Korg TouchView Trinity ProX, TouchView Trinity Plus, TouchView Trinity, TouchView Trinity Pro User Manual
1E
Table of Contents
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
i
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
ii
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
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
+
EQ
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
1
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
1
2
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
1
Size
1
Size
1
Size
1
Inst1
Inst2
Size
2
Size
2
Inst1
Size
4
Inst1
Inst3
Inst4
Size1Size
Size
1
Size
1
1
Combination:
Up to eight effects with a total effect size of eight or less can be inserted.
Timbre1
Timbre2
Size
4
Size
1
Size
Size
2
1
Timbre1
Size2Size
Size
4
2
Sequencer:
Up to eight effects with a total effect size of eight or less can be inserted.
Track1
Track2
Size
4
Size
1
Size
Size
2
1
Track1
Size2Size
Size
4
2
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.
2
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
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
Stereo In
Mono In
Size
4
Size
Size
Size
1
2
Size1 Size
2
2
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
:
3
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.
4
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
+
+
E1
Send1
+
PanWidth
+
Send2
+
+
E2
Send1
+
PanWidth
+
Send2
+
+
E3
Send1
PanWidth
Send2
+
+
E4
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.
5
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
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 Effect will not be applied to the signal at outputs 1 and 2.
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 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
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
.
6
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.
7
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
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.
8
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.
9
Dynamic Modulation
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
D
-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
☞
☞
☞
☞
10
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
3
On
Off
Time
Note
Sustain Pedal
Gate1
Gate1+Sus
1
2
1
2
3
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
3
On
Off
Note
Sustain Pedal
Gate2
Gate2+Sus
1
2
1
2
3
Time
11
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
12
D-mod
Off
AUTOFADE
On
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
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
In
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.
b
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance
Wet / Dry
13
01: Compressor
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
In
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.
g
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
14
This parameter controls the attack level.
Level
Attack=80
Attack=20
Dry
Time
Compressor - Attack
Wet
Time
02: Limiter
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
In
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
g
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.
i
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.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
15
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
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
16
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
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
In
Delay
Envelope Select
Gate+Sus
Envelope Select D-mod, Input
a
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.
f
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.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
17
03: Gate
Gate - Threshold
Output Level
Threshold
Louder
e: Delay Time
Louder
Input Level
Gate - Attack / Release
Threshold
Dry
Wet
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.
18
04: Overdrive/Hi-Gain
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
In
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
e
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
f
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
g
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
h
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.
j
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
☞
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.
19
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
In
Trim
-mod
D
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
d
Amt [dB] –18.0…+18.0dB Amount of Band 2 gain modulation
Band1 Cutoff [Hz] 20…1.0kHz Sets the Band 1 center frequency.
e
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.
f
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.
g
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.
h
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
P.19
☞
b: Band1 Type
c: Band4 Type
20
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
D
-mod
Band2 Cutoff
+6dB
0dB
–9dB
Band2 Gain[dB]= +6.0
Band2 Dynamic Gain Amt[dB]= –15.0
D
size1
-mod
21
06: Graphic 7Band EQ
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
In
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.
j
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
22
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
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
In
Wet / Dry
Wah
Envelope Sens
-mod
D
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
c
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.
h
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.
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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
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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
Higher
Wah
Envelope
Wah
Woo
Max
Time
D
Frequency
Bottom=60
-mod
Frequency
Bottom=75
Higher
Wah
Top=30
Zero
Wah Wah
Higher
Top=25
Higher
Woo
Envelope
Max
Time
D
-mod
c: Sweep Mode
d: Envelope Sens
e: Envelope Shape
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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
08: Random Filter
The filter frequency changes randomly. You can create a special effect from filter oscillation.
Mono In - Mono Out
size1
In
Filter
Random LFO
LFO Frequency [Hz] 0.05…50.00Hz Speed of LFO that modulates the filter
a
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
c
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
e
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.
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range of values from –Wet to –1:99.
Wet / Dry
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09: Dyna Exciter
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
In
LEQ HEQ
Exciter
EQ Trim
-mod
D
Blend –100…+100 Sets the intensity (depth) of the Exciter effect.
Src None…Tempo Modulation source of the Exciter intensity
a
Amt –100…+100 Modulation amount of the Exciter intensity
Emphatic Point 0…140 Sets the frequency to be emphasized.
b
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
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