Roland VF-1 User Manual

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Owner’s Manual

Thank you, and congratulations on your choice of the BOSS VF-1 24-BIT MULTIPLE EFFECTS PROCESSOR.

Before using this unit, carefully read the sections entitled:

• USING THE UNIT SAFELY (page 2–3)

• IMPORTANT NOTES (page 11)

These sections provide important information concerning the proper operation of the unit.

Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The ● symbol alerts the user to things that must be

carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

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002c

• Do not open (or modify in any way) the unit or its AC adaptor.

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003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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004

• Never use or store the unit in places that are:

• Subject to temperature extremes (e.g., direct

sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors);

or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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005

• This unit should be used only with a rack or stand that is recommended by Roland.

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006

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

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008c

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

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009

• Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged.

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010

• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

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011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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012b

• Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when:

• The AC adaptor, the power-supply cord, or the

plug has been damaged; or

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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013

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

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014

• Protect the unit from strong impact.

(Do not drop it!)

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015

• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/ amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

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016

• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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101b

• The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

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102c

• Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit.

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103b

• Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor.

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104

• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

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106

• Never climb on top of, nor place heavy objects on the unit.

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107c

• Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit.

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108b

• Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 17).

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110b

• Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

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Contents

Main Features..........................................................................................9

How to use this manual........................................................................10

Conventions used in this manual.........................................................................................................10

IMPORTANT NOTES .............................................................................11

Front and rear panels ...........................................................................12

Front panel................................................................................................................................................12

Rear panel ................................................................................................................................................. 13

Section 1. Producing Sound................................................................14

Making connections................................................................................................................................ 14

Connecting a guitar.......................................................................................................................14

Connecting a keyboard ................................................................................................................15

Connecting a mic........................................................................................................................... 15

Connecting to the send/return of a mixer.................................................................................16

Connecting an expression pedal or foot switch........................................................................ 16

Turning on the power, and standby .................................................................................................... 17

Turning on the power................................................................................................................... 17

Adjusting the Input Level............................................................................................................ 17

Selecting the effect sound...................................................................................................................... 18

About the Screen Indications.......................................................................................................18

Selecting a patch............................................................................................................................18

Quickly finding the desired patch (Category Search) .............................................................19

Selecting Patches with a Foot Switch ......................................................................................... 20

Switching EFFECTS on/off....................................................................................................................22

Tuning your instrument......................................................................................................................... 22

Displaying the tuner..................................................................................................................... 22

About the tuner display...............................................................................................................23

Tuning Procedure .........................................................................................................................23

Modifying the tuner settings (Standard pitch/Volume)......................................................... 24

Adjusting the display contrast.............................................................................................................. 24

Section 2. Creating Sounds .................................................................25

Before You Begin Creating Sounds .....................................................................................................25

User banks and preset banks.......................................................................................................25

Algorithms ..................................................................................................................................... 25

Settings that are stored in a patch............................................................................................... 25

The display screen......................................................................................................................... 25

Rapidly editing a patch (Quick Setting).............................................................................................26

Editing a patch .........................................................................................................................................27

About display selection................................................................................................................27

Procedure .......................................................................................................................................27

Copying a patch ............................................................................................................................28

Turning an effect on/off ..............................................................................................................28

Editing the settings of each effect ............................................................................................... 29

Changing the order of the effects................................................................................................ 30

Checking the input/output levels of each effect...................................................................... 31

Copying effect settings (Effect Copy)......................................................................................... 32

Setting the output level ................................................................................................................ 32

Controlling parameters in real time (Control Assign)............................................................. 33

Assigning the category.................................................................................................................37

Editing the patch name ................................................................................................................37

Canceling your edits..................................................................................................................... 38

Saving the changes you make (the Write operation)............................................................... 38

Ways to use control assign..................................................................................................................... 39

Using an expression pedal...........................................................................................................39

Using two foot switches............................................................................................................... 40

Using an expression pedal (example) ........................................................................................ 41

Section 3. Overall Settings (Utility) .....................................................42

Utility functions.......................................................................................................................................42

How to make settings ............................................................................................................................. 42

TUNER.......................................................................................................................................................42

SYSTEM SETTING.................................................................................................................................43

GLOBAL SOUND SETTINGS.............................................................................................................45

FACTORY RESET ................................................................................................................................... 46

MIDI...........................................................................................................................................................46

Section 4. Effect guide .........................................................................47

About the algorithm list.........................................................................................................................47

About POSITION..........................................................................................................................47

About “The function of each parameter” ........................................................................................... 47

About MOD.............................................................................................................................................. 47

MOD parameters........................................................................................................................... 47

About SFX................................................................................................................................................. 48

SFX parameters.............................................................................................................................. 48

About FV (foot volume) ......................................................................................................................... 48

About DELAY, MultiTAP DELAY and STEREO PS DLY .............................................................. 48

Algorithm list.........................................................................................49

PB1 GUITAR MULTI 1 .........................................................................................................................49

PB2 GUITAR MULTI 2 .........................................................................................................................52

PB3 BASS MULTI ..................................................................................................................................54

PB4 ACOUSTIC MULTI....................................................................................................................... 56

PB5 KEYBOARD MULTI......................................................................................................................57

PB6 ROTARY MULTI............................................................................................................................59

PB7 VOCAL MULTI..............................................................................................................................60

PB8 VOCODER.......................................................................................................................................62

PB9 VoiceTRANSFORM (Voice Transformer).................................................................................63

PB10 ISOLATOR.................................................................................................................................... 64

PB11 LOFI PROCESSOR......................................................................................................................65

PB12 REVERB 1 ......................................................................................................................................66

PB13 REVERB 2 ......................................................................................................................................67

PB14 GATE REVERB.............................................................................................................................68

PB15 2CH RSS (2 channel RSS)...........................................................................................................69

PB16 DELAY RSS................................................................................................................................... 70

PB17 CHORUS RSS............................................................................................................................... 71

PB18 REVERB RSS.................................................................................................................................72

PB19 RSS PANNER................................................................................................................................73

PB20 DELAY............................................................................................................................................74

PB21 MultiTAP DELAY (20 TAP) ....................................................................................................... 75

PB22 TAPE ECHO201............................................................................................................................76

PB23 MIC SIMULATOR.......................................................................................................................77

PB24 SPACE CHORUS..........................................................................................................................78

PB25 StFLANGER DLY (Stereo Flanger Delay)............................................................................... 79

PB26 StPHASER DLY (Stereo Phaser Delay).................................................................................... 80

PB27 StCHORUS DLY (Stereo Chorus Delay)................................................................................81

PB28 STEREO PS DLY (Stereo Pitch Shifter Delay).......................................................................82

PB29 STEREO MULTI...........................................................................................................................83

PB30 10GRAPHIC EQ (10-Band Graphic Equalizer).......................................................................84

PB31 HUM CANCELER........................................................................................................................85

PB32 VOCAL CANCELER....................................................................................................................86

PB33 REVERB+REVERB.......................................................................................................................87

PB34 CHORUS+REVERB..................................................................................................................... 88

PB35 DELAY+REVERB.........................................................................................................................89

PB36 DELAY+CHORUS .......................................................................................................................90

The function of each parameter ..........................................................91

2x2 CHORUS............................................................................................................................................91

4BAND EQ (equalizer)...........................................................................................................................91

ACOUSTIC...............................................................................................................................................92

ACOUSTIC GtSIM (acoustic guitar simulator).................................................................................92

AFB (anti-feedbacker).............................................................................................................................92

BASS GTR SIM (bass guitar simulator) ............................................................................................. 92

BCF (bass cut filter).................................................................................................................................92

CHOURUS................................................................................................................................................93

COMPRESSOR/LIMITER.....................................................................................................................93

DE-ESSER.................................................................................................................................................94

DEFRETTER.............................................................................................................................................95

DELAY.......................................................................................................................................................95

DISTANCE...............................................................................................................................................96

DISTORTION..........................................................................................................................................96

ENHANCER.............................................................................................................................................97

FEEDBACKER .........................................................................................................................................97

FLANGER.................................................................................................................................................98

GRAPHIC EQ (graphic equalizer)....................................................................................................... 98

GUITAR SYNTH (guitar synthesizer) ................................................................................................99

HARMONIST ........................................................................................................................................ 101

HUM CANCELER (hum canceller).................................................................................................... 102

HUMANIZER.........................................................................................................................................103

3BAND ISOLATOR.............................................................................................................................. 103

LOFI BOX................................................................................................................................................ 104

MASTER .................................................................................................................................................105

MIC CONV (Mic Converter)...............................................................................................................106

MULTI TAP DELAY.............................................................................................................................107

NS.SUPPRESSOR (Noise Suppressor) ............................................................................................. 107

OCTAVE .................................................................................................................................................108

OVER DRIVE.........................................................................................................................................108

PHASER .................................................................................................................................................. 108

PICKUP SIM (Pickup Simulator).......................................................................................................109

PITCH SHIFTER....................................................................................................................................109

PREAMP/SP.SIM (Preamp/Speaker Simulator)..............................................................................110

REVERB...................................................................................................................................................111

GATE .......................................................................................................................................................112

RING MODULATOR...........................................................................................................................112

ROTARY .................................................................................................................................................113

RSS PANNER.........................................................................................................................................114

RSS (2ch) ................................................................................................................................................. 114

SHORT DELAY ..................................................................................................................................... 114

SLICER .................................................................................................................................................... 114

SLOW GEAR..........................................................................................................................................115

SPACE CHORUS...................................................................................................................................115

STEREO PS DLY (Stereo Pitch Shifter Delay) ................................................................................ 115

SUB 4BAND EQ (Sub 4 Band Equalizer) .........................................................................................116

T-WAH (Touch WAH)..........................................................................................................................116

TAPE ECHO201 ..................................................................................................................................... 117

TREMOLO/PAN....................................................................................................................................117

VIBRATO................................................................................................................................................118

VOCAL CANCELER.............................................................................................................................118

VOCODER..............................................................................................................................................118

VoiceTRANSFORM (Voice Transformer)........................................................................................119

WAH.........................................................................................................................................................120

Before using RSS...................................................................................................................................121

Section 5. Using MIDI to Operate the VF-1 .......................................122

What you can do using MIDI.............................................................................................................. 122

Making settings ..................................................................................................................................... 122

Setting the MIDI channel ........................................................................................................... 123

Setting the Omni mode ..............................................................................................................123

Setting the Device ID..................................................................................................................123

Program Change Map Settings........................................................................................................... 124

Making settings ........................................................................................................................... 124

Transmitting VF-1 data (Bulk Dump)...............................................................................................125

Connections..................................................................................................................................125

Transmission Procedure.............................................................................................................125

Restoring data from a Sequencer to the VF-1 (Bulk Load)............................................................ 126

Connections..................................................................................................................................126

Reception procedure................................................................................................................... 126

Section 6. Appendices........................................................................127

About the VF-1’s digital output..........................................................................................................127

Digital output signal...................................................................................................................127

Connecting the VF-1 to a digital audio device........................................................................ 127

Digital OUT specifications.........................................................................................................127

VF-1 operation using the FC-200 ........................................................................................................ 127

VF-1 and FC-200 connections.................................................................................................... 127

Selecting Patches from the FC-200............................................................................................ 128

Control Assign operations using the FC-200 .......................................................................... 129

VF-1 operation using the FC-50 .......................................................................................................... 130

Connecting the VF-1 and FC-50................................................................................................ 130

Controlling the VF-1 from the FC-50........................................................................................ 130

About MIDI............................................................................................................................................131

How MIDI messages are transmitted and received............................................................... 131

Main types of MIDI message used by the VF-1......................................................................132

About the MIDI Implementation Chart...................................................................................132

Restoring the factory settings (Factory Reset)..................................................................................133

Troubleshooting .................................................................................................................................... 134

Error Messages....................................................................................................................................... 135

MIDI Implementation Chart............................................................................................................... 136

Specifications.........................................................................................................................................137

Index.....................................................................................................138

Preset Patch List.................................................................................140

Main Features

Versatile algorithms and high-quality sound that rivals dedicated professional equipment

The VF-1 provides 46 effects, and 36 algorithms (effects combinations). A variety of simulations including preamp / speaker simulators produced by COSM as well as a rich array of effects such as reverb and chorus are provided. It features 24 bit AD/DA conversion, and uses high-speed, custom DPS to ensure quality that rivals expensive professional equipment. It is a perfect match for any instrument, and is ideal for use with any instrument, even for serious recording efforts. Algorithms and effect settings can be saved as patches. In addition to 200 preset patches, the VF-1 allows you to create 200 user patches.

Rapid searching by category

Each patch is classified by a category such as guitar or vocal, etc. You can use the Category Search function to rapidly find the desired patch. (p.19)

Graphic LCD

The front panel of the VF-1 features a graphic LCD for easy and highly visual editing.

Guitar input jack

The front panel provides a high impedance input jack for direct connection of an electric guitar. (p.12)

Built-in tuner function

The VF-1 contains a chromatic tuner function. (p.22)

Realtime parameter control

Parameters can be controlled from a foot switch or expression pedal, or via MIDI messages. (p.33)

2-IN, 2-OUT

The VF-1 supports stereo input and output. You can apply effects without impairing the stereo input image, or apply two independent effects in parallel. (p.13)

Mountable in a 19-inch rack

A separately sold rack mount adapter (RAD-50) allows the VF-1 to be mounted in a standard 19-inch rack.

Digital out connector

A coaxial type digital output is provided, allowing connection to another digital device with no sacrifice in audio quality. (p.127)

Quick setting

A preset setting is provided for each edit function. You can easily create the desired effect sound simply by selecting the preset setting for the function (effect) you wish to use. (p.26)

COSM (Composite Object Sound Modeling)

Once a musical instrument generates sound vibrations, it reaches the human ear through various mediating objects, each of which signi-ficantly affects the sound. The material and configuration of the instrument, the electric/electronic/magnetic amplifying system, the air and the reverbration of the room all affect the final sound. Sound modeling, the latest DSP technology, “Virtually” reconstructs these objects. Roland’s breakthrough Composite Object Sound Modeling (COSM) uses the advantages of multiple modeling methods and succeeds in accurately emulating existing sounds, as well as producing sounds that have never before been created.

How to use this manual

This manual is broadly organized into six sections, covering the operations and functions that you will use for normal performance, as well as how to make various settings. Please read the sections consecutively. An alphabetical index is provided at the end of the manual. Please refer to the index if you come across any unfamiliar term.

Section 1. Producing Sound

This section explains basic operation of the VF-1, including connections with external devices and how to change patches.

Section 2. Creating Sounds

This section explains how to modify the effect settings, and how to use various functions.

Conventions used in this manual

For clarity in explaining operations, the following conventions are used in this manual.

■ Words or symbols enclosed in square brackets [ ] indicate

buttons or knobs on the front panel. Example [UTILITY] Utility button PARAMETER [ ][ ] Parameter buttons

■ The following controls and jacks are indicated as follows.

fig.0-04

Rotate the knob –>

[INPUT L/R]

Press the knob –>

[POWER]

fig.0-05

Section 3. Overall Settings (Utility)

This section explains settings that affect the overall operation of the VF-1, such as how to use the tuner, and how to make system settings.

Section 4. Effect Guide

This section explains the effects and algorithms of the VF-1, and what they do.

Section 5.

Using MIDI to Operate the VF-1

This section explains the settings used when controlling the VF-1 from an external MIDI device, and operations using MIDI to exchange data.

Rotate the knob –>

[NUMBER] or [VALUE]

Press the knob –>

[EFFECTS] or [ENTER]

fig.0-06

Connect the expression pedal –>

EXP PEDAL jack

Connect the foot switch –>

CTL 1,2 jack

Section 6. Appendices

This section explains operations when using the FC-200 MIDI foot controller (sold separately). It also provides information that will help you get the most out of the VF-1, how to restore the factory settings, and troubleshooting.

IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:

Power Supply

301

• Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

302

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

307

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

Placement

351

• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

352

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

355

• To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory in another MIDI device (e.g., a sequencer).

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

559

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

561

• Use only the specified expression pedal (BOSS FV300L+PCS-33 (Roland) or EV-5 (Roland); sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562

• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

Front and rear panels

Front panel

fig.0-001

(1)

(3)

(2)

(1) POWER/INPUT (L/R)

Power switch/Input level knob (L/R)

Pressing this knob will turn the power on/off. Rotating the knob will adjust the input level. The input level can be adjusted separately for left and right.

(2) GUITAR (Hi-Z)

Guitar jack

This is an input jack for guitar (high impedance).

(3) Display

This is where the VF-1 displays various information, such as the current state of settings.

(4) UTILITY

Utility button

Press this when you wish to make system settings, use the tuning function, or make MIDI-related settings.

(5) WRITE

Write button

Press this when you wish to save or copy effect settings.

(4) (5) (6)

(9)

(7) (8)

(6) EXIT

Exit button

By pressing this button you can cancel a parameter setting and return to the performance screen.

(7) CATEGORY

Category button

Press this button when you wish to search by category.

(8) PARAMETER ( / )

Parameter buttons

Use these buttons to select the parameter whose value you wish to change. When you press these buttons, the cursor will move between parameter or setting locations in the display.

(9) NUMBER/VALUE, EFFECTS/ENTER

Number/Value knob, Effects/Enter button

By rotating the knob, you can select patch numbers or modify parameter values. By pressing the knob, you can switch effects on/off, or finalize a value.

Rear panel

fig.0-002

(

)

Front and rear panels

(10) (11)(

(10) AC Adapter jack

Connect the included AC adapter to this jack.

(11) MIDI IN/OUT

MIDI connectors (in/out)

An external MIDI device can be connected here to transmit/ receive MIDI messages to/from the VF-1. Use a MIDI cable (sold separately) to make connections.

(12) EXP PEDAL/CTL 1,2

Expression pedal/Control 1,2 jack

Either an expression pedal or a foot switch can be connected here, and used to step up/down through patch numbers, or for realtime control of parameters. If a Roland PCS-31 (sold separately) is used, you can use its two foot switches to simultaneously control different parameters.

(13) DIGITAL OUTPUT

Digital output connector (coaxial)

A digital audio signal is output from this connector. Use a video cable (75 Ω unbalanced) to make connections.

) (13) (14)(15) (16)

(15) LEVEL

Level switch

Switch simultaneously regular input and output.

(16) INPUT L (MONO) /R

Input jacks

These are the audio input jacks. Connect them to a keyboard or the like.

(17) Cord Hook

To prevent the AC adapter cord from being accidentally disconnected, wrap the cord around this hook.

* If you wish to attach the rack mount adapter (RAD-50; sold

separately), refer to the manual of the rack mount adapter (RAD-50).

* If you will be using the VF-1 by itself, without using the rack

mount adapter (RAD-50; sold separately), attach the included rubber feet as shown in the diagram.

fig.0-03

(14) OUTPUT L (MONO) /R

Output jacks

These are the output jacks for the audio signal. Connect them to your amp or mixer. Use audio cables (separately sold) to make connections.

Section 1. Producing Sound

Making connections

Make connections as follows, depending on how you will be using the VF-1.

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

* To output in monaural, connect a cable to only the OUTPUT L

(MONO) jack.

* There are three input jacks: the GUITAR jack, and the INPUT L

(MONO) / R jacks. If you make connections both to the GUITAR jack and to the INPUT L (MONO) jack, the input from the GUITAR jack will be given priority.

* To prevent the inadvertent disruption of power to your unit

(should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

fig.1-02

Connecting a guitar

* When connecting a guitar, you will normally make connections

to the front panel GUITAR jack.

* If you will be outputting in mono, use the OUTPUT L

(MONO) jack to make connections.

* Normally you should set the LEVEL switch to -20 dBm.

fig.1-03

Guitar amplifiers

You can set the VF-1 to obtain optimal sound with the amp that you use. For details refer to “GLOBAL SOUND SETTING” (p.45).

Section 1. Producing Sound

Connecting a keyboard

* Normally you should set the LEVEL switch to -20 dBm. * When inputting in mono, make connections to the INPUT L

(MONO) jack.

* When outputting in mono, make connections to the OUTPUT L

(MONO) jack.

fig.1-04

Keyboard

OUTPUT R OUTPUT L

Connecting a mic

* Set the LEVEL switch to match the level of the mixer to which

the VF-1 is connected.

fig.1-42

Microphone

INPUT

RETURN

Mixer

SEND

Section 1

INPUT R INPUT L

Mixer

Howling could be produced depending on the location of mics relative to speakers. This can be remedied by:

1. Changing the orientation of the mic(s).

2. Relocating mic(s) at a greater distance from speakers.

3. Lowering volume levels.

Section 1. Producing Sound

Connecting to the send/ return of a mixer

* Set the LEVEL switch to match the level of the mixer to which

the VF-1 is connected.

* If the VF-1 is connected to a send/return loop, set EFFECTS

OFF MD (Effect Off mode) to “MUTE” (p.43) and DIRECT MIX to “OFF” (p.46).

fig.1-05

RETURN SEND

Mixer

Connecting an expression pedal or foot switch

fig.1-06a

Roland

Foot switch

FS-5U / FS-5L

etc.

Use only the specified expression pedal (BOSS FV-300L + PCS-33 (Roland) or EV-5 (Roland); sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

Expression pedal

EV-5 etc.

* Set the minimum volume on the expression pedal connected to

the EXP PEDAL jack to the “MIN” position. Unless the minimum volume is set to “MIN,” the expression pedal will not work correctly.

fig.1-06b

Minimum

volume

* If connecting a footswitch to the CTL 1/2 jack, set the polarity

switch as shown below. Unless the polarity switch is set correctly, the foot switch will not work properly.

fig.1-06c

Polarity switch

Section 1. Producing Sound

Turning on the power, and standby

In order to take full advantage of the VF-1’s potential, be sure to adjust the input/output levels after turning on the power.

Turning on the power

Once the connections have been completed (p. 14–16), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

1. Before turning on the power, check the following points.

• Have connections with external devices been made correctly?

• Has the volume been turned completely down on the VF-1 and on the connected amp, etc.?

2. Turn on the power on the sound generating device

(keyboard or other device).

3. Press the VF-1’s [POWER] switch to turn on the power.

The following display will appear, and after several seconds, the VF-1 will be ready for normal playing. This display is referred to as the “Play mode.”

fig.1-07

Turning off the power

1. Before turning off the power, check the following points.

• Has the volume of the connected amp, etc. been turned completed down?

2. Turn off the power in the order of amp –> mixer –> other

effect processors.

3. Press the [POWER] switch of the VF-1 to turn off the

power.

4. Turn off the power on your sound generating devices

(keyboard or other device).

Adjusting the Input Level

Adjust the signal from the input device to an appropriate level.

fig.1-08

1. Rotate [INPUT L/R] to adjust the input level.

Adjust this so that the level meter briefly reaches the peak level when the instrument is played most loudly.

fig.1-09

Peak Level

Section 1

This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.

* When the power is turned on, the last-selected Patch number

will be selected.

* Depending on the location where the VF-1 is placed, the display

may be difficult to read. In this case, adjust the display contrast (P.24).

4. Turn on the power of your other equipment in the order

of effect processors –> mixer –> amp.

Turn up the amp volume only after all devices have been powered on.

* If the input level is not set appropriately, the VF-1 will not

perform to its full potential.

* Even though [INPUT L/R] is turned all the way down, the

input level may not be “0.”

* If the level switch is set to the “-20 dBm” position and the level

meter occasionally reaches the peak level even though [INPUT L/R] has been turned all the way down, change the level switch to the “+4 dBm” position.

fig.1-10

Section 1. Producing Sound

Selecting the effect sound

The VF-1 contains 400 effect settings covering a wide range of sounds. Each of these is called a Patch. The 400 patches are organized into four banks, each with 100 patches numbered 1–100. To select the desired patch, you can operate the front panel or an external MIDI device to switch banks and patch numbers.

A “bank” contains 100 patches. There are four banks: Preset banks A and B, and User banks A and B.

Patches can be selected only when the screen display is in Play mode (showing the patch number). If the display is not in Play mode, press [EXIT] several times to select Play mode.

About the Screen Indications

fig.1-13

(2)(3)(

(4)

)(

)

(9) MIDI indicator:

This indicator will light when the VF-1 is receiving MIDI messages.

Selecting a patch

fig.1-14

1 2

1. Make sure that the display indicates “CATEGORY OFF.”

If it indicates “CATEGORY On,” press [EXIT] to make it read “CATEGORY OFF.”

fig.1-15

(9) (1)

(8)

(1) Level meter:

In Play mode, this shows the level of the input signal. When you are making effect settings, this shows the level of the input signal and the output levels from each effect (p.17, 31).

(2) EFFECTS On/OFF:

This shows the status (on/off (bypass/mute)) of each effect.

(3) Bank:

This shows the currently selected bank.

(4) Patch number:

This shows the number of the currently selected patch.

(5) Category:

This shows the category of the currently selected patch.

* When the category switch is off (when the display indicates

“CATEGORY OFF”), the categories will not be displayed.

(6) Category search on/off:

This shows the status (on/off) of Category Search.

(7) Algorithm name:

This shows the algorithm of the currently selected patch.

(8) Patch name:

This shows the name of the currently selected patch.

(7)

2. Rotate [NUMBER] to select the desired patch.

The selected patch will appear in the display. Rotating the knob toward the right will move through the patches in increasing order of patch number, and rotating it toward the left will move in decreasing order. If you hold down [CATEGORY] as you rotate [NUMBER], the setting will change more rapidly.

Banks will change as follows. Rotate to the right:

Preset A –> Preset B –> User A –> User B–> Preset A...

Rotate to the left:

Preset A –> User B –> User A –> Preset B –> Preset A...

* It is not possible to switch patches if the VF-1 is not in Play

mode.

* If the display indicates “CATEGORY On,” the Category Search

function (see following item) is operating, so that not all patch numbers can be accessed in sequence by rotating [NUMBER].

Section 1. Producing Sound

Quickly finding the desired patch (Category Search)

The VF-1 classifies all patches by category (such as performance style or instrument). The VF-1 provides a Category Search function that lets you select a category so that only the patches in that category are displayed. By using this function, you can view only the patches of the currently selected category, and rapidly find the patch you want. The following categories are provided.

fig.1-16

1. E.GUITAR

2. A.GUITAR

3. BASS

4. KEYBOARD

5. V OCAL

6. GROOVE

7. REVERB

8. RSS

9.STUDIO

10.MASTER

11.OTHERS1

12.OTHERS2

13.OTHERS3

14.ALL

15.PRESET-A

16.PRESET-B

17.USER-A 

18.USER-B

fig.1-17

2,3,4,5

Section 1

1. Press [CATEGORY] to select Category Search.

2. Rotate [NUMBER] to select the desired category.

If you press [EXIT] at this point, you will return to Play mode.

* Category search can be performed only from the front panel. * Since the category display is not able to show all categories in a

single screen, it is divided into several screens. Rotating [NUMBER] to move through the screens and select from all 18 different categories.

* You can use PARAMETER [ ][ ] to switch screens.

The current location is shown by the indicator at the right edge of the screen.

fig.1-18a

* “OTHERS1,” “OTHERS2,” and “OTHERS3” are user

categories. You can use them to categorize your own favorite patches. For details refer to “Assigning the category” (p.37).

* With the factory settings, none of the patches are assigned to

“OTHERS1,” “OTHERS2,” or “OTHERS3” categories.

fig.1-18b

fig.1-18c

3. Press [ENTER].

This finalizes the category.

4. Rotate [NUMBER] to select the desired patch.

If you press [EXIT] at this point, you will return to step 2.

fig.1-19

Section 1. Producing Sound

CONTROL 1

Foot switch

FS-5U

Polarity switch

CONTROL 1

Foot switch FS-5U

Cord: ROLAND PCS-31 (optional)

redwhite

CONTROL 2

Polarity switch

5. Press [ENTER]. The selected patch will be recalled, and you will return to Play mode. At this time, the display will show the symbol of the selected category, and will indicate “CATEGORY On.” Now you can rotate [NUMBER] to select other patches of the same category.

fig.1-20

* If you select “ALL” as the category, no category symbol will

appear, and the display will indicate “CATEGORY OFF.” In this case, rotating [NUMBER] will select from all patches.

* After you have finished with Category Search, and

wish to select from all patches, press [EXIT] to make the display read “CATEGORY OFF.”

Selecting Patches with a Foot Switch

If an FS-5U foot switch (optional) is connected to the CTL 1/2 jack, you can change Patch numbers by operating the foot switch.

When connecting only one foot switch

If you use only one foot switch, you can use it to move either up or down (not both) through the Patch numbers.

fig.1-21

When using two foot switches

If you use a special cable (PCS-31; optional) to connect two foot switches, you can operate the foot switches to select patches in the same way as when rotating the [NUMBER] knob.

fig.1-22

Section 1. Producing Sound

fig.1-23

2,3,5,7,9,

4,6,8,

1. Press [UTILITY].

2. Rotate [VALUE] to select “SYSTEM.”

fig.1-24

3. Press [ENTER].

4. Use PARAMETER [ ][ ] to access the following

screen, and select “NUMBER U/D MIN.”

fig.1-25

* In Play mode when the display indicates “CATEGORY On,”

you can step through patches of the same category. If you press [EXIT] in Play mode, the display will indicate “CATEGORY OFF,” and you will be able to step through the range of patches that you specified by the “NUMBER U/D MIN” and “NUMBER U/D MAX” settings.

When using only one foot switch:

Each time you press the foot switch, the patch number will increase.

* If in step 8 you selected “NUMBER DOWN,” the patch

number will decrease.

* If you have connected only one pedal, the “CONTROL 2”

setting will have no effect.

* You can change the range of patch numbers that are selected

when you press the foot pedal. For details refer to “SYSTEM SETTING” (p.43).

When using two foot switches:

Each time you press CONTROL 1, the patch number will increase. Each time you press CONTROL 2, the patch number will decrease.

* If in steps 8 and 10 you select “NUMBER UP” and

“NUMBER DOWN” in reverse, the result of pressing CONTROL 1 and CONTROL 2 will also be reversed.

Section 1

5. Rotate [VALUE] to select “PA 1.”

6. Use PARAMETER [ ][ ] to select “NUMBER U/D

MAX.”

7. Rotate [VALUE] to select “UB100.”

8. Use PARAMETER [ ][ ] to access the following

screen, and select “CONTROL 1.”

9. Rotate [VALUE] to select “NUMBER UP (DOWN).”

fig.1-26

10.Use PARAMETER [ ][ ] to select “CONTROL 2.”

11.Rotate [VALUE] to select “NUMBER DOWN (UP).”

* If you are using only one foot switch, this setting will have no

effect.

12.Press [UTILITY] to return to Play mode.

* If you press [EXIT] in step 12, you will return to step 2. If you

press [EXIT] once again, you will return to Play mode.

•Selecting Effect Sounds with an FC-200 MIDI Foot Controller

If an FC-200 MIDI Foot Controller (optional) is connected, you can switch Patch numbers by pedal operations on the controller. For details refer to “VF-1 operation using the FC-200” (P.127).

•Selecting Effect Sounds by MIDI Messages

VF-1 Patches can be selected by Program Change messages from an external MIDI device. For details refer to “Using MIDI to Operate the VF-1” (p.122).

Section 1. Producing Sound

1,4 2,3

Switching EFFECTS on/off

You can switch the effect sound on/off. When EFFECTS is turned off, the input sound will be output without change, and no effect will be applied. If you wish to output only the direct sound, turn EFFECTS OFF.

fig.1-27

1. In Play mode, press [EFFECTS]. The EFFECTS on/off status will change.

When EFFECTS is turned off, the display will indicate “EFFECTS OFF.”

fig.1-28

Tuning your instrument

The VF-1 has a built-in chromatic tuner. You can tune your instrument quickly without having to change connections. The built-in tuner can display the note names, and also allows you to adjust the standard pitch and the output level during tuning.

Displaying the tuner

fig.1-29

1. Press [UTILITY].

2. Rotate [VALUE] to select “TUNER.”

fig.1-30

❍The EFFECTS on/off function can be changed to a

Mute (silence) function. For details refer to “SYSTEM SETTING” (p.43).

❍If a separately available BOSS FS-5U foot switch is

connected, you can switch EFFECTS on/off in two ways. For details refer to “SYSTEM SETTING” (p.43).

❍If an FC-200 MIDI foot controller (optional) is

connected, you can use pedal operations to switch EFFECTS on/off. For details refer to “VF-1 operation using the FC-200” (p.127).

❍MIDI Control Change messages can be used to switch

EFFECTS on/off. For details refer to “Controlling parameters in real time (Control Assign)” (p.33), and “Using MIDI to control the VF-1.” (p.122)

3. Press [ENTER]. The following display will appear.

fig.1-31

4. Press [UTILITY] to return to Play mode. With the factory settings, the input sound will be muted (silenced) when the tuner is in use, and the input sound from the input jack (i.e., your guitar or bass) will not be output.

* If you press [EXIT] in step 4, you will return to step 2. If you

press [EXIT] once again, you will return to Play mode.

Section 1. Producing Sound

Tuning Procedure

❍It is also possible to output the direct sound even

while the tuner is being used. For details refer to “Modifying the tuner settings” (p.24).

❍If an FS-5U is connected to the CTL 1/2 jack, you can

switch the TUNER on/off with the foot switch. For details refer to “SYSTEM SETTING” (p.43).

❍If an FC-200 MIDI Foot Controller (optional) is

connected, you can switch the tuner on/off by pedal operations on the controller. For details refer to “VF-1 operation using the FC-200” (p.127).

❍MIDI Control Change messages can be used to switch

the Tuner on/off. For details refer to “Controlling parameters in real time (Control Assign)” (p.33), and “Using MIDI to control the VF-1.” (p.122)

About the tuner display

The tuner display includes the following contents.

fig.1-32

Standard pitch

(TUNER PITCH)

Volume

(TUNER LEVEL)

1. Play a single unfretted note on the string you wish to tune. The note name closest to the string you played will appear in

the display.

* Cleanly play a single note only on the string that you wish to

tune.

2. Adjust the tuning until the note name of the string you

played appears in the display.

fig.1-33

guitar tuning

6th

5th

4th

3rd

2nd

string

Eguitar A D G B E

1st

string

3. Watch the tuning guide, and tune your instrument so

that both the left and right guides light.

If the difference between the instrument and the correct tuning is within +/-50 cents, the tuning guide will indicate the amount of difference. For example if the right-hand indicator is lit, your instrument is tuned above the displayed note (sharp). If the left-hand indicator is lit, your instrument is tuned below the displayed note (flat).

fig.1-34

Section 1

Tuning guide

Note name

your instrument is tuned above the displayed note ( )

fig.1-35

your instrument is tuned below the displayed note ( )

fig.1-36

your instrument is tuned the displayed note

4. Repeat steps 1–3 to tune all the strings.

* When tuning a guitar that has a tremolo arm, tuning one string

may cause the other strings to go out of tune. In such cases, first tune the strings to the approximate pitch (so that the note name is displayed), and then keep tuning each string until they are all in tune.

Section 1. Producing Sound

1,6

2,3,5

Modifying the tuner settings (Standard pitch/Volume)

Here you can make tuner settings. Make settings as appropriate for the way that you wish to use this function. The following items can be set.

• Standard pitch setting

• Volume setting during tuning

fig.1-37

1,6

1. Press [UTILITY].

2. Rotate [NUMBER] to select “TUNER.”

3. Press [ENTER].

2,3,5

Adjusting the display contrast

Depending on the location where you place the VF-1, the display may be difficult to read. In this case, adjust the display contrast.

fig.1-39

1. Press [UTILITY].

2. Rotate [VALUE] to select “SYSTEM.”

fig.1-40

4. Use PARAMETER [ ][ ] to move the cursor to

“PITCH” if you wish to change the standard pitch, or to “LEVEL” if you wish to change the volume.

5. Rotate [VALUE] to modify the setting. If you hold down [CATEGORY] as you rotate [VALUE], the setting will change more rapidly.

fig.1-38

TUNER PITCH

TUNER PITCH: 435–445 (Hz)

“Standard pitch” is the frequency of the A4 note (middle A on a piano) that is used as a standard to which all other notes are tuned. The VF-1 allows you to set the standard pitch over the range of 435–455 Hz.

* At the factory settings, this is set to 440 Hz.

TUNER LEVEL

3. Press [ENTER].

4. Use PARAMETER [ ][ ] to select “CONTRAST.”

fig.1-41

5. Rotate [VALUE] to adjust the contrast (1–16). If you hold down [CATEGORY] while you rotate [VALUE], the setting will change more rapidly.

6. Press [UTILITY] to return to Play mode.

* If you press [EXIT] in step 6, you will return to step 2. If you

press [EXIT] once again, you will return to Play mode.

TUNER LEVEL: MUTE, 1–100

Adjust the volume while tuning.

* With the factory settings, “MUTE” is selected.

6. Press [UTILITY] to return to Play mode.

Section 2. Creating Sounds

On the VF-1, each of the different effect sounds are called “patches.” A patch consists of settings that specify the order in which the internal effects are connected, and the settings for each effect. The internal memory of the VF-1 contains 400 patches. This section explains how you can modify (edit) patch settings to create new effect sounds, and save them.

Before You Begin Creating Sounds

Before you begin creating sounds there are several things that you need to understand.

User banks and preset banks

The 400 patches of the VF-1 are organized into user banks and preset banks.

User banks

User banks can store original patches that you create. There are two user banks, A and B, and each can store 100 patches.

Settings that are stored in a patch

Each patch in the user banks contains the following settings.

• On/off of each effects processor

• Settings for each effects processor

• Output level / BPM setting

• Category setting

• Control assign (4 types)

• Name

Section 2

The display screen

During editing, the following information is shown in the display.

Algorithm display

fig.2-01

Preset banks

Preset banks contain preset patches that are useful for a wide variety of situations and needs. There are two preset banks, A and B, and each can store 100 patches.

* It is not possible to rewrite the contents of a patch in the preset

banks. Nor is it possible to save an original patch in a preset bank. However, you can edit a patch from a preset bank to create a new patch, and save it in a user bank.

Algorithms

The “algorithm” determines how effects are connected internally, and how their parameters are structured. The VF1 provides 36 different algorithms (PB1–36). Each algorithm is designed to be useful in an actual situation, and provides an ideal setup for that situation. This makes editing easy and efficient. Individual effects within an algorithm can also be switched on/off, and you can change the order in which they are connected.

When a parameter value is being edited

fig.2-02

Name of the effect being edited

When [EXIT] was pressed to display Play mode

fig.2-03

An underline is added to the patch number to indicate that the patch is being edited (modified).

Section 2. Creating Sounds

Effect setting

Rapidly editing a patch (Quick Setting)

Each effect of the VF-1 provides various preset settings (effect settings). You can easily create new effect sounds simply by selecting these settings and combining them. This is called the Quick Setting function.

fig.2-04

2,4,5,7

1,3

1. In Play mode, press PARAMETER [ ]. The following algorithm display screen will appear.

fig.2-05

5. In the condition of step 4, continue rotating the [VALUE]

knob to select the desired effect setting.

As you rotate [VALUE], the effect setting will change as follows. Listen to the sound, and select the desired setting.

fig.2-08

6. When you are finished making settings, press [EXIT].

7. Rotate [VALUE] to move the another effect.

8. Repeat steps 3–7 as necessary to complete the desired

effect settings.

The patch settings you modify are temporary, and will be lost if you select a different patch without writing the edited patch into memory. If you wish to keep the newly created patch, use the “Write operation (p.38)”.

2. Rotate [VALUE] to select the effect for which you wish to

use Quick Setting. To move more rapidly between effects, hold down [CATEGORY] and rotate [VALUE].

3. Use PARAMETER [ ] to move the cursor to the effect

on/off display.

fig.2-06

4. Rotate [VALUE] to make the display read “ON.”

fig.2-07

Editing a patch About display selection

The display will response as follows in patch creation:

fig.2-200

[

]

PARAMETER

Assign

1–4

[

EXIT

Procedure

Here’s the basic procedure for creating a patch.

1. From the user bank or preset bank, select a patch that is

similar to the effect sound that you wish to create.

* You cannot alter the Algorithm that is used in the patch

currently selected.

2. Copy the contents of the selected Patch to an unneeded

Patch number. (p. 28)

• In Play mode, press [WRITE] to copy the patch.

3. Edit (modify) the patch that you copied.

• Turn each effect on/off. (p. 28)

Press PARAMETER [ ] to display the algorithm, use [VALUE] to select the effect that you wish to turn on/off, and use [ENTER] to turn it on/off.

• Edit the settings of each effect. (p. 29)

• Change the order of the effects. (p. 30)

• Use PARAMETER [ ] [ ] to select the parameter

that you wish to edit, and use [VALUE] to modify the value.

The Skip function (SKIP)

If you wish to change displays rapidly, press the PARAMETER ([ ] or [ ]) which you wish to move to then press the opposite one ([ ] or [ ]) at the same time.

4. Assign a name to the new patch. (p. 37)

• Use PARAMETER [ ] [ ] to select “NAME,” and use PARAMETER [ ] [ ] and [VALUE] to assign the name.

5. Save the new patch in a user bank. (p. 38)

• In the Edit screen, press [WRITE], use [VALUE] to select the patch number into which the currently-edited patch will be stored, and press [WRITE].

The modified settings of the new effect sound are temporary, and will be lost if you select another Patch. If you want to save your new Patch, use “the Write operation” (P.38) to store it.

* If you turn off the power while effect settings are being stored,

the VF-1 may malfunction.

Section 2. Creating Sounds

2,3

Copying a patch

Here’s how to copy the settings of the currently selected patch into a different patch. It is not possible to copy to a patch in a preset bank (PA1– PA100, PB1–PB100).

* It is not possible to copy while you are editing.

fig.2-09

1,3 2

1. In Play mode, press [WRITE].

2. Rotate [NUMBER] to select the copy destination patch

number. The number will change more rapidly if you hold down [CATEGORY] as you rotate [NUMBER].

* It is not possible to select a patch number from a preset bank.

Turning an effect on/off

In the algorithm of the currently selected patch, you can turn on the effect(s) that you wish to use, and turn off any unused effect(s).

fig.2-11

1. In Play mode, press PARAMETER [ ]. The following algorithm display screen will appear.

fig.2-12a

Off On

fig.2-10

3. Press [WRITE]. After the data has been written, “Complete !” will be shown in the display, then you are returned to Play mode.

Never turn off the power while the display shows “KEEP POWER ON !” If the power is turned off while this display is shown, the VF-1 may malfunction or its data may be lost.

* If you press [EXIT] in step 2, the copy operation will be

cancelled and you will return to Play mode.

2. Rotate the [VALUE] knob to select the effect that you

wish to turn on/off. To move more rapidly between effects, hold down [CATEGORY] as you rotate [VALUE].

3. Press [EFFECTS] to turn the effect on/off.

Depending on the algorithm, some effects cannot be switched on/off. For details refer to “Algorithm list” (p.49– p.90).

* You can also switch an effect on/off while making effect settings

(p.29).

If you wish to keep your modified settings, you must perform the Write operation (p.38).

Editing the settings of each

Section 2. Creating Sounds

effect

Each effect consists of several different parameters. You can create new effect sounds by modifying the settings of these parameters.

fig.2-13

2,5

1,3

1. In Play mode, press PARAMETER [ ]. The following algorithm display screen will appear.

fig.2-12

Even when another parameter is selected, you can press [ENTER] to switch the effect on/off.

If you wish to keep your modified settings, you must perform the Write operation (p.38).

Section 2

The Skip function (SKIP)

You can skip to the first parameter in each effect by holding down PARAMETER [ ] ([ ]) for the direction in which you wish to go, and pressing the PARAMETER [ ] ([ ]) for the opposite direction. This is particularly useful for algorithms that have a large number of parameters.

2. Rotate [VALUE] to select the effect whose settings you

wish to edit.

3. Press PARAMETER [ ] to display the parameter

screen.

4. Use PARAMETER [ ][ ] to select the parameter

that you wish to edit.

< Display example >

fig.2-14a

Level meter

Effect name

Parameter Value Value slider

5. Rotate [VALUE] to edit the value. The value will change more rapidly if you hold down [CATEGORY] while you rotate [VALUE].

Effect on/off

(corresponds to the value of the parameter)

6. Press [EXIT].

7. Repeat steps 2–6 to create your effect sound.

Section 2. Creating Sounds

Changing the order of the effects

For some algorithms, you can place SFX, MOD (modulation), and PREAMP/SP.SIM (speaker simulator) in different locations within the algorithm.

The algorithms that allow SFX, MOD, and PREAMP/SP.SIM to be moved are noted in the “Algorithm list” (p. 49–90).

fig.2-15

5,6

2,4

1,3

1. In Play mode, press PARAMETER [ ]. The following algorithm display screen will appear.

fig.2-16

6. If you press [EXIT] once again, you will return to Play

mode.

If you wish to keep your settings, you must perform the Write operation (p. 38).

2. Rotate [VALUE] to select the effect (SFX, MOD or

PREAMP/SP.SIM) that you wish to move.

3. Press PARAMETER [ ] several times to select

“POSITION.”

fig.2-17

4. Rotate [VALUE] to move the location of the effect.

* It is not possible to place SFX, MOD, or PREAMP/SP.SIM

after “MASTER.”

5. Press [EXIT] to access the following screen, and confirm

the new location of the effect.

fig.2-60

Section 2. Creating Sounds

Checking the input/output levels of each effect

fig.2-21

The algorithm screen of each effect and the parameter setting screen provide a meter function. The meter lets you see the input level at the beginning of the algorithm, and the output level of each effect.

e.x.: When you have made the DELAY parameter appear in the display

fig.2-49

Input L

Compressor/

Limiter

Input R

* If the input and/or output levels are excessive, the desired result

will not be obtained. Check the input and output levels of each effect, and adjust the output level appropriately. Adjust the input level with [INPUT L/R] and check the output level of each effect with the level meter to adjust it to an appropriate level.

WAH

Modulation

OUTIN

Preamp/

Speaker Simulator

Delay

The final output of the patch can be checked with the level meter in the “MASTER” parameter setting screen.

4Band

Equalizer

Chorus Reverb

Noise

Suppressor

Section 2

Output L

Output R

Section 2. Creating Sounds

Copying effect settings (Effect Copy)

You can copy the settings of an individual effect from another patch to an effect in the currently selected patch. This function is convenient when you wish to use effects with similar settings in two or more patches.

* The Effect Copy can be applied to the effects that

share the same Algorithm.

fig.2-22

324

1. Use PARAMETER [ ][ ] to access the settings for

the copy-destination effect.

fig.2-61

Setting the output level

Here’s how to adjust the final output level from the patch.

fig.2-24

2,4

1. In Play mode, press PARAMETER [ ]. The following display will appear.

fig.2-12

2. Rotate [VALUE] to select “MASTER.”

fig.2-201

2. With the effect settings displayed, hold down

[CATEGORY] and press [WRITE].

fig.2-23

3. Rotate [VALUE] to select the patch number that contains

the copy-source effect. The number will change more rapidly if you hold down [CATEGORY] as you rotate [VALUE].

4. Press [WRITE]. The effect data will be copied, and you will return to the display screen in which you were.

If you wish to keep the modified settings, perform the Write operation (p.38).

3. Use PARAMETER [ ][ ] to select “MASTER

LEVEL.”

fig.2-25

4. Rotate [VALUE] to adjust output level. The setting will change more rapidly if you hold down [CATEGORY] as you rotate [VALUE]. Range: 0–100

* After adjusting “MASTER LEVEL,” check the output level in

the level meter (p.31).

Section 2. Creating Sounds

Controlling parameters in real time (Control Assign)

Here’s how you can make settings so that you can control parameters from a foot switch or pedal connected to the VF-1 or from an external MIDI device. The controller that will affect each parameter can be specified independently for each patch.

Assign on/off

Four types of control assign can be turned on/off. Turn “ON” only the control assign setting that you wish to use. Be sure to turn “OFF” any unused control assign settings.

fig.2-51

Parameters that can be controlled

Specify the parameter (target) you wish to control. The following parameters can be selected as targets.

• TUNER On/Off

• EFFECTS On/Off

• MASTER LEVEL

• MASTER BPM

• FOOT VOLUME (FOOT LEVEL)

• Effect On/Off for each effect

• Effect unit parameters

fig.2-28

fig.2-29

● When using the foot switch

fig.2-30a

Amount of Change in parameter Value

maximum value

TARGET MAX

minimum value

TARGET MIN

OFF

Foot Switch

● When using the expression pedal

fig.2-30b

maximum value

TARGET MAX

Section 2

* You may assign two or more controllers to control the same

target, but in this case, avoid using two of these controllers to simultaneously modify the target parameter. This can produce noise.

Target value range

Operations on the external device will modify the value of the target parameter within the range of the “minimum (TARGET MIN)” and “maximum (TARGET MAX)” values you specify. For on/off-type controllers such as foot switches, “Off” will produce the “minimum value” and “On” will produce the “maximum value.” For continuous controllers such as expression pedals, the value will change within the range of the specified “minimum” and “maximum.” If the target is an on/off type parameter, it will be switched on or off by values above or below the central value of the controller.

minimum value

TARGET MIN

When the pedal is fully raised

When the pedal is fully advanced

Expressionpedal

Section 2. Creating Sounds

● When controlling the ON/OFF target with

the expression pedal:

fig.2-30c

TARGET MAX

TARGET MIN

* The range available for setting will depend on the selected

target.

* If you set the “TARGET MIN” above the “TARGET MAX,”

the direction of parameter change will be reversed.

* If after setting the “TARGET MIN” and “TARGET MAX”

values you then change the target, the settings may change. After changing the target, check the “TARGET MIN” and “TARGET MAX.”

OFF

When the pedal is fully raised

OFF

When the pedal is advanced halfway

Expression pedal

When the pedal is fully advanced

The controller that will control the parameter

Selection for the controller (source) that will control the target parameter. The following controllers can be selected as sources.

fig.2-31

MIDI-1–31, 64–95:

Control Change messages (MIDI-1–31, 64–95) from an external MIDI device

The result of operating a foot switch

This setting determines how the target parameter value will be affected when you operate a momentary-type foot switch (optional: FS-5U, DP-2 (Roland), etc.).

NORMAL:

The parameter will normally be off (minimum value), and will be on (maximum value) only while the foot switch is depressed.

TOGGLE:

The parameter will switch between off (minimum) and on (maximum) value each time you press the foot switch.

* Set this to “NORMAL” when a latch-type foot switch (sold

separately: FS-5L, FS-1 (Roland) etc.) is connected, or when something other than a expression pedal is selected as the controller.

Momentary-type and latch-type foot switches

■

If you use a foot switch to switch Effect On/Off

fig.2-70

Latch-type

fig.2-71

Momentary-type

ExpPEDAL:

An expression pedal connected to the expression pedal jack (optional: EV-5 (Roland), FV-300L + PCS-33 (Roland))

CONTROL 1,2:

A foot switch (optional: FS-5U, FS-5L, FS-1 (Roland), DP-2 (Roland) etc.) connected to the CTL 1/2 jack

MIDI-7:

The expression pedal of an FC-200 MIDI Foot Controller (optional)

MIDI-80:

The control pedal of an FC-200 MIDI Foot Controller (optional)

You may use either a momentary-type or a latch-type foot switch. When using a momentary-type, select “TOGGLE.” When using a latch-type, select “NORMAL.” In either case, Effect On/Off will alternate each time you press the foot switch.

Section 2. Creating Sounds

■ If you want an effect to become stronger

while you depress a foot switch, or for the effect to be on only while the foot switch is depressed

fig.2-71a

Momentary-type

Use a momentary-type foot switch, and select “NORMAL.” In this case, the setting (on/off) will depend on whether the foot switch is depressed or not. This type of operation is not possible with a latch-type foot switch.

Control Value Range

If a continuously variable controller such as an expression pedal or pitch bend lever has been selected as the control source, you can specify the range of values which will affect the target parameter. The value of the target parameter will not be affected by controller movements outside this specified range, but will remain at the “Maximum” or “Minimum” value.

Controller: Expression Pedal

fig.2-35b

maximum value

TARGET MAX

minimum value

TARGET MIN

04080

SOURCE

MIN

SOURCE

MAX

127

If effect on/off has been specified as the target, on/off will occur at the central value between SOURCE MIN and SOURCE MAX. If the pedal is advanced further than SOURCE MAX or raised to less than SOURCE MIN, the respective on or off setting will be maintained.

Controller: Expression Pedal

fig.2-35c

Section 2

When sets the SOURCE MIN: 40 and SOURCE MAX: 80

fig.2-33

fig.2-35a

0 40 (SOURCE MIN) 80 (SOURCE MAX) 127

* The state in which the pedal is fully raised is “SOURCE=0,”

and the state in which the pedal is fully advanced is “SOURCE=127.”

The parameter value will change from TARGET MIN to TARGET MAX as the pedal is operated (from SOURCE MIN to SOURCE MAX). If the pedal is advanced further than SOURCE MAX, or raised to less than SOURCE MIN, the parameter value will be maintained at TARGET MAX or TARGET MIN respectively.

OFF

0408060

MIN

Center

value

SOURCE

SOURCE MAX

127

* When you use an on/off-type controller such as a foot switch, set

the SOURCE MIN to “0” and the SOURCE MAX to “127.” If you set them to any other values, the parameter values may remain unchanged.

* SOURCE MAX cannot be set to a value that is less than

Number Min.

For details on setting TARGET MIN and TARGET MAX, refer to “Target value range” (p.33).

Section 2. Creating Sounds

Set the Control Assign as shown below according to the connected controller.

fig.2-35d

Expression pedal

Foot switch (latch-type)

Foot switch (momentary-type)

MIDI

SOURCE

TYPE

PEDAL

CONTROL

MIDI-1–31 MIDI-64–95

Exp

1,2

SOURCE

MODE

NORMAL

TOGGLE, NORMAL

SOURCE

0–126

0–126 1–127

MIN

SOURCE

MAX

1–127

127

* When the expression pedal is connected, set the SOURCE MIN

and MAX to your taste.

* When using a footswitch of the Momentary type, you can

control the parameters either by setting the SOURCE MODE to “NORMAL” or “TOGGLE.” The effect you can attain, however, will differ.

fig.2-36c

fig.2-36d

3. Use PARAMETER [ ][ ] to select the parameter

that you wish to assign.

4. Rotate [VALUE] to change the assignment. The change will occur more rapidly if you hold down [CATEGORY] while you rotate [VALUE].

5. Repeat steps 2–4 to complete the desired control assign

(ASSIGN 1–4) settings.

Making settings

* When the foot switch has been set to source, the

control assign settings will be ignored unless the “CONTROL 1,2” (p. 44) is set to “ASSIGNABLE.”

1. In Play mode, press PARAMETER [ ]. The following display will appear.

fig.2-12

2. In Play mode, press PARAMETER [ ] several time to

select “ASSIGN1.”

fig.2-36a

Even when another parameter is selected, you can press [ENTER] to switch assign on/off.

* Unused control assignments should be set to “ASSIGN OFF.”

If you wish to keep your settings, perform the Write operation (p.38).

fig.2-36b

Section 2. Creating Sounds

1,523

Assigning the category

You can assign a category for each patch.

fig.2-26

1. In Play mode, press PARAMETER [ ]. The following display will appear.

fig.2-12

2. Press PARAMETER [ ] to select “CATEGORY.”

fig.2-27

Editing the patch name

Each patch can be given a name (patch name) of up to 13 characters. You can assign a name that reflects the type of sound you created, or the song in which the patch is used.

fig.2-37

Section 2

1. In Play mode, rotate [NUMBER] to select the patch

whose name you wish to edit. (p.18)

2. Press PARAMETER [ ]. The following display will appear.

fig.2-12

3. Rotate [VALUE] to assign the category. The change will occur more rapidly if you hold down [CATEGORY] while you rotate [VALUE].

For the available categories, refer to p. 19.

* The following categories cannot be selected.

• PRESET-A

• PRESET-B

• USER-A

• USER-B

If you wish to keep your settings, perform the Write operation (p. 38).

3. Use PARAMETER [ ] to access the “NAME” display.

4. Use PARAMETER [ ][ ] to move the cursor to the

character that you wish to change.

fig.2-38

5. Rotate [VALUE] to change the character. The change will occur more rapidly if you hold down [CATEGORY] as you rotate [VALUE].

The following characters can be used.

Uppercase alphabet Lowercase alphabet Numerals Symbols (Space)

By pressing [ENTER], you can switch the type of the character where the cursor is located.

Uppercase alphabet –> Lowercase alphabet –> Numerals –> Space –> Uppercase alphabet –> ...

Section 2. Creating Sounds

1,3 2

Saving the changes you

If you wish to keep your settings, perform the Write operation (p. 38).

Canceling your edits

Here’s how you can cancel the changes you made, and return to the unmodified settings.

fig.2-39

1 2

1. While editing, press [EXIT] several times to return to

Play mode.

2. Rotate [NUMBER]. A different patch will be selected. Your modifications will be discarded, and the patch will return to its previous condition.

make (the Write operation)

Changes you make to a patch are temporary. The patch will return to its previous condition if you switch to a different patch. If you wish to keep the changes you make, you must perform the Write operation.

fig.2-40

1. When you have finished making the desired settings,

press [WRITE].

The following display will appear.

fig.2-41

2. Rotate [VALUE] to select the write-destination patch.

* If you wish to store the new settings in the original Patch

number, this step is not necessary.

* It is not possible to select a preset bank patch as the write

destination. If you’ve modified a preset bank patch, select a user bank patch as the write destination.

* Press [EXIT] to cancel the Write operation and return to Play

mode.

3. Press [WRITE]. The settings you modified will be saved in the patch you selected in step 2. After the data has been written, “Complete !” will be shown in the display, then you are returned to Play mode.

Never turn off the power while the display shows “Keep Power ON !” If the power is turned off while this display is shown, the VF-1 may malfunction or its data may be lost.

While you are editing a patch, you can press [WRITE] at any time to save your settings.

Section 2. Creating Sounds

Ways to use control assign Using an expression pedal

Using an expression pedal to operate PEDAL WAH in the “GUITAR MULTI 1” algorithm

Here’s how you can use an expression pedal to control the PEDAL WAH in realtime.

Connections

Make connections as shown in the diagram.

fig.2-44

Settings

Use the following procedure to make settings.

1. Set WAH “EFFECT“ to “ON.” (refer to p.28)

2. Set SELECT to “WAH.” (refer to p.29)

3. Set “ASSIGN 1” of the patch. (refer to p.33)

ASSIGN 1: ON

TARGET: WAH (PEDAL WAH): PEDAL TARGET MIN: 0 TARGET MAX: 100 SOURCE TYPE: ExpPEDAL SOURCE MODE: NORMAL SOURCE MIN: 0 SOURCE MAX: 127

* Adjust “TARGET MIN,” “TARGET MAX,” and “SOURCE

MIN,” “SOURCE MAX” as desired.

4. Set “ASSIGN 2,” “ASSIGN 3,” and “ASSIGN 4” to

“OFF.” (refer to p.33)

Section 2

Roland

Minimum volume

Expression pedal

Use only the specified expression pedal (BOSS FV-300 + PCS3 (Roland) or EV-5 (Roland); sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

* Set the minimum volume on the expression pedal connected to

the EXP PEDAL jack to the “MIN” position. Unless the minimum volume is set to “MIN,” the expression pedal will not work correctly.

If you wish to keep your settings, perform the Write operation (p.38).

Section 2. Creating Sounds

Using two foot switches

Using two foot switches with the “GUITAR MULTI 1” algorithm to switch the REVERB effect on/off and change the “DELAY TIME” of the DELAY

Connections

Make connections as shown in the diagram.

fig.2-45

Cord: ROLAND PCS-31 (optional)

Polarity switch

redwhite

ASSIGN 1: ON

TARGET: DELAY: DELAY TIME TARGET MIN: 300 ms TARGET MAX: 1300 ms SOURCE TYPE: CONTROL 1 SOURCE MODE: NORMAL SOURCE MIN: 0 SOURCE MAX: 127

ASSIGN 2: ON

TARGET: REVERB: ON/OFF TARGET MIN: OFF TARGET MAX: ON SOURCE TYPE: CONTROL 2 SOURCE MODE: TOGGLE SOURCE MIN: 0 SOURCE MAX: 127

* The Delay Time will change only while the foot switch is

pressed.

* You can adjust the “TARGET MIN” and “TARGET MAX” of

“ASSIGN 1” as desired.

CONTROL 1

Foot switch FS-5U

* Use two FS-5U (optional) foot switches. * In order to connect two foot switches to the VF-1, you will need

a separately sold PCS-31 (Roland).

* If connecting a footswitch (FS-5U; optional) to the CONTROL

1/2 jack, set the polarity switch as shown above. Unless the polarity switch is set correctly, the foot switch will not work properly.

CONTROL 2

Settings

Use the following procedure to make settings.

1. In “SYSTEM SETTING” (Utility), set “CONTROL 1” and

“CONTROL 2” to “ASSIGNABLE.” (refer to p. 44)

2. Set DELAY and REVERB “EFFECT” to “ON.” (refer to p.

28)

3. Set “ASSIGN 1” and “ASSIGN 2” of the patch. (refer to

p.33)

4. Turn “ASSIGN 3” and “ASSIGN 4” to “OFF.” (refer to

p.33)

* When using a foot switch to control parameters, set “SOURCE

MIN” and “SOURCE MAX” to “SOURCE MIN 0” and “SOURCE MAX 127” respectively.

* Control pedal 2 can also be operated using a latch-type foot

switch. When using a latch-type foot pedal, set “SOURCE MODE” to “NORMAL.”

If you wish to keep your settings, perform the Write operation (p. 38).

Section 2. Creating Sounds

Using an expression pedal (example)

Using a pedal to operate the wah of the “GUITAR MULTI 1” algorithm, and turning the wah on/off without changing the patch (Use as a wah pedal)

Connections

Make connections as shown in the diagram.

fig.2-44

Roland

Minimum volume

ASSIGN 2: ON

TARGET: WAH: ON/OFF TARGET MIN: ON TARGET MAX: OFF SOURCE TYPE: ExpPEDAL SOURCE MODE: TOGGLE SOURCE MIN: 80 SOURCE MAX: 120

With these settings, moving the expression pedal in the range of 0–99 will turn the wah on, producing a wah effect. Advancing the pedal to 100 or beyond will turn the wah off. In this way, you can use the pedal to turn the effect on/off.

4. Turn the “ASSIGN 3” and “ASSIGN 4” parameters

“OFF.” (refer to p.33)

The pedal will be easier to operate if you insert a rubber eraser etc. into the expression pedal where it is positioned at a source value of approximately 99.

fig.2-48

Section 2

Expression pedal

Use only the specified expression pedal (BOSS FV-300 + PCS33 (Roland) or EV-5 (Roland); sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

Settings

Use the following procedure to make settings.

1. Set the WAH “EFFECT” to “On.” (refer to p.28)

2. Set the SELECT to “WAH.” (refer to p.29)

3. Make patch settings for “ASSIGN 1” and “ASSIGN 2.”

(refer to p.33)

ASSIGN 1: ON

TARGET: WAH (PEDAL WAH): PEDAL TARGET MIN: 0 TARGET MAX: 100 SOURCE TYPE: ExpPEDAL SOURCE MODE: NORMAL SOURCE MIN: 0 SOURCE MAX: 50

rubber

If you wish to keep your settings, perform the Write operation (p. 38).

Section 3. Overall Settings (Utility)

Here’s how you can access the various Utility screens to make settings that apply to the entire VF-1, such as tuner settings and system settings. Make these settings as appropriate for the situation or setup in which you are using the VF-1.

Utility functions

There are five Utility functions, as follows.

fig.3-01

MIDI

Factory reset

Global sound setting

System setting

Tuner

fig.3-04

5. Rotate [VALUE] to change the setting. The change will occur more rapidly if you hold down [CATEGORY] as you rotate [VALUE].

6. Press [UTILITY] to return to Play mode.

* If you wish to save “MIDI PC MAP” settings, you must press

[WRITE]. For details refer to “Setting the Program Change Map” (p.124).

* If you press [EXIT] in step 6, you will return to step 2. If you

press [EXIT] once again, you will return to Play mode.

TUNER

fig.3-05

How to make settings

fig.3-02

1,6

1. Press [UTILITY].

2. Rotate [VALUE] to select the desired Utility function.

fig.3-03

3. Press [ENTER].

2,3,5

Here you can make tuner-related settings.

fig.3-06

TUNER PITCH: 435–445 (Hz) TUNER LEVEL: MUTE, 1–100

For details refer to “Modifying the tuner settings” (p. 24).

4. Use PARAMETER [ ][ ] to select the parameter

that you wish to adjust.

Section 3. Overall Settings (Utility)

SYSTEM SETTING

fig.3-07

Here you can make basic system settings for the VF-1, such as the display contrast (p.24), output settings for when “EFFECTS OFF” (p. 22) is selected, settings for when foot switches (p.36) are connected to the CTL 1,2 jack, and user scale settings (p.101) for the Harmonist.

fig.3-08

CONTRAST (display contrast): 1–16

For details refer to “Adjusting the display contrast” (p. 24).

ASSIGN HOLD: ON, OFF

If control assign settings have been made so that effect parameters can be controlled in realtime, this setting determines how the VF-1 will act when you switch patches while controlling parameters.

ON:

Controller operations will be reflected by the newly-selected patch even after you switch patches.

OFF:

Controller operations will not be reflected by the newlyselected patch. Each time you switch patches, the target will be set to the value specified by the patch.

EFFECTS OFF MD (Effects off mode)

fig.3-09

NUMBER U/D MIN (Minimum number)

PA1 (PRESET A1) – PA100 (PRESET A100) – PB1 (PRESET B1) – PB100 (PRESET B100) – UA1 (USER A1) – UA100 (USER A100) – UB1 (USER B1) – UB100 (USER B100) –

Specifies the lowest patch (smallest number) that will be selected by a foot switch connected to the CTL 1,2 jack.

NUMBER U/D MAX (Maximum number)

PA1 (PRESET A1) – PA100 (PRESET A100) – PB1 (PRESET B1) – PB100 (PRESET B100) – UA1 (USER A1) – UA100 (USER A100) – UB1 (USER B1) – UB100 (USER B100) –

Specifies the highest patch (greatest number) that will be selected by a foot switch connected to the CTL 1,2 jack.

* When you use a foot switch to switch patches up to the upper

limit (lower limit), you will then “fold over” to the lower limit (upper limit).

* In Play mode if “CATEGORY On” is displayed, you can step

through patches of the same category. In Play mode if you press [EXIT], the display will change to “CATEGORY OFF,” and you will be able to switch patches within the range specified by “NUMBER U/D MIN” and “NUMBER U/D MAX.”

* The “NUMBER U/D MIN” and “NUMBER U/DMAX”

settings will have no effect unless you select “NUMBER UP” and/or “NUMBER DOWN” for CONTROL1 and/or CONTROL2.

Section 3

DIRECT, MUTE

Specifies how output is to be handled when Bypass is switched on.

DIRECT:

Only the direct sound from the input jacks will be output.

MUTE:

All output jacks will be muted (silenced).

Section 3. Overall Settings (Utility)

fig.3-10

CONTROL 1, 2

EFFECTS ON/OFF, TUNER, NUMBER DOWN, NUMBER UP, ASSIGNABLE You can specify the foot switch functions when the foot switch is connected to CTL 1,2 jack.

* For foot switch connections and settings, refer to “Connecting

an expression pedal or foot switch” (p. 16) and “The result of operating a foot switch” (p. 34).

EFFECTS ON/OFF:

The jack will function as a remote jack for turning EFFECTS on/off. Connect a momentary-type foot switch (optional: FS5U etc.)

TUNER:

The jack will function as a remote jack for turning the tuner on/off. Connect a momentary-type foot switch (optional: FS5U etc.)

Creating a user scale

fig.3-11

If the Harmonist function (p.101) does not produce the harmony you intend, you can create your own User Scale to produce the desired harmonies. Up to 5 user scales can be created. For details refer to “HARMONIST: Creating a user scale” (p.

101).

* The user scale will have no effect if you are using a patch whose

algorithm does not include the Harmonist, or if the Harmonist is turned off.

NUMBER DOWN:

The jack will function as a remote jack for decreasing the Patch number. Connect a momentary-type foot switch (optional: FS-5U etc.) (p. 20)

NUMBER UP:

The jack will function as a remote jack for increasing the Patch number. Connect a momentary-type foot switch (optional: FS-5U etc.) (p. 20)

ASSIGNABLE:

The jack will function as a controller jack for the Control Assign function. Connect the type of foot switch that is appropriate for the control target you select.

Connecting two foot switches (optional) and a PCS-31 connecting cable (optional)

Two control functions (CONTROL 1 and CONTROL 2) can be controlled by foot switch.

Connecting one foot switch

One control function (CONTROL 1) can be controlled by foot switch.

GLOBAL SOUND SETTINGS

Section 3. Overall Settings (Utility)

fig.3-12

The VF-1 allows you to modify the settings of all patches in common. This is called the Global function. By using the Global function, you can leave the settings of each patch as they are, and quickly make changes in your settings as appropriate for the equipment you are using or the situation in which you are playing. In particular when a guitar is connected, it is convenient to use the Global function to optimize the VF-1 for the amp that you are using.

fig.3-13

In order to take fullest advantage of the VF-1’s potential, we recommend that you set “OUTPUT SELECT” to either “POWER AMP (COMBO)” or “POWER AMP (STACK),” and connect it to the RETURN or MAIN IN jack of your guitar amp. If your guitar amp does not have a RETURN or MAIN IN, connect it to the normal input (if the amp has L and H inputs, use the L input), and set the tone controls of the guitar amp BASS=0, MIDDLE=10, and TREBLE=0 so that the frequency response is flat. If your amp has switchable channels, use the normal (clean) channel.

* The suggested settings of BASS=0, MIDDLE=10, and

TREBLE=0 are general guidelines. The optimal settings may be different for your amp. Adjust the tone controls of your amp so that its frequency response is flat.

GUITAR AMP (COMBO):

Use this setting when connecting to the guitar input of a combo-type guitar amp (i.e., amp and speaker contained in a single unit).

Section 3

OUT LEVEL (output level): 0%–200%

Adjusts the output level that is specified for each patch.

OUTPUT SELECT

GUITAR AMP (COMBO), GUITAR AMP (STACK), POWER AMP (COMBO), POWER AMP (STACK), LINE

Set the VF-1 to the optimal settings for the amp to which it is connected.

* This setting is effective when a guitar is connected to

the VF-1, and you are playing the sound through a guitar amp.

* When you are using the Patch that uses the algorithm BASS

MULTI, no effect will be obtained if the value other than LINE is selected.

* The global sound setting function will not operate if the

algorithm of the currently selected patch does not contain the “Preamp/Speaker Simulator,” or if the “Preamp/Speaker Simulator” has been turned off.

GUITAR AMP (STACK):

Use this setting when connecting to the guitar input of a stack-type guitar amp (i.e., amp and speaker in separate units).

POWER AMP (COMBO):

Use this setting when connecting to the RETURN or MAIN IN of a combo-type guitar amp.

POWER AMP (STACK):

Select this when connecting to a power amp + speaker, or when connecting to the RETURN or MAIN IN of a stack-type guitar amp.

LINE:

Use this setting when connecting to a mixer or MTR.

fig.3-14

NS THRESHOLD (Noise suppressor threshold)

-20 dB – +20 dB

Adjusts the threshold level of the noise suppressor that is included in each patch. When you connect a different guitar, it is effective to adjust this according to the output level of your guitar.

Section 3. Overall Settings (Utility)

* If you wish to use the settings of each patch without change, set

this to “0 dB.”

* The noise suppressor threshold will have no effect for a patch

whose algorithm does not include the noise suppressor, or if the noise suppressor is turned off.

GLOBAL BPM: 40–250, MIDI

By setting the BPM to match the tempo of your performance, you can make the sound change in synchronization with the tempo. For example by setting the “RATE” of a flanger to

,” you can make the sound modulate in

“BPM synchronization with the tempo. The GLOBAL BPM setting is common to all patches.

BPM (Beats Per Minute) indicates the number of quarter notes per minute.

DIRECT MIX: OFF, PATCH

For algorithms that include a spatial-type effect, you can specify whether or not the direct sound will be output. This is useful when the VF-1 is connected to the AUX SEND / RETURN of a mixer.

OFF:

The direct sound will not be output.

PATCH:

The direct sound will be turned on/off according to the settings of the selected patch.

* In some Algorithm settings, there will be no effect obtained even

by selecting “DIRECT MIX”. Check this in “Algorithm list” (p.49–90), whether it has effect or not.

FACTORY RESET

fig.6-08

In order to use GLOBAL BPM, you must make the following two settings.

1. Set the parameter of the effect to “BPM ”

2. Set the master (p.105) “MASTER BPM” to “GLOBAL”

In the following cases, GLOBAL BPM will have no effect.

• If “BPM

“MASTER” (p.105) is selected.

• If the effect parameter is set to “BPM

effect is turned off

fig.3-17

” is not shown in the display when

” but that

REVERB LEVEL: 0%–200%

Adjusts the reverb level of the reverb that is included in each patch. It is effective to adjust the reverb level as appropriate for the natural reverberation of the location where you are playing.

You can return the VF-1 to the factory settings. For details refer to “Restoring the factory settings (Factory Reset)” (p. 133).

MIDI

fig.5-03

Here you can make MIDI-related settings. For details refer to “Section 5. Using MIDI to operate the VF-

1.” (p.122)

* The reverb level will have no effect for a patch whose algorithm

does not include reverb, or if reverb is turned off.

Section 4. Effect guide

Section 4 explains the contents of the algorithms on which effect sounds are based, the effects that make up each algorithm, and the parameters of each effect.

About the algorithm list

How an algorithm is organized

The algorithm determines the type of effects and the structure of the parameters that create the effect sound. The algorithm list (p.49–90) shows the effects in each algorithm, and the parameters of each effect.

For details on the parameters of each effect, refer to “The function of each parameter” (p.91–120).

Parameters

Depending on the algorithm, the same effect may have different parameters available for adjustment. Note the available parameters in the “Algorithm list” (p.49–90) as you make effect settings.

About POSITION

Depending on the algorithm, the locations of SFX (special effect), MOD (modulation), and PREAMP/SP.SIM (speaker simulator) can be changed. If this adjustment is available, a “POSITION” setting will appear. For details on setting this, refer to “Changing the order of the effects” (p.30).

About “The function of each parameter”

The section “The function of each parameter” (p.91) explains the function of the parameters for each effect listed in the “Algorithm list.”

The effects are listed in alphabetical order.

About MOD

For MOD (modulation) you can select one of the following effects.

• Harmonist

• Flanger

• Phaser

• Sub 4band equalizer

• Chorus

• 2 x 2 chorus

• Short delay

• Humanizer

• Vibrato

• Guitar synth

• Ring modulator

• Slicer

• Pitch Shifter

* The effects that can be selected for MOD will depend on the

algorithm. Refer to the “Algorithm list” (p.49–90).

Section 4

MOD (modulation)

position can be changed in

• GUITAR MULTI 1

• BASS MULTI

PREAMP/SP.SIM (speaker simulator)

position can be changed in

• GUITAR MULTI 1

• GUITAR MULTI 2

• BASS MULTI

SFX (special effect)

position can be changed in

• GUITAR MULTI 2

* It is not possible to place SFX, MOD, or PREAMP/SP.SIM

after “MASTER.”

MOD can be used in the following algorithms.

• GUITAR MULTI 1

• BASS MULTI

• KEYBOARD MULTI

• VOCAL MULTI

• ISOLATOR

MOD parameters

MOD provides the following parameters. For details on the parameters of the selected effect, refer to “The function of each parameter” (p.91–120).

EFFECT

Turns the MOD effect on/off.

Section 4. Effect guide

SELECT (select effect)

Selects one of the following effects to use. If you modify the effect by “SELECT,” parameter used before modifying is initialized.

HR (Harmonist) (p.101) FL (Flanger) (p.98) PH (Phaser) (p.108) SEQ (Sub 4band equalizer) (p.116) CE (Chorus) (p.93) 2CE (2x2 chorus) (p.91) SDD (Short delay) (p.114) HU (Humanizer) (p.103) VB (Vibrato) (p.118) SYN (Guitar synth) (p.99) RM (Ring modulator) (p.112) SL (Slicer) (p.114) PS (Pitch Shifter) (p.109)

About SFX

For SFX (special effects), you can choose one of the following effects.

• Acoustic guitar simulator

• Bass guitar simulator

• Slow gear

• Feedbacker

• Pickup simulator

• Tremolo/pan

* SFX can be used in the “GUITAR MULTI 2” algorithm.

AC (Acoustic guitar simulator) (p.92) BS (Bass guitar simulator) (p.92) SG (Slow gear) (p.115) FB (Feedbacker) (p.97) PIC (Pickup simulator) (p.109) TR (Tremolo/pan) (p.117)

About FV (foot volume)

[FV] shown in the Algorithm represents the position where the volume is controlled with the expression pedal or footswitch when the Target of the Control Assign is set to FOOT VOLUME LEVEL (p.33, 105).

About DELAY, MultiTAP DELAY and STEREO PS DLY

When you have set BPM in DELAY TIME, DELAY TIME [L] and [R], and FB DELAY TIME [L] and [R], the following parameters will not be shown in the display.

DELAY (p.95)

DELAY TIME = BPM

• FINE TIME

STEREO DELAY (p.95)

DELAY TIME [L] = BPM

• FINE TIME [L]

DELAY TIME [R] = BPM

• FINE TIME [R]

SFX parameters

SFX has the following parameters. For details on the parameters of the selected effect, refer to “The function of each parameter” (p.91–120).

EFFECT

Turn the SFX effect on/off.

SELECT (select effect)

From the following effects, select the one that you wish to use. For details on the parameters of the selected effect, refer to “The function of each parameter” (p.91–120).

* If you edit an effect with “SELECT,” the effect is parameter that

you have set before editing will be initialized.

MULTI TAP DELAY (p.107)

TAP [1]–[20] DELAY TIME = BPM

• TAP [1]–[20] FINE TIME

STEREO PS DLY (stereo pitch shifter delay) (p.115)

FB DELAY TIME [L] = BPM

• FB FINE TIME [L]

FB DELAY TIME [R] = BPM

• FB FINE TIME [R]

Algorithm list

PB1 GUITAR MULTI 1

fig.4-231

Input L

COMPRESSOR

LIMITER

Input R

WAH

MOD

PREAMP/

SP.SIM

DELAY

4BAND EQ

CHORUS REVERB

This is a multi-effect for guitar that contains a preamp / speaker simulator. The MOD (Modulation) settings allow you to use guitar synth, slicer, or harmonist etc.

WAH

EFFECT OFF, ON SELECT WAH, AW

MOD: MODULATION lets you select one of the following effects.

MOD: HR (Harmonist)

FL (Flanger) PH (Phaser) SEQ (Sub Equalizer) 2CE (2X2 Chorus) SDD (Short Delay) HU (Humanizer) VB (Vibrato) SYN (Guitar Synth) RM (Ring Modulator) SL (Slicer)

PREAMP/SP.SIM and MOD can be moved to

<WAH: PEDAL WAH>

PEDAL 0–100 LEVEL 0–100

<AW: AUTO WAH>

MODE LPF, BPF POLARITY DOWN, UP SENS 0–100 FREQ 0–100 PEAK 0–100 RATE 0–100, BPM: DEPTH 0–100 LEVEL 0–100

PREAMP/SP.SIM (Speaker Simulator)

EFFECT OFF, ON PREAMP TYPE JC-120, CLEAN TWIN, CRUNCH,

the ( ) locations shown in the diagram.

COMPRESSOR/LIMITER

EFFECT OFF, ON SELECT COMP, LIMIT

<COMP: COMPRESSOR>

SUSTAIN 0–100 ATTACK 0–100 TONE -50–+50 LEVEL 0–100

<LIMIT: LIMITER>

THRESHOLD 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

VOLUME 0–100 BASS 0–100 MIDDLE 0–100 TREBLE 0–100 PRESENCE 0–100 (MATCH DRIVE, VO DRIVE: 0– -100) MASTER 0–100 BRIGHT OFF, ON GAIN LOW, MID, HIGH MIC SETTING CENT, 1–10 (cm) MIC LEVEL 0–100 DIRECT LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

NS.

SUPPRESSOR

Output L

Output R

Section 4

MATCH DRIVE, VO DRIVE, BLUES, BG LEAD, MS1959 (I), MS1959 (II), MS1959 (I+II), SLDN LEAD, METAL 5150, METAL DRIVE, AC.GUITAR, OD-1, OD-2 TURBO, DISTORTION, FUZZ

in the diagram.

Algorithm list

4BAND EQ (Equalizer)

EFFECT OFF, ON LOW EQ -20–+20 (dB) HIGH EQ -20–+20 (dB) LEVEL -20–+20 (dB) LO-MD F 100–10.0 k (Hz) LOW-MID Q 0.5–16.0 LOW-MID EQ -20–+20 (dB) HI-MD F 100–10.0 k (Hz) HI-MID Q 0.5–16.0 HI-MID EQ -20–+20 (dB)

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

MOD (Modulation)

EFFECT OFF, ON SELECT HR, FL, PH, SEQ, 2CE, SDD, HU, VB, SYN,

RM, SL

<HR: HARMONIST>

VOICE 1 MONO, 2 MONO, 2 STEREO MODE [1] FAST, MEDIUM, SLOW, MONO,

HARMONY

MODE [2] FAST, MEDIUM, SLOW, MONO,

HARMONY VOICE = 2 MONO, 2 STEREO

PITCH [1] -24–+24

MODE=FAST, MEDIUM, SLOW, MONO

FINE [1] -50–+50

MODE = FAST,MEDIUM, SLOW, MONO

PITCH [2] -24–+24 VOICE = 2 MONO, 2 STEREO

MODE = FAST,MEDIUM, SLOW, MONO

FINE [2] -50–+50 VOICE = 2 MONO, 2 STEREO

MODE = FAST,MEDIUM, SLOW, MONO

HARMONY [1] -2OCT–+2OCT, SCALE#1–SCALE#5

MODE = HARMONY

HARMONY [2] -2OCT–+2OCT, SCALE#1–SCALE#5

VOICE = 2 MONO, 2 STEREO

MODE = HARMONY PRE DELAY [1] 0–300 (msec), BPM: PRE DELAY [2] 0–300 (msec), BPM:

VOICE = 2 MONO, 2 STEREO FEEDBACK 0–100 LEVEL [1] 0–100 LEVEL [2] 0–100 VOICE = 2 MONO, 2 STEREO KEY C (Am)–B (G#m) MODE = HARMONY DIR LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<FL: FLANGER>

RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 SEPARATE 0–100 LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<PH: PHASER>

TYPE 4STAGE, 8STAGE, 12STAGE, BI-PHASE RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 STEP OFF, 1–100 LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<SEQ: SUB 4BAND EQ>

LOW EQ -20–+20 (dB) HIGH EQ -20–+20 (dB) LO-MD F 100–10.0 k (Hz) LOW-MID Q 0.5–16.0 LOW-MID EQ -20–+20 (dB) HI-MD F 100–10.0 k (Hz) HI-MID Q 0.5–16.0 HI-MID EQ -20–+20 (dB) LEVEL -20–+20 (dB) POSITION Can be moved to the ( ) locations shown

in the diagram.

<2CE: 2x2 CHORUS>

XOVER 100–4.0 k (Hz) LOW RATE 0–100, BPM: LOW DEPTH 0–100 LOW PRE DELAY 0.0–40.0 (msec) LOW LEVEL 0–100 HIGH RATE 0–100, BPM: HIGH DEPTH 0–100 HIGH PRE DELAY 0.0–40.0 (msec) HIGH LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<SDD: SHORT DELAY>

DELAY TIME 0–400 (msec), BPM: FEEDBACK 0–100 FX LEVEL 0–120 POSITION Can be moved to the ( ) locations shown

in the diagram.

Algorithm list

<HU: HUMANIZER>

MODE PICK, AUTO, RANDOM VOWEL [1] a, e, i, o, u MODE = PICK, AUTO VOWEL [2] a, e, i, o, u MODE = PICK, AUTO SENS 0–100 MODE = PICK RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 MODE = AUTO LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<VB: VIBRATO>

RATE 0–100, BPM: DEPTH 0–100 TRIGGER OFF, ON RISE TIME 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<SYN: GUITAR SYNTH>

SENS 0–100 WAVE SQR, SAW, BRASS, BOW CHROMATIC OFF, ON WAVE = SQR, SAW OCT SHIFT 0,- 1, -2 WAVE = SQR, SAW PWM RATE 0–100 WAVE=SQR PWM DEPTH 0–100 WAVE=SQR CUTOFF F 0–100 RESONANCE 0–100 FLT SENS 0–100 FLT DECAY 0–100 FLT DEPTH -100–+100 ATTACK DECAY, 0–100 RELEASE 0–100 VELOCITY 0–100 HOLD OFF, ON WAVE = SQR, SAW SYNTH LEVEL 0–100 DIR LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<RM: RING MODULATOR>

MODE NORMAL, INTELLIGENT FREQ 0–100 FX LEVEL 0–100 DIR LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<SL: SLICER>

PATTERN P01–P20 RATE 0–100, BPM: TRIGGER SENS 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

DELAY

EFFECT OFF, ON TYPE SINGLE, TAP DELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec) TAP TIME 0–100 (%) TYPE = TAP FEEDBACK 0–100 HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–120

CHORUS

EFFECT OFF, ON MODE MONO, ST. RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–100

REVERB

EFFECT OFF, ON TYPE ROOM 1, ROOM 2, HALL 1, HALL 2,

PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB2 GUITAR MULTI 2

fig.4-232

Input L

PREAMP/

SP.SIM

DELAY

4BAND EQ

Output L

CHORUS REVERB

Output R

Input R

COMPRESSOR

LIMITER

SFX WAH

NS.

SUPPRESSOR

This is a multi-effect for guitar that contains a preamp/speaker simulator. The SFX (special effects) settings allow you to use an acoustic simulator, bass guitar simulator, or pickup simulator etc.

<BS: BASS GTR SIM>

CHARACTER LOOSE, TIGHT

SFX lets you select one of the following effects.

SFX: AC (Acoustic Guitar Simulator)

BS (Bass Guitar Simulator) SG (Slow Gear) FB (Feedbacker) PIC (Pick Up Simulator) TR (Tremolo/Pan)

PREAMP/SP.SIM and SFX can be moved to the ( ) locations shown in the diagram.

COMPRESSOR/LIMITER

EFFECT OFF, ON SELECT COMP, LIMIT

<COMP: COMPRESSOR>

SUSTAIN 0–100 ATTACK 0–100 TONE -50–+50 LEVEL 0–100

<LIMIT: LIMITER>

THRESHOLD 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

SFX (Special Effect)

EFFECT OFF, ON SELECT AC, BS, SG, FB, PIC, TR

<AC: ACOUSTIC GtSIM>

TOP 0–100 BODY 0–100 LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

FX LEVEL 0–100 DIR LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<SG: SLOW GEAR>

SENS 0–100 RISE TIME 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<FB: FEEDBACKER>

MODE OSC, BOOST RISE TIME 0–100 RISE TIME 0–100 MODE = OSC F.B LEVEL 0–100 MODE = OSC F.B LEVEL 0–100 MODE = OSC VIB RATE 0–100 MODE = OSC VIB DEPTH 0–100 MODE = OSC F.B DEPTH 0–100 MODE = BOOST FEEDBACK TONE NORMAL, +1OCT MODE = BOOST POSITION Can be moved to the ( ) locations shown

in the diagram.

<PIC: PICKUP SIM>

TYPE 'S' to 'H', 'H' to 'S', 'H' to 'HF' TONE -50–+50 LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<TR: TREMOLO/PAN>

MODE TREMOLO, PAN WAVE SHAPE 0–100 RATE 0–100, BPM: DEPTH 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

Algorithm list

WAH

EFFECT OFF, ON SELECT WAH, AW

<WAH: PEDAL WAH>

PEDAL 0–100 LEVEL 0–100

<AW: AUTO WAH>

MODE LPF, BPF POLARITY DOWN, UP SENS 0–100 FREQ 0–100 PEAK 0–100 RATE 0–100, BPM: DEPTH 0–100 LEVEL 0–100

PREAMP/SP.SIM (Speaker Simulator)

EFFECT OFF, ON PREAMP TYPE JC-120, CLEAN TWIN, CRUNCH,

MATCH DRIVE, VO DRIVE, BLUES, BG LEAD, MS1959 (I), MS1959 (II), MS1959 (I+II), SLDN LEAD, METAL 5150, METAL DRIVE, AC.GUITAR, OD-1,

OD-2 TURBO, DISTORTION, FUZZ VOLUME 0–100 BASS 0–100 MIDDLE 0–100 TREBLE 0–100 PRESENCE 0–100 (MATCH DRIVE, VO DRIVE: 0– -100) MASTER 0–100 BRIGHT OFF, ON GAIN LOW, MID, HIGH MIC SETTING CENT, 1–10 (cm) MIC LEVEL 0–100 DIRECT LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

4BAND EQ (Equalizer)

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

DELAY

EFFECT OFF, ON TYPE SINGLE, TAP DELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec) TAP TIME 0–100 (%) TYPE = TAP FEEDBACK 0–100 HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–120

CHORUS

EFFECT OFF, ON MODE MONO, ST. RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–100

REVERB

EFFECT OFF, ON TYPE ROOM 1, ROOM 2, HALL 1, HALL 2,

PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB3 BASS MULTI

fig.4-233

Input L

COMPRESSOR

DEFRETTER

Input R

OCTAVE

NS.

SUPPRESSOR

PREAMP/

SP.SIM

DELAY MOD REVERB

DISTORTION

This is a multi-effect for bass guitar. You can use overdrive/distortion, octave, or defretter etc. to create the sound you want.

COMPRESSOR/DEFRETTER

EFFECT OFF, ON

MOD: MODULATION lets you select one of the following effects.

MOD: FL (Flanger)

PH (Phaser) CE (Chorus)

* The phaser effect is mono output.

COMP: COMPRESSOR/DEFRETTER lets you select one of the following effects.

COMP: COMP (Compressor)

DEFRET (Defretter)

SELECT COMP, DEFRET

<COMP: COMPRESSOR>

SUSTAIN 0–100 ATTACK 0–100 ENH FREQ 0–3 ENH LEVEL 0–100 LEVEL 0–100

<DEFRET: DEFRETTER>

SENS 0–100 ATTACK 0–100 DEPTH 0–100 LEVEL 0–100

4BAND EQ

Output L

Output R

EQ: 4BAND EQ/T-WAH lets you select one of the following effects.

EQ: 4BAND EQ (Equalizer)

T-WAH (Touch wah)

* To select an effect of the COMP or EQ, use the

“SELECT”.

* If you edit an effect with “SELECT,” the effect is parameter that

you have set before editing will be initialized.

PREAMP/SP.SIM and MOD can be moved to the ( ) locations shown in the diagram.

OCTAVE

EFFECT OFF, ON OCT LEVEL 0–100 DIR LEVEL 0–100

PREAMP/SP.SIM (Speaker Simulator)

EFFECT OFF, ON PREAMP TYPE AC, AMG VOLUME 0–100 BASS -100–+100 MIDDLE -100–+100 TREBLE -100–+100 MASTER 0–100 BRIGHT OFF, ON GAIN LOW, MID, HIGH MIC SETTING CENT, 1–10 (cm), OFF MIC LEVEL 0–100 DIR LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

Algorithm list

DISTORTION

EFFECT OFF, ON TYPE TURBO OD, BASS OD, HARD DS, FUZZ 1,

FUZZ 2 DRIVE 0–100 BASS -50–+50 TREBLE -50–+50 FX LEVEL 0–100 DIR LEVEL 0–100

4BAND EQ (Equalizer)/T-WAH

EFFECT OFF, ON SELECT 4BAND EQ, T-WAH

<4BAND EQ>

LOW EQ -20–+20 (dB) HIGH EQ -20–+20 (dB) LEVEL -20–+20 (dB) LO-MD F 100–10.0 k (Hz) LOW-MID Q 0.5–16.0 LOW-MID EQ -20–+20 (dB) HI-MD F 100–10.0 k (Hz) HI-MID Q 0.5–16.0 HI-MID EQ -20–+20 (dB)

<T-WAH>

SENS 0–100 START DOWN, UP STOP 0–100 RESONANCE 0–100 FX LEVEL 0–100 DIR LEVEL 0–100

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

DELAY

EFFECT OFF, ON TYPE SINGLE, TAP DELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec) TAP TIME 0–100 (%) TYPE = TAP FEEDBACK 0–100 HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–120

MOD (Modulation)

EFFECT OFF, ON SELECT FL, PH, CE

<FL: FLANGER>

RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 SEPARATE 0–100 LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<PH: PHASER>

RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

<CE: CHORUS>

MODE MONO, ST. RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0 –40.0 (msec) LOW CUT FLAT, 55–800 (Hz) FX LEVEL 0–100 POSITION Can be moved to the ( ) locations shown

in the diagram.

REVERB

EFFECT OFF, ON TYPE ROOM1, ROOM2, HALL1, HALL 2, PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB4 ACOUSTIC MULTI

fig.4-234

Input L

ACOUSTIC

PROCESSOR

Input R

COMPRESSOR

LIMITER

PREAMP/

SP.SIM

AFB

2x2 CHORUS

NS.

SUPPRESSOR

This is a multi-effect for acoustic guitar. You can use effects such as acoustic and anti-feedback to create a fully-produced acoustic sound.

ACOUSTIC

EFFECT OFF, ON BODY 0–100 MIC DISTANCE 0–100

COMPRESSOR/LIMITER

EFFECT OFF, ON SELECT COMP, LIMIT

<COMP: COMPRESSOR>

SUSTAIN 0–100 ATTACK 0–100 TONE -50–+50 LEVEL 0–100

<LIMIT: LIMITER>

THRESHOLD 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

PREAMP/SP.SIM (Speaker Simulator)

EFFECT OFF, ON VOLUME 0–100 BASS 0–100 MIDDLE 0–100 TREBLE 0–100 PRESENCE 0–100 MASTER 0–100 GAIN LOW, MID, HIGH MIC SETTING CENT, 1–10 (cm) MIC LEVEL 0–100 DIR LEVEL 0–100

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

2x2 CHORUS

EFFECT OFF, ON XOVER 100–4.0 k (Hz) LOW RATE 0–100, BPM: LOW DEPTH 0–100 LOW PRE DELAY 0.0–40.0 (msec) LOW LEVEL 0–100 HIGH RATE 0–100, BPM: HIGH DEPTH 0–100 HIGH PRE DELAY 0.0–40.0 (msec) HIGH LEVEL 0–100

REVERB

EFFECT OFF, ON TYPE ROOM1, ROOM2, HALL1, HALL 2, PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

AFB (Anti-Feedback)

EFFECT OFF, ON DEPTH 0–100 FREQUENCY 0–100

FOOT LEVEL 0–100

Output L

REVERB

Output R

PB5 KEYBOARD MULTI

fig.4-211

Input L

Input R

RING

MODULATOR

4BAND EQ

NS.

SUPPRESSOR

PITCH

SHIFTER

Algorithm list

MOD

Output L

Output R

DELAY

CHORUS CHORUS

TREMOLO/

PAN

REVERB

This is a multi-effect suitable for keyboard. It provides a wide variety of effects ranging from basic sounds, to special effects using a ring modulator or pitch shifter.

MOD: MODULATION lets you select one of the following effects.

MOD: FL (Flanger)

PH (Phaser)

RING MODULATOR

EFFECT OFF, ON FREQ 0–100 FX LEVEL 0–100 DIR LEVEL 0–100

4BAND EQ (Equalizer)

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

MOD (Modulation)

EFFECT OFF, ON SELECT FL, PH

<FL: FLANGER>

RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 SEPARATE 0–100

<PH: PHASER>

RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE -100–+100 SEPARATE 0–100

DELAY

EFFECT OFF, ON DELAY TIME 0–800 (msec), BPM: FINE TIME 0–20 (msec) FEEDBACK 0–100 FX LEVEL 0–120

Section 4

PITCH SHIFTER

EFFECT OFF, ON MODE FAST, MEDIUM, SLOW PITCH -24–+24 FINE -50–+50 BALANCE DIR:FX 100:0–0:100 LEVEL 0–100

STEREO CHORUS

EFFECT OFF, ON POLARITY SYNC, INVERT RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) HIGH CUT 700–11 k (Hz), FLAT EFFECT LEVEL 0–100

Algorithm list

TREMOLO/PAN

EFFECT OFF, ON MODE TREMOLO, PAN WAVE SHAPE 0–100 RATE 0–100, BPM: DEPTH 0–100

REVERB

EFFECT OFF, ON TYPE ROOM1, ROOM2, HALL1, HALL 2, PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Algorithm list

PB6 ROTARY MULTI

fig.4-212

Input L

NS.

SUPPRESSOR

Input R

4BAND EQ

OVER DRIVE

ROTARY REVERB

This simulates a rotary speaker that produces a modulating sound by rotating the speaker. It also simulates the distortion (Overdrive) produced by the vacuum tube amp of a rotary speaker

Output L

Output R

4BAND EQ (Equalizer)

EFFECT OFF, ON LOW EQ -20–+20 (dB) HIGH EQ -20–+20 (dB) LEVEL -20–+20 (dB) LO-MD F 100–10.0 k (Hz) LOW-MID Q 0.5–16.0 LOW-MID EQ -20–20 (dB) HI-MD F 100–10.0 k (Hz) HI-MID Q 0.5–16.0 HI-MID EQ -20–+20 (dB)

OVER DRIVE

EFFECT OFF, ON GAIN 0–100 DRIVE 1–100 LEVEL 0–100

ROTARY

EFFECT OFF, ON SPEED SELECT SLOW, FAST HORN FAST 5.00–10.00 (Hz) ROTOR FAST 5.00–10.00 (Hz) HORN SLOW 0.05–5.00 (Hz) ROTOR SLOW 0.05–5.00 (Hz) RISE TIME HORN 1–100 RISE TIME ROTOR 1–100 FALL TIME HORN 1–100 FALL TIME ROTOR 1–100 BALANCE ROTOR:HORN 90:10–10:90 MIC SETTING OFF MIC, ON MIC HORN DEPTH 0–100 ROTOR DEPTH 0–100 HORN TRMLO 0–100 ROTOR TRMLO 0–100 DIFFUSION 0–100 FX LEVEL 0–100

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

REVERB

EFFECT OFF, ON TYPE ROOM1, ROOM2, HALL1, HALL 2, PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

Section 4

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Algorithm list

PB7 VOCAL MULTI

fig.4-210

Input L

COMPRESSOR

LIMITER

Input R

DE-ESSER

MOD DELAY CHORUS REVERB

4BAND EQ

ENHANCER

SUPPRESSOR

NS.

Output L

Output R

This is a multi-effect for vocals. It allows you to use flanger, phaser, and pitch shifter etc. to produce special effects.

4BAND EQ (Equalizer)

EFFECT OFF, ON

MOD: MODULATION lets you select one of the following effects.

MOD: FL (Flanger)

PH (Phaser) PS (Pitch Shifter)

COMPRESSOR/LIMITER

EFFECT OFF, ON SELECT COMP, LIMIT

<COMP: COMPRESSOR>

THRESHOLD 0–100 RATIO 1.5:1–100:1 ATTACK 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

<LIMIT: LIMITER>

THRESHOLD 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

ENHANCER

EFFECT OFF, ON SENS 0–100 FREQUENCY 1.0 k–10.0 k (Hz) MIX LEVEL 0–100 LoMIX LEVEL 0–100 LEVEL 0–100

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

DE-ESSER

EFFECT OFF, ON SENS 0–100 FREQUENCY 1.0 k–10.0 k (Hz)

MOD (Modulation)

EFFECT OFF, ON SELECT FL, PH, PS

<FL: FLANGER>

RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 SEPARATE 0–100 LEVEL 0–100

<PH: PHASER>

TYPE 4STAGE, 8STAGE, 12STAGE, BI-PHASE RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 STEP OFF, 1–100 LEVEL 0–100

<PS: PITCH SHIFTER>

MODE FAST, MEDIUM, SLOW, INV1, INV2 PITCH -24–+24 FINE -50–+50 BALANCE DIR:FX 100:0–0:100 LEVEL 0–100

DELAY

EFFECT OFF, ON TYPE SINGLE, TAP DELAY TIME 0–1200 (msec), BPM: FINE TIME 0–20 (msec) TAP TIME 0–100% TYPE = TAP FEEDBACK 0–100 HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–120

Algorithm list

CHORUS

EFFECT OFF, ON MODE MONO, ST. RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT,55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–100

REVERB

EFFECT OFF, ON TYPE ROOM 1, ROOM 2, HALL 1, HALL 2,

PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB8 VOCODER

fig.4-227

Input L (Instrument)

VOCODER

Input R (Mic)

NS.

SUPPRESSOR

CHORUS

REVERB

CHORUS

Vocoder is an effect that allows you to produce the impression that an instrument is speaking or singing with a human voice. When using the vocoder, input an instrumental sound to the L channel, and a human voice to the R channel. The instrumental sound will be divided into 10 frequency bands, and will be processed according to the frequency components of the voice.

* We recommended the microphone should be pre-amplified (by a mixer, etc.).

Output L

Output R

VOCODER

EFFECT OFF, ON ENVELOPE SHARP, SOFT, LONG PAN MODE MONO,STEREO, L->R, R->L HOLD OFF, ON MIC SENS 0–100 SYNTH LEVEL 0–100 CHAR [1]– [10] 0–100 MIC MIX 0–100 MIC HPF THRU, 1.0 k–20.0 k (Hz) MIC PAN L:R 100:0–0:100 NS THRESHOLD 0–100

STEREO CHORUS

EFFECT OFF, ON POLARITY SYNC, INVERT RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT EFFECT LEVEL 0–100

REVERB

EFFECT OFF, ON TYPE ROOM 1, ROOM 2, HALL 1, HALL 2,

PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

PB9 VoiceTRANSFORM (Voice Transformer)

fig.4-226

Input L

Output L

VOICE

TRANSFORM

Input R

By separately controlling the basic pitch and the formants, this effect lets you create a variety of vocal characters.

CHORUS REVERB

Output R

Algorithm list

VoiceTRANSFORM (Voice Transformer)

EFFECT OFF, ON ROBOT OFF,ON CRMTC PITCH -12–+12 FINE PITCH -100–+100 CRMTC FRMT -12–+12 FINE FRMT -100–+100 MIX BAL 0–100

CHORUS

EFFECT OFF, ON MODE MONO, ST. RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–100

REVERB

EFFECT OFF, ON TYPE ROOM 1, ROOM 2, HALL 1, HALL 2,

PLATE REVERB TIME 0.1–10.0 (sec) PRE DELAY 0–100 (msec) LOW CUT 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DENSITY 0–10 FX LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB10 ISOLATOR

fig.4-229

Input L

DELAY L

3 BAND

ISOLATOR

Input R

MOD

DELAY R

A three-band isolator divides the input signal into three frequency bands (low / middle / high), and allows you to extract or delete each frequency band. An effect such as chorus or slicer can be applied to the extracted sound.

<CE: STEREO CHORUS>

POLARITY SYNC, INVERT

MOD: MODULATION lets you select one of the following effects.

MOD: PH (Stereo Phaser)

FL (Stereo Flanger) CE (Stereo Chorus) SL (Stereo Slicer)

3 BAND ISOLATER

EFFECT OFF, ON AntiPHASE LowLEVEL 0–100 AntiPHASE MidLEVEL 0–100 LOW MIX SWITCH OFF, ON MID MIX SWITCH OFF, ON LOW LEVEL -60–+4 (dB) MID LEVEL -60–+4 (dB) HIGH LEVEL -60–+4 (dB)

MOD (Modulation)

EFFECT OFF, ON SELECT PH, FL, CE, SL

<PH: STEREO PHASER>

TYPE 4–12 (STAGE) RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE -100–+100 SEPARATE 0–100 STEP OFF, 1–100

<FL: STEREO FLANGER>

RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 SEPARATE 0–100 GATE OFF, 1–100

RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11k (Hz), FLAT EFFECT LEVEL 0–100

<SL: STEREO SLICER>

PATTERN P01–P20 RATE 0–100, BPM: TRIGGER SENS 0–100

STEREO DELAY

EFFECT OFF, ON DELAY TIME [L] 0–1400 (msec), BPM: FINE TIME [L] 0–20 (msec) DELAY TIME [R] 0–1400 (msec), BPM: FINE TIME [R] 0–20 (msec) FEEDBK [L] 0–100 FEEDBK [R] 0–100 FX LEVEL 0–120 DIR LEVEL 0–100 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Output L

Output R

PB11 LOFI PROCESSOR

fig.4-216a

Input L

Algorithm list

Output L

NS.

SUPPRESSOR

Output R

Input R

4BAND EQ

LOFI BOX

This effect allows you to simulate various levels of audio quality, such as the sound that is heard from an AM radio, the sound of an old record played on a gramophone, and even extreme changes in tonality produced by the lo-fi processor.

4BAND EQ (Equalizer)

<PROCESSOR: LOFI PROCESSOR>

PRE FILTER OFF, ON SAMPLE RATE OFF, 1/2–1/32 BIT OFF, 15–1 POST FILTER OFF, ON FX LEVEL 0–100 DIR LEVEL 0–100 REALTIME MODIFY FILTER OFF, LPF, BPF, HPF CUTOFF 0–100 RESONANCE 0–100 GAIN 0–24 (dB)

LOFI BOX

EFFECT OFF, ON SELECT RADIO, PLAYER, PROCESSOR

<RADIO: LOFI RADIO>

TUNING 0–100 NOISE 0–100 FILTER 0–100 SOUND 0–100

<PLAYER: LOFI PLAYER>

WOW FLUTTER 0–100 NOISE 0–100 FILTER 0–100 SOUND 0–100

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB12 REVERB 1

fig.4-236

Input L

Output L

REVERB

4BAND EQ

DELAY

Input R

Output R

This simulates the reverberation of a room or hall. A delay can also be used simultaneously.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

4BAND EQ (Equalizer)

REVERB

EFFECT OFF, ON ROOM SIZE 5.6–32.6 (m) REVERB TIME 0.1–32.0 (sec) BALANCE DIR:FX 100:0–0:100 EFFECT LEVEL 0–100 PRE DELAY 0–200 (msec) DENSITY 0–100 EARLY REF LEVEL 0–100 RELEASE DENSITY 0–100 LOW DAMP GAIN -36.0–0.0 (dB) LOW DAMP FREQUENCY 55–4.0 k (Hz) HIGH DAMP GAIN -36.0–0.0 (dB) HIGH DAMP FREQUENCY 4.0 k–20.0 k (Hz) HIGH CUT FILTER 200–20.0 k (Hz)

DELAY

EFFECT OFF, ON TYPE SINGLE, 3TAP

(SINGLE)

DELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec) FEEDBACK 0–100 FX LEVEL 0–120 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT

(3TAP)

DELAY TIME [C] 0–1800 (msec), BPM: FINE TIME [C] 0–20 (msec) TIME [L] 1–400 (%) TIME [R] 1–400 (%) FEEDBACK 0–100 LEVEL [C] 0–100 LEVEL [L] 0–100 LEVEL [R] 0–100 FX LEVEL 0–120 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

PB13 REVERB 2

fig.4-202

Input L

CHORUS

Direct Level

Algorithm list

Output L

4BAND EQ

CHORUS

Input R

REVERB

Direct Level

Output R

This connects an equalizer, chorus, and reverb in series. After using the equalizer to adjust the input sound, you can use chorus and reverb to create spacious reverb.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

4BAND EQ (Equalizer)

STEREO CHORUS

EFFECT OFF, ON POLARITY SYNC, INVERT RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT EFFECT LEVEL 0–100 DIRECT SWITCH OFF, ON

REVERB

EFFECT OFF, ON TYPE ROOM, HALL SIZE 1–10 REVERB TIME 0.1–32.0 (sec) BALANCE DIR:FX 100:0–0:100 EFFECT LEVEL 0–100 PRE DELAY 0–200 (msec) DENSITY 0–100 EARLY REF LEVEL 0–100 LOW DAMP GAIN -36.0–0.0 (dB) LOW DAMP FREQUENCY 55–4.0 k (Hz) HIGH DAMP GAIN -36.0–0.0 (dB) HIGH DAMP FREQUENCY 4.0 k–20.0 k (Hz) HIGH CUT FILTER 200–20.0 k (Hz)

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB14 GATE REVERB

fig.4-201

GATE

Input L

Input R

4BAND EQ

Direct Level

REVERB

Direct Level

Output L

Output R

This is a gated reverb. You can specify how the reverb depth will be affected by the input level. It can also be used as a conventional reverb.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

4BAND EQ (Equalizer)

GATE

EFFECT OFF, ON THRESHOLD 0–100 HOLD TIME 1–100 RLS TIME 1–100

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

REVERB

Algorithm list

PB15 2CH RSS (2 channel RSS)

fig.4-206

Input L

RSS L

4BAND EQ

RSS R

Input R

This allows the sounds that are input from each channel to be positioned in three-dimensional space. The position can be specified by the RSS (2CH) Azimuth and Elevation.

Output L

Output R

4BAND EQ (Equalizer)

RSS (2ch) PROCESSOR

EFFECT OFF, ON AZIMUTH [L] L:180–R:180 ELEVATION [L] -54–+54 AZIMUTH [R] L:180–R:180 ELEVATION [R] -54–+54

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB16 DELAY RSS

fig.4-208

Input L

4BAND EQ

Feedback

L ch Delay

3TAP DELAY

R ch Delay

Direct Switch

Level L

Center Delay

Level R

Output L

RSS

Input R

Direct Switch

Output R

This is a delay that allows three delay sounds to be adjusted independently. The left and right outputs are connected to RSS; the left-channel sound is positioned at 90 degrees left, and the right-channel sound is positioned at 90 degrees right. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

4BAND EQ (Equalizer)

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

DELAY

EFFECT OFF, ON DELAY TIME [C] 0–2800 (msec), BPM: FINE TIME [C] 0–20 (msec) TIME [L] 1–400 (%) TIME [R] 1–400 (%) FEEDBACK 0–100 LEVEL [C] 0–100 LEVEL [L] 0–100 LEVEL [R] 0–100 FX LEVEL 0–120 DIR LEVEL 0–100 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT RSS SWITCH OFF, ON

PB17 CHORUS RSS

fig.4-209

Input L

Direct Switch

Algorithm list

Output L

Input R

CHORUS

4BAND EQ

CHORUS

Direct Switch

RSS

Output R

The output of the chorus is connected to RSS. The left-channel sound is positioned at 90 degrees left, and the right-channel sound is positioned at 90 degrees right. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

4BAND EQ (Equalizer)

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

STEREO CHORUS

EFFECT OFF, ON POLARITY SYNC, INVERT RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT,55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT EFFECT LEVEL 0–100 DIRECT SWITCH OFF, ON RSS SWITCH OFF, ON

Algorithm list

PB18 REVERB RSS

fig.4-235

Input L

Direct Level

Output L

Input R

4BAND EQ

REVERB

Direct Level

RSS

Output R

The output of the reverb is connected to RSS. The left-channel sound is positioned at 90 degrees left, and the right-channel sound is positioned at 90 degrees right. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

4BAND EQ (Equalizer)

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

REVERB

PB19 RSS PANNER

fig.4-207

Input L

4BAND EQ

Input R

This produces the impression of a sound that rotates around the listener. You can use a flanger to add an even more distinctive effect.

FLANGER

Algorithm list

Output L

RSS PANNER

Output R

4BAND EQ (Equalizer)

FLANGER

EFFECT OFF, ON RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 GATE OFF, 1–100 DIRECT SWITCH OFF, ON

RSS PANNER

EFFECT OFF, ON SPEED 0–100, BPM: DIRECTION CW, CCW

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB20 DELAY

fig.4-203

Input L

Direct Level

DELAY L

Output L

Feedback

4BAND EQ

Input R

DELAY C

DELAY R

Direct Level

You can choose one of two types of delay; single, or three-tap. By using the three-tap delay, you can make independent settings for each of the three delay sounds. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

4BAND EQ (Equalizer)

DELAY

EFFECT OFF, ON TYPE SINGLE, 3TAP

(SINGLE)

DELAY TIME 0–2800 (msec), BPM: FINE TIME 0–20 (msec) FEEDBACK 0–100 FX LEVEL 0–120 DIR LEVEL 0–100 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT

(3TAP)

DELAY TIME [C] 0–2800 (msec), BPM: FINE TIME [C] 0–20 (msec) TIME [L] 1–400 (%) TIME [R] 1–400 (%) FEEDBACK 0–100 LEVEL [C] 0–100 LEVEL [L] 0–100 LEVEL [R] 0–100 FX LEVEL 0–120 DIR LEVEL 0–100 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Output R

PB21 MultiTAP DELAY (20 TAP)

fig.4-223

Input L

Direct Level

Algorithm list

Output L

Pan 1 Pan 2

Level 20

Pan 20

Output R

Input R

Level 1 Level 2

4BAND EQ

MULTI TAP DELAY

Feedback

Direct Level

This delay lets you make independent settings for twenty separate delay sounds. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

4BAND EQ (Equalizer)

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

MULTI TAP DELAY

EFFECT OFF, ON RATIO 1–100 (%) TAP [1]– [20] DELAY TIME 0–2800 (msec), BPM: TAP [1]– [20] FINE TIME 0–20 (msec) TAP [1]– [20] PAN L:R 100:0–0:100 TAP [1]– [20] LEVEL 0–100 FB DELAY 0–2800 (msec), BPM: FB FINE 0–20 (msec) FB LEVEL 0–100 LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT DIR LEVEL 0–100 FX LEVEL 0–120

Algorithm list

PB22 TAPE ECHO201

fig.4-230

Input L

TAPE

ECHO201

Input R

This is a simulation of a Roland RE-201 tape echo.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

Output L

Output R

TAPE ECHO201

EFFECT OFF, ON MODE 1–7 REPEAT RATE 0–100 INTENSITY 0–100 TONE BASS -100–+100 TONE TREBLE -100–+100 PAN HEAD S L:R 100:0–0:100 PAN HEAD M L:R 100:0–0:100 PAN HEAD L L:R 100:0–0:100 TAPE DIST 0–100 WOW RATE 0–100 WOW DEPTH 0–100 FX LEVEL 0–100 DIR LEVEL 0–100

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

PB23 MIC SIMULATOR

fig.4-228

Input L

MIC CONV DISTANCE LIMITER

Algorithm list

Output L

BASS CUT FILTER

Link

MIC CONV DISTANCE LIMITER

Input R

With this effect, sounds that were picked up by a standard dynamic mic, pin mic, or direct line, can be converted to produce the impression that the sounds were recorded on an expensive condenser mic or a special studio mic. A proximity effect or a sense of distance from the mic can also be added.

* We recommended the microphone should be pre-amplified (by a mixer, etc.).

Lch & Rch: MIC CONV (Mic Converter)

EFFECT OFF, ON INPUT DR-20, SML.DY, HED.DY, MIN.CN, FLAT OUTPUT SML.DY, VOC.DY, LRG.DY, SML.CN,

LRG.CN, VNT.CN, FLAT

PHASE NOR, INV

* If “MIC.CN” is selected for Input, it will be possible to select

only “SML.DY” or “LRG.CN” for Output.

BASS CUT FILTER

Output R

Lch & Rch: LIMITER

EFFECT OFF, ON THRESHOLD -60–0 (dB) ATTACK 0–100 RELEASE 0–100 DETECT HPF THRU, 20–2000 (Hz) LEVEL -60–+4 (dB)

MASTER

Lch & Rch: BCF (Bass cut filter)

EFFECT OFF, ON FREQUENCY THRU, 20–2000 (Hz)

LINK OFF, ON LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Lch & Rch: DISTANCE

EFFECT OFF, ON PROX.FX -12–+12 TIME 0–3000 (cm)

Section 4

Algorithm list

PB24 SPACE CHORUS

fig.4-217

Input L

SPACE

CHORUS

Input R

This is a chorus that simulates a Roland SDD-320 (Dimension D).

4BAND EQ

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

Output L

Output R

SPACE CHORUS

EFFECT OFF, ON INPUT MONO, ST. MODE 1, 2, 3, 4, 1+4, 2+4, 3+4 FX LEVEL 0–100 DIRECT SWITCH OFF, ON

4BAND EQ (Equalizer)

EFFECT OFF, ON LOW EQ -20–+20 (dB) HIGH EQ -20–+20 (dB) LEVEL -20–+20 (dB) LO-MD F 100–10.0 k (Hz) LOW-MID Q 0.5–16 LOW-MID EQ -20–+20 (dB) HI-MD F 100–10.0 k (Hz) HI-MID Q 0.5–16 HI-MID EQ -20–+20 (dB)

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

PB25 StFLANGER DLY (Stereo Flanger Delay)

fig.4-214

Input L

DELAY L

FLANGER

4BAND EQ

Algorithm list

Output L

DELAY R

Input R

FLANGER

Output R

This algorithm combines a stereo flanger, stereo delay, and equalizer in series. It allows you to add modulation to the sound while preserving the positioning of the stereo input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

STEREO DELAY

4BAND EQ (Equalizer)

Section 4

STEREO FLANGER

EFFECT OFF, ON RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE 0–100 SEPARATE 0–100 GATE OFF, 1–100 DIRECT SWITCH OFF, ON

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Algorithm list

PB26 StPHASER DLY (Stereo Phaser Delay)

fig.4-213

Input L

DELAY L

PHASER

4BAND EQ

Output L

DELAY R

Input R

PHASER

Output R

This algorithm combines a stereo phaser, stereo delay, and equalizer in series. It allows you to add modulation to the sound while preserving the positioning of the stereo input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

STEREO DELAY

4BAND EQ (Equalizer)

MASTER

STEREO PHASER

EFFECT OFF, ON TYPE 4–12 (STAGE) RATE 0–100, BPM: DEPTH 0–100 MANUAL 0–100 RESONANCE -100–+100 SEPARATE 0–100 STEP OFF, 1–100

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

PB27 StCHORUS DLY (Stereo Chorus Delay)

fig.4-204

Input L

DELAY L

CHORUS

4BAND EQ

Algorithm list

Output L

DELAY R

Input R

CHORUS

Output R

This algorithm combines a stereo chorus, stereo delay, and equalizer in series. It allows you to add depth and spaciousness to the sound while preserving the positioning of the stereo input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

STEREO DELAY

4BAND EQ (Equalizer)

MASTER

STEREO CHORUS

EFFECT OFF, ON POLARITY SYNC, INVERT RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT EFFECT LEVEL 0–100 DIRECT SWITCH OFF, ON

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB28 STEREO PS DLY (Stereo Pitch Shifter Delay)

fig.4-205

Input L

PITCH SHIFTER L

FB DELAY L

4BAND EQ

FB DELAY R

PITCH SHIFTER R

Input R

This allows you to apply delay which is fed back to the pitch-shifted sound. You can use this to create special pitch-shift effects in which the pitch continues to change in steps. Of course it can also be used as a conventional stereo pitch shifter.

Output L

Output R

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

STEREO PS DLY (Stereo Pitch Shifter Delay)

EFFECT OFF, ON MODE FAST, MEDIUM, SLOW PITCH [L] -24–+24 FINE [L] -50–+50 PITCH [R] -24–+24 FINE [R] -50–+50 PRE DELAY [L] 0.0–50.0 (msec) PRE DELAY [R] 0.0–50.0 (msec) FB DELAY TIME [L] 0–1200 (msec), BPM: FB FINE TIME [L] 0–20 (msec) FB DELAY TIME [R] 0–1200 (msec), BPM: FB FINE TIME [R] 0–20 (msec) FB LEVEL [L] 0–100 FB LEVEL [R] 0–100 BALANCE DIR:FX 100:0–0:100 LEVEL 0–100

4BAND EQ (Equalizer)

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME

FOOT LEVEL 0–100

PB29 STEREO MULTI

fig.4-215

Algorithm list

Input L

Input R

COMPRESSOR

LIMITER L

COMPRESSOR

LIMITER R

NS.

SUPPRESSOR L

NS.

SUPPRESSOR R

ENHANCER L

ENHANCER R

DELAY L

4BAND EQ

DELAY R

This algorithm is a series connection of five basic effects, each completely in stereo. It allows you to add depth and spaciousness to the sound while preserving the positioning of the stereo input.

COMPRESSOR/LIMITER

EFFECT OFF, ON SELECT COMP, LIMIT

DETECT L, R, LINK THRESHOLD 0–100 RATIO 1.5:1–100:1 ATTACK 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

4BAND EQ (Equalizer)

DETECT L, R, LINK THRESHOLD 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON DETECT L, R, LINK THRESHOLD 0–100 RELEASE 0–100

STEREO DELAY

Output L

Output R

Section 4

ENHANCER

EFFECT OFF, ON DETECT L, R, LINK SENS 0–100 FREQENCY 1.0 k–10.0 k (Hz) MIX LEVEL 0–100 LoMIX LEVEL 0–100 LEVEL 0–100

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Algorithm list

PB30 10GRAPHIC EQ (10-Band Graphic Equalizer)

fig.4-222

Input L

Input R

COMPRESSOR

LIMITER L

COMPRESSOR

LIMITER R

NS.

SUPPRESSOR L

NS.

SUPPRESSOR R

ENHANCER L

ENHANCER R

This is a completely stereo ten-band graphic equalizer. It allows detailed adjustments to be made in the frequency response.

COMPRESSOR/LIMITER

EFFECT OFF, ON SELECT COMP, LIMIT

<COMP: COMPRESSOR>

DETECT L, R, LINK THRESHOLD 0–100 RATIO 1.5:1–100:1 ATTACK 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

<LIMIT: LIMITER>

DETECT L, R, LINK THRESHOLD 0–100 RELEASE 0–100 TONE -50–+50 LEVEL 0–100

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON DETECT L, R, LINK THRESHOLD 0–100 RELEASE 0–100

ENHANCER

EFFECT OFF, ON DETECT L, R, LINK SENS 0–100 FREQUENCY 1.0 k–10.0 k (Hz) MIX LEVEL 0–100 LoMIX LEVEL 0–100 LEVEL 0–100

Output L

DELAY L

GRAPHIC

DELAY R

Output R

GRAPHIC EQ (Equalizer)

EFFECT OFF, ON INPUT GAIN -12–+12 (dB) LEVEL -12–+12 (dB)

31.2 Hz -12–+12 (dB)

62.5 Hz -12–+12 (dB) 125 Hz -12–+12 (dB) 250 Hz -12–+12 (dB) 500 Hz -12–+12 (dB)

1.0 kHz -12–+12 (dB)

2.0 kHz -12–+12 (dB)

4.0 kHz -12–+12 (dB)

8.0 kHz -12–+12 (dB) 16 kHz -12–+12 (dB)

STEREO DELAY

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

PB31 HUM CANCELER

fig.4-224

Algorithm list

Input L

Input R

This removes unwanted hum (“buzz” noise). A noise suppressor is provided on the output.

HUM CANCELER

EFFECT OFF, ON FREQUENCY 20.0–800.0 (Hz) WIDTH 10–40 (%) DEPTH 0–100 THRESHOLD 0–100 RANGE LOW 20–2000 (Hz) RANGE HIGH 1.0 k–20.0 k (Hz)

HUM

CANCELER

HUM

CANCELER

NS.

SUPPRESSOR

Output R

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

Output L

Section 4

Algorithm list

PB32 VOCAL CANCELER

fig.4-225

Input L

VOCAL

CANCELER

Input R

NS.

SUPPRESSOR

4BAND EQ

When a stereo source such as CD or DAT is input to this effect, sounds that are located in the center (such as vocals or bass) will be removed. A four-band equalizer is provided on the output.

* Depending on the musical source, desired sounds may be removed, or there may be other ways in which the result is not as you wish. In

particular, the desired effect will not be obtained on musical sources with deep reverb, or if the sound you wish to cancel is not located in the center.

Output L

Output R

VOCAL CANCELER

EFFECT OFF, ON BALANCE 0–100 RANGE LOW 20–2000 (Hz) RANGE HIGH 1.0 k–20.0 k (Hz)

NS. SUPPRESSOR (Noise Suppressor)

EFFECT OFF, ON THRESHOLD 0–100 RELEASE 0–100

4BAND EQ (Equalizer)

MASTER

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

PB33 REVERB+REVERB

fig.4-218

Input L

4BAND EQ

Algorithm list

Output L

REVERB

4BAND EQ

Input R

REVERB

Output R

This allows you to simultaneously and independently use two different types of reverb on the L and R channels. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

Lch & Rch: 4BAND EQ (Equalizer)

Rch: REVERB

EFFECT OFF, ON TYPE ROOM1, ROOM2, HALL1, HALL2, PLATE REVERB TIME 0.1–10.0 (sec) BALANCE DIR:FX 100:0–0:100 EFFECT LEVEL 0–100 PRE DELAY 0–100 (msec) DENSITY 0–10 LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT

MASTER

Lch: REVERB

LEVEL 0–100

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Section 4

Algorithm list

PB34 CHORUS+REVERB

fig.4-220

Input L

4BAND EQ

Output L

CHORUS

4BAND EQ

Input R

REVERB

Output R

This allows you to simultaneously and independently use chorus and reverb on the L and R channels. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

Lch & Rch: 4BAND EQ (Equalizer)

Rch: REVERB

MASTER

Lch: CHORUS

EFFECT OFF, ON MODE MONO, ST. RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–100 DIRECT SWITCH OFF, ON

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

PB35 DELAY+REVERB

fig.4-219

Input L

4BAND EQ

Algorithm list

Output L

DELAY

4BAND EQ

Input R

REVERB

Output R

This allows you to simultaneously and independently use delay and reverb on the L and R channels. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

Lch & Rch: 4BAND EQ (Equalizer)

Lch: DELAY

EFFECT OFF, ON TYPE SINGLE, 3TAP

(SINGLE)

DELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec) FEEDBACK 0–100 FX LEVEL 0–120 DIR LEVEL 0–100 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT

(3TAP)

DELAY TIME [C] 0–1800 (msec), BPM: FINE TIME [C] 0–20 (msec) TIME [L] 1–400 (%) TIME [R] 1–400 (%) FEEDBACK 0–100 LEVEL [C] 0–100 LEVEL [L] 0–100 LEVEL [R] 0–100 FX LEVEL 0–120 DIR LEVEL 0–100 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT

Rch: REVERB

EFFECT OFF, ON TYPE ROOM1, ROOM2, HALL1, HALL2, PLATE REVERB TIME 0.1–10 (sec) BALANCE DIR:FX 100:0–0:100 EFFECT LEVEL 0–100 PRE DELAY 0–100 (msec) DENSITY 0–10 LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT

Section 4

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

Algorithm list

PB36 DELAY+CHORUS

fig.4-221

Input L

4BAND EQ

Output L

DELAY

4BAND EQ

Input R

CHORUS

Output R

This allows you to simultaneously and independently use delay and chorus on the L and R channels. A four-band equalizer is provided on the input.

In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.

Lch & Rch: 4BAND EQ (Equalizer)

Lch: DELAY

EFFECT OFF, ON TYPE SINGLE, 3TAP

(SINGLE)

DELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec) FEEDBACK 0–100 FX LEVEL 0–120 DIR LEVEL 0–100 HIGH DAMP GAIN -50–0 (dB) HIGH CUT FILTER 700–11 k (Hz), FLAT

(3TAP)

Rch: CHORUS

EFFECT OFF, ON MODE MONO, ST. RATE 0–100, BPM: DEPTH 0–100 PRE DELAY 0.0–40.0 (msec) LOW CUT FLAT, 55–800 (Hz) HIGH CUT 700–11 k (Hz), FLAT FX LEVEL 0–100 DIRECT SWITCH OFF, ON

MASTER

LEVEL 0–100 BPM 40–250, MIDI, GLOBAL

<FV: FOOT VOLUME>

FOOT LEVEL 0–100

The function of each parameter

2x2 CHORUS

This adds a pitch-shifted sound to the original sound, producing an effect of greater depth and spaciousness. Two separate stereo chorus units are used for the low-frequency and high-frequency ranges in order to create a more natural chorus sound.

EFFECT

This parameter turns the 2x2 Chorus effect on/off.

XOVER (crossover frequency)

This parameter sets the frequency at which the frequency components of the effect sound are divided into bass and treble bands.

LOW RATE

Adjust the speed of the chorus effect for the low frequency range.

* If this is set to BPM, the MASTER BPM (p.105) value that is set

for each patch will determine the speed of the effect, so that the effect will match the tempo of the song. However if the BPM value is large, the effect will synchronize to 1/2 or 1/4 of the BPM.

LOW DEPTH

Adjust the depth of the chorus effect for the low frequency range. If you wish to use this as a doubling effect, use a setting of “0.”

HIGH PRE DELAY

Adjust the time from when the high frequency range direct sound is output until the effect sound is output. Extending the pre-delay will produce the sensation of multiple sounds (doubling effect).

HIGH LEVEL

Adjust the volume of the high frequency range effect sound.

4BAND EQ (equalizer)

This simulates a 4-band equalizer.

EFFECT

This parameter turns the equalizer effect on/off.

LOW EQ (low equalizer)

Adjusts the low frequency range tone.

HIGH EQ (high equalizer)

Adjusts the high frequency range tone.

LEVEL

This parameter adjusts the volume after the equalizer stage.

LO-MD F (low-middle frequency)

This parameter sets the central frequency for the “LOW-MID EQ.”

Section 4

LOW PRE DELAY

Adjust the time from when the low frequency range direct sound is output until the effect sound is output. Extending the pre-delay will produce the sensation of multiple sounds (doubling effect).

LOW LEVEL

Adjust the volume of the low frequency range effect sound.

HIGH RATE

Adjust the speed of the chorus effect for the high frequency range.

* If this is set to BPM, the MASTER BPM (p.105) value that is set

for each patch will determine the speed of the effect, so that the effect will match the tempo of the song. However if the BPM value is large, the effect will synchronize to 1/2 or 1/4 of the BPM.

HIGH DEPTH

Adjust the depth of the chorus effect for the high frequency range. If you wish to use this as a doubling effect, use a setting of “0.”

LOW-MID Q (low-middle Q)

This parameter sets the range of change in gain for the frequency set by the “LO-MD F.” A larger value results in a narrower range of change.

LOW-MID EQ (low-middle equalizer)

Adjusts the low-middle frequency range tone.

HI-MD F (high-middle frequency)

This parameter sets the central frequency for the “HI-MID EQ.”

HI-MID Q (high-middle Q)

This parameter sets the range of change in gain for the frequency set by the “HI-MD F.” A larger value results in a narrower range of change.

HI-MID EQ (high-middle equalizer)

Adjusts the high-middle frequency range tone.

The function of each parameter

ACOUSTIC

With this feature, you can change the sound from a pickup on an electric-acoustic guitar into a richer sound, similar to that obtained by a microphone placed near a guitar.

EFFECT

This parameter turns the acoustic effect on/off.

BODY

This adjusts the resonance of the sound caused by the body. That is, it adjusts the softness and fatness of the sound which is the typical characteristics of acoustic guitars.

MIC DISTANCE

This simulates the distance between the microphone capturing the sound of an acoustic guitar and the guitar itself.

ACOUSTIC GtSIM (acoustic guitar simulator)

This simulates the sound of an acoustic guitar. It allows you to use an electric guitar to produce sounds similar to those of an acoustic guitar. This effect can be used in the “GUITAR MULTI 2” algorithm when the SFX “SELECT” parameter is set to “AC.”

* For details on SFX settings, refer to “About SFX” (p.48).

AFB (anti-feedbacker)

This prevents the acoustic feedback that can be produced by the body resonances of a guitar.

EFFECT

This parameter turns the anti-feedback effect on/off.

DEPTH

Adjust the suppression strength of the fixed frequency point for feedback cancellation.

FREQUENCY

Adjust the fixed frequency point at which feedback will be cancelled.

BASS GTR SIM (bass guitar simulator)

Simulates the sound of a bass guitar. Obtain the sound of a bass guitar while playing an electric guitar. This effect can be used in the “GUITAR MULTI 2” algorithm when the SFX “SELECT” parameter is set to “BS.”

* For details on SFX settings, refer to “About SFX” (p.48).

CHARACTER

Bass tone characteristic is set. When “LOOSE” is selected, as if the string gauge was getting thicker.

TOP

This adjusts the interference to the strings made by the top plate. That is, it adjusts the attack sense or harmonic contents.

BODY

This adjusts the resonance of the sound caused by the body. That is, it adjusts the softness and fatness of the sound which is the typical characteristics of acoustic guitars.

LEVEL

This adjusts the volume of the acoustic guitar simulator.

FX LEVEL (effect level)

Adjusts the volume of the bass guitar simulator sound.

DIR LEVEL (direct level)

This adjusts the volume of the direct sound when the effect is tured on.

BCF (bass cut filter)

This is a filter that cuts unwanted low range noise, such as pops. It simulates the bass cut switch that is found on some mics.

EFFECT

This parameter turns the bass cut filter effect on/off.

FREQUENCY

This parameter sets the cutoff frequency for the bass cut filter.

The function of each parameter

CHOURUS

A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker and broader.

EFFECT

This parameter turns the chorus effect on/off.

POLARITY

This parameter is for the Stereo Chorus. It lets you choose the difference in LFO phase for the left and right channels.

SYNC (synchro):

The left and right phase will be the same.

INVERT:

The left and right phase will be opposite.

MODE

Selection for the chorus mode.

MONO:

This chorus effect outputs the same sound from both L and R.

HIGH CUT (high cut filter)

This setting adjusts the frequency at which the high cut filter will begin to take effect. When “Flat” is selected, the high cut filter will have no effect.

FX (EFFECT) LEVEL

Adjusts the volume of the effect sound.

DIRECT SWITCH

Switch the direct sound ON/OFF (OUTPUT/NO OUTPUT).

COMPRESSOR/LIMITER

The compressor is an effect that attenuates loud input levels and boosts soft input levels, thus evening out the volume to create sustain without distortion. The limiter attenuates loud input levels to prevent distortion.

EFFECT

This parameter turns the Compressor/Limiter effect on/off.

ST. (stereo):

This is a stereo chorus effect that adds different chorus sounds to L and R.

RATE

Adjusts the rate of the Chorus effect.

* If this is set to BPM, the MASTER BPM (p.105) setting for

each patch will determine the rate, so that the effect sound will match the song tempo. However, if the BPM value is high, the effect will synchronize to 1/2 or 1/4 of the BPM.

DEPTH

Adjusts the depth of the Chorus effect. To use it for doubling, set the value to “0.”

PRE DELAY

Adjusts the time needed for the effect sound to be output after the direct sound has been output. By setting a longer Pre Delay time, you can obtain an effect that sounds like more than one sound is being played at the same time (doubling effect).

LOW CUT (low cut filter)

The low cut filter cuts the frequencies below the specified frequency. This setting adjusts the frequency at which the low cut filter will begin to take effect. When “Flat” is selected, the low cut filter will have no effect.

DETECT (detector in)

This parameter is for both “STEREO MULTI” and “10 GRAPHIC EQ.” Select the input source which will control the compressor/limiter.

The input source of channel L will control the compressor/ limiter.

The input source of channel R will control the compressor/ limiter.

LINK:

The input source whose level is higher will control the compressor/limiter.

* If you edit an effect with “SELECT,” the effect is parameter that

you have set before editing will be initialized.

SELECT

Select either Compressor or Limiter.

COMP (compressor):

The effect will function as a compressor.

LIMIT (limiter):

The effect will function as a limiter.

EFFECT

This parameter turns the Compressor effect on/off.

Section 4

The function of each parameter

THRESHOLD

This adjusts the level at which the effect will be made apparent.

RATIO

This parameter is for both “STEREO MULTI,” “10 GRAPHIC EQ” and “VOCAL MULTI.” Selects the extent to which the signal will be compressed (compression ratio) while the Limiter is working.

SUSTAIN

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

ATTACK

Adjusts the strength of the attack. Larger values will result in a sharper attack, creating a more clearly defined sound.

RELEASE

This adjusts the time from when the signal level drops below the threshold until when limiting is removed.

ENH FREQ (enhance frequency)

This is the parameters for “BASS MULTI.” This sets the frequency band where you wish to apply the Enhancer effect. Increasing the value will target a higher frequency band.

ENH LEVEL (enhance level)

This is the parameters for “BASS MULTI.” This adjusts the intensity of the Enhance effect. Increasing the value will emphasize the Enhance effect.

TONE

Adjusts the tone.

LEVEL

Adjusts the volume.

ATTACK (attack time)

This is the parameter for “MIC SIMULATOR.” Adjust the time from when the input level exceeds the threshold level to when the effect begins to apply.

RELEASE

This adjusts the time from when the signal level drops below the threshold until when limiting is removed.

DETECT HPF (detect frequency)

This is the parameter for “MIC SIMULATOR.” Adjust the cutoff frequency of the level detection section. With a setting of Thru, this will operate as a conventional limiter.

TONE

Adjusts the tone.

LEVEL

Adjusts the volume.

DE-ESSER

Useful for reducing ‘sibilant’ or ‘S’ sounds produced by a vocalist.

EFFECT

This parameter turns the de-esser effect on/off.

SENS (sensitivity)

Adjusts the sensitivity relative to the input volume, which controls how the effect is applied.

FREQUENCY

Set the frequency at which the de-esser effect will be applied. The effect will be made apparent in the frequencies above the frequency set here.

<When “LIMIT (limiter)” is selected> EFFECT

This parameter turns the Limiter effect on/off.

THRESHOLD

Adjusts this as appropriate for the inputs signal. When the input signal level exceeds this threshold level, limiting will be applied.

The function of each parameter

DEFRETTER

This simulates a fretless bass. The defretter can be selected in the “BASS MULTI” algorithm as an alternate for the compressor.

SENS (sensitivity)

This controls the input sensitivity of the Defretter. It should be adjusted for the bass guitar you have until you get the harmonic changes to sound natural.

ATTACK

This controls the attack of the Defretter. Increasing the value will cause the harmonics to change more slowly, thus producing a relatively attack-less sound, similar to a fretless bass.

DEPTH

This controls the rate of the harmonics. Increasing the value will increase the harmonic content and therefore will create a more unusual sound.

LEVEL

Adjusts the volume of the defretter sound.

* If “3TAP” is selected as the Type, this parameter will be

displayed as “DELAY TIME [C].”

* If this is set to BPM, the MASTER BPM (p.105) value that is

set for each patch will determine the delay time, so that the effect will match the tempo of the song. However if the BPM value is low, the effect will synchronize to twice or four times the BPM.

DELAY TIME [L] DELAY TIME [R]

These are the stereo input delay parameters, allowing you to adjust the delay time independently for left and right channels.

* If this is set to BPM, the MASTER BPM (p.105) value that is

set for each patch will determine the delay time, so that the effect will match the tempo of the song. However if the BPM value is low, the effect will synchronize to twice or four times the BPM.

FINE TIME (delay time fine)

Make fine adjustments to the delay time.

* If “3TAP” is selected as the Type, this parameter will be

displayed as “FINE TIME [C].”

DELAY

This parameter creates a distinctive effect (such as a thicker sound) by applying a delayed sound to the direct sound.

EFFECT

This parameter turns the delay effect on/off.

TYPE

This Parameter selects the type of delay.

SINGLE:

This is a simple delay.

TAP:

This allows you to obtain the tap delay effect that divides the delay time, then deliver them to left and right channel.

3TAP:

Tap Delay that allows you to adjust the delay time for each channel (L and R channel) by setting the Tap time L and the Tap time R.

FINE TIME [L] (delay time fine L) FINE TIME [R] (delay time fine R)

These are the stereo input delay parameters, allowing you to fine adjust the delay time independently for left and right channels.

TAP TIME

Adjust the delay time of the right channel. The delay time of the left channel is considered at 100%, and the delay time of the right channel is adjusted relative to this.

TIME [L] (tap time L) TIME [R] (tap time R)

These parameters are for “3TAP.” They adjust the TAP TIME L and TAP TIME R relative to “DELAY TIME C” as 100%.

FEEDBACK

This parameter is for a monaural-input delay, and adjusts the amount of feedback. Changing the amount of feedback causes the number of time the delayed sound is repeated to change as well.

Section 4

DELAY TIME

This parameter adjusts the delay time (i.e., the interval for which sound is delayed).

The function of each parameter

FEEDBK [L] (feedback L) FEEDBK [R] (feedback R)

These parameters are for a stereo-input delay, and adjust the amount of feedback for left and right channels independently. Adjusting the amount of feedback will change the number of times that the delay sound is repeated.

LEVEL [C] LEVEL [L] LEVEL [R]

These parameters are for “3TAP.” Adjusts the volume of the output from each tap.

HIGH DAMP GAIN

This parameter adjusts the amount of damping for High Damp. No high-frequency damping occurs when set to “0.”

HIGH CUT FILTER (HIGH CUT)

The High Cut Filter cuts the frequency contents that are higher than the set frequency. This parameter adjusts the frequency where the high cut filter starts working. When it is set to “FLAT,” the high cut filter does not work at all.

FX LEVEL (effect level)

This adjusts the volume of the delay sound.

DIR LEVEL (direct level)

Adjusts the volume of the direct sound.

DISTANCE

DISTORTION

This effect distorts the sound. By changing the TYPE, you can create many different sounds.

EFFECT

This parameter turns the distortion effect on/off.

TYPE

This allows you to select the distortion type you like.

TURBO OD (turbo overdrive):

Allows you to obtain a rich effect just like distortion, without losing the subtle nuance of the overdrive.

BASS OD (bass overdrive):

Rich and firm overdrive sound can be created.

HARD DS (hard distortion):

This produces a rich and powerful heavy metal sound.

FUZZ 1:

This produces a full-bodied, traditional fuzz sound that has the lower and middle range emphasized.

FUZZ 2:

This produces an exciting fuzz sound that has its overtones emphasized.

DRIVE

Adjusts the depth of distortion. A higher value will emphasize the distortion.

BASS

This controls the bass sounds. You can set an appropriate frequency band for each TYPE.

Microphones have a characteristic which causes the low frequency range to be boosted when the sound source is nearby. This setting simulates this phenomenon.

EFFECT

This parameter turns the distance effect on/off.

PROX.FX (proximity effects)

Adjust the low frequency response that is affected by the mic distance from the sound source. Adjustment in the “+” direction will move the mic closer to the sound source, and in the “–” direction will move it away from the sound source.

TIME

This simulates the time difference due to distance from the sound source.

TREBLE

This controls the treble sounds. You can set an appropriate frequency band for each TYPE.

FX LEVEL (effect level)

This adjusts the volume of the distorted sound.

DIR LEVEL (direct level)

This adjusts the volume of the direct sound when the effect is turned on.

The function of each parameter

ENHANCER

By adding sounds which are out-of-phase with the direct sound, this effect enhances the definition of the sound, and pushes it to the forefront.

EFFECT

This parameter turns the enhancer effect on/off.

DETECT (detector in)

This is the parameters for both “STEREO MULTI” and “10 GRAPHIC EQ.” Select the input source which will control the enhancer.

The input source of channel L will control the enhancer.

The input source of channel R will control the enhancer.

LINK:

The input source whose level is higher will control the enhancer.

SENS (sensitivity)

Adjusts the manner in which the enhancer will be applied relative to the input signals.

FEEDBACKER

This allows you to use feedback playing techniques. This effect can be used in the “GUITAR MULTI 2” algorithm when the SFX “SELECT” parameter is set to “FB.”

* For details on SFX settings, refer to “About SFX” (p.48).

When using the feedbacker, play a single note accurately and then switch the effect on to produce a feedback effect. When you turn the effect off, the feedback will disappear. Use the foot switch to switch the effect on/off, so that the effect will be on only while the pedal is being pressed. To make a note feedback, you must cleanly play a single note. Then, when the sound has stabilized, turn on the effect.

MODE

Select either oscillator “OSC” or boost “BOOST.”

OSC (oscillator):

An artificial feedback sound will be created internally.

BOOST:

Only the frequency at which you want feedback will be boosted, making it easier to use feedback playing techniques.

* Since boost mode only assists you with feedback playing, the

result will not be satisfactory if the volume of your guitar amp is low.

FREQUENCY

Adjusts the frequency at which the enhancer effect will begin to be applied. The effect will be made apparent in the frequencies above the frequency set here.

MIX LEVEL

Adjusts the amount of phase-shifted sound of the range set by “Frequency” that is to be mixed with the input.

LoMIX LEVEL (low mix level)

Adjusts the amount of phase-shifted sound of the lower range that is to be mixed with the input.

LEVEL

Adjusts the volume of the enhanced sound.

RISE TIME

This determines the time needed for the volume of the feedback sound to reach its maximum from the moment the effect is turned on.

<When “OSC (oscillator)” is selected> RISE TIME

This determines the time needed for the volume of the one octave higher feedback sound to reach its maximum from the moment the effect is turned on.

F.B LEVEL (feedback level)

Adjusts the volume of the feedback sound.

F.B LEVEL (feedback level)

This adjusts the volume of the one octave higher feedback sound.

VIB RATE (vibrato rate)

This adjusts the rate of the vibrato when the feedbacker is on.

Section 4

The function of each parameter

VIB DEPTH (vibrato depth)

This adjusts the depth of the vibrato when the feedbacker is on.

<When “BOOST” is selected> F.B DEPTH (feedback depth)

Adjust the amount of boost for the feedback frequency.

FEEDBACK TONE

Adjust the frequency range at which you wish to create feedback.

FEEDBACKER ON/OFF

To switch the feedbacker on/off using the Footswitch (FS-5U, DP-2 (Roland), etc.), set “Control Assign” (p. 33) as follows.

< ASSIGN1: ON >

TARGET: SFX: ON/OFF TARGET MIN: OFF TARGET MAX: ON SOURCE TYPE: CONTROL1 SOURCE MODE: NORMAL SOURCE MIN: 0 SOURCE MAX: 127

MANUAL

Adjusts the center frequency at which to apply the effect.

RESONANCE

Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.

SEPARATE (separation)

Adjusts the diffusion. The diffusion increases as the value increases.

LEVEL

This adjusts the volume of the flanger.

GATE

This can be effectively used to cyclically cut the output from the flanger. Increasing the value will shorten the interval. If this is “Off,” gate will have no effect.

DIRECT SWITCH

Switch the direct sound on/off (output/no output).

GRAPHIC EQ (graphic equalizer)

FLANGER

The flanger effect gives a twisting, jet-airplane-like character to the sound.

EFFECT

This parameter turns the flanger effect on/off.

RATE

Determines the rate of the flanging effect.

* If this is set to BPM, the MASTER BPM (p.105) setting for

each patch will determine the rate, so that the effect sound will match the song tempo. However, if the BPM value is high, the effect will synchronize to 1/2 or 1/4 of the BPM.

DEPTH

Determines the depth of the flanging effect.

This simulates a 10-band graphic equalizer.

EFFECT

This parameter turns the graphic EQ effect on/off.

INPUT GAIN

Adjust the overall volume level of the sound before it passes through the equalizer.

LEVEL

Adjust the volume level of the sound which as passed through the equalizer.

31.2–16KHz (Gain)

Adjust the gain (amount of boost/cut) of the equalizer for each frequency.

The function of each parameter

GUITAR SYNTH (guitar synthesizer)

This detects the pitch of an electric guitar and outputs a synthesizer sound. This effect can be used in the “GUITAR MULTI 1” algorithm when the MOD “SELECT” parameter is set to “SYN.”

* For details on MOD (Modulation) settings, refer to “About

MOD ” (p.47).

* When you use a guitar synthesizer, observe the following points.

• It does not work properly when a chord is played. Be sure to mute all the other strings and play in a single note.

• When you are to play the next string while a certain sound is still playing, perfectly mute the previous sound then play the next one with a clear attack. If the unit cannot detect the attack, it may not sound correctly.

SENS (sensitivity)

This adjusts the input sensitivity. The response of the internal sound source is better with a higher sensitivity value, but the malfunctions will be increased on the other hand. So, try to set it as high as possible without causing malfunction.

WAVE

This selects a wave type that is the source of the guitar synthesizer.

SQR (square) ( ):

The unit detects the pitch and attack information from the input guitar sound, then send the square waveform from the internal sound source.

CHROMATIC

This switches on or off the chromatic function. When it is on, the pitch change of the synthesizer sound is in semitone steps. This does not respond to pitch changes less than a semitone, such as what might be obtained with bending or vibrato. Thus, this is effectively used for realistically playing musical instruments whose pitch will change in steps greater than a semitone, such as a keyboard.

* Use this parameter when “Square” or “Saw” is selected for

wave.

OCT SHIFT (octave shift)

This allows you to shift the pitch of the internal sound module in an octave step from the guitar sound.

* This parameter should be set when “SQR” or “SAW” is selected

for the wave.

PWM RATE (pulse width modulation rate)

This gives breadth or fatness to the sound by applying modulation to the waveform (only to Square) in the internal sound module. A higher value will quicken the rate of the modulation.

* This parameter should be set only when “SQR” is selected for

the wave.

PWM DEPTH (pulse width modulation depth)

This adjusts the depth of the PWM. When it is set to “0,” no PWM effect is obtained.

* This parameter should be set only when “SQR” is selected for

the wave.

Section 4

SAW ( ):

The unit detects the pitch and attack information from the input guitar sound, then send the saw waveform from the internal sound source.

BRASS:

The unit directly processes the input guitar sound and creates a guitar synthesizer sound. It gives a quick sound rise and send the sound with a sharp edge.

BOW:

The unit directly processes the input guitar sound and creates a guitar synthesizer sound. It outputs a soft sound without attack.

CUTOFF F (cutoff frequency)

This adjusts the frequency where the harmonics contents of the sound is cut off.

RESONANSE

This adjusts how much of the harmonics contents around the cutoff frequency should be emphasized.

FLT SENS (filter sensitivity)

This adjusts the sensitivity of the filter. When it is set to a lower value, the filter is affected only with a stronger picking. When it is set higher, the filter changes even with a weaker picking. When it is set to “0,” the depth of the filter will be the same no matter how the picking strength may be.

FLT DECAY (filter decay)

This sets the time needed until the filter change will be stable.

The function of each parameter

FLT DEPTH (filter depth)

This adjusts the depth of the filter. When the value is higher, the filter will change more drastically. The polarity of the filter will be opposite with “+” and “-.”

HOLD ON/OFF

To switch hold on/off using the foot switch (FS-5U, DP-2 (Roland), etc.), set “Control Assign” (p. 33) as follows.

ATTACK (attack decay)

This adjusts the time needed for a synthesizer sound to reach its maximum. When it is set to a lower value, the sound will rise quickly. When it is set higher, the sound will rise slowly. When it is set to “Decay,” the sound will rise quickly and turn to a Release status regardless of the input of the guitar sound.

* When “BRASS” or “BOW” is selected for the wave, the attack

time will not be quicker from a certain level even if the attack is set to “DECAY” or “0.”

RELEASE

This determines the time needed for the synthesizer sound to reach zero from the moment the input of the guitar sound is completed.

* When “BRASS” or “BOW” is selected for the wave, the guitar

signal itself is processed. That is, the synthesizer sound will go down when the guitar signal goes down no matter how long the release may be set.

< ASSIGN1: ON >

TARGET: MOD (Guitar SYNTH): HOLD TARGET MIN: OFF TARGET MAX: ON SOURCE TYPE: CONTROL1 SOURCE MODE: NORMAL SOURCE MIN: 0 SOURCE MAX: 127

VELOCITY

This adjusts the amount of the volume change of the synthesizer sound. When it is set to high, the volume change will be greater depending on the picking strength. When it is set to “0,” no volume change is caused even by changing the picking manner.

HOLD

The hold function can sustain the output of the synthesizer sound. If you turn on the hold while a synthesizer sound is being output, the synthesizer sound will be held until you turn it off. You can control the on/off of the hold using the footswitch. Normally, select “HOLD OFF.”

* This parameter is used when “SQR” or “SAW” is selected for

the wave.

SYNTH LEVEL

This determines the volume of the synthesizer sound.

DIR LEVEL (direct level)

This determines the volume of the direct sound.

100

Roland VF-1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Main Features

Versatile algorithms and high-quality sound that rivals dedicated professional equipment

Rapid searching by category

Graphic LCD

Guitar input jack

Built-in tuner function

Realtime parameter control

2-IN, 2-OUT

Mountable in a 19-inch rack

Digital out connector

Quick setting

How to use this manual

Section 1. Producing Sound

Section 2. Creating Sounds

Conventions used in this manual

Section 3. Overall Settings (Utility)

Section 4. Effect Guide

Section 6. Appendices

IMPORTANT NOTES

Front and rear panels

Front panel

Rear panel

Section 1. Producing Sound

Making connections

Connecting a guitar

Connecting a keyboard

Connecting a mic

Connecting to the send/ return of a mixer

Connecting an expression pedal or foot switch

Turning on the power, and standby

Turning on the power

Adjusting the Input Level

Selecting the effect sound

About the Screen Indications

Selecting a patch

Quickly finding the desired patch (Category Search)

Selecting Patches with a Foot Switch

Switching EFFECTS on/off

Tuning your instrument

Displaying the tuner

Tuning Procedure

About the tuner display

Modifying the tuner settings (Standard pitch/Volume)

Adjusting the display contrast

Section 2. Creating Sounds

Before You Begin Creating Sounds

User banks and preset banks

Settings that are stored in a patch

The display screen

Algorithms

Rapidly editing a patch (Quick Setting)

Procedure

Copying a patch

Turning an effect on/off

Changing the order of the effects

Checking the input/output levels of each effect

Copying effect settings (Effect Copy)

Setting the output level

Controlling parameters in real time (Control Assign)

Assigning the category

Editing the patch name

Canceling your edits

Using two foot switches

Using an expression pedal (example)

Section 3. Overall Settings (Utility)

Utility functions

Tuner

How to make settings

SYSTEM SETTING

GLOBAL SOUND SETTINGS

FACTORY RESET

MIDI

Section 4. Effect guide

About the algorithm list

About POSITION

About “The function of each parameter”