQ HEQ

Low Gain High Gain

OUT3

OUT4

OUT1

OUT2

Sequencer

Insert Effects

The Insert Effects selected in Program Edit mode are

not used

in Sequencer mode. Instead, you can set

Insert Effects for up to eight Tracks in the Sequencer. Go to P7 in Sequencer mode, and set the Insert Effect’s Off, size (1, 2, 4, 8), and grouping parameters for

each of Tracks 1–16. If you wish to use a Program’s Insert Effect settings by using the Copy function, ﬁrst select a size for the corresponding Track equal to or greater than the size of the effects used in the Program.

You can route up to can use up to The total effect size for all the Tracks must be

four

three

Insert Effects for each Track

effects

in series or parallel

in series

eight or less

. (If the Program is using a DrumKit, you

You can also set the total effect size for a single Track to eight. However, if you are routing three Insert Effects in series, you cannot place an effect of size 4 on the second position. For a Track that uses a Drum mode Program, you can set the total effect size to eight. However, if you are routing three Insert Effects in series, you cannot place an effect of size 4 on the second position. If you are routing four effects in series, you cannot place an effect of size 4 on the second or third position.

If you insert a size 1 effect, the input/output becomes monaural. In this case, the Track’s Pan parameter (P1 Track Play/Rec in Sequencer mode) becomes ineffective, and the pan setting will be in the center. Adjust the stereo pan position using the Pan parameter (P7 in Sequencer mode) that comes after the Insert Effects.

If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of reverberation) using the Width parameter (P7 in Sequencer mode). If you wish to make the oscillator’s Pan setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set the Width to 127. Refer to the “Program - Drums OSC mode” section for information regarding the setting of Programs that use a DrumKit.

Overview

When you are adding Timbr es/Tracks that use Single or Double mode Programs to a group of Timbres/Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect Inst1 of the Timbres/Tracks that use Drum mode Programs. When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/ T racks that use Single or Double mode Programs, only Dr umKit sounds that have been assigned to Inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/Tracks that use Single or Double mode Programs.

Master Effects

You need to set the Master Effects for each song in the Sequencer mode, since the Master Effects set in Program Edit mode are ignored here.

The input levels of the Master Effects are set by Send 1 and 2. Since the destination of the send routing changes depending on whether Insert Effects have been inserted or not, the parameters will change accordingly. If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Sequencer mode will become effective (those of P1–3 Mix 1–8 and P1–4 Mix 9–16 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P1–3 Mix 1–8 and P1–4 Mix 9–16 in Sequencer mode will be used instead.

The Send 1 and 2 parameters are also used to set the level of the signal appearing at output connectors 3 and 4.

Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound (without the Master Effects applied), set the Master Effect parameters in P8 of Sequencer mode to “Off.” In this case, however, you cannot apply the Master Effects to output connectors 1 and 2.

If the output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 of Sequencer mode).

To set the Master Effect return level, use the Return 1 and 2 parameters (P8 of Sequencer mode). If you check the check box between Send 1 and 2 located in the upper left corner of the LCD, the serial routing of Modulation

Reverb/Delay will be added. That is, the Right modulation output will be

→

added to the Reverb/Delay input. In this case, you can still set the Return 1 and 2 parameters independently.

Dynamic Modulation

You can control certain effect parameters using the joystick, ribbon controller, etc. “on the ﬂy.” For example, you can use the After Touch effect to speed up the LFO of the chorus and ﬂanger, or you can use the ribbon controller to activate the wah effect. In this way, you will be able to make the most out of the expression created by the effects as part of your instrument. Most of the parameters with dynamic modulation consist of the parameter value, (amount). The Src ﬁeld selects the modulation source, and Amt sets the amount of dynamic modulation effect. When the modulation source is set to the maximum value, the actual degree of the effect will be

parameter value plus the Amt value

Dynamic modulation of the Program’s Insert Effects and Master Effects is controlled via the Global MIDI Channel. Dynamic modulation of the Insert Effects for Combinations and Sequences is controlled via the MIDI Channels speciﬁed for each Timbre and Track. Dynamic modulation of the Master Effects is controlled via the Global MIDI Channel.

e.x. Wet/Dry=10:90 Src=Aftr Touch Amt=+50

In this case, the effect balance is 10:90. As you apply After Touch, the percentage of the effect sound will increase. When After Touch is at its maximum, the effect balance will be 60:40.

Wet / Dry

Wet

60:40

Dynamic Modulation (Example)

Wet / Dry=10:90 Amt= +50

Wet / Dry=60:40 Amt= –50

Src

(source), and

Amt

the

Max

-mod

10:90

Dry

Zero Higher

If you are controlling the effect parameters using any source other than AUTOFADE, the dynamic modulation effect will not be affected if you modify the Amt value while the dynamic modulation is being applied. The modiﬁcation will become effective when you operate the dynamic modulation source again.

Refer to the corresponding effect section for an explanation of other dynamic modulation parameters.

is marked on the right of the effect parameter table to indicate that the parameter has dynamic

modulation.

Source

None Dynamic modulation is not used. Gate1 Note On/Off Gate1+Sus Note On + Sustain pedal On/Off Gate2 Note On/Off (retrigger) Gate2+Sus Note On + Sustain pedal On/Off (retrigger) Note No. Note number. Velocity Velocity AftrTouch Channel After Touch JS(+Y) Joystick - upward

☞ ☞ ☞ ☞

P.11 P.11 P.11 P.11

Source

JS(–Y) Joystick - downward JS(X) Joystick - horizontal direction Ribbon(X) Ribbon controller - horizontal direction Ribbon(Z) How strongly you press the ribbon controller SW1 Assignable Panel Switch 1 (CC#80)

SW2 Assignable Panel Switch 2 (CC#81) Foot SW Assignable Foot Switch (CC#82) Foot Pedal Assignable Foot Pedal (CC#04) SustainPdl Sustain Pedal MIDI Vol MIDI Volume (CC#07) MIDI Pan MIDI Pan (CC#10) MIDI Exp MIDI Expression Control (CC#11) MIDI Cnt1 MIDI Effect Control 1(CC#12) MIDI Cnt2 MIDI Effect Control 2(CC#13) Slider Value Slider (CC#18) MIDI CC#19 MIDI Control Change (CC#19) Tempo Tempo information speciﬁed by the sequencer or MIDI clock AUTOFADE Auto Fade (only for some effects)

Dynamic Modulation

☞

P.12 P.12

☞ ☞

P.12 P.12

☞

P.12

☞ ☞

P.12

Gate1 Gate1+Sus

Gate2 Gate2+Sus

The effect amount is at maximum during Note-on. When you release all the keys, the effect will stop. For Gate 1+Sus, the maximum effect level will be maintained as long as you press the sustain pedal, even after you release the keys.

Gate1,Gate1+Sus

Gate+Sus

On Off

Time

Note

Sustain Pedal

Gate1

Gate1+Sus

These are almost the same as Gate 1, and Gate 1+Sus. However , if you are using this as a source for, say, the EG of size 1, 17: Envelope Flanger, or the AUTOFADE of size 2, 13: Ster eo Chorus, every Note On message will trigger the ef fect. (With Gate 1, and Gate 1+Sus, only the ﬁrst Note On data will trigger the effect.)

Gate2,Gate2+Sus

Gate+Sus

On Off

Note

Sustain Pedal

Gate2

Gate2+Sus

Time

Dynamic Modulation

SW1 SW2

Foot SW

Foot Pedal

AUTOFADE

If the switches on the panel are assigned as a dynamic modulation source, set SW1 to Modulation (CC#80) and SW2 to (CC#81) in P1 of Program Edit mode, or P4 of Combination Edit mode.

If the assignable foot switch is assigned as a dynamic modulation, set Foot Switch to Modulation (CC#82) in P1 of Global mode.

Then, you can control the effect from a footswitch connected to the SWITCH terminal.

If the assignable pedal is assigned as a dynamic modulation, set Foot Pedal to Foot Controller (CC#04) in P1 of Global mode.

Then, you can control the effect from a foot pedal connected to the PEDAL terminal.

You can use AUTOFADE only for some effects such as size 2, 13: Stereo Chorus. The effect is triggered by Note On data or the assignable switch. AUTOFADE allows the modulation effect amount to fade in automatically. You cannot select AUTOF ADE as a modulation sour ce for the effects/parameters that do not have the AutoFade function.

In the parameter table, the mark appears to the right of the effect parameters that have the AutoFade function.

The effect is off when a value for the dynamic modulation source speciﬁed for the AUTOFADE Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher.

AUTOFADE

AutoFade

Tempo

D-mod

Off

AUTOFADE

Fade-In Rate

The modulation sources ranging from “Note number” to “MIDI CC#19” listed on the table on pages 10 and 11 can be controlled via MIDI Control messages 0 through

127. On the other hand, T empo information speciﬁed on the sequencer or from the MIDI clock is used as a BPM value for the Tempo. Therefore, a T empo value of 127 (BPM) will create the same effect as cr eated by the maximum value (+127) of MIDI Control message.

00: Amp Simulation

This effect simulates the frequency response characteristics of guitar ampliﬁers. You can obtain a realistic guitar ampliﬁer sound. It is also effective for organ sounds.

Mono In - Mono Out

size1

Amp Simulation Filter

a Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁer.

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Wet / Dry

01: Compressor

This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for guitar, piano, and drum sounds.

Mono In - Mono Out

EQ Trim

a Sensitivity 1…100 b Attack 1…100 Sets attack amount. c EQ Trim 0…100 Equalizer input level d Pre LEQ Gain [dB] –15.0…+15.0dB Low EQ gain e Pre HEQ Gain [dB] –15.0…+15.0dB High EQ gain f Ouput Level 0…100 Compressor output level.

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

a: Sensitivity f: Output Level

The “Sensitivity” parameter sets the sensitivity of the compressor. If this parameter is set to a higher value, lower level sounds will be boosted. With a higher

LEQ HEQ

Envelope - Control

Compressor

Sets sensitivity. ☞P.14

P.14

☞

Output Level

☞

P.14

Sensitivity, the overall volume level is higher. To adjust the ﬁnal volume level, use the “Output Level” parameter.

Level

Louder

Wet

Dry

Compressor - Sensitivity

Sensitivity=100

Sensitivity=40

Wet / Dry

b: Attack

This parameter controls the attack level.

Level

Attack=80

Attack=20

Dry

Time

Compressor - Attack

Wet

Time

02: Limiter

The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the speciﬁed level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered.

Mono In - Mono Out

size1

Gain Adjust

Side PEQ

a Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. ☞P.15

b Threshold [dB] –40…0dB

c Attack 1…100 Sets attack time. d Release 1…100 Sets release time. e Gain Adjust [dB] –16…+24dB Sets output gain.

f Side PEQ Insert Off, On Switches the trigger signal EQ on/off.

Side PEQ Cutoff [Hz] 20…12.00kHz Center frequency of the trigger signal EQ Q 0.5…10.0 Band width of the trigger signal EQ

Gain [dB] –18.0…+18.0dB Gain of the trigger signal EQ

h Trigger Monitor Off, On

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

a: Ratio b: Threshold [dB] e: Gain Adjust [dB]

This parameter sets the signal compression ratio. Compression is applied only when the signal level exceeds the Threshold value.

Adjust the output level using the Gain Adjust parameter, since compression

Envelope - Control

Limiter

Trigger Monitor

Sets the signal level above which compression is applied.

☞

P.15

☞

P.16

☞

P.15

Switches effect output/trigger signal monitor on/off.

P.16

☞

causes the entire level to be reduced.

Wet / Dry

P.16

☞

P.16

02: Limiter

Output Level

Threshold

Louder

Limiter - Threshold / Ratio

Ratio=1.0 : 1

Ratio=2.0 : 1 Ratio=4.0 : 1

Ration=Inf : 1

Louder

Input Level

c: Attack d: Release

Level

Dry

Ratio=Inf : 1

Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1

Threshold

Time

These parameters set the attack time and release time. A higher attack time will cause the compression to be applied more slowly.

Limiter - Attack / Release

Threshold

Dry

Ratio=Inf : 1

Wet

Release

Attack

Attack=1 Release=1

Ratio=Inf : 1 Attack=100 Release=100

f: Side PEQ Insert g: Side PEQ Cutoff [Hz] g: Q g: Gain [dB]

h: Trigger Monitor

These parameters are used to set the EQ applied to the trigger signal. The Limiter determines whether the compression is applied or not, based on the

sound post-EQ. Setting the equalizer allows you to set the Limiter to respond to any frequency band.

Setting this parameter On will cause the trigger signal to be output, instead of the Limiter signal. Use this parameter to check the trigger signal with EQ applied.

Usually, set this to Off.

03: Gate

The Gate effect mutes signals with a level lower than the speciﬁed threshold. You can also use this effect to create Gated Reverb by routing it after the Reverb effect. The Gate can be turned on/off directly by Note On/Off.

Mono In - Mono Out

size1

Delay

Envelope Select

Gate+Sus

Envelope Select D-mod, Input

Src None…Gate2+Sus

b Threshold 0…100

c Attack 1…100 Sets attack time. d Release 1…100 Sets release time. e Delay Time [msec] 0…100msec Delay time for gate input

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

a: Envelope Select a: Src

The Envelope Select parameter determines whether the Gate is on/off based on the level of input signal or by using a modulation source. The Src parameter is

Envelope - Control

Gate

Toggles between control by Modulation Source and control by input signal.

Modulation Source that controls Gate when Envelope Select is set to D-mod.

Sets the signal level below which Gate is applied.

☞

P.17

☞

P.17

☞

P.17

P.18

☞

available only when you have selected D-mod for the Envelope Select parameter. Selection ranges from None to Gate2+Sus.

b: Threshold c: Attack d: Release

This parameter sets the signal level below which Gate is applied when Envelope Select is set to Input.

The Attack and Release parameters set the Gate attack time and release time.

Wet / Dry

03: Gate

Gate - Threshold

Output Level

Threshold

Louder

e: Delay Time

Louder

Input Level

Gate - Attack / Release

Threshold

Dry

Wet

Attack

Release

Attack=1 Release=1

Attack=100 Release=100

This parameter sets the delay time of the Gate input. If the sound has a very fast attack, increase the delay time so that the signal will be input after the Gate is opened. This will preserve the attack part of the sound.

04: Overdrive/Hi-Gain

This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the 4-band EQ will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.

Mono In - Mono Out

size1

Pre Low-cut

Driver

Mode: Overdrive / Hi-Gain

Drive

a Mode Overdrive, Hi-Gain Switches between overdrive and hi-gain distortions. bDrive 0…100 Sets the degree of distortion. c Output Level 0…50 Sets the output level.

d Pre Low-cut 0…10

Band1 Cutoff [Hz] 20…1.0kHz Center frequency of EQ band 1

Q 0.5…10.0 Band 1 bandwidth Gain [dB] –18…+18dB Band 1 gain Band2 Cutoff [Hz] 50…5.00kHz Band 2 center frequency

Q 0.5…10.0 Band 2 bandwidth Gain [dB] –18…+18dB Band 2 gain Band3 Cutoff [Hz] 300…10.00kHz Band 3 center frequency

Q 0.5…10.0 Band 3 bandwidth Gain [dB] –18…+18dB Band 3 gain Band4 Cutoff [Hz] 500…20.00kHz Band 4 center frequency

Q 0.5…10.0 Band 4 bandwidth Gain [dB] –18…+18dB Band 4 gain

i Direct Mix 0…50 Mix amount of dry sound routed to Distortion

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

4 Band PEQ

Output Level

Direct Mix

☞

P.19

Amount of cut in low range at the distortion input.

☞

P.19

☞

P.19

☞

P.19

☞

P.19

Wet / Dry

P.19

☞

b: Drive c: Output Level

d: Pre Low-cut

e: Q f: Q g: Q h: Q

The degree of distortion is determined by the level of input signal and the setting of Drive. Raising the Drive setting will cause the entire volume level to increase. Use the Output Level parameter to adjust the volume level. The Output Level parameter uses the signal level input to the 4-Band EQ. If clipping occurs at the 4-Band EQ, adjust the Output Level parameter.

Cutting the signal in the low range before it is input to the Distortion will create a sharp distortion.

These parameters set the bandwidth of each band ﬁlter. The higher the value, the narrower the band becomes.

05: Parametric 4EQ

(Parametric 4-Band EQ)

05: Parametric 4EQ

(Parametric 4-Band EQ)

This effect is a four-band parametric equalizer. You can select either a peaking type or a shelving type for Band 1 and 4. Band 2 allows for gain control via dynamic modulation.

Mono In - Mono Out

Trim

-mod

aTrim 0…100 Sets the input level. b Band1 Type Peaking, Shelving-Low Selects Band 1 type. c Band4 Type Peaking, Shelving-High Selects Band 4 type.

Band2 Dynamic Gain Src None…Tempo Modulation source for Band 2 gain

Amt [dB] –18.0…+18.0dB Amount of Band 2 gain modulation Band1 Cutoff [Hz] 20…1.0kHz Sets the Band 1 center frequency.

Q 0.5…10.0 Sets the Band 1 bandwidth. Gain [dB] –18.0…+18.0dB Sets the Band 1 gain. Band2 Cutoff [Hz] 50…10.00kHz Sets the Band 2 center frequency.

Q 0.5…10.0 Sets the Band 2 bandwidth. Gain [dB] –18.0…+18.0dB Sets the Band 2 gain. Band3 Cutoff [Hz] 300…10.00kHz Sets the Band 3 center frequency.

Q 0.5…10.0 Sets the Band 3 bandwidth. Gain [dB] –18.0…+18.0dB Sets the Band 3 gain. Band4 Cutoff [Hz] 500…20.00kHz Sets the Band 4 center frequency.

Q 0.5…10.0 Sets the Band 4 bandwidth. Gain [dB] –18.0…+18.0dB Sets the Band 4 gain.

i Wet/Dry Dry, 1:99…99:1, Wet Balance between the effect sound and dry sound.

Band1

PEQ

LEQ

Band2

Band3

PEQ PEQ PEQ

Band4

HEQ

P.20

☞ ☞

P.20

P.21

☞

Wet / Dry

☞

P.21

P.19

☞

P.19

☞

P.19

☞

b: Band1 Type c: Band4 Type

Selects a ﬁlter type for Band 1 and 4.

+Gain

0dB

Band1 Type=Shelving Low

–Gain

Band1 Cutoff

Band1 Type=Peaking

Parametric 4EQ - Band1, Band4 Type

3dB

Band4 Type=Shelving High Band4 Type=Peaking

3dB

Band4 Cutoff

05: Parametric 4EQ

(Parametric 4-Band EQ)

d: Band2 Dynamic Gain Src d: Amt [dB] f: Gain [dB]

You can control the gain of Band 2 using the modulation source.

Parametric 4EQ - Band2 Dynamic Gain Control

+15dB

+6dB

0dB

Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.0

Band2 Cutoff

-mod

Band2 Cutoff

+6dB

0dB

–9dB

Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= –15.0

size1

-mod

06: Graphic 7Band EQ

This effect is a seven-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.

Mono In - Mono Out

Trim

a Type

bTrim 0…100 Sets the input level. c Band1 [dB] –18.0…+18.0dB Sets Band 1 gain. d Band2 [dB] –18.0…+18.0dB Sets Band 2 gain. e Band3 [dB] –18.0…+18.0dB Sets Band 3 gain. f Band4 [dB] –18.0…+18.0dB Sets Band 4 gain. g Band5 [dB] –18.0…+18.0dB Sets Band 5 gain. h Band6 [dB] –18.0…+18.0dB Sets Band 6 gain.

i Band7 [dB] –18.0…+18.0dB Sets Band 7 gain.

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Band1

1:Wide 1 2:Wide 2 3:Wide 3 4:Half Wide 1 5:Half Wide 2 6:Half Wide 3 7:Low 8:Wide Low 9:Mid 10:Wide Mid 11:High 12:Wide High

Band2

Band3

Band4

Band5 Band6

Selects a combination of center frequencies for each band.

☞

P.22

Band7

Wet / Dry

a: Type

This parameter selects a combination of center frequencies for each band. Each center frequency is shown on the right edge of the LCD.

You can conﬁgure a 21-Band Graphic EQ ranging from 80Hz to 18kHz if you route three Graphic 7Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ.

07: Wah/Auto Wah

This wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings. You can select Band Pass or Low Pass for the wah ﬁlter.

Mono In - Mono Out

size1

Wet / Dry

Wah

Envelope Sens

-mod

a Frequency Bottom 0…100 Sets the lower limit of the wah center frequency. ☞P.24 b Frequency Top 0…100 Sets the upper limit of the wah center frequency.

Sweep Mode Auto, D-mod

Src None…Tempo

Response 0…10

d Envelope Sens 0…100 Sets the sensitivity of auto-wah. e Envelope Shape –100…+100 Sets the sweep curve of auto-wah.

f Resonance 0…100 Sets the resonance amount.

g Filter Mode Band Pass, Low Pass Selects the wah ﬁlter type.

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Envelope Shape

Response

Auto

D-mod

Sweep Mode

Switches between auto-wah control and modulation source.

☞

P.24

Modulation source used to control wah when Sweep Mode is set to D-mod.

How quickly the wah effect responds to dynamic modulation.

P.24

☞

P.24

☞

07: Wah/Auto Wah

a: Frequency Bottom b: Frequency Top

Frequency

Top=75

Bottom=25

Frequency

Top=75

Bottom=25

The sweep width and direction of the wah ﬁlter are determined by the Frequency Top and Frequency Bottom settings.

Sweep Mode=D-mod

Woo

Sweep Mode=Auto

Envelope

Zero

Woo

Higher

Woo

Higher

Wah

Envelope

Wah

Woo

Max

Time

Frequency

Bottom=60

-mod

Frequency

Bottom=75

Higher

Wah

Top=30

Zero

Wah Wah

Higher

Top=25

Higher

Woo

Envelope

Max

Time

-mod

c: Sweep Mode

d: Envelope Sens

e: Envelope Shape

This parameter changes the wah control mode. Setting Sweep Mode to Auto will select an auto-wah that sweeps according to envelope changes in the input signal level. Auto-wah is frequently used for funk guitar parts and clav sounds.

When Sweep Mode is set to D-mod, you can control the ﬁlter directly via the modulation source in the same way as a wah pedal.

This parameter sets the sensitivity of auto-wah. Increase the value if the input signal is too low to sweep. Reduce the value if the input signal is so high that the ﬁlter is stopped temporarily.

This parameter determines the sweep curve for auto-wah.

Envelope Shape

Level

Envelope

value = 0...+100 value = 0...–100

Time

08: Random Filter

The ﬁlter frequency changes randomly. You can create a special effect from ﬁlter oscillation.

Mono In - Mono Out

size1

Filter

Random LFO

LFO Frequency [Hz] 0.05…50.00Hz Speed of LFO that modulates the ﬁlter

Src None…Tempo Modulation source of LFO speed Amt –50.00…+50.00Hz Modulation amount of LFO speed

b Cutoff 0…100 Filter center frequency

Depth 0…100 Modulation depth of ﬁlter center frequency

Src None…Tempo Modulation source of ﬁlter modulation Amt –100…+100 Modulation amount of ﬁlter modulation

d Resonance 0…100 Sets the resonance amount.

Wet/Dry

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

e: Wet/Dry

–Wet…–1:99, Dry, 1:99…Wet

The effect sound’s phase will be reversed when you set this parameter in the

Sets the balance between the effect and dry sounds.

☞

P.25

range of values from –Wet to –1:99.

Wet / Dry

09: Dyna Exciter

This effect gives a frame to a sound and emphasizes the outline. You can control the intensity of the effect using dynamic modulation.

Mono In - Mono Out

LEQ HEQ

Exciter

EQ Trim

-mod

Blend –100…+100 Sets the intensity (depth) of the Exciter effect. Src None…Tempo Modulation source of the Exciter intensity

Amt –100…+100 Modulation amount of the Exciter intensity Emphatic Point 0…140 Sets the frequency to be emphasized.

Src None…Tempo Modulation source of the frequency to be emphasized

Amt –100…+100 Modulation amount of the frequency to be emphasized c EQ Trim 0…100 2-band EQ input level d Pre LEQ Gain [dB] –15.0…+15.0dB Low EQ gain e Pre HEQ Gain [dB] –15.0…+15.0dB High EQ gain

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. f

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

a: Blend

This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) different from negative values.

b: Emphatic Point

This parameter sets the frequency to be emphasized. Higher values will emphasize lower frequencies.

Wet / Dry

☞

P.26

☞

P.26

10: Sub Oscillator

This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.

Mono In - Mono Out

Pre LPF

Envelope

Shape

Wet / Dry

size1

OSC Mode

Sine Oscillator

Pitch

Determines whether the oscillator frequency follows the note number or whether it is ﬁxed.

When OSC Mode = Note (Key Follow), this parameter sets the pitch difference from the note number.

When OSC Mode = Fixed, this parameter sets the oscillator frequency.

Oscillator frequency modulation source when OSC Mode = Fixed.

Oscillator frequency modulation amount when OSC Mode = Fixed.

The upper limit of the frequency range for which very low harmonics are added.

Sets the sensitivity with which very low harmonics are added.

☞

P.27

☞

P.27

Fixed Frequency

Note No.

a OSC Mode Note (Key Follow), Fixed

Note Interval –48…0

Src (ﬁxed) Note No. Note number information source (ﬁxed to Note #).

c Note Fine –100…+100 Fine adjustment of the oscillator frequency.

Fixed Frequency [Hz] 10.0…80.0Hz

Src None…Tempo

Amt –80…+80Hz

e Envelope Pre LPF 1…100

f Envelope Sens 0…100

g Envelope Shape –100…+100 Sets the oscillator’s volume envelope curve.

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

a: OSC Mode b: Note Interval b: Src c: Note Fine

Note Interval, Fine

The OSC Mode parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator’s frequency is determined based on the note number, allowing you to use it as an octaver. The Note Interval parameter sets the pitch offset from the original note number by semitone steps. The Note

Fixed

Note (Key Follow)

Fine parameter allows you to ﬁne-tune in steps of cents. The Src parameter is ﬁxed to the Note #, and you cannot select another source.

P.27

☞

P.27

☞

d: Fixed Frequency [Hz]

e: Envelope Pre LPF

The Fixed Frequency parameter sets the frequency when you select “Fixed” for the OSC Mode parameter.

This parameter sets the upper limit of the frequency range to which very low harmonics are added. Adjust this parameter if you do not want to add lower harmonics to the higher range. For example, you can create a nice effect by adding very low harmonics only to the bass drum sound, not to the snare sound.

11: Decimator

This effect creates a rough sound like a cheap sampler by lowering the sampling frequency. You can also simulate noise unique to a sampler (aliasing).

Mono In - Mono Out

Pre LPF

High Damp

Decimator

Sampling Frequency

a Pre LPF Off, On

Sampling Freq [Hz]

(Sampling Frequency) b

Src None…Tempo Sets the modulation source of the sampling frequency.

Amt –24.00k…+24.00kHz Sets the modulation amount of the sampling frequency. c High Damp [%] 0…100% Ratio of cut of the high range

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. d

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

a: Pre LPF

1.00k…24.00kHz Sets the sampling frequency.

If you input a sound containing high frequencies (that cannot be sampled) to a

Selects whether the harmonic noise caused by decrease in sampling frequency is generated or not.

sampler with a low sampling frequency, a noise with a pitch unrelated to the original sound will be generated. When Pre LPF = ON, this type of noise will not be generated.

You can create a sound similar to a ring modulator if you set Pre LPF to OFF, with a Sampling Freq of 3kHz.

Wet / Dry

☞

P.28

12: Chorus

This effect adds thickness and warmth to the sound by modulating the delay time of the input signal.

Mono In - Mono Out

size1

LEQ HEQ

Chorus

EQ Trim

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects LFO Waveform.

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed

c Pre Delay [msec] 0.0…50.0msec Delay from the original sound

Depth 0…100 Depth of LFO modulation

Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation amount of the LFO modulation depth

e EQ T rim 0…100 EQ input level

f Pre LEQ Gain [dB] –15.0…+15.0dB Low-EQ gain

g Pre HEQ Gain [dB] –15.0…+15.0dB High-EQ gain

Wet/Dry

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

–Wet…–1:99, Dry, 1:99…Wet

Sets the balance between the effect and dry sounds.

P.25

☞

Wet / Dry

13: Harmonic Chorus

This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a ﬂanger.

Mono In - Mono Out

Low Level

Wet / Dry

Chorus/Flanger

High/Low Split Point

LFO: Triangle

LFO frequency [Hz] 0.02…20.00Hz LFO speed a

Src None…Tempo Modulation source of LFO speed

Amt –20.00…+20.00Hz Modulation amount of LFO speed b Pre delay [msec] 0.0…50.0msec Delay from the original sound

Depth 0…100 Depth of LFO modulation c

Src None…Tempo Modulation source of the LFO modulation depth

Amt –100…+100 Modulation amount of the LFO modulation depth

d High/Low Split Point 1…100

e Feedback –100…+100 Feedback amount of the chorus block f High Damp [%] 0…100% Chorus block damping amount in the high range g Low Level 0…100 Output level in the low range h High Level 0…100 Output level in the high range (chorus)

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Feedback

High Damp

Frequency split point between the low and high range

☞P.30

High Level

☞P.30

d: High/Low Split Point This parameter sets the frequency that splits the low and high range. Only the

high range will be sent to the chorus block.

e: Feedback Sets the feedback amount of the chorus block. Increasing the feedback will allow

you to use the effect as a ﬂanger.

14: Ensemble

This chorus effect is created by a subtle shimmering LFO, and adds richness and thickness to the sound. It is most effective on the string sounds.

Mono In - Mono Out

size1

Ensemble

Shimmer

LFO

Speed 1…100 LFO speed

Src None…Tempo Modulation source of LFO speed Amt –100…+100 Modulation amount of LFO speed

b Shimmer 0…100 Amount of shimmering of the LFO waveform

Depth 0…100 Depth of LFO modulation

Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation amount of the LFO modulation depth Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Wet / Dry

☞P.31

b: Shimmer This parameter sets the amount of shimmering of the LFO waveform. Increasing

this value makes more shimmering, making the chorus effect more complex and richer.

Level

Ensemble LFO

Shimmer

Time

15: Flanger

This effect gives a signiﬁcant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics, such as cymbals or electric guitar sounds.

Mono In - Mono Out

Wet / Dry

Flanger

Feedback

LFO: Tri / Sine

a Delay Time [msec] 0.0…50.0msec Delay from the original sound b LFO Waveform Triangle, Sine Selects the LFO Waveform.

c LFO Shape –100…+100

LFO Frequency [Hz] 0.02…20.00Hz LFO speed d

Src None…Tempo Modulation source of LFO speed

Amt –20.00…+20.00Hz Modulation amount of LFO speed e Depth 0…100 Depth of LFO modulation f Feedback –100…+100 Feedback amount g High Damp [%] 0…100% Feedback damping amount in the high range

Wet/Dry h

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

LFO Shape

–Wet…–1:99, Dry, 1:99…Wet

High Damp

Determines how much the LFO waveform is changed.

☞P.32

Sets the balance between the effect and dry sounds.

☞P.25, 32

c: LFO Shape Changing the LFO waveform shape controls the peak sweep of ﬂanging effects.

LFO Shape

LFO Shape = 0...–100

f: Feedback h: Wet/Dry

LFO Shape = 0...+100

LFO Waveform=Sine

The peak shape of the positive and negative Feedback value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both Feedback and Wet/Dry, and if you set a negative value for both Feedback and Wet/Dry.

g: High Damp [%] This parameter sets the amount of damping of the feedback in the high range.

Increasing the value will cut high-range harmonics.

16: Tempo Flanger

This Flanger allows you to match the LFO cycle with a song’s tempo. For example, you can apply the Flanger synchronizing to a sequencer rhythm pattern, or you can input a tempo before a live performance so that the ﬂanging effect will match the song tempo. The LFO cycle can be set in steps of one note.

Mono In - Mono Out

Flanger

Wet / Dry

size1

Tempo

120 [beat/min]

a Delay Time [msec] 0.0…50.0msec Delay from the original sound b LFO Waveform Triangle, Sine Selects the LFO waveform.

c LFO Shape –100…+100

LFO Mode Manual, D-mod

Src (ﬁxed) Tempo Source when LFO Mode = D-mod (ﬁxed to Tempo)

e Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual

f Length 1…16/1…16

g Depth 0…100 Depth of LFO modulation h Feedback –100…+100 Feedback amount

i High Damp [%] 0…100% Feedback damping amount in the high range

Wet/Dry

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

d: LFO Mode d: Src (ﬁxed)

D-mod

LFO Mode

Manual

–Wet…–1:99, Dry, 1:99…Wet

This parameter selects the LFO operation mode. When Manual is selected, the LFO refers to the value set in e: Tempo. When D-mod is selected, the LFO will

Feedback

Length: 1/4

High Damp

LFO: Tri / Sine

Determines how much the LFO waveform is changed.

☞P.32

Switches between the speciﬁed tempo and clock sync.

☞P.33

LFO Shape

☞P.33

Sets the LFO cycle. LFO Cycle = Length x Whole Note.

☞P.33

☞P.32

Sets the balance between the effect and dry sounds.

☞P.25, 32

synchronize to the internal MIDI clock. This is useful for performance using a sequencer.

When D-mod is selected for the LFO mode, the source is ﬁxed to Tempo and cannot be changed.

☞P.32

e: Tempo [beat/min] This parameter sets the tempo when Manual is selected for the LFO Mode.

f: Length This parameter sets the LFO cycle. The cycle is calculated by multiplying the

length of a whole note by the value of Length. For example, when Length is set to 1/4, the Flanger will sweep at an interval of

one quarter note.

17: Envelope Flanger

This Flanger uses an envelope generator for modulation. You will obtain the same pattern of ﬂanging each time you play. You can also control the Flanger directly using the modulation source.

Mono In - Mono Out

Flanger

Wet / Dry

-mod

a Delay Bottom [msec] 0.0…50.0msec Sets the lower limit of Delay Time. ☞P.24 b Delay T op [msec] 0.0…50.0msec Sets the higher limit of Delay Time.

Sweep Mode EG, D-mod

Src None…Tempo

d EG Decay 1…100 Sets the EG decay speed. e Feedback –100…+100 Feedback amount f High Damp [%] 0…100% Feedback damping amount in the high range

Wet/Dry g

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

c: Sweep Mode c: Src

D-mod

EG Decay

Sweep Mode

–Wet…–1:99, Dry, 1:99…Wet

This parameter switches the ﬂanger control mode. With Sweep Mode = EG, the ﬂanger will sweep using the envelope generator. This envelope generator is

Feedback

High Damp

☞P.24

Determines whether the ﬂanger is controled by the envelope generator or by the modulation source.

Modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the ﬂanger to sweep (when D-mod is selected for Sweep Mode).

☞P.34

☞P.32

Sets the balance between the effect and dry sounds.

☞P.25, 32

included in the envelope ﬂanger, and not related to the Oscillator EG, Filter EG, or Amp EG.

The Src parameter selects the source that starts the envelope generator. If you select, for example, Gate, the envelope generator will start when the note-on message is received.

When Sweep Mode = D-mod, the modulation source can control the ﬂanger directly. Select the modulation source using the Src parameter.

☞P.34

☞P.32

d: EG Decay Decay speed is the only adjustable parameter on this EG.

The effect is off when a value for the modulation source speciﬁed for the Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher.

18: Phaser

This effect creates a swell by shifting the phase. It is very effective on electric piano sounds.

Mono In - Mono Out

18: Phaser

size1

Phaser

Resonance

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects the LFO Waveform.

b LFO Shape –100…+100

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…Tempo Modulation source of LFO speed

Amt –20.00…+20.00Hz Modulation amount of LFO speed d Manual 0…100 Sets the frequency to which the effect is applied. e Depth 0…100 Depth of LFO modulation

f Resonance –100…+100 Sets the resonance amount.

g High Damp [%] 0…100% Resonance damping amount in the high range

Wet/Dry h

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

f: Resonance h: Wet/Dry

LFO Shape

–Wet…–1:99, Dry, 1:99…Wet

The peak shape of the positive and negative Feedback value is different. The harmonics will be emphasized when the effect sound is mixed with the dry

High Damp

Determines how much the LFO waveform shape is changed.

☞P.32

Sets the balance between the effect and dry sounds.

☞P.25, 35

Wet / Dry

☞P.35

sound, if you set a positive value for both Resonance and Wet/Dry, and if you set a negative value for both Resonance and Wet/Dry.

☞P.35

g: High Damp [%] This parameter sets the amount of damping of the resonance in the high range.

Increasing the value will cut high-range harmonics.

19: Tempo Phaser

This Phaser allows you to match the LFO cycle with the song tempo. For example, you can synchronize the Phaser to a sequencer rhythm pattern, or you can input a tempo before a live performance so that the phasing effect will match the song tempo.

Mono In - Mono Out

Phaser

Wet / Dry

Tempo

120 [beat/min]

a LFO Waveform Triangle, Sine Selects the LFO waveform.

b LFO Shape –100…+100

LFO Mode Manual, D-mod

Src (ﬁxed) Tempo Source when LFO Mode = D-mod (ﬁxed to Tempo) d Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual e Length 1…16/1…16 Sets the LFO cycle. LFO Cycle = Length x Whole Note. f Manual 0…100 Sets the frequency to which the effect is applied. g Depth 0…100 Depth of LFO modulation h Resonance –100…+100 Sets the resonance amount.

i High Damp [%] 0…100%

Wet/Dry

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

D-mod

Manual

LFO Mode

–Wet…–1:99, Dry, 1:99…Wet

Resonance

Length: 1/4

High Damp

LFO: Tri / Sine

Determines how much the LFO waveform is changed.

☞P.32

Switches between the speciﬁed tempo and clock sync.

☞P.33

LFO Shape

☞P.33

☞P.35

Sets the resonance damping amount in the high range.

☞P.35

Sets the balance between the effect and dry sounds.

☞P.25, 35

20: Envelope Phaser

This Phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source.

Mono In - Mono Out

Phaser

Wet / Dry

size1

Resonance

EG Decay

D-mod

Sweep Mode

0…100

–Wet, –99…–1, Dry, 1…99, Wet

-mod

Manu Bottom

(Manual Bottom) Manu T op

(Manual T op)

Sweep Mode EG, D-mod

Src None…Tempo

d EG Decay 1…100 Sets the EG decay speed. e Resonance –100…+100 Sets the resonance amount.

f High Damp [%] 0…100%

Wet/Dry

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

High Damp

Sets the lower limit of the frequency range to which the effect is applied.

Sets the higher limit of the frequency range to which the effect is applied.

Determines whether the phaser is controlled by the envelope generator or by the modulation source.

Modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the phaser to sweep (when D-mod is selected for Sweep Mode).

Sets the resonance damping amount in the high range.

☞P.35

Sets the balance between the effect and dry sounds.

☞P.25, 35

☞P.24 ☞P.24

☞P.34

☞P.35

21: Vibrato

This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.

Mono In - Mono Out

Wet / Dry

Vibrato

LFO: Tri / Sine

AutoFade

AUTOFADE Src None…Tempo a

Fade-In Rate 1…100 Sets the rate of fade-in. b LFO Waveform Triangle, Sine Selects the LFO Waveform.

c LFO Shape –100…+100

LFO Frequency [Hz] 0.02…20.00Hz LFO speed d

Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available.

Amt –20.00…+20.00Hz Modulation amount of LFO speed

Depth 0…100 Depth of LFO modulation e

Src None…Tempo Modulation source of the LFO modulation depth

Amt –100…+100 Modulation depth of the LFO modulation depth

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. f

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

LFO Shape

LFO Frequency

Sets the modulation source that starts AutoFade.

☞P.78

Determines how much the LFO waveform shape is changed.

☞P.32

22: Resonator

This effect resonates the input signal at a speciﬁed pitch. For example, the Resonator will add a unique character to a string sound by emphasizing certain harmonics, or give a “pitch” to a drum sound. Y ou can control the resonance intensity via an LFO.

Mono In - Mono Out

High Damp

Resonance

Control Mode

Resonator

Pitch, Fine [cent]

☞P.39

Sets the intensity of resonance when Control Mode = Manual.

☞P.39

Damping amount of resonant sound in the high range

☞P.39

Trim

Manual

LFO

a Contol Mode Manual, LFO Switches the control of resonance intensity. ☞P.39 b LFO Frequency [Hz] 0.02…20.00Hz LFO speed c LFO Depth –100…100 Amount of resonance intensity control via LFO dTrim 0…100 Input level to the Resonator e Pitch C0…B8 Pitch for resonance

f Fine [cent] –50…+50cent Fine adjustment of pitch for resonance

g Resonance –100…+100

h High Damp [%] 0…100%

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Wet / Dry

☞P.39

size1

a: Contol Mode g: Resonance

This parameter determines whether the resonance intensity is controlled by an LFO or not.

With Control Mode = Manual, the Resonance parameter sets the intensity of r esonance. If the Resonance parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave below.

With Control Mode = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and negative values, causing resonance to occur between speciﬁed pitches an octave apart in turn.

e: Pitch f: Fine [cent]

The Pitch parameter speciﬁes the pitch of resonance by note name. The Fine parameter allows for ﬁne adjustment in steps of cents.

h: High Damp [%] This parameter sets the damping amount of resonant sound in the high range.

Lower values will make a metallic sound with a higher range of harmonics.

23: Ring Modulator

This effect creates a metallic sound by routing the input signal to an Oscillator. You will obtain a very radical modulation by modulating or operating the Oscillator using an LFO or dynamic modulation. Since the Oscillator frequency can match the note number, you can create a ring modulation effect that follows the scale.

Mono In - Mono Out

Pre LPF

Ring Modulator

Wet / Dry

OSC Mode

Sine Oscillator

Pitch

Sets the damping amount of the sound input to the Ring Modulator in the high range.

Determines whether the Oscillator frequency is speciﬁed or the note number is followed.

Modulation Source of the Oscillator frequency when OSC Mode = Fixed

Modulation Amount of the Oscillator frequency when OSC Mode = Fixed

Pitch difference from the note number when OSC Mode = Note (Key Follow)

Note number information source (Fixed to Note #)

☞P.41

Depth of LFO modulation applied to the Oscillator frequency

☞P.40

☞P.41

Fixed Frequency

Note No.

a Pre LPF 0…100

b OSC Mode Fixed, Note (Key Follow)

Fixed Frequency [Hz] 0…12.00kHz Oscillator frequency when OSC Mode = Fixed

Src None…Tempo c

Amt –12.00…+12.00kHz

Note Offset –48…+48 d

Src (ﬁxed) Note No.

e Note Fine –100…+100 Fine adjustment of the Oscillator frequency

LFO Frequency [Hz] 0.02…20.00Hz Speed of LFO that modulates the Oscillator frequency f

Src None…Tempo Modulation source of LFO speed

Amt –20.00…+20.00Hz Modulation amount of LFO speed

Depth 0…100 g

Src None…Tempo Modulation source of modulation depth

Amt –100…+100 Modulation amount of modulation depth

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. h

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Note Offset, Fine

LFO

Fixed

Note (Key Follow)

☞P.41

a: Pre LPF This parameter sets the damping amount of the sound input to the Ring Modu-

lator. If the input signal contains a lot of harmonics, the effect sound tends to be dirty. In this case, cut a certain amount of the high range.

b: OSC Mode This parameter determines whether the Oscillator frequency follows the note

number.

23: Ring Modulator

d: Note Offset e: Note Fine

d: Src The Note Number information source is ﬁxed to Note #, and you cannot select

c: Fixed Frequency [Hz] This parameter sets the oscillator frequency when OSC Mode is set to Fixed.

These are used to set the oscillator when OSC Mode is set to Note (Key Follow). The Note Offset parameter speciﬁes the pitch difference from the original note number in steps of semitones. The Note Fine parameter is used to “ﬁne-tune” this setting in steps of cents. When the oscillator frequency follows the note number, you will obtain a ring modulation effect in the correct scale.

other sources.

size1

24: Tremolo

This effect modulates the volume level of the input signal.

Mono In - Mono Out

Tremolo

LFO: Tri/Sin/Sqr/Up/Down

a LFO Wavef orm

b LFO Shape –100…+100

LFO Frequency [Hz] 0.02…20.00Hz LFO speed c

Src None…Tempo Modulation source of LFO speed

Amt –20.00…+20.00Hz Modulation amount of LFO speed

Depth 0…100 Depth of LFO modulation d

Src None…Tempo Modulation source of the depth of modulation

Amt –100…+100 Modulation amount of the depth of modulation

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. e

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

LFO Shape

Triangle, Sine, Square, Up, Down

Selects LFO Waveform.

Determines how much the shape of LFO waveform is changed.

☞P.32

☞P.42

a: LFO Waveform This parameter selects the LFO waveform.

Square wave simulates the characteristics of the tremolo created on a guitar ampliﬁer. Combining this effect with the Amp Simulation will make a realistic, vintage tremolo ampliﬁer sound.

Wet / Dry

Triangle

Sine

Square

Tremolo - LFO Waveform

Down

25: Rotary Speaker

This effect simulates a rotary speaker which is essential to organ sounds. This size 1 Rotary Speaker effect is monaural. You can change the speed of speaker rotation via dynamic modulation. The effect also simulates the microphone settings.

Mono In - Mono Out

Horn

Rotary Speaker

Rotor

-mod

Speed Switch: Slow/Fast

Rotor/Horn

Balance

Mic Distance

Wet / Dry

size1

Speed Switch Slow, Fast

Src None…Tempo Modulation source that toggles between slow and fast

Sw Momentary, Toggle

b Horn Acceleration 0…100

c Horn Ratio Stop, 0.5…2.0

d Mic Distance 0…100

e Rotor/Horn Balance Rotor, 1…99, Horn

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Switches the speaker rotation speed between slow and fast.

Selects switching mode of the modulation source that toggles between slow and fast.

How quickly the horn rotation speed in the high range is switched

☞P.43

Adjusts the (high-range side) horn rotation speed. Standard value is 1.0. Selecting “Stop” will stop the rotation.

Distance between the microphone and rotary speaker.

☞P.43

Sets the volume level balance between the low-range rotor and high-range horn.

☞P.43

a: Sw This parameter sets how the rotation speed (slow and fast) is switched via the

modulation source. When Sw = Momentary, the speed is usually slow. It becomes fast only when

you keep the pedal depressed or hold the joystick in position.

When a value for the modulation source is less than 64, “slow” speed is selected, and when the value is 64 or higher, “fast” is selected.

When Sw = Toggle, the speed is switched between slow and fast each time you press the pedal or operate the joystick.

Each time the value of the modulation source exceeds 64, the speed is switched between slow and fast.

b: Horn Acceleration On a real rotary speaker, the rotation speed is accelerated or decelerated gradu-

ally after you switch the speed. The Horn Acceleration parameter sets the speed at which the rotation is accelerated or decelerated.

d: Mic Distance This simulates microphone settings, specifying the distance between the micro-

phone and rotary speaker.

26: Delay

This delay effect delays the input signal over time. You can change the character of the delay sound by setting the feedback damping amount separately for the low range and high range.

Mono In - Mono Out

High Damp Low Damp

Input Level D-mod

a Delay Time [msec] 0.0…680.0msec Sets the delay time.

Feedback –100…+100 Sets the feedback amount. b

Src None…Tempo Modulation source of the feedback amount

Amt –100…+100 Modulation amount of the feedback amount c High Damp [%] 0…100% Damping amount in the high range d Low Damp [%] 0…100% Damping amount in the low range

Input Level D-mod: Src None…Tempo Modulation source of the input level e

Amt –100…+100 Modulation amount of the input level

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. f

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

c: High Damp [%] d: Low Damp [%]

These parameters set the damping amount for the high range and low range respectively. Each time feedback is input, the tone of the delay sound becomes

Delay

Feedback

darker, or lighter.

e: Input Level D-mod: Src:

These parameters set dynamic modulation of the input level.

e: Amt

Wet / Dry

☞P.44

Input Level

x1.0

x0.5

Zero

Amt= +100

Amt= +50

Louder

Higher

Max

-mod

Input Level

x1.0

x0.5

Zero

Louder

Higher

Amt= –50 Amt= –100

Max

Input Level D-mod

-mod

27: Multitap Delay

This Multitap Delay has two taps for delay. With various delay time settings, you can create complex delay sounds.

Mono In - Mono Out

size1

Feedback

Input Level D-mod

a T ap1 Time [msec] 0.0…680.0msec Sets the Tap1 delay time. b T ap2 Time [msec] 0.0…680.0msec Sets the Tap2 delay time. c Tap1 Level +0…+100 Tap1 output level

Feedback –100…+100 Sets the Tap2 feedback amount.

Src None…Tempo Modulation source of the Tap2 feedback amount Amt –100…+100 Modulation amount of the Tap2 feedback amount

e High Damp [%] 0…100% Damping amount in the high range

f Low Damp [%] 0…100% Damping amount in the low range

Input Level D-mod: Src None…Tempo Modulation source of the input level

Amt –100…+100 Modulation amount of the input level Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

High Damp

Low Damp

(1)

Delay

(2)

Tap1 Level

☞P.45

Wet / Dry

Tap1=(1) Tap2=(2)

☞P.44

c: Tap1 Level This parameter sets the output level of Tap1. Cr eating a dif ference in the volume

level from Tap2 will add a groove feeling to a somewhat monotonous delay and feedback.

28: Early Reflections

28: Early Reﬂections

This effect is only the early reﬂection part of a reverberation sound, and adds presence to the sound. You can also create sounds such as gated reverb and reversed effects by selecting the decay curve of the early reﬂection.

Mono In - Mono Out

LEQ HEQ

EQ Trim

a Type

b ER Time [msec] 10…400msec Time length of early reﬂection

c Pre Delay [msec] 0…200msec

d EQ T rim 0…100 Input level of EQ applied to the effect sound e Pre LEQ Gain [dB] –15.0…+15.0dB Low range EQ gain f Pre HEQ Gain [dB] –15.0…+15.0dB High range EQ gain

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. g

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Sharp, Loose, Modulated, Reverse

Pre Delay

Early Reflections

Selects the decay curve for the early reﬂection.

Time taken from the original sound to the ﬁrst early reﬂec- tion

a: Type This parameter selects the decay curve for the early reﬂection.

Early Reflections - Type

Sharp

Wet / Dry

☞P.46

Loose

Modulated

Reverse

Pre Delay

Dry

ER Time

00: St. Amp Simulation

(Stereo Amp Simulation)

00: St. Amp Simulation

(Stereo Amp Simulation)

This is a stereo amp simulator.

Stereo In - Stereo Out

Left

Amp Simulation Filter

Right

a Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁer

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Wet / Dry

size2

Wet / Dry

01: Stereo Compressor

This is a stereo compressor. You can link left and right channels, or use each channel separately.

Stereo In - Stereo Out

Left

Right

EQ Trim

LEQ HEQ

Compressor

Envelope Select

Envelope - Control

Compressor

EQ Trim

LEQ

HEQ

Wet / Dry

Output Level

Wet / Dry

a Envelope Select L/R Mix, L/R Individually

b Sensitivity 1…100 Sets the sensitivity. c Attack 1…100 Attack level d EQ T rim 0…100 Input level to EQ e Pre LEQ Gain [dB] –15.0…+15.0dB Low EQ gain f Pre HEQ Gain [dB] –15.0…+15.0dB High EQ gain g Output Level 0…100 Output level from the compressor

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. h

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

a: Envelope Select

This parameter selects whether the left and right channels are linked to control

Determines whether the left and right channels are linked or used separately.

☞

P.48

P.14

☞

P.14

both signals simultaneously, or whether each channel is controlled independently.

P.14

☞

02: Stereo Limiter

This effect is a stereo limiter. You can link left and right channels, or use each channel individually.

Stereo In - Stereo Out

Left

Right

Gain Adjust

Side PEQ

Envelope Select

Envelope - Control

Limiter

Trigger Monitor

Gain Adjust

Wet / Dry

size2

a Envelope Select

b Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio.

c Threshold [dB] –40…0dB

d Attack 1…100 Sets the attack time. e Release 1…100 Sets the release time.

f Gain Adjust [dB] –16…+24dB Sets the output gain.

g Side PEQ Insert Off, On Toggles between trigger signal’s EQ on/off

Side PEQ Cutoff [Hz] 20…12.00kHz Trigger signal’s EQ center frequency Q 0.5…10.0 Trigger signal’s EQ bandwidth

Gain [dB] –18.0…+18.0dB Trigger signal’s EQ gain

i Trigger Monitor Off, On

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

a: Envelope Select

L/R Mix, L Only, R Only, L/R Individually

When L/R Mix is selected for this parameter, the left and right channels are

Selects from linking both channels, controlling only from left channel, only from the right channel, or controlling each channel individually.

Sets the level above which the compressor is applied.

☞

P.15

Switches between effect output monitor and trigger signal monitor.

P.16

☞

P.49

P.16

☞

P.16

☞

P.15

linked to control the Limiter using the mixed signal. If L Only (or R Only) is selected, the left and right channels are linked, and the Limiter is controlled via only the left (or right) channel.

With L/R individually, the left and right channels control the Limiter individually.

P.15

☞

P.16

☞

P.16

03: Multiband Limiter

This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left

Right

a Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. ☞P.15

b Threshold [dB] –40…0dB

c Attack 1…100 Sets the attack time. d Release 1…100 Sets the release time. e Low Offset [dB] –40…0dB Gain of the low-range trigger signal f Mid Offset [dB] –40…0dB Gain of the mid-range trigger signal g High Offset [dB] –40…0dB Gain of the high-range trigger signal h Gain Adjust [dB] –16…+24dB Sets the output gain.

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

e: Low Offset [dB] f: Mid Offset [dB] g: High Offset [dB]

Band-Pass Filters

Low

Mid

High

Envelope - Control

Low Offset

Envelope - Control

Mid Offset

Envelope - Control

High Offset

Limiter

Gain Adjust

Limiter

Sets the level above which the compression is applied.

☞

P.15

P.16

☞

P.16

P.15

☞

These parameters set the input gain of the trigger signal. For example, if you do not want to apply compression to the high range, reduce

the High Offset value down below the Threshold level. In this way, the high range limiter will not respond, and compression will not be applied.

Wet / Dry

P.50

☞

P.50

☞

P.50

04: Stereo Gate

This is a stereo gate effect. Three types are available to turn the gate on/off. This effect features a Hold function that keeps the gate open for a speciﬁed period of time.

Stereo In - Stereo Out

Left

Delay

Envelope - Control

Gate

Wet / Dry

size2

Envelope Select

Right

Gate+Sus

a Type Select

Envelope Select

Src None…Gate2+Sus

c Polarity +, –

d Threshold 0…100 Sets the level to which the Gate is applied. e Hold Time [msec] 0…3000msec Gate hold time

f Attack 1…100 Sets attack time. g Release 1…100 Sets release time. h Delay Time [msec] 0…100msec Delay time of gate input

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

a: Type Select e: Hold Time [msec]

Level(Hold time is not available), T rigger Attack, Trigger Release

D-mod, L/R Mix, L Only, R Only

This parameter selects the gate type. With Type Select = Level, the gate is opened when the input signal level exceeds

Delay

Gate

Wet / Dry

Selects from No hold, Hold from attack, and hold from release.

Selects from Control via the modulation source, mixing the left and right signals, Only left, and Only right.

Modulation source that controls the gate when Envelope Select = D-mod

Switches between non-reversed and reversed Gate on/ off.

P.51

☞

P.52

☞

P.51

☞

P.17

☞

P.18

☞

the speciﬁed Threshold value, and the gate is closed when the level is below the Threshold. Hold Time is not effective.

With Type Select = Trigger Attack, the gate is open only during the period speciﬁed in the Hold Time ﬁeld, after the input signal level exceeds the Threshold value. Once the gate is closed, it remains closed until the input level exceeds the Threshold value again.

With Type Select = Trigger Release, the gate is open when the input signal level exceeds the Threshold value. The gate is closed for a period speciﬁed in the Hold Time ﬁeld after the level falls below the Threshold.

☞

P.52

☞

P.17

04: Stereo Gate

Dry

Wet Level

Stereo Gate - Type Select

Threshold

b: Envelope Select b: Src

c: Polarity

Wet Trigger Attack

Wet Trigger Release

Attack

Trigger

Attack

Hold Time

Trigger

Release

Hold Time

The Envelope Select parameter selects whether the gate on/off is triggered by the level of the input signal, or controlled directly by the modulation source. The Src parameter speciﬁes the modulation source, selected from None to Gate2+Sus.

With Envelope Select = L/R Mix, the left and right channel signal mixture will trigger the gate on/off. When L Only or R Only is selected, the gate is controlled by either of the channel signals.

This parameter reverses the Gate on/off operation. With a negative value, the gate is closed when the input signal level exceeds the Threshold. The gate operation controlled by the modulation source is also reversed.

05: OD/Hi-Gain Wah

(Overdrive/Hi-Gain Wah)

05: OD/Hi-Gain Wah

(Overdrive/Hi-Gain Wah)

This effect is a distortion with wah, 4-band EQ and amp simulator.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left

Mode: Overdrive / Hi-Gain

Pre Low-cut

Right

-mod

Wah Off, On Switches Wah on/off.

Src None…Tempo Modulation source that controls the Wah.

b Wah Sweep Range –10…+10 Sets the range of Wah.

Drive Mode Overdrive, Hi-Gain Switches between overdrive and hi-gain distortion.

Pre Low-cut 0…10 Low range cut amount of the distortion input Drive 1…100 Sets the degree of distortion.

Output Level 0…50 Sets the output level. Band1 Cutoff [Hz] 20…1.0kHz Equalizer - Band 1 center frequency

Q 0.5…10.0 Band 1 bandwidth Gain [dB] –18…+18dB Band 1 gain Band2 Cutoff [Hz] 50…5.00kHz Band 2 center frequency

Q 0.5…10.0 Band 2 bandwidth Gain [dB] –18…+18dB Band 2 gain Band3 Cutoff [Hz] 300…10.00kHz Band 3 center frequency

Q 0.5…10.0 Band 3 bandwidth Gain [dB] –18…+18dB Band 3 gain Band4 Cutoff [Hz] 500…20.00kHz Band 4 center frequency

Q 0.5…10.0 Band 4 bandwidth Gain [dB] –18…+18dB Band 4 gain Direct Mix 0…50 Amount of the dry sound mixed to the distortion

Speaker Simulation Off, On Speaker simulation on/off Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Wah

Drive

Driver

4 Band PEQ

Output Level

Direct Mix

Amp Simulation

☞

P.54

☞

P.19

☞

P.19

☞

P.19

P.54

☞

P.19

Wet / Dry

size2

☞

P.19

05: OD/Hi-Gain Wah

(Overdrive/Hi-Gain Wah)

a: Wah a: Src

b: Wah Sweep Range

The Wah parameter switches the wah effect on/off. The wah center frequency can be controlled by the modulation source speciﬁed in the Src parameter.

This parameter sets the sweep range of the wah center frequency. A negative value will reverse the direction of sweep.

06: St. Parametric 4EQ

(Stereo Parametric 4-Band EQ)

06: St. Parametric 4EQ

(Stereo Parametric 4-Band EQ)

This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and

4. The gain of Band 2 can be controlled by dynamic modulation.

Stereo In - Stereo Out

Left

Trim

Right

-mod

aTrim 0…100 Sets the input level. b Band1 Type Peaking, Shelving-Low Selects the type for Band 1. c Band4 Type Peaking, Shelving-High Selects the type for Band 4.

Band2 Dynamic Gain Src None…Tempo Modulation source of the Band 2 gain

Amt [dB] –18.0…+18.0dB Modulation amount of Band 2 gain Band1 Cutoff [Hz] 20…1.0kHz Sets the center frequency for Band 1.

Q 0.5…10.0 Band 1 bandwidth Gain [dB] –18.0…+18.0dB Sets the gain of Band 1. Band2 Cutoff [Hz] 50…10.00kHz Sets the center frequency for Band 2.

Q 0.5…10.0 Band 2 bandwidth Gain [dB] –18.0…+18.0dB Sets the gain of Band 2. Band3 Cutoff [Hz] 300…10.00kHz Sets the center frequency for Band 3.

Q 0.5…10.0 Band 3 bandwidth Gain [dB] –18.0…+18.0dB Sets the gain of Band 3. Band4 Cutoff [Hz] 500…20.00kHz Sets the center frequency for Band 4.

Q 0.5…10.0 Band 4 bandwidth Gain [dB] –18.0…+18.0dB Sets the gain of Band 4.

i Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Band1

PEQ

LEQ

PEQ

Band2

Band3

PEQ PEQ PEQ

Band4

HEQ

☞

P.19

☞

P.19

☞

P.19

☞ ☞

P.21

P.20 P.20

Wet / Dry

☞

P.21

size2

07: St. Graphic 7EQ

(Stereo Graphic 7-Band EQ)

07: St. Graphic 7EQ

(Stereo Graphic 7-Band EQ)

This is a stereo 7-band graphic equalizer . The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.

Stereo In - Stereo Out

Left

Trim

Right

a Type

i Band7 [dB] –18.0…+18.0dB Sets Band 7 gain.

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Band1

1:Wide 1 2:Wide 2 3:Wide 3 4:Half Wide 1 5:Half Wide 2 6:Half Wide 3 7:Low 8:Wide Low 9:Mid 10:Wide Mid 11:High 12:Wide High

Band2

Band4

Band3

Band4 Band5 Band6

Band3

Band5 Band6

Selects a combination of center frequencies for each band.

P.22

☞

Band7

Wet / Dry

08: Graphic 13Band EQ

This effect is a 13-band graphic equalizer that allows for ﬁner equalization. Two types of settings are available for the center frequency of each band.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left

Trim

Wet / Dry

size2

Band5

Band3

Band1

Band2 Band4 Band6

Trim

Right

a Type A, B

bTrim 0…100 Sets the input level. c Band1 [dB] –18.0…+18.0dB Sets Band 1 gain. d Band2 [dB] –18.0…+18.0dB Sets Band 2 gain. e Band3 [dB] –18.0…+18.0dB Sets Band 3 gain.

f Band4 [dB] –18.0…+18.0dB Sets Band 4 gain. g Band5 [dB] –18.0…+18.0dB Sets Band 5 gain. h Band6 [dB] –18.0…+18.0dB Sets Band 6 gain.

i Band7 [dB] –18.0…+18.0dB Sets Band 7 gain.

j Band8 [dB] –18.0…+18.0dB Sets Band 8 gain. k Band9 [dB] –18.0…+18.0dB Sets Band 9 gain.

l Band10 [dB] –18.0…+18.0dB Sets Band 10 gain.

m Band11 [dB] –18.0…+18.0dB Sets Band 11 gain.

n Band12 [dB] –18.0…+18.0dB Sets Band 12 gain. o Band13 [dB] –18.0…+18.0dB Sets Band 13 gain.

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Band7 Band9

Band8 Band12

Band11

Band10

Selects a combination of center frequencies for each band.

P.57

☞

Band13

Wet / Dry

a: Type

This parameter selects a combination of center frequencies for each band. Each center frequency is shown on the right edge of the LCD.

09: St. Random Filter

(Stereo Random Filter)

09: St. Random Filter

(Stereo Random Filter)

This effect is a stereo random ﬁlter. You can also fade in the effect sound using Auto-Fade, or change the LFO speed.

Stereo In - Stereo Out

Left

Filter

Spread

Filter

Right

Random LFO

Random LFO Random LFO

Random LFO

AutoFade

AUTOFADE Src None…Tempo

Fade-In Rate 1…100 Sets the rate of fade-in. LFO Frequency [Hz] 0.05…50.00Hz Speed of LFO that modulates the ﬁlter

Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available Amt –50.00…+50.00Hz Modulation amount of LFO speed

c Cutoff 0…100 Filter center frequency

Depth 0…100 Modulation depth of ﬁlter center frequency

Src None…AUTOFADE

Amt –100…+100 Modulation amount of ﬁlter modulation

e Resonance 0…100 Sets the resonance amount.

Wet/Dry

Src None…AUTOFADE

Amt –100…+100 Modulation amount of effect balance

–Wet…–1:99, Dry, 1:99…Wet

LFO Frequency

Depth

Wet / Dry

Selects the modulation source that triggers AutoFade.

P.59

☞

Modulation source of ﬁlter modulation. AutoFade is available

Sets the balance between the effect and dry sounds.

☞

P.25

Modulation source of effect balance. AutoFade is available

Wet / Dry

09: St. Random Filter

(Stereo Random Filter)

a: AUTOFADE Src a: Fade-In Rate

If AutoFade is selected for the LFO speed, depth of modulation, and Effect Balance, you can use the AutoFade function to apply modulation.

The AUTOFADE Src parameter selects the modulation source that triggers AutoFade. The Fade-in Rate parameter speciﬁes the rate of fade-in.

The following is an example of fade-in where the effect balance is increased from “Dry” to “50” when a note-on message is received.

a: AUTOFADE Src = Gate1 f: Wet/Dry = Dry f: Src = AUTOFADE f: Amt = +50

AutoFade

Gate1 Signal

AUTOFADE

Note On

Fade-In Rate

All Note Off

AUTOFADE

AUTOFADE Src=Gate1 Wet/Dry=Dry Src=AUTOFADE Amt=+50

Wet/Dry=50:50

Wet/Dry=Dry

size2

10: Stereo Enhancer

This effect spreads and adds presence to the sound, and also functions as a stereo exciter. It is useful when you wish to emphasize a stereo image of the input signal or create a stereo image from a monaural source.

Stereo In - Stereo Out

Left

LEQ HEQ

Exciter

EQ Trim

Ambience

EQ Trim

Delay

Width

Delay

Exciter

Enhancer

Right

-mod

Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter effect. Src None…Tempo Modulation source of the Exciter intensity

Amt –100…+100 Modulation amount of the Exciter intensity Emphatic Point 0…140 Sets the frequency to be emphasized.

Src None…Tempo Modulation source of the frequency to be emphasized

Amt –100…+100 Amount of modulation of the frequency to be emphasized c Enhancer Dly L [msec] 0…50.0msec Delay time for the Enhancer left channel d Enhancer Dly R [msec] 0…50.0msec Delay time for the Enhancer right channel

Enhancer Width –100…+100 Determines to what degree the Enhancer effect is applied e

Src None…Tempo Modulation source of the Enhancer width

Amt 0…+100 Modulation amount of the Enhancer width

f Enhancer Ambience 0…100

g EQ T rim 0…100 2-band EQ input level h Pre LEQ Gain [dB] –15.0…+15.0dB Low EQ gain

i Pre HEQ Gain [dB] –15.0…+15.0dB High EQ gain

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Determines to what degree the Enhancer ambience effect is applied.

☞

P.60

Wet / Dry

P.26

☞

P.60

☞

P.26

c: Enhancer Dly L [msec] d: Enhancer Dly R [msec]

f: Enhancer Ambience

These parameters set the delay time for the Enhancer left and right channel. Specifying a slightly different delay time for the left and right channel will add a stereo image, depth, and width to the sound.

This parameter determines to what degree the Enhancer ambience effect is applied. The ambience effect will create a wider stereo image. However, if e: Enhancer Width is set to 0 or the input source is monaural, this effect is not created.

11: Talking Modulator

This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the instrument is talking.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left

Right

-mod

Manual Voice Control

Src None…Tempo Modulation source that controls the voice pattern b Voice Top A, I, U, E, O Selects a vowel sound at the top end of control. c Voice Center A, I, U, E, O Selects a vowel sound in the center of control.

d Voice Bottom A, I, U, E, O

e Formant Shift –100…+100

f Resonance 0…100 Level of resonance of the voice pattern

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. g

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Voice Top: A

Voice Center: I

Voice Bottom: U

Bottom, 1…49, Center, 51…99, T op

Talking Modulator

Voice pattern control

Selects a vowel sound at the bottom end of control.

☞

Adjusts the frequency to which the effect is applied.

☞

A - I - U - E - O

P.61

P.62

Wet / Dry

size2

P.61

☞

P.61

b: Voice Top c: Voice Center d: Voice Bottom

These parameters assign vowel sounds to the top, center, and bottom of the controller.

For example, if Ribbon (X) is selected as the modulation source: With Voice Top = A, Voice Center = I, and Voice Bottom = U, moving the ﬁnger

on the ribbon controller from the right edge to the left edge will produce the vowel sounds “a”, “i”, then “u.”

11: Talking Modulator

-mod

Voice Bottom

JS(X) Ribbon(X)

JS(+Y) JS(–Y) etc…

– Max

Zero

Voice Center

Zero

Talking Modulator Control

Voice Top

+ Max

e: Formant Shift This parameter adjusts the frequency level to which the effect is applied. If you

wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value.

f: Resonance This parameter sets the intensity of resonance for the voice pattern. A larger

value will add more character to the sound.

12: Stereo Decimator

This is a stereo decimator.

Stereo In - Stereo Out

12: Stereo Decimator

Left

Pre LPF

High Damp

Wet / Dry

Decimator

Sampling Frequency

Decimator

Pre LPF

Right

a Pre LPF Off, On

Sampling Freq [Hz]

(Sampling Frequency) b

Src None…Tempo Sets the modulation source of the sampling frequency.

Amt –24.00k…+24.00kHz Sets the modulation amount of the sampling frequency. c High Damp [%] 0…100% Ratio of cut of the high range

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. d

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

1.00k…24.00kHz Sets the sampling frequency.

High Damp

Wet / Dry

Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not.

☞P.28

size2

13: Stereo Chorus

This is a stereo chorus. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The chorus effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left

Right

LFO: Tri / Sine

AutoFade

EQ Trim

LEQ HEQ

LEQ

HEQ

Chorus

Spread

Chorus

LFO Phase

LFO Frequency

Depth

Wet / Dry

AUTOFADE Src None…Tempo

Fade-In Rate 1…100 Sets the rate of fade-in. LFO Waveform Triangle, Sine Selects LFO Waveform.

LFO Phase [degree] –180…+180 LFO phase difference between the left and right LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available

Amt –20.00…+20.00Hz Modulation amount of LFO speed d L Pre Delay [msec] 0.0…50.0msec Delay time for the left channel e R Pre Delay [msec] 0.0…50.0msec Delay time for the right channel

Depth 0…100 Depth of LFO modulation

Src None…AUTOFADE

Amt –100…+100 Modulation amount of the LFO modulation depth g EQ T rim 0…100 EQ input level

Pre LEQ Gain [dB] –15.0…+15.0dB Low-EQ gain h

Pre HEQ Gain [dB] –15.0…+15.0dB High-EQ gain

i Spread –100…+100

Wet/Dry

Src None…AUTOFADE

Amt –100…+100 Modulation amount of effect balance

–Wet…–1:99, Dry, 1:99…Wet

Selects the modulation source that triggers AutoFade.

☞P.59

☞P.65

Modulation source of the LFO modulation depth. AutoFade is available

Sets the spread of stereo image of the effect sound.

☞P.65

Sets the balance between the effect and dry sounds.

☞P.25

Modulation source of effect balance. AutoFade is available

☞P.65

13: Stereo Chorus

b: LFO Phase [degree] Shifting the left and right LFOs’ phase will cause modulation to be applied dif-

ferently for the right and left, spreading and swelling the effect sound between the left and right.

LFO Phase

d: L Pre Delay [msec] e: R Pre Delay [msec]

0 +90

–180

–90

0 [degree]

Setting the left and right delay time individually allows you to control the stereo image.

+180 [degree]

i: Spread This parameter sets the width of stereo image of the effect sound. A value of

+100 gives the widest spread, and a value of 0 causes the effect sound of both channels to be output from the center. A negative value will reverse the left and right channels of the effect sound.

size2

14: St. Harmonic Chorus (Stereo Harmonic Chorus)

This is a stereo harmonic chorus. Shifting the left and right LFO phases from each other will add spread to the sound.

Stereo In - Stereo Out

Left

Chorus/Flanger

High/Low Split Point

Chorus/Flanger

Right

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects LFO Waveform. b LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Frequency [Hz] 0.02…20.00Hz LFO speed c

Src None…Tempo Modulation source of LFO speed

Amt –20.00…+20.00Hz Modulation amount of LFO speed d Pre Delay [msec] 0.0…50.0msec Delay from the original sound

Depth 0…100 Depth of LFO modulation e

Src None…Tempo Modulation source of the LFO modulation depth

Amt –100…+100 Modulation amount of the LFO modulation depth

f High/Low Split Point 1…100

g Feedback –100…+100 Feedback amount of the chorus block h High Damp [%] 0…100% Chorus block damping amount in the high range

i Low Level 0…100 Output level in the low range

h High Level 0…100 Output level in the high range (chorus)

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Feedback

LFO Phase

Frequency split point between the low and high range

☞P.30

High Damp

Low Level

High Level

Low Level

Wet / Dry

☞P.30

☞P.65

15: Multitap Chorus/Dly (Multitap Chorus/Delay)

This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also ﬁx some of the chorus blocks to combine the chorus and delay effects.

Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out

Left

Right

LFO: Triangle

a LFO Frequency [Hz] 0.02…13.00Hz LFO speed

Tap1(000) [msec] 0…570msec Tap1 (LFO phase=0 degrees) delay time Depth 0…30 Tap1 chorus depth

Level 0…30 Tap1 output level Pan L6…L1, C, R1…R6 Tap1 stereo image Tap2(180) [msec] 0…570msec Tap2 (LFO phase=180 degrees) delay time Depth 0…30 Tap2 chorus depth

Level 0…30 Tap2 output level Pan L6…L1, C, R1…R6 Tap2 stereo image Tap3(090) [msec] 0…570msec Tap3 (LFO phase=90 degrees) delay time Depth 0…30 Tap3 chorus depth

Level 0…30 Tap3 output level Pan L6…L1, C, R1…R6 Tap3 stereo image Tap4(270) [msec] 0…570msec Tap4 (LFO phase=270 degrees) delay time Depth 0…30 Tap4 chorus depth

Level 0…30 Tap4 output level Pan L6…L1, C, R1…R6 Tap4 stereo image Tap1 Feedback –100…+100 Tap1 feedback amount

Src None…Tempo

Amt –100…+100 Tap1 feedback amount and modulation amount Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Amt –100…+100 Modulation amount of effect balance

Feedback

Tap1 Delay

Tap2 Delay

Tap3 Delay

Tap4 Delay

180 [degree]

270 [degree]

Level

0 [degree]

90 [degree]

Modulation source of Tap1 feedback amount and effect balance

Pan

Wet / Dry

size2

16: Ensemble

This Ensemble effect has three chorus blocks, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left

Right

Shimmer

LFO

Speed 1…100 LFO speed a

Src None…Tempo Modulation source of LFO speed

Amt –100…+100 Modulation amount of LFO speed b Shimmer 0…100 Amount of shimmering of the LFO waveform

Depth 0…100 Depth of LFO modulation c

Src None…Tempo Modulation source of the LFO modulation depth

Amt –100…+100 Modulation amount of the LFO modulation depth

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. d

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Ensemble

Wet / Dry

☞P.31

17: Stereo Flanger

This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The ﬂanging effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left

Flanger

Wet / Dry

size2

FB Mode (Normal/Cross)

Right

LFO: Tri / Sine

AutoFade

AUTOFADE Src None…Tempo

Fade-In Rate 1…100 Sets the rate of fade-in.

b Delay Time [msec] 0.0…50.0msec Delay from the original sound

LFO Waveform Triangle, Sine Selects LFO Waveform.

LFO Shape –100…+100

d LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available Amt –20.00…+20.00Hz Modulation amount of LFO speed

f Depth 0…100 Depth of LFO modulation

Feedback –100…+100 Feedback amount

FB Mode Normal, Cross Sets the feedback routing.

h High Damp [%] 0…100% Feedback damping amount in the high range

i Spread –100…+100 Sets the width of stereo image of effect sound.

Wet/Dry

Src None…AUTOFADE

Amt –100…+100 Modulation amount of effect balance

LFO Shape

–Wet…–1:99, Dry, 1:99…Wet

Flanger

LFO Phase

Feedback

LFO Frequency

Wet / Dry

Spread

High Damp

FB Mode (Normal/Cross)

Wet / Dry

Selects the modulation source that triggers AutoFade.

☞P.59

Determines how much the LFO waveform is changed.

☞P.32

☞P.69

Sets the balance between the effect and dry sounds.

☞P.25, 32

Modulation source of effect balance. AutoFade is available

☞P.65

☞P.32

☞P.65

g: FB Mode This parameter sets the feedback routing. “Cross” will select a crossover ﬂanger

in which each channel applies feedback to the other channel.

18: St. Random Flanger (Stereo Random Flanger)

This is a stereo flanger. The effect uses a step-shape waveform and random LFO for modulation, creating a unique ﬂanging effect.

Stereo In - Stereo Out

Left

Wet / Dry

Flanger

FB Mode (Normal/Cross)

Right

LFO: Step-Tri/Random

a Delay Time [msec] 0.0…50.0msec Delay from the original sound b LFO Waveform Step-Tri, Random Selects the LFO Waveform. c LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…Tempo

Amt –20.00…+20.00Hz Modulation amount of LFO speed

LFO Step Freq (Frequency)

[Hz]

Amt –50.00…+50.00Hz Modulation amount of LFO step speed f Depth 0…100 Depth of LFO modulation

Feedback –100…+100 Feedback amount g

FB Mode Normal, Cross Sets the feedback routing. h High Damp [%] 0…100% Feedback damping amount in the high range

i Spread –100…+100 Sets the width of stereo image of effect sound.

Wet/Dry

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

0.05…50.00Hz LFO step speed (speed that changes in steps)

–Wet…–1:99, Dry, 1:99…Wet

Flanger

LFO Phase

Feedback

Spread

High Damp

FB Mode (Normal/Cross)

Wet / Dry

☞P.70

Modulation source used for both LFO speed and step speed

☞P.32

☞P.69

☞P.32

Sets the balance between the effect and dry sounds.

☞P.25, 32

☞P.65

☞P.70

☞P.65

b: LFO Waveform d: LFO Frequency [Hz] e: LFO Step Freq (Frequency) [Hz]

When Step-T ri is selected for LFO Waveform, the LFO uses a step-shape triangle waveform. Set the LFO Frequency to the speed of the original triangle waveform. At this time, changing the LFO Step Freq value will modify the width of the step.

When Random is selected for LFO Waveform, the LFO Step Freq setting will be used as a cycle of the random LFO.

LFO Step Freq

LFO Frequency

Step-Tri

18: St. Random Flanger (Stereo Random Flanger)

Random Flanger LFO

LFO Step Freq

Random

size2

19: St. Tempo Flanger (Stereo Tempo Flanger)

This is a stereo tempo ﬂanger. The ﬂanging effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left

Wet / Dry

Flanger

FB Mode (Normal/Cross)

Right

Tempo

120 [beat/min]

AutoFade

AUTOFADE Src None…Tempo a

Fade-In Rate 1…100 Sets the rate of fade-in. b Delay Time [msec] 0.0…50.0msec Delay from the original sound

LFO Waveform Triangle, Sine Selects LFO Waveform. c

LFO Shape –100…+100

d LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Mode Manual, D-mod e

Src (ﬁxed) Tempo Source when LFO Mode = D-mod (ﬁxed to Tempo)

Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual f

Length 1…16 / 1…16

g Depth 0…100 Depth of LFO modulation

Feedback –100…+100 Feedback amount h

FB Mode Normal, Cross Sets the feedback routing.

High Damp [%] 0…100% Feedback damping amount in the high range

Spread –100…+100 Sets the width of stereo image of effect sound.

Wet/Dry

Src None…AUTOFADE

Amt –100…+100 Modulation amount of effect balance

D-mod

LFO Mode

Manual

Wet / Dry

–Wet…–1:99, Dry, 1:99…Wet

Flanger

LFO Phase

Length: 1/4

Feedback

Spread

High Damp

FB Mode (Normal/Cross)

Wet / Dry

LFO: Tri / Sine

Selects the modulation source that triggers AutoFade.

☞P.59

Determines how much the LFO waveform is changed.

☞P.32

Switches between the speciﬁed tempo and clock sync.

☞P.33

LFO Shape

☞P.33

Sets the LFO cycle. LFO Cycle = Length x Whole Note.

☞P.33

☞P.32

☞P.69

Sets the balance between the effect and dry sounds.

☞P.25, 32

Modulation source of effect balance. AutoFade is available

☞P.32

☞P.65

20: Stereo Phaser

This is a stereo phaser . You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The phaser effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left

Phaser

Resonance Spread

Wet / Dry

size2

Phaser

High Damp

Right

LFO Phase

LFO: Tri / Sine

AutoFade

AUTOFADE Src None…Tempo

Fade-In Rate 1…100 Sets the rate of fade-in. LFO Waveform Triangle, Sine Selects LFO Waveform.

LFO Shape –100…+100

c LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available Amt –20.00…+20.00Hz Modulation amount of LFO speed

e Manual 0…100 Sets the frequency to which the effect is applied.

f Depth 0…100 Depth of LFO modulation

g Resonance –100…+100 Sets the resonance amount.

h High Damp [%] 0…100%

i Spread –100…+100

Wet/Dry

Src None…AUTOFADE

Amt –100…+100 Modulation amount of effect balance

LFO Shape

–Wet…–1:99, Dry, 1:99…Wet

LFO Frequency

Wet / Dry

Selects the modulation source that triggers AutoFade.

☞P.59

Determines how much the LFO waveform is changed.

☞P.32

Resonance damping amount in the high range

☞P.35

Sets the width of stereo image of effect sound.

☞P.65

Sets the balance between the effect and dry sounds.

☞P.25, 35

Modulation source of effect balance. AutoFade is available

Wet / Dry

☞P.35

☞P.65

21: St. Random Phaser (Stereo Random Phaser)

This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect.

Stereo In - Stereo Out

Left

Wet / Dry

Phaser

Resonance Spread

High Damp

Phaser

Right

LFO Phase

LFO: Step-Tri/Step-Sin/Random

a LFO Waveform Step-Tri, Step-Sin, Random Selects the LFO Waveform.☞P.70 b LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…Tempo

Amt –20.00…+20.00Hz Modulation amount of LFO speed

LFO Step Freq (Frequency)

[Hz]

Amt –50.00…+50.00Hz Modulation amount of LFO step speed e Manual 0…100 Sets the frequency to which the effect is applied. f Depth 0…100 Depth of LFO modulation g Resonance –100…+100 Sets the resonance amount. h High Damp [%] 0…100% Resonance damping amount in the high range

i Spread –100…+100 Sets the width of stereo image of effect sound.

Wet/Dry

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

0.05…50.00Hz LFO step speed

–Wet…–1:99, Dry, 1:99…Wet

Modulation source commonly used for LFO speed and step speed

Sets the balance between the effect and dry sounds.

☞P.70

☞P.25, 35

Wet / Dry

☞P.35

☞P.65

☞P.35 ☞P.65

22: St. Tempo Phaser (Stereo Tempo Phaser)

This is a stereo tempo phaser. The phasing effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left

Phaser

Resonance Spread

High Damp

Phaser

Wet / Dry

size2

Right

Wet / Dry

LFO Phase

Length: 1/4

LFO: Tri / Sine

Selects the modulation source that triggers AutoFade.

☞P.59

Determines how much the LFO waveform is changed.

☞P.32

Switches between the speciﬁed tempo and clock sync.

☞P.33

Sets the LFO cycle. LFO Cycle = Length x Whole Note.

☞P.33

Sets the balance between the effect and dry sounds.

☞P.25, 35

Modulation source of effect balance. AutoFade is available

LFO Shape

Tempo

120 [beat/min]

AutoFade

AUTOFADE Src None…Tempo

Fade-In Rate 1…100 Sets the rate of fade-in. LFO Waveform Triangle, Sine Selects LFO Waveform.

LFO Shape –100…+100

c LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Mode Manual, D-mod

Src (ﬁxed) Tempo Source when LFO Mode = D-mod (ﬁxed to Tempo) Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual

Length 1…16 / 1…16

Manual 0…100 Sets the frequency to which the effect is applied.

Depth 0…100 Depth of LFO modulation g Resonance –100…+100 Sets the resonance amount. h High Damp [%] 0…100% Resonance damping amount in the high range

i Spread –100…+100 Sets the width of stereo image of effect sound.

Wet/Dry

Src None…AUTOFADE

Amt –100…+100 Modulation amount of effect balance

D-mod

LFO Mode

Manual

–Wet…–1:99, Dry, 1:99…Wet

Wet / Dry

☞P.33

☞P.35

☞P.65

☞P.35

☞P.65

23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)

This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.

Stereo In - Stereo Out

Left

Wet / Dry

Chorus/Flanger

High Damp

Feedback

High Damp

Chorus/Flanger

Right

180 [degree]

LFO1: Tri / Sine LFO2: Tri / Sine

LFO1 Waveform Triangle, Sine Selects LFO1 waveform.

LFO2 Waveform Triangle, Sine Selects LFO2 waveform.

b LFO Phase Sw 0 degree, 180 degree Switches the LFO phase difference between left and right.

LFO1 Frequency [Hz] 0.02…30.00Hz LFO1 speed

Src None…Tempo Modulation source of LFO1&2 speed Amt –30.00…+30.00 Modulation amount of LFO1 speed LFO2 Frequency [Hz] 0.02…30.00Hz LFO2 speed

Amt –30.00…+30.00 Modulation amount of LFO2 speed Depth1 0…100 Depth of LFO1 modulation

Src None…Tempo Modulation source of LFO1&2 modulation depth Amt –100…+100 Modulation amount of LFO1 modulation depth Depth2 0…100 Depth of LFO2 modulation

Amt –100…+100 Modulation amount of LFO2 modulation depth g L Pre Delay [msec] 0.0…50.0msec Left channel delay time h R Pre Delay [msec] 0.0…50.0msec Right channel delay time

Feedback –100…+100 Feedback amount

High Damp [%] 0…100% High range damping amount

Wet/Dry

Src None…Tempo Modulation source of effect balance.

Amt –100…+100 Modulation amount of effect balance

–Wet…–1:99, Dry, 1:99…Wet

Sets the balance between the effect and dry sounds.

☞P.25

☞P.65

☞P.30

Wet / Dry

23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)

Bi-Phase Modulation LFO

LFO1

LFO2

Depth1

Depth2

size2

24: Stereo Vibrato

This is a stereo vibrato. You can set a delay for the time that is taken before the auto-fade starts.

Stereo In - Stereo Out

Left

Wet / Dry

Vibrato

Right

LFO: Tri / Sine

AutoFade

AUTOFADE Src None…Tempo a

Fade-In Rate 1…100 Sets the rate of fade-in. b Fade-In Delay [msec] 00…2000msec Sets delay time for fade-in. c LFO Waveform Triangle, Sine Selects the LFO Waveform.

d LFO Shape –100…+100

LFO Frequency [Hz] 0.02…20.00Hz LFO speed e

Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available.

Amt –20.00…+20.00Hz Modulation amount of LFO speed

Depth 0…100 Depth of LFO modulation f

Src None…Tempo Modulation source of the LFO modulation depth

Amt –100…+100 Modulation depth of the LFO modulation depth

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. g

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

LFO Shape

Fade-In Delay

LFO Frequency

Sets the modulation source that starts AutoFade.

☞P.78

Determines how much the LFO waveform shape is changed.

☞P.32

Wet / Dry

☞P.78

a: AUTOFADE Src a: Fade-In Rate b: Fade-In Delay [msec]

If AutoFade is selected for the LFO speed, you can use the AutoFade function to apply modulation.

The AUTOFADE Src parameter selects the modulation source that triggers AutoFade. The Fade-in Rate parameter speciﬁes the rate of fade-in. The Fade-in Delay parameter determines the time from AutoFade modulation source ON until the fade-in starts.

24: Stereo Vibrato

The following is an example of fade-in where the LFO speed is increased from “1.0Hz” to “4.0Hz” when a note-on message is received.

a: AUTOFADE Src = Gate1 e: LFO Frequency [Hz] = 1.0 e: Src = AUTOFADE e: Amt = 3.0

Gate1 Signal

AUTOFADE

AUTOFADE Src=Gate1 LFO Frequency[Hz]=1.0 Src=AUTOFADE Amt=+3.0

AutoFade

size2

AUTOFADE

Note On

Fade-In Dealy

Fade-In Rate

All Note Off

LFO Frequency =1.0+3.0=4.0Hz

LFO Frequency =1.0Hz

25: 2-Voice Resonator

This resonator has two resonance points. You can set the output level and stereo image (pan) for each resonator.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left

Trim

Resonator

High Damp

Level

Pan

Wet / Dry

Trim

Right

-mod

LFO

Manual

Control Mode Manual, LFO, D-mod Switches the controls of resonance intensity. a

LFO/D-mod Invert Off, On

LFO Frequency [Hz] 0.02…20.00Hz LFO speed b

D-mod Src None…Tempo Modulation source that controls resonance intensity

Mod. Depth –100…+100 Amount of resonance intensity control via LFO/D-mod c

Trim 0…100 Input level at the Resonator

Voice1: Pitch C0…B8 Voice1 Pitch for resonance d

Fine [cent] –50…+50 Fine adjustment of Voice1 pitch for resonance

Voice1: Resonance –100…+100 e

High Damp [%] 0…100%

Voice1: Level 0…100 Voice1 output level f

Pan L6…R6 Voice1 stereo image

Voice2: Pitch C0…B8 Voice2 Pitch for resonance g

Fine [cent] –50…+50 Fine adjustment of Voice2 pitch for resonance

Voice2: Resonance –100…+100 h

High Damp [%] 0…100%

Voice2: Level 0…100 Voice2 output level

Pan L6…R6 Voice2 stereo image

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Resonance

Resonator

Invert: On/Off

Control Mode

Pan

High Damp

Pitch, Fine [cent]

Level

Reverses the Voice 1 and 2 control when LFO/D-mod is selected.

☞P.81

Sets the intensity of resonance when Control Mode = Manual.

☞P.81

Damping amount of resonant sound in the high range

☞P.39

Sets the intensity of resonance when Control Mode = Manual.

☞P.81

Damping amount of resonant sound in the high range

☞P.39

Wet / Dry

☞P.81

25: 2-Voice Resonator

a: Control Mode e: Voice1: Resonance h: Voice2: Resonance

a: LFO/D-mod Invert When Control Mode = LFO or D-mod, the controlled phase of either Voice 1 or 2

This parameter determines whether the resonance intensity is controlled by the LFO or not.

When Control Mode = Manual, the Resonance parameter sets the intensity of resonance. If the Resonance parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave lower.

When Control Mode = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and negative values, causing resonance to occur between speciﬁed pitches an octave apart in turn.

When Control Mode = D-mod, the resonance is controlled by the dynamic modulation source. If JS (X) or Ribbon (X) is assigned as the modulation source, the pitch an octave higher and lower can be controlled, similar to when LFO is selected for Control Mode.

will be reversed. When the resonance pitch is set for Voice 1 (Resonance has a positive value), V oice 2 will r esonate at a pitch an octave below (Resonance has a negative value).

size2

26: Doppler

This effect simulates a “Doppler effect” (sound moving while changing its pitch) that sounds, for example, like an ambulance siren passing by. Mixing the effect sound with the dry sound will create a special chorus effect.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left

Right

-mod

LFO Mode Loop, 1-Shot Switches LFO operation mode. a

Src None…Tempo

LFO Frequency [Hz] 0.02…20.00Hz LFO speed b

Src None…Tempo Modulation source of LFO speed

Amt –20.00…+20.00Hz Modulation amount of LFO speed

Pitch Depth 0…100 Pitch variation of the moving sound c

Src None…Tempo Modulation source of pitch variation

Amt –100…+100 Modulation amount of pitch variation

Pan Depth –100…+100 Panning of the moving sound d

Src None…Tempo Modulation source of panning

Amt –100…+100 Modulation amount of panning

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. e

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Trigger

Doppler

LFO

LFO Mode = 1-Shot

Pan Depth

☞P.82

When LFO Mode is set to 1-Shot, this modulation source triggers the LFO.

☞P.83

Wet / Dry

a: LFO Mode a: Src

The LFO Mode parameter switches LFO operation mode. When Loop is selected, the Doppler effect will be created repeatedly.

When LFO Mode is set to 1-Shot, the Doppler effect is created only once when the modulation source speciﬁed in the Src ﬁeld is turned on. At this time if you do not set the Src parameter , the Doppler ef fect will not be cr eated, and no effect sound will be output.

The effect is off when a value for the modulation source speciﬁed for the Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Doppler ef fect is triggered when the value changes fr om 63 or smaller to 64 or higher.

26: Doppler

c: Pitch Depth With the Doppler effect, the pitch is raised when the sound approaches, and the

pitch is lowered when the sound goes away. This parameter sets this pitch variation.

d: Pan Depth This parameter sets the width of the stereo image of the effect sound. With

larger values, the sound seems to come and go from much further away. With positive values, the sound moves from left to right; with negative values, the sound moves from right to left.

Pitch

Original Pitch

Pan Depth = (+) value

Higher

Lower

Left

< < < < < <<<<<< >>>>>> > > > > >

Doppler - Pitch / Pan Depth

Pan Depth = (–) value

Center

Pan Depth

VolumeLouder

Louder

Pitch Depth

Right

size2

27: Stereo Tremolo

This is a stereo tremolo. You can create sound panning to left and right by offsetting the phase of the left and right LFOs from each other. The tremolo effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left

Tremolo

Wet / Dry

Right

LFO Phase

LFO: Tri/Sin/Sqr/Up/Down

AutoFade

AUTOFADE Src None…Tempo a

Fade-In Rate 1…100 Sets the rate of fade-in.

LFO Wavef orm b

LFO Shape –100…+100

c LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Frequency [Hz] 0.02…20.00Hz LFO speed d

Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available.

Amt –20.00…+20.00Hz Modulation amount of LFO speed

Depth 0…100 Depth of LFO modulation

Src None…AUTOFADE

Amt –100…+100 Modulation amount of the depth of modulation

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…AUTOFADE

Amt –100…+100 Modulation amount of effect balance

LFO Shape

Triangle, Sine, Square, Up, Down

LFO Frequency

Depth

Wet/Dry

Selects the modulation source that triggers AutoFade.

☞P.59

Selects LFO Waveform.

Determines how much the LFO waveform is changed.

☞P.32

Modulation source of the depth of modulation. AutoFade is available.

Modulation source of effect balance. AutoFade is available.

☞P.42

Wet / Dry

☞P.84

c: LFO Phase [degree] This parameter determines the difference between the left and right LFO phases.

A higher value will simulate the auto-pan effect in which the sound is panned between left and right.

28: Stereo Auto Pan

This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other.

Stereo In - Stereo Out

Left

Pan

Depth

Pan

Right

LFO Phase

LFO: Tri / Sin

a LFO Waveform Triangle, Sine Selects LFO Waveform.

b LFO Shape –100…+100

c LFO Phase [degree] –180…+180 LFO phase difference between the left and right

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed Depth 0…100 Depth of LFO modulation

Src None…Tempo Modulation source of the depth of modulation Amt –100…+100 Modulation amount of the depth of modulation Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

LFO Shape

Determines how much the LFO waveform is changed.

☞P.32

Wet / Dry

size2

☞P.85

b: LFO Shape You can change the panning curve by modifying the LFO waveform.

c: LFO Phase This parameter determines the difference in the left and right LFO phases. When

you change the value gradually from “0”, the sound from the left and right channels will chase each other around. If you set the parameter to +180 or –180, the sound from each channel will cross over each other.

Y ou need to input differ ent sounds to each channel in order for this parameter to be effective.

28: Stereo Auto Pan

Stereo Auto Pan - LFO Phase

LFO Phase = 0 degrees

L-In

R-In

Left

Center

Output Stereo Image

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

Right

LFO Phase = 90 degrees

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

LFO Phase = 180 degrees

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

29: St. Envelope Pan (Stereo Envelope Pan)

This stereo Pan uses the envelope generator to pan sound to the left and right. You can also control the panning directly using a modulation source.

Stereo In - Stereo Out

Left

Pan

Start Offset

Destination Offset

Pan

Right

-mod

Pan Mode EG, D-mod Switches panning mode.

Src None…Tempo

b EG Attack 1…100 Attack rate of Envelope Generator c EG Release 1…100 Release rate of Envelope Generator.

Lch Start Offset L, 1…99, R Initial panning value for the left channel

Destination Offset L, 1…99, R Target panning value for the left channel Rch Start Offset L, 1…99, R Initial panning value for the right channel

Destination Offset L, 1…99, R Target panning value for the right channel Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

EG Attack, Release

D-mod

Pan Mode

☞P.87

When Pan Mode = EG, this selects the modulation source that triggers the EG. When Pan Mode = D-mod, it selects the modulation source that controls the pan.

☞P.88

Wet / Dry

size2

Wet / Dry

☞P.87

☞P.88

a: Pan Mode This parameter selects whether the panning effect is controlled by the Envelope

Generator, or directly by the modulation source.

a: Src With Pan Mode = EG, this parameter speciﬁes the modulation source that starts

the envelope. This envelope generator is included in the Stereo Envelope Pan, and is not related to the Oscillator EG, Filter EG, or Amp EG. If you select, for example, Gate, the envelope generator will start when a note-on message is received.

29: St. Envelope Pan (Stereo Envelope Pan)

With Pan Mode = D-mod, you can control panning directly using the modulation source speciﬁed in the Src ﬁeld.

b: EG Attack c: EG Release

d: Lch Start Offset d: Destination Offset e: Rch Start Offset e: Destination Offset

Stereo Envelope Pan - EG

Pan Mode=EG Src=Gate1

Gate1 Signal

Output

Left

Center

Right

Note On

L-In

R-In

All Note Off

Attack

Lch Start Offset=L Lch Destination Offset=R Rch Start Offset=75:25 Rch Destination Offset=25:75

Release

Time

When Pan Mode = EG, the Start Offset parameter sets the panning at the start of the Envelope Generator. Destination Offset sets the panning for the sustain period.

When Pan Mode = D-mod, Start Offset speciﬁes the pan setting when the modulation source value is 0. Destination Offset sets the pan setting when the modulation source value is maximum.

30: Stereo Dyna Pan

This effect counts the number of times the modulation source is turned on/off, and switches the panning mode. You can create a panning effect that changes according to phrases you play on the keyboard. It is very effective for solos. You can also route this effect after a delay effect so that the delay sound will be panned gradually.

Stereo In - Stereo Out

Left

Pan

Start Offset

Destination Offset

Pan

Right

Panning Rate

Reset Interval

-mod

a Trigger Source None…Tempo

b Trigger Direction Attack, Release Determines whether the on or off time is counted.

c Panning Mode Alternate, Random

d Count 1…16

e Reset Interval 0…100 Time taken to reset panning and on/off counting

Panning Rate 1…100 Sets the panning rate. Src None…Tempo Modulation source of panning rate

Amt –100…+100 Modulation amount of panning rate Lch Start Offset L, 1…99, R Initial panning value for the left channel

Destination Offset L, 1…99, R Target panning value for the left channel Rch Start Offset L, 1…99, R Initial panning value for the right channel

Destination Offset L, 1…99, R Target panning value for the right channel Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Panning Mode: Alternate/Random Trigger Direction: Attack/Release

Count

Selects the modulation source for counting on/off times.

☞P.89

Switches between Alternate and Random panning mode.

☞P.90

Determines the number of times the on/off operation is counted until panning mode is changed.

☞P.90

Wet / Dry

☞P.89

☞P.90

size2

☞P.89

☞P.90

a: Trigger Source b: Trigger Direction d: Count

When T rigger Dir ection = Attack, the effect counts how many times the modulation source (speciﬁed in the Trigger Source ﬁeld) is turned on. When Trigger Direction = Release, the effect counts how many times the source is turned off.

If the number of count exceeds the “Count” value, panning will be switched. If Gate is selected as the modulation source, you can set panning according to phrases you play on the keyboard.

30: Stereo Dyna Pan

The effect is off when the value for the modulation source speciﬁed for the T rigger Sour ce parameter is smaller than 64, and the effect is on when the value is 64 or higher. When Trigger Direction is set to Attack, the number of times this value changes from 63 or smaller to 64 or higher (Off

→On)

will be counted. When Trigger is set to Release, the number of times this value changes from 64 or higher to 63 or smaller (On

→Off) will be

counted.

c: Panning Mode g: Lch Start Offset g: Destination Offset h: Rch Start Offset h: Destination Offset

When Panning Mode = Alternate, the panning setting will change from the Start Offset value to the Destination Offset value, then to the Start Offset value again.

When Panning Mode = Random, the panning setting will change randomly between the Start Offset value and Destination Offset value.

An example of setting to pan every third Note On message: a: Trigger Source = Gate2

b: Trigger Direction = Attack c: Panning Mode = Alternate d: Count = 3

Stereo Dyna Pan

Note-On

Gate2 Signal

Left

Center

Wet

Right

Trigger >

Panning Rate

< Trigger

Reset Interval

<Reset>

Trigger >

Trigger Source=Gate2

Trigger Direction=Attack Panning Mode=Alternate Count=3

Start Offset

Destination Offset

Time

e: Reset Interval If the modulation source (speciﬁed in the Trigger Source ﬁeld) remains off for a

while, the number of counts will be reset and the panning setting will go back to the Start Offset value. (However, when Panning Mode = Random, it will not go back to the Start Offset value.) The Reset Interval parameter sets this interval. With a larger value, the interval will become longer. If this value is too small, very slow panning will be reset before it is switched. In this case, set this parameter to a larger value.

If you set this interval to the same period of time as between the phrases, panning and counting will start from the beginning at the start of the phrase.

f: Panning Rate This parameter determines how fast panning is switched. A smaller value will

cause panning to move more slowly. If you wish to combine a delay effect to pan the delay sound, you should adjust

this parameter so that it will match the delay time and feedback.

31: Phaser+Tremolo

This effect links a stereo phaser LFO and a tremolo LFO. Swelling created by the phaser and shimmering created by the tremolo are synchronized, making a pleasant modulation. It works well with electric piano sounds.

Stereo In - Stereo Out

Left

Phaser

Phaser Wet / Dry

Resonance

Phaser Wet / Dry

Phaser

Right

Phaser LFO

LFO

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed

b Phaser LFO [degree] –180…+180

c Phaser Manual 0…100 Sets the frequency to which the effect is applied.

Phaser Depth 0…100 Depth of Phaser LFO modulation

Src None…Tempo Modulation source of the phaser modulation depth Amt –100…+100 Modulation amount of the phaser modulation depth

e Phaser Resonance –100…+100 Sets the resonance amount.

f Phaser Wet/Dry

Tremolo LFO [degree] –180…+180

Diff T remolo<>Phaser –180…+180

h Tremolo LFO Shape –100…+100

Tremolo Depth 0…100 Depth of Tremolo LFO modulation

Src None…Tempo Modulation source of the tremolo modulation depth Amt –100…+100 Modulation amount of the tremolo modulation depth

Wet/Dry Dry, 1:99…99:1, Wet

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

Diff Phaser<>Tremolo

–Wet…–1:99, Dry, 1:99…Wet

LFO Shape

The difference between the left and right phases of the phaser.

Sets the balance between the phaser effect and dry sounds.

The difference between the left and right phases of the tremolo.

The difference between Tremolo LFO phase and Phaser LFO phase.

Sets how much the Tremolo LFO shape is modulated.

☞P.32

Sets the balance between the effect and dry sounds.

☞P.92

Tremolo

Tremolo LFO

☞P.92

☞P.25, 92 ☞P.92

Wet / Dry

size2

31: Phaser+Tremolo

b: Phaser LFO [degree] g: Tremolo LFO [degree] g: Diff Tremolo<>Phaser

f: Phaser Wet/Dry j: Wet/Dry

The Phaser LFO and Tremolo LFO determine the right and left phase difference respectively.

Phaser LFO is used to control the spread of the phaser effect, and Tremolo LFO is used to control the tremolo effect that is shimmering between left and right.

The Diff Tremolo<>Phaser sets the phase difference of the Phaser and Tremolo. Controlling the relationship between the Phaser and Tremolo will allow you to adjust the feel of sound movement and rotation.

Phaser Wet/Dry sets the balance between the phaser output and the dry sound. On the other hand, W et/Dry sets the balance between the ﬁnal output of Phaser

plus Tremolo, and the dry sound.

32: Shimmer

This effect controls a stereo tremolo based on the input signal level. You can create an effect in which the shimmering becomes larger and fades away as the volume level becomes lower.

Stereo In - Stereo Out

Left

Tremolo

Wet / Dry

size2

Right

LFO Phase

LFO: Tri/Sin/Sqr/Up/Down

Envelope

a Envelope Sens 0…100 Sets the sensitivity of the input signal envelope. b Envelope Shape –100…+100 Sets the envelope curve of the input signal.

c LFO Waveform

d LFO Shape –100…+100

e LFO Phase [degree] –180…+180

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Envelope Amount [Hz] –20.00…+20.00Hz Changes LFO speed according to the input signal level Depth 0…100 Depth of LFO modulation

Envelope Amount –100…+100

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.

Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance

f: LFO Frequency [Hz] f: Envelope Amount [Hz] g: Depth g: Envelope Amount

These parameters are used to set the modulation applied based on the envelope (input signal level).

LFO speed is the LFO Frequency added by the Envelope Amount multiplied by the input signal level. The Depth value is also obtained by adding the Depth

Envelope Sens

Triangle, Sine, Square, Up, Down

LFO Shape

Envelope Shape

Selects LFO waveform.

Determines how much the LFO waveform shape is modiﬁed.

☞P.32

The difference between the left and right LFO phase.

☞P.84

☞P.93

Changes the modulation depth according to the input signal level

Wet / Dry

value to the Envelope Amount multiplied by the input signal level.

32: Shimmer

Setting example: The maximum input level will produce 1.0Hz, Depth = 0. An input level of “0” will produce 8.0Hz, Depth = 100:

f: LFO Frequency [Hz] = 8.0 f: Envelope Amount [Hz] = –7.0 g: Depth = 100 g: Envelope Amount = –100

Shimmer

Level

Louder

Dry Envelope

LFO Frequency[Hz]=8.0 Envelope Amount[Hz]= –7.0Hz Depth=100 Envelope Amount= –100

Time

33: Detune

Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

size2

Left

Right

Pitch Shift [cent] –100…+100cent

Src None…Tempo Modulation source of the pitch shift

Amt –100…+100cent Modulation amount of the pitch shift b Delay Time [msec] 0…1000msec Sets the time delay from the input signal. c High Damp [%] 0…100% Damping amount in the high range

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. d

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Delay

Detune

High Damp

The difference between the input signal pitch and effect sound pitch.

Wet / Dry

34: Pitch Shifter

This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feedback.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left

Input Level

Delay

Input Level

Right

Input Level 0…100 Sets the input level to the effect.

Src None…Tempo Selects the modulation source of input level. Amt –100…+100 Modulation amount of input level

b Mode Slow, Medium, Fast Switches Pitch Shifter mode.

Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount by steps of a semitone. Src None…Tempo Modulation source of pitch shift amount

Amt –24…+24 Modulation amount of pitch shift amount Fine [cent] –100…+100cent Sets the pitch shift amount by steps of a cent.

Amt –100…+100vent Modulation amount of pitch shift amount e Delay Time [msec] 0…1000msec Sets the delay time from the input signal. f Feedback –100…+100 Sets the feedback amount. g High Damp [%] 0…100% Damping amount in the high range

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. h

Src None…Tempo Modulation source of effect balance

Amt –100…+100 Modulation amount of effect balance

Pitch Shifter

Feedback

High Damp

Wet / Dry

☞P.96

☞P.97

b: Mode This parameter switches the pitch shifter operating mode. With Slow, tonal

quality will not be changed too much. With Fast, the effect becomes a Pitch Shifter that has a quick response, but may change the tone. Medium is in between these two.

If you do not need to set too much pitch shift amount, set this parameter to “Fast.” If you wish to change the pitch signiﬁcantly, use “Slow.”

Korg TouchView Trinity ProX, TouchView Trinity Plus, TouchView Trinity, TouchView Trinity Pro User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Insert Effect size1

Insert Effect size2

Insert Effect size4

Master Effects

Overview

Insert Effects

Effect Size

Effect Input/Output

Grouping

Master Effects

Program

Program - Single/Double OSC mode

Program - Drums OSC mode

Combination

Sequencer

Dynamic Modulation

00: Amp Simulation

01: Compressor

02: Limiter

03: Gate

04: Overdrive/Hi-Gain

06: Graphic 7Band EQ

07: Wah/Auto Wah

08: Random Filter

09: Dyna Exciter

10: Sub Oscillator

11: Decimator

12: Chorus

13: Harmonic Chorus

14: Ensemble

15: Flanger

16: Tempo Flanger

17: Envelope Flanger

18: Phaser

19: Tempo Phaser

20: Envelope Phaser

21: Vibrato

22: Resonator

23: Ring Modulator

24: Tremolo

25: Rotary Speaker

26: Delay

27: Multitap Delay

28: Early Reflections

01: Stereo Compressor

02: Stereo Limiter

03: Multiband Limiter

04: Stereo Gate

08: Graphic 13Band EQ

10: Stereo Enhancer

11: Talking Modulator

12: Stereo Decimator

13: Stereo Chorus

14: St. Harmonic Chorus (Stereo Harmonic Chorus)

15: Multitap Chorus/Dly (Multitap Chorus/Delay)

16: Ensemble

17: Stereo Flanger

18: St. Random Flanger (Stereo Random Flanger)

19: St. Tempo Flanger (Stereo Tempo Flanger)

20: Stereo Phaser

21: St. Random Phaser (Stereo Random Phaser)

22: St. Tempo Phaser (Stereo Tempo Phaser)

24: Stereo Vibrato

25: 2-Voice Resonator

26: Doppler

27: Stereo Tremolo

28: Stereo Auto Pan

29: St. Envelope Pan (Stereo Envelope Pan)

30: Stereo Dyna Pan

31: Phaser+Tremolo

32: Shimmer

33: Detune

34: Pitch Shifter