Roland RD-88 Parameter Guide

Parameter Guide

© 2020 Roland Corporation

03

Contents

Scene Parameter ........................................ 4

COMMON ................................................ 4

ZONE EDIT ................................................ 4

INTERNAL ............................................... 4

EXTERNAL ............................................... 5

KEY TOUCH ............................................... 6

ASSIGN ................................................... 6

PEDAL .................................................. 6

WHEEL .................................................. 6

KNOB ................................................... 7

CTRL SRC SEL ............................................ 7

ZONE SOUND ............................................. 7

TONE COLOR ............................................ 7

GENERAL ................................................ 7

Pitch .................................................... 8

MODIFY ................................................. 8

SCALE TUNE ............................................ 8

ZONE EFFECTS ............................................ 9

EQ ...................................................... 9

MFX .................................................... 9

SCENE EFFECTS ........................................... 9

SYMPATHETIC RESO ...................................... 9

IFX ...................................................... 9

CHORUS ................................................ 10

REVERB ................................................. 11

SYSTEM EFFECTS Parameter ............................ 14

SYS CHORUS .............................................. 14

SYS REVERB .............................................. 14

MASTER EQ ............................................... 14

MASTER COMP ........................................... 15

SYSTEM Parameter ...................................... 16

GENERAL ................................................. 16

KEY TOUCH ............................................... 16

ASSIGN ................................................... 17

PEDAL .................................................. 17

WHEEL .................................................. 17

KNOB ................................................... 17

MIDI ...................................................... 18

GENERAL ................................................ 18

MIDI TX ................................................. 18

MIDI RX ................................................. 18

LOCAL SW ............................................... 18

USB AUDIO ............................................... 19

SCALE TUNE .............................................. 19

INPUT SETTING .......................................... 20

GENERAL ................................................. 20

INPUT REVERB ............................................ 20

INPUT EQ ................................................. 20

MFX/IFX Parameters .................................... 21

Thru ...................................................... 21

Equalizer ................................................. 21

Spectrum ................................................. 21

Isolator ................................................... 22

Low Boost ................................................ 22

SuperFilter ............................................... 22

Step Filter ................................................ 23

Enhancer ................................................. 23

Auto Wah ................................................. 23

Humanizer ............................................... 24

2

Speaker Sim (Speaker Simulater) .......................... 24

Phaser ................................................... 25

Small Phaser .............................................. 25

Script 90 ................................................. 25

Step Phaser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

M StagePhsr (Multi Stage Phaser) ......................... 26

Inf Phaser (Innite Phaser) ................................ 26

Ring Mod (Ring Modulator) ............................... 27

Tremolo .................................................. 27

Auto Pan ................................................. 27

Slicer ..................................................... 28

Rotary .................................................... 28

VK Rotary ................................................ 29

Chorus ................................................... 29

Flanger ................................................... 30

StepFlanger .............................................. 30

Hexa-Chorus ............................................. 31

Trem Chorus (Tremolo Chorus) ............................ 31

Space-D .................................................. 32

Overdrive ................................................ 32

Distortion ................................................ 32

T-Scream ................................................. 32

Gt Amp Sim (Guitar Amp Simulator) ....................... 33

Compressor .............................................. 34

Limiter ................................................... 34

Sustainer ................................................. 34

Gate ...................................................... 34

Delay ..................................................... 35

Mod Delay (Modulation Delay) ........................... 35

3Tap PanDly .............................................. 36

4Tap PanDly .............................................. 37

MultiTapDly .............................................. 38

Reverse Dly ............................................... 39

TimeCtrlDly (Time Control Delay) ......................... 40

Tape Echo ................................................ 40

LOFI Comp (Lo-Fi Compressor) ............................ 41

Bit Crasher ............................................... 41

PitchShiftr (Pitch Shifter) .................................. 41

2V PShifter (2 Voice Pitch Shifter) .......................... 42

OD 0 Chorus (Overdrive 0 Chorus) ...................... 42

OD 0 Flanger (Overdrive 0 Flanger) ..................... 43

OD 0 Delay (Overdrive 0 Delay) ......................... 43

DS 0 Chorus (Distortion 0 Chorus) ....................... 44

DS 0 Flanger (Distortion 0 Flanger) ...................... 44

DS 0 Delay (Distortion 0 Delay) ......................... 45

OD/DS 0 T. Wah (Overdrive/Distortion 0 Touch Wah) ...... 45

OD/DS 0 A. Wah (Overdrive/Distortion 0 Auto Wah) ...... 46

Gt 0 Chorus (Guitar Amp Simulator 0 Chorus) .......... 47

GT 0 Flanger (Guitar Amp Simulator 0 Flanger) ........ 48

Gt 0 Phaser (Guitar Amp Simulator 0 Phaser) .......... 49

Gt 0 Delay (Guitar Amp Simulator 0 Delay) ............ 50

EP 0 Tremolo (EP Amp Simulator 0 Tremolo) ........... 51

EP 0 Chorus (EP Amp Simulator 0 Chorus) ............. 51

EP 0 Flanger (EP Amp Simulator 0 Flanger) ............ 52

EP 0 Phaser (EP Amp Simulator 0 Phaser) .............. 52

EP 0 Delay (EP Amp Simulator 0 Delay) ................ 53

Enhncr 0 Cho (Enhancer 0 Chorus) .................... 53

Enhncr 0 Fl (Enhancer 0 Flanger) ...................... 54

Enhncr 0 Dly (Enhancer0 Delay) ......................... 54

Chorus 0 Dly (Chorus 0 Delay) ......................... 55

Flanger 0 Dly (Flanger 0 Delay) . . . . . . . . . . . . . . . . . . . . . . . . 55

Chorus 0 Fl (Chorus 0 Flanger) ........................ 56

CE-1 (Chorus) ............................................ 56

SBF-325 (Flanger) ........................................ 56

SDD-320 (Dimension D) .................................. 57

2Tap PanDly (2 Tap Pan Delay) ............................ 57

Transient ................................................. 58

Mid-Side EQ (Mid-Side Equalizer) .......................... 58

M/S Comp (Mid-Side Compressor) ......................... 59

Fattener (Tone Fattener) .................................. 60

M/S Delay (Mid Side Delay) ............................... 60

EP Amp Sim (RD EP Amp Simulator) ....................... 61

DJFX Looper .............................................. 61

BPM Looper .............................................. 62

Saturator ................................................. 62

W Saturator (Worm Saturator) ............................. 63

Fuzz ...................................................... 63

JUNO Chorus (JUNO-106Chorus) .......................... 63

MM Filter (Multimode Filter) .............................. 64

HMS Distort .............................................. 64

Script 100 ................................................ 64

Note ..................................................... 64

Contents

3

Scene Parameter

Here’s how to edit settings for the currently selected scene.

1. Press the [MENU] button.

2. Use the cursor [ ] [ ] buttons to select “SCENE EDIT,”

and press the [ENTER] button.

3. Use the cursor [ ] [ ] buttons to select the item that

you want to edit, and press the [ENTER] button.

4. Use the cursor [ ] [ ] buttons to select a parameter,

and use the [DEC] [INC] buttons to edit the value.

COMMON

Settings for the entire scene.

Parameter Value Explanation

Level

Tempo

Voice Reserve
Z1–Z3

0–127 Species the volume of the scene.

20–250

0–10

Species the tempo of the scene. This
aects the eect settings, etc.

Species the number of voices that
are reserved for each zone when you
attempt to play more voices than the
maximum available.

ZONE EDIT

Settings for zones 1–3 (UP1/UP2/LOW).

* Settings for sound engine control.

INTERNAL

Settings for each zone for the internal sound engine of the RD-88
unit.

Parameter Value Explanation

SN PR-A, SN PR-B,
RD-88, PR-A, PR-B,

Bank

(Number / Name)

Level

Pan

Kbd Sw

(Keyboard Switch)

Rx Ch

(Rx Channel)

Cho Send

(Chorus Send Level)

Rev Send

(Reverb Send Level)

Output

(Output Assign)

PR-C, PR-D, PR-E,
COMMON, USER,
EXZ001

**** Selects the tone.

0–127 Species the volume of each zone.

L64–63R

OFF, ON

1–16

0–127 Species the send level to chorus.

0–127 Species the send level to reverb.

Selects the output destination.

DRY

IFX Send to IFX.

SYM-RESO Send to Sympathetic Resonance.

Selects the tone bank.

Species the panning of each zone
when using stereo output.

Switches the zone on/o for playing
from the keyboard.

Species the MIDI receive channel of
each zone.

Output without passing through the
eects.

Parameter Value Explanation

Key Rng Low

(Key Range Lower)

Key Rng Upp

(Key Range Upper)

Velo Max

(Velocity Max)

Velo Sens

(Velocity Sensitivity)

Velo Rng Low

(Velocity Range Lower)

Velo Rng Upp

(Velocity Range Upper)

Coarse Tune

Fine Tune

Ctrl Damper

(Damper Pedal)

Ctrl FC1

(FC1 Pedal)

Ctrl FC2

(FC2 Pedal)

Ctrl Wheel1

(Wheel 1)

Ctrl Wheel2

(Wheel 2)

Ctrl Knob1

(Control Knob 1)

Ctrl Knob2

(Control Knob 2)

Ctrl Knob3

(Control Knob 3)

Ctrl Knob4

(Control Knob 4)

Ctrl Knob5

(Control Knob 5)

Ctrl Knob6

(Control Knob 6)

Ctrl Knob7

(Control Knob 7)

Ctrl Knob8

(Control Knob 8)

C-1–UPPER

LOWER–G9

1–127

-63–+63

1–UPPER

LOWER–127

-48–+48 Species the pitch in semitone units.

-50–+50

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

OFF, ON

Species each zone’s key range. Make
this setting when you want to play
dierent tones in dierent regions of
the keyboard. Specify the lowest key
(Key Rng Low) and the highest key
(Key Rng Upp) of the desired region.

Species the maximum velocity
when you play a key. With a low value
of this setting, the volume will not
become very loud even if you play a
key strongly.

Species how the volume responds to
the key velocity.

With positive (+) values, the volume
increases as you play more strongly;
with negative values (-), the volume
decreases as you play more strongly.

Specify the lower limit (Velo Rng Low)
and upper limit (Velo Rng Upp) of key
velocities that will play the tone. Make
these settings when you want to use
velocity to switch between tones.

Finely adjusts the pitch in one-cent
units.

Species whether damper pedal
operations are received (ON) or not
received (OFF).

Species whether FC1 pedal
operations are received (ON) or not
received (OFF).

Species whether FC2 pedal
operations are received (ON) or not
received (OFF).

Species whether WHEEL1 operations
are received (ON) or not received
(OFF).

Species whether WHEEL2 operations
are received (ON) or not received
(OFF).

Species whether KNOB1 operations
are received (ON) or not received
(OFF).

Species whether KNOB2 operations
are received (ON) or not received
(OFF).

Species whether KNOB3 operations
are received (ON) or not received
(OFF).

Species whether KNOB4 operations
are received (ON) or not received
(OFF).

Species whether KNOB5 operations
are received (ON) or not received
(OFF).

Species whether KNOB6 operations
are received (ON) or not received
(OFF).

Species whether KNOB7 operations
are received (ON) or not received
(OFF).

Species whether KNOB8 operations
are received (ON) or not received
(OFF).

4

Scene Parameter

EXTERNAL

External MIDI device settings for each zone.

Parameter Value Explanation

Normally, you’ll use this value. The
same MIDI messages are transmitted
to the RD-88’s internal sound engine
and to an external MIDI device. Tone
selection and switching messages
(bank select and program change)
will be the settings of the tone
selected for that zone.

MEMO

If Tx Mode is ON, the settings of the
[INTERNAL] tab are enabled, and the
settings of the [EXTERNAL] tab are
ignored. If you want to enable the
parameters of the [EXTERNAL] tab
and control an external device, set Tx
Mode to “EXT.”

Use this setting if you want a specic
zone to not transmit MIDI messages
to an external MIDI device. Use the
INT setting if you want to play only
the internal sounds of the RD-88.

Choose this setting if you’re using
the RD-88 as a master keyboard to
control an external MIDI device.

Species the connector that
transmits control messages.

If this is “ALL,” messages are
transmitted both from the MIDI OUT
connector and the USB port.

Enter numerical values for the
program number and bank select
MSB/LSB to switch sounds on an
external MIDI device.

Adjusts the volume of the external
MIDI device.

Sets the pan of the external MIDI
device.

Sets the Chorus Send Level of the
external MIDI device.

Sets the Reverb Send Level of the
external MIDI device.

Sets the Mono/Poly setting of the
external MIDI device.

Sets the Attack Time Oset of the
external MIDI device.

Sets the Decay Time Oset of the
external MIDI device.

Sets the Release Time Oset of the
external MIDI device.

Sets the Cuto Oset of the external
MIDI device.

Sets the Resonance Oset of the
external MIDI device.

Sets the Portamento of the external
MIDI device.

Sets the Portamento Time of the
external MIDI device.

Sets the Coarse Tune of the external
MIDI device.

Tx Mode

(Tx Mode)

Ext Port

(Output Port)

Ext Ch

(Tx Channel)

Bank MSB

Bank LSB

Ext PC

(Program Change)

Ext Volume

(Volume)

Ext Pan

(Pan)

Ext Chorus

(Chorus Send Level)

Ext Reverb

(Reverb Send Level)

Ext Mono/Poly

(Mono/Poly)

Ext Attack

(Attack Time Oset)

Ext Decay

(Decay Time Oset)

Ext Release

(Release Time Oset)

Ext Cuto

(Cuto Oset)

Ext Reso

(Resonance Oset)

Ext Porta Sw

(Portamento Switch)

Ext Porta Tm

(Portamento Time)

Ext C. Tune

(Coarse Tune)

ON

INT

EXT

ALL, MIDI, USB

1–16 Species the MIDI transmit channel.

OFF, 0–127

OFF, 0–127

OFF, 1–128

OFF, 0–127

OFF, L64–63R

OFF, 0–127

OFF, 0–127

OFF, MONO, POLY

OFF, 0–127

OFF, 0–127

OFF, 0–127

OFF, 0–127

OFF, 0–127

OFF, P-OFF, P-ON

OFF, 0–127

OFF, -48–+48

Parameter Value Explanation

Ext F. Tune

(Fine Tune)

Ext Bend Rng

(Bend Range)

Ext Mod Dpth

(Modulation Depth)

Ext M. Vol Sw

(External Control Volume
Knob)

OFF, -50–+50

OFF, 0–48

OFF, 0–127

OFF, ON

Sets the Fine Tune of the external
MIDI device.

Sets the Bend Range of the external
MIDI device.

Sets the Modulation Depth of the
external MIDI device.

Species whether master volume
operations are transmitted (ON) or
not transmitted (OFF).

Turn the Ext M. Vol Sh ON when
you want to use the master volume
to also adjust the volume of the
external MIDI device.

Ext CC1 Num

(User Control Change 1

Number)

OFF, 0–127

Ext CC1 Val

(User Control Change
1 Value)

Ext CC2 Num

(User Control Change 2
Number)

0–127

OFF, 0–127

These parameters let you specify and
transmit two types of control change
message.

Ext CC2 Val

(User Control Change
2 Value)

0–127

5

Scene Parameter

KEY TOUCH

External MIDI device settings for each zone.

Parameter Value Explanation

Species whether the keyboard touch

Source

Velo Crv

(Velocity Curve)

Velo Oset

(Velocity Sense Oset)

Velocity

Velo Dly Sens

(Velocity Delay Sense)

Velo Keyfollow

(Velocity Key Follow
Sense)

KeyO Pos

(Key O Position)

SCENE, SYS

SPR LIGHT An even lighter setting than LIGHT.

LIGHT

MEDIUM

HEAVY

SPR HEAVY An even heavier setting than HEAVY.

-10–+9

REAL,

1–127

-63–+63

-63–+63

STANDARD

DEEP

settings are specied by the settings
of the scene (SCENE) or by the system
settings (SYS).

Species a light keyboard touch
response. Since you can produce
fortissimo () using an even lighter
touch than with the MEDIUM setting,
this feels as though the keyboard is
lighter. This setting is easy to play
even by those whose hands have less
strength.

Species the standard keyboard touch
response. This allows playing with the
most natural touch. This is closest to
the touch of an acoustic piano.

Species a heavy keyboard touch
response. Since producing fortissimo
() requires you to play with a stronger
touch than with the MEDIUM setting,
this feels as though the keyboard
is heavier. This setting allows even
greater expressiveness when you play
dynamically.

Finely adjusts the keyboard touch
response in greater detail than the
Velocity Curve setting. This lets you
specify detailed settings between the
various Velocity Curve values. Higher
values make the touch feel heavier.

If this value exceeds the upper or lower
limit, the Velocity Curve also switches
automatically between its ve values as
appropriate.

The volume and character of the sound
responds to your keyboard playing
dynamics.

The volume and character of the
sound remains xed regardless of your
keyboard playing dynamics.

Species the delay from the moment
you press the key until the sound is
heard.

Negative values delay the timing at
which the sound is heard when you
press the key strongly. Positive values
delay the timing at which the sound is
heard when you press the key softly.

Species how keyboard touch is
aected by the keyboard range.

With higher values, the keyboard feels
heavier as you play upward and lighter
as you play downward.

Note-o occurs at the same key depth
as a conventional piano.

Note-o occurs at a deeper key depth.
This is appropriate for sounds such as
electric piano.

ASSIGN

Keyboard touch settings (for each individual scene).

PEDAL

Parameter Value Explanation

Species whether the parameters

Source

SCENE, SYS

Species the function that is assigned to the FC1
pedal when Source is set to “SCENE.”

OFF No function is assigned.

CC01–31, 32 (OFF),
33–95

FC1

(FC1 Function)

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

SCENE DOWN

SCENE UP Switch the scene to the next number.

START/STOP Play/stop the rhythm or audio le.

Species the function that is assigned to the FC2
pedal when Source is set to “SCENE.”

OFF No function is assigned.

CC01–31, 32 (OFF),
33–95

FC2

(FC2 Function)

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

SCENE DOWN

SCENE UP Switch the scene to the next number.

START/STOP Play/stop the rhythm or audio le.

WHEEL

Parameter Value Explanation

Wheel1 Src

(Wheel1 Source)

Wheel1

(Wheel1 Function)

Wheel2 Src

(Wheel2 Source)

SCENE, SYS

Species the function that is assigned to WHEEL1
when Source is set to “SCENE.”

OFF No function is assigned.

CC01–31, 32 (OFF),
33–95

AFT Aftertouch

PITCH BEND Raise or lower the pitch.

SCENE, SYS

controlled by the pedals are specied
by the settings of the scene (SCENE) or
by the system settings (SYS).

Controller number 1–31, 32, 33–95

Switch the scene to the previous
number.

Controller number 1–31, 32, 33–95

Switch the scene to the previous
number.

Species whether the parameter
controlled by WHEEL1 is specied by
the settings of the scene (SCENE) or by
the system settings (SYS).

Controller number 1–31, 32, 33–95

Species whether the parameter
controlled by WHEEL2 is specied by
the settings of the scene (SCENE) or by
the system settings (SYS).

6

Scene Parameter

Parameter Value Explanation

Species the function that is assigned to WHEEL2
when Source is set to “SCENE.”

OFF No function is assigned.

Wheel2

(Wheel2 Function)

CC01–31, 32 (OFF),
33–95

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

Controller number 1–31, 32, 33–95

KNOB

Parameter Value Explanation

Species whether the parameters

Source

Knob1–Knob8
Knob1 Function–

Knob 8 Function

SCENE, SYS

Specify the functions that are assigned to KNOB
1–8 when Source is set to “SCENE.”

OFF No function is assigned.

CC01–31, 32 (OFF),
33–95

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

controlled by KNOB 1–8 are specied
by the settings of the scene (SCENE) or
by the system settings (SYS).

Controller number 1–31, 32, 33–95

ZONE SOUND

Settings for zones 1–3 (UP1/UP2/LOW).

* Settings for sound engine control.

TONE COLOR

Parameter Value Explanation

Lets you adjust EQ with a single
knob. Turning the knob toward the
left boosts the mid-frequency range,
and turning the knob toward the
right boosts the high- and low­frequency ranges. By adjusting this
appropriately for the conditions of
your performance, you can make the
sound easier to hear.

If the sound is being output in stereo,
turning the knob toward the left
gradually changes the output to
mono, and turning the knob toward
the right gradually changes to stereo.
Depending on the conditions of your
performance, mono output might be
easier to hear.

Type

(Tone Color Type)

Level

(Tone Color Level)

GENERAL

EQ

STEREO WIDTH

0–127 Adjusts the depth of TONE COLOR.

CTRL SRC SEL

Parameter Value Explanation

Src1

(Control Source (1))

Src2

(Control Source (2))

Src3

(Control Source (3))

Src4

(Control Source (4))

OFF, CC01–CC31,
CC33–CC95, BEND,
AFT

Specify the MIDI message that
modies the parameter.

Parameter Value Explanation

Choose “MONO” if you want the
tone assigned to the zone to play

Mono/Poly

Legato Sw

(Legato Switch)

Porta Sw

(Portamento Switch)

Porta Time

(Portamento Time)

Unison Sw

(Unison Switch)

Velo Crv Type

(Velocity Curve Type)

MONO, POLY, TONE

OFF, ON, TONE

OFF, ON, TONE

0–127, TONE

OFF, ON, TONE

OFF, 1–4

monophonically, or “POLY” if you
want it to play polyphonically.
Choose “TONE” if you want to use
the setting of the tone.

When playing monophonically,
you can apply legato. “Legato” is
a playing technique in which notes
are played smoothly without a break
between them. This produces an
eect similar to the guitar technique
of hammering-on and pulling-o.
Choose “ON” to apply legato, or
“OFF” if you don’t want to apply
legato. Choose “TONE” if you want
to use the setting of the tone.

Species whether portamento is
applied. Choose “ON” if you want to
apply portamento, or “OFF” if you
don’t want to apply portamento.
Choose “TONE” if you want to use
the setting of the tone.

Species the time over which the
pitch changes when applying
portamento. With higher values, the
pitch change to the next note takes
longer. Choose “TONE” if you want
to use the setting of the tone.

This function layers a single sound.
Choose “ON” if you want to apply
unison, or “OFF” if not. Choose
“TONE” if you want to use the
setting of the tone.

For each zone, selects one of
four velocity curves suitable for
the keyboard touch of your MIDI
keyboard. If you want to play the
sounds using the velocity curve of
this unit’s keyboard, choose “OFF.”

7

Scene Parameter

Pitch

Parameter Value Explanation

Species the amount of pitch

Bend Range

0–24, TONE

change that occurs when you move
a controller if pitch bend is assigned
to that controller (maximum two
octaves).

Species the behavior of a controller if pitch bend
is assigned to that controller.

NORMAL

Bend Mode

C+L

(CATCH+LAST)

TONE The setting of the tone is used.

The conventional pitch bend eect is
applied.

The pitch bend eect applies only
to the last-played note. If a note-on
occurs while pitch bend is already
applied, that note sounds at its center
pitch. Its pitch begins changing after
the controller passes through the
center position.

MODIFY

Parameter Value Explanation

Cuto

(Cuto Oset)

Resonance

(Resonance Oset)

Attack

(Attack Time Oset)

Decay

(Decay Time Oset)

-64–+63

Release

(Release Time Oset)

Vib Rate

(Vibrato Rate)

Vib Depth

(Vibrato Depth)

Vib Delay

(Vibrato Delay)

Velo Sens

(Velocity Sens Oset)

Adjusts the openness of the lter. Higher
values make the sound brighter, and
lower values make it darker.

Boosts the sound in the region of the
cuto frequency, giving it a distinctive
character. Raising this value excessively
might cause oscillation and distortion.
Higher values produce a stronger
character, and lower values produce a
weaker character.

Adjusts the time from when the key is
pressed until the attack is completed.
Higher values make the attack more
gradual, and lower values make the attack
sharper.

Adjusts the time over which the volume
decreases after the attack. Higher values
lengthen this decay time, and lower
values shorten it.

Adjusts the time from when the key
is released until the sound diminishes
to silence. Higher values lengthen this
release time, and lower values produce a
crisper sound.

Adjusts the vibrato rate (the speed at
which the pitch is modulated). Higher
values make pitch modulation faster, and
lower values make it slower.

Adjusts the vibrato depth (the depth to
which the pitch is modulated). Higher
values make vibrato deeper, and lower
values make it less deep.

Adjusts the time until the vibrato (pitch
modulation) eect starts being applied.
Higher values produce a longer delay until
the eect is applied, and lower values
produce a shorter delay.

Adjusts the velocity sensitivity. Higher
values make the sensitivity greater.

SCALE TUNE

Parameter Value Explanation

Source

Type

(Scale Tune Type)

Key

(Scale Tune Key)

C–B

SCENE, SYS

CUSTOM

EQUAL

JUST-MAJ

JUST-MIN

PYTHAGORE

KIRNBERGE

MEANTONE

WERCKMEIS

ARABIC

C–B Sets the keynote.

-64–+63 Finely adjusts the pitch.

Species whether scale tune is
specied by the scene setting (SCENE)
or by the system setting (SYS).

Custom: Allows you to specify a
custom temperament.

Equal temperament: This
temperament divides the octave into
12 equal parts. Slight inharmonicity is
equally present in all intervals.

Just intonation (major): This
temperament produces pure fths
and thirds. It is not suitable for
melodic playing and does not allow
modulation to another key, but
produces beautiful-sounding chords.

Just intonation (minor): Just
intonation diers between major and
minor. This produces the same eect
as “Just intonation (major)” but for
a minor key.

Pythagorean temperament: This
is based on the theories of the
philosopher Pythagoras, and
eliminates inharmonicity in the fourth
and fth. Third interval chords are
imperfect, but melodies will sound
good.

Kirnberger: This temperament
improves meantone temperament
and just intonation to allow greater
freedom of modulation. It allows
performance in all keys (Type III).

Meantone temperament: This
temperament is a partial compromise
of just intonation that allows
modulation.

Werckmeister: This temperament
combines meantone temperament
and Pythagorean temperament.
It allows performance in all keys
(Werckmeister I (III)).

Arabic temperament: This
temperament is suitable for Arabic
music.

8

Scene Parameter

ZONE EFFECTS

Settings for zones 1–3 (UP1/UP2/LOW).

* Eect-related settings.

EQ

Parameter Value Explanation

Switch

In Gain

(Input Gain)

Low Gain

(Low Gain)

Low Freq

(Low Frequency)

Mid Gain

(Mid Gain)

Mid Freq

(Mid Frequency)

Mid Q

(Mid Q)

High Gain

HighFreq

(High Frequency)

MFX

Parameter Value Explanation

FllwToneMFX

(Follow Tone MFX)

Type

(MFX Type)

Switch

Cho Send

(Chorus Send Level)

Rev Send

(Reverb Send Level)

OFF, ON Switches the equalizer (EQ) on/o.

-24–+24 [dB]

-24–+24 [dB]

20–16000 [Hz] Frequency of the low range.

-24–+24 [dB]

20–16000 [Hz]

0.5–16.0

-24–+24 [dB]

20–16000 [Hz] Frequency of the high range.

OFF, ON

Selects the MFX type.

OFF, ON Turns MFX on/o.

0–127

0–127

Species the amount of boost/cut for
the input audio.

Species the amount of boost/cut for
the low-frequency region.

Species the amount of boost/cut for
the mid-frequency region.

Species the center frequency of the
mid-frequency region.

Species the width of the mid­frequency region.

Set a higher value for Q to narrow the
range to be aected.

Species the amount of boost/cut for
the high-frequency region.

Turn this “ON” if you want to use the
MFX settings of the tone. If this is
“OFF,” you can edit the MFX type and
parameters.

Press the [Enter] button to enter the
MFX Edit screen and edit the MFX
parameters. To exit the MFX Edit
screen, press the [EXIT] button.

If FllwToneMfx is ON, the MFX settings
of the tone are used, so you can’t
change the value.
&“MFX/IFX Parameters” (p. 21)

Species the chorus send level of the
sound after MFX is applied.

* If FllwToneMfx is ON, the MFX

settings of the tone are used, so you
can’t change the value.

Species the reverb send level of the
sound after MFX is applied.

* If FllwToneMfx is ON, the MFX

settings of the tone are used, so you
can’t change the value.

SCENE EFFECTS

Settings for the eects applied to the entire scene.

SYMPATHETIC RESO

These parameters adjust the resonance (sympathetic resonance) that
occurs when you hold down the damper pedal. On an acoustic piano,
holding down the damper pedal allows strings other than those that
you play to resonate sympathetically with the played strings, creating
a richly expansive resonance. This eect simulates that behavior.

Parameter Value Explanation

Switch

Depth

Cabinet Reso

Atk LPF

Atk HPF

AtkPkg Freq

AtkPkg Gain

AtkPkg Q

Rev HF Damp

Rev LF Damp

Aliquot Level

Level

OFF, ON

0–127 Eect depth

0–127

16–15000 [Hz],
BYPASS

BYPASS, 16–15000
[Hz]

16–15000 [Hz]

-15–+15 [dB]

0.5, 1.0, 2.0, 4.0, 8.0

16–15000 [Hz],
BYPASS

BYPASS, 16–15000
[Hz]

0–127

0–127 Output Level

IFX

These are settings for the IFX (insertion eect) of which the scene can
use one instance.

Parameter Value Explanation

Selects the IFX type.

If you press the [Enter] button, you enter the IFX Edit screen

Type

(IFX Type)

Switch

Cho Send

(Chorus Send Level)

Rev Send

(Reverb Send Level)

where you can edit the IFX parameters. To leave the IFX Edit
screen, press the [EXIT] button.

* The types and parameters that can be selected are the

same for MFX and IFX.
&“MFX/IFX Parameters” (p. 21)

OFF, ON Turns IFX on/o.

0–127

0–127

With the ON setting, the eect is
applied.

Depth of the resonance when the
damper pedal is not pressed.

Frequency of the lter that cuts the
high-frequency portion of the input
sound.

(BYPASS: no cut)

Frequency of the lter that cuts the
low-frequency portion of the input
sound.

(BYPASS: no cut)

Center frequency of the lter that
boosts/cuts the specied region of the
input sound.

Amount of boost/cut for the lter that
boosts/cuts the specied region of the
input sound.

Width of the frequency region
boosted/cut by Peaking Gain (higher
values make the region narrower).

Frequency at which the high-frequency
portion of the resonance sound is cut.

(BYPASS: no cut)

Frequency at which the low-frequency
portion of the resonance sound is cut.

(BYPASS: no cut)

Adjusts the level of the sound of an
acoustic piano’s resonating aliquot
strings (duplex scaling). Higher values
make the resonant sound louder.

Species the chorus send level of the
sound after MFX is applied.

Species the reverb send level of the
sound after MFX is applied.

9

Scene Parameter

CHORUS

These parameters are chorus settings for each scene.

Parameter Value Explanation

Source

Type

(Chorus Type)

Switch

Level

(Chorus Level)

Rev Send

(Reverb Send)

SCENE, SYS

If Source is “SCENE,” you can edit the chorus type and the
other parameters.

In the chorus type page, press the [Enter] button to enter
the chorus parameter page.
&“CHORUS Parameter” (p. 10)

OFF, ON Turns chorus on/o.

0–127

0–127 Species the send level to reverb.

CHORUS Parameter

Chorus

This is a stereo chorus.

Parameter Value Explanation

Rate

Depth

Feedback

CE-1

This models the classic CE-1 chorus eect unit made by BOSS in years past.

It produces a chorus sound with distinctive analog warmth.

Parameter Value Explanation

Intensity

SDD-320

This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus
sound.

Parameter Value Explanation

Mode

Delay

This is a stereo delay.

Parameter Value Explanation

Dly Sync

(sync sw)

Dly Msec

(msec)

Dly Note

(note)

Feedback

HF Damp

0–127 Adjusts the rate of modulation.

0–127 Adjusts the depth of modulation.

0–127

0–127 Adjusts the depth of chorus.

1–4, 1+4, 2+4, 3+4 Switches the mode.

OFF, ON

1–1300 [msec]

Note

& “Note” (p. 64)

-98–+98 [%]

200–8000 [Hz],
BYPASS

Species whether the chorus settings
follow the settings of the scene
(SCENE) or the system settings (SYS).

Species the output level of the sound
to which chorus is applied.

Adjusts the level of the chorus sound
that is returned to the input.

If this is ON, the delay is synchronized
to the tempo.

Adjusts the delay time from the
original sound until the delay sound
is heard.

Adjusts the proportion at which the
delay sound is returned to the input
(negative values: reverse phase).

Adjusts the frequency above which
the high-frequency portion of the
delay sound returned to the input is
cut (BYPASS: no cut).

T-Ctrl Dly

A stereo delay in which the delay time can be varied smoothly.

Parameter Value Explanation

Dly Sync

(sync sw)

Dly Msec

(msec)

Dly Note

(note)

Acceleration

Feedback

HF Damp

OFF, ON

1–1300 [msec]

Note

& “Note” (p. 64)

0–15

-98–+98 [%]

200–8000 [Hz],
BYPASS

If this is on, the delay is synchronized
to the tempo.

Adjusts the delay time from the
original sound until the delay sound
is heard.

Adjusts the duration between when
you vary the delay time until it
changes from the current delay time
to the specied delay time. The speed
of pitch change also changes with the
delay time.

Adjusts the proportion at which the
delay sound is returned to the input
(negative values: reverse phase).

Adjusts the frequency above which
the high-frequency portion of the
delay sound returned to the input is
cut (BYPASS: no cut).

Delay 0 Tre m

This applies tremolo to the delay sound.

Parameter Value Explanation

Input

Dly Sync

(sync sw)

Dly Msec

(msec)

Dly Note

(note)

Feedback

HF Damp

Trm Switch

Trm ModWave

Trm Sync

(sync sw)

Trm Hz

(Hz)

Trm Note

(note)

Trm Depth

MONAURAL Mixes the input to mono.

STEREO Inputs in stereo.

OFF, ON

1–1300 [msec]

Note

& “Note” (p. 64)

-98–+98 [%]

200–8000 [Hz],
BYPASS

OFF, ON Turns the tremolo eect on/o.

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1

SAW2

TRP Trapezoid wave

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

If this is on, the delay is synchronized
to the tempo.

Adjusts the delay time from the
original sound until the delay sound
is heard.

Adjusts the proportion at which the
delay sound is returned to the input
(negative values: reverse phase).

Adjusts the frequency above which
the high-frequency portion of the
delay sound returned to the input is
cut (BYPASS: no cut).

Sawtooth wave

If this is ON, the tremolo is
synchronized to the tempo.

Adjusts the rate at which tremolo is
applied.

Adjusts the depth to which tremolo
is applied.

10

Scene Parameter

2Tap PanDly

This produces delay sound in the two directions that you specify.

Parameter Value Explanation

Dly Sync

(sync sw)

Dly Msec

(msec)

Dly Note

(note)

Feedback

HF Damp

Dly 1 Pan

Dly 2 Pan

Dly 1 Level

Dly 2 Level

OFF, ON

1–1300 [msec]

Note

& “Note” (p. 64)

-98–+98 [%]

200–8000 [Hz],
BYPASS

L64–63R Adjusts the panning of delay 1.

L64–63R Adjusts the panning of delay 2.

0–127 Adjusts the volume of delay 1.

0–127 Adjusts the volume of delay 2.

If this is on, the delay is synchronized
to the tempo.

Adjusts the delay time from the
original sound until the second delay
sound is heard.

Adjusts the proportion at which the
delay sound is returned to the input
(negative values: reverse phase).

Adjusts the frequency above which
the high-frequency portion of the
delay sound returned to the input is
cut (BYPASS: no cut).

3Tap PanDly

This produces delay sound in the three directions that you specify.

Parameter Value Explanation

Dly Sync

(sync sw)

Dly Msec

(msec)

Dly Note

(note)

Feedback

HF Damp

Dly 1 Pan

Dly 2 Pan

Dly 3 Pan

Dly 1 Level

Dly 2 Level

Dly 3 Level

OFF, ON

1–2600 [msec]

Note

& “Note” (p. 64)

-98–+98 [%]

200–8000 [Hz],
BYPASS

L64–63R Adjusts the panning of delay 1.

L64–63R Adjusts the panning of delay 2.

L64–63R Adjusts the panning of delay 3.

0–127 Adjusts the volume of delay 1.

0–127 Adjusts the volume of delay 2.

0–127 Adjusts the volume of delay 3.

If this is on, the delay is synchronized
to the tempo.

Adjusts the delay time from the
original sound until the thrid delay
sound is heard.

Adjusts the proportion at which the
delay sound is returned to the input
(negative values: reverse phase).

Adjusts the frequency above which
the high-frequency portion of the
delay sound returned to the input is
cut (BYPASS: no cut).

REVERB

These are reverb settings for each scene.

Parameter Value Explanation

Source

Type

(Reverb Type)

Switch

Level

(Reverb Level)

SCENE, SYS

If Source is “SCENE,” you can edit the reverb type and
parameters. In the reverb type page, press the [Enter]
button to enter the reverb parameter page.
&“REVERB Parameter” (p. 11)

OFF, ON Turns the reverb on/o.

0–127

REVERB Parameter

INTEGRA7Rev

Parameter Value Explanation

01: ROOM1

02: ROOM2

Char

Pre Delay

Time

Density

Diusion

LF Damp

HF Damp

Spread

Tone

03: HALL1

04: HALL2

05: PLATE

0–100 [msec]

0.1–10.0 [sec]

0–127

0–127

0–100

0–100

0–127

0–127

Species whether the reverb settings
follow the settings of the scene
(SCENE) or the system settings (SYS).

Species the output level of the sound
to which reverb is applied.

Type of reverb

OFF: Reverb is not used

Room 1/2: Room

Hall 1/2: Hall

Plate: Plate

Adjusts the delay time from the
original sound until the reverb sound
is heard.

Adjusts the length of time over which
the reverb sound decays.

Adjusts the density of the reverb
sound.

With higher values of this parameter,
the density of the reverb sound
increases as time passes. (The eect of
this setting is most pronounced with
long reverb times.)

Adjusts the low-frequency portion of
the reverb.

Adjusts the high-frequency portion of
the reverb.

Adjusts the spread of the reverb
sound.

Adjusts the tonal character of the
reverb sound.

JUNO Chorus

This models the chorus section of the Roland JUNO-106.

Parameter Value Explanation

Selects the type of chorus.

I+II: The state when the two buttons
are pressed simultaneously.

Adjusts the volume of the noise that is
produced by the chorus.

Mode

Noise Level

I, II, I+II, JX I, JX II

0–127

11

Scene Parameter

Warm Hall

Parameter Value Explanation

Pre Delay

Time

Pre LPF

Pre HPF

PreLpLPF

Diusion

HF Damp F

HF Damp R

0–100 [msec]

0.3–30.0 [sec]

16–15000 [Hz],
BYPASS

16–15000 [Hz],
BYPASS

16–15000 [Hz],
BYPASS

0–127

1000–8000 [Hz]

0.1–1.0

Adjusts the delay time from the
original sound until the reverb sound
is heard.

Adjusts the length of time over which
the reverb sound decays.

Adjusts the frequency above which
the high-frequency portion of the
sound being input to the reverb is cut.

Adjusts the frequency below which
the low-frequency portion of the
sound being input to the reverb is cut.

Adjusts the frequency above which
the high-frequency portion of the
long reverb sound is cut.

Adjusts the time-varying change in
the density of the reverb sound.

Adjusts the frequency above which
the high-frequency portion of the
reverb sound is cut.

Adjusts the amount of attenuation
for the high-frequency portion of the
reverb sound.

Hall

Parameter Value Explanation

Pre Delay

Time

Size

High Cut

Density

Diusion

LF Damp F

LF Damp G

HF Damp F

HF Damp G

0.0–100.0 [msec]

0–127

1–8 Adjusts the size of the room or hall.

160–12500 [Hz],
BYPASS

0–127

0–127

50–4000 [Hz]

-36–0 [dB]

4000–12500 [Hz]

-36–0 [dB]

Adjusts the delay time from the
original sound until the reverb sound
is heard.

Adjusts the length of time over which
the reverb sound decays.

Adjusts the frequency above which
the high-frequency portion of the nal
output sound is cut (BYPASS: no cut).

Adjusts the density of the reverb
sound.

With higher values of this parameter,
the density of the reverb sound
increases as time passes. (The eect of
this setting is most pronounced with
long reverb times.)

Adjusts the frequency below which
the low-frequency portion of the
reverb sound is cut.

Adjusts the amount of attenuation for
LF damp (0: no eect).

Adjusts the frequency above which
the high-frequency portion of the
reverb sound is cut.

Adjusts the amount of attenuation for
HF damp (0: no eect).

SRV-2000

Parameter Value Explanation

Selects the type of reverb produced by the Roland SRV­2000 digital reverb unit.

Room reverb.

Higher values increase the size of the
room.

Hall reverb.

Higher values increase the size of the
concert hall.

Plate reverb.

This is a more amboyant reverb
sound than P-A.

Adjusts the delay time from the
original sound until the reverb sound
is heard.

Adjusts the length of time over which
the reverb sound decays.

Adjusts the high-frequency portion of
the reverb.

Adjusts the density of the late
reverberation.

Adjusts the gain of the early
reections.

Adjusts the time of the early
reections.

Adjusts the density of the early
reections.

Adjusts the volume of the early
reections.

Species the center frequency of the
mid-frequency region.

Adjusts the boost/cut of the mid­frequency range.

Species the bandwidth of the mid­frequency range.

Set a higher value for Q to narrow the
range to be aected.

Species the bandwidth of the high­frequency range.

Set a higher value for Q to narrow the
range to be aected.

Selection

Pre Delay

Time

HF Damp

Density

Attack Gain

Attack Time

ER Density

ER Level

Low Freq

Low Gain

Mid Freq

Mid Gain

Mid Q

High Freq

High Gain

HIGH Q

R0.3–R37

H15–H37

P-B

P-A Plate reverb.

0–160

0.1s–99.0s [msec]

0.05–1.00

0–9

0–9

0–9

0–9

0–99

0.04–1.00 [kHz] Frequency of the low range.

-24–+12 [dB] Gain of the low frequency range.

0.25–9.99 [kHz]

-24–+12 [dB]

0.2–9.0

0.80–9.99 [kHz] Frequency of the high range.

-24–+12 [dB] Gain of the high frequency range.

0.2–9.0

GS Reverb

Parameter Value Explanation

ROOM1–3,

Char

Pre LPF

Time

Feedback

12

HALL1–2, PLATE,
DELAY, PAN-DELAY

0–7

0–127

0–127

Selects the type of reverb.

Adjusts the amount of attenuation
for the high-frequency portion of the
sound being input to the reverb.

Adjusts the length of time over which
the reverb sound decays.

Adjusts the level at which the reverb
sound is returned to the input.

SRV-2000NL (NON-LINEAR)

Parameter Value Explanation

PreDelay

ReverbTime

GateTime

Low Freq

Low Gain

Mid Freq

Mid Gain

Mid Q

HighFreq

HighGain

Hi Q

0–120

-0.9–+99.0 [sec]

10–450

0.04–1.00 [kHz] Frequency of the low range.

-24–+12 [dB] Gain of the low frequency range.

0.25–9.99 [kHz]

-24–+12 [dB]

0.2–9.0

0.80–9.99 [kHz] Frequency of the high range.

-24–+12 [dB] Gain of the high frequency range.

0.2–9.0

Adjusts the delay time from the
original sound until the reverb sound
is heard.

Adjusts the length of time over which
the reverb sound decays.

Adjusts the length of time over which
the reverb sound decays.

Species the center frequency of the
mid-frequency region.

Adjusts the boost/cut of the mid­frequency range.

Species the bandwidth of the mid­frequency range.

Set a higher value for Q to narrow the
range to be aected.

Species the bandwidth of the high­frequency range.

Set a higher value for Q to narrow the
range to be aected.

Scene Parameter

GM2 Reverb

Parameter Value Explanation

SMALL ROOM

MEDIUM ROOM

Char

Pre LPF

Time

LARGE ROOM

MEDIUM HALL

LARGE HALL

PLATE

0–7

0–127

Selects the type of reverb.

Adjusts the amount of attenuation
for the high-frequency portion of the
sound being input to the reverb.

Adjusts the length of time over which
the reverb sound decays.

13

SYSTEM EFFECTS Parameter

Here’s how to edit the settings of the currently selected system
eects.

MASTER EQ

1. Press the [MENU] button.

2. Use the cursor [ ] [ ] buttons to select “SYSTEM

EFFECT,” and then press the [ENTER] button.

3. Use the cursor [<] [>] buttons to select the eect

that you want to edit, use the cursor [ ] [ ] buttons
to select a parameter, and use the [DEC] [INC]
buttons to edit the value.

SYS CHORUS

These are settings for the chorus eect that is applied to the entire
system.

Parameter Value Explanation

Selects the type of chorus.

Type

Switch

Level

CHORUS
Parameter

When you press the [Enter] button, the parameters for the
selected type of chorus are shown.

OFF, ON Turns chorus on/o.

0–127

Species the parameters of the selected type of chorus.
The available parameters dier depending on the type of
chorus selected in Type.

&“CHORUS Parameter” (p. 10)

Species the output level of the sound to
which chorus is applied.

These are settings for the EQ that is applied to the entire system.

Parameter Value Explanation

Species whether the master EQ (an

Switch

In Gain

Low Gain

Low Freq

Mid1 Gain

Mid1 Freq

Mid1 Q

Mid2 Gain

Mid2 Freq

Mid2 Q

Mid3 Gain

Mid3 Freq

Mid3 Q

High Gain

High Freq

OFF, ON

-24–+24 [dB]

-24–+24 [dB] Gain of the low frequency range.

20–16000 [Hz] Frequency of the low range.

-24–+24 [dB] Gain of the middle frequency range 1.

20–16000 [Hz] Frequency of the middle range 1.

0.5–16.0

-24–+24 [dB] Gain of the middle frequency range 2.

20–16000 [Hz] Frequency of the middle range 2.

0.5–16.0

-24–+24 [dB] Gain of the middle frequency range 3.

20–16000 [Hz] Frequency of the middle range 3.

0.5–16.0

-24–+24 [dB] Gain of the high frequency range.

20–16000 [Hz] Frequency of the high range.

equalizer applied to the entire sound
engine of the RD-88) is used (ON) or
not used (OFF).

Adjusts the amount of boost/cut for
the input to the EQ.

Species the bandwidth of middle
frequency range 1. Higher values
make the bandwidth narrower.

Species the bandwidth of middle
frequency range 2. Higher values
make the bandwidth narrower.

Species the bandwidth of middle
frequency range 3. Higher values
make the bandwidth narrower.

SYS REVERB

These are settings for the reverb that is applied to the entire system.

Parameter Value Explanation

Type of reverb

Type

Switch

Level

REVERB
Parameter

When you press the [Enter] button, the parameters for the
selected type of reverb are shown.

OFF, ON Turns the reverb on/o.

0–127

Species the parameters of the selected type of reverb. The
available parameters dier depending on the type of reverb
selected in Type.

&“REVERB Parameter” (p. 11)

Species the output level of the sound to
which reverb is applied.

14

SYSTEM EFFECTS Parameter

MASTER COMP

These are settings for the compressor that is applied to the entire
system.

Parameter Value Explanation

Species whether the master

Switch

Split Low

Split High

Low Attack

Low Rels

Low Thres

Low Ratio

Low Knee

Low Gain

Mid Attack

Mid Rels

Mid Thres

Mid Ratio

Mid Knee

Mid Gain

High Attack

High Rels

High Thres

OFF, ON

16–16000 [Hz]

0.1–100 [ms]

10–1000 [ms]

-60–0 [dB]

1: 1, 2: 1, 3: 1, 4: 1,
8: 1, 16: 1, 32: 1,
INF: 1

0–30 [dB]

-24.0–+24.0 [dB]

0.1–100 [ms]

10–1000 [ms]

-60–0 [dB]

1: 1, 2: 1, 3: 1, 4: 1,
8: 1, 16: 1, 32: 1,
INF: 1

0–30 [dB]

-24.0–+24.0 [dB]

0.1–100 [ms]

10–1000 [ms]

-60–0 [dB]

compressor (a compressor that is
applied to the entire sound engine of
the RD-88) is used (ON) or not used
(OFF).

Species the frequency that separates
the low-frequency (LOW) and mid­frequency (MID) regions.

Species the frequency that separates
the high-frequency (HIGH) and mid­frequency (MID) regions.

Species the time from when input
exceeds the Low Thres setting until
the volume of the low-frequency
region is compressed.

From a state in which compression is
applied, this species the time after
the input falls below the Low Thresh
until the low-frequency region is no
longer compressed.

Species the volume level at which
compression of the low-frequency
region begins.

Species the compression ratio for the
low-frequency region.

This is a function that smooths the
onset of compression from the
uncompressed state; it gradually
applies compression starting earlier
than Low Thres. Higher values
produce a smoother transition.

Species the output volume of the
low-frequency region.

Species the time from when input
exceeds the Mid Thres setting until
the volume of the mid-frequency
region is compressed.

From a state in which compression is
applied, this species the time after
the input falls below the Mid Thresh
setting until the mid-frequency region
is no longer compressed.

Species the volume level at which
compression of the mid-frequency
region begins.

Species the compression ratio for the
mid-frequency region.

This is a function that smooths the
onset of compression from the
uncompressed state; it gradually
applies compression starting earlier
than Mid Thres. Higher values produce
a smoother transition.

Species the output volume of the
mid-frequency region.

Species the time from when input
exceeds the High Thres setting until
the volume of the high-frequency
region is compressed.

From a state in which compression is
applied, this species the time after
the input falls below the High Thresh
setting until the high-frequency
region is no longer compressed.

Species the volume level at which
compression of the high-frequency
region begins.

Parameter Value Explanation

High Ratio

High Knee

High Gain

1: 1, 2: 1, 3: 1, 4: 1,
8: 1, 16: 1, 32: 1,
INF: 1

0–30 [dB]

-24.0–+24.0 [dB]

Species the compression ratio for the
high-frequency region.

This is a function that smooths the
onset of compression from the
uncompressed state; it gradually
applies compression starting earlier
than High Thres. Higher values
produce a smoother transition.

Species the output volume of the
high-frequency region.

15

SYSTEM Parameter

Here you can edit the parameters that apply to the entire RD-88.

1. Press the [MENU] button.

2. Use the cursor [ ] [ ] buttons to select “SYSTEM,”

and then press the [ENTER] button.

3. Use the cursor [ ] [ ] buttons to select the item that

you want to edit, and press the [ENTER] button.

4. Use the cursor [ ] [ ] buttons to select the

parameter that you want to edit, and use the [DEC]
[INC] buttons to edit the value.

GENERAL

Parameter Value Explanation

MasterTune

(Master Tune)

MasKeyShift

(Master Key Shift)

Tempo

(Tempo)

Tempo Src

(Tempo Source)

Rhy Ptn Level

(Rhythm Pattern Level)

Song Level

(Song Player Level)

Out Gain

(Output Gain)

Auto O

(Auto O)

LCD Contrast

(LCD Contrast)

USB Driver

(USB Driver)

DamperPole

(Damper Pedal Polarity)

415.3–466.2 [Hz]

-24–+24

20–250 Species the system tempo.

SCENE, SYS

0–127

0–127

-12–+12 [dB] Adjusts the output gain.

OFF, 30 [min], 240
[min]

1–10 Adjusts the contrast of the display.

GENERIC

VENDOR

STANDARD,
REVERSE

Tunes the entire unit. The displayed
value is the frequency of the A4 key
(middle A).

Shifts the RD-88’s overall pitch range
in semitone steps.

Species whether, when you switch
scenes, the system tempo is used
(SYS) or the tempo memorized in the
scene is used (SCENE).

Adjusts the volume of the rhythm
pattern.

Adjusts the volume of the song on the
USB ash drive.

Species a xed time after which
the power turns o automatically.
If you don’t want the power to turn
o automatically, choose the “OFF”
setting.

Choose this if you want to use the
standard USB driver that was included
with your computer.

Choose this if you want to use a USB
driver downloaded from the Roland
website.

Species the polarity of the pedal
connected to the Damper Pedal jack.

KEY TOUCH

These are settings related to keyboard touch (for the entire system).

Parameter Value Explanation

SPR LIGHT An even lighter setting than LIGHT.

Species a light keyboard touch
response. Since you can produce
fortissimo () using an even lighter
touch than with the MEDIUM setting,
this feels as though the keyboard is
lighter. This setting is easy to play
even by those whose hands have less
strength.

Species the standard keyboard touch
response. This allows playing with the
most natural touch. This is closest to
the touch of an acoustic piano.

Species a heavy keyboard touch
response. Since producing fortissimo
() requires you to play with a
stronger touch than with the MEDIUM
setting, this feels as though the
keyboard is heavier. This setting allows
even greater expressiveness when you
play dynamically.

Finely adjusts the keyboard touch
response in greater detail than the
Velocity Curve setting. This lets you
specify detailed settings between the
various Velocity Curve values. Higher
values make the touch feel heavier.

If this value exceeds the upper or
lower limit, the Velocity Curve also
switches automatically between its
ve values as appropriate.

The volume and character of the
sound responds to your keyboard
playing dynamics.

The volume and character of the
sound remains xed regardless of
your keyboard playing dynamics.

Species the delay from the moment
you press the key until the sound is
heard.

Negative values delay the timing at
which the sound is heard when you
press the key strongly. Positive values
delay the timing at which the sound is
heard when you press the key softly.

Species how keyboard touch is
aected by the keyboard range.

With higher values, the keyboard
feels heavier as you play upward and
lighter as you play downward.

Note-o occurs at the same key depth
as a conventional piano.

Note-o occurs at a deeper key depth.
This is appropriate for sounds such as
electric piano.

Velo Crv

Velo Oset

Velocity

Velo Dly Sens

Velo Keyfollow

KeyO Pos

LIGHT

MEDIUM

HEAVY

SPR HEAVY An even heavier setting than HEAVY.

-10–+9

REAL,

1–127

-63–+63

-63–+63

STANDARD

DEEP

16

SYSTEM Parameter

ASSIGN

These settings specify the functions that are assigned to the various
jacks (for the entire system).

PEDAL

Parameter Value Explanation

OFF No function is assigned.

FC1

(FC1 Function)

FC1 Pole

(FC1 Pedal Polarity)

FC2

(FC2 Function)

FC2 Pole

(FC2 Pedal Polarity)

CC01–31, 32(OFF),
33–95

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

SCENE DOWN

SCENE UP Switch the scene to the next number.

START/STOP Play/stop the rhythm or audio le.

STANDARD,
REVERSE

OFF No function is assigned.

CC01–31, 32(OFF),
33–95

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

SCENE DOWN

SCENE UP Switch the scene to the next number.

START/STOP Play/stop the rhythm or audio le.

STANDARD,
REVERSE

Controller number 1–31, 32, 33–95

Switch the scene to the previous
number.

Species the polarity of the pedal that
is connected to the FC1 PEDAL jack.

Controller number 1–31, 32, 33–95

Switch the scene to the previous
number.

Species the polarity of the pedal that
is connected to the FC2 PEDAL jack.

WHEEL

Parameter Value Explanation

OFF No function is assigned.

Wheel1

(Wheel1 Function)

Wheel2

(Wheel2 Function)

CC01–31, 32(OFF),
33–95

AFT Aftertouch

PITCH BEND Raise or lower the pitch.

OFF No function is assigned.

CC01–31, 32(OFF),
33–95

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

Controller number 1–31, 32, 33–95

Controller number 1–31, 32, 33–95

KNOB

Parameter Value Explanation

OFF No function is assigned.

Knob1–Knob8
Knob1 Function–

Knob 8 Function

CC01–31, 32(OFF),
33–95

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

Controller number 1–31, 32, 33–95

17

SYSTEM Parameter

MIDI

GENERAL

Parameter Value Explanation

Species the MIDI receive channel
that is used when an external MIDI
device transmits MIDI messages

Ctrl Ch

Ctrl Src Sel

SysCtrlSrc1–4

USB-MIDIThru

Remote Kbd

Device ID

1–16, OFF

SYS

SCENE

OFF, CC01–CC31,
CC33–CC95, BEND,
AFT

OFF, ON

OFF, ON

17–32

(program change / bank select) to
switch scenes.

If you don’t want to switch RD-88
scenes from a connected MIDI device,
turn this “OFF.”

The system settings for CtrlSrc1–4 are
used for tone control.

The scene settings for CtrlSrc1–4 are
used for tone control.

Species the MIDI messages that are
used for system control.

System control settings specify the
MIDI messages used by the entire
RD-88 system to control the volume
and tonal character.

You can specify up to four MIDI
messages for control use.

Species whether MIDI messages
received from the USB COMPUTER
port are transmitted without change
from the MIDI OUT connector and
USB COMPUTER port (ON) or not
transmitted (OFF).

Turn this “ON” if you are using an
external MIDI keyboard instead of
the keyboard of the RD-88. In this
case, the MIDI transmit channel of
the external MIDI keyboard can be
any channel. Normally you will leave
this “OFF.”

When transmitting and receiving
system exclusive messages, the device
ID numbers of both devices must
match.

MIDI RX

Parameter Value Explanation

Rx PC

Rx Bank

Rx Exclusive

OFF, ON

OFF, ON

OFF, ON

Species whether program change
messages are received (ON) or not
received (OFF).

Species whether bank select
messages are received (ON) or not
received (OFF).

Species whether system exclusive
messages are received (ON) or not
received (OFF).

LOCAL SW

Parameter Value Explanation

Species whether the keyboard of
the RD-88 will play the internal sound

Local Sw

OFF, ON

engine (ON) or will not play it (OFF).

Turn this OFF if you want to play only
an external MIDI device.

MIDI TX

Parameter Value Explanation

Tx PC

Tx Bank

Tx Edit

18

OFF, ON

OFF, ON

OFF, ON

Species whether program change
messages are transmitted (ON) or not
transmitted (OFF).

Species whether bank select
messages are transmitted (ON) or not
transmitted (OFF).

Species whether edits for scene
settings are transmitted as system
exclusive messages (ON) or not
transmitted (OFF).

SYSTEM Parameter

USB AUDIO

Parameter Value Explanation

Audio In Level

Audio Out Level

Audio Out Src

Audio Thru

0–127 Adjusts the input level of USB audio.

0–127 Adjusts the output level of USB audio.

Specify “INPUT” if you want the USB
audio output to output only the audio

MIX, INPUT

OFF, ON

of the LINE/MIC input. If this is set to
“MIX,” the audio from both the RD-88
itself and from the LINE/MIC input is
output via USB audio.

Species whether the input from USB
audio is sent through to USB audio
output (ON) or not sent through (OFF).

* If this is set to “ON,” take care that

an audio loop does not occur on
your PC (DAW).

SCALE TUNE

Parameter Value Explanation

Custom: Allows you to specify a
custom temperament.

Equal temperament: This
temperament divides the octave into
12 equal parts. Slight inharmonicity is
equally present in all intervals.

Just intonation (major): This
temperament produces pure fths
and thirds. It is not suitable for
melodic playing and does not allow
modulation to another key, but
produces beautiful-sounding chords.

Just intonation (minor): Just
intonation diers between major and
minor. This produces the same eect
as “Just intonation (major)” but for
a minor key.

Pythagorean temperament: This
is based on the theories of the
philosopher Pythagoras, and
eliminates inharmonicity in the fourth
and fth. Third interval chords are
imperfect, but melodies will sound
good.

Kirnberger: This temperament
improves meantone temperament
and just intonation to allow greater
freedom of modulation. It allows
performance in all keys (Type III).

Meantone temperament: This
temperament is a partial compromise
of just intonation that allows
modulation.

Werckmeister: This temperament
combines meantone temperament
and Pythagorean temperament.
It allows performance in all keys
(Werckmeister I (III)).

Arabic temperament: This
temperament is suitable for Arabic
music.

Type

(Scale Tune Type)

Key

(Scale Tune Key)

C–B

CUSTOM

EQUAL

JUST-MAJ

JUST-MIN

PYTHAGORE

KIRNBERGE

MEANTONE

WERCKMEIS

ARABIC

C–B Sets the keynote.

-64–+63 Finely adjusts the pitch.

19

INPUT SETTING

These are settings for LINE/MIC Input.

GENERAL

Parameter Value Explanation

Input Level

Mic Att Sw

0–127

OFF, ON

INPUT REVERB

These are settings for the input reverb.

Parameter Value Explanation

Type of reverb

Type

Switch

Level

When you press the [Enter] button, the parameters for the
selected type of reverb are shown.

&“REVERB Parameter” (p. 11)

OFF, ON

0–127 Adjusts the reverb level.

Adjusts the level of the LINE/MIC
input.

Turn this ON if you want to lower
the mic input gain. If the mic input is
distorted, turn this ON and adjust the
Input Level.

Turns on/o the reverb for the LINE/MIC
input.

INPUT EQ

These are settings for the input EQ.

Parameter Value Explanation

Species whether the master EQ (an

Switch

In Gain

Low Gain

Low Freq

Mid1 Gain

Mid1 Freq

Mid1 Q

Mid2 Gain

Mid2 Freq

Mid2 Q

Mid3 Gain

Mid3 Freq

Mid3 Q

High Gain

High Freq

OFF, ON

-24–+24 [dB]

-24–+24 [dB] Gain of the low frequency range.

20–16000 [Hz] Frequency of the low range.

-24–+24 [dB] Gain of the middle frequency range 1.

20–16000 [Hz] Frequency of the middle range 1.

0.5–16.0

-24–+24 [dB] Gain of the middle frequency range 2.

20–16000 [Hz] Frequency of the middle range 2.

0.5–16.0

-24–+24 [dB] Gain of the middle frequency range 3.

20–16000 [Hz] Frequency of the middle range 3.

0.5–16.0

-24–+24 [dB] Gain of the high frequency range.

20–16000 [Hz] Frequency of the high range.

equalizer applied to the entire sound
engine of the RD-88) is used (ON) or
not used (OFF).

Adjusts the amount of boost/cut for
the input to the EQ.

Species the bandwidth of middle
frequency range 1. Higher values
make the bandwidth narrower.

Species the bandwidth of middle
frequency range 2. Higher values
make the bandwidth narrower.

Species the bandwidth of middle
frequency range 3. Higher values
make the bandwidth narrower.

20

MFX/IFX Parameters

MFX/IFX provides 79 dierent eect types.

Some of the eect types connect two or more types of eect in
series.

Spectrum

This is a stereo spectrum. Spectrum is a type of lter which modies the
timbre by boosting or cutting the level at specic frequencies.

Thru

L in L out

R outR in

Equalizer

This is a four-band stereo equalizer (low, mid x 2, high).

L in L out

Parameter Value Explanation

Low Freq

(Low Frequency)

Low Gain

Mid1 Freq

(Mid1 Frequency)

Mid1 Gain

Mid1 Q

Mid2 Freq

(Mid2 Frequency)

Mid2 Gain

Mid2 Q

High Freq

(High Frequency)

High Gain

Level

4-Band EQ

4-Band EQ

20, 25, 31, 40, 50,
63, 80, 100, 125,
160, 200, 250, 315,
400 [Hz]

-15–+15 [dB]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-15–+15 [dB] Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-15–+15 [dB] Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

2000, 2500, 3150,
4000, 5000, 6300,
8000, 10000,
12500, 16000 [Hz]

-15–+15 [dB]

0–127 Output Level

R outR in

Frequency of the low range

Amount of boost/cut for the low­frequency range

Frequency of the middle range 1

Width of the middle range 1

Set a higher value for Q to narrow the
range to be aected.

Frequency of the middle range 2

Width of the middle range 2

Set a higher value for Q to narrow the
range to be aected.

Frequency of the high range

Amount of boost/cut for the high­frequency range

L in L out

Spectrum

Spectrum

R outR in

Parameter Value Explanation

Band1

(Band1 (250 Hz))

Band2

(Band2 (500 Hz))

Band3

(Band3 (1000 Hz))

Band4

(Band4 (1250 Hz))

Band5

(Band5 (2000 Hz))

-15–+15 [dB] Gain of each frequency band

Band6

(Band6 (3150 Hz))

Band7

(Band7 (4000 Hz))

Band8

(Band8 (8000 Hz))

Q

Level

0.5, 1.0, 2.0, 4.0, 8.0

0–127 Output Level

Simultaneously adjusts the width
of the adjusted ranges for all the
frequency bands.

21

MFX/IFX Parameters

Isolator

This is an equalizer which cuts the volume greatly, allowing you to add a
special eect to the sound by cutting the volume in varying ranges.

L in L out

Parameter Value Explanation

Low Level

(Boost/Cut Low)

Mid Level

(Boost/Cut Mid)

High Level

(Boost/Cut High)

Low AP Sw

(Anti Phase Low Switch)

Low AP Lv

(Anti Phase Low Level)

Mid AP Sw

(Anti Phase Mid Switch)

Mid AP Lv

(Anti Phase Mid Level)

Boost Sw

(Low Boost Switch)

Boost Lv

(Low Boost Level)

Level

Isolator Low Boost

Isolator Low Boost

-60–+4 [dB]

-60–+4 [dB]

-60–+4 [dB]

OFF, ON

0–127

OFF, ON

0–127

OFF, ON

0–127

0–127 Output Level

These boost and cut each of the High,
Middle, and Low frequency ranges.

At -60 dB, the sound becomes
inaudible. 0 dB is equivalent to the
input level of the sound.

Turns the Anti-Phase function on and
o for the Low frequency ranges.

When turned on, the counter-channel
of stereo sound is inverted and added
to the signal.

Adjusts the level settings for the Low
frequency ranges.

Adjusting this level for certain
frequencies allows you to lend
emphasis to specic parts (This is
eective only for stereo source.).

Settings of the Anti-Phase function for
the Middle frequency ranges.

The parameters are the same as for
the Low frequency ranges.

Turns Low Booster on/o.

This emphasizes the bottom to create
a heavy bass sound.

Increasing this value gives you a
heavier low end.

Depending on the Isolator and lter
settings this eect may be hard to
distinguish.

R outR in

SuperFilter

This is a lter with an extremely sharp slope. The cuto frequency can be
varied cyclically.

L in L out

Parameter Value Explanation

Type

(Filter Type)

Slope

(Filter Slope)

Cuto

(Filter Cuto)

Resonance

(Filter Resonance)

Gain

(Filter Gain)

Mod Sw

(Modulation Switch)

Mod Wave

(Modulation Wave)

Super Filter

Super Filter

LPF, BPF, HPF,
NOTCH

-12, -24, -36 [dB]

0–127

0–100

0–+12 [dB] Amount of boost for the lter output

OFF, ON On/o switch for cyclic change

TRI, SQR, SIN,
SAW1, SAW2

SAW1 SAW2

R outR in

Type of lter

Frequency range that will pass
through each lter

LPF: Frequencies below the cuto

BPF: Frequencies in the region of the
cuto

HPF: Frequencies above the cuto

NOTCH: Frequencies other than the
region of the cuto

Amount of attenuation per octave

-12 dB: Gentle, -24 dB: Steep, -36 dB:
Extremely steep

Cuto frequency of the lter

Increasing this value will raise the
cuto frequency.

Filter resonance level

Increasing this value will emphasize
the region near the cuto frequency.

How the cuto frequency will be
modulated

TRI: Triangle wave

SQR: Square wave

SIN: Sine wave

SAW1: Sawtooth wave (upward)

SAW2: Sawtooth wave (downward)

Low Boost

Boosts the volume of the lower range, creating powerful lows.

L in L out

Parameter Value Explanation

Boost Freq

(Boost Frequency)

Boost Gain

Boost Wid

(Boost Width)

Low Gain

High Gain

Level

22

Low Boost 2-Band EQ

Low Boost 2-Band EQ

50, 56, 63, 71, 80,
90, 100, 112, 125
[Hz]

0–+12 [dB]

WIDE, MID,
NARROW

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

R outR in

Center frequency at which the lower
range will be boosted

Center frequency at which the lower
range will be boosted

Width of the lower range that will be
boosted

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Attack

Level

If this is ON, the rate synchronizes with

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

0–127

0–127 Output Level

the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Speed at which the cuto frequency
will change This is eective if
Modulation Wave is SQR, SAW1, or
SAW2.

MFX/IFX Parameters

Step Filter

This is a lter whose cuto frequency can be modulated in steps. You can
specify the pattern by which the cuto frequency will change.

L in L out

Step Filter

Step Filter

R outR in

Parameter Value Explanation

Step 1–16

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Attack

Type

(Filter Type)

Slope

(Filter Slope)

Reso

(Filter Resonance)

Gain

(Filter Gain)

Level

0–127 Cuto frequency at each step

If this is ON, the rate synchronizes with the

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

LPF, BPF, HPF,
NOTCH

-12, -24, -36 [dB]

0–127

0–+12 [dB] Amount of boost for the lter output

0–127 Output Level

tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Speed at which the cuto frequency
changes between steps

Type of lter

Frequency range that will pass
through each lter

LPF: Frequencies below the cuto

BPF: Frequencies in the region of the
cuto

HPF: Frequencies above the cuto

NOTCH: Frequencies other than the
region of the cuto

Amount of attenuation per octave

-12 dB: Gentle, -24 dB: Steep, -36 dB:
Extremely steep

Filter resonance level

Increasing this value will emphasize
the region near the cuto frequency.

Enhancer

Controls the overtone structure of the high frequencies, adding sparkle
and tightness to the sound.

Auto Wah

Cyclically controls a lter to create cyclic change in timbre.

L in L out

0

Parameter Value Explanation

Mode

(Filter Type)

Manual

Peak

Sens

Polarity

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Phase

Low Gain

High Gain

Level

Auto Wah 2-Band EQ

Auto Wah 2-Band EQ

Type of lter

LPF, BPF

0–127

0–127

0–127

UP, DOWN

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

0–180 [deg]

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

LPF: The wah eect will be applied
over a wide frequency range.

BPF: The wah eect will be applied
over a narrow frequency range.

Center frequency at which the wah
eect is applied

Width of the frequency region at
which the wah eect is applied

Increasing this value will make the
frequency region narrower.

Sensitivity with which the lter is
modied

Direction in which the lter will move

UP: The lter will change toward a
higher frequency.

DOWN: The lter will change toward a
lower frequency.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Depth at which the wah eect is
modulated

Adjusts the degree of phase shift of
the left and right sounds when the
wah eect is applied.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

R outR in

L in L out

Enhancer 2-Band EQ

Mix

2-Band EQEnhancer

Mix

Parameter Value Explanation

Sens

Mix

Low Gain

High Gain

Level

0–127 Sensitivity of the enhancer

0–127

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Level of the overtones generated by
the enhancer

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

R outR in

23

MFX/IFX Parameters

Humanizer

Adds a vowel character to the sound, making it similar to a human voice.

L in

FormantOverdrive 2-Band EQ

R in

Parameter Value Explanation

Drive Sw

(Drive Switch)

Drive

Vowel1

Vowel2

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

In Sync Sw

(Input Sync Switch)

InSyncThres

(Input Sync Threshold)

Manual

Low Gain

High Gain

Pan

Level

OFF, ON Overdrive on/o

0–127

a, e, i, o, u

a, e, i, o, u

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Eect depth

OFF, ON

0–127 Volume level at which reset is applied

0–100

-15–+15 [dB]

-15–+15 [dB]

L64–63R Stereo location of the output sound

0–127 Output Level

Degree of distortion

Also changes the volume.

Selects the vowel.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency at which the two vowels
switch

LFO reset on/o

Determines whether the LFO for
switching the vowels is reset by the
input signal (ON) or not (OFF).

Point at which Vowel 1/2 switch

0–49: Vowel 1 will have a longer
duration.

50: Vowel 1 and 2 will be of equal
duration.

51–100: Vowel 2 will have a longer
duration.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

L out

Pan L

Pan R

R out

Speaker Sim (Speaker Simulater)

Simulates the speaker type and mic settings used to record the speaker
sound.

L in L out

Parameter Value Explanation

Type

(Speaker Type)

Mic Setting

Mic Level

Direct Lv

Level

Speaker

Speaker

Cabinet

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

1, 2, 3

0–127 Volume of the microphone

0–127 Volume of the direct sound

0–127 Output Level

open-back

enclosure

open-back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

enclosure

large sealed

enclosure

large sealed

enclosure

large sealed

enclosure

large double

large double

large triple

Adjusts the location of the mic that is
recording the sound of the speaker.

This can be adjusted in three steps, with
the mic becoming more distant in the
order of 1, 2, and 3.

small

small

sealed

stack

stack

stack

R outR in

Diameter

(in inches)

and number

of the

speaker

10 dynamic

10 dynamic

12 x 1 dynamic

12 x 2 dynamic

12 x 2 dynamic

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

Microphone

24

MFX/IFX Parameters

Phaser

A phase-shifted sound is added to the original sound and modulated.

L in L out

Parameter Value Explanation

Mode

Manual

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Polarity

Resonance

Feedback

(Cross Feedback)

Mix

Low Gain

High Gain

Level

Phaser 2-Band EQ

4-STAGE, 8-STAGE,
12-STAGE

0–127

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

INVERSE, SYNCHRO

0–127 Amount of feedback

-98–+98 [%]

0–127 Level of the phase-shifted sound

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Mix

2-Band EQPhaser

Mix

Number of stages in the phaser

Adjusts the basic frequency from
which the sound will be modulated.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Selects whether the left and right
phase of the modulation will be the
same or the opposite.

INVERSE: The left and right phase will
be opposite.

When using a mono source, this
spreads the sound.

SYNCHRO: The left and right phase
will be the same.

Select this when inputting a stereo
source.

Adjusts the proportion of the phaser
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Small Phaser

This simulates an analog phaser of the past.

It is particularly suitable for electric piano.

L in L out

R outR in

Phaser 2-Band EQ

Phaser 2-Band EQ

R outR in

Parameter Value Explanation

Rate

Color

Low Gain

High Gain

Level

0–100 Frequency of modulation

1, 2 Modulation character

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Script 90

This simulates a dierent analog phaser than Small Phaser.

It is particularly suitable for electric piano.

L in L out

Parameter Value Explanation

Speed

Depth

Low Gain

High Gain

Level

Phaser 2-Band EQ

Phaser 2-Band EQ

0–100 Speed of modulation

0–127 Depth of modulation

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

R outR in

25

MFX/IFX Parameters

Step Phaser

The phaser eect will be varied gradually.

L in L out

Parameter Value

Mode

Manual

Rate Sync

(Rate (sync switch))

Rate Hz

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Polarity

Resonance

Feedback

(Cross Feedback)

S Rate Sync

(Step Rate
(sync switch))

S. Rate

(Step Rate (Hz))

S. Rate Nt

(Step Rate (note))

Mix

Low Gain

High Gain

Level

Step Phaser 2-Band EQ

4-STAGE, 8-STAGE,
12-STAGE

0–127

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

INVERSE, SYNCHRO

0–127 Amount of feedback

-98–+98 [%]

OFF, ON

0.10–20.00 [Hz]

Note

& “Note” (p. 64)

0–127 Level of the phase-shifted sound

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Mix

2-Band EQStep Phaser

Mix

Explanation

Number of stages in the phaser

Adjusts the basic frequency from
which the sound will be modulated.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Selects whether the left and right
phase of the modulation will be the
same or the opposite.

INVERSE: The left and right phase will
be opposite.

When using a mono source, this
spreads the sound.

SYNCHRO: The left and right phase
will be the same.

Select this when inputting a stereo
source.

Adjusts the proportion of the phaser
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Rate of the step-wise change in the
phaser eect

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

M StagePhsr (Multi Stage Phaser)

Extremely high settings of the phase dierence produce a deep phaser
eect.

L in

Multi
Stage

Phaser

R outR in

R in

Mix

2-Band EQ

L out

Pan L

Pan R

R out

Parameter Value Explanation

4-STAGE, 8-STAGE,
12-STAGE,

Mode

Manual

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Resonance

Mix

Pan

Low Gain

High Gain

Level

16-STAGE,
20-STAGE,
24-STAGE

0–127

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

0–127 Amount of feedback

0–127 Level of the phase-shifted sound

L64–63R Stereo location of the output sound

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Number of stages in the phaser

Adjusts the basic frequency from
which the sound will be modulated.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Inf Phaser (Innite Phaser)

A phaser that continues raising/lowering the frequency at which the
sound is modulated.

L in

Innite

Phaser

2-Band EQ

R in

Parameter Value Explanation

Mode

Speed

Resonance

Mix

Pan

Low Gain

High Gain

Level

1, 2, 3, 4

-100–+100

0–127 Amount of feedback

0–127 Level of the phase-shifted sound

L64–63R Stereo location of the output sound

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Higher values will produce a deeper
phaser eect.

Speed at which to raise or lower
the frequency at which the sound is
modulated (+: upward / -: downward)

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

L out

Pan L

Pan R

R out

26

MFX/IFX Parameters

Ring Mod (Ring Modulator)

This is an eect that applies amplitude modulation (AM) to the input
signal, producing bell-like sounds. You can also change the modulation
frequency in response to changes in the volume of the sound sent into
the eect.

L in L out

Ring Mod 2-Band EQ

Ring Mod 2-Band EQ

R outR in

Parameter Value Explanation

Frequency

Sens

Polarity

Low Gain

High Gain

Balance

Level

0–127

0–127

UP, DOWN

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

Adjusts the frequency at which
modulation is applied.

Adjusts the amount of frequency
modulation applied.

Determines whether the frequency
modulation moves towards higher
frequencies or lower frequencies.

UP: The lter will change toward a
higher frequency.

DOWN: The lter will change toward a
lower frequency.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the eect sound (W)

Tremolo

Cyclically changes the volume.

Auto Pan

Cyclically modulates the stereo location of the sound.

L in L out

Parameter Value Explanation

Mod Wave

(Modulation Wave)

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Low Gain

High Gain

Level

Auto Pan 2-Band EQ

Auto Pan 2-Band EQ

TRI, SQR, SIN,
SAW1, SAW2, TRP

SAW1 SAW2

R R

L L

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth to which the eect is applied

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

R outR in

Modulation Wave

TRI: Triangle wave

SQR: Square wave

SIN: Sine wave

SAW1/2: Sawtooth wave

TRP: Trapezoidal wave

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of the change

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

L in L out

Tremolo 2-Band EQ

Tremolo 2-Band EQ

R outR in

Parameter Value Explanation

Modulation Wave

TRI: Triangle wave

SQR: Square wave

SIN: Sine wave

SAW1/2: Sawtooth wave

TRP: Trapezoidal wave

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of the change

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Mod Wave

(Modulation Wave)

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Low Gain

High Gain

Level

TRI, SQR, SIN,
SAW1, SAW2, TRP

SAW1 SAW2

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth to which the eect is applied

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

27

MFX/IFX Parameters

Slicer

By applying successive cuts to the sound, this eect turns a conventional
sound into a sound that appears to be played as a backing phrase. This is
especially eective when applied to sustain-type sounds.

L in L out

Parameter Value Explanation

Step 1–16

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Attack

In Sync Sw

(Input Sync Sw)

IInSyncThres

(Input Sync Threshold)

Mode

Shue

Level

Slicer

Slicer

0–127 Level at each step

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

OFF, ON

0–127

LEGATO, SLASH

0–127

0–127 Output Level

R outR in

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Rate at which the 16-step sequence
will cycle

Speed at which the level changes
between steps

Species whether an input note will
cause the sequence to resume from
the rst step of the sequence (ON) or
not (OFF)

Volume at which an input note will be
detected

Sets the manner in which the volume
changes as one step progresses to
the next.

LEGATO: The change in volume from
one step’s level to the next remains
unaltered.

If the level of a following step is the
same as the one preceding it, there is
no change in volume.

SLASH: The level is momentarily set
to 0 before progressing to the level of
the next step.

This change in volume occurs even if
the level of the following step is the
same as the preceding step.

Timing of volume changes in levels
for even numbered steps (step 2, step
4, step 6...).

The higher the value, the later the
beat progresses.

Rotary

This simulates a classic rotary speaker of the past.

Since the operation of the high-frequency and low-frequency rotors can
be specied independently, the distinctive modulation can be reproduced
realistically. This is most eective on organ patches.

L in

Rotary

R in

Parameter Value Explanation

Speed

Wf Slow

(Woofer Slow Speed)

Wf Fast

(Woofer Fast Speed)

Wf Accel

(Woofer Acceleration)

Wf Level

(Woofer Level)

Tw Slow

(Tweeter Slow Speed)

Tw Fast

(Tweeter Fast Speed)

Tw Accel

(Tweeter Acceleration)

Tw Level

(Tweeter Level)

Separation

Level

SLOW, FAST

0.05–10.00 [Hz]

0.05–10.00 [Hz]

0–15

0–127 Volume of the low frequency rotor

0.05–10.00 [Hz]

0.05–10.00 [Hz]

0–15

0–127

0–127 Spatial dispersion of the sound

0–127 Output Level

L out

R out

Simultaneously switch the rotational
speed of the low frequency rotor
and high frequency rotor.

SLOW: Slows down the rotation to
the Slow Rate.

FAST: Speeds up the rotation to the
Fast Rate.

Slow speed (SLOW) of the low
frequency rotor

Fast speed (FAST) of the low
frequency rotor

Adjusts the time it takes the low
frequency rotor to reach the newly
selected speed when switching
from fast to slow (or slow to fast)
speed. Lower values will require
longer times.

Settings of the high frequency rotor

The parameters are the same as for
the low frequency rotor

28

MFX/IFX Parameters

VK Rotary

This type provides modied response for the rotary speaker, with the low
end boosted further.

This eect features the same specications as the VK-7’s built-in rotary
speaker.

L in

Rotary

R in

2-Band EQ

2-Band EQ

Parameter Value Explanation

Rotational speed of the rotating

Speed

Brake

Wf Slow

(Woofer Slow Speed)

Wf Fast

(Woofer Fast Speed)

Wf Trs Up

(Woofer Trans Up)

Wf Trs Dw

(Woofer Trans Down)

Wf Level

(Woofer Level)

Tw Slow

(Tweeter Slow Speed)

Tw Fast

(Tweeter Fast Speed)

Tw Trs Up

(Tweeter Trans Up)

Tw Trs Dw

(Tweeter Trans Down)

Tw Level

(Tweeter Level)

Spread

Low Gain

High Gain

Level

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

SLOW, FAST

OFF, ON

0.05–10.00 [Hz]

0.05–10.00 [Hz]

0–127

0–127

0–127 Volume of the woofer

0.05–10.00 [Hz]

0.05–10.00 [Hz]

0–127

0–127

0–127

0–10

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

OFF, ON Overdrive on/o

0–127

0–127 Degree of distortion

speaker

SLOW: Slow

FAST: Fast

Switches the rotation of the rotary
speaker.

When this is turned on, the rotation
will gradually stop. When it is turned
o, the rotation will gradually
resume.

Low-speed rotation speed of the
woofer

High-speed rotation speed of the
woofer

Adjusts the rate at which the
woofer rotation speeds up when
the rotation is switched from Slow
to Fast.

Adjusts the rate at which the
woofer rotation speeds up when
the rotation is switched from Fast
to Slow.

Settings of the tweeter

The parameters are the same as for
the woofer.

Sets the rotary speaker stereo
image.

?The higher the value set, the wider
the sound is spread out.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Overdrive input level

Higher values will increase the
distortion.

L out

R out

Parameter Value Explanation

OD Level

(Overdrive Level)

0–127 Volume of the overdrive

Chorus

This is a stereo chorus. A lter is provided so that you can adjust the
timbre of the chorus sound.

Balance D

L in

R in

Chorus

Chorus

Balance W

Balance W

Balance D

2-Band EQ

2-Band EQ

Parameter Value Explanation

Type of lter

OFF: No lter is used

Type

Cuto

(Cuto Freq)

Pre Delay

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Phase

Low Gain

High Gain

Balance

Level

OFF, LPF, HPF

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

LPF: Cuts the frequency range above
the Cuto Freq

HPF: Cuts the frequency range below
the Cuto Freq

Basic frequency of the lter

Adjusts the delay time from the direct
sound until the chorus sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the chorus sound (W)

L out

R out

29

MFX/IFX Parameters

Flanger

This is a stereo anger (The LFO has the same phase for left and right.).

Produces a metallic resonance reminiscent of a jet airplane taking o and
landing.

A lter is provided so that you can adjust the timbre of the anged sound.

Balance D

Balance W

Balance W

2-Band EQ

2-Band EQ

L out

R out

L in

Flanger

Feedback

Feedback

Flanger

R in

Balance D

Parameter Value Explanation

Type of lter

OFF: No lter is used

Type

Cuto

(Cuto Freq)

Pre Delay

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Phase

Feedback

Low Gain

High Gain

Balance

Level

OFF, LPF, HPF

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-98–+98 [%]

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

LPF: Cuts the frequency range above
the Cuto Freq

HPF: Cuts the frequency range below
the Cuto Freq

Basic frequency of the lter

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the anger sound (W)

StepFlanger

This is a anger in which the anger pitch changes in steps. The speed at
which the pitch changes can also be specied in terms of a note-value of
a specied tempo.

Balance D

Balance W

Balance W

2-Band EQ

2-Band EQ

L out

R out

L in

Step

Flanger

Feedback

Feedback

Step

Flanger

R in

Balance D

Parameter Value Explanation

Type of lter

OFF: No lter is used

Type

Cuto

(Cuto Freq)

Pre Delay

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Phase

Feedback

S. Rate Sync

(Step Rate
(sync switch))

S. Rate

(Step Rate (Hz))

S. Rate Nt

(Step Rate (note))

Low Gain

High Gain

Balance

Level

OFF, LPF, HPF

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

0.0–100.0 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-98–+98 [%]

OFF, ON

0.10–20.00 [Hz]

Note

& “Note” (p. 64)

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

LPF: Cuts the frequency range above
the Cuto Freq

HPF: Cuts the frequency range below
the Cuto Freq

Basic frequency of the lter

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Rate (period) of pitch change

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the anger sound (W)

30

MFX/IFX Parameters

Hexa-Chorus

Uses a six-phase chorus (six layers of chorused sound) to give richness and
spatial spread to the sound.

Balance D

L in

Hexa

Chorus

R in

Balance D

Parameter Value Explanation

Pre Delay

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

PreDly Dev

(Pre Delay Deviation)

Depth Dev

(Depth Deviation)

Pan Dev

(Pan Deviation)

Balance

Level

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

0–20

-20–+20

0–20

D100: 0W–D0:
100W

0–127 Output Level

L out

Balance W

Balance W

R out

Adjusts the delay time from the direct
sound until the chorus sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the dierences in Pre Delay
between each chorus sound.

Adjusts the dierence in modulation
depth between each chorus sound.

Adjusts the dierence in stereo
location between each chorus sound.

0: All chorus sounds will be in the
center.

20: Each chorus sound will be spaced
at 60 degree intervals relative to the
center.

Volume balance between the direct
sound (D) and the chorus sound (W)

Trem Chorus (Tremolo Chorus)

This is a chorus eect with added Tremolo (cyclic modulation of volume).

Balance D

L in

Tremolo

Chorus

R in

Balance D

Parameter Value Explanation

Pre Delay

Cho Sync

(Chorus Rate
(sync switch))

C. Rate

(Chorus Rate (Hz))

C. Rate Nt

(Chorus Rate (note))

Cho Depth

(Chorus Depth)

Trm Sync

(Tremolo Rate
(sync switch))

T. Rate

(Tremolo Rate (Hz))

T. Rate Nt

(Tremolo Rate (note))

Trm Separate

(Tremolo Separation)

Trm Phase

(Tremolo Phase)

Balance

Level

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Spread of the tremolo eect

0–180 [deg] Spread of the tremolo eect

D100: 0W–D0:
100W

0–127 Output Level

L out

Balance W

Balance W

R out

Adjusts the delay time from the
direct sound until the chorus sound
is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Modulation frequency of the chorus
eect

Modulation depth of the chorus
eect

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Modulation frequency of the
tremolo eect

Volume balance between the direct
sound (D) and the chorus sound (W)

31

MFX/IFX Parameters

Space-D

This is a multiple chorus that applies two-phase modulation in stereo. It
gives no impression of modulation, but produces a transparent chorus
eect.

Balance D

L in

R in

Space D

Space D

Balance W

Balance W

Balance D

2-Band EQ

2-Band EQ

Parameter Value Explanation

Pre Delay

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Phase

Low Gain

High Gain

Balance

Level

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

Adjusts the delay time from the direct
sound until the chorus sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the chorus sound (W)

L out

R out

Distortion

Produces a more intense distortion than Overdrive.

L in

Distortion 2-Band EQ

Amp

Smlator

Pan L

Pan R

R in

Parameter Value Explanation

Drive

Tone

Amp Switch

Amp Type

(Amp Type)

Low Gain

High Gain

Pan

Level

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL,
BUILT-IN, 2-STACK,
3-STACK

-15–+15 [dB]

-15–+15 [dB]

L64–63R Stereo location of the output sound

0–127 Output Level

Degree of distortion

Also changes the volume.

Type of guitar amp

SMALL: Small amp

BUILT-IN: Single-unit type amp

2-STACK: Large double stack amp

3-STACK: Large triple stack amp

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

T-Scream

This models a classic analog overdrive. It is distinctive in adding an
appropriate amount of overtones without muddying the sound.

L out

R out

Overdrive

This is an overdrive that provides heavy distortion.

L in

Overdrive 2-Band EQ

R in

Parameter Value Explanation

Drive

Tone

Amp Switch

Amp Type

(Amp Type)

Low Gain

High Gain

Pan

Level

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL,
BUILT-IN, 2-STACK,
3-STACK

-15–+15 [dB]

-15–+15 [dB]

L64–63R Stereo location of the output sound

0–127 Output Level

Amp

Smlator

Degree of distortion

Also changes the volume.

Type of guitar amp

SMALL: Small amp

BUILT-IN: Single-unit type amp

2-STACK: Large double stack amp

3-STACK: Large triple stack amp

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Pan L

Pan R

L out

R out

L in L out

Overdrive

Overdrive

Tone

Tone

Parameter Value Explanation

Distortion

Tone

Level

0–127

0–127 Tonal character of the overdrive

0–127 Output Level

Degree of distortion

Also changes the volume.

R outR in

32

MFX/IFX Parameters

Gt Amp Sim (Guitar Amp Simulator)

This is an eect that simulates the sound of a guitar amplier.

L in

SpeakerPre Amp

R in

Parameter Value Explanation

Pre Amp Sw

(Pre Amp Switch)

OFF, ON Turns the amp switch on/o.

Type of guitar amp

This models the sound of the Roland
JC-120.

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

A simulation of the latest tube amp
widely used in styles from blues and
rock.

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

The sound of a tube amp typical of the
late ‘70s to ‘80s.

This models the sound input to Input I
on a Marshall 1959.

This is a trebly sound suited to hard
rock.

This models the sound input to Input II
on a Marshall 1959.

The sound of connecting inputs I and II
of the guitar amp in parallel, creating a
sound with a stronger low end than I.

This models a Soldano SLO-100. This is
the typical sound of the eighties.

This models the lead channel of a
Peavey EVH 5150.

This is distortion sound that is ideal for
performances of heavy ris.

This models the sound of the BOSS
OD-1.

This produces sweet, mild distortion.

This is the high-gain overdrive sound of
the BOSS OD-2.

This gives a basic, traditional distortion
sound.

A fuzz sound with rich harmonic
content.

Volume and amount of distortion of
the amp

Amount of pre-amp distortion

AmpType

(Pre Amp Type)

Drive

(Pre Amp Drive)

Master Lv

(Pre Amp Master)

Gain

(Pre Amp Gain)

JC-120

CLEAN TWIN This models a Fender Twin Reverb.

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150

METAL LEAD

OD-1

OD-2 TURBO

DISTORTION

FUZZ

0–127

0–127 Volume of the entire pre-amp

LOW, MIDDLE,
HIGH

Bass

(Pre Amp Bass)

Middle

(Pre Amp Middle)

Treble

(Pre Amp Treble)

Presence

(Pre Amp Presence)

0–127

0–127 Tone for the ultra-high frequency range

Tone of the bass/mid/treble frequency
range

Middle cannot be set if “MATCH
DRIVE” is selected as the Pre Amp Type.

Pan L

Pan R

L out

R out

Parameter Value Explanation

Turning this “On” produces a sharper

Bright

(Pre Amp Bright)

Speaker Sw

(Speaker Switch)

SpType

(Speaker Type)

Mic Setting

Mic Level

Direct Level

Pan

Level

OFF, ON

OFF, ON

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK1

BG STACK2

MS STACK1

MS STACK2

MTL STACK

2-STACK

3-STACK

1, 2, 3

0–127 Volume of the microphone

0–127 Volume of the direct sound

L64–63R Stereo location of the output sound

0–127 Output Level

and brighter sound.

* This parameter applies to the “JC-

120,” “CLEAN TWIN,” and “BG LEAD”
Pre Amp Types.

Selects whether the sound will be sent
through the speaker simulation (ON) or
not (OFF)

Cabinet

small

open-back

enclosure

small

open-back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

sealed

enclosure

large sealed

enclosure

large sealed

enclosure

large sealed

enclosure

large

double

stack

large

double

stack

large triple

stack

Adjusts the location of the mic that is
recording the sound of the speaker.

This can be adjusted in three steps, with
the mic becoming more distant in the
order of 1, 2, and 3.

Diameter

(in inches)

and

number of

the speaker

12 x 1 dynamic

12 x 2 dynamic

12 x 2 dynamic

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

Microphone

10 dynamic

10 dynamic

33

MFX/IFX Parameters

Compressor

Flattens out high levels and boosts low levels, smoothing out uctuations
in volume.

L in L out

Parameter Value Explanation

Attack

Release

Threshold

Knee

Ratio

Post Gain

Level

Compressor 2-Band EQ

Compressor 2-Band EQ

0–124

0–124

-60–0 [dB]

0–30 [dB]

1: 1, 1.5: 1, 2: 1, 4: 1,
16: 1, INF: 1

0–+18 [dB] Adjusts the output gain.

0–127 Output Level

Sets the speed at which compression
starts

Adjusts the time after the signal volume
falls below the Threshold Level until
compression is no longer applied.

Adjusts the volume at which compression
begins

This is a function that smooths the onset
of compression from the uncompressed
state; it gradually applies compression
starting earlier than Threshold. Higher
values produce a smoother transition.

Compression ratio

R outR in

Sustainer

By compressing loud input and boosting low input, this eect keeps the
volume consistent to produce a sustain eect without distortion.

L in L out

Sustainer 2-Band EQ

Sustainer 2-Band EQ

R outR in

Parameter Value Explanation

Adjusts the range in which a low input

Sustain

Attack

Release

Post Gain

Low Gain

High Gain

Level

0–127

0–127 Time until the volume is compressed

0–127 Time until compression is removed

-15–+15 [dB] Adjusts the output gain.

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

signal is boosted to a consistent volume.

Higher values produce longer sustain.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Gate

Limiter

Compresses signals that exceed a specied volume level, preventing
distortion from occurring.

L in L out

Parameter Value Explanation

Release

Threshold

Ratio

Post Gain

Low Gain

High Gain

Level

Limiter 2-Band EQ

Limiter 2-Band EQ

0–127

0–127

1.5: 1, 2: 1, 4: 1,
100: 1

0–+18 [dB] Adjusts the output gain.

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Adjusts the time after the signal volume
falls below the Threshold Level until
compression is no longer applied.

Adjusts the volume at which compression
begins

Compression ratio

Amount of boost/cut for the low-frequency
range

Amount of boost/cut for the high-frequency
range

R outR in

Cuts the reverb’s delay according to the volume of the sound sent into the
eect. Use this when you want to create an articial-sounding decrease in
the reverb’s decay.

L in L out

Gate

Gate

R outR in

Parameter Value Explanation

Threshold

Mode

Attack

Hold

Release

Balance

Level

0–127

GATE, DUCK

0–127

0–127

0–127

D100: 0W–D0:
100W

0–127 Output Level

Volume level at which the gate begins
to close

Type of gate

GATE: The gate will close when the
volume of the original sound decreases,
cutting the original sound.

DUCK (Duking): The gate will close
when the volume of the original sound
increases, cutting the original sound.

Adjusts the time it takes for the gate to
fully open after being triggered.

Adjusts the time it takes for the gate to
start closing after the source sound falls
beneath the Threshold.

Adjusts the time it takes the gate to fully
close after the hold time.

Volume balance between the direct sound
(D) and the eect sound (W)

34

MFX/IFX Parameters

Delay

This is a stereo delay.

When Feedback Mode is NORMAL:

Balance D

L in

Delay

Feedback

Feedback

Delay

R in

Balance D

When Feedback Mode is CROSS:

Balance D

L in

Delay

Feedback

Feedback

Delay

R in

Balance D

Parameter Value Explanation

Dly L Sync

(Delay Left
(sync switch))

DL. Time

(Delay Left (msec))

DLTime Nt

(Delay Left (note))

Dly R Sync

(Delay Right
(sync switch))

DR. Time

(Delay Right (msec))

DRTime Nt

(Delay Right (note))

Phase L

(Phase Left)

Phase R

(Phase Right)

Fbk Mode

(Feedback Mode)

Feedback

HF Damp

Low Gain

High Gain

OFF, ON

1–1300

Note

& “Note” (p. 64)

OFF, ON

1–1300

Note

& “Note” (p. 64)

NORMAL, INVERSE

NORMAL, CROSS

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

-15–+15 [dB]

-15–+15 [dB]

Balance W

Balance W

Balance W

Balance W

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time until the left delay
sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time until the right delay
sound is heard.

Phase of left and right delay sound

NORMAL: Non-inverted

INVERT: Inverted

Selects the way in which delay sound
is fed back into the eect. (See the
gures above.)

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is ltered
out. If you don’t want to lter out any
high frequencies, set this parameter
to BYPASS.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

2-Band EQ

2-Band EQ

2-Band EQ

2-Band EQ

L out

R out

L out

R out

Parameter Value Explanation

Balance

Level

D100: 0W–D0:
100W

0–127 Output Level

Volume balance between the direct
sound (D) and the delay sound (W)

Mod Delay (Modulation Delay)

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

Balance D

L in

Delay Modulation

Feedback

Feedback

Delay Modulation

R in

Balance D

When Feedback Mode is CROSS:

Balance D

L in

Delay

Feedback

Feedback

Delay Modulation

R in

Parameter Value Explanation

Dly L Sync

(Delay Left
(sync switch))

DL. Time

(Delay Left (msec))

DLTime Nt

(Delay Left (note))

Dly R Sync

(Delay Right
(sync switch))

DR. Time

(Delay Right (msec))

DRTime Nt

(Delay Right (note))

Fbk Mode

(Feedback Mode)

Feedback

HF Damp

OFF, ON

1–1300

Note

& “Note” (p. 64)

OFF, ON

1–1300

Note

& “Note” (p. 64)

NORMAL, CROSS

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

Modulation

Balance D

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time until the left delay
sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time until the right delay
sound is heard.

Selects the way in which delay sound
is fed back into the eect. (See the
gures above.)

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is ltered
out. If you don’t want to lter out any
high frequencies, set this parameter
to BYPASS.

2-Band EQ

Balance W

Balance W

2-Band EQ

2-Band EQ

Balance W

Balance W

2-Band EQ

L out

R out

L out

R out

35

MFX/IFX Parameters

Parameter Value Explanation

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Phase

Low Gain

High Gain

Balance

Level

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

0–180 [deg] Spatial spread of the sound

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the delay sound (W)

3Tap PanDly

Produces three delay sounds; center, left and right.

Balance D

L in

Left Tap

Triple Tap

Feedback

Delay

Center Tap

Right Tap

R in

Balance D

Parameter Value Explanation

Dly L Sync

(Delay Left (sync switch))

DL. Time

(Delay Left (msec))

DLTime Nt

(Delay Left (note))

Dly R Sync

(Delay Right (sync switch))

DR. Time

(Delay Right (msec))

DRTime Nt

(Delay Right (note))

Dly C Sync

(Delay Center
(sync switch))

DC. Time

(Delay Center (msec))

DCTime Nt

(Delay Center (note))

C Feedback

(Center Feedback)

HF Damp

Left Lv

Right Lv

Center Lv

Low Gain

High Gain

Balance

Level

OFF, ON

1–2600

Note

& “Note” (p. 64)

OFF, ON

1–2600

Note

& “Note” (p. 64)

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

0–127

0–127

0–127

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

2-Band EQ

Balance W

Balance W

2-Band EQ

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time until the left delay
sound is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time until the right delay
sound is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time until the center
delay sound is heard.

Adjusts the proportion of the delay
sound that is fed back into the
eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is
ltered out. If you don’t want to
lter out any high frequencies, set
this parameter to BYPASS.

Volume of each delay sound

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the delay sound (W)

L out

R out

36

MFX/IFX Parameters

4Tap PanDly

This eect has four delays.

Balance D

L in

Feedback

Quadruple

Tap Delay

R in

2 3

1

L

Parameter Value Explanation

Dly1 Sync

(Delay 1 Time
(sync switch))

D1. Time

(Delay 1 Time (msec))

D1Time Nt

(Delay 1 Time (note))

Dly2 Sync

(Delay 2 Time
(sync switch))

D2. Time

(Delay 2 Time (msec))

D2Time Nt

(Delay 2 Time (note))

Dly3 Sync

(Delay 3 Time
(sync switch))

D3. Time

(Delay 3 Time (msec))

D3Time Nt

(Delay 3 Time (note))

Dly4 Sync

(Delay 4 Time
(sync switch))

D4. Time

(Delay 4 Time (msec))

D4Time Nt

(Delay 4 Time (note))

Dly1 Fbk

(Delay 1 Feedback)

HF Damp

Dly1 Lv

(Delay 1 Level)

Dly2 Lv

(Delay 2 Level)

Dly3 Lv

(Delay 3 Level)

Dly4 Lv

(Delay 4 Level)

Delay 1

Delay 2

Delay 3

Delay 4

Balance D

4

R

If this is ON, the rate synchronizes

OFF, ON

1–2600

Note

& “Note” (p. 64)

OFF, ON

1–2600

Note

& “Note” (p. 64)

OFF, ON

1–2600

Note

& “Note” (p. 64)

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

0–127 Volume of each delay

with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time from the original
sound until delay 1 sounds is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time from the original
sound until delay 2 sounds is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time from the original
sound until delay 3 sounds is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time from the original
sound until delay 4 sounds is heard.

Adjusts the proportion of the delay
sound that is fed back into the
eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is
ltered out. If you don’t want to
lter out any high frequencies, set
this parameter to BYPASS.

Balance W

Balance W

L out

R out

Parameter Value Explanation

Low Gain

High Gain

Balance

Level

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the delay sound (W)

37

MFX/IFX Parameters

MultiTapDly

This eect provides four delays. Each of the Delay Time parameters can
be set to a note length based on the selected tempo. You can also set the
panning and level of each delay sound.

Balance D

L in

Feedback

Delay 1

Delay 2

Multi Tap

Delay

Delay 3

Delay 4

R in

0

Balance D

Parameter Value Explanation

Dly1 Sync

(Delay 1 Time
(sync switch))

D1. Time

(Delay 1 Time (msec))

D1Time Nt

(Delay 1 Time (note))

Dly2 Sync

(Delay 2 Time
(sync switch))

D2. Time

(Delay 2 Time (msec))

D2Time Nt

(Delay 2 Time (note))

Dly3 Sync

(Delay 3 Time
(sync switch))

D3. Time

(Delay 3 Time (msec))

D3Time Nt

(Delay 3 Time (note))

Dly4 Sync

(Delay 4 Time
(sync switch))

D4. Time

(Delay 4 Time (msec))

D4Time Nt

(Delay 4 Time (note))

Dly1 Fbk

(Delay 1 Feedback)

HF Damp

OFF, ON

1–2600

Note

& “Note” (p. 64)

OFF, ON

1–2600

Note

& “Note” (p. 64)

OFF, ON

1–2600

Note

& “Note” (p. 64)

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time from the original
sound until delay 1 sounds is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time from the original
sound until delay 2 sounds is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time from the original
sound until delay 3 sounds is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the time from the original
sound until delay 4 sounds is heard.

Adjusts the proportion of the delay
sound that is fed back into the
eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is
ltered out. If you don’t want to
lter out any high frequencies, set
this parameter to BYPASS.

Dly1 Pan

(Delay 1 Pan)

Dly2 Pan

(Delay 2 Pan)

Dly3 Pan

(Delay 3 Pan)

L64–63R Stereo location of Delays 1–4

Dly4 Pan

(Delay 4 Pan)

2-Band EQ

Balance W

Balance W

2-Band EQ

L out

R out

Parameter Value Explanation

Dly1 Level

(Delay 1 Level)

Dly2 Level

(Delay 2 Level)

Dly3 Level

(Delay 3 Level)

0–127 Volume of each delay

Dly4 Level

(Delay 4 Level)

Low Gain

High Gain

Balance

Level

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the eect sound (W)

38

MFX/IFX Parameters

Reverse Dly

This is a reverse delay that adds a reversed and delayed sound to the input
sound. A tap delay is connected immediately after the reverse delay.

L in

Rev

D1

Rev. Delay

Feedback

Delay

D2D3

R in

Parameter Value Explanation

Threshold

RDly Sync

(Reverse Delay Time
(sync switch))

RD Time

(Reverse Delay Time
(msec))

RD. Time Nt

(Reverse Delay Time
(note))

RDly Fbk

(Reverse Delay Feedback)

RDly HF

(Reverse Delay HF Damp)

RDly Pan

(Reverse Delay Pan)

RDly Level

(Reverse Delay Level)

Dly1 Sync

(Delay 1 Time
(sync switch))

D1. Time

(Delay 1 Time (msec))

D1Time Nt

(Delay 1 Time (note))

Dly2 Sync

(Delay 2 Time
(sync switch))

D2. Time

(Delay 2 Time (msec))

D2Time Nt

(Delay 2 Time (note))

Dly3 Sync

(Delay 3 Time
(sync switch))

D3. Time

(Delay 3 Time (msec))

D3Time Nt

(Delay 3 Time (note))

Dly3 Fbk

(Delay 3 Feedback)

0–127

OFF, ON

1–1300

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

L64–63R Panning of the reverse delay sound

0–127 Volume of the reverse delay sound

OFF, ON

1–1300

Note

& “Note” (p. 64)

OFF, ON

1–1300

Note

& “Note” (p. 64)

OFF, ON

1–1300

Note

& “Note” (p. 64)

-98–+98 [%]

Volume at which the reverse delay
will begin to be applied

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Delay time from when sound is
input into the reverse delay until the
delay sound is heard

Proportion of the delay sound that
is to be returned to the input of the
reverse delay negative (-) values
invert the phase

Frequency at which the high­frequency content of the
reverse-delayed sound will be cut
(BYPASS: no cut)

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Delay time from when sound is
input into the tap delay until the
delay sound is heard

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Delay time from when sound is
input into the tap delay until the
delay sound is heard

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Delay time from when sound is
input into the tap delay until the
delay sound is heard

Proportion of the delay sound that
is to be returned to the input of the
tap delay (negative (-) values invert
the phase)

2-Band

EQ

2-Band

EQ

L out

R out

Parameter Value Explanation

200, 250, 315, 400,

Dly HF

(Delay HF Damp)

Dly1 Pan

(Delay 1 Pan)

Dly2 Pan

(Delay 2 Pan)

Dly1 Lv

(Delay 1 Level)

Dly2 Lv

(Delay 2 Level)

Low Gain

High Gain

Balance

Level

500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

L64–63R

L64–63R

0–127

0–127

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

Frequency at which the hi­frequency content of the tap delay
sound will be cut (BYPASS: no cut)

Panning of the tap delay sounds

Volume of the tap delay sounds

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the delay sound (W)

39

MFX/IFX Parameters

TimeCtrlDly (Time Control Delay)

A stereo delay in which the delay time can be varied smoothly.

Balance D

L in

Time Ctrl

Delay

Feedback

Feedback

Time Ctrl

Delay

R in

Balance D

Parameter Value Explanation

Delay Sync

(Delay Time
(sync switch))

D. Time

(Delay Time (msec))

D. Time Nt

(Delay Time (note))

Acceleration

Feedback

HF Damp

Low Gain

High Gain

Balance

Level

OFF, ON

1–1300

Note

& “Note” (p. 64)

0–15

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the direct
sound until the delay sound is heard.

Adjusts the speed which the Delay
Time changes from the current setting
to a specied new setting. The rate
of change for the Delay Time directly
aects the rate of pitch change.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is ltered
out. If you don’t want to lter out any
high frequencies, set this parameter
to BYPASS.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the delay sound (W)

2-Band EQ

Balance W

Balance W

2-Band EQ

L out

R out

Tape Echo

A virtual tape echo that produces a realistic tape delay sound. This
simulates the tape echo section of a Roland RE-201 Space Echo.

Direct Level

L in

Tape Echo

R in

Direct Level

Parameter Value Explanation

Combination of playback heads to use

Select from three dierent heads with

Mode

Repeat Rate

Intensity

Bass

Treble

Head S Pan

Head M Pan

Head L Pan

Distortion

(Tape Distortion)

Wf Rate

(W/F Rate)

Wf Depth

(W/F Depth)

Echo Level

Direct Lv

Level

S, M, L, S+M, S+L,
M+L, S+M+L

0–127

0–127 Amount of delay repeats

-15–+15 [dB]

-15–+15 [dB]

L64–63R

L64–63R

L64–63R

0–5

0–127

0–127 Depth of wow/utter

0–127 Volume of the echo sound

0–127 Volume of the original sound

0–127 Output Level

dierent delay times.

S: short

M: middle

L: long

Tape speed

Increasing this value will shorten the
spacing of the delayed sounds.

Boost/cut for the lower range of the echo
sound

Boost/cut for the upper range of the
echo sound

Independent panning for the short,
middle, and long playback heads

Amount of tape-dependent distortion
to be added

This simulates the slight tonal changes
that can be detected by signal-analysis
equipment. Increasing this value will
increase the distortion.

Speed of wow/utter (complex variation
in pitch caused by tape wear and
rotational irregularity)

L out

Echo Level

Echo Level

R out

40

MFX/IFX Parameters

LOFI Comp (Lo-Fi Compressor)

This is an eect that intentionally degrades the sound quality for creative
purposes.

L in

Compressor Lo-Fi 2-Band EQ

Compressor Lo-Fi 2-Band EQ

Parameter Value Explanation

Selects the type of lter applied to the

Pre Filter

(Pre Filter Type)

LoFi Type

Post Filter

(Post Filter Type)

Cuto

(Post Filter Cuto)

Low Gain

High Gain

Balance

Level

1, 2, 3, 4, 5, 6

1, 2, 3, 4, 5, 6, 7, 8, 9

OFF, LPF, HPF

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

sound before it passes through the Lo-Fi
eect.

1: Compressor o

2–6: Compressor on

Degrades the sound quality. The sound
quality grows poorer as this value is
increased.

Type of lter

OFF: No lter is used

LPF: Cuts the frequency range above the
Cuto Freq

HPF: Cuts the frequency range below
the Cuto Freq

Basic frequency of the Post Filter

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the eect sound (W)

L out

R outR in

PitchShiftr (Pitch Shifter)

A stereo pitch shifter.

L in

Pitch

Shifter

Pitch

Shifter

R in

Parameter Value Explanation

Coarse

Fine

Delay Sync

(Delay Time
(sync switch))

D. Time

(Delay Time (msec))

D. Time Nt

(Delay Time (note))

Feedback

Low Gain

High Gain

Balance

Level

-24–+12 [semi]

-100–+100 [cent]

OFF, ON

1–1300

Note

& “Note” (p. 64)

-98–+98 [%]

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

2-Band EQ

2-Band EQ

Adjusts the pitch of the pitch shifted
sound in semitone steps.

Adjusts the pitch of the pitch shifted
sound in 2-cent steps.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the direct
sound until the pitch shifted sound
is heard.

Adjusts the proportion of the pitch
shifted sound that is fed back into
the eect.

Negative (-) settings will invert the
phase.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the direct
sound (D) and the pitch shifted sound
(W)

L out

R out

Bit Crasher

This creates a lo- sound.

L in L out

Parameter Value Explanation

Sample Rate

Bit Down

Filter

Low Gain

High Gain

Level

Bit Crusher 2-Band EQ

Bit Crusher 2-Band EQ

0–127 Adjusts the sample rate.

0–20 Adjusts the bit depth.

0–127 Adjusts the lter depth.

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

R outR in

41

MFX/IFX Parameters

2V PShifter (2 Voice Pitch Shifter)

Shifts the pitch of the original sound. This 2-voice pitch shifter has two
pitch shifters, and can add two pitch shifted sounds to the original sound.

Balance D

L in

Level 1

2 Voice

Pitch Shifter

Level 2

Pan 1 L

Pan 1 R

Pan 2 L

Pan 2 R

R in

Balance D

Parameter Value Explanation

P1 Coarse

(Pitch1 Coarse)

P1 Fine

(Pitch1 Fine)

P1 Dly Sync

(Pitch1 Delay (sync switch))

P1 D. Time

(Pitch1 Delay (msec))

P1 DTime Nt

(Pitch1 Delay (note))

P1 Feedback

(Pitch1 Feedback)

P1 Pan

(Pitch1 Pan)

P1 Level

(Pitch1 Level)

P2 Coarse

(Pitch2 Coarse)

P2 Fine

(Pitch2 Fine)

P2 Dly Sync

(Pitch2 Delay (sync switch))

P2 D. Time

(Pitch2 Delay (msec))

P2 DTime Nt

(Pitch2 Delay (note))

P2 Feedback

(Pitch2 Feedback)

P2 Pan

(Pitch2 Pan)

P2 Level

(Pitch2 Level)

Low Gain

High Gain

Balance

Level

-24–+12 [semi]

-100–+100 [cent]

OFF, ON

1–1300

Note

& “Note” (p. 64)

-98–+98 [%]

L64–63R

0–127 Volume of the Pitch Shift 1 sound

-24–+12 [semi]

-100–+100 [cent]

OFF, ON

1–1300

Note

& “Note” (p. 64)

-98–+98 [%]

L64–63R

0–127

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

2-Band EQ

Balance W

Balance W

2-Band EQ

Adjusts the pitch of Pitch Shift 1 in
semitone steps.

Adjusts the pitch of Pitch Shift
Pitch 1 in 2-cent steps.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the
direct sound until the Pitch Shift 1
sound is heard.

Adjusts the proportion of the
pitch shifted sound that is fed
back into the eect.

Negative (-) settings will invert
the phase.

Stereo location of the Pitch Shift
1 sound

Settings of the Pitch Shift 2 sound.

The parameters are the same as
for the Pitch Shift 1 sound.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Volume balance between the
direct sound (D) and the pitch
shifted sound (W)

L out

R out

OD

0

Chorus (Overdrive

0

Balance D

L in

Overdrive Chorus

R in

Balance D

Parameter Value Explanation

OD Drive

(Overdrive Drive)

OD Pan

(Overdrive Pan)

Cho PreDly

(Chorus Pre Delay)

Cho Sync

(Chorus Rate
(sync switch))

C. Rate

(Chorus Rate (Hz))

C. Rate Nt

(Chorus Rate (note))

Cho Depth

(Chorus Depth)

Cho Bal

(Chorus Balance)

Level

0–127

L64–63R

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

D100: 0W–D0:
100W

0–127 Output Level

Degree of distortion

Also changes the volume.

Stereo location of the overdrive
sound

Adjusts the delay time from the
direct sound until the chorus sound
is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the volume balance
between the sound that is sent
through the chorus (W) and the
sound that is not sent through the
chorus (D).

Chorus)

L out

Balance W

Balance W

R out

42

MFX/IFX Parameters

OD

0

Flanger (Overdrive

L in

0

Feedback

FlangerOverdrive

R in

Parameter Value Explanation

OD Drive

(Overdrive Drive)

OD Pan

(Overdrive Pan)

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Rate
(sync switch))

F. Delay

(Flanger Rate (Hz))

F. Rate Nt

(Flanger Rate (note))

Flg Depth

(Flanger Depth)

Flg Fbk

(Flanger Feedback)

Flg Bal

(Flanger Balance)

Level

0–127

L64–63R

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0:
100W

0–127 Output Level

Degree of distortion

Also changes the volume.

Stereo location of the overdrive
sound

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the volume balance between
the sound that is sent through the
anger (W) and the sound that is not
sent through the anger (D).

Flanger)

Balance D

Balance D

Balance W

Balance W

L out

R out

OD

0

Delay (Overdrive

0

Delay)

L in

DelayOverdrive

Feedback

R in

Parameter Value Explanation

OD Drive

(Overdrive Drive)

OD Pan

(Overdrive Pan)

Delay Sync

(Delay Time
(sync switch))

D. Time

(Delay Time (msec))

D. Time Nt

(Delay Time (note))

Delay Fbk

(Delay Feedback)

Dly HF

(Delay HF Damp)

Dly Bal

(Delay Balance)

Level

0–127

L64–63R Stereo location of the overdrive sound

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

D100: 0W–D0:
100W

0–127 Output Level

Degree of distortion

Also changes the volume.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the direct
sound until the delay sound is heard.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect will be
cut. If you do not want to cut the high
frequencies, set this parameter to
BYPASS.

Adjusts the volume balance between
the sound that is sent through the
delay (W) and the sound that is not
sent through the delay (D).

Balance D

L out

Balance W

Balance W

R out

Balance D

43

MFX/IFX Parameters

DS

0

Chorus (Distortion

0

Balance D

L in

Distortion Chorus

R in

Balance D

Parameter Value Explanation

Dist Drive

(Distortion Drive)

Dist Pan

(Distortion Pan)

Cho PreDly

(Chorus Pre Delay)

Cho Sync

(Chorus Rate
(sync switch))

C. Rate

(Chorus Rate (Hz))

C. Rate Nt

(Chorus Rate (note))

Cho Depth

(Chorus Depth)

Cho Bal

(Chorus Balance)

Level

0–127

L64–63R Stereo location of the overdrive sound

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

D100: 0W–D0:
100W

0–127 Output Level

Degree of distortion

Also changes the volume.

Adjusts the delay time from the direct
sound until the chorus sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the volume balance between
the sound that is sent through the
chorus (W) and the sound that is not
sent through the chorus (D).

Chorus)

L out

Balance W

Balance W

R out

DS

0

Flanger (Distortion

L in

0

Feedback

FlangerDistortion

R in

Parameter Value Explanation

Dist Drive

(Distortion Drive)

Dist Pan

(Distortion Pan)

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Rate
(sync switch))

F. Delay

(Flanger Rate (Hz))

F. Rate Nt

(Flanger Rate (note))

Flg Depth

(Flanger Depth)

Flg Fbk

(Flanger Feedback)

Flg Bal

(Flanger Balance)

Level

0–127

L64–63R

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0:
100W

0–127 Output Level

Degree of distortion

Also changes the volume.

Stereo location of the overdrive
sound

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the volume balance between
the sound that is sent through the
anger (W) and the sound that is not
sent through the anger (D).

Flanger)

Balance D

L out

Balance W

Balance W

R out

Balance D

44

MFX/IFX Parameters

DS

0

Delay (Distortion

0

Delay)

L in

DelayDistortion

Feedback

R in

Parameter Value Explanation

Dist Drive

(Distortion Drive)

Dist Pan

(Distortion Pan)

Delay Sync

(Delay Time
(sync switch))

D. Time

(Delay Time (msec))

D. Time Nt

(Delay Time (note))

Delay Fbk

(Delay Feedback)

Dly HF

(Delay HF Damp)

Dly Bal

(Delay Balance)

Level

0–127

L64–63R

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

D100: 0W–D0:
100W

0–127 Output Level

Degree of distortion

Also changes the volume.

Stereo location of the overdrive
sound

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the
direct sound until the delay sound
is heard.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect will be
cut. If you do not want to cut the
high frequencies, set this parameter
to BYPASS.

Adjusts the volume balance between
the sound that is sent through the
delay (W) and the sound that is not
sent through the delay (D).

Balance D

Balance D

Balance W

Balance W

L out

R out

OD/DS

0

0

T. Wah (Overdrive/Distortion

Touch Wah)

L in

Overdrive/
Distortion

Amp

Simulator

Touch

Wah

2-Band

R in

Parameter Value Explanation

Drive Switch

D. Type

(Drive Type)

Drive

Tone

Amp Switch

AmpType

(Amp Type)

TWah Switch

(TouchWah Switch)

TWah Mode

(TouchWah Mode)

TWah Polar

(TouchWah Polarity)

TWah Sens

(TouchWah Sens)

TWah Manual

(TouchWah Manual)

TWah Peak

(TouchWah Peak)

TWah Bal

(TouchWah Balance)

Low Gain

High Gain

Level

OFF, ON Turns overdrive/distortion on/o

OVERDRIVE,
DISTORTION

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL, BUILT-IN,
2-STACK, 3-STACK

OFF, ON Wah on/o

LPF, BPF

DOWN, UP

0–127

0–127

0–127

D100: 0W–D0:
100W

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Type of distortion

Degree of distortion. Also changes
the volume.

Type of guitar amp

SMALL: Small amp

BUILT-IN: Single-unit type amp

2-STACK: Large double stack amp

3-STACK: Large triple stack amp

Type of lter

LPF: The wah eect will be applied
over a wide frequency range.

BPF: The wah eect will be applied
over a narrow frequency range.

Direction in which the lter will move

UP: The lter will change toward a
higher frequency.

DOWN: The lter will change toward
a lower frequency.

Sensitivity with which the lter is
modied

Center frequency at which the wah
eect is applied

Width of the frequency region at
which the wah eect is applied

Increasing this value will make the
frequency region narrower.

Adjusts the volume balance between
the sound that is sent through the
wah (W) and the sound that is not
sent through the wah (D).

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

EQ

L out

Pan L

Pan R

R out

45

MFX/IFX Parameters

OD/DS

0

0

A. Wah (Overdrive/Distortion

Auto Wah)

L in

Overdrive/

Distortion

Amp

Simulator

Auto Wah

2-Band

R in

Parameter Value Explanation

Drive Switch

D. Type

(Drive Type)

Drive

Tone

Amp Switch

AmpType

(Amp Type)

AWah Switch

(AutoWah Switch)

AWah Mode

(AutoWah Mode)

AWah Manual

(AutoWah Manual)

AWah Peak

(AutoWah Peak)

AWah Sync

(AutoWah Rate
(sync switch))

AWRate

(AutoWah Rate (Hz))

AWRate Nt

(AutoWah Rate (note))

AWah Depth

(AutoWah Depth)

AWah Bal

(AutoWah Balance)

Low Gain

High Gain

Level

OFF, ON Turns overdrive/distortion on/o

OVERDRIVE,
DISTORTION

0–127

0–127

OFF, ON Turns the Amp Simulator on/o.

SMALL, BUILT-IN,
2-STACK, 3-STACK

OFF, ON Wah on/o

LPF, BPF

0–127

0–127

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

D100: 0W–D0:
100W

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Type of distortion

Degree of distortion. Also changes
the volume.

Sound quality of the Overdrive
eect

Type of guitar amp

SMALL: Small amp

BUILT-IN: Single-unit type amp

2-STACK: Large double stack amp

3-STACK: Large triple stack amp

Type of lter

LPF: The wah eect will be applied
over a wide frequency range.

BPF: The wah eect will be applied
over a narrow frequency range.

Center frequency at which the wah
eect is applied

Width of the frequency region at
which the wah eect is applied

Increasing this value will make the
frequency region narrower.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Depth at which the wah eect is
modulated

Adjusts the volume balance
between the sound that is sent
through the wah (W) and the
sound that is not sent through the
wah (D).

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

EQ

L out

Pan L

Pan R

R out

46

MFX/IFX Parameters

0

Gt

Chorus (Guitar Amp Simulator

Chorus)

SpeakerPre Amp Chorus

R in

Parameter Value Explanation

Pre Amp Sw

(Pre Amp Switch)

Type

(Pre Amp Type)

Drive

(Pre Amp Drive)

Master Lv

(Pre Amp Master)

Gain

(Pre Amp Gain)

Bass

(Pre Amp Bass)

Middle

(Pre Amp Middle)

Treble

(Pre Amp Treble)

Speaker Sw

(Speaker Switch)

OFF, ON Turns the amp switch on/o.

Type of guitar amp

JC-120

CLEAN TWIN This models a Fender Twin Reverb.

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150

METAL LEAD

OD-1

OD-2 TURBO

DISTORTION

FUZZ A fuzz sound with rich harmonic content.

0–127

0–127 Volume of the entire pre-amp

LOW, MIDDLE,
HIGH

0–127

0–127

0–127

OFF, ON

This models the sound of the Roland
JC-120.

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

A simulation of the latest tube amp
widely used in styles from blues and rock.

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

The sound of a tube amp typical of the
late ‘70s to ‘80s.

This models the sound input to Input I on
a Marshall 1959.

This is a trebly sound suited to hard rock.

This models the sound input to Input II on
a Marshall 1959.

The sound of connecting inputs I and II
of the guitar amp in parallel, creating a
sound with a stronger low end than I.

This models a Soldano SLO-100. This is
the typical sound of the eighties.

This models the lead channel of a Peavey
EVH 5150.

This is distortion sound that is ideal for
performances of heavy ris.

This models the sound of the BOSS OD-1.

This produces sweet, mild distortion.

This is the high-gain overdrive sound of
the BOSS OD-2.

This gives a basic, traditional distortion
sound.

Volume and amount of distortion of the
amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency
range

Middle cannot be set if “MATCH DRIVE”
is selected as the Pre Amp Type.

Selects whether the sound will be sent
through the speaker simulation (ON) or
not (OFF)

Balance D

Balance D

0

Balance

Balance W

L outL in

W

R out

Parameter Value Explanation

Cabinet

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open back

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open back

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open back

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open back

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open back

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sealed

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large sealed

enclosure

large sealed

enclosure

large sealed

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large double

stack

large double

stack

large triple

stack

Adjusts the delay time from the direct
sound until the chorus sound is heard.

Adjusts the volume balance between the
sound that is sent through the chorus (W)
and the sound that is not sent through
the chorus (D).

SpType

(Speaker Type)

Chorus Sw

(Chorus Switch)

Cho PreDly

(Chorus Pre Delay)

C. Rate

(Chorus Rate (Hz))

Cho Depth

(Chorus Depth)

Cho Bal

(Chorus Balance)

Level

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN1

BUILT-IN2

BUILT-IN3

BUILT-IN4

BUILT-IN5

BG STACK1

BG STACK2

MS STACK1

MS STACK2

METAL STACK

2-STACK

3-STACK

OFF, ON Chorus on/o

0.0–100 [msec]

0.05–10.00 [Hz] Frequency of modulation

0–127 Depth of modulation

D100: 0W–D0:
100W

0–127 Output Level

Diameter

(in inches)

and number

of the

speaker

12 x 1 dynamic

12 x 2 dynamic

12 x 2 dynamic

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

Microphone

10 dynamic

10 dynamic

47

MFX/IFX Parameters

0

GT

0

Flanger (Guitar Amp Simulator

Flanger)

L in

R in

Parameter Value Explanation

Pre Amp Sw

(Pre Amp Switch)

OFF, ON Turns the amp switch on/o.

Type of guitar amp

This models the sound of the Roland
JC-120.

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

A simulation of the latest tube amp
widely used in styles from blues and rock.

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

The sound of a tube amp typical of the
late ‘70s to ‘80s.

This models the sound input to Input I on
a Marshall 1959.

This is a trebly sound suited to hard rock.

This models the sound input to Input II on
a Marshall 1959.

The sound of connecting inputs I and II
of the guitar amp in parallel, creating a
sound with a stronger low end than I.

This models a Soldano SLO-100. This is
the typical sound of the eighties.

This models the lead channel of a Peavey
EVH 5150.

This is distortion sound that is ideal for
performances of heavy ris.

This models the sound of the BOSS OD-1.

This produces sweet, mild distortion.

This is the high-gain overdrive sound of
the BOSS OD-2.

This gives a basic, traditional distortion
sound.

Volume and amount of distortion of the
amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency
range

Middle cannot be set if “MATCH DRIVE”
is selected as the Pre Amp Type.

Selects whether the sound will be sent
through the speaker simulation (ON) or
not (OFF)

Type

(Pre Amp Type)

Drive

(Pre Amp Drive)

Master Lv

(Pre Amp Master)

Gain

(Pre Amp Gain)

Bass

(Pre Amp Bass)

Middle

(Pre Amp Middle)

Treble

(Pre Amp Treble)

Speaker Sw

(Speaker Switch)

JC-120

CLEAN TWIN This models a Fender Twin Reverb.

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150

METAL LEAD

OD-1

OD-2 TURBO

DISTORTION

FUZZ A fuzz sound with rich harmonic content.

0–127

0–127 Volume of the entire pre-amp

LOW, MIDDLE,
HIGH

0–127

0–127

0–127

OFF, ON

Feedback

FlangerPre Amp Speaker

Balance D

Balance D

L out

Balance W

Balance W

R out

Parameter Value Explanation

Cabinet

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small

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open back

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open back

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open back

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open back

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open back

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open back

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open back

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sealed

enclosure

large sealed

enclosure

large sealed

enclosure

large sealed

enclosure

large double

stack

large double

stack

large triple

stack

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the phase.

Adjusts the volume balance between the
sound that is sent through the anger
(W) and the sound that is not sent
through the anger (D).

SpType

(Speaker Type)

Flg Switch

(Flanger Switch)

Flg PreDly

(Flanger Pre Delay)

F. Rate

(Flanger Rate (Hz))

Flg Depth

(Flanger Depth)

Flg Fbk

(Flanger Feedback)

Flg Bal

(Flanger Balance)

Level

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN1

BUILT-IN2

BUILT-IN3

BUILT-IN4

BUILT-IN5

BG STACK1

BG STACK2

MS STACK1

MS STACK2

METAL STACK

2-STACK

3-STACK

OFF, ON Flanger on/o

0.0–100 [msec]

0.05–10.00 [Hz] Frequency of modulation

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0:
100W

0–127 Output Level

Diameter

(in inches)

and number

of the

speaker

12 x 1 dynamic

12 x 2 dynamic

12 x 2 dynamic

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

Microphone

10 dynamic

10 dynamic

48

MFX/IFX Parameters

0

Gt

Phaser (Guitar Amp Simulator

Phaser)

L in

PhaserPre Amp Speaker

R in

Parameter Value Explanation

Pre Amp Sw

(Pre Amp Switch)

Type

(Pre Amp Type)

Drive

(Pre Amp Drive)

Master Lv

(Pre Amp Master)

Gain

(Pre Amp Gain)

Bass

(Pre Amp Bass)

Middle

(Pre Amp Middle)

Treble

(Pre Amp Treble)

Speaker Sw

(Speaker Switch)

OFF, ON Turns the amp switch on/o.

JC-120

CLEAN TWIN This models a Fender Twin Reverb.

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150

METAL LEAD

OD-1

OD-2 TURBO

DISTORTION

FUZZ A fuzz sound with rich harmonic content.

0–127

0–127 Volume of the entire pre-amp

LOW, MIDDLE,
HIGH

0–127

0–127

0–127

OFF, ON

Resonance

Type of guitar amp

This models the sound of the Roland
JC-120.

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

A simulation of the latest tube amp
widely used in styles from blues and rock.

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

The sound of a tube amp typical of the
late ‘70s to ‘80s.

This models the sound input to Input I on
a Marshall 1959.

This is a trebly sound suited to hard rock.

This models the sound input to Input II on
a Marshall 1959.

The sound of connecting inputs I and II
of the guitar amp in parallel, creating a
sound with a stronger low end than I.

This models a Soldano SLO-100. This is
the typical sound of the eighties.

This models the lead channel of a Peavey
EVH 5150.

This is distortion sound that is ideal for
performances of heavy ris.

This models the sound of the BOSS OD-1.

This produces sweet, mild distortion.

This is the high-gain overdrive sound of
the BOSS OD-2.

This gives a basic, traditional distortion
sound.

Volume and amount of distortion of the
amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency
range

Middle cannot be set if “MATCH DRIVE”
is selected as the Pre Amp Type.

Selects whether the sound will be sent
through the speaker simulation (ON) or
not (OFF)

Mix

0

L out

R out

Parameter Value Explanation

Cabinet

small

open-back

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small

open-back

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open back

enclosure

open back

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open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

open back

enclosure

sealed

enclosure

large sealed

enclosure

large sealed

enclosure

large sealed

enclosure

large double

stack

large double

stack

large triple

stack

Adjusts the basic frequency from which
the sound will be modulated.

SpType

(Speaker Type)

Phaser SW

(Phaser Switch)

P. Rate

(Phaser Rate (Hz))

Phs Manual

(Phaser Manual)

Phs Depth

(Phaser Depth)

Phs Reso

(Phaser Resonance)

Phs Mix

(Phaser Mix)

Level

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN1

BUILT-IN2

BUILT-IN3

BUILT-IN4

BUILT-IN5

BG STACK1

BG STACK2

MS STACK1

MS STACK2

METAL STACK

2-STACK

3-STACK

OFF, ON Phaser on/o

0.05–10.00 [Hz] Frequency of modulation

0–127

0–127 Depth of modulation

0–127 Amount of feedback

0–127 Level of the phase-shifted sound

0–127 Output Level

Diameter

(in inches)

and number

of the

speaker

12 x 1 dynamic

12 x 2 dynamic

12 x 2 dynamic

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

Microphone

10 dynamic

10 dynamic

49

MFX/IFX Parameters

0

Gt

Delay (Guitar Amp Simulator

Delay)

L in

R in

Parameter Value Explanation

Pre Amp Sw

(Pre Amp Switch)

Type

(Pre Amp Type)

Drive

(Pre Amp Drive)

Master Lv

(Pre Amp Master)

Gain

(Pre Amp Gain)

Bass

(Pre Amp Bass)

Middle

(Pre Amp Middle)

Treble

(Pre Amp Treble)

Speaker Sw

(Speaker Switch)

OFF, ON Turns the amp switch on/o.

Type of guitar amp

JC-120

CLEAN TWIN This models a Fender Twin Reverb.

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

MS1959I+II

SLDN LEAD

METAL 5150

METAL LEAD

OD-1

OD-2 TURBO

DISTORTION

FUZZ A fuzz sound with rich harmonic content.

0–127

0–127 Volume of the entire pre-amp

LOW, MIDDLE,
HIGH

0–127

0–127

0–127

OFF, ON

This models the sound of the Roland
JC-120.

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

A simulation of the latest tube amp
widely used in styles from blues and rock.

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

The sound of a tube amp typical of the
late ‘70s to ‘80s.

This models the sound input to Input I on
a Marshall 1959.

This is a trebly sound suited to hard rock.

This models the sound input to Input II on
a Marshall 1959.

The sound of connecting inputs I and II
of the guitar amp in parallel, creating a
sound with a stronger low end than I.

This models a Soldano SLO-100. This is
the typical sound of the eighties.

This models the lead channel of a Peavey
EVH 5150.

This is distortion sound that is ideal for
performances of heavy ris.

This models the sound of the BOSS OD-1.

This produces sweet, mild distortion.

This is the high-gain overdrive sound of
the BOSS OD-2.

This gives a basic, traditional distortion
sound.

Volume and amount of distortion of the
amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency
range

Middle cannot be set if “MATCH DRIVE”
is selected as the Pre Amp Type.

Selects whether the sound will be sent
through the speaker simulation (ON) or
not (OFF)

DelayPre Amp Speaker

Feedback

Balance D

Balance D

0

Balance W

Balance W

L out

R out

Parameter Value Explanation

Cabinet

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small

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open back

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open back

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open back

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open back

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open back

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open back

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open back

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sealed

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large sealed

enclosure

large sealed

enclosure

large sealed

enclosure

large double

stack

large double

stack

large triple

stack

Adjusts the delay time from the direct
sound until the delay sound is heard.

Adjusts the proportion of the delay sound
that is fed back into the eect.

Negative (-) settings will invert the phase.

Frequency at which the high-frequency
portion of the delay sound will be cut
(BYPASS: no cut)

Adjusts the volume balance between the
sound that is sent through the delay (W)
and the sound that is not sent through
the delay (D).

SpType

(Speaker Type)

Delay Sw

(Delay Switch)

Dly Time

(Delay Time)

Delay Fbk

(Delay Feedback)

Dly HF

(Delay HF Damp)

Dly Bal

(Delay Balance)

Level

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN1

BUILT-IN2

BUILT-IN3

BUILT-IN4

BUILT-IN5

BG STACK1

BG STACK2

MS STACK1

MS STACK2

MTL STACK

2-STACK

3-STACK

OFF, ON Delay on/o

1–1300

-98–+98 [%]

200, 250, 315,
400, 500, 630,
800, 1000, 1250,
1600, 2000,
2500, 3150,
4000, 5000,
6300, 8000,
BYPASS [Hz]

D100: 0W–D0:
100W

0–127 Output Level

Diameter

(in inches)

and number

of the

speaker

12 x 1 dynamic

12 x 2 dynamic

12 x 2 dynamic

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 2 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

12 x 4 condenser

Microphone

10 dynamic

10 dynamic

50

MFX/IFX Parameters

0

EP

Tremolo (EP Amp Simulator

Tremolo)

L in

SpeakerEP Amp Tremolo

R in

Parameter Value Explanation

Type of amp

A standard electric piano sound of
the early 70s

A standard electric piano sound of
the late 70s and early 80s

A standard electric piano sound of
the 60s

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Rate of the tremolo eect

Adjusts the duty cycle of the LFO
waveform used to apply tremolo.

Type of speaker

If LINE is selected, the sound will
not be sent through the speaker
simulation.

Type

Bass

Treble

Tremolo Sw

(Tremolo Switch)

Tremolo Sync

(Tremolo Speed
(sync switch))

T. Speed

(Tremolo Speed (Hz))

T. Spd Nt

(Tremolo Speed (note))

Trm Depth

(Tremolo Depth)

Trm Duty

(Tremolo Duty)

Sp Type

(Speaker Type)

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

Level

OLDCASE

NEWCASE

WURLY

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Tremolo on/o

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of the tremolo eect

-10–+10

LINE, OLD, NEW,
WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

0–127 Output Level

0

L out

R out

EP

0

Chorus (EP Amp Simulator

0

Chorus)

Balance D

L outL in

Balance W

SpeakerEP Amp Chorus

R in

Balance D

Parameter Value Explanation

Type of amp

Type

Bass

Treble

Cho Switch

(Chorus Switch)

Cho PreDly

(Chorus Pre Delay)

Cho Sync

(Chorus Rate
(sync switch))

C. Rate

(Chorus Rate (Hz))

C. Rate Nt

(Chorus Rate (note))

Cho Depth

(Chorus Depth)

Cho Bal

(Chorus Balance)

Sp Type

(Speaker Type)

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

Level

OLDCASE

NEWCASE

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Chorus on/o

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

D100: 0W–D0:
100W

LINE, OLD, NEW,
WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

0–127 Output Level

A standard electric piano sound of the
early 70s

A standard electric piano sound of the
late 70s and early 80s

Adjusts the delay time from the direct
sound until the chorus sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the volume balance between
the sound that is sent through the
chorus (W) and the sound that is not
sent through the chorus (D).

Type of speaker

If LINE is selected, the sound will
not be sent through the speaker
simulation.

Balance W

R out

51

MFX/IFX Parameters

0

EP

Flanger (EP Amp Simulator

Flanger)

Balance D

L in

R in

Parameter Value Explanation

Type

Bass

Treble

Flg Switch

(Flanger Switch)

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Rate
(sync switch))

F. Rate

(Flanger Rate (Hz))

F. Rate Nt

(Flanger Rate (note))

Flg Depth

(Flanger Depth)

Flg Fbk

(Flanger Feedback)

Flg Bal

(Flanger Balance)

Sp Type

(Speaker Type)

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

Level

OLDCASE

NEWCASE

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Flanger on/o

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0:
100W

LINE, OLD, NEW,
WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

0–127 Output Level

Feedback

FlangerEP Amp Speaker

Balance D

Type of amp

A standard electric piano sound of
the early 70s

A standard electric piano sound of
the late 70s and early 80s

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the volume balance between
the sound that is sent through the
anger (W) and the sound that is not
sent through the anger (D).

Type of speaker

If LINE is selected, the sound will
not be sent through the speaker
simulation.

0

Balance W

Balance W

L out

R out

0

EP

Phaser (EP Amp Simulator

Phaser)

L in

PhaserEP Amp Speaker

R in

Parameter Value Explanation

Type

Bass

Treble

Phs Switch

(Phaser Switch)

Phs Sync

(Phaser Rate
(sync switch))

P. Rate

(Phaser Rate (Hz))

P. Rate Nt

(Phaser Rate (note))

Phs Manual

(Phaser Manual)

Phs Depth

(Phaser Depth)

Phs Reso

(Phaser Resonance)

Phs Mix (Phaser Mix)

Sp Type

(Speaker Type)

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

Level

OLDCASE

NEWCASE

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Phaser on/o

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

0–127 Depth of modulation

0–127 Amount of feedback

0–127 Level of the phase-shifted sound

LINE, OLD, NEW,
WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

0–127 Output Level

Resonance

Type of amp

A standard electric piano sound of the
early 70s

A standard electric piano sound of the
late 70s and early 80s

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the basic frequency from
which the sound will be modulated.

Type of speaker

If LINE is selected, the sound will
not be sent through the speaker
simulation.

Mix

0

L out

R out

52

MFX/IFX Parameters

Speaker

Speaker

0

EP

Delay (EP Amp Simulator

Delay)

Balance D

L in

EP Amp

R in

Parameter Value Explanation

Type

Bass

Treble

Dly Switch

(Delay Switch)

Delay Sync

(Delay Time
(sync switch))

D. Time

(Delay Time (msec))

D. Time Nt

(Delay Time (note))

Dly Accel

(Delay Accel)

Delay Fbk

(Delay Feedback)

Dly HF

(Delay HF Damp)

Dly Bal

(Delay Balance)

Sp Type

(Speaker Type)

OD Switch

(Overdrive Switch)

OD Gain

(Overdrive Gain)

OD Drive

(Overdrive Drive)

Level

OLDCASE

NEWCASE

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Delay on/o

OFF, ON

1–1300

Note

& “Note” (p. 64)

0–15

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

D100: 0W–D0:
100W

LINE, OLD, NEW,
WURLY, T WIN

OFF, ON Overdrive on/o

0–127 Overdrive input level

0–127 Degree of distortion

0–127 Output Level

Time Ctrl

Delay

Feedback

Balance D

Type of amp

A standard electric piano sound of the
early 70s

A standard electric piano sound of the
late 70s and early 80s

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the direct
sound until the delay sound is heard.

Speed at which the current delay time
changes to the specied delay time
when you change the delay time.

The speed of the pitch change will
change simultaneously with the delay
time.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Frequency at which the high­frequency portion of the delay sound
will be cut (BYPASS: no cut)

Adjusts the volume balance between
the sound that is sent through the
delay (W) and the sound that is not
sent through the delay (D).

Type of speaker

If LINE is selected, the sound will
not be sent through the speaker
simulation.

0

Balance W

Balance W

L out

R out

Enhncr

L in

R in

0

Cho (Enhancer

Enhancer

Mix

Enhancer

0

Balance D

Chorus

Balance D Mix

Parameter Value Explanation

Enh Sens

(Enhancer Sens)

Enh Mix

(Enhancer Mix)

Cho PreDly

(Chorus Pre Delay)

Cho Sync

(Chorus Rate
(sync switch))

C. Rate

(Chorus Rate (Hz))

C. Rate Nt

(Chorus Rate (note))

Cho Depth

(Chorus Depth)

Cho Bal

(Chorus Balance)

Level

0–127 Sensitivity of the enhancer

0–127

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

D100: 0W–D0:
100W

0–127 Output Level

Level of the overtones generated by
the enhancer

Adjusts the delay time from the direct
sound until the chorus sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the volume balance between
the sound that is sent through the
chorus (W) and the sound that is not
sent through the chorus (D).

Chorus)

L out

Balance W

Balance W

R out

53

MFX/IFX Parameters

Enhncr

L in

R in

0

Fl (Enhancer

Enhancer

Mix

Enhancer

Mix

0

Flanger)

Balance D

Feedback

Flanger

Balance D

Parameter Value Explanation

Enh Sens

(Enhancer Sens)

Enh Mix

(Enhancer Mix)

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Rate
(sync switch))

F. Rate

(Flanger Rate (Hz))

F. Rate Nt

(Flanger Rate (note))

Flg Depth

(Flanger Depth)

Flg Fbk

(Flanger Feedback)

Flg Bal

(Flanger Balance)

Level

0–127 Sensitivity of the enhancer

0–127

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0:
100W

0–127 Output Level

Level of the overtones generated by
the enhancer

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the volume balance between
the sound that is sent through the
anger (W) and the sound that is not
sent through the anger (D).

L out

Balance W

Balance W W

R out

L in

R in

0

Dly (Enhancer0 Delay)

Enhancer

Mix

Enhancer

Mix

Balance D

Delay

Feedback

Balance D

Enhncr

Parameter Value Explanation

Enh Sens

(Enhancer Sens)

Enh Mix

(Enhancer Mix)

Dly Sync

(Delay Time
(sync switch))

D. Time

(Delay Time (msec))

D. Time Nt

(Delay Time (note))

Delay Fbk

(Delay Feedback)

Dly HF

(Delay HF Damp)

Dly Bal

(Delay Balance)

Level

0–127 Sensitivity of the enhancer

0–127

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

D100: 0W–D0:
100W

0–127 Output Level

Level of the overtones generated by
the enhancer

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the direct
sound until the delay sound is heard.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect will be
cut. If you do not want to cut the high
frequencies, set this parameter to
BYPASS.

Adjusts the volume balance between
the sound that is sent through the
delay (W) and the sound that is not
sent through the delay (D).

L out

Balance W

Balance W

R out

54

MFX/IFX Parameters

Chorus

0

Dly (Chorus

Balance D

0

Delay)

Balance D

L in

Balance W

Chorus

Balance W

Delay

Feedback

R in

Balance D

Balance D

Parameter Value Explanation

Cho PreDly

(Chorus Pre Delay)

Cho Sync

(Chorus Rate
(sync switch))

C. Rate

(Chorus Rate (Hz))

C. Rate Nt

(Chorus Rate (note))

Cho Depth

(Chorus Depth)

Cho Bal

(Chorus Balance)

Delay Sync

(Delay Time
(sync switch))

D. Time

(Delay Time (msec))

D. Time Nt

(Delay Time (note))

Delay Fbk

(Delay Feedback)

Dly HF

(Delay HF Damp)

Dly Bal

(Delay Balance)

Level

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

D100: 0W–D0:
100W

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

D100: 0W–D0:
100W

0–127 Output Level

Adjusts the delay time from the direct
sound until the chorus sound is heard.

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Volume balance between the direct
sound (D) and the chorus sound (W)

If this is ON, the rate synchronizes with
the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the direct
sound until the delay sound is heard.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect will be
cut. If you do not want to cut the high
frequencies, set this parameter to
BYPASS.

Adjusts the volume balance between
the sound that is sent through the
delay (W) and the sound that is not
sent through the delay (D).

Balance W

Balance W

L out

R out

Flanger

0

Dly (Flanger

Balance D

0

Balance D

L in

Feedback

Flanger

Balance W

Balance W

Delay

Feedback

R in

Balance D

Balance D

Parameter Value Explanation

Flg PreDly

(Flanger Pre Delay)

Flg Sync

(Flanger Rate
(sync switch))

F. Rate

(Flanger Rate (Hz))

F. Rate Nt

(Flanger Rate (note))

Flg Depth

(Flanger Depth)

Flg Fbk

(Flanger Feedback)

Flg Bal

(Flanger Balance)

Delay Sync

(Delay Time
(sync switch))

D. Time

(Delay Time (msec))

D. Time Nt

(Delay Time (note))

Delay Fbk

(Delay Feedback)

Dly HF

(Delay HF Damp)

Dly Bal

(Delay Balance)

Level

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of modulation

-98–+98 [%]

D100: 0W–D0:
100W

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

D100: 0W–D0:
100W

0–127 Output Level

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Volume balance between the direct
sound (D) and the anger sound (W)

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Adjusts the delay time from the direct
sound until the delay sound is heard.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect will be
cut. If you do not want to cut the
high frequencies, set this parameter
to BYPASS.

Adjusts the volume balance between
the sound that is sent through the
delay (W) and the sound that is not
sent through the delay (D).

Delay)

L out

Balance

Balance

R out

55

MFX/IFX Parameters

SBF-325

SBF-325

Chorus

0

Fl (Chorus

Balance D

0

Flanger)

L in

Balance W

Chorus Flanger

Balance W

Feedback

R in

Balance D

Parameter Value Explanation

Cho PreDly

(Chorus Pre Delay)

Cho Sync

(Chorus Rate
(sync switch))

C. Rate

(Chorus Rate (Hz))

C. Rate Nt

(Chorus Rate (note))

Cho Depth

(Chorus Depth)

Cho Bal

(Chorus Balance)

Flg PreDly

(Flanger Pre Delay)

Flg Sync (Flanger

Rate (sync switch))

F. Rate

(Flanger Rate (Hz))

F. Rate Nt

(Flanger Rate (note))

Flg Depth

(Flanger Depth)

Flg Fbk

(Flanger Feedback)

Flg Bal

(Flanger Balance)

Level

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

D100: 0W–D0:
100W

0.0–100 [msec]

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127

-98–+98 [%]

D100: 0W–D0:
100W

0–127 Output Level

Adjusts the delay time from the
direct sound until the chorus sound
is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Modulation frequency of the chorus
eect

Modulation depth of the chorus
eect

Volume balance between the direct
sound (D) and the chorus sound (W)

Adjusts the delay time from when the
direct sound begins until the anger
sound is heard.

If this is ON, the rate synchronizes
with the tempo of the rhythm.

& “Tempo” (p. 16)

Modulation frequency of the anger
eect

Modulation depth of the anger
eect

Adjusts the proportion of the anger
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the volume balance between
the sound that is sent through the
anger (W) and the sound that is not
sent through the anger (D).

Balance D

Balance D

L out

Balance W

Balance W

R out

CE-1 (Chorus)

This models the classic BOSS CE-1 chorus eect unit. It provides a chorus
sound with a distinctively analog warmth.

L in L out

CE-1

2-Band EQ

2-Band EQ

R outR in

Parameter Value Explanation

Intensity

Low Gain

High Gain

Level

0–127 Chorus depth

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

SBF-325 (Flanger)

This eect reproduces Roland’s SBF-325 analog anger. It provides three
types of anging eect (which adds a metallic resonance to the original
sound) and a chorus-type eect.

L in L out

R outR in

Parameter Value Explanation

Types of anging eect

FL1 A typical mono anger

A stereo anger that preserves the
stereo positioning of the original
sound

A cross-mix anger that produces a
more intense eect

If this is ON, th

tempo of the rhythm.

& “Tempo” (p. 16)

Modulation frequency of the anger
eect

Center frequency at which the anger
eect is applied

Amount by which the anging eect
is boosted

If Mode is CHO, this setting is ignored.

Phase of the right channel
modulation:

Normally, you will leave this at Normal
(NORM).

If you specify Inverted (INV), the
modulation (upward/downward
movement) of the right channel is
inverted.

Phase when mixing the anging
sound with the original sound

NORM: normal phase

INV: inverse phase

e rate synchronizes with the

Mode

Rate Sync

(Rate (sync switch))

Rate

(Rate (Hz))

Rate Note

(Rate (note))

Depth

Manual

Feedback

RMod Phase

(CH-R Modulation
Phase)

L Phase

(CH-L Phase)

R Phase

(CH-R Phase)

Level

FL2

FL3

CHO A chorus eect

OFF, ON

0.02–5.00 [Hz]

Note

& “Note” (p. 64)

0–127 Modulation depth of the anger eect

0–127

0–127

NORM, INV

0–127 Output Level

56

MFX/IFX Parameters

Double Tap

Delay

Double Tap

Delay

SDD-320 (Dimension D)

This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus
sound.

L in L out

SDD-320

Parameter Value Explanation

Mode

Low Gain

High Gain

Level

1, 2, 3, 4, 1+4, 2+4,
3+4

-15–+15 [dB]

-15–+15 [dB]

0–127 Output Level

2-Band EQ

2-Band EQ

Switches the mode.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

R outR in

2Tap PanDly (2 Tap Pan Delay)

Balance D

L in

Delay 1

Feedback

R in

Parameter Value Explanation

Delay Sync

(Delay Time
(sync switch))

D. Time(ms)

(Delay Time (msec))

D. Time(Nt)

(Delay Time (note))

Dly Fbk

(Delay Feedback)

Dly HF

(Delay HF Damp)

Dly1 Pan

(Delay 1 Pan)

Dly2 Pan

(Delay 2 Pan)

Dly1 Lv

(Delay 1 Level)

Dly2 Lv

(Delay 2 Level)

Low Gain

High Gain

Balance

Level

OFF, ON

1–2600

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

L64–63R Stereo location of Delay 1

L64–63R Stereo location of Delay 2

0–127 Volume of delay 1

0–127 Volume of delay 2

-15–+15 [dB]

-15–+15 [dB]

D100: 0W–D0:
100W

0–127 Output Level

Delay 2

Balance D

If this is ON, the delay synchronizes
with the tempo.

Adjusts the time until the second
delay sound is heard.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is ltered
out. If you don’t want to lter out any
high frequencies, set this parameter
to BYPASS.

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

Adjusts the volume balance between
the sound that is sent through the
delay (W) and the sound that is not
sent through the delay (D).

L out

Balance W

Balance W

R out

57

MFX/IFX Parameters

Envelope

Controller

Envelope

Controller

Transient

This eect lets you control the way in which the sound attacks and decays.

L outL in

R in

Parameter Value Explanation

Attack

Release

Out Gain

(Output Gain)

Sens

(Sense)

Level

-50–+50

-50–+50

-24–+12 [dB] Output gain

LOW, MID, HIGH

0–127 Output Level

R out

Character of the attack.

Higher values make the attack more
aggressive; lower values make the
attack milder.

Character of the decay.

Higher values make the sound linger;
lower values make the sound cut o
quickly.

Quickness with which the attack is
detected

Mid-Side EQ (Mid-Side Equalizer)

This eect allows the left/right signals that have similar phase to be
tonally adjusted in a dierent way than the left/right signals that have
dierent phase.

L in L out

Parameter Value Explanation

M EQ Switch

M In G

(M Input Gain)

M Low F

(M Low Frequency)

M Low G

(M Low Gain)

M Mid1 F

(M Mid1 Frequency)

M Mid1 G

(M Mid1 Gain)

M Mid1 Q

M Mid2 F

(M Mid2 Frequency)

M Mid2 G

(M Mid2 Gain)

M Mid2 Q

M Mid3 F

(M Mid3 Frequency)

M Mid3 G

(M Mid3 Gain)

M Mid3 Q

M High F

(M High Frequency)

M HighG

(M High Gain)

S EQ Switch

S In G

(S Input Gain)

Mid

Side

OFF, ON

-12.00–+12.00 [dB]

20, 25, 31, 40, 50,
63, 80, 100, 125,
160, 200, 250, 315,
400 [Hz]

-12.00–+12.00 [dB]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 3

0.5, 1.0, 2.0, 4.0, 8.0

2000, 2500, 3150,
4000, 5000, 6300,
8000, 10000,
12500, 16000 [Hz]

-12.00–+12.00 [dB]

OFF, ON

-12.00–+12.00 [dB]

Switches whether to apply tonal
adjustment to left/right input signals
whose phase is similar (in phase).

Volume of left/right input signals
whose phase is similar (in phase)

Frequency of the low range

Amount of boost/cut for the low­frequency range

Frequency of the middle range 1

Width of the middle range 1

Set a higher value for Q to narrow the
range to be aected.

Frequency of the middle range 2

Width of the middle range 2

Set a higher value for Q to narrow the
range to be aected.

Frequency of the middle range 3

Width of the middle range 3

Set a higher value for Q to narrow the
range to be aected.

Frequency of the high range

Amount of boost/cut for the high­frequency range

Switches whether to apply tonal
adjustment to left/right input
signals whose phase is distant
(opposite phase).

Volume of left/right signals whose
phase is distant (opposite phase)

R outR in

58

MFX/IFX Parameters

Compressor

Compressor

Compressor

Compressor

Parameter Value Explanation

S Low F

(S Low Frequency)

S Low G

(S Low Gain)

S Mid1 F

(S Mid1 Frequency)

S Mid1 G

(S Mid1 Gain)

S Mid1 Q

S Mid2 F

(S Mid2 Frequency)

S Mid2 G

(S Mid2 Gain)

S Mid2 Q

S Mid3 F

(S Mid3 Frequency)

S Mid3 G

(S Mid3 Gain)

S Mid3 Q

S High F

(S High Frequency)

S HighG

(S High Gain)

Level

20, 25, 31, 40, 50,
63, 80, 100, 125,
160, 200, 250, 315,
400 [Hz]

-12.00–+12.00 [dB]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 [Hz]

-12.00–+12.00 [dB] Gain of the middle range 3

0.5, 1.0, 2.0, 4.0, 8.0

2000, 2500, 3150,
4000, 5000, 6300,
8000, 10000,
12500, 16000 [Hz]

-12.00–+12.00 [dB]

0–127 Output Level

Frequency of the low range

Amount of boost/cut for the low­frequency range

Frequency of the middle range 1

Width of the middle range 1

Set a higher value for Q to narrow the
range to be aected.

Frequency of the middle range 2

Width of the middle range 2

Set a higher value for Q to narrow the
range to be aected.

Frequency of the middle range 3

Width of the middle range 3

Set a higher value for Q to narrow the
range to be aected.

Frequency of the high range

Amount of boost/cut for the high­frequency range

M/S Comp (Mid-Side Compressor)

This eect allows the left/right signals that have similar phase to be
adjusted to a dierent sense of volume than the left/right signals that
have dierent phase.

L in L out

MS

Parameter Value Explanation

M Comp Sw

(M Comp Switch)

M Attack

M Release

M Thres

(M Threshold)

M Knee

M Ratio

M Gain

(M Post Gain)

S Comp Sw (S

Compressor Switch)

S Attack

S Release

S Thres

(S Threshold)

S Knee

S Ratio

S Gain (S Post Gain)

Level

Mid

LR

/

Side

OFF, ON

0–124

0–124

-60–0 [dB]

0–30 [dB]

1: 1, 1.5: 1, 2: 1, 4: 1,
16: 1, INF: 1

0–+18 [dB] Adjusts the output gain.

OFF, ON

0–124

0–124

-60–0 [dB]

0–30 [dB]

1: 1, 1.5: 1, 2: 1, 4: 1,
16: 1, INF: 1

0–+18 [dB] Adjusts the output gain.

0–127 Output Level

Switches whether to adjust the sense
of volume for left/right input signals
whose phase is similar (in phase).

Sets the speed at which compression
starts

Adjusts the time after the signal volume
falls below the Threshold Level until
compression is no longer applied.

Adjusts the volume at which
compression begins

This is a function that smooths the onset
of compression from the uncompressed
state; it gradually applies compression
starting earlier than Threshold. Higher
values produce a smoother transition.

Compression ratio

Switches whether to adjust the sense
of volume for left/right input signals
whose phase is distant (opposite phase).

Sets the speed at which compression
starts

Adjusts the time after the signal volume
falls below the Threshold Level until
compression is no longer applied.

Adjusts the volume at which
compression begins

This is a function that smooths the onset
of compression from the uncompressed
state; it gradually applies compression
starting earlier than Threshold. Higher
values produce a smoother transition.

Compression ratio

MS

/

LR

R outR in

59

MFX/IFX Parameters

Odd

Overtone

Generator

Odd

Overtone

Generator

Even

Overtone

Generator

Even

Overtone

Generator

Odd

Overtone

Generator

Odd

Overtone

Generator

Even

Overtone

Generator

Even

Overtone

Generator

Fattener (Tone Fattener)

This eect applies distinctive distortion, adding overtones to give more
depth to the sound.

L outL in

R inR in

Parameter Value Explanation

Odd Level

Even Level

Level

0–400 [%]

0–400 [%]

0–127 Output Level

Raising the value adds odd-order
overtones.

Raising the value adds even-order
overtones.

M/S Delay (Mid Side Delay)

This eect applies dierent amounts of delay to left/right signals of similar
phase and diering phase.

L in L out

MS

Mid

LR

/

Side

Parameter Value Explanation

MD Level

MD Mode

MD Tm Sync

MD. Time

MDTime Nt

MD Feedback

MD HFDamp

MD1 Pan

MD2 Pan

MD3 Pan

MD4 Pan

SD Level

SD Mode

SD Tm Sync

SD Time

SDTime Nt

SD Feedback

SD HFDamp

SD1 Pan

SD2 Pan

SD3 Pan

SD4 Pan

Level

0–127

2TAP, 3TAP, 4TAP

OFF, ON

1–1300

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

L64–63R Panning of the rst delay sound

L64–63R Panning of the second delay sound

L64–63R Panning of the third delay sound

L64–63R Panning of the fourth delay sound

0–127

2TAP, 3TAP, 4TAP

OFF, ON

1–1300

Note

& “Note” (p. 64)

-98–+98 [%]

200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, BYPASS [Hz]

L64–63R Panning of the rst delay sound

L64–63R Panning of the second delay sound

L64–63R Panning of the third delay sound

L64–63R Panning of the fourth delay sound

0–127 Output Level

Multi-Tap

Delay

Multi-Tap

Delay

Delay volume of left/right input signals
whose phase is similar (in phase)

Delay divisions for the input signals
whose left/right phase is similar
(identical phase)

If this is ON, the delay synchronizes with
the tempo.

Adjusts the delay time from the direct
sound until the delay sound is heard.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is ltered
out. If you don’t want to lter out any
high frequencies, set this parameter to
BYPASS.

Delay volume of left/right input signals
whose phase is distant (opposite phase)

Delay divisions for the input signals
whose left/right phase is distant
(reverse phase)

If this is ON, the delay synchronizes with
the tempo.

Adjusts the delay time from the direct
sound until the delay sound is heard.

Adjusts the proportion of the delay
sound that is fed back into the eect.

Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the eect is ltered
out. If you don’t want to lter out any
high frequencies, set this parameter to
BYPASS.

MS

/

LR

R outR in

60

MFX/IFX Parameters

Speaker

Speaker

Bass/

Treble

Bass/

Treble

Overdrive

Overdrive

Tremolo

Tremolo

Delay

Delay

Delay

Delay

EP Amp Sim (RD EP Amp Simulator)

This is an eect that was developed for the RD series SuperNatural E.Piano.

L in

R in

Parameter Value Explanation

Bass

Treble

Tremolo Sw

Type

Speed Sync

Speed

Speed Nt

Depth

Shape

AMP

Speaker

Drive

Level

-50–+50 Amount of low-frequency boost/cut

-50–+50 Amount of high-frequency boost/cut

OFF, ON Tremolo on/o

Type of tremolo eect

OLDCASE MO

OLDCASE ST

NEWCASE

DYNO A classic modied electric piano

WURLY A classic electric piano of the ‘60s

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

0–127 Depth of the tremolo eect

0–20 Adjusts the waveform of the tremolo.

OFF, ON Turns the speaker and distortion on/o

LINE, OLD, NEW,
WURLY, T WIN

0–127

0–127 Output Level

A standard electric piano sound of the
early 70s (mono)

A standard electric piano sound of the
early 70s (stereo)

A standard electric piano sound of the
late 70s and early 80s

If this is ON, th

tempo of the rhythm.

& “Tempo” (p. 16)

Rate of the tremolo eect

Type of speaker If LINE is selected, the
sound will not be sent through the
speaker simulation.

Degree of distortion

Also changes the volume.

e rate synchronizes with the

L out

R out

DJFX Looper

Loops a short portion of the input sound. You can vary the playback
direction and playback speed of the input sound to add turntable-type
eects.

Loop Sw

L in

Loop Sw

Speed

Control

R in

Parameter Value Explanation

Length

Speed

Loop Sw

Level

230–23
(not straight)

-1.00–+1.00

OFF, ON

0–127 Output Level

Species the length of the loop.

Species the playback direction and
playback speed.

- direction: Reverse playback

+ direction: Normal playback

0: Stop playback

As the value moves away from 0, the
playback speed becomes faster.

If you turn this on while the sound is
heard, the sound at that point will be
looped. Turn this o to cancel the loop.

* If the eect is recalled with this ON,

this parameter must be turned OFF
and then turned ON again in order to
make the loop operate.

Loop Sw

L out

Loop Sw

R out

61

MFX/IFX Parameters

Loop Sw

Control

Loop Sw

Control

Delay

Delay

Delay

Delay

Pre FilterPre Filter

OverdriveOverdrive

Post Filter1-3Post Filter1-3

Pre FilterPre Filter

OverdriveOverdrive

Post Filter1-3Post Filter1-3

BPM Looper

Loops a short portion of the input sound. This can automatically turn the
loop on/o in synchronization with the rhythm.

L in

R in

Parameter Value Explanation

Length

Rate Sync

Rate

Rate Note

Timing

Lenth

Loop Mode

Level

230–23
(not straight)

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

1–8

1–8

OFF, AUTO, ON

0–127 Output Level

Species the length of the loop.

If this is ON, th

tempo of the rhythm.

& “Tempo” (p. 16)

Cycle at which the loop automatically
turns on/o

Species the timing within the cycle
at which the loop automatically starts
(which step of the eight timing divisions
at which the sound is heard)

Species the length at which the loop
automatically ends within the cycle (the
number of times that the 1/8-length of
sound is heard)

If this is AUTO, the loop automatically
turns on/o in synchronization with the
rhythm.

* If the eect is recalled with this ON,

this parameter must rst be set to
something other than ON in order to
make the loop operate.

e rate synchronizes with the

L out

R out

Saturator

This eect combines overdrive and lter.

Balance D

L in L out

Balance W

Balance D

Parameter Value Explanation

Type of lter that precedes the
distortion processing

THRU: No lter is applied

LPF: A lter that passes the sound below
the specied frequency

HPF: A lter that passes the sound
above the specied frequency

LSV: A lter that boosts/cuts the sound
below the specied frequency

HSV: A lter that boosts/cuts the sound
above the specied frequency

Frequency at which the pre-distortion
lter operates

For the LSV/HSV types, the amount of
boost/cut

Type of lter 1 which follows the
distortion processing

Frequency at which post-distortion lter
1 operates

For the LSV/HSV types, the amount of
boost/cut

Type of lter 2 which follows the
distortion processing

Frequency at which post-distortion lter
2 operates

For the LSV/HSV types, the amount of
boost/cut

Type of lter 3 which follows the
distortion processing

THRU: No lter is applied

LPF: A lter that passes the sound below
the specied frequency

HPF: A lter that passes the sound
above the specied frequency

BPF: A lter that passes only the
specied frequency

PKG: A lter that boosts/cuts the
specied frequency

Frequency at which post-distortion lter
3 operates

For the PKG type, the amount of boost/
cut

Width of the frequency range aected
by the lter

Adjust this value so that the sound is
not made louder when distortion is
applied.

Volume balance between the dry sound
(D) and eect sound (W)

Pre Type

Pre Freq

Pre Gain

Drive

Post1 Type

Post1Frq

Post1Gain

Post2 Type

Post2Frq

Post2Gain

Post3 Type

Post3Frq

Post3Gain

Post3 Q

Sense

PostGain

Balance

Level

THRU, LPF, HPF,
LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

0.0–48.0 [dB] Strength of distortion

THRU, LPF, HPF,
LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

THRU, LPF, HPF,
LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

THRU, LPF, HPF,
BPF, PKG

20–16000 [Hz]

-24.0–+24.0 [dB]

0.5–16.0

-60.0–0.0 [dB]

-48.0 +12.0 [dB] Gain following distortion processing

D100: 0W–D0:
100W

0–127 Output Level

R outR in

62

MFX/IFX Parameters

Pre Filter

Pre Filter

Low/High

Low/High

Low/High

Low/High

Overdrive

Overdrive

Post

Filter1-3

Post

Filter1-3

Pre Filter

Pre Filter

Overdrive

Overdrive

Post

Filter1-3

Post

Filter1-3

Pre Filter

Pre Filter

Pre Filter

Pre Filter

Tone

Control

Tone

Control

Tone

Control

Tone

Control

Overdrive

Overdrive

Overdrive

Overdrive

Post Filter

Post Filter

Post Filter

Post Filter

Chorus

Chorus

Noise

Generator

Noise

Generator

W Saturator (Worm Saturator)

This is a variety of saturator, and is distinctive for its warmer sound.

Balance D

L in L out

Balance W

R outR in

Balance D

Parameter Value Explanation

Input lter (low range)

Boosts/cuts the sound below the
specied frequency.

Input lter (high range)

Boosts/cuts the sound above the
specied frequency.

Type of lter that precedes the
distortion processing

THRU: No lter is applied

LPF: A lter that passes the sound below
the specied frequency

HPF: A lter that passes the sound
above the specied frequency

LSV: A lter that boosts/cuts the sound
below the specied frequency

HSV: A lter that boosts/cuts the sound
above the specied frequency

Frequency at which the pre-distortion
lter operates

For the LSV/HSV types, the amount of
boost/cut

Type of lter 1 which follows the
distortion processing

Frequency at which post-distortion lter
1 operates

For the LSV/HSV types, the amount of
boost/cut

Type of lter 2 which follows the
distortion processing

Frequency at which post-distortion lter
2 operates

For the LSV/HSV types, the amount of
boost/cut

Type of lter 3 which follows the
distortion processing

THRU: No lter is applied

LPF: A lter that passes the sound below
the specied frequency

HPF: A lter that passes the sound
above the specied frequency

BPF: A lter that passes only the
specied frequency

PKG: A lter that boosts/cuts the
specied frequency

Frequency at which post-distortion lter
3 operates

For the PKG type, the amount of boost/
cut

Width of the frequency range aected
by the lter

LowFreq

LowGain

Hi Slope

Hi Freq

Pre1 Type

Pre1Freq

Pre1Gain

Drive

Post1 Type

Post1Frq

Post1Gain

Post2 Type

Post2Frq

Post2Gain

Post3 Type

Post3Frq

Post3Gain

Post3 Q

20–16000 [Hz]

-24.0–+24.0 [dB] Amount of boost/cut

THRU, -12dB, -24dB

20–16000 [Hz] Amount of boost/cut

THRU, LPF, HPF,
LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

0.0–48.0 [dB] Strength of distortion

THRU, LPF, HPF,
LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

THRU, LPF, HPF,
LSV, HSV

20–16000 [Hz]

-24.0–+24.0 [dB]

THRU, LPF, HPF,
BPF, PKG

20–16000 [Hz]

-24.0–+24.0 [dB]

0.5–16.0

Parameter Value Explanation

Sense

PostGain

Balance

Level

-60.0–0.0 [dB]

-48.0–+12.0 [dB] Gain following distortion processing

D100: 0W–D0:
100W

0–127 Output Level

Adjust this value so that the sound is
not made louder when distortion is
applied.

Volume balance between the dry sound
(D) and eect sound (W)

Fuzz

Adds overtones and intensely distorts the sound.

L in L out

Parameter Value Explanation

Drive

Tone

Level

0–127

0–100 Sound quality of the Overdrive eect

0–127 Output Level

Adjusts the depth of distortion.

This also changes the volume.

JUNO Chorus (JUNO-106Chorus)

This models the chorus eects of the Roland JUNO-106.

L in

R in

Parameter Value Explanation

Type of Chorus

I+II: The state in which two buttons are
pressed simultaneously.

Volume of the noise produced by
chorus

Volume balance between the dry sound
(D) and eect sound (W)

Mode

Noise Lv

Balance

Level

I, II, I+II, JX I, JX II

0–127

D100: 0W–D0:
100W

0–127 Output Level

L out

R out

R outR in

63

MFX/IFX Parameters

Tube Model

Distortion

Tube Model

Distortion

Phaser

Phaser

Phaser

Phaser

MM Filter (Multimode Filter)

This is a lter that is adjusted for eective use in a DJ performance.

Multimode

L in

R in

Multimode

Filter

Filter

Multimode

Multimode

Filter

Filter

L out

R out

Parameter Value Explanation

Type of lter

LPF/HPF: The lter type is automatically
switched according to the Filter Tone
parameter value.

Filter resonance level

Higher values more strongly emphasize
the region of the operating frequency.

Amount of attenuation per octave

-12 dB: gentle

-24 dB: steep

-36 dB: extremely steep

Type

Tone

Color

Slope

Gain

Level

LPF/HPF, LPF, HPF,
BPF

0–255 Frequency at which the lter operates

0–255

-12, -24, -36 [dB]

0–+12 [dB] Amount of boost for the lter output

0–127 Output Level

HMS Distort

Script 100

This simulates an analog phaser of the past.

L in L out

R outR in

Parameter Value Explanation

If this is ON, th

Rate Sync

Rate

Rate Note

Duty

Min

Max

Manual Sw

Manual

Resonance

Mix

Level

OFF, ON

0.05–10.00 [Hz]

Note

& “Note” (p. 64)

-50–50

0–100 Lower limit reached by modulation

0–100 Upper limit reached by modulation

OFF, ON

0–100

0–66 Amount of feedback

0–127 Level of the phase-shifted sound

0–127 Output Level

tempo of the rhythm.

& “Tempo” (p. 16)

Frequency of modulation

Adjusts the ratio of speeds at which the
modulation rises or falls.

Applies modulation according to the
value of the Manual parameter, rather
than modulating automatically.

Adjusts the basic frequency from which
the sound will be modulated.

e rate synchronizes with the

This is a distortion-type eect that models the vacuum tube amp section
of a rotary speaker of the past.

L in

R in

L out

R out

Parameter Value Explanation

Dist

Level

0–127 Strength of distortion

0–127 Output Level

Note

1/64T

Sixty-fourth-note triplet

1/16T

Sixteenth-note triplet

1/16D 1/8 1/4T 1/8D

Dotted sixteenth note Eighth note

1/4

Quarter note

1/1T

Whole-note triplet Dotted half note Whole note Double-note triplet

1/1D 2/1

Dotted whole note Double note

1/64 1/32T 1/32

Sixty-fourth note

Dotted thirty-second note

1/2T 1/4D 1/2

Half-note triplet

1/2D 1/1 2/1T

Thirty-second-note triplet

Sixteenth note Eighth-note triplet

Quarter-note triplet Dotted eighth note

Dotted quarter note Half note

Thirty-second note

1/8T1/32D 1/16

64