Valeton GP-200 User guide

Page 1

User Manual

For Firmware V1.4.0

※ In th e intere st of pro duct im provem ent, the s peciﬁ catio ns and/ or the co ntent o f produ cts (in cludi ng but no t limite d to appe aranc es, pac kagin g desig n, manu al cont ent, acc essor ies, si ze, para meter s and dis play

scre en), ar e subje ct to cha nge wit hout pr ior not ice. Pl ease ch eck wit h local s uppli er for ex act oe rs. Spe ciﬁca tions a nd featu res (in cludi ng but no t limit ed to app earan ces, co lors an d size) m ay vary by m odel ow ing to

env ironme ntal fa ctors , and all i mages a re illu strati ve.

Page 2

Welcome·············································1

Attention············································1

Overview············································2

Panel Introduction·······························3

Getting Started···································4

Screen Introduction·····························5

Main Display Screen·································5

TUNER·························································5

LOOPER······················································6

DRUM··························································6

MIDI Device Control Functions (MIDI)······7

EXP Pedal·················································7

Patch Setting······································8

Edi t Menu · ··· · ··· ··· · ··· · ··· ··· · ··· · ··· ··· · ··· · ··· 8

Editing a Module·······································8

Managing the Signal Chain······················8

With guitar amps (using FX Loop to pre-

position the GP-200)··································20

With guitar amps (using FX Loop to post-

position the GP-200)··································20

With guitar amps (using FX Loop to run

the 4 cable method)····································21

Audio Studio (for livestreaming)···········21

EFFECT LIST·····································22

PRE···························································22

WAH··························································25

DST···························································25

AMP··························································30

NR····························································38

CAB··························································39

EQ·····························································41

MOD·························································41

Patch Settings···········································9

Save Menu················································10

Global Settings··································10

Input/Output············································11

USB Audio·················································11

Footswitch················································12

EXP Calibrate··········································13 EXP 2/Footswitch··································14

MIDI···························································14

Display······················································15

Auto CABMatch······································15

Global Eq···················································16

About·························································17

Factory Reset···········································17

Compatible software·························18

Application Scenarios·······················19

DLY··························································44

RVB··························································47

VOL··························································47

Drum Rhythm List····· ·····················48

MIDI Control Information List···········51

Troublesh o o t ing······ · · ········· · · ········· 5 3

Technical Speciﬁcations· ·············· ···54

With full-range speaker devices············19

With guitar amps (INPUT jack)···············19

Page 3

Welcome

Ÿ Thank you for purchasing a VALETON product.

Ÿ We know it might be tedious but please read this manual carefully to get the most out of your GP-200.

Ÿ Please keep this manual for future reference.

Attention

Handling

Ÿ Do not get the unit wet. If liquid is spilled on the unit, shut it o immediately.

Ÿ Do not block any jack of the unit.

Ÿ Keep away from heat sources.

Ÿ Disconnect the unit during storms to prevent damage.

Ÿ Operation of this unit within signiﬁcant electromagnetic ﬁelds should be avoided.

Connecting the power and input/output jacks

Ÿ Always turn OFF the power to the unit and all other equipment before connecting or disconnecting any cables. Also

make sure to disconnect all connection cables and the AC adapter before moving the unit.

Cleaning

Ÿ Clean only with a dry cloth.

Alterations

Ÿ Do not open the unit.

Ÿ Do not attempt to service the unit yourself.

Ÿ Operation of this unit within signiﬁcant electromagnetic ﬁelds should be avoided.

AC Adapter Operation

Ÿ Always use a DC9V center negative 1000mA AC adapter. Use of an adapter other than that speciﬁed could damage

the unit or cause malfunction and pose a safety hazard. Always connect the AC adapter to an AC outlet that supplies

the rated voltage required by the adapter.

Ÿ Unplug the unit during lightning storms or when unused for long periods of time.

Malfunction

Ÿ If the unit malfunctioned, disconnect the AC adapter and turn the power OFF immediately. Then, disconnect all other

connected cables.

Ÿ Prepare information including the model name, serial number, speciﬁc symptoms related to the malfunction, your

name, address and telephone number and contact the store where you bought the unit, or contact VALETON

support( )service@valeton.net

Thank you for choosing a VALETON product!

Page 4

Overview

Inspired by the craftsmanship in making GP-100, Valeton strives for a higher goal and presents GP-200, the new-gen

HD modeling multi-eects processor, declaring an unprecedented upgrade in order to bring you a better sonic

experience. With the aim of creating the ultimately heartfelt partner on stage, GP-200 comprehensively enhances

features that matter, including more footswitches and I/Os, larger display screen and more user-friendly buttons and

knobs, freelyadjustableFXloop, as well as 11 freely movable eect modules and more than 240 patches from world-

renowned classic ampliﬁers, cabinets and stompboxes.

Apart from that, GP-200 oers 180-second looper and 100 high quality drum machines,

externalMIDIdevicecontrolinterface, with the additional function as an audio interface compatible with multiple

platforms (Windows/Mac/iOS/Android) to accompany the editor software of Windows/Mac and ASIO, escorting

immeasurable convenience to your songwriting, practice and recording.

Page 5

Panel Introduction

10 10 10

1. LCD Display

4.3” color LCD shows GP-200’s patch numbers, patch

name, and other operation information.

2. PARA Knob (with enter button)

Turn to select menus and adjust parameters

3. MASTER Knob

Turn to control GP-200’s main output volume.

4.BACK Button

Press to return to the previous page, hold to return

to the main display screen.

5. GLOBAL Button

Press to enter the Global Setting menu, where you

can edit the global parameters of the GP-200.

6. DRUM Button

Press to play the drum. Hold to enter the Drum

Machine Edit menu, where you can edit the drum

parameters (style, rhythm, volume).

7. SAVE Button

Whenever a patch is modified, the main display will

show a symbol to indicate that the parameter has

been changed. Use SAVE button to store, rename, or

copy the patch. Press SAVE button again to store the

changed parameter. Hold for quick saving in same

4 5 6 7

8 8 8

8 8

slot with same name.

8. AMP Knobs

Control the AMP module in real time just like a real

amp.

9. Module Buttons

Press to enter the Edit Settings menu of module,

hold for module on/off.

10. Quick Access Knobs

Turn to adjust parameters on the lower part of the

screen. Each knob will vary in function according to

the parameter on the display.

11. 8 Footswitches

Use to change patches, turn on/off effects, set tap

tempo, etc.

12. Expression Pedal

Use to control one or several parameters of selected

module(s).

Page 6

Panel Introduction

13. EXP/FS Jack

1/4” TRS input, for connecting an external expression

pedal/footswitch controller.

14. INPUT Jack

1/4” Mono input connection for guitar or other

instruments.

15. AUX IN Jack

1/8” TRS input for connecting an audio player and

playing along (or recording).

16. FX LOOP (SEND/RETURN) Jack

These 1/4” jacks can be used as FX loop for inserting

external stompboxes into your tone.

17. UNBALANCED OUTPUT (L for mono output)

Use 1/4" TS jacks cables to connect to your guitar

amp, full rang ﬂat response (FRFR) speaker(s), or

other playback system.

When using a single amp or speaker, connect only

the L (MONO) jack.

18. GND/LIFT Switch

Toggle o (up) the GND/LIFT switch to LIFT to cut o

the ground connection of the two XLR connectors

16 17

(Ground Lift) to avoid noise caused by the Ground

Loop. Toggle on (down) to GND, the XLR line will be

grounded normally.

19. BALANCED OUTPUT (L for mono output)

Use balanced XLR cables to connect to your studio

gear, mixer, PA, or FRFR speaker(s).

When using a single amp or speaker, connect only

the L (MONO) jack.

20. PHONES Jack

1/8” TRS output for connecting headphones.

21. MIDI Jacks

Connect an external MIDI device here.

22. USB Jack

By connecting USB 2.0 Type-C to Mac and Windows

computers, GP-200 also functions as a high quality

audio interface with Direct Injection (DI), Re-amping

and MIDI functionality built right in.

23. POWER Switch

Turn the power on.

24. DC 9V Jack

Power Requirements: DC 9V, 1000mA, center

negative.

Getting Started

1. Connect your device: Plug your guitar into the GP-200’s INPUT jack, and run a cable from the UNBALANCED OUTPUT

L (MONO) to your amp.

Please remember:

Ÿ Keep your amp volume down.

Ÿ Connect your cable to the amp’s FX Loop Return if it has one. For connection methods, please check Page 19

"Application Scenarios".

2. Turn the GP-200 MASTER knob all the way down, then connect the power supply and turn on the GP-200.

3. Tune your strings: Press and hold footswitch TAP (HOLD FOR TUNER) to enter Tuner interface. Pluck each string and

tune it until the pitch reaches the middle of the screen and turns green. When all strings are tuned, follow the onscreen

instruction to exit the tuner.

Page 7

Getting Started

Mod e Bac k Pit ch - Pit ch +

Mode

Mute

Pitc h

TUNER

Select a patch

GP-200 includes 256 patches, with the ﬁrst 100 (01-A~25-D) containing default factory parameters. When performing a

factory reset, you can separately reset these 100 patches to the default values.

Tap footswitch A, B, C, D, choose a patch you like. Tap footswitch BANK- to move back through the banks, and tap

footswitch BANK+ to move forward through the banks. When you switch a BANK, the LED ring on footswitch A, B, C, D

will light up to indicate the patch if you want to select one.

Screen Introduction

Main Display Screen

Main Display Screen is the home page displayed right after the power is turned on. You can directly see the key

information and settings of the current patch.

EXP 1: EXP 2: Patc hVOL

BPM: 1 20

. Patch number

PatchVOLMixGain

. Patch name

. Patch volume monitor

. Patch BPM

. Patch volume

. EXP pedal state

. Patch state

. DRUM state

. Current footswitch setting

. Quick adjust paras

TUNER

Hold the [TAP] footswitch to activate the tuner mode.

In tuner mode, the LED screen will display the tuning

interface. When you pluck a string, the note will appear in

the center. Left of center is ﬂat, and right of center is sharp.

As you tune your instrument towards the middle, the color

of the scale will change from red (out of tune) to yellow

(near pitch) to green (in tune).

Ÿ Turn Quick Access Knob 1 or tap footswitch A to select the work mode of the tuner:

◦ Thru: Your tune will be normal.

◦ Bypass: Eect chain will be bypassed, and you will only hear the dry guitar input sound.

◦ Mute: There will be no output.

Ÿ Turn Quick Access Knob 3 or tap footswitch C and D to change the standard A’s frequency ranged from 432Hz to

447Hz, with default set to 440Hz.

Ÿ Tap other footswitches or click BACK to return back to the Main Display screen.

Page 8

Screen Introduction

Footswitch

FS1

[-]

FS 2

[+]

FS 3

[CTRL]

FS 4

[TAP]

FS 5

[A]

FS 6

[B]

FS 7

[C]

FS 8

[D]

Function

Tap

Bank

1/2 Speed

DRUM

TapTempo

Undo

Record/Playback

Stop

Back

Hold

Reverse

Tuner

Redo

Clear

LOOPER

In the Main Display screen, hold [Ctrl] footswitch to enter Looper.

LOOPER

Empty

BANK REV

Undo Redo

Rec VOL

Pre/Post

Pre

DRUM

TAP

Exit

Play VOL

Rec ordin g Pla ying Rec ordin g

recording-red playing-green overdubbing-blue

Turning PARA knob on this page to switch current patch, clicking PARA knob to access more options. When double

options are provided in the footswitch function display, the

left corresponds to tap and the right corresponds to hold.

Ÿ Rec VOL: Change the recording volume of the looper;

Ÿ Pre/Post: Change the position of the looper in the eects chain, when setting to “Post”, the recording time will be

cut to half.

Ÿ Play VOL: Change the volume of the looper when playing back;

Ÿ Recording Time: When “Undo/Redo” are not required, you can select up to 180s recording time.

Ÿ Sync*: Synchronize the drumbeat to the timeline of the looper. When activating the looper and playing the drum,

the audio will adjust in a brief period of time to match with the drumbeat.

Ÿ Auto Rec: Turn on/o the auto-recording, when activating auto-recording, the GP-200 will not immediately start to

record until certain level of input signal is perceived.

Footswitches function dierently in the LOOPER interface than in the Home Screen, and their default functions are set below:

Note:

Sync requires the margin of error to be under 50ms, otherwise the sync would not function normally.

DRUM

Press the “DRUM” button to turn on the drum, hold it to enter the DRUM menu.

DRUM

Genr e Styl e

Rock

BPM

Funk

Blues

Pop

Jazz

Electronic

orld

Metro

After the drum is turned on, a symbol

will be displayed on the right side of

the main interface to show the drum

machine is active.

Volu me

Classic Rock 1

Classic Rock 2

Classic Rock 3

Classic Rock 4

Classic Rock 5

Classic Rock 6

Hard Rock 1

Hard Rock 2

Sync

Turn PARA to switch genres, click PARA to switch Genre

and Style.

GP-200 includes 100 drum patterns (check the Drum

Patterns list for details)

Ÿ Turn Quick Access Knob 1 to change the tempo of the

drum, ranged from 40-250 BPM.

Ÿ Turn Quick Access Knob 2 to change the volume of the

drum, ranged from 0-100;

Ÿ Turn Quick Access Knob 3 to synchronize the drum

tempo with the patch tempo.

Ÿ Click “Back” button to exit Drum menu.

Page 9

Screen Introduction

EXP 1: EXP 2: Patc hVOL

PatchVOLMixGain

BPM: 1 20

EXP 1:

MIDI Device Control Functions (MIDI)

In a default footswitch setting, you can enter the MIDI control interface by pressing the footswitch 7+8

simultaneously.

This interface can control the external MIDI devices and adjust the settings of the plugins when using the MIDI

learn function in the DAW

All 8 MIDI switches and 1 MIDI pedal are ready to use in this interface.

The icon will light blue when the corresponding the

footswitch/pedal is pressed.

The display of all three groups of MIDI information of

your current footswitch/pedal.

BACK

FS1

DATA 1:O  C C0 0

DATA 2 :O CC 0 0

DATA 3 :O CC 0 0

CH1

Oﬀ

CMD1

CC0

DATA1

The corresponding parameters of your current MIDI

setting group.

Each footswitch can have three groups of MIDI information.

CH 1/2/3: default is o, adjustable from 1-16

CMD 1/2/3: range from CC0~CC127~PC. (CC: ControlChange)/(PC: ProgramChange)

DATA 1/2/3: adjust the parameter of CC/PC in CMD 1/2/3

GP-200 supports two types of MIDI messages (CC/PC), the parameters in DATA 1/2/3 will vary based on the

type of MIDI function you intend to use.

Note:

Only in this interface for using GP-200 to control external MIDI devices.

EXPPedal

When the built-in expression pedal is on, an icon will show up on the Main Display screen at the top left to indicate the

mode it is on:

You can use a built-in expression pedal oering two modes to

control various parameters in real time.

Press the pedal all the way forward to switch A/B mode.

Some GP-200 patches have been set up to use the built-in

expression pedal. These can be used without any further set up;

Refer to the expression pedal setting section to customize the

expression pedal settings.

Page 10

Patch Setting

Man age Sig nal Cha in

Edit Menu

Click PARA to enter Edit Menu.

Showing the current patch number and name

The complete signal chain simulation of the GP-200. You can

PatchSettings

Patch VOL： 50

BPM: 120 EXP 2: ON

EXP 1: A

directly view all 11 modules’ sequence and on/o status based

on the color of the icons. Shaded dark indicates o and

exposed bright indicates on.

The default sequence of the signal chain is: PRE - WAH - DST -

AMP - NR - CAB - EQ - MOD - DLY - RVB - VOL. You can freely

move and adjust the eects sequence to create your own ideal

tones.

ON/OFF

Current Eect

Press PARA

Mess4 LD 3

In Quick Access display area, you can check the currently

loaded eect’s status.

Note:

Please remember to save after editing your parameters.

A “*” sign with patch name indicates that the parameters of current patch is changed. If without saving, the

change will be removed by changing the patch.

Editing a Module

Choose a module in the Edit Menu using PARA knob and click it to see all eects listed in this module.

PatchSettings

Patch VOL: 50 BPM: 120 EXP 2: ON

EXP 1: A

All eects in the module are listed on the right of the

screen, turn PARA knob and click to switch eects.

Managing the Signal Chain

After choosing a module in the Edit Menu, you can hold PARA to enter the Manage Signal Chain menu:

Press and hold PARA or click BACK to return to the Edit Menu.

Manage Signal Chain

ON/OFF

Move It

Mute

OFF

Click PARAknobto access more options. For speciﬁc parameter settings, please check Page 20

"Eect List".

In this menu, turn PARA knob to select the module you want to move.

Ÿ Quick Access Knob 1 controls the on/o of the

selected module;

Ÿ Quick Access Knob 2 controls moving the selected

module;

Ÿ Quick Access Knob 3 oers a Mute Mode (only

applicable in this menu) to avoid possible noise

when moving the eect module.

Page 11

Patch Setting

Note:

Ÿ In some extreme cases the signal processor may become overloaded and display a “System Overload” message.

Please try other eects combos instead.

Ÿ Keep in mind that turning the modules on/o and adjusting parameters will change the current patch. If you

switch patches or turn GP-200 o before saving your changes, the changes will be lost. Make sure to press the

SAVE button to save your settings.

Ÿ In EDIT Menu, footswitches function the same as in the Main Display screen.

Patch Settings

Patch Settings is referred to functional settings that can be independently saved in dierent patches. It oers settings to

CTRL, footswitches, Quick Access Knobs, patch volume, patch pan, patch tempo(BPM) and so on.

When the icon selects patch settings, use the quick access knobs to adjust patch volume, patch pan and patch tempo(BPM).

PatchSettings

Patch VOL Patch Pan BPM

Patch VOL： 50 BPM： 120 EXP 2: ON

EXP 1: A

Press PARA

Module1

PRE

PatchSettings

Boost

Patch VOL： 50 BPM： 120 EXP 2: ON

Knob 1-3

EXP Settings

CTRL Settings

FX Loop

Para1

Gain

EXP 1: A

Knob 1-3: To use the Quick Access Knobs for adjusting eect parameters of the selected patch.

EXP Settings: Settings of the selected patch’s expression pedal, including EXP 1A, EXP 1B and EXP 2. Every pedal

mode can simultaneously control up to 3 eect parameters with max/min value settings. EXP 2 means external

pedals, you can use them through Global Settings.

Note:

EXP pedal-related parameters are regarded as module parameters, and no save reminder will be shown up.

CTRL Settings: You can assign the on/o of one or multiple modules, and there are totally 8 CTRLs available. When

used with “Global Settings”, you’re able to control multiple modules’ on/o in one patch, making you feel like playing

with the stompbox matrix.

FX Loop: the FX Loop settings in the current patch.

Blue arrow : the signal is sent from here. Purple

arrow : the signal is returned here.

The Send/Return nodes can be freely moved in the

PatchSettings

Patch VOL： 50 BPM： 120 EXP 2: ON

EXP 1: A

Knob 1-3

EXP Settings

CTRL Settings

FX Loop

eect chain.

Note:

The return node can’t be placed in front of the

send node to avoid the squealing sound.

SendPosition

ReturnLevel

ReturnPosition

Parallel/Series

Parallel

SendLevel

Page 12

SAVE

Rotate PARA to move the cursor, press to select

SAVE

Use PARA or knob 1~3 to edit. Press SAVE button to save.

Knob1 Knob2 Knob3

Letter Cursor Delete

Patch Setting

Display

Auto CAB Match

GLOBALSETTINGS

USB Audio

EXP Calibrate

Footswitch

Input/Output

EXP 2/Footswitch

Input Mode

Input Level No CAB Mode(L)

OFF

0dB

E. GT

Ÿ Parallel/Series illustrates how the eects loop is connected to the signal chain.

◦ When set to Parallel, the returned signal from external eect chains will mix with the AMP module and be sent to

the latter signals in the signal chain.

◦ When set to Series, internal eect chain will be temporarily paused, only signals from external eect chains will

be sent to the latter signals in the signal chain. In this situation, if the eect loop interface is not connected to the

any other eect unit, the GP-200 output will remain silent.

Sen d

Retu rn

Save Menu

In the Save menu, you can save the changes you make to your eects

parameters, control information, and other editable targets.

When pressing SAVE button, the interface will enter Save Menu, choose

a slot via rotating and pressing PARA. Press it to enter Rename Menu.

Hold SAVE to jump renaming and position change and save directly.

In the Rename Menu, you can manage your editing through PARA knob or

3 Quick Access Knobs.

Ÿ Quick Access Knob 1: There are 4 types of characters to choose from:

Uppercase, lowercase, numbers and symbols (including space).

Ÿ Quick Access Knob 2: Switch the position of the icon.

Ÿ Quick Access Knob 3: Delete the icon targeted character.

Ÿ When ﬁnishing, press SAVE to make sure you saved.

Ÿ Click BACK to exit editing and return to the previous menu.

Remember to save after ﬁnishing the editing.

Sen d

Retu rn

SeriesParallel

Global Settings

Global Settings, unlike previous ones, will aect the whole status of the GP-200 and not change when the patch has

changed. All the settings will immediately function when editing is ﬁnished. There are input/output, USB Audio,

footswitch/EXP pedal, language and more in this menu, as well as factory reset.

Rotate PARA knob to move the cursor

Page progress bar, click PARA to turn pages

Currently selected submenu. The options displayed

will change when you click in dierent menu items.

There will be buttons in some submenus, click PARA

to continue

Use Quick Access Knob 1-3 to operate the displayed

options in the submenu at the button screen

Page 13

Global Settings

Input/Output

This option is to adjust input/output related parameters.

Ÿ Input Mode: to adjust the impedance, including acoustic

guitars, electric guitars and line in.

◦ Acoustic guitar: Impedance set to 4.7MΩ, used to connect

acoustic guitars or piezoelectric pickups.

◦ Electric guitar: Impedance set to 1MΩ, used to connect

electric guitars and bass guitars with pickups.

◦ Line in: Impedance set to 10kΩ, used to connect

synthesizers and more analog audio devices.

◦ The default option is set to electric guitar.

Ÿ Input Level: Ranged from -20dB to +20dB with default

value set to 0dB, you can adjust the value to get the best

experience based on varied instruments.

USB Audio

This is to adjust related settings when using the GP-200 as

a USB audio interface.

Ÿ Rec Level: To control the master volume of the output

when recording, ranged from -20dB to +20dB. The

default is 0dB.

Ÿ Rec Mode Left/Right: GP-200 has a USB stereo analog

output channel. When choosing Dry, the corresponding

output channel will send out direct signals; when

choosing Wet, the corresponding output channel will

send out signals with eects. This function can easily

achieve “monitor wet, record dry”. The default is wet.

GLOBALSETTINGS

Input/Output

Footswitch

EXP 2/Footswitch

Display

Input Mode

E. GT

No CAB Mode(R)

OFF

USB Audio

EXP Calibrate

Auto CAB Match

Input Level No CAB Mode(L)

0dB

OFF

Ÿ No CAB mode(L/R): By activating no CAB mode on

Mono left or right, you can get the audio eect

where there is no CAB module simulation in the

analog output. The default is o.

GLOBALSETTINGS

Input/Output

Footswitch

EXP 2/Footswitch

Display

Rec Le vel

0dB

Aux To USB

Rec Mo de(L)

Wet

Monitor Level

USB Audio

EXP Calibrate

Auto CAB Match

Rec Mo de(R)

Wet

USB Mo de

Norm al

Ÿ AUX To USB: When activating, audios from AUX IN can be recorded in USB devices. This means, when using GP-

200 for livestreaming, you can mix the audios from AUX IN with eects from the GP-200, and send out to the

streaming device through USB output.

Ÿ Monitor Level: To control the volume of playback through USB, ranged from -20dB to +20dB. The default is 0dB.

Ÿ USB mode: switch to a multi-channel output. Legacy mode: switch to this mode for a 2x2 USB audio without MIDI

function, this mode is compatible with the OTG function of most phones(connection to GP-200 software will be

lost). Normal mode: switch to this mode for a 6 x 4 USB audio with MIDI function, this mode is compatible with

using this device as a soundcard.

Page 14

Reset

Global Settings

Using GP-200 as an audio interface

When used as a USB audio interface, the GP-200 will be recognized by the system as a 6-in/4-out USB device. Here we will

show you how to use this function through listing two scenarios.

Scene 1: Using the built-in re-amp function in the DAW to record or adjust the tone

1. Set the Mono L and Mono R's output to "Dry" in the Global Settings-USB Audio

2. In the DAW, create two new Tracks A and B, and import/record a dry guitar Track in A

3. Set Track A output to Output 3-4, set Track B input to Input 3-4, keep Track B's monitoring o

4. Play the dry track in DAW, and now you can hear the eect sound of the processed dry track ﬁle in GP-200

5. Activate "Record" in Track B on the recording software, then you'll get to record the Track with eect after re-amp on Track B.

Scene 2: Using LOOPBACK function to record, combining the audio from multiple sources on your computer

1. In the DAW, create a new stereo audio track

2. Set the input to Input 5-6

3. Start recording in the DAW

4. By playing other audio sources on your computer, you can record them in the track now

Footswitch

This is for choosing footswitch modes and corresponding function settings.

GLOBALSETTINGS

Input/Output

EXP 2/Footswitch

Display

BankSel Mode

Wait

Footswitch

Patch Stomp User

FS 1 FS 2 FS 3 FS 4

Tap

BANK- BANK+ TAP

Hold

BANK- BANK+ TUNER

FS 5 FS 6 FS 7 FS 8

Tap

None None None

Hold

Setting

USB Audio

EXP CalibrateFootswitch

Auto CAB Match

LOOPER

None

Page

Single FS

Ÿ Quick Access Knob 1 is to choose Bank Select Mode. This setting

simultaneously aect internal and external footswitches and oers

two modes: Initial and Wait.

Initial: When switching banks, the patches will roll immediately.

Wait: The default mode. When switching banks, the patches will

NOT roll immediately, instead, you will need to enable footswitch

functions and select a conﬁrmed patch number. After that, the

patches will switch.

Ÿ Quick Access Knob 2 is to enter Footswitch Setting (See picture

below).

There are 3 footswitch modes: Patch mode, Stomp mode and User

mode. In each mode, all options are the same with varied default

settings. All functions will work immediately when selected and

presented. All changes will be saved automatically.

You can also click PARA to enter Footswitch Setting, and assign tap and

hold functions for each footswitch. By fast-selecting which footswitch

to assign functions, tap the corresponding footswitch.

Tap

BANK-

Hold

BANK-

Page

Single FS

Ÿ Turn Quick Access Knob 1 to select tap functions

Ÿ Turn Quick Access Knob 2 to select hold functions

Ÿ Turn Quick Access Knob 3 to turn pages between

single FS and dual FS settings.

We have a reset option in every mode to perform a

factory reset for all footswitches.

Page 15

Display

Auto CAB Match

USB Audio

EXP CalibrateFootswitch

Input/Output

EXP 2/Footswitch

GLOBALSETTINGS

EXP 1 E XP 2

Function

Description

Bank

Enter bank selecting menu

Bank+

Load the latter adjacent bank

Bank-

Load the former adjacent bank

Patch+

Load the latter adjacent patch

Patch-

Load the former adjacent patch

Load the A patch

Load the B patch

Load the C patch

Load the D patch

Function

Description

LOOPER

Enter the Looper

DRUM

Play/stop the drum

Drum Patch+

Load the latter adjacent drum patch

Drum Patch-

Load the former adjacent drum patch

EXP 1 A/B

Switch between A/B of EXP 1

MIDI

Enter the MIDI function interface

TUNER

Enter the tuner

CTRL 1 -8

Execute CTRL 1 - 8’s function

Tap Tempo

Use Tap Tempo

EXP Calibrate

Lift the pedal fully up towards heel.

Press PARA to continue.

EXP Calibrate

Lift the pedal fully down towards toe.

Press PARA to continue.

EXP Calibrate

Press PARA to continue.

Press strongly.

EXP Calibrate

Press PARA to continue.

Complete!

Press PARA to continue.

Failed!

EXP Calibrate

Global Settings

Footswitch functions include:

EXP Calibrate

The EXP Calibrate helps you calibrate your expression

pedal. It is important to do so if you ﬁnd the sweep has very

little or too much change in the eect you’ve set.

As shown, turn Quick Access Knob 1 or 2 to calibrate EXP

pedal 1 or 2.

Lift your pedal all the way up, and click PARA to continue. Press the pedal all the way down, and click PARA to continue.

Press the front side strongly, and click PARA to continue. If successfully calibrated, the screen will display as so.

If not, the screen will display as so. Please try to repeat the

process.You can also click BACK to return to the previous

menu.

Page 16

Display

Auto CAB Match

USB Audio

EXP CalibrateFootswitch

Input/Output

EXP 2/Footswitch

GLOBALSETTINGS

EXP

Mode

Display

Auto CAB Match

USB Audio

EXP CalibrateFootswitch

Input/Output

EXP 2/Footswitch

GLOBALSETTINGS

MIDI In Source

Mixe d

Inpu t Ch(DI N) Inpu t Ch(US B)

Omni Omni

Parameters

Range

Description

MIDI In Source

DIN Only

Only receiving MIDI messages from the MIDI IN.

USB Only

Only receiving MIDI messages from the USB.

Mixed

Receiving from both the MIDI IN and the USB.

Input Channel (DIN)

Omni ~ 1 ~ 16

(The default

setting is

Omni)

For setting up the channel of the USB input and the MIDI messages’ input and

output

Input Channel (USB)

Output Channel (DIN)

Output Channel (USB)

Clock Source

Internal

Only receiving from the internal clock

DIN Only

Only receiving the clock messages from the MIDI IN

When “Din Only” ,“USB

Only”or“External”is

selected, the internal clock

will not work and the Tap

Tempo will not function

USB Only

Only receiving the clock messages from the USB

External

Only receiving from the external clock

Mixed

(Default)

Receiving clock messages from the internal clock, MIDI In and USB. If using

dierent clock sources simultaneously, then the last message type the GP-200

receives will cover previous ones

Clock Out (DIN)

ON/OFF

(The default

is OFF)

When turned ON, this unit will negate all input signals; Additionally, when your

Clock Source is set to “DIN Only” or “USB Only”, this unit will not send out MIDI

clock messages.

Clock Out (USB)

Global Settings

EXP 2 / Footswitch

This menu is to adjust parameters related to external devices

through EXP/FS input.

You need to set up for the type of the external devices. If it is an

external pedal, it is called EXP 2, and you’ll need to manage the

parameters in “Patch Settings – EXP Settings”; if it is a single

footswitch or dual footswitch, the options in the Quick Access

Mode

Dual F S

FS9Tap

None

FS10Ta p

None

MIDI

This menu is to set up MIDI messages, including MIDI In Source, Input Channel (DIN), Input Channel (USB), Output

Channel (DIN), Output Channel (USB), Clock Source, Clock Out (DIN) and Clock Out (USB).

menu will help you set up.

MIDI In Source: Control where the MIDI message is coming from.

Input Channel (DIN), Input Channel (USB), Output Channel (DIN),

Output Channel (USB): For setting up the channel of the USB

input and the MIDI messages' input and output

Clock Source: For choosing the source of the MIDI clock.

Clock Out (DIN), Clock Out (USB): To control whether the MIDI

OUT and USB will send out MIDI clock messages. Use this to set

your GP-200 as the main clock for all MIDI devices.

Page 17

ON/O FF

EXP 2/ Footswitch

Display

Global EQ

Factory Reset

Auto CAB Match

About

GLOBALSETTINGS

Global Settings

Display

This menu is to adjust parameters and settings of the displayed factors.

GLOBALSETTINGS

EXP 2/ Footswitch

Display

Global EQ

Factory Reset

Brightness

Disp layMod e

Foot switc h

DisplayTime

Always

Auto CAB Match

About

Language

English

Ÿ Brightness: For adjusting screen brightness

Ÿ Display Time: The time GP-200 needs to enter sleep

mode.

Ÿ Language: For choosing your system language.

Ÿ Display Mode: Personalize the important information

displayed in the main interface. Switch between

these modes according to your preferences.

◦ Footswitch: the current setting of the footswitch.

◦ Patch: magnify the patch names and numbers.

◦ Signal chain: display the current signal chain and

the module's status.

It's GP-200

01- A

Footswitch

Auto CAB Match

This is to turn on/o the correlation status of the AMP module and the CAB module.

01 - A

Patch

It's GP-200

Signal chain

When turned ON, the eects in the CAB module will correspondingly change with the eects in the AMP module.

Page 18

Parameter

Range

Description

ON/OFF

On/O global EQ

Level

0~100(Default:50)

Adjust the master volume of the global equalizer

Low Cut

OFF~20Hz~20000Hz

(Default: OFF)

High pass ﬁlter to cut o low frequency signals.

Band 1-4: 4 selectable

peak ﬁlters used for

overall or detailed

frequency adjustment in

the certain range,

including 3 available

parameters: Frequency,

Q and Gain.

Band 1-4

Frequency

20Hz~20000Hz

(Band 1-4’s default frequencies

are accordingly 100Hz, 500Hz,

1000Hz and 5000Hz)

To adjust the corresponding ﬁlter’s frequency.

Band 1-4 Q

0.1~10.0

(Default: 0.71)

Width. To adjust the width of the formant (slope of the

ﬁlter), the larger the number, the steeper the slope.

Band 1-4

Gain

-20dB ~ +20dB

(Default: 0dB)

Adjust the ﬁlter gain

High Cut

20Hz~20000Hz~OFF

(Default: 20000Hz)

Low pass ﬁlter to cut o high frequency signals.

Global Settings

Global EQ

This menu is to control the global equalizer of the GP-200 in order to change the overall tone feel.

This is the displayed menu:

GLOBALSETTINGS

EXP 2/ Footswitch

Display

Global EQ

Factory Reset

PressPARAto

Auto CAB Match

About

enter.

Global EQ

Band 4 Freq Band 4 Q Band 4 Gain

Global EQ contains Low Cut / High Cut, and 4 bands of parametric EQ. Every frequency band can be freely turned

on/o based on your needs. There are total 6 of them.

Note:

Ÿ Please stay cautious when adjusting your global EQ to protect your hearing and device

Ÿ Global EQ won’t aect the USB audio output of the GP-200

Ÿ When a patch is using too many modules, or some modules are consumed with too much system resources

(such as reverb eect), the system may be overloaded after applying global EQ.

Page 19

Firm wareVer sionV1 .4.0

©Val etonAl lRight sReser ved

EXP 2/ Footswitch

Display

Global EQ

Factory Reset

Auto CAB Match

About

GLOBALSETTINGS

PressPARAtoenter.

EXP 2/ Footswitch

Display

Global EQ

Factory Reset

Auto CAB Match

About

GLOBALSETTINGS

Factory Reset

Choose an option

Reset global settings only

Reset factory patches(01-A~25~D)

Reset all data(All user data will be lost)

Global Settings

30%

Factory Reset

Resetting in progress

Please do not shut down!

Factory Reset

This will reset the global settings to default.

Do you still want to continue?

CANCEL OK

About

This menu is to check the ﬁrmware and hardware version.

Factory Reset

This menu is to perform a factory reset. Remember, resetting the GP-200 will delete all of your saved changes and

personal settings. Once it is executed, it cannot be undone. Please back up your settings before performing a factory

reset.

To improve the precision of factory reset function, the GP-200 provides 3 types of factory reset. When clicking PARA to

enter the menu, the screen will display with 3 options:

◦ Reset global settings only

◦ Reset factory patches (01-A~25-D)

◦ Reset all data (All user data will be lost)

When selecting one of them, there will be another window for conﬁrming. When clicking OK, the factory reset will be

performed. When clicking Cancel, it will return to the global settings menu.

After the factory reset is performed, the screen will display this window to indicate it is now on factory resetting.

Please remember, never turn o the power when performing the factory reset, otherwise the GP-200 may

malfunction.

Page 20

Resettingcomplete!

Factory Reset

Global Settings

When it is all set, the screen will suggest the resetting is

complete. Click OK to return to the Main Display menu.

Note:

To maintain the capability for interaction, factory reset

won’t aect the language you have chosen.

Compatible software

When you connect your GP-200 with the PC/Mac, you can use the free GP-200 software to manage multiple

functions, including adjusting tones, import/export patches, ﬁrmware upgrade, loading 3rd party IRs and more. The

GP-200 software supports both Windows and MacOS platforms. Please download the software at

www.valeton.net/support.

Note:

Before connecting the computer, make sure that it is set to "Normal" under "GLOBAL SETTINGS - USB Audio -

USB Mode”

Page 21

Application Scenarios

In this section, we will introduce the connection methods of GP-200 in common usage scenarios.

With full-range speaker devices

Full-range devices include audio interface, studio monitor, PA system, headphones etc. In this scenario, the output jack or

headphone jack of the GP-200 can be connected according to the need of subsequent devices. The balanced and

unbalanced output signals are the same, and the balanced output is more suitable for long-distance signal transmission.

If there is only one speaker, please select the L (MONO) ﬁrst.

To get the best tonal performance, keep the AMP and CAB modules ON and keep the "No CAB" mode o.

With guitar amps (INPUT jack)

In this scenario, directly connect the GP-200's UNBALANCED OUTPUT to the guitar amp's INPUT.

If only one amp is available, please select the L (MONO) ﬁrst.

To get the best tonal performance, keep the AMP and CAB modules o to avoid adverse eects on the tone.

Page 22

Application Scenarios

With guitar amps (using FX Loop to pre-position the GP-200)

In this scenario, connect the GP- 200’s UNBALANCED OUTPUT to a guitar amp’s RETURN. This way, by bypassing the preamp and using the power amp of the guitar amp to pair with dozens of reﬁned eects in

the AMP module, you’ll get the more realistic sound.

If only one amp is available, please select the L (MONO) ﬁrst.

To get the best tone performance, keep the CAB module o or turn on the "No CAB" mode to avoid adverse eects on the

tone.

With guitar amps (using FX Loop to post-position the GP-200)

In this scenario, all modules before the AMP (including the AMP module) will be muted, and the eect chain after the

AMP module will be applied between the preamp and the power amp. In default setting, RETURN node is after AMP

Module.

In order to get the best tone performance, keep the CAB module o or turn on the "No CAB" mode to avoid adverse

eects on the tone.

In addition, you need to pay attention to the GP-200’s patch volume monitor, if you hear the “clip” sound, please reduce

the input volume in the "Global - Input/Output”, or adjust the input to Line to try get the more ideal tone.

Page 23

Application Scenarios

With guitar amps (using FX Loop to run the 4 cable method)

This method will split the GP-200's eect chain into two parts (as shown below). It allows you to place the GP-200's PRE

and DST modules before the preamp, while placing the EQ, MOD, DLY and RVB modules between the preamp and the

power amp.

In order to get the best tone performance, please keep the AMP and CAB modules o to avoid any adverse eect on the

tone.

Also note that please set the FX Loop at Series mode in the “Patch Settings - FX Loop - Parallel/Series” to “Series”.

INPUT

SEND

RETURN

Audio Studio (for livestreaming)

In this scenario, the GP-200 will be functioned as an audio interface for a computer or a cell phone. Use the supplied USB

cable to connect to the computer; if connecting to a cell phone, an additional OTG adapter cable may be required. When

under Windows system prior to Windows 10, it needs to be used with the ASIO driver available for downloading on the

Valeton oicial website; while on MacOS, iOS, Android and Windows system after Windows 10, it can be easily plugged in

and played. The input signal (INPUT) and the auxiliary input signal (AUX IN)* of the GP-200 can be used by all the devices

connected to the USB.

*Please make sure the "Global - USB Audio- AUX IN USB" function is enabled.

Page 24

PRE

FX Title

Type

Description

Parameter Description

COMP

Comp

Based on the legendary Ross™ Compressor. This is the

originator of the guitar compression eect. It brings the

guitar compression eect to the public and becomes an

important element in the future. It has a very natural and

mellow compression eect.

Sustain: Controls the compression amount

Volume: Controls the effect output

COMP4

Comp

Based on the Keeley ® C4 4-knob compressor*. A

recording studio - level compression effect.Clear sense of

hierarchy, the right amount of high frequency makes your

guitar sound brighter.

Sustain: Controls the compression amount

Attack: Controls how soon the compressor starts to

process the signal

Volume: Controls the effect output

Clipping: Controls the input sensitivity

S-Comp

Comp

Flexible, fully adjustable compressor effect

Threshold: Controls the compression trigger level

Ratio: Controls the amount of compression when

the compressor is triggered

Volume: Controls the output volume/makeup

amount

Attack: Controls how soon the compressor starts to

process the signal

Release: Controls how soon the compressor starts to

release the signal level back to normal after the

level drops below the threshold

Tone: Controls the effect tone

Blend: Controls the wet/dry signal ratio

Micro

Boost

Based on the legendary MXR® M133 Micro Amp pedal.

Providing up to 20dB of gain, the Micro Boost elevates

your amp sound without changing its tonal character.

Gain: Controls the gain amount

AC Boost

Boost

Based on famous Xotic® AC Booster* pedal, It is a

beautiful smooth sounding drive/boost pedal that it

perfect for giving your tube amp a bit of extra grunt.

Gain: Controls the gain amount

Volume: Controls the effect output

Bass/Treble: 2-band EQ that controls the effect tone

B-Boost

Boost

Any guitarist can benefit from the Xotic® BB Preamp*

overdrive pedal. The pedal works equally well for getting

thick and creamy overdrive tones with great sustain as it

does for pushing the clean front end of an already driven

amp with up to 30dB of boost.

P-Boost

Boost

Based famous on Xotic® RC Booster* provides you with

super-transparent 20dB boost without altering your

carefully crafted tone. And it offers an added gain

channel for extra fatness. Take advantage of the +/-15dB

range on the treble and bass EQ controls, and imbue your

guitar sound with unbelievable harmonic complexity. The

EQ controls also compensate for the extra bass

boominess the volume boost may cause and are great for

matching the response for multiple guitars.

Eect List

*Th e manuf acturers and product na mes men tione d above are tra demar ks or registered trademarks o f their r espec tive owners.

The t radem arks were use d merel y to iden tify th e sound c haracter of the products

Page 25

PRE

FX Title

Type

Description

Parameter Description

14 Boost

Boost

Based famous on Fortin®Grind*. It gives you

up to +20dB of boost that will tighten up

and add aggression to any tube or solid-

state amplifier. The GRIND’s surprising low

noise floor and high input Z lets every

nuance of instrument character come

through unaltered.

Gain: Controls the gain amount

FAT BB

Boost

This is a clean boost and preamp with a

switchable low-cut filter and separate bass

and treble controls.

Bass/Treble: 2-band EQ that controls the effect tone

Volume: Controls the effect output

Low Cut: Switches the low cut filter (-6dB/oct @200Hz) on/off

Boost

Based on famous Xotic® EP Booster* pedal.

Provides +20DB of pure stimulation lift,

strong low frequency, bright high

frequency, making clear sound more

pleasant.

Gain: Controls the gain amount

+3dB: Selects the minimum boost amount from 0dB (off) to

+3dB (on)

Bright: Selects the sound character from vintage (Bright off)

to flat (Bright on)

AC Refiner

Acoustic

Designed for acoustic instruments, bringing

you a more natural "woody" acoustic sound

Shape: Controls the detailed effect character

AC Sim

Acoustic

Acoustic guitar simulator designed for

guitars. Its prototype comes from a classic

acoustic guitar analog stompbox.

Body: Controls the “body resonance” (low frequency

response)

Top: Controls the upper harmonics (high frequency response)

Volume: Controls the eect output level

Mode: Selects from 4 dierent sound characters:

Standard: Simulates the tonal characteristics of a standard

acoustic guitar

Jumbo: Simulates the tonal characteristics of a jumbo

acoustic guitar

Enhanced: Simulates the tonal characteristics of an acoustic

guitar with enhanced attack

Piezo: Simulates the sound of a piezo pickup

T-Wah

Filter

Control the wah sound by playing

intensity.A wide range d envelope filter

(a.k.a. touch wah) designed for guitarists

and bassists that is touch-sensitive and

flexible

Sens: Controls the eect sensitivity

Range: Controls the frequency range of the ﬁlter

Q: Controls the sharpness of the ﬁlter

Mix: Controls the wet/dry signal ratio

Mode: Selects from two modes: Guitar/Bass

A-WAH

Auto

Filter

Set the rate to make the wah pedal work

regularly. Providing a variable auto wah

effect for both guitars and basses.

Depth: Controls the eect depth

Rate: Controls the eect speed

Volume: Controls the output level

Low: Controls the bottom point of center frequency (low freq)

Q: Controls the sharpness of the ﬁlter

High: Controls the top point of center frequency (high freq)

Sync: Switches Tap Tempo sync on/o

Eect List

*Th e manuf acturers and product na mes men tione d above are tra demar ks or registered trademarks o f their r espec tive owners.

The t radem arks were use d merel y to iden tify th e sound c haracter of the products

Page 26

PRE

FX Title

Type

Description

Parameter Description

Step

Filter

A 4-step auto filter machine for creating

synth-like sounds

Step 1-4: Controls the filter center frequency of each step

Rate: Controls the sequencing speed

Sync: Switches Tap Tempo sync on/off

OCTA

Pitch

Provides polyphonic octave effect.

Low Oct: Controls the volume of lower octave (1 oct down)

High Oct: Controls the volume of higher octave (1 oct up)

Dry: Controls the dry signal level

Pitch

Polyphonic pitch shifter/harmonizer.

Low/Hi Pitch: Controls the low/high pitch shifting range by

semitones

Dry: Controls the dry signal level

Low/Hi Vol: Controls the low/high pitch volume

P-Bend

Pitch

Polyphonic pitch shifter/harmonizer.

Low/Hi Pitch: Controls the low/high pitch shifting range by

semitones

Wet: Controls the wet signal level

Dry: Controls the dry signal level

Range: Controls the pitch range of harmony effect

Hammy

Pitch

Based on classic Whammy®* monophonic

pitch shifter pedal. Assign the Position

parameter to expression pedal, then move the

pedal to get the eect.

Range: Controls the pitch shifting range

Harmony: Switches Harmony mode (dry and wet signals output

simultaneously) on/o

Volume: Controls the eect output volume

Position: Control the changes in pitch

Ring

Mod

Special

A ring modulator for creating intresting

inharmonic frequency spectra (like bells and

chimes.

Mix: Controls the wet/dry signal ratio

Freq: Controls the overall modulation frequency

Fine: Fine tune the modulation frequency by +/- 50Hz

Tone: Controls the eect tone

Saturate

Special

Vintage tape saturation simulater providing

analog warmth and natural distortion.

Saturation: Controls the eect gain

Mix: Controls the eect wet/dry signal ratio

Volume: Controls the eect output volume

High Cut: Cuts the eect high frequency signal

Auto

Swell

Special

This is an auto swell eect with two

parameters that are easy to understand and

use. It can make the guitar sound like a violin.

Attack: Controls how fast the eect swells

the input signal

Curve: Selects the volume swell curve (Line, Exp, Log)

Hold

Special

This is a freeze eect that can freeze the

sound for a short period of time before the

eect is activated and make it play in a loop.

The Activate parameter can be assigned to the

expression pedal to activate and deactivate

the eect; You can also turn on the Activate

parameter and use CTRL to directly control the

On/O of the eect module.

Volume: Controls the eect output volume

Activate: Switches the eect on/o

Eect List

*Th e manuf acturers and product na mes men tione d above are tra demar ks or registered trademarks o f their r espec tive owners.

The t radem arks were use d merel y to iden tify th e sound c haracter of the products

Page 27

WAH

FX Title

Type

Description

Parameter Description

V-Wah

Wah

Based on legendary VOX® V846* wah pedal. The earliest

wa-wah pedal was originally designed to allow the wind

instrument passing through it to produce a more

emotionally expressive "wa-wah" sound.The amplitude is

small and acts between medium and high frequency.

Range: Controls the wah ﬁlter frequency range

Q: Controls the wah resonance (ﬁlter Q)

Volume: Controls the eect output

When using the EXP pedal as a wah pedal,

remember to ﬁrst assign the position parameters,

then turn on and press the pedal to get the eect.

C-Wah

Wah

Based on legendary Dunlop® CryBaby®* wah pedal. The

classic 60's traditional wha pedal, acting between low and

medium frequency, moderate amplitude, neutral timbre.

P-Wah

Wah

Based on John Petrucci's rack wah settings, this Cry Baby®

Wah features Volume, Q, and six EQ controls for ultimate

tonal control over your wah sound.

Range: Controls the wah ﬁlter frequency range

Q: Controls the wah resonance (ﬁlter Q)

Volume: Controls the eect output

EQ: Switches built-in EQ on/o

When using the EXP pedal as a wah pedal,

remember to ﬁrst assign the position parameters,

then turn on and press the pedal to get the eect.

S-Wah

Wah

Classic wah tone. Just press down and feel the vocal sweep

and lush harmonics from the wah’s classic era. Its like

keeping a tiny jimi hendrix in your pocket.

Range: Controls the wah ﬁlter frequency range

Q: Controls the wah resonance (ﬁlter Q)

Volume: Controls the eect output

When using the EXP pedal as a wah pedal,

remember to ﬁrst assign the position parameters,

then turn on and press the pedal to get the eect.

B-Wah

Wah

Wah designed for basses

Hammy

Pitch

Based on classic Whammy®* monophonic pitch shifter

pedal. Assign the Position parameter to expression pedal,

then move the pedal to get the eect.

Range: Controls the pitch shifting range

Harmony: Switches Harmony mode (dry and wet

signals output simultaneously) on/o

Volume: Controls the eect output volume

Position: Control the changes in pitch

DST

FX Title

Type

Description

Parameter Description

Green OD

Based on legenary Ibanez® TS-808 Tube Screamer®* overdrive pedal. Since it

was ﬁrst shown to the world in 1979, TS808 has opened up a new world. There

are countless guitarists who love it. It is a warm, delicate overdrive eect.Can be

used as either an overdrive or a Boost, can be used in a variety of musical styles.

Gain: Controls the overdrive

amount

Tone: Controls the eect tone

Volume: Controls the eect

output

Famous users: Stevie Ray Vaughan, Joe Satriani, Paul Gilbert, Andy Timmons,

Kirk Hammett, Steve Ray Vanghan, Michal Landau, U2

Eect List

PRE

FX Title

Type

Description

Parameter Description

Freeze

Special

This is a freeze eect that can freeze the sound at the

moment of activation and keep it playing when the eect is

activated. The Activate parameter can be assigned to the

expression pedal to activate and deactivate the eect; You

can also turn on the Activate parameter and use CTRL to

directly control the On/O of the eect module.

Volume: Controls the eect output volume

Attack: Controls how fast the eect volume fades in

Release: Controls how fast the eect volume fades

out

Activate: Switches the eect on/o

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Page 28

DST

FX Title

Type

Description

Parameter Description

OD 9

The Ibanez® Tube Screamer® is synonymous with the transparent

overdrive tone used by many of today's top guitarists. The TS9 pedal

boosts the guitar signal enough to drive the preamp stage of your

amp, giving a very natural-sounding and pure overdrive and crisp

rhythm crunch.

Gain: Controls the overdrive amount

Tone: Controls the eect tone

Volume: Controls the eect output

Yellow

Artist of the 70's was mostly using a fuzz distortion sound and the

overdrive produced by it was not typical. It was however soon

accepted as the new standard of guitar sound. It features an

asymmetric circuit where the positive and negative halves of the

waveform isn't distorted equally. The sound is therefore still close to

the original even though distortion have been added.

Gain: Controls the overdrive amount

Volume: Controls the eect output

Penesas

Based on the legendary Klon® Centaur*, this overdrive model gives

you an authentic amp-in-a-box feel with full, rich sound character

that is not harsh or boomy at all. Turn Gain knob to minimum you get

a superb clean boost.

Gain: Controls the gain amount

Tone: Controls the eect tone

Volume: Controls the eect output

Swarm

The Providence® SOV-2 Stampede OD pedal is designed to deliver

natural overdrive without obscuring the inherent characteristics and

tone of the guitar being used. It features a special bipolar power

supply that powers the internal circuitry with boosted voltage,

providing a wider dynamic range than possible with conventional 9-

volt powered overdrives. For singing lead tones and solid, chunky

rhythms, there’s nothing like the SOV-2 Stampede OD.

Gain: Controls the overdrive amount

Tone: Controls the eect tone

Volume: Controls the eect output

Super

The unique asymmetric overdrive eect circuit adds warm and

pleasant overdrive eect to the traditional guitar timbre.

Scream

Based on Tube Screamer® Style overdrive pedal, with unique timbre

characteristics.

Gain: Controls the overdrive amount

Tone: Controls the eect tone

Volume: Controls the eect output

Fat: Switches extra resonance on/o

Air: Switches extra presence on/o

Blues OD

Whether it's warm and natural overdrive or full open distortion, it

gives your guitar the most expression, makes it easy to control the

tone, and allows for subtle variations in your personal playing style.

Gain: Controls the distortion amount

Tone: Controls the eect tone

Volume: Controls the eect output

Force

Fulltone® OCD* sounds like ﬁnding the “sweet spot” on your favorite

amp. It produces overdriven tones that sound warm and full, with

genuine tube-like response. There’s no shortage of usable drive,

meaning it dynamically ramps up overdriven grit from dirty

overtones to saturated distortion in the smooth range of its drive

control.

Gain: Controls the distortion amount

Tone: Controls the eect tone

Volume: Controls the eect output

Mode: Selects from two dierent sound

characters: HP (High Peak mode with more

bottom end and distortion), LP (Low Peak

mode without changing your original tone)

Eect List

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Page 29

DST

FX Title

Type

Description

Parameter Description

Blues

Master

The Marshall® BluesBreaker* is a low-gain pedal with exceptional

transparent tone. Moderate overdrive and subtle boost are the

strong points, though it can get as well emphatic with a cranked up

tube amp.

Gain: Controls the distortion amount

Tone: Controls the eect tone

Volume: Controls the eect output

Master OD

The EQ stage is extremely wide, oering treble, mid and bass

shaping options and the gain stage goes from clean to a well driven

JCM800 kind of tone and that is also where its magic lies.

Gain: Controls the distortion amount

Volume: Controls the eect output

Bass/Middle/Treble: 3-band EQ that

controls the eect tone

Famous users: Stevie Ray Vaughan, Joe Satriani, Paul Gilbert, Andy

Timmons, Kirk Hammett, Steve Ray Vanghan, Michal Landau, U2

TaiChi OD

Hermida® Zendrive® rose to fame because of its tube-like tone. To

get the perfect balance of saturation and harmonics required to

result in all of the 'in-tangibles' that make a pedal overdrive sound

like a real amp overdrive. Things like touch sensitivity and response

to guitar tone and volume control changes.

Gain: Controls the overdrive amount

Tone: Controls the eect tone

Volume: Controls the eect output

Voice: Controls the upper harmonics

character

Timmy OD

Paul Cochrane® Timmy* overdrive was one of the original boutique

overdrive pedals, generating a dedicated following based on its

open, un-compressed drive tone and good EQ options.

Gain: Controls the distortion amount

Volume: Controls the eect output

Bass/Treble: 2-band EQ that controls

the eect tone

Mode(I,II,III): Distortion type selection

Precise OD

Horizon Devices® Precision Drive* overdrive. Perfect modern metal

rig with precise tonal carving controls. The built-in noise gate

ensures the cleanness and clarity of tone.

Gain: Controls the overdrive amount

Tone: Controls the eect tone

Volume: Controls the eect output

Attack (1, 2, 3, 4, 5, 6): Overdrive type

selection

Gate: Controls the built-in noise gate

threshold

Lazaro

Fuzz

Based on legendary Electro-Harmonix®Big Mu Pi®*fuzz/distortion

pedal. It is very individual, warm and thick sound wall, restless but

full of beauty.

Sustain: Controls the gain amount

Tone: Controls the eect tone

Volume: Controls the eect output

Famous users: Jimi Hendrix, Santana, Pink Floyd, Jack White

Red Haze

Fuzz

Based on legendary Dallas-Arbiter® Fuzz Face®* fuzz pedal. Dallas

Arbiter conjured the sound of rock and roll for half a century in 1966

with a few simple transistors. The sound of Fuzz Face was heavy

and sharp, and its sound inﬂuenced countless famous musicians.

Fuzz: Controls the gain amount

Volume: Controls the eect output

Famous users: Jimi Hendrix, Santana, Pink Floyd, Jack White

Eect List

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Page 30

DST

FX Title

Type

Description

Parameter Description

Sora Fuzz

Fuzz

For fans of the aggressive germanium fuzz tones that could be

wrought from those early units, there’s nothing quite like the Sola

Sound® Tone Bender*. The Tone Bender’s circuit became

massively popular, and over the following years its design rapidly

evolved, making for a tangled and winding history that is

intertwined with some of the most formative music made in the

U.K. from the mid 1960s to the early ’70s.

Fuzz: Controls the gain amount

Volume: Controls the eect output

Plustortion

Fuzz

This little yellow box has produced lots of great soundings in

countless classic studio albums. Yeah, we’re talking the legendary

MXR® M104 Distortion +*, and this M104-based Plustortion. The

Plustortion recreated the Germanium-powered soft clipping

distortion, like what Randy Rhoads and other hard rockers do!

Gain: Controls the distortion amount

Volume: Controls the eect output

SM Dist

Distortion

It is based on a classic orange three-knob distortion eector,

which can be used to easily get the timbre characteristics of the

70s-80s.

Gain: Controls the distortion amount

Tone: Controls the eect tone

Volume: Controls the eect output

Darktale

Distortion

Based on legendary ProCo™ The Rat* distortion (early LM308 OP-

amp version). The Rat* has come to life thanks to its wide range

of Filter knob, bright and compact sound head, full end and strong

plasticity, making it a favorite of many musicians.

Gain: Controls the distortion amount

Filter: Counterclockwise controls the eect

tone

Volume: Controls the eect output

Famous users: Je Beck, Kurt Cobain

Chief

Distortion

The Marshall® Guv'nor* was released in 1988 and in production

during 4 years. This overdrive/distortion Made in England eect

replicates the classic tube Marshall® Amp sound into compact

and solid state box featuring a sustainable gain with a touch of

compression.

Gain: Controls the distortion amount

Volume: Controls the eect output

Bass/Middle/Treble: 3-band EQ that

controls the eect tone

Master

Dist

Distortion

The Marshall Shredmaster Distortion guitar eect pedal delivers

face-melting distortion and that tone you can only get out of a

Marshall. The pedal oers treble, bass, and contour knobs to

tweak, twist, and deliver an unbelievable performance.

Gain: Controls the distortion amount

Volume: Controls the eect output

Bass/Contour/Treble: 3-band EQ that

controls the eect tone

La Charger

Distortion

Based on MI Audio® Crunch Box®* distortion peal. Sensitive and

exquisite distortion beast, it satisﬁes all the passion of Ri and

Solo.The response of each frequency band is balanced, the

dynamic feedback is faithful to the ﬁngertip, and the noise can be

well controlled even at high gain.

Gain: Controls the distortion amount

Tone: Controls the eect tone

Volume: Controls the eect output

Flex OD

Bass

Drive

A simple and eective distortion eect for guitars and basses.

Gain: Controls the overdrive amount

Tone: Controls the eect tone

Volume: Controls the eect output

Mode: Selects from 3 dierent sound

characters: Normal (neutral sound), Scoop

(mid-scooped sound), Edge (edgy sound)

Blend: Controls the wet/dry signal ratio

Eect List

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Page 31

Eect List

DST

FX Title

Type

Description

Parameter Description

Bass OD

Bass

Drive

This is an overload eect device specially designed for bass. It

combines the original bass sound with a unique overdrive eect to

make a very good distortion eect while ensuring The original

bass dynamic tone. It can also be used as a pretty good boost.

Gain: Controls the distortion amount

Blend: Controls the wet/dry signal ratio

Volume: Controls the eect output

Bass/Treble: 2-band EQ that controls the

eect tone

Black

Bass

Preamp

Based on the Darkglass® Microtubes B7K*. Takes the powerful

dynamic saturation circuit and adds a four-band equalizer and a

balanced line driver for even greater versatility. Designed for both

studio and live use, it will take your direct sound to a whole new

level.

Gain: Controls the distortion amount

Blend: Controls the wet/dry signal ratio

Volume: Controls the eect output

Low/Lo-mid/Hi-mid/Treble: 4-band EQ that

controls the eect tone

Attack(Cut,Boost,Flat): Controls the eect

high frequency tone

Micro

Boost

Based on the legendary MXR® M133 Micro Amp2 pedal. Providing

up to 20dB of gain, the Micro Boost elevates your amp sound

without changing its tonal character.

Gain: Controls the gain amount

AC Boost

Boost

Based on famous Xotic® AC Booster* pedal, It is a beautiful

smooth sounding drive/boost pedal that it perfect for giving your

tube amp a bit of extra grunt.

Gain: Controls the gain amount

Volume: Controls the effect output

Bass/Treble: 2-band EQ that controls the

effect tone

B-Boost

Boost

Any guitarist can benefit from the Xotic® BB Preamp* overdrive

pedal. The pedal works equally well for getting thick and creamy

overdrive tones with great sustain as it does for pushing the clean

front end of an already driven amp with up to 30dB of boost.

P-Boost

Boost

Based famous on Xotic® RC Booster* provides you with super-

transparent 20dB boost without altering your carefully crafted

tone. And it offers an added gain channel for extra fatness. Take

advantage of the +/-15dB range on the treble and bass EQ

controls, and imbue your guitar sound with unbelievable harmonic

complexity. The EQ controls also compensate for the extra bass

boominess the volume boost may cause and are great for

matching the response for multiple guitars.

Gain: Controls the gain amount

Volume: Controls the effect output

Bass/Treble: 2-band EQ that controls the

effect tone

14 Boost

Boost

Based famous on Fortin®Grind*. It gives you up to +20dB of boost

that will tighten up and add aggression to any tube or solid-state

amplifier. The GRIND’s surprising low noise floor and high input Z

lets every nuance of instrument character come through

unaltered.

Gain: Controls the gain amount

FAT BB

Boost

This is a clean boost and preamp with a switchable low-cut filter

and separate bass and treble controls.

Bass/Treble: 2-band EQ that controls the

effect tone

Volume: Controls the effect output

Low Cut: Switches the low cut filter (-6dB/oct

@200Hz) on/off

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Page 32

AMP

FX Title

Type

Description

Parameter Description

Tweedy

Clean

Based on Fender® Tweed Deluxe*. This ampliﬁer with a

dynamic range from clean to wild overdrive, from country rock

to distortion, the Fender® Tweed Deluxe* has been a totem in

every style for more than 60 years.

Gain: Controls the gain amount (pre gain)

Tone: Controls the eect tone

Volume: Controls the output volume (post gain)

Bellman

59N

Clean

Based on Fender® ’59 Bassman®*. The most dramatic speaker

in the history of Rock&Roll, originally designed for bass, has

become the most classic guitar speaker.As clear as water,

Vacuum tubemakes the sound more beautiful,make musical

instrument manufacturers are eager to imitate the product.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls

the eect tone

Famous users: Stevie Ray Vaughan, Kurt Cobain

Bellman

59B

Drive

Based on Fender® ’59 Bassman®*.

Dark Twin

Clean

Based on Fender® ’65 Twin Reverb®*. With a Stratocaster*, the

classic sound can be easily restored in both country jazz and

rock music.

Gain: Controls the gain amount (pre gain)

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls

the eect tone

Bright: Switches extra brightness on/o

Dark DLX

Clean

Great clean tones are possible, but the versatile "sweet

distortion" is what so many guitarists appreciate and love with

the Deluxe. Therefore the amp is the number 1 for many blues

musicians, as well as for modern super guitarrists. The fender-

typical spring reverb and a tube vibrato eect allow even more

"vintage"- sound variants.

Gain: Controls the gain amount (pre gain)

Volume: Controls the output volume (post gain)

Bass/Treble: 2-band EQ that controls the eect

tone

Dark Vibra

Clean

The original (6G16 circuit) Vibroverb was introduced in February

1963. The speaker lineup and the output transformer were

based on the Fender Super amp of the time and the circuit

based on the Fender Vibrolux of the time. The 40-watt

ampliﬁer boasted two channels (NORMAL and BRIGHT). Both

channels had VOLUME, TREBLE and BASS controls; the single-

control REVERB aected only the BRIGHT channel.

Gain: Controls the gain amount (pre gain)

Volume: Controls the output volume (post gain)

Bass/Treble: 2-band EQ that controls the eect

tone

Bright: Switches extra brightness on/o

Silver Twin

Clean

Fender® Silverface Twin Reverb* ampliﬁers were built between

1967 and 1981. It makes the sound of history.

Gain: Controls the gain amount (pre gain)

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls

the eect tone

Eect List

DST

FX Title

Type

Description

Parameter Description

Boost

Based on famous Xotic® EP Booster* pedal. Provides +20DB of

pure stimulation lift, strong low frequency, bright high frequency,

making clear sound more pleasant.

Gain: Controls the gain amount

+3dB: Selects the minimum boost amount

from 0dB (off) to +3dB (on)

Bright: Selects the sound character from

vintage (Bright off) to flat (Bright on)

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Page 33

AMP

FX Title

Type

Description

Parameter Description

SUPDual CL

Clean

Based on the Supro®Dual-Tone 1624T* (CH1clean tone).

In the mid 60’s , vintage 1624T amps have been sought-

after for decades because the Dual-Tone’s volume knob

is turned beyond noon, a fat and compressed clean tone

evolves into an immediately recognizable grind that

remains articulate and listenable even when turned up to

full blast.

Gain: Controls the gain amount (pre gain)

Tone: Controls the eect tone

Volume: Controls the output volume (post gain)

SUPDual

Drive

Based on the Supro®Dual-Tone 1624T* (CH1+2, dirty

tone). In the mid 60’s , vintage 1624T amps have been

sought-after for decades because the Dual-Tone’s

volume knob is turned beyond noon, a fat and

compressed clean tone evolves into an immediately

recognizable grind that remains articulate and listenable

even when turned up to full blast.

Gain 1/2: Controls the eect gain amount

Tone 1/2: Controls the eect tone

Volume: Controls the eect output and gain

amount

Foxy 15TB

Clean

Based on vintage VOX®* AC-100* bass amp. In 1963, the

Beatles was in urgent need of a bass speaker with a

volume greater than that of the club's crazy shouting,

and the AC-100* came into being. With 100W power and

4x12 "box, it has successfully become the most

representative bass voice in the 1960s.

Gain: Controls the eect gain amount

Tone cut: Counterclockwise controls the eect tone

Volume: Controls the eect output and gain

amount

Bass/Treble: 2-band EQ that controls the eect

tone

Foxy 30N

Clean

Based on VOX® AC30HW* (normal channel). The

symbolic clear sound and warm and sharp overdrive,

since the day of its birth, has become the Shadows, The

Beatles, the Rolling Stones and other group's favorite

speaker. The British band led the "British Invasion" has

made VOX® speaker a household name as a British rock

icon.Even in hard rock and British rock, Radiohead,

Suede, Oasis and other super groups are preferred.

Gain: Controls the gain amount (pre gain)

Tone cut: Counterclockwise controls the eect tone

Volume: Controls the output volume (post gain)

Bright: Switches extra brightness on/o

Foxy 30TB

Drive

Based on VOX® AC30HW* (normal channel).

Gain: Controls the gain amount (pre gain)

Tone cut: Counterclockwise controls the eect tone

Volume: Controls the output volume (post gain)

Bass/Treble: 2-band EQ that controls the eect

tone

Char: Selects from two sound characters: Cool

(lower gain)/Hot (higher gain)

J-120 CL

Clean

Based on the legendary “Jazz Chorus” solid state combo.

When it came out in 1975, it is the ﬁrst musical

instrument speaker equipped with Chorus eect. It was

famous for its pure sound and stereo chorus eect.

Gain: Controls the eect gain/output amount

Bright: Switches extra presence on/o

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Eect List

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Page 34

AMP

FX Title

Type

Description

Parameter Description

Match CL

Clean

Based Matchless™ Chieftain 212 combo* (clean tone).

MATCHLESS®'s philosophy since its founding in 1989 has

been to make as many top-notch, all-purpose speakers as

possible.The crisp graininess and perfect dynamic feedback

will make your playing easy.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Match OD

Drive

Based Matchless™ Chieftain 212 combo* (overdrive tone).

L-Star CL

Clean

Based on Mesa/Boogie® Lone Star™*(CH1). The preamp

circuit has extraordinary expressive power, the

comprehensive timbre and intuitive operation are indicative

of Mesa/Boogie®'s far superior technical capabilities.An

engaging and lively timbre experience.It has a more

compressed, balanced, soft mid frequency sound, and its

high-frequency like gorgeous bell.

L-Star OD

Drive

Based on Mesa/Boogie® Lone Star™(CH2).

Input: Controls the gain amount (pre gain)

Gain: Controls the eect drive amount

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

BogSV CL

Clean

Based on Bogner ® Shiva* (20th Anniversary version, Ch1.

Modern optimized circuit, with a double channel treasure

house of sound, excellent circuit design makes it have high-

frequency transparent and ﬂexible low frequency, crystal

clear sound, British higain compact and gorgeous.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Treble: 2-band EQ that controls the eect

tone

Bright: Switches extra brightness on/o

BogSV OD

Drive

Based on Bogner ® Shiva* (20th Anniversary version, Ch2.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Bog BlueV

Drive

Bogner® XTC blue channel is popular for its highly

recognizable classic rock and roll sound. Its loud and

handsome plexi voice has extraordinary attainments.

Bog BlueM

Drive

Bogner® XTC blue channel is popular for its highly

recognizable classic rock and roll sound. Its loud and

handsome plexi voice has extraordinary attainments.

Bog RedV

Hi Gain

The Bogner® XTC red channel is known for its ﬁery high

gain distortion and the main timbre.

Bog RedM

Hi Gain

The Bogner® XTC red channel is known for its ﬁery high

gain distortion and the main timbre.

Z38 CL

Clean

Based on Dr. Z® Maz 38 Sr.* combo (clean sound). With its

varied sound, wide frequency response and dynamic range,

it is not only an excellent single platform, but it can meet

your needs whether you are a British or An American fan.

Gain: Controls the output volume (pre gain)

Tone cut: Counterclockwise controls the eect

tone

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Z38 OD

Drive

Based on Dr. Z® Maz 38 Sr.* combo (clean sound).

Eect List

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Page 35

AMP

FX Title

Type

Description

Parameter Description

Knights CL

Clean

Based on Grindrod® Pendragon PG20C* (Normal channel,

bright o). If you're a big fan of British sound/overdrive,

this is a sound you can't miss.It can bring the pure British

style, sound full of penetrating power.

Gain: Controls the gain amount (pre gain)

Volume: Controls the eect output (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Knights CL+

Clean

Based on Grindrod® Pendragon PG20C* (Normal channel,

bright on). If you're a big fan of British sound/overdrive,

this is a sound you can't miss.It can bring the pure British

style, sound full of penetrating power.

Knights OD

Drive

Based on Grindrod® Pendragon PG20C* (Drive channel).

If you're a big fan of British sound/overdrive, this is a

sound you can't miss.It can bring the pure British style,

sound full of penetrating power.

Bad-KTCL

Clean

Based on Bad Cat® Hot Cat 30* (clean channel). As the

world's ﬁrst use of Class A circuit design guitar speakers,

the sound quality has been greatly improved.It combines

British and American styles, with rich harmonics and

suicient headroom.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bad-KTOD

Drive

Based on Bad Cat® Hot Cat 30* (overdrive channel).

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Edge: Controls the high and high-mid tone character

Bass/Treble: 2-band EQ that controls the eect tone

Solo100 CL

Clean

Based on Soldano® SLO100* (clean channel). Also from

Eddie Van Halen's Brown Sound, Steve Vai's classic

album “Passion & Warfare” was recorded in SLO100*.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Solo100 OD

Drive

Based on Soldano® SLO100* (crunch channel).

Solo100 LD

Hi Gain

Based on Soldano® SLO100* (overdrive channel). Also

from Eddie Van Hale's Brown Sound, Steve Vai's classic

album “Passion & Warfare” was recorded in SLO100*.

Famous users: Steve Vai, Mark Knopﬂer, Eric Clapton,

Gary Moore

UK45

Drive

Based on Marshall® JTM45* (normal channel). In 1962,

Marshall® introduced the ﬁrst guitar speakers speciﬁcally

designed for rock music, and its powerful sound laid the

foundation for rock music. So its panel material plexiglas

as the most classic 1960s sound speciﬁc name--- Plexi.

UK 45+

Drive

Based on Marshall® JTM45* . In 1962, Marshall®

introduced the ﬁrst guitar speakers speciﬁcally designed

for rock music, and its powerful sound laid the foundation

for rock music. So its panel material plexiglas as the most

classic 1960s sound speciﬁc name--- Plexi.

Eect List

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Page 36

AMP

FX Title

Type

Description

Parameter Description

UK 45JP

Drive

Based on Marshall® JTM45* . In 1962, Marshall® introduced

the ﬁrst guitar speakers speciﬁcally designed for rock music,

and its powerful sound laid the foundation for rock music. So

its panel material plexiglas as the most classic 1960s sound

speciﬁc name--- Plexi.

Gain 1/2: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls

the eect tone

UK 50

Drive

Based on Marshall® JMP50* ("Jump" connection). Through

the adjustment of JTM45*'s rectiﬁer tube, the power was

improved. In 1966, Marshall company launched JTM50*,

and the "Plexi" sound obtained utilizing the overdrive by

more people. The timbre is more full compared to JTM45*.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls

the eect tone

UK 50+

Drive

Based on Marshall® JMP50* ("Jump" connection). Through

the adjustment of JTM45*'s rectiﬁer tube, the power was

improved. In 1966, Marshall company launched JTM50*,

and the "Plexi" sound obtained utilizing the overdrive by

more people. The timbre is more full compared to JTM45*.

UK 50JP

Drive

Based on Marshall® JMP50* ("Jump" connection). Through

the adjustment of JTM45*'s rectiﬁer tube, the power was

improved. In 1966, Marshall company launched JTM50*,

and the "Plexi" sound obtained utilizing the overdrive by

more people. The timbre is more full compared to JTM45*.

Gain 1/2: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls

the eect tone

UK SLP

Drive

The 1959HWTM is a line right back to the celebrated era of

the mid to late 1960s, the original was born when Pete

Townshend asked Jim Marshall if he could make it louder.

This re-issue delivers that classic Marshall tone with the

same overdrive and crunch, using the authentic parts and

methods to construct.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls

the eect tone

UK800

Drive

Based on Marshall® JCM800*. In 1981, the JCM800* quickly

became the rock and metal sound of the '80s with its

excellent higain sound.The founders named it after their

own license plate number, inheriting and continuing the

legend of Plexi*.

Famous users: Kerry King, AC/DC, Zakk Wylde

UK 900

Hi Gain

The JCM900 is the evolution of the JCM800® adding

another channel, two reverb options and two gain features.

Tube Set consists of 3 x 12AX7 preamp tubes, and 4 x

6L6/5881 power tubes.

Known for its tone and workhorse roadworthiness, the

JCM900 has many fans due to its feature set and versatility.

Eect List

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Page 37

AMP

FX Title

Type

Description

Parameter Description

Flagman 1

Drive

Based on the famous“Brown Eye”UK-style boutique

amp head (BE channel). Improvement on Marshall®

Plexi* basis. It has smooth high frequency, tight low

frequency and high frequency gain function. It can be

used in many musical styles.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Flagman 2

Drive

Based on the famous“Brown Eye”UK-style boutique

amp head (BE channel).

Flagman+ 1

Hi Gain

Based on the famous“Brown Eye”UK-style boutique

amp head (HBE channel).

Flagman+ 2

Hi Gain

Based on the famous“Brown Eye”UK-style boutique

amp head (HBE channel).

Mess2C+ 1

Drive

Based on Mesa/Boogie® Mark II C+™ (Lead channel)

with 2 dierent onboard switch combinations. In the

1980s, Mark II C + *established the position of Mesa /

Boogie® metal style, and its voice appeared in the

albums of Metallica and Dream Theater, and become a

classic of American Higain.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Mess2C+ 2

Drive

Mess 2C+ 3

Drive

Mess4 LD

Hi Gain

Based on Mesa/Boogie® Mark IV™ (Lead channel).

Based on the classic upgrade, it inherits the

omnipotence of Mesa / Boogie®, with rich harmonics

and sustain from the voiceless tone to the sharp dark

morden higain timbre.

Mess4 LD 2

Hi Gain

Based on Mesa/Boogie® Mark IV™ (Lead 2 channel).

Mess4 LD 3

Hi Gain

Based on Mesa/Boogie® Mark IV™ (Lead 3 channel).

Mess DualV

Hi Gain

Based on Mesa/Boogie® Dual Rectiﬁer®(Vintage

mode). The distortion of Rectiﬁer® series is warm, and

the distortion of Rectiﬁer® series is very wide, which is

more thick and solid than Mark®.

Mess DualM

Hi Gain

Based on Mesa/Boogie® Dual Rectiﬁer®(Modern

mode). The distortion of Rectiﬁer® series is warm, and

the distortion of Rectiﬁer® series is very wide, which is

more thick and solid than Mark®.

Eect List

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Page 38

AMP

FX Title

Type

Description

Parameter Description

Juice30 OD

Drive

Based on Orange® AD30™* (Dirty channel). This is an

amp head with pure tube sound in the classic Class A

circuit (with 4 El84 amp tubes), which guarantees

harmonious sounds with an impressive spectrum.

The "TC" stands for "twin channel", where a lead

channel available, ensuring sustain rich sounds even

at lowest volume.

Gain: Controls the gain amount (pre gain)

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Juice R100

Hi Gain

Based on Orange® Rockerverb 100™* (Dirty channel).

Once launched, this ampliﬁer has become a new

favorite of rock musicians. Its sound is unique, and its

timbre can be controlled from warm and sweet clear

tone to heavy music, which will bring surprise to the

performers.

EV 51

Hi Gain

Based on Peavey® 5150® (LEAD channel). Guitarist

Eddie Van Halen, who began working with Peavey®

in the 1980s, loved the sound and took the album's

title "5150" to the world with its metallic sound.

Gain: Controls the gain amount (pre gain)

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Presence: Controls the eect headroom

Famous users: Eddie Van Halen

Eagle 120

Hi Gain

ENGL® Savage 120 Ampliﬁer embodies ENGL’s rich

legacy of creating metal machines for delivering truly

punishing tones, with clear dynamics and

tremendous sonic variety.

This incredible tonal ﬂexibility comes from the 4

channel layout of the amp, with a dedicated Clean

channel, two separate Crunch channels, and a super-

saturated Lead channel, all supported by two

discrete EQs and a wide selection of additional

features.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the

eect tone

Eagle 120+

Hi Gain

Power LD

Hi Gain

Based on ENGL® Powerball II E645/2* (CH4). It can

bring you extremely compact low frequency, a lot of

gain and precise dynamic response, which is very

suitable for modern rock and metal music.

Eect List

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Page 39

AMP

FX Title

Type

Description

Parameter Description

Dizz VH

Hi Gain

Based on Diezel® Vh4*. Born in Germany in the

1990s, its timbre and multifunction have

attracted countless guitar masters.The unique

Modern Higain quickly conquered many

musicians.

Gain: Controls the gain amount (pre gain)

Presence: Controls the eect headroom

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the eect

tone

Dizz VH S

Dizz VH+

Famous users: Guns N’ Roses, METALLICA,

KORN, Slipknot, BON JOVI

Dizz VH+ S

Classic Bass

Bass

Based on Ampeg® SVT* bass amp. Launched in

1969, Ampeg SVT has always been the most

mainstream bass speaker, Have a strong ability

to sound shape.

Gain: Controls the gain amount

Midrange: Selects the center frequency of Midrange

control: 220Hz/450Hz /800Hz/1.6kHz/3kHz

Bass/Middle/Treble: 3-band EQ that controls the eect

tone

Volume: Controls the output volume (post gain)

Foxy Bass

Bass

Based on vintage VOX®* AC-100* bass amp. In

1963, the Beatles was in urgent need of a bass

speaker with a volume greater than that of the

club's crazy shouting, and the AC-100* came into

being. With 100W power and 4x12 "box, it has

successfully become the most representative

bass voice in the 1960s.

Volume: Controls the eect gain/output amount

Bass/Treble: 2-band EQ that controls the eect tone

Mess Bass

Bass

Based on Mesa/Boogie® Bass 400* amp. You

can hear the sound of the early bass speakers in

many albums.

Gain: Controls the gain amount

Volume: Controls the output volume (post gain)

Bass/Middle/Treble: 3-band EQ that controls the eect

tone

Mini Bass

Bass

Based on Ampeg® B-15* "Flip Top” bass amp.

The B-15* was conceived by legendary Jess

Oliver in 1958. It can be seen from the early

clubs to the world's top studios. B-15* can be

said to be a landmark product that is hard to be

ignored.

Volume: Controls the eect gain/output amount

Bass/Treble: 2-band EQ that controls the eect tone

Bass Pre

Bass

Based on Alembic™ F-2B* preamp.In the 1960s,

inspired by the Fender® speaker, the circuit was

transformed in an all-round way, which brought

the extremely advanced adjustment mode at

that time, which was loved by many musicians,

thus leaving a strong mark in the history of rock

music.

Volume: Controls the eect gain/output amount

Bright: Switches extra brightness on/o

Bass/Middle/Treble: 3-band EQ that controls the eect

tone

Eect List

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Page 40

AMP

FX Title

Type

Description

Parameter Description

AC Pre

Acoustic

Based on AER® Colourizer 2* acoustic preamp.

Originated in Germany, it is a preamp designed

for acoustic guitar sound reinforcement. It will

bring richer dynamics and overtones to your

acoustic guitar, making the sound more three-

dimensional and vivid.

Volume: Controls the eect gain/output amount

Tone: Controls the brightness

Balance: Controls the tone control balance; set to 0 to

disable tone control

EQ Freq: Controls the EQ center frequency from 90Hz

to 1.6kHz

EQ Q: Controls the EQ bandwidth

EQ Gain: Controls the EQ boost/cut amount; set to 50

to keep neutral

AC Pre 2

Acoustic

Based on AER® Colourizer 2* acoustic preamp.

Originated in Germany, it is a preamp designed

for acoustic guitar sound reinforcement. It will

bring richer dynamics and overtones to your

acoustic guitar, making the sound more three-

dimensional and vivid.

Volume: Controls the eect gain/output amount

Tone: Controls the brightness

Balance: Controls the tone control balance; set to 0 to

disable tone control

EQ Freq: Controls the EQ center frequency from

680Hz to 11kHz

EQ Q: Controls the EQ bandwidth

EQ Gain: Controls the EQ boost/cut amount; set to 50

to keep neutral

FX Title

Type

Description

Parameter Description

Gate 1

Gate

Based on famous ISP®Decimator™* noise gate pedal.

The Decimator features improvements in the

expander tracking with their new Linearized Time

Vector Processing™. This novel improvement provides

a more linear release time-constant response for the

exponential release curve of the downward expander.

Threshold: Controls the gate trigger level

Gate 2

Gate

Flexible noise gate with attack and release control.

Threshold: Controls the gate trigger level

Attack: Controls how soon the gate starts to process

the signal

Release: Controls the noise fade-out duration time

after the level drops below the threshold

Auto Swell

Special

This is an auto swell eect with two parameters that

are easy to understand and use. It can make the

guitar sound like a violin.

Attack: Controls how fast the eect swells

the input signal

Curve: Selects the volume swell curve (Line, Exp, Log)

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Page 41

CAB

FX Title

Type

Description

Parameter Description

SUP ZEP

1 x 6”

Supro®* 1x6" cabinet with oval speaker

Volume: Controls eect

output volume

Low Cut: Highpass ﬁlter, cut

o the low-frequency

signal below the selected

Hi Cut: Lowpass ﬁlter, cut

o the high-frequency

signal above the selected

TWD CP

1 x 8”

Vintage Fender® Champ* 1x8" cabinet

TWD PRC

1 x 10”

Vintage Fender® Princeton* 1x10" cabinet

TWD SUP

2 x 10”

A custom Fender® Tweed* 2x10" cabinet

TWD LUX

1 x 12”

Fender® Tweed Deluxe* 1x12 cabinet

Dark LUX

1 x 12”

Vintage Fender® Deluxe* 1x12" cabinet

Dark VIT

1 x 12”

Vintage Fender® Vibrolux* 1x12" cabinet

Dark Twin

2 x 12”

Vintage Fender® ’65 Twin Reverb* 2x12" cabinet

Dark CS

2 x 12”

Custom modiﬁed Fender®* 2x12" cabinet

Bellman 1

2 x 12”

Vintgae Fender® "Piggyback" Bassman®* 2x12" cabinet

Bellman 2

4 x 10”

Fender® '59 Bassman®* 4x10" cabinet

J-120

2 x 12”

Legendary "Jazz Chorus" 2x12" cabinet

UK G12

1 x 12”

Marshall®* 1x12" cabinet

UK GRN 1

2 x 12”

Marshall® 2550* 2x12" cabinet

UK LD

4 x 12”

Marshall® 1960AV* 4x12" cabinet

UK TD

4 x 12”

68 Marshall® Basketweave* 4x12" cabinet

UK MD

4 x 12”

Custom modiﬁed Marshall®* 4x12" cabinet

UK GRN 2

4 x 12”

Vintage Marshall® 4x12" cabinet with Celestion® Greenback®* speakers

UK 75

4 x 12”

Marshall®* 4x12" cabinet with Celestion® G12T-75* speakers

UK Dark

4 x 12”

1968 Marshall®* 4x12" cabinet

FOXY 1

1 x 12”

Vintage VOX® AC15* 1x12" cabinet

FOXY 2

2 x 12”

Vintage VOX® AC30* 2x12" cabinet

ROUT

1 x 12”

Carr® Rambler* 1x12" cabinet

BogSV

1 x 12”

Bogner® Shiva* 1x12" cabinet

Bad-KT

1 x 12”

Black Cat® Hot Cat* 1x12" cabinet

Match

2 x 12”

Matchless® Chieftain* 2x12" cabinet

TOM OPEN

1 x 12”

Swart® Atomic Space* 1x12" cabinet

ACE

1 x 12”

Morgan® AC-20 Deluxe* 1x12 cabinet

Mess

4 x 12”

Mesa/Boogie® Rectiﬁer®* 4x12" cabinet

D STAR

1 x 12”

Mesa/Boogie® Lonestar* 1x12" cabinet

SUP Star

2 x 12”

Mesa/Boogie® Lonestar* 2x12" cabinet

US STO

1 x 12”

1980's Mesa/Boogie®* 1x12" cabinet

BOUTI

2 x 12”

A unique custom 2x12" cabinet

SUP

2 x 12”

Supro® 1624T* 2x12 cabinet”

MATT TWD

2 x 12”

Matchless®* 2x12" cabinet

Freed

2 x 12”

Fryette® Deliverance* 2x12" cabinet

Eect List

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Page 42

CAB

FX Title

Type

Description

Parameter Description

DB Rock

2 x 12”

Two-Rock®* 2x12" cabinet

Volume:Controls eect

output volume

Low Cut: Highpass ﬁlter, cut

o the low-frequency

signal below the selected

Hi Cut: Lowpass ﬁlter, cut

o the high-frequency

signal above the selected

Blue SK

2 x 12”

A custom 2x12" cabinet with Celestion® Alnico Blue* speakers

4 x 12”

Peavey® 6505* 4x12" cabinet

Bog

4 x 12”

Bogner®* 4x12" cabinet

Eagle

4 x 12”

ENGL®* 4x12" cabinet

Uban

4 x 12”

Bogner® Uberkab* 4x12" cabinet

Solo

4 x 12”

Soldano®* 4x12" caninet

Juice

4 x 12”

Orange® PPC412* 4x12" cabinet

H-WAY

4 x 12”

Vintage Hiwatt® SE4123* 4x12" cabinet

Way

4 x 12”

Vintage WEM®* 4x12" cabinet

Dumb

4 x 12”

Dumble®* 4x12" cabinet

Dizz

4 x 12”

Diezel®* 4x12" cabinet

TRP

4 x 12”

Hughes & Kettner® Triamp* 4x12" cabinet

King

4 x 12”

Mesa/Boogie® Road King®* 4x12" cabinet

ADM 1

1 x 15”

David Eden®* 1x15" bass cabinet

ADM 2

4 x 10”

David Eden®* 4x10" bass cabinet

Workman 1

1 x 15”

SWR®* 1x15" bass cabinet

Workman 2

4 x 10”

SWR® Workingman's* 4x10" bass cabinet

US BASS

2 x 10”

Mesa/Boogie®* 2x10" bass cabinet

MATT

2 x 10”

Mark Bass®* 2x10" bass cabinet

F-TOP

1 x 15”

Ampeg® PF-115HE* 1x15" bass cabinet

AMPG 1

4 x 10”

Ampeg® SVT-410HE* 4x10" bass cabinet

AMPG 2

8 x 10”

Ampeg SVT-810E* 8x10" bass cabinet

HACK

4 x 12”

Hartke®* 4x12" bass cabinet

Acoustic

Dreadnought guitar simulation 1

AC Dream

Acoustic

Dreadnought guitar simulation 2

Acoustic

Simulates an OM type acoustic guitar

JUMBO

Acoustic

Simulates a jumbo acoustic guitar

Bird

Acoustic

Simulates the iconic "H-Bird" acoustic guitar

Acoustic

Simulates a GA type acoustic guitar

Classic AC

Acoustic

Simulates a classical guitar

Mandolin

Acoustic

Simulates a mandolon

Fretless Bass

Acoustic

Simulates a fretless acoustic bass

Double Bass

Acoustic

Simulates a double bass

User IR 1~20

IR WAV (44kHz/1024 sample rate)

Eect List

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Page 43

FX Title

Type

Description

Parameter Description

Guitar EQ 1

Equalizer designed for guitars

Band 1: 125Hz; Band 2: 400Hz ; Band 3: 800Hz;

Band 4: 1.6kHz; Band 5: 4kHz

Use the ﬁve bands above to control the EQ level.

Volume: Controls the output level

Guitar EQ 2

Band 1: 100Hz; Band 2: 500Hz ; Band 3: 1kHz;

Band 4: 3kHz; Band 5: 6kHz

Use the ﬁve bands above to control the EQ level.

Volume: Controls the output level

Bass EQ 1

Equalizer designed for basses

Band 1: 33Hz; Band 2: 150Hz ; Band 3: 600Hz;

Band 4: 2kHz; Band 5: 8kHz

Use the ﬁve bands above to control the EQ level.

Volume: Controls the output level

Bass EQ 2

Band 1: 50Hz; Band 2: 120Hz ; Band 3: 400Hz;

Band 4: 800Hz; Band 5: 4.5kHz

Use the ﬁve bands above to control the EQ level.

Volume: Controls the output level

Mess EQ

Based on the 5-band EQ module on

Mesa/Boogie®* amps, can easily realize the

classic boogie V-shaped sound

Band 1: 80Hz; Band 2: 240Hz ; Band 3: 750Hz;

Band 4: 2.2kHz; Band 5: 6.6kHz

Use the ﬁve bands above to control the EQ level.

Hyper EQ

10-band graphic EQ suitable for any

instrument

Band 1: 31Hz; Band 2: 63Hz ; Band 3: 125Hz;

Band 4: 250Hz; Band 5: 500Hz; Band 6: 1kHz;

Band 7: 2kHz; Band 8: 4kHz; Band 9: 8kHz

Band 10: 16kHz

Use the ten bands above to control the EQ level.

Volume: Controls the output level

Eect List

MOD

FX Title

Type

Description

Parameter Description

G-Chorus

Chorus

Based on the legendary huge ensemble

chorus pedal born in late 1970s (chorus mode), producing

rich, shimmering vintage analog chorus tone. Warm, rich,

and dreamlike analog chorus sound.

Depth: Controls the chorus depth

Rate: Controls the chorus rate

Volume: Controls the eect level

Sync: Switches Tap Tempo sync on/o

C-Chorus

Chorus

Based on a legendary 4-button purple stereo chorus

pedal, providing detailed rich chorus tone that expands

sonic dimensions

Mode: Select from 4 dierent chorus modes

B-Chorus

Chorus

Based on the famous ensemble chorus unit tuned for

bassists

Depth: Controls the vibrato depth

Rate: Controls the vibrato rate

Volume: Controls the eect level

Sync: Switches Tap Tempo sync on/o

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Page 44

MOD

FX Title

Type

Description

Parameter Description

M-Chorus

Chorus

A multi-dimensional chorus pedal producing rich

surrounding chorus sound, better playing with stereo

sound systems

Mix: Controls the wet/dry signal ratio

Rate: Controls the chorus speed

Filter: Controls the eect tone

Depth L/C/R: Controls the chorus depth of

left/right/center channels

Sync: Switches Tap Tempo sync on/o

Jet

Flanger

Classic ﬂanger eect, producing rich and natural

ﬂanger tone.

Depth: Controls the ﬂanger depth

Rate: Controls the ﬂanger speed

Pre Delay: Controls the pre delay time

Feedback: Controls the amount of feedback

Sync: Switches Tap Tempo sync on/o

B-Jet

Flanger

Classic ﬂanging eect tuned for basses

N-Jet

Flanger

A ﬂanger with negative feedback, producing

"underwater" style sound

Trem Jet

Flanger

Combines ﬂanger and tremolo in one

Flg Depth: Controls the ﬂanger depth

Flg Rate: Controls the ﬂanger speed

Feedback: Controls the ﬂanger feedback amount

Trm Depth: Controls the tremolo depth

Trm Rate: Controls the tremolo speed

Flg Sync: Switches ﬂanger Tap Tempo sync on/o

Trm Sync: Switches tremolo Tap Tempo sync on/o

V-Roto

Vibrato

Based on a BBD-based blue vibrato pedal, producing

natural analog vibrato sound

Depth: Controls the vibrato depth

Rate: Controls the vibrato rate

Sync: Switches Tap Tempo sync on/o

G-Roto

Vibrato

Based on the legendary huge ensemble chorus pedal

born in late 1970s (vibrato mode), producing rich,

shimmering vintage analog vibrato tone

Depth: Controls the vibrato depth

Rate: Controls the vibrato rate

Volume: Controls the eect output

Sync: Switches Tap Tempo sync on/o

Vibrato

A classic vibrato eect with wide adjustable range

Depth: Controls the vibrato depth

Rate: Controls the vibrato speed

Volume: Controls the eect level

Sync: Switches Tap Tempo sync on/o

O-Phase

Phaser

Based on legendary MXR® M101 Phase 90*. Have you

heard the guitar sound in Eddie Van Halen's "Eruption".

That distorted tone with a sense of rotation is realized

by Phase 90.

Rate: Controls the vibrato speed

Sync: Switches Tap Tempo sync on/o

G-Phase

Phaser

Based on a BBD-based green phase pedal, producing

natural analog phase sound

Depth: Controls the phaser depth

Rate: Controls the phaser speed

Sync: Switches Tap Tempo sync on/o

Eect List

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Page 45

MOD

FX Title

Type

Description

Parameter Description

S-Phase

Phaser

The Electro Harmonix Small Stone was one of the ﬁrst

phasers available in the 70's and can be heard on

countless recordings. As the competitors of that time, it

comes with a control (rate, the speed of the eect) and

the intensity can be modiﬁed with a switch - the sound is

just right for most applications.

Color: Selects from two sound characters:

Warm/Sharp

Rate: Controls the phaser speed

Sync: Switches Tap Tempo sync on/o

Pan

Phase

Phaser

A special, subtle phaser combines tremolo/pan variations

Phs Depth: Controls the phaser depth

Phs Rate: Controls the phaser speed

Pan Depth: Controls the tremolo depth (using mono

output) or panning depth (using stereo output)

Pan Rate: Controls the tremolo speed (using mono

output) or panning speed (using stereo output)

Phs Sync: Switches phaser Tap Tempo sync on/o

Pan Sync: Switches tremolo/pan Tap Tempo sync

on/o

M-Vibe

Phaser

Based on Voodoo Lab® Micro Vibe*. Voodoo Lab Micro

Vibe has the same design as the original 1968 Uni-Vibe*.

Jimi Hendrix and Stevie Ray Vaughan used these eects

extensively in their albums. The Vibe eect will bring

about slight and regular pitch changes.

Depth: Controls the eect depth

Rate: Controls the eect speed

Sync: Switches Tap Tempo sync on/o

Vibe

Phaser

The Shin-Ei Uni-Vibe is a classic phase shifter(chorus)

eect made famous by Jimi Hendrix, David Gilmour, Robin

Trower and many more. The rich “chorus” eect that it’s

famous for has become a staple in a classic rock guitarist’s

rig. While the Uni-Vibe’s construction is closely copied by

many companies, many players conﬁrm that there’s just

nothing like the real thing!

Depth: Controls the eect depth

Rate: Controls the eect speed

Volume: Controls the eect output

Mode: Select from 2 dierent vibe modes: Chorus

and Vibrato

Sync: Switches Tap Tempo sync on/o

O-Trem

Tremolo

Based on legendary Demeter® TRM-1Tremulator*,oering

classical opto tremolo sound. In 1982, rock pioneer Ry

Cooder approached James Demeter to ask whether the

tremolo sound of the Fender® twin series speakers could

be made into a pedal eect device, and this classic eect

device was born.

Depth: Controls the tremolo depth

Rate: Controls the tremolo speed

Sync: Switches Tap Tempo sync on/o

Sine

Trem

Tremolo

Sine tremolo waveforms and super wide tonal range.

Depth: Controls the eect depth

Rate: Controls the eect speed

Volume: Controls the eect output

Sync: Switches Tap Tempo sync on/o

Triangle

Trem

Tremolo

Triangle tremolo waveforms and super wide tonal range.

Eect List

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Page 46

MOD

FX Title

Type

Description

Parameter Description

Bias Trem

Tremolo

Bias tremolo waveforms and super wide tonal range

Depth: Controls the eect depth

Rate: Controls the eect speed

Volume: Controls the eect output

Sync: Switches Tap Tempo sync on/o

Bias: Adjust the oset change of the waveform

Detune

Pitch

This is a detuning eect that combines a slightly

shifted signal with the original signal to create a

chorus-like tone.

Detune: Detune: Controls the detune amount from -50 to

+50 cents

Dry/Wet: Controls the dry/wet signal level

Bit Smash

Special

Provides bitcrushing/sample reducing eect with

musical fashion

Mix: Controls the wet/dry signal ratio of the eect

Krush: Controls the sample rate of the eect

Bit: Controls the bit resolution of the eect

Hi Cut: Controls the cuto frequency of the high cut ﬁlter

Lo Cut: Controls the cuto frequency of the low cut ﬁlter

Auto Swell

Special

This is an auto swell eect with two parameters that

are easy to understand and use. It can make the

guitar sound like a violin.

Attack: Controls how fast the eect swells

the input signal

Curve: Selects the volume swell curve (Line, Exp, Log)

Hold

This is a freeze eect that can freeze the sound for a

short period of time before the eect is activated

and make it play in a loop. The Activate parameter

can be assigned to the expression pedal to activate

and deactivate the eect; You can also turn on the

Activate parameter and use CTRL to directly control

the On/O of the eect module.

Volume: Controls the eect output volume

Activate: Switches the eect on/o

Freeze

This is a freeze eect that can freeze the sound at

the moment of activation and keep it playing when

the eect is activated. The Activate parameter can be

assigned to the expression pedal to activate and

deactivate the eect; You can also turn on the

Activate parameter and use CTRL to directly control

the On/O of the eect module.

Volume: Controls the eect output volume

Attack: Controls how fast the eect volume fades in

Release: Controls how fast the eect volume fades out

Activate: Switches the eect on/o

DLY

FX Title

Type

Description

Parameter Description

BBD Delay S

Delay

This is a stereo analog delay model that

captures the sound of a BBD based analog

delay machine that is warm, smooth,

rounded due to the limitation of BBD chips.

Mix: Controls the wet/dry signal ratio

Feedback: Controls the amount of feedback

Time: Controls the delay time of left channel

Time R%: Controls the delay time of right channel

(time ratio of left channel)

Spread: Controls the eect stereo width

Level: Controls the eect output

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

Digital Delay S

Delay

This model is a stereo digital delay that

produces a pure clean delay sound, clear

and accurate.

Eect List

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Page 47

DLY

FX Title

Type

Description

Parameter Description

Tape Delay S

Delay

Back in the old days, producers and

engineers created delay and echo eects

using tape machines. That sweet, space-like

echo tone is still popular today, especially

among psychedelic musicians.

Mix: Controls the wet/dry signal ratio

Feedback: Controls the amount of feedback

Time: Controls the delay time of left channel

Time R%: Controls the delay time of right channel (time

ratio of left channel)

Spread: Controls the eect stereo width

Wow & Flutter: Controls the delay pitch/speed variation

amount caused by malfunctioning tape/motor

Age: Selects from 3 tone variations

Spread: Controls the eect stereo width

Scrape: Controls the tape scratch amount

Drive: Controls the delay distortion amount

Level: Controls the eect output

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is byp

Ambience 1

Delay

This model is a multi-tap delay that brings

you expanded sound spaciousness. 1, 2

stands for dierent tonal variations

Mix: Controls the wet/dry signal ratio

Feedback: Controls the amount of feedback

Time: Controls the delay time

Level: Controls the eect output

Mod: Controls the eect modulation amount

Tone: Controls the eect tone

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

Ambience 2

Delay

Pure

Delay

Produce pure, precised delay sound

Mix: Controls the wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

Analog

Delay

Produciing warm delay sound with analog

feel

Tape

Delay

Simulates solid-state tape echo sound

Ping Pong

Delay

A ping-pong delay producing stereo

feedbadk bounces back and forth between

left and right channels

Slapback

Delay

Simulates the classic slapback echo eect

Mix: Controls the delay wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Trail: Switched eect trail on/o when the eect is bypassed

Sweep Echo

Delay

Producing a delay eect with sweeping ﬁlter

modulated repeats

Mix: Controls the wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Sweep Depth: Controls the sweep ﬁlter depth

Sweep Rate: Controls the sweep ﬁlter speed

Sweep Sync: Switches sweep ﬁlter Tap Tempo sync on/o

Time Sync: Switches delay Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

Eect List

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Page 48

Eect List

DLY

FX Title

Type

Description

Parameter Description

Ring Echo

Delay

Producing a delay eect with ring modulated

repeats

Dly Mix: Controls the delay wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Ring Mix: Controls the ring mod wet/dry signal ratio

Freq: Controls the ring mod frequency

Tone: Controls the ring mod tone

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

Tube

Delay

Simulates tube-driven tape echo sound

Mix: Controls the wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

M-Echo

Delay

A multi tap delay that simulates a huge

4-head tape echo machine

Mix: Controls the wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Tone: Controls the eect tone

Mode: Selects from 12 dierent head variations

Sync: Switches delay Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

Sweet Echo

Delay

This analog delay pedal was sold from 1981 to

1984 and is still sought after thanks to its

warm, natural sound. Produces a delay time

ranging from 20 to 300 milliseconds.

Mix: Controls the wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

999 Echo

Delay

Based on Maxon® Ad900 Analog Delay*,

providing warm, accurate delay sound. 100%

Analog Delay, dynamic distortion on Delay

repeats, gorgeous, warm, organic delay tone.

Famous users: Pink Floyd

Vintage Rack

Delay

Reproduces the sound of a vintage 1980's

rack-mount delay machine with slightly

sample-reduced feedback

Mix: Controls the wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Mod: Controls the eect modulation amount

Tone: Controls the eect tone

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

Loﬁ Echo

Delay

Producing a delay eect with lo-ﬁ'd repeats

Rev Echo

Delay

Producing a special delay eect with reversed

feedback

Mix: Controls the wet/dry signal ratio

Time: Controls the delay time

Feedback: Controls the amount of feedback

Level: Controls the eect output volume

Sync: Switches Tap Tempo sync on/o

Trail: Switched eect trail on/o when the eect is bypassed

*Th e manuf acturers and product na mes men tione d above are tra demar ks or registered trademarks o f their r espec tive owners.

The t radem arks were use d merel y to iden tify th e sound c haracter of the products

Page 49

Eect List

VOL

FX Title

Type

Description

Parameter Description

Volume

Pure volume control

Volume: Controls output volume

RVB

FX Title

Type

Description

Parameter Description

Room

Reverb

Simulates the spaciousness of a room

Mix: Controls the wet/dry signal ratio

Pre Delay: Controls the amount of time between the dry signal and

the audible onset of early reﬂections and the reverb tail

Decay: Controls the duration of reverb time

Trail: Switched eect trail on/o when the eect is bypassed

Hall

Reverb

Simulates the spaciousness of a

performance hall

Church

Reverb

Simulates the spaciousness of a church

Plate

Reverb

Simulates the sound character produced

by a vintage plate reverberator

Mix: Controls the wet/dry signal ratio

Decay: Controls the duration of reverb time

High Damp: Controls the low pass ﬁlter frequency

Trail: Switched eect trail on/o when the eect is bypassed

Spring

Reverb

Simulates the sound character produced

by a vintage spring reverberator

Mix: Controls the wet/dry signal ratio

Decay: Controls the duration of reverb time

Tone: Controls the eect tone

Trail: Switched eect trail on/o when the eect is bypassed

Studio

Reverb

This reverb model recreates the

spaciousness of a recording studio.

Mix: Controls the wet/dry signal ratio

Pre Delay: Controls the amount of time between the dry signal and

the audible onset of early reﬂections and the reverb tail

Decay: Controls the duration of reverb time

Low Damp/Hi Damp: Dampens the eect

low/high frequency amount

Mod: Controls the eect modulation amount

Trail: Switched eect trail on/o when the eect is bypassed

Club

Reverb

This reverb model recreates the

spaciousness of a club.

Concert

Reverb

This reverb model recreates the

spaciousness of a concert hall.

Arena

Reverb

This reverb model recreates the

spaciousness of a live arena.

N-Star

Reverb

Special-tuned reverb eect with lush,

bright decays

Mix: Controls the wet/dry signal ratio

Decay: Controls the duration of reverb time

Trail: Switched eect trail on/o when the eect is bypassed

Deepsea

Reverb

Special-tuned reverb eect with huge,

deep decays

Mix: Controls the wet/dry signal ratio

Decay: Controls the duration of reverb time

Trail: Switched eect trail on/o when the eect is bypassed

Sweet

Space

Reverb

Produces a modulated reverb eect that

is lush and sweet

Mix: Controls the wet/dry signal ratio

Pre Delay: Controls the amount of time between the dry signal and

the audible onset of early reﬂections and the reverb tail

Decay: Controls the duration of reverb time

Lo End: Controls the low frequency amount

High End: Controls the high pass ﬁlter frequency

Trail: Switched eect trail on/o when the eect is bypassed

Shimmer

Reverb

Produce a rich, shimmering reverb eect

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Page 50

Drum Rhythm List

Genre

Type

Time Signature

Default Tempo

Rock

Classic Rock 1

4/4

120BPM

Classic Rock 2

4/4

Classic Rock 3

4/4

Classic Rock 4

4/4

Classic Rock 5

4/4

Classic Rock 6

4/4

Hard Rock 1

4/4

Hard Rock 2

4/4

Hard Rock 3

3/4

Post Rock 1

5/4

Post Rock 2

4/4

Post Rock 3

4/4

Garage Rock

4/4

Prog Rock

4/4

Surf Rock

4/4

Punk 1

4/4

Punk 2

4/4

Punk 3

4/4

Punk 4

4/4

Post Punk 1

4/4

Post Punk 2

4/4

Heavy Metal 1

4/4

Heavy Metal 2

4/4

Nu-Metal 1

4/4

Nu-Metal 2

4/4

Hardcore

4/4

EMO

4/4

Grunge

4/4

New Wave

4/4

Rock 5/4

5/4

Funk

Funk 1

4/4

120BPM

Funk 2

4/4

Funk 3

4/4

Funk 4

4/4

Jazz Funk 1

4/4

Jazz Funk 2

4/4

Jazz Funk 3

4/4

Page 51

Genre

Type

Time Signature

Default Tempo

Blues

Blues 1

4/4

120BPM

Blues 2

4/4

Blues 3

4/4

Blues 4

4/4

Swing

4/4

Shule

4/4

Shule 3/4

3/4

Bluegrass

4/4

Country

4/4

Country Folk

4/4

Pop

Pop 1

4/4

Pop 2

4/4

Pop 3

4/4

Hip Hop 1

4/4

Hip Hop 2

4/4

Hip Hop 3

4/4

Hip Hop Rock

4/4

Pub

4/4

Jazz

Jazz 1

4/4

Jazz 2

4/4

Jazz 3

4/4

Jazz 4

4/4

Bossanova 1

4/4

Bossanova 2

4/4

Fusion

4/4

Electronic

Electro1

4/4

Electro2

4/4

Techno

4/4

TripHop

4/4

Electronic Pop

4/4

Break Beat

4/4

Drum & Bass

4/4

World

Latin 1

4/4

Latin 2

4/4

Latin 3

4/4

Latin Pop 1

4/4

Latin Pop 2

4/4

Drum Rhythm List

Page 52

Genre

Type

Time Signature

Default Tempo

World

Samba

4/4

120BPM

Tango

4/4

Beguine

4/4

Ska

4/4

Polka

2/4

Waltz

3/4

Reggae 1

4/4

Reggae 2

4/4

Mazuke

3/4

Musette

4/4

March 1

4/4

March 2

4/4

March 3

4/4

New Age 1

4/4

New Age 2

4/4

World

4/4

Metro

1/4

2/4

3/4

4/4

5/4

6/4

7/4

6/8

7/8

8/9

Drum Rhythm List

Page 53

MIDI Control Information List

CC#

Value

Range

Description

0-1

BANK MSB:

01-A~32-D: CC0=1, PC=0-127

33-A~64-DCC0=0, PC=0-127

0-99

Patch Volume

0-100

EXP 1

0-127

EXP1 A/B

0-63A

64-127B

0-100

Quick Access Para 1

0-127

Quick Access Knob 1 parameter

adjustment:

0-63:Turn down by 1 step

64-127: Turn up by 1 step

0-127

Quick Access Knob 2

0-127

Quick Access Knob 2 parameter

adjustment:

0-63:Turn down by 1 step

64-127: Turn up by 1 step

0-127

Quick Access Knob 3

0-127

Quick Access Knob 3 parameter

adjustment:

0-63:Turn down by 1 step

64-127: Turn up by 1 step

0-127

BANK - (initial mode)

0-127

BANK + (initial mode)

0-127

Patch -

0-127

Patch +

0-127

BANK - (wait mode)

0-127

BANK +(wait mode)

0-127

BANK (wait mode)

0-127

PRE Module on/o:

0-63: o

64-127: on

0-127

DST Module on/o:

0-63: o

64-127: on

CC#

Value

Range

Description

0-127

AMP Module on/o:

0-63: o

64-127: on

0-127

NR Module on/o:

0-63: o

64-127: on

0-127

CAB Module on/o:

0-63: o

64-127: on

0-127

EQ Module on/o:

0-63: o

64-127: on

0-127

MOD Module on/o:

0-63: o

64-127: on

0-127

DLY Module on/o:

0-63: o

64-127: on

0-127

RVB Module on/o:

0-63: o

64-127: on

0-127

WAH Module on/o:

0-63: o

64-127: on

0-127

TUNER on/o:

0-63: o

64-127: on

0-127

LOOPER on/o:

0-63: o

64-127: on

0-127

LOOPER Record

0-127

LOOPER Auto Record

0-127

Looper Play/Stop

0-63: Stop

64-127: Play

Page 54

MIDI Control Information List

CC#

Value

Range

Description

0-127

Looper Tempo

0-63: Half-speed

64-127: Normal Speed

0-127

Looper Playback Status

0-63: Reverse

64-127: Normal

0-127

Delete Loop

0-100

Looper Recording Volume

0-100

Looper Playback Volume

0-127

Looper Placement

0-63: Rear

64-127: Front

0-127

CTRL 1

0-127

CTRL 2

0-127

CTRL 3

0-127

CTRL 4

0-1

Tempo MSB, Used with Cc74

0-127

CC73=0,CC74=40-127:

40BPM-127BPM

CC73=1,CC74=0-122:

128BPM-250BPM

0-127

Tap Tempo

0-127

CTRL 5

0-127

CTRL 6

0-127

CTRL 7

0-127

CTRL 8

0-100

Drum Machine Menu on/o:

0-63: o

64-127: on

0-127

Drum Machine Play/Stop

0-63: Stop

64-127: Play

0-99

Drum Machine Type

0-100

Drum Machine Volume

Page 55

Troubleshooting

Device Won’t Turn On

Ÿ Make sure the power supply is properly connected and the device is switched on.

Ÿ Check if the power adapter is working properly.

Ÿ Check if you’re using the correct power adapter.

No Sound Or Slight Sound

Ÿ Make sure your cables are connected properly.

Ÿ Make sure the volume knob is adjusted properly.

Ÿ When the expression pedal is used for volume control, check it’s position and volume settings.

Ÿ Check the eects module volume settings.

Ÿ Check the patch volume settings.

Ÿ Make sure your input device is not muted.

Noise

Ÿ Make sure your cables are connected properly.

Ÿ Check your instrument output jack.

Ÿ Check if you’re using the correct power adapter.

Ÿ If the noise is coming from your instrument, try using the noise reduction module to reduce it.

Sound Problems

Ÿ Make sure your cables are connected properly.

Ÿ Check your instrument output jack.

Ÿ If you’re using an external expression pedal to control distortion or other similar parameters, check to see if the expression pedal is

set up properly.

Ÿ Check your eects parameter setup. If eects are set to extremes, GP-200 may have abnormal noise.

Problems With Expression Pedal

Ÿ Check your expression pedal on/o settings.

Ÿ Try calibrating the pedal.

Page 56

Technical Speciﬁcations

Ÿ A/D/A Converter: 24-bit high performance audio

Ÿ Sampling Frequency: 44.1 kHz

Ÿ SNR: 110dB

Ÿ Module: 11, can be used simultaneously

Ÿ Patch Memory: 256 Patch slots, 100 Factory Patches

Ÿ Looper: Maximum 180 seconds of record time

Ÿ Drum Machine: 100 Patterns

Ÿ MIDI(IN/OUT/THRU): 5-pin MIDI connectors

Analog Input Connections

Ÿ Guitar Input: 1/4″ Unbalanced (TS)

Ÿ Input Impedance: 4.7M Ohms (A.GT), 1M Ohms (E.GT), 10k Ohms (Line)

Ÿ Return Input: 1/4″ Unbalanced (TS)

Ÿ Return Input Impedance: 100k Ohms

Ÿ Aux Input: 1/8″ Stereo (TRS)

Ÿ Aux Input Impedance: 10k Ohms

Analog Output Connections

Ÿ L/R Unbalanced Outputs: 1/4″ TS jacks , impedance: 1k Ohms

Ÿ L/R Balanced Outputs: XLR jacks , impedance: 1k Ohms

Ÿ Send Output: 1/4″ Unbalanced (TS) , impedance: 1k Ohms

Ÿ Headphone Output: 1/8″ Stereo (TRS) , impedance: 22 Ohms

Digital Connections

Ÿ USB Port: USB 2.0 Type-C Port

USB Recording Speciﬁcation

Ÿ Sample Rate: 44.1 kHz Bit

Ÿ Depth: Supports 16-bit or 24-bit

Size and weight

Ÿ Dimensions: 345mm(W) x 220mm(D) x 62.5mm(H)

Ÿ Unit Weight: 2.37 kg

Power

Ÿ Requirements: DC 9V, 1000mA, center negative

Valeton GP-200 User guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Welcome

Attention

Overview

Panel Introduction

Getting Started

TUNER

Screen Introduction

Main Display Screen

DRUM

LOOPER

MIDI Device Control Functions (MIDI)

Patch Setting

Edit Menu

Editing a Module

Managing the Signal Chain

Patch Settings

Save Menu

Global Settings

Input/Output

USB Audio

Footswitch

EXP Calibrate

EXP 2/Footswitch

MIDI

Display

Auto CAB Match

Global EQ

Factory Reset

About

Compatible software

Application Scenarios

With full-range speaker devices

With guitar amps (INPUT jack)

With guitar amps (using FX Loop to pre-position the GP-200)

With guitar amps (using FX Loop to post-position the GP-200)

With guitar amps (using FX Loop to run the 4 cable method)

Audio Studio (for livestreaming)

Drum Rhythm List

MIDI Control Information List

Troubleshooting