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Owner’s Manual
E1
Page 2
Precautions
Location
Using the unit in the following locations can result in a malfunction.
• In direct sunlight
• Locations of extreme temperature or humidity
• Excessively dusty or dirty locations
• Locations of excessive vibration
• Close to magnetic fields
Power supply
Please connect the designated AC/AC power supply to an AC outlet of the correct voltage.
Do not connect it to an AC outlet of voltage other than that for which your unit is intended.
Interference with other electrical devices
Radios and televisions nearby may experience reception interference. Operate this unit at a
suitable distance from radios and televisions.
Handling
To avoid breakage, do not apply excessive force to the switches or controls.
Care
If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such
as benzene or thinner, cleaning compounds or flammable polishes.
Keep this manual
After reading this manual, please keep it for later reference.
Keeping foreign matter out of your equipment
Never set any container with liquid on this equipment. If liquid gets into the equipment, it
could cause a breakdown, fire, or electrical shock.
Be careful not to let metal objects get into the equipment. If something does slip into the
equipment, unplug the AC/AC power supply from the wall outlet. Then contact your nearest
Korg dealer or the store where the equipment was purchased.
THE FCC REGULATION WARNING (for U.S.A.)
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to
radio or television reception, which can be determined by turning the equipment off and on, the user
is encouraged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
• Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the user’s authority to operate this
equipment.
ii
Page 3
CE mark for European Harmonized Standards
CE mark which is attached to our company’s products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/
EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC).
Also, CE mark which is attached to our company’s products of Battery operated apparatus means it
conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
Data Handling
Incorrect operation or malfunction may cause the contents of memory to be lost, so we recommend that you save important data on a floppy disk or other media source. Please be aware that
Korg will accept no responsibility for any damages which may result from loss of data.
* Company names, product names , and names of f ormats etc. are the trademarks or registered
trademarks of their respective owners.
iii
Page 4
Table of Contents
Quick Start....................................................................................................6
Setup......................................................................................................................................6
Listen to the Programs ...........................................................................................................7
Switching effects on/off...........................................................................................................7
Create your own Sounds........................................................................................................7
Introduction.................................................................................................9
Main Features.........................................................................................................................9
Valve Reactor Technology ...................................................................................................10
An overview of ToneLab LE .................................................................................................11
Signal Route.................................................................................................................11
Modes...........................................................................................................................11
Amp and effect settings (Edit) ......................................................................................11
Realtime expression pedal and control switch .............................................................11
Saving a program .........................................................................................................11
MIDI and output destination settings ............................................................................11
A Guitarist’s Guided Panel Tour...............................................................12
The Top Panel......................................................................................................................12
Model select section................................................................................................12
1
Edit section..............................................................................................................14
2
Display section........................................................................................................14
3
Setting/Global section.............................................................................................15
4
Bank/Program/Select section..................................................................................16
5
Effect control section...............................................................................................17
6
Rear panel............................................................................................................................18
Rear panel section..................................................................................................18
7
Setup...........................................................................................................19
Basic connections.................................................................................................................19
Using the S/P DIF connector................................................................................................20
Adjust the digital output level........................................................................................20
Using ToneLab LE with a MIDI device or computer.............................................................20
Output settings .....................................................................................................................21
Playing ToneLab LE ...................................................................................22
Program Select mode...........................................................................................................22
Selecting a program .....................................................................................................22
Effect On/Off mode...............................................................................................................22
Switching effects on/off.................................................................................................22
Activating or deactivating the Key Lock function..................................................................23
Activating the Key Lock function...................................................................................23
Deactivating the Key Lock function ..............................................................................23
Creating and Storing your own Programs...............................................24
Creating your own Program..................................................................................................24
Tweaking an Existing Program.....................................................................................24
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Create Your Own Program...........................................................................................24
Changing the connection order of the Effects (CHAIN)........................................................25
Using the Three-band Equalizer...........................................................................................25
Naming a Program ...............................................................................................................26
Storing a Program ................................................................................................................26
Restoring a setting to its original value.................................................................................26
Explanations of the Amp, Cabinet and Effect Types...............................27
A. AMP Models.....................................................................................................................27
B. CABINET Models.............................................................................................................31
What goes with what? ..................................................................................................32
C. PEDAL Effects.................................................................................................................34
D. Modulation (Mod) Effects.................................................................................................37
E. DELAY Effects .................................................................................................................41
F. REVERB Effects...............................................................................................................44
Tuner (Bypass, Mute).................................................................................46
Tuning procedure .................................................................................................................46
Calibrating the Tuner............................................................................................................46
Using the expression pedals.....................................................................47
Expression pedal settings.....................................................................................................47
Expression Target Quick Assign ..................................................................................47
Setting the Expression Target ......................................................................................47
Expression pedal control initialization settings (EXPINIT)............................................48
Control switch settings..........................................................................................................49
Switching each effect on/off..........................................................................................49
Using TAP TEMPO to set a parameter ........................................................................49
Effect control.................................................................................................................49
FACTOR value knob 5 setting......................................................................................49
Adjusting the Sensitivity of the Pedal ...................................................................................50
Expression pedal..........................................................................................................50
Control via MIDI.........................................................................................51
Connecting a MIDI Device or Computer...............................................................................51
Setting the MIDI Message....................................................................................................51
Setting the MIDI Channel (GLOBAL “MIDI CH”)...........................................................51
Program Change (GLOBAL “PCHG OUT”)..................................................................51
Control Change (GLOBAL “CCHG I/O”).......................................................................52
Parameter Change (GLOBAL “SYEX OUT”)................................................................52
Backing up and Restoring Program Data (GLOBAL “DUMP CUR,” DUMP ALL”)...............53
Backing Up ...................................................................................................................53
Restoring ......................................................................................................................53
Restoring the Factory Preset Programs...................................................54
Troubleshooting........................................................................................54
Specifications.............................................................................................55
MIDI Implementation Chart...................................................................................................56
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Page 6
Quick Start
1.
2.
7.
UIDE
A G
ND
A
Y
use the various controls and knobs to create your own sounds.
this manual a chance — it’s been written by a fellow guitar fanatic and is full of useful tips and
info that’ll give you much more detail about ToneLab LE than what’s in the “Quick Start.”
trations of the top and rear panels and display in “A Guitarist’s Guided Panel Tour” (p .12) so you
can see the pictures while we talk and you tweak. Now let’s plug in and play!!!
ETUP
S
If you’re connecting ToneLab LE to a mixer or recorder, connect OUTPUT jacks L/MONO
and R (7.6) to the input jacks of your mixer or recorder. If you’re listening through headphones, connect your headphones to the HEADPHONES jack (7.8).
If you’re connecting ToneLab LE to a guitar amp(s) connect OUTPUT jacks L/MONO and R
to the input jacks of your guitar amp(s).
NOTE: If you’re connecting ToneLab LE to something that only has a mono input, just use the L/MONO
Turn the LEVEL knob (7.7) on the rear panel of ToneLab LE all the wa y to the left (as vie wed
from the rear), setting the volume to 0.
3.
Plug the supplied AC/AC po wer supply into ToneLab LE’s rear panel A C9V pow er inlet (7.3),
and plug the power supply into an AC wall socket.
4.
Plug your guitar into the rear panel INPUT jack (7.4).
5.
Before you turn ToneLab LE on, lower the volume of your amp or mixer so you don’t hear
any potentially speaker-damaging pops or buzzes. Then turn on the STANDBY switch (7.2)
to power up ToneLab LE.
6.
If you connected ToneLab LE to a mixer or recorder, press the AMP/LINE button to select
the AMP/LINE menu, and use the value knob 1 to select “Ln1, 2” (LINE). If you’ve connected ToneLab LE to your guitar amp, set this to “AP1–3” (AMP) setting.
HINT: If you’ve connected ToneLab LE to your guitar amp, select the setting that is best for your amp.
HINT: If you selected “Ln2” (LINE), you can use a three-band EQ to adjust the tone that would best
Turn up the volume controls on your amp or mixer, and use ToneLab LE’ s rear panel LEVEL
knob to adjust the volume.
NOTE: You won’t hear sound for several seconds while the valve (a.k.a. “vacuum tube” if you live on
FOR
THE
THOSE
M
EAD
R
ep, we know. You’d rather be playing guitar than reading this manual. Who wouldn’t? I
know I would so here’s a “Quick Start” to get you up and running without delay (pun
intended)
First we’ll get started by trying out T oneLab LEs progr ams and then we’ll e xplain ho w to
Right. Once you’ve gotten the urge to play out of your system, you should really give
Okay, okay, we’re almost done here. I just want to recommend that you refer to the illus-
jack.
(p.21)
suit your output settings. (p.25)
the west side of the Atlantic) warms up. This isn’t a malfunction — it’s a real analogue valve!
WHO
ANUAL
WANT
ATER
L
!
TO
P
LAY
G
UITAR
F
IRST
,
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8.
9.
L
ISTEN
10. The expression pedals are assigned to control the most appropriate parameters for each
11.
THE
P
ROGRAMS
TO
Use the BANK UP, DOWN switches (5.1) to select a bank 1–30.
Notice that the number in the bank display (3.4) blinks and changes.
HINT: ToneLab LE has 120 programs, organized into 30 banks with four programs in each bank (30 x
4 = 120). When shipped from the factory, banks 1–10 contain 40 programs. (The programs in
banks 1–10, 11–20 and 21–30 are identical to each other) Program Select mode lets you select
these programs. There’s also an effect ON/OFF mode that lets you turn individual effects on/off .
Use the program select 1–4 switches (5.2) to select a program.
The program LED you selected will light, and the number in the bank display will also change
and stay lit. Go ahead and play your guitar.
For example if you want to select program 3-1 (bank 3, program 1), press the BANK UP or
DOWN switch to make the bank display read “3,” and then press the program select 1 switch to
make the LED light.
If you’re selecting a program in the same bank, simply press a program select 1–4 switch. If you
want to select a program from a different bank, you’ll need to perform steps 8 and 9 in that order.
NOTE: If you can’t select a program, you’re probably not in Program Select mode. Get back into Pro-
gram Select mode as described in “Program Select mode” (p.22).
HINT: The preset programs cover an amazing range of sounds; fat hi-gain lead sounds, nostalgic
clean sounds that work best with your rhythm (neck) pic kup , aggressiv e modern crunch sounds
for heavy riffing with your lead (bridge) pickup, and much more.
program, such as wah, volume, delay, reverb input level, or other effect parameter. The
CONTROL switch is assigned functions such as TAP tempo input of the delay time.
Press and hold down the BANK UP switch for one second to turn on the switch’s green LED and
to enter Effect On/Off mode. Effect On/Off mode lets you turn each effect on or off just as if you
were using a set of stomp boxes. Program select 1–4 will turn the pedal, modulation, delay, and
reverb on or off respectively, and the BANK DOWN switch will bypass the insert effect.
S
WITCHING
12. The model select buttons will be lit (ON) or dark (OFF) to indicate the on/off state of each
effect. If you press a button that is dark or turn the model selector , the effect will turn on and
the model select button will blink. If you press a button that is blinking, the effect will turn off
and the button will go dark.
REATE
C
13. To adjust the sound of the AMP model, use the AMP selector to select one of the sixteen
amp models. Then you can simply adjust the sound pretty much in the same way as if you
were really using the actual model of guitar amp you selected.
Adjust the GAIN value knob 1, TREBLE value knob 3, MIDDLE value knob 4, BASS value
knob 5, and the VR GAIN v alue knob 2 (which corresponds to the MASTER) as you like. To
get the most accurate vintage tube amp distortion, raise the VR GAIN as high as possible.
The CH VOLUME value knob 6 lets you adjust the volume while retaining the overall sound
including the distortion produced by the Valve Reactor.
If you press the CAB button while holding down the AMP button, you can then use value
knob 3 to adjust the PRESENCE, value knob 4 to adjust the NR (Noise Reduction) effect,
and value knob 6 to adjust the volume level of the programs (PROG LVL).
Pressing the CAB button, then turning the value knob 1 lets you select a cabinet model.
When you use the AMP MODEL and CABINET MODEL selectors, a different type of guitar
amp will appear before your very eyes — or, should we say, ears!
HINT: P.32 lists recommended combinations of amp and cabinet models but others are fine too.
YOUR
EFFECTS
OWN
ON
OUNDS
S
/
OFF
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HINT: If you want to replicate the sound of the original amp, set [VR GAIN] to the maximum setting on
vintage-type models that do not have a master volume control (i.e., AC15, AC15TB, AC30,
AC30TB, UK BLUES, UK 68P, BLACK 2x12, TWEED 1x12, and TWEED 4x10). For moderntype amps that have a master volume control, adjust [VR GAIN] in the same w ay that y ou would
on the original amp. When the [VR GAIN] setting is low, preamp-type distortion will occur. As
you raise the [VR GAIN] setting, the pre-amp will begin loading the Valve Reactor to cause clipping, and the warmth and distortion of the Valve Reactor will be added.
14. ToneLab LE provides a PEDAL effect that is placed before the amp, and MODULATION,
DELAY, and REVERB effects that are placed after the cabinet.
For example if y ou want to use the PEDAL effect TREBLE BOOST, turn the PEDAL selector
to select TREBLE BOOST. The PEDAL parameter LED of the edit section will blink, indicating the parameter line (the region listing the parameter names). Also, the LEDs below the
value knobs will light, indicating the location of the knobs that you can use to control TREBLE BOOST. Now turn value knobs 1, 2, and 3 to adjust DRIVE, LEVEL, and TONE respectively. You can edit other effects using the same procedure.
HINT: Some effect settings may cause unwanted distortion (if there is such a thing!!). If this happens,
lower the PROG LVL.
(p.25)
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Introduction
W
ELCOME
M
ToneLab LE, please read this manual at least once, and (as they say), “use the product as
directed.” Keep the manual for future reference after you’ve read it; you’ll want to re-read it later
at some point to pick up cool tips you may have missed the first time around.
MAIN FEATURES
•ToneLab LE features Valve Reactor technology that switches between Class A and Class AB
power amp circuits with an actual 12AX7 (ECC 83) miniature triode valve (vacuum tube) to
create the sound of an actual tube power amp, delivering the response and tone of classic
amps.
•ToneLab LE uses sophisticated modeling technology to create classic amp, cabinet, and
effect sounds. You can choose from sixteen amp types that include classic vintage amps and
expensive high-end valve amps, and eleven different cabinet types. By combining amp types
and cabinet types you can create an amazing range of sounds, many of which have never
been heard before.
• Since high-quality effects are built in, ToneLab LE is all you need to create a completely finished sound. Sixteen types of pedal effects are placed before the amp, and after the cabinet
are eleven types of modulation, eleven types of delay, and eleven types of reverb. You can
choose one type for each effect, and use these f our effects simultaneously plus Noise Reduction.
•You can store all of your own amp settings and eff ect model settings as a “program” in one of
120 program memories. ToneLab LE comes with 40 preset programs for instant gratification.
•For convenient tuning, an Auto Chromatic Tuner is built-in.
• There is expression pedal that you can use as a wah pedal, v olume pedal, or to control a v ariety of effect parameters — a great feature for live performance.
• There’s a Quick Assign function that makes it easy to assign parameters to the expression
pedal.
•ToneLab LE provides control switches that let you do things like set the delay time via TAP
TEMPO, switch insert effects on/off, or switch the speed of a rotary speaker ... again, musthave features for live performance.
•You can use the effect insert jacks to connect an external effect processor or stompbox.
•Featuring an S/P DIF optical digital output and MIDI IN and OUT connectors, ToneLab LE
offers you plenty of potential and numerous options to expand your system.
•ToneLab LE Sound Editor is an editor/librarian software that lets you visually edit ToneLab
LE’s numerous parameters, and save and manage programs.
To obtain the “ToneLab LE Sound Editor,” please contact the VOX distributor in your country
or download the latest version from:
“http://www.voxamps.co.uk” or “http://www.valvetronix.com/”
To find your local Distributor go to:
“http://www.voxamps.co.uk/dealers/worldwid.htm”
A
BOARD
any thanks for adding the VOX Valvetronix ToneLab LE to your sonic arsenal. We’re
sure it’ll give you countless hours of great guitar tones that will feel as good as they
sound!
To maximize your chances of enjoying a long and happy relationship with your
!
IntroductionPanel TourSetupPlayingCreating
and Storing
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VALVE REACTOR TECHNOLOGY
THE POWER (AMP) AND THE GLORY!
alve Reactor technology was first used on the critically acclaimed VOX AD60/120VT
Valvetronix amps.
V
speaker, the y do not include a po wer amp circuit, output tr ansf ormer , or speak er. In other words,
they only have a preamp circuit.
A real valve amp sound, however, is produced not just by the preamp, but also by the tone and
distortion of the power amp, and by the constant changes in impedance that are created by the
power amp driving the speakers. ToneLab LE contains an actual low-wattage valve power amp
circuit, a virtual output transformer that uses solid-state components to simulate an output transformer, and a dummy speaker circuit that simulates the varying impedance of a real speaker.
This means that although it’s low-po w er, T oneLab LE has the same circuit structure of an actual
all-valve amp.
Valv e Reactor power amp is 100% analogue. The resulting journey your guitar’ s signal takes through
the analogue world of the power stage plays a major role in providing the all-important feel and tone
of the original amps we modelled.
The Valve Reactor power stage is, to all intents and purposes, a bona fide valve (tube) push-pull
power amplifier, but in miniature. It utilizes a 12AX7 (ECC83) valve (a dual triode device — meaning
“two valves in one”) and is equipped with an output transformer, like a “real” valve amp.
The power amp output of ToneLab LE’s Valve Reactor is designed to “read” the constantly changing
impedance curve of the dummy speaker circuit system and feed this information back to the virtual
output transformer — just like real valve amplifiers do. This information permits the behavior of the
valve stage of the amp to vary with the speaker load (impedance), which is another important part of
“real world” valve tone.
to replicate various “circuit characteristics” that are unique to the all-valve power stages of the amps
we’ve modelled. These “characteristics” include: Class A or Class AB operation, Presence and
Resonance (low end) control circuitry (both found in the negativ e f eedback circuit that some , but not
all, valve power amps have). Being able to match such vital characteristics helps ensure that each
and every one of our models is as tonally authentic as possible — as opposed to the usual “close
but definitely no cigar” norm of digital modeling. And just so you know, this patented in USA power
amp technology is unique to VOX Valvetronix.
The Valve Reactor circuitry in ToneLab LE however has been tuned-up especially for
live performance.
Since conventional modeling effects for line recording are not used directly with a
While much of the tone creation and shaping carried out is done in the digital domain, its
Apart from the vital valve tone this ingenious power amp design provides, it also allows us
INVERTER
PREAMP
FEEDBACK
CIRCUIT
(WITH OR W/O
PRESENCE &
RESONANCE)
MODEL
DEPENDENT
VOX VALVE REACTOR
PHASE
12AX7
(ECC83)
BIAS
BIAS
12AX7
(ECC83)
12AX7 (DUAL TRIODE)
PUSH–PULL OUTPUT
CLASS A OR AB
MODEL DEPENDENT
10
REACTOR
AMP
USING
CONSTANT
CURRENT &
TRANSFORMER
VIRTUAL OUTPUT
REACTIVE
FEEDBACK
DUMMY
SPEAKER
Page 11
AN OVERVIEW OF TONELAB LE
Let’s talk about how ToneLab LE is structured.
SIGNAL ROUTE
When you plug into ToneLab LE the signal passes through the following stages.
You might want to glance at the explanations in “A Guitarist’s Guided Panel Tour” (p.12)
while you read this section.
IntroductionPanel TourSetupPlayingCreating
VOLUME
PEDAL
EFFECT
MODULATION
DELAY
REVERB
OUTPUT
SELECT
INSERT
EFFECT
PEDAL
EFFECT
AMP MODEL
16 TYPE
PRE AMP
PRE AMP
GAIN
VR GAIN
GAIN
VALVE REACTOR
POWER AMP
CLASS AB
VR GAIN
POWER AMP
CLASS A
CLASS A
CLASS AB
CH
VOLUME
CH
VOLUME
CABINET
MODEL
11 TYPE
MODES
ToneLab LE has a Program Select mode (where you can switch programs) and an Effect
On/Off mode (where you can switch individual effects on/off). To switch between these
modes, simply press the BANKUP (FX ON/OFF) switch which can be done even while you
are performing.
AMP AND EFFECT SETTINGS (EDIT)
The five model selectors, six value knobs, and various buttons let you edit the amp and
effect settings directly and intuitively. You can use the CHAIN function to change the order in
which the modulation, delay, and reverb effects are connected. Use the EXP-CTL-CHAIN
button to set the CHAIN function.
REALTIME EXPRESSION PEDAL AND CONTROL SWITCH
You can use the expression pedal and control switch to control wah, volume, or effect
parameters with your feet. Use the EXP-CTL-CHAIN button to select the parameters you
wish to control.
and Storing
SAVING A PROGRAM
By using the WRITE button, all settings you make can be saved as a “program.” When doing
so, you should use the RENAME button to give the progr am a new name. Once you’ve saved
a program, you can use the program select switches to recall it instantly (in Program Select
mode).
MIDI AND OUTPUT DESTINATION SETTINGS
The GLOBAL button lets you mak e MIDI-related settings and specify the oper ation of the pedal
for Program Change. The settings you make here are automatically saved within ToneLab LE
so there’s no need to perform the WRITE operation.
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Page 12
A Guitarist’s Guided Panel Tour
Here we’re going to learn about the buttons and other controls on ToneLab LE’s top and rear
panel.
THE TOP PANEL
2
3
1
5
MODEL SELECT SECTION
1
Here you can select the model of amp, cabinet and effect models.
1.2
1.3
1.4
1.5 1.6 1.7 1.8
4
6
1.1
1.1 MODEL select buttons
Use these when selecting the effect category you want to edit with value knobs 1–6, and
when switching effects on/off. If an effect you’re using is ON it will be lit (or blinking during
editing), and if OFF it will be dark.
Press a button once and its LED will blink; now you can use value knobs 1–6 to edit the
parameters of that effect.
If you want to turn off an effect that is currently on, press the model select button for the
appropriate effect once (it blinks), and then press that model select button once again to
turn it off (dark); the name display will indicate [--OFF--].
The pedal effect is placed in front of the amp model and the modulation, delay, and reverb
are placed after the cabinet model.
NOTE: The reason that modulation, delay, and reverb effects are placed after the amp — rather than
before it as a “stompbo x” — is that the y sound better and more realistic. For example, REVERB
emulates the sound created by a room or hall. So, logic dictates that if we’re going to add it to
our sound, the closer to the end of the signal chain we put it, the more “real” and natural it’s
going to sound. The same is true for DELAY and MODULATION effects — they’re going to
sound more natural if added near the end of your signal path, not at its beginning. Also , if y ou’ re
12
Page 13
using a crunch or high gain lead sound then it makes much more sense to add effects like
ROTARY , ROOM (reverb), or DELAY after it’s been distorted, rather than before.
1.2 INSERT button
Use this button to turn the insert effect on/off. This will be lit if the signal input/output to the
external effect is ON, or dark if it is OFF. The external effect is placed before the pedal effect.
1.3 CAB (CABINET) button
Use this button to select a cabinet model or turn the cabinet model on and off.
While this button is blinking, you can use value knob 1 to select a cabinet model.
If you press the CAB button while holding down the AMP button, then you can use value
knob 3 to adjust the presence, and value knob 4 to adjust the noise reduction, and value
knob 6 to adjust the volume level of the programs.
1.4 PEDAL selector, select button
This lets you select one of the sixteen pedal effect models ToneLab LE offers. When you
turn the PEDAL selector, the PEDAL select button will blink, and you can use value knobs
1–6 to adjust the pedal effect parameters. (For an explanation of each effect, ref er to p .34–.)
As stated before, pedal effects are connected before the amp.
NOTE: The parameters will be initialized when you switch effect types.
1.5 AMP selector, select button
This lets you select from sixteen types of classic amp models, including the legendary VOX
AC30TBX. (For details, see p.27.) When you turn the AMP selector, the AMP select button
will blink, and you can use value knobs 1–6 to adjust its parameters.
If you press the CAB button while holding down the AMP button, you can use value knob 3
to adjust presence and value knob 4 to adjust the NR (noise reduction) effect, and value
knob 6 to adjust the volume level of the programs.
The operating mode of the preamp and power amp, the response of the tone controls, and
their placement within the circuit will change depending on the type of amp you select here,
precisely replicating the exact gain and tonal character of the original amp. The all-important
power amp stage (class A or AB) and negative-feedback circuit (or lack thereof) are also
carefully simulated.
1.6 MODULATION selector, select button
This selects one of eleven modulation effect models. When you turn the MODULATION
selector, the MODULATION select button will blink, and you can use value knobs 1–6 to
adjust the parameters of the modulation effect. (For details on each effect, refer to p.37–.)
NOTE: The parameters will be initialized when you switch effect types.
1.7 DELAY selector, select button
This selects one of eleven delay effect models. When you turn the DELAY selector, the
DELA Y select b utton will blink, and y ou can use v alue knobs 1–6 to adjust the parameters of
the delay effect. (For details on each effect, refer to p.41–.)
NOTE: The parameters will be initialized when you switch effect types.
1.8 REVERB selector, select button
This selects one of eleven reverb effect models. When you turn the REVERB selector, the
REVERB select button will blink, and you can use v alue knobs 1–6 to adjust the parameters
of the reverb effect. (For details on each effect, refer to p.44–.)
NOTE: The parameters will be initialized when you switch effect types.
IntroductionPanel TourSetupPlayingCreating
and Storing
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EDIT SECTION
2
2.2
2.1
2.1 Edit category LEDs
One of the LEDs will light up to indicate the category of effect you are currently editing.
Alternatively, an LED will light up to indicate the line of parameter names that you are cur-
rently adjusting.
2.2 Value knobs 1–6
Use these to adjust the parameters of the effects or amp model. Your adjustments will modify the effect whose MODEL select button you pressed (i.e., the button that is blinking). The
LEDs below the knobs will light to indicate the knobs that are available.
The LEDs below the knobs will blink to indicate that the knobs are available to adjust the
parameters on the name display.
For details on the parameter controlled by each knob, refer to p.34–. (From the left, we refer
to these as value knobs 1–6.)
When the EXP-CTL-CHAIN button is blinking, these knobs adjust the corresponding functions.
When you are making RENAME or GLOBAL settings, or when executing the WRITE operation, you can use value knob 6 to change values.
DISPLAY SECTION
3
3
3.4
3.1
3.2
3.3
4
4.5
4.4
4.1
4.2
4.3
4.7
4.6
4.8
3.1 Name display
Displays program names, effect names, or parameter names.
3.2 Valve icon
Indicates the number and type of power valv e — a.k.a. “vacuum tube” — used in the original
amp that is being modeled.
3.3 Value display
Indicates the value of the parameter you are editing.
If the displayed parameter value matches the original value (i.e., the value saved in the pro-
gram), the ORIG (original value) icon will appear.
HINT: The value display indicates the AMP/LINE setting after you turn on the power to the unit or
when you select a different program.
3.4 Bank display
Indicates the bank number. If the tuner is operating, this indicates the note name. (p.46)
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SETTING/GLOBAL SECTION
4
4.1 EXP-CTL-CHAIN button
Use this button to make expression pedal or control switch settings. Alternatively, use this
button to change the chain setting, that is, the connection order of the modulation, delay,
and reverb effects.
Use value knobs 1–3 to edit the expression pedal target parameter and the control range
parameter.
Use value knobs 4–5 to edit the control switch target parameter and the FACTOR parameter. Use value knob 6 to make the chain setting.
You can also use the ▲, ▼ buttons to edit the value.
If this button indicator lights up while you’re editing, it indicates that the expression pedal
Quick Assign function is available.
HINT: [Quick Assign] If the EXP-CTL-CHAIN button is lit while you are editing an effect, you can use
the expression pedal Quick Assign function. To assign the parameter shown in the name display to an expression pedal, hold down the EXP-CTL-CHAIN button for one second. When the
assignment is complete, the name display will indicate COMPLETE.
4.2 ▲, ▼ buttons
Use these to edit the value of parameters.
4.3 √√√√, ®®®® buttons
Use these to select the parameter you want to edit, or to edit the program name.
4.4 [AMP/LINE] button
Use this button to make the ToneLab LE output settings. If y ou selected “Ln2,” you can use a
three-band equalizer to adjust tonal characteristics of the amp models.
4.5 RENAME button
Use this to change the program name (p.26).
Use the √√√√, ®®®® buttons to move between spaces (characters) in the display, and use value
knob 6 or the
▲, ▼
buttons to change the character at that space.
4.6 GLOBAL button
Use this button to make pedal, MIDI, or digital output settings.
Press the GLOBAL button and use the √√√√, ®®®® buttons to mov e through the menu items in the
order shown below. After you have selected a menu item, use value knob
tons to adjust the value.
EXP INIT: Specifies the expression pedal operation during Program Change (p.48)
MIDI CH: Specifies the MIDI channel (p.51)
PCHG OUT: Specifies the program change message output setting (p.51)
CCHG I/O: Specifies the control change message input/output setting (p.52)
SYEX OUT: Specifies the system exclusive message output setting (p.52)
DUMP CUR: Dumps the current program data from the MIDI OUT connector (p.53)
DUMP ALL: Dumps all of ToneLab LE’s data from the MIDI OUT connector (p.53)
DOUT LVL: Specifies the digital output level. (p.20)
6
or the ▲, ▼ but-
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4.7 WRITE button
Use this when you want to save the settings you’ve created (p.26).
4.8 EXIT/TUNE button
Use this to abort a program-write operation or to cancel a GLOBAL setting.
By pressing and holding this button for a longer time, you can activate/cancel the Key Lock
function, which disables operation of the buttons, selectors, and knobs (p.23).
By pressing this button while the name display is indicating a program name, you can acti-
vate the tuner.
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BANK/PROGRAM/SELECT SECTION
5
5.1
5.2
5.1 BANK UP/DOWN switches
In Program Select mode, press BANK UP to increment the bank by one, or BANK DO WN to
decrement it by one. In Program Select mode, press and hold down BANK UP to enter
Effect On/Off mode. The LED in the upper left of the switch lights up green. In this mode,
you can use the BANK DOWN switch to toggle INSERT (the external effect) between On
and Bypass. In Effect On/Off mode, press BANK UP to return to Program Select mode.
5.2 Program select switches, Program LEDs
Use these switches to select programs. The program LED in the upper left of each switch
will light up red accordingly.
In Effect On/Off mode, you can use the program select switches to individually turn the
pedal, modulation, delay, and reverb effects on or off. When the effects are turned on, the
program LED in the upper left of the corresponding switches will light up green.
If you hold down the switch of the currently-selected prog ram for 0.5 seconds or longer, the
program LED blinks and the output of all effects will be bypassed. If you hold down this
switch for one second or longer, the output will be muted. The tuner will operate when
ToneLab LE is bypassed or muted.
To cancel bypass or mute, press this switch (the switch of the blinking program LED) once
again.
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EFFECT CONTROL SECTION
6
6.2
6.1
6.1 CONTROL switch
This switch controls the effect function specified by the Control switch target parameter.
6.2 EXP pedal (Expression pedal)
This pedal controls the effect parameter you assigned as the expression pedal target
parameter (e.g., volume, wah, or other effect parameter). Pressing down firmly on an
expression pedal will activate a switch underneath the pedal, allowing you to turn the
assigned effect on or off (except when you’ve assigned the volume or an amp parameter).
The EXP LED located near the pedal lights up orange when the volume parameter is
assigned to the pedal, and lights up green when the effect parameter is assigned to the
pedal. The LED turns off if the target effect is turned off.
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REAR PANEL
7
REAR PANEL SECTION
7.1
7.2
7.4 7.5 7.6
7.3 7.107.9
7.7
7.8 7.11
7.1 Valve
ToneLab LE contains a 12AX7 (ECC83) valve (“vacuum tube”).
NOTE: The valve cover or the valve may break if either is subjected to impact.
If the valve cover breaks, please have it replaced. Failure to replace a damaged valve cover
may lead to the valve itself becoming damaged.
7.2 STANDBY switch
Turns the power on/off.
7.3 ~AC9V
Connect the included AC/AC power supply here.
7.4 INPUT jack
Connect your guitar to this jack.
7.5 INSERT jacks (SEND, RETURN)
You can connect an external effect processor or stompbox to these jacks.
Connect SEND to the input of your external effect device.
Connect RETURN to the output of your external effect device.
7.6 OUTPUT jacks (L/MONO, R)
These are analog output jacks. If you’re using a mono output, connect the L/MONO jack.
7.7 LEVEL knob
Adjusts the output level from the OUTPUT jacks and the HEADPHONES jack.
7.8 HEADPHONES jack (stereo)
Connect your headphones to this jack.
7.9 MIDI OUT connector
This connector transmits MIDI data. Use it when you want to control a connected external
MIDI device.
7.10 MIDI IN connector
This connector receives MIDI data. Use it when you want to control ToneLab LE from a connected external MIDI device.
7.11 S/P DIF OUT connector
This connector transmits S/P DIF optical digital data.
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Setup
NOTE: You must turn off the power of all your equipment before you make connections. If you ignore
this warning, you may damage your speaker system or experience malfunctions!
BASIC CONNECTIONS
to your mixer/recorder
Headphones
or guitar amp
LINE/AMP
External effect processor
AC/AC
power supply
Guitar
to an AC
outlet
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OUTPUT
ToneLab LE
RL/MONO
RETURN
SEND
INPUT
~AC9V
1. Use audio cables to connect ToneLab LE’s OUTPUT L/MONO and R jacks (7.6) to a mixer/
recorder or guitar amp. If desired, you can also connect an external effect processor. To do
this simply connect SEND to the input of your external processor, and RETURN to the output of your external processor.
HINT: If y ou’re making connections in mono, use the OUTPUT L/MONO jack. How ever to take the full-
est advantage of ToneLab LE’s sound, we strongly recommend that you use stereo connections.
If you are using headphones, plug them into the HEADPHONES jack (7.8).
NOTE: Signal from the OUTPUT jack(s) will still be heard even if headphones are plugged in. If you
only want to hear signal from headphones you must disconnect any cables from the Output
jacks or turn off or lower any equipment ToneLab LE is connected to.
2. Turn the LEVEL knob (7.7) located on the rear panel of ToneLab LE all the way toward the
left (as seen from the rear), setting the volume to 0.
3. Connect the included AC/AC power supply to the rear panel AC9V power supply jack (7.3),
and then connect the plug to an AC outlet.
4. Plug your guitar into the rear panel INPUT jack (7.4).
5. Turn down the volume of your amp or mixer so you don’t hear crackles or pops when the
power is turned on. Then turn on the STANDBY switch (7.2) to turn on the power.
If you have connected ToneLab LE to a mixer/recorder, press the AMP/LINE button, then use
6.
value knob 1 or the
▲, ▼
buttons to select “Ln1” or “Ln2” (LINE). If you’ve connected ToneLab
LE to a guitar amp, select one from “AP1”–“AP3” (AMP).
HINT: If you have connected only the headphones, select “Ln1” or “Ln2” for the AMP/LINE setting.
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7. To adjust the volume, turn up your amp or mixer and ToneLab LE’s rear panel LEVEL knob
to a desired level (7.7).
NOTE: Since ToneLab LE uses an actual valve (vacuum tube), it will produce no sound for sev eral sec-
onds until the valve warms up. This isn’t a malfunction
HINT: If ToneLab LE is connected immediately preceeding a combo or head amp, set the tone con-
trols of your guitar amp to their center positions, adjust the amp accordingly to avoid unintentional distortion. Then, bypass ToneLab LE, and adjust the rear panel LEVEL knob so that the
volume level is the same as when your guitar is connected directly to the amp.
HINT: If y ou’re connecting ToneLab LE to a guitar amp that has a jack allo wing y ou to connect directly
before the power amp (such as Return or Main In), set the AMP/LINE menu item to “Ln
“Ln2”
(LINE), and then connect ToneLab LE to that jack. If you want to take advantage of the
tonal character of that amp (and cabinet), you may want to turn ToneLab LE’s CABINET setting
“OFF.”
HINT: When the program name is displayed, you can press and hold the EXIT/TUNE button for one
second or longer to activate the Key Lock function. This function disables operation of the buttons, selectors, and knobs. To cancel the Key Lock function, press and hold the EXIT/TUNE
button again for one second or longer. (p.23)
– it’s just the nature of valves.
1” or
Guitar
ToneLab LE
OUTPUT
L/MONO
Monaural phone jack
R
INPUT
Monaural
phone jack
Guitar amp(s)
Monaural
phone jack
USING THE S/P DIF CONNECTOR
By using the S/P DIF connector, you can transmit digital data between ToneLab LE and a connected device, such as a recorder.
ADJUST THE DIGITAL OUTPUT LEVEL
1. Press the GLOBAL button.
2. Repeatedly press the ® button until the display reads “DOUT LVL.”
3. Use value knob 6 or the ▲, † buttons to set the output level at the S/P DIF connector.
HINT: You can specify a level between –12 and +12. Level “0” (0dB) is nominal. Setting the level
above “0” may distort the sound of some programs.
USING TONELAB LE WITH A MIDI DEVICE OR COMPUTER
By using MIDI you can control ToneLab LE from a sequencer or control an external MIDI device
from ToneLab LE. You can also save ToneLab LE programs on a sequencer or MIDI data filer
that is able to transmit and receive MIDI exclusive data, and then load the program data back
into ToneLab LE when desired.
HINT: For details on MIDI connections refer to p.51.
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OUTPUT SETTINGS
Here’s how to specify whether you’re connecting ToneLab LE to a guitar amp or to a mixer/
recorder. This procedure is required to make the necessary adjustments to the guitar amp model
output signal according to the device to which the ToneLab LE is connected.
1. Press the AMP/LINE button (and use the √ and ® buttons, if necessary) to make the dis-
play read “AMP/LINE.”
2. Use value knob 1 or the ▲, ▼ buttons to set the value.
AP1: Select this if you are using an amp that features a clean sound, such as a US-made
open-back combo.
AP2: Select this if you are using an amp that features a strong and distinctive mid range,
such as a UK-made open-back combo.
AP3: Select this if you are using a stack-type amp, such as a 4x12" closed-back cabinet.
Ln1: Select this if you are using the ToneLab LE S/P DIF OUT connector or connecting a
guitar amp's power amp input or a recorder to a Line output.
Ln2: Select this if you would like to adjust the sound by using the three-band EQ.
NOTE: The AMP/LINE setting is disabled if an amp model you selected is turned off.
NOTE: The amps mentioned above are merely representative. The optimum setting varies depending
on the type and settings of your amp.
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Playing ToneLab LE
PROGRAM SELECT MODE
ToneLab LE has 120 programs (30 banks x 4 programs), and every one of these programs can
be totally rewritten or “custom tweaked” to your heart’s content. With the factory settings, banks
1–10 contain a total of 40 preset programs. (Banks 11–20 and 21–30 contain the same preset
programs as banks 1–10.)
In order to select programs, you need to be in Program Select mode.
SELECTING A PROGRAM
As an example, here’s how to select program 2-3 (bank 2, program 3).
1. Make sure that ToneLab LE is in Program Select mode.
If the BANK UP switch LED is lit green, you’re in Effect On/Off mode. Press the BANK UP
switch to change to Program Select mode. In Program Select mode, the BANK UP and
DOWN switch LEDs will be dark.
2. Use the BANK UP/DOWN switches (5.1) to select bank 2.
The bank number in the bank display blinks.
3. Press the program select 3 switch (5.2).
Program 2-3 will be recalled instantly. The program select 3 switch LED will light, and the
bank number will light steadily.
HINT: When you’ve selected the Bank but not the Program, the previously-selected program is still
active. So if you’re playing live and your next program change requires you to switch to a different bank, you can select that bank ahead of time, ensuring a timely, seamless change.
EFFECT ON/OFF MODE
You can use program select switches 1–4 to switch the pedal effect, modulation effect, delay
effect, and reverb effect of the current program on/off individually. Also, you can use the BANK
DOWN switch to switch the signal that is being sent through the external effect processor connected to the INSERT jacks.
HINT: You can turn the current amp model on or off using the CONTROL switch. (p.49)
HINT: When you want to switch programs, press the BANK UP switch again to return to Program
Select mode.
SWITCHING EFFECTS ON/OFF
As an example, here’s how you can switch the pedal and insert effects on/off for the current program.
1. If the BANK UP and DOWN switch LEDs are dark, the unit is in Program Select mode.
Press the BANK UP switch to enter Effect On/Off mode . The BANK UP switch LED lights up
green.
Program LEDs 1–4 and the BANK DOWN s witch LED indicate the on/off status of the pedal
effect, as well as modulation, delay, reverb and insert effects.
2. If program LED 1 is lit, the pedal effect is ON. If y ou press progr am select switch 1, the pedal
effect will turn off and LED 1 will go dark.
3. If the BANK DOWN switch LED is dark, your guitar signal is not being sent through the
external effect. When y ou press the BANK DO WN s witch, the e xternal effect send/return will
be turned ON, and the BANK DOWN switch LED will light.
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NOTE: If you haven’t connected an external effect processor to the INSERT RETURN jacks, the
INPUT signal will bypass the insert circuit whether the INSERT button LED is lit or dark.
ACTIVATING OR DEACTIVATING THE KEY LOCK FUNCTION
Here’s how you can use the Key Lock function to disable ToneLab LE’s buttons, selectors, and
knobs so they can’t be accidentally changed during a live performance.
NOTE: While the Key Lock function is activated, you won’t be able to operate any controls except for
the switches, pedals and the EXIT/TUNE button.
NOTE: The Key Lock setting is cancelled when you turn off the power; it will be disab led when y ou turn
on the power once again.
ACTIVATING THE KEY LOCK FUNCTION
1. If the name display shows anything other than a program name, or if the characters of the
program name are blinking, press the EXIT/TUNE button.
2. With the program name shown in the name display, press and hold the EXIT/TUNE button
for at least one second.
The name display will indicate KEY LOCK for one second, and then the value knob LEDs
will go dark.
DEACTIVATING THE KEY LOCK FUNCTION
1. If the name display shows anything other than a program name, press the EXIT/TUNE button.
2. Press and hold the EXIT/TUNE button for at least one second.
The name display will indicate LOCK OFF for one second, and then the value knob LEDs
will light.
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Creating and Storing your own Programs
There are two ways you can do this; by “tweaking an existing program” or by “starting from scratch.”
CREATING YOUR OWN PROGRAM
TWEAKING AN EXISTING PROGRAM
If you want to tweak an existing program, select one that’s close to the sound you want. Set the
MODEL select buttons to the amp, cabinet and effects you want to use, and use value knobs 1–
6 to adjust the sound.
For example, you might start with a certain preset that has a crunchy, modern rhythm sound that you
like, but create a complementary lead sound that is louder, has a bit more gain, and boosted mid-range.
CREATE YOUR OWN PROGRAM
Now here’s how to create your own program from scratch.
NOTE:
Before you continue, make sure that the AMP/LINE menu is set correctly as described on p.19.
1. Select any program (p.22).
HINT: It doesn’t matter which program you select, because we’re starting from scratch.
2. In the PEDAL, MODULATION, DELA Y, REVERB section, press any model select b utton that
is lit two times. This will turn off (bypass) all effects other than the amp model.
3. Use the AMP MODEL selector to choose the amp you want.
HINT: For details on amp types, cabinet types, and effect types, refer to “Explanations of the Amp,
Cabinet and Effect Types” (p.27).
4. Use value knobs 1–6 to adjust the GAIN, VR GAIN, TREBLE, MIDDLE, BASS, and CH
VOLUME as desired. CH VOLUME adjusts the volume while preserving the overall character of the sound, including the distortion of the power stage. To adjust the PRESENCE,
press the AMP button while holding down the CAP button, then turn value knob 3. To return
to adjusting GAIN etc., press the AMP model select button.
HINT: The key to getting the most accurate vintage tube amp distortion is to raise the VR GAIN.
NOTE: Some settings may cause your output sound to be distorted (i.e., in a way you don’t intend). If
so, lower the CH VOLUME.
5. Press the CAB button, then turn the value knob 1 to choose a cabinet.
HINT: For recommended combinations of amp types and cabinet types, refer to p.32.
6. Press the CAB button while holding down the AMP button, and adjust the NR SENS (value
knob 4) appropriately. Higher values of noise reduction (0.2, 0.4, ... 10.0) will produce a correspondingly greater effect. With a setting of “OFF” there will be no noise reduction.
NOTE: We recommend that you use noise reduction if you’re using a high-gain setting such as the US
MODERN or US HIGAIN amp type, since high gain usually generates more noise. Depending
on the guitar you’re using, raising the noise reduction excessively may cause some of your
notes to be cut off unnaturally.
7. In each section, choose the effect you want to use. For example if you want to add spring
reverb, use the REVERB selector to select SPRING.
HINT: When y ou do so , the re verb model will automatically be turned on. The REVERB parameter line
LED of the edit section and the LEDs below the value knobs will light to indicate the REVERB
parameters. For example if you selected SPRING, value knobs 1–4 will control TIME, LO
DAMP, HI DAMP, and PRE DELAY, while value knob 6 will control MIX.
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8. To adjust the reverb mix amount, use value knob 6 which controls the MIX parameter.
In the same way f or PED AL, MODULATION, and DELAY effects, use the selector to choose
an effect and the value knobs to adjust the parameters.
HINT: In some cases, it’s easier to adjust the PEDAL effect if modulation, delay, and reverb are not
being applied. If you’re using the PEDAL effect, it’s best to mak e y our amp and cabinet settings
first, and then adjust the pedal effect before the other effects.
NOTE: For some of the models, the name of the actual parameter you will be editing may differ from
what is printed in the parameter line of the edit section. The name that appears in the display
when you operate a value knob is the actual name. For details on parameters refer to p.34.
9. If you want to continue making adjustments, simply press the select button for the model
you want to edit, and turn the value knobs.
HINT: If the EXP-CTL-CHAIN button lights when you operate a value knob, you have the option of
assigning that parameter to an expression pedal. If you press and hold the EXP-CTL-CHAIN
button for at least one second, the parameter will be assigned to the expression pedal (EXP).
(We call this the Expression Pedal Quick Assign function.) For example if you set the PEDAL
model selector to U-VIBE and use value knob 1 to adjust the SPEED parameter , the EXP-CTLCHAIN button will light to indicate that you can use the above method to assign the SPEED
parameter to the expression pedal. For details, refer to p.47.
NOTE: If you’ve used the PEDAL selector to select VOX WAH, the MANUAL parameter will automati-
cally be assigned to expression pedal (EXP), letting you use the pedal as a wah pedal.
10. If you notice that the volume level of a specific program is different from that of other programs and you wish to adjust the level, press the CAB button while holding down the AMP
button, then turn the PROG LVL knob (value knob 6). You can also apply this procedure if
some effect settings cause sound clipping.
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HANGING THE CONNECTION ORDER OF THE EFFECTS
You are free to change the order in which the modulation effect, delay effect, and reverb effect
are connected.
The effect connection order is saved independently for each program.
1. Press the EXP-CTL-CHAIN button, then use the √ and ® buttons to make the value knob 6
LED blink. The current connection order is displayed.
2. Use value knob 6 or the ▲, ▼ buttons to change the order.
Display Connection order
MD-DL-RV modulation→delay→reverb
MD-RV-DL modulation→reverb→delay
DL-MD-RV delay→modulation→reverb
DL-RV-MD delay→reverb→modulation
RV-MD-DL reverb→modulation→delay
RV-DL-MD reverb→delay→modulation
(CHAIN)
USING THE THREE-BAND EQUALIZER
If you selected “Ln2” for the “AMP/LINE” setting, you can use the three-band equalizer to adjust
the overall tonal characteristics of the sound output from ToneLab LE.
When you select “Ln2” for the “AMP/LINE” setting, the value knobs 2–6 feature the following functions:
Value knob 2 “TRIM” Adjusts the input level.
Value knob 3 “LO GAIN” Adjusts the amount of low-range boost.
Value knob 4 “MID FREQ” Specifies the mid-range frequency.
Value knob 5 “MID GAIN” Adjusts the mid-range boost.
Value knob 6 “HI GAIN” Adjusts the high-range boost.
NOTE:
The equalizer is unavailable if you selected “AP1,” “AP2,” “AP3,” or “Ln1” for the “AMP/LINE” setting.
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NOTE: The equalizer is unavailable if an amp model you selected is turned off.
NAMING A PROGRAM
Here’s how you can name a program.
NOTE: The program name is saved as part of each program. If you switch to a different program or
turn off the power before you save, your settings will be lost.
1. Press the RENAME button.
2. Use the √√√√, ®®®® buttons to mov e the cursor to the character y ou w ant to change (the selected
character blinks), and use value knob 6 or the ▲, ▼ buttons to change the character.
You can use the following characters.
3. Repeat step 2 to finish entering a name for your program.
4. When you’ve finished entering a name, press the EXIT/TUNE button (4.8) to return to the
mode you were in.
STORING A PROGRAM
When your tweaking has resulted in a sound you’re happy with, store (write) it!
1. Press the WRITE button (4.7).
The name display (3.1) shows “*WRITE*” and the bank display (3.4) and one of program
LEDs 1–4 will blink.
2. Use value knob 6 (2.2) or the ▲, ▼ buttons (4.2) to select the bank you want to use, and use
the √√√√, ®®®® buttons to select the destination program (1–4).
For example if y ou want to store your program in 9-1 (bank 9, program 1), use value knob 6
√√
√√
or the ▲, ▼ buttons to make the bank display show “9,” and then use the
make the program 1 pedal LED blink.
HINT: You can also select the store-destination program by using the BANK UP/DOWN switches or
the program 1–4 select buttons.
3. Press the WRITE button (4.7) once again.
The name display will indicate “COMPLETE.” Your program is now stored, and you’ll be back
in Program Select mode.
NOTE: The program is written over the previous contents of that bank/program. The program that pre-
viously occupied the number you selected in step 2 will be erased.
NOTE: If you decide not to store your new program, press the EXIT/TUNE button (4.8) to cancel the
procedure.
NOTE: If you switch to a different program or turn off the power without storing the progr am you edited,
your changes will be lost.
, ®®®® buttons to
RESTORING A SETTING TO ITS ORIGINAL VALUE
The Original Value icon in the value display (3.3) gives you a way to find out the parameter values that are stored in a program.
When you are using a knob or button to change the value of a parameter, the ORIG (original value)
icon will appear when the value you are adjusting matches the “original value” stored in the program.
HINT: So, you’re flipping through the programs on your new ToneLab LE, and you come across one
you really like. It’s easy to find out exactly what settings are dialed in to get such an awesome
tone — just use this Original Value display feature!
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Explanations of the Amp, Cabinet and Effect T ypes
his section explains ToneLab LE’s amp
models, pedal effects, cabinet models,
T
A. AMP MODELS
Which amps did we painstakingly model for our
seductive selection of 16? Believe me when I say it
wasn’t easy ‘cos, as I’m sure you know, there’s a
plethora of great sounding amps out there. After
countless hours of soul searching, earnest discussions (not to mention the occasional friendly argument!), calls to tone-wise friends (some
professional players , some not...but all b lessed with
great ears) plus, of course, listening and playing, a
top 16 list was finally drawn up. As you’re about to
discover, the ones we went with are not only the
cream of the crop but also offer up the widest possible array of the greatest guitar tones known to man
— from pristine clean to outrageous overdrive and
all points in-between. First though, some stuff you
should know...
CONTROLLING FACTORS
As already touched on in this manual, although
the amp model of your ToneLab LE houses controls for GAIN, VR GAIN, TREBLE, MIDDLE,
BASS, PRESENCE and CH VOLUME, not all of
the amps we’ve modelled have as many controls. In such cases, rather than leave you with
knobs that do nothing (what on earth would be
the point of that!?), we’ve made full use of all six
(6) ToneLab LE controls without compromising
the accuracy of any of our models. This means
you’ll be able to mimic the full tonal spectrum of
each and every one of the originals we’ve modelled...and then some, thanks to the extra flexibility and additional control the six ToneLab LE
controls give you.
For example, if an original amp doesn’t have a
complete 3 band EQ network then we’ll set up
the “missing” tone controls on our model to be
“neutral” (i.e. as the original) when set at 12
o’clock — thus giving you extra tonal flexibility in
modulation, delay, and reverb effects.
those EQ areas, if you so wish. Just so you
know, the amps we modelled that don’t have
individual controls for Treble, Middle and Bass
are:
AMP ORGINAL TONE CONTROLS
AC15 Top Cut & Bass Cut Switch
AC15TB Treble & Bass
AC30 Top Cut only
AC30TB Treble, Bass and Cut
TWEED 1x12 Just one, called Tone!
Also, as you’d probably expect, we do the same
exact thing with the ToneLab LE’s PRESENCE
control too — namely, if one isn’t present (bad
pun, not intended!) on the original then PRESENCE will be an added control on our model.
This time though, the “neutral” position is when
the control is all the way off (turned fully counterclockwise). The two models this applies to are
BLACK 2x12 and TWEED 1x12.
IMPORTANT NOTE:
As you’ll discover when you read their descriptions, in the case of the AC15, AC15TB, AC30
and AC30TB models, we’ve utilized the PRESENCE control to mimic the TOP CUT control —
whether it was present on the original or not.
ABOUT THE GAIN AND VOLUME KNOBS
ToneLab LE’s amp models provide three programmable knobs that affect the volume (gain);
GAIN, VR GAIN, and CH VOLUME. Each control
has its own specific job, and the sound of a particular amp model can vary over an amazingly
wide range just depending on the settings of
these knobs.
As some of you will know, most vintage amps
only have one VOLUME control to set up the
sound, whilst more modern amps usually have
two types of level controls — GAIN (or sometimes PREAMP VOLUME) that controls the input
level of the preamp section, and MASTER VOLUME that controls how much signal is (and how
loud it is going to be) passed from the preamp to
the power amp. With many vintage amps there is
no MASTER VOLUME, the preamp feeds
directly into the power amp without any type of
control.
The T oneLab LE’ s controls are designed to cover
all these points:
ToneLab LE GAIN: On vintage type models that
do not have a master volume (i.e., AC15,
AC15TB, AC30, AC30TB, UK BLUES, UK 68P,
BLACK 2x12, TWEED 1x12, TWEED 4x10), the
GAIN control works like the V OLUME of the original amp. On models that do have a master volume, the GAIN control works like GAIN or
PREAMP VOLUME.
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
27
Page 28
ToneLab LE VR GAIN: MASTER VOLUME that
controls how much preamp signal level is passed
to the power amp, which in our case is the
VALVE REACTOR stage. (Your ToneLab LE
works like a real amp.)
ToneLab LE CH VOLUME: For want of a better
way of putting it, this is like a power attenuator
that you would add between the output of your
amp and the input of your speaker cabinet. This
controls the level of the final mix and allows you
to balance all your programmed amp sounds to
each other.
As in how the original amps work, we have made
the relationship between preamp and power amp
work in the same way. Therefore to obtain truly
authentic tones please use the VR GAIN control
in the same way, i.e. with VINTAGE type models
that do not have Master Volume control’s, turn
the VR GAIN control up to maximum.
When using a model of a modern amp that does
have a master volume control, adjust VR GAIN
just as you would adjust the master volume control. Low settings of VR GAIN will tend to produce more of a preamp distortion, while high
settings will add the distinctive distortion and
warmth of the Valve Reactor.
Lastly , if an original amp features a unique switch
or control we make sure that we cover it! Such
things will be revealed in the model descriptions
that follow shortly...
TUBE TALK
Us Brits call ‘em valves while our US cousins call
‘em tubes...as the saying goes: England and
America are merely two countries divided by a
common language! Anyway, call ‘em what you
will, these wondrous glass bottles lie at the tonal
heart of each of our 16 models. As all the amps
we’ve modelled hail from one of the two countries just mentioned, in honour of their heritage,
the descriptions of all English amps will employ
the words “valve” and “valves,” while the American ones will be tubular!
QUESTION: What’s the difference between
an ECC83 preamp valve and a 12AX7
preamp tube?
ANSWER: Nothing! They’re the same exact
thing — namely the most popular preamp
tube in ampland. ECC83 is the British name,
12AX7 (a.k.a. 7025) is the American. See, I
told you we were two countries divided by a
common language!
POWER AMP ACCURACY
What happens in the power stage of any good
tube amp is of paramount importance to the way
the amp sounds, feels and behaves. The way the
power amp operates (Class A or Class AB), the
power tubes used (EL84s, EL34s, 6L6s, 6V6s),
the exact nature of the negative feedback loop
circuitry (if one even exists) and how the power
stage interacts (a relationship called damping)
with the speaker(s) it is driving — all these things
play a vital role in the creation of tone. That is
why we have fitted your ToneLab LE with our
patented Valve Reactor Technology — a mod-
elling breakthrough that is unique to VOX and
infuses our critically acclaimed Valv etronix range
of amps with life and feel. This revolutionary
technology emulates a tube power-amp by using
real tubes in a real tube amp circuit and ensures
that all the important bases inherent in a tube
amp are faithfully and accurately covered. For
example: if you choose amp model AC30TB —
an amp with a Class A power stage, EL84 output
tubes and no negative feedback, that’s exactly
what your Valve Reactor power amp reconfig-
ures itself to be.
This all said, let’s take a look at each of our amp
models...
1. AC15
This is based on Channel 2 of a1962 1x12", 15
Watt VOX AC15 which only has three controls —
Volume, Brilliance and Top Cut. ToneLab LE’s
GAIN control mimics the original’s Volume control, while the PRESENCE control acts as the
Top Cut.* The BASS control acts as the Bass
Cut with total variability. Set the “extra” TREBLE
and MIDDLE controls at 12 o’clock and they’re
“neutral” or tweak them for extra tonal flexibility.
*CONTROL NOTE:
The original AC15’s Top Cut control works in
the opposite way you’d expect — it “cuts” when
you turn it up! You’ll be glad to read that our Top
Cut control (the PRESENCE knob) works in a
much more logical fashion — turn it up for more
“sparkle,” turn it down for less.
Original’s valve compliment: 1 x EF86, 3 x
ECC83s, 1 x ECC82 in the preamp, 1 x EZ81
rectifier, 2 x EL84s in the power amp.
28
Page 29
2. AC15TB
The AC15TB is a modern-day amp which combines the tonal characteristics of the AC15’s low
Wattage power stage, with the increased tonal
flexibility that the Top Boost (TB) channel of an
AC30 has to offer . Then, to sweeten the pot ev en
further, a 12" Celestion “Blue” speaker, Reverb
and a Master Volume control were thrown in too.
The original has two tone controls—Treble and
Bass. So, as is the norm, the ToneLab LE’s TREBLE and BASS controls mimic their namesakes
while the MIDDLE (“neutral” at 12 o’clock) and
PRESENCE add further tonal flexibility. To
ensure maximum “Voxiness,” we’ve made sure
that the PRESENCE control behaves exactly like
the “Top Cut” on the original AC15 — except in
reverse (“off” = cut) to make it more logical, just
like on our AC15 model. In trademark VOX fashion, our AC15TBX model oozes clean tones that
“jangle” and “chime,” while its overdrives are
smooth yet pulsating with desirable harmonic
overtones.
Original’s valve compliment: 5 x ECC83s in
the preamp, 1 x 5Y3GT rectifier, 2 x EL84s in the
power amp.
3. AC30
This amp is based on the Normal channel of a
1959 30 Watt, 2x12, AC30. The AC30’s Normal
channel boasts the bare minimum of knobs —
Volume and Top Cut (GAIN and PRESENCE*
respectively).
*CONTROL NOTE:
Once again, our PRESENCE control styles the
“Top Cut” on the original AC30 exactly —
except in reverse (“off” = cut) to make it more
logical, just like on our AC15 model.
Original’s valve compliment: 4 x ECC83s, 1 x
ECC82 in the preamp, 1 x GZ34 rectifier, 4 x
EL84s in the power amp.
4. AC30TB
The Brilliant channel of an AC30TB includes
extra tone circuitry that features an additional
ECC83 valve called “Top Boost” and two extra
EQ controls, giving the amp
three tone controls — Treble, Bass and Cut. Once
again, the PRESENCE control of our model acts as
the original’s Cut (but in reverse: “off” = cut) while
the GAIN, TREBLE and BASS mimic the original’s
Volume, Treble and Bass controls. The MIDDLE is
an “extr a” with 12 o’cloc k being its “neutr al” position.
Our AC30TB produces clean sounds that are rich
and jangly with a smooth yet detailed top end, and
overdrives that have a glorious, throaty bark — just
like those classic, “Class A” tones.
Original’s valve compliment: 5 x ECC83s & 1
x ECC82 in the preamp, 1 xGZ34 rectifier, 4 x
EL84s in the power amp.
5. UK BLUES
Our UK BLUES is based on the “High Treble”
channel of an extremely rare, handwired head
made in England in the early ’60s. Although the
TWEED 4x10 circuit was used as a basic template for this amp, several fundamental changes
(e.g. different tubes, different transformers, a
higher output impedance and vastly different
speakers in a closed-back cab), give UK BLUES
its own unique and highly desirable character.
Original’s valve compliment: 3 x ECC83s in
the preamp, 1 x GZ34 rectifier, 2x KT66s in the
power amp.
6. UK 68P
This is based on the “High Treble” channel of a 4
input, 1968, 50 Watt, all-valve head. It doesn’t
feature a Master Volume control so the best way
to set it up is to max out the volume! To achieve
the same response as the original, remember to
turn the VR Gain control to maximum. The
ToneLab LE works EXACTLY like the original.
So, wind the GAIN control all the way up and
immerse yourself in an instantly recognizable,
organic overdrive that responds beautifully to the
subtle dynamics of your playing. Rolling back
your guitar’s volume control results in a unique
and highly useable clean sound.
Original’s valve compliment: 3 x ECC83s in
the preamp, 2 x EL34s in the power amp.
7. UK ’80S
This is based on a 1983, all tube, single channel
100 Watt head that boasts a
Master Volume control. Invariably played with its
(preamp) Gain control cranked, this amp will provide a fat, roaring sound. Although UK ’80s
became famous for its distinctive, craniumcrushing crunch, it isn’t merely a “one trick pony”
and neither is our model—just like the original,
when you roll back your guitar’s volume knob
you’ll get a bright, clean sound that’s perfect for
chord work and will cut through any mix.
Original’s valve compliment: 3 x ECC83s in
the preamp, 4 x EL34s in the power amp.
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
29
Page 30
8. UK ’90S
This model is based on the “lead” channel of a
100 Watt, dual channel head that is capable of
so much preamp distortion it houses a Gain control that goes all the way up to 20! This amp
replaced UK ’80s and was developed to satisfy
the ever-evolving rock guitarists’ insatiable lust
for more gain, features and flexibility.
Original’s valve compliment: 3 x ECC83s in
the preamp, 4 x 5881s in the power amp.
9. UK MODERN (UK MODRN)
This is based on the High Gain channel of a
modern, all-tube 100 Watter that is effectively a
hybrid of the UK ’80s and UK ’90s amps. It combines the toneful high gain preamp stage and
modern features of UK ’90s with the unmistakable, “snarling” punch and girth the UK ’80s
power stage had to offer.
Original’s valve compliment: 4 x ECC83s in
the preamp, 4 x EL34s in the power amp.
10. US MODERN
This is based on the “Modern High Gain” channel of a 100 Watt, head from Calif ornia. Its deep,
dark, loose low-end, some what “fizzy” top and
Monster-like gain has made this amp a mainstay
for many modern, acts. At low GAIN settings, it
produces a distinctive, bright clean sound bolstered by some rich, upper harmonics that add
fullness and dimension.
Original’s tube compliment: 5 x 12AX7s in the
preamp, 2 x 5U4G rectifier tubes, 4 x 6L6s in the
power amp.
11. US HIGAIN (US HI-G)
This is based on the Overdrive Channel of an alltube, 100 Watt snakeskin head. US HIGAIN is
capable of a powerful, heavily saturated sound
that combines an open low-end with compressed mids and highs. The result is a tone that
remains focused and well defined at even the
most extreme gain settings.
Original’s tube compliment: 4 x 12AX7s in the
preamp, 4 x 6L6s in the power amp.
Original’s tube compliment: 3 x 12AX7s in the
preamp, 4 x EL34s in the power amp.
13. BOUTIQUE CL (BTQ CL)
For this amp, we styled the Clean channel of
another very expensive, handwired, custom amp
made by the same boutique builder as BOUTIQUE OD.
Its beautifully rounded low-end, delightfully transient midrange attack and sweet treble make it
the perfect partner for single-coil pickups. It is
also incredibly responsive and extremely sensitive to picking styles and pickup selection. And,
as an added bonus, strummed chords just ring
out and blossom.
Original’s tube compliment: 3 x 12AX7s in the
preamp, 4 x 6L6s in the power amp.
14. BLACK 2X12 (BLK 2X12)
The dual channel, BLACK 2X12’s clean sound is
very tight “n” tw angy, with a deep, taut, piano-like
bass. When pushed hard the bass tends to
crumble. So, to emulate this classic, BLACK
2x12 overdrive, here’s what you dial in on your
ToneLab LE: full GAIN and VR GAIN, not much
BASS, full MIDDLE and set TREBLE to taste.
Because the EQ network of BLACK 2x12 lies
before the main gain stage of its preamp, pushing the mids in this way emphasizes the distortion in that frequency range and the result is a
lovely, singing blues tone. As already mentioned
elsewhere, the original amp doesn’t have a Presence control but does have a Bright Switch. The
PRESENCE control on your ToneLab LE emulates this switch when “off” and “on,” plus all
points in-between!
Original’s tube compliment: 2 x 12AX7s & 2 x
7025s & 2 x 12AT7s (a.k.a. ECC81) in the
preamp, 4 x 6L6s in the power amp.
TONAL HINT:
BLACK 2x12 is the perfect partner for ACOUSTIC (Acoustic Guitar Simulator) in the Pedal
section.
12. BOUTIQUE OD (BTQ OD)
For this one we styled the Overdrive channel of a
very rare and expensive 100 Watt head named
the Overdrive Special. This hand-wired beauty
has a spectacular overdriven sound that’s perfect for sax-like, legato soloing. With its GAIN
control wide-open, BOUTIQUE OD produces a
stunning sustain which is very smooth and very
soulful.
30
Page 31
15. TWEED 1X12 (TWD 1X12)
The TWEED 1x12, 18 Watt, all-tube combo is
the very essence of simplicity with a Volume
knob and a single Tone control. This Tone control
is merely a treble cut and boost, and its behaviour can be mimicked by using the ToneLab LE’s
TREBLE, MIDDLE and BASS EQ network as follows:
Original Tone control turned all the way
down (off) = BASS on full; TREBLE and MIDDLE
at 9 o’clock (PRESENCE “off”).
Original Tone control turned up “full” (on
10) = TREBLE on full; MIDDLE and BASS at 9
o’clock (PRESENCE “off”).
NOTE: As the original doesn’t have a Presence con-
trol, PRESENCE is “neutral” when “off ,” but can
be used to add “extra” sparkle and cut to the
style if you so wish.
Original’s tube compliment: 1 x 12AY7, 1 x
12AX7 in the preamp, 1 x 5Y3GT rectifier, 2 x
6V6s in the power amp.
16. TWEED 4X10 (TWD 4X10)
TWEED 4x10 is very sensitive and responsive to
both picking strength and the volume setting on
your guitar. This means that by backing-off your
axe’s volume when the amp is cranked, you can
produce a beautifully clean and full tone. It also
means that dynamic picking control allows you to
make notes or chords more distorted or clean
than others, depending on how hard or how soft
you pick. Another cool tonal quirk of TWEED
4x10 is the classic, vintage tube amp sag its
GZ34 rectifier tube adds to your notes whenever
the amp is driven really hard.
Original’s tube compliment: 1 x 12AY7, 2 x
12AX7s in the preamp, 1x GZ34 rectifier, 2 x
5881s in the power amp.
B. CABINET MODELS
Now let’s look at the CABINET models:
CABINET AND SPEAKER ACCURACY
There’s not much point in having incredibly accurate amp models if the speaker cabinet models
on offer aren’t of the same e xacting standards. As
you may know, in real life, the output stage of a
tube amp works in close harmony with the varying impedance curve of the speaker(s) it is driving. This intimate and vital relationship plays a
major role in producing the warm, punchy sound
and pleasing feel that we all know and love. In a
nutshell, modelling a speaker cabinet is not just a
case of frequency response, but is a combination
of frequency response, transient response (ho w a
speaker reacts to the strength of how a note is
played), and the all-important interaction of the
amps output to the speaker’s impedance curve.
In addition, other vitally important factors that
have to be taken into account when modelling a
cabinet are the actual physical dimensions of the
enclosure (cabinet), the unique tonality of said
enclosure (which will be affected b y both the type
and thickness of the wood it is made of) and
whether it boasts an open, semi-open or closedback design. Special circuitry and unique modelling technology ensures that all of these factors
are well taken care of in the cabinet models built
into your ToneLab LE.
1. TWEED 1X8 (TWD 1X8)
The 8-inch 3.2-ohm Alnico speaker in this cabinet is built into a simple, open-backed amp with
a 6V6 output valve.
2. TWEED 1X12 (TWD 1X12)
This speaker is the other half of our Tweed 1x12
Amp. As the name suggests it is a single 12"
speaker, which uses a revered Alnico magnet.
AMP TYPECABINET
TYPE
PEDAL
MODULATION
3. TWEED 4X10 (TWD 4X10)
Keeping with Alnico magnet speakers, this cabinet
is open backed and uses four 10" 8 Ohm speakers,
wired in parallel for a total of 2 Ohms impedance.
4. BLACK 2X10 (BLK 2X10)
These speakers are based on an open backed
2x10" ceramic magnet 35 Watt combo.
5. BLACK 2X12 (BLK 2X12)
This speaker system features two 12" Ceramic
magnet speakers. They are 8 Ohm units wired in
parallel for a 4 Ohm total load.
31
DELAYREVERB Amp/Effect
Page 32
6. VOX AC15 (AC15)
This is a 1x12" open backed combo using the
famed VOX Blue Alnico speaker, manufactured
by Celestion in Ipswich, England.
7. VOX AC30 (AC30)
These original 2x12" VOX Blue Alnicos, are
wired in series for 16 Ohms, and add even more
of that great VOX tone.
8. VOX AD120VTX (AD120VTX)
This is a closed back cabinet containing two 12
inch custom-designed Celestion speakers with
Neodymium magnets.
9. UK H30 4X12 (UK H30)
This heavy-duty cabinet with 30 Watt speakers,
from the late ’60s is made by the same famous
UK amp company as the UK T75 4x12.
10. UK T75 4X12 (UK T75)
This 4x12" closed-back cabinet is loaded with
modern, 75 Watt British speakers.
WHAT GOES WITH WHAT?
Basically, with your ToneLab LE you can mix any
amp model to any cabinet model, and create
many varied tones. But to giv e you a starting point,
here is a listing of historically correct matches:
AMP MODEL HISTORICALLY CORRECT
TWEED 1x12 TWEED 1x12
TWEED 4x10 TWEED 4x10
BLACK 2X12 BLACK 2x12
AC15 VOX AC15
AC15TB VOX AC15
AC30 VOX AC30
AC30TB VOX AC30
UK BLUES UK H30
UK 68P UK H30
UK 80’s UK T75
UK 90’s UK T75
UK MODERN UK T75 or US V30
US HIGAIN US V30 or UK T75
US MODERN US V30
BOUTIQUE OD UK H30 is a good choice
BOUTIQUE CLN
CABINET MODEL
UK H30 is a good choice
11. US V30 4X12 (US V30)
This black beast of a cabinet uses four UK made
“Vintage” named speakers and is known for it’s
deep bass and high end detail.
SOME RECOMMENDATIONS
As some of the manufacturers of the original
amps that we modelled also used similar amps
with different speaker configurations to make
other models, so can you with your ToneLab LE
to approximate these other amps. For instance:
Amp Model Cabinet Model Equivalent Model
BLACK 2x12 BLACK 2x10
BLACK 2x12
TWEED 1x12 BLACK 2x10
UK BLUES VOX AC30 Early BluesBreaker
VOX AC15 VOX AC30 VOX AC15
Please note that these amps will be approximations only as original power ratings, output transformers and speaker manufacturer and types,
might have been different in the original products.
Due to the flexibility of your ToneLab LE, mixing
and matching all of the amp and cabinet models
can be done with the turn of a switch, without
any risk of blowing the speakers up. Something
that cannot be done in real life (unfortunately!).
This capability can lead to some very interesting
combinations, some useful, perhaps some not,
but only you can decide what is useful to you, as
TWEED 4x10
Blackface Vibrolux
type combo
Blackface Super type
combo
Tweed Super type
combo
type combo
Supertwin
32
Page 33
your tone requirements are unique. Please feel
free to explore all combinations of amps and
cabinets. That is the beauty of ToneLab LE.
NOTE: Proceed with caution, since ToneLab LE or
your speakers may be damaged if you misuse
the unit. A seemingly endless number of combinations of the amp and cabinet models is
available. Try out many combinations until you
find your “soul mate” sound! There are no rules
regarding the combination of amp and cabinet
models. J ust use your o wn “free” and “creativ e”
mind to seek out your own sonic cosmos!
NOTE: Product names appearing in this manual are
trademarks of their respective owners, which
are not associated or affiliated with V OX in any
way. (except for VOX of course!!) Names and
descriptions of these products are provided
only for the purpose of identifying specific
products that were studied by VOX in the
course of developing this product.
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
33
Page 34
C. PEDAL EFFECTS
The pedal effects are placed in front of the amp.
(*): This indicates a parameter that you can control from an expression pedal.
COMP
ACOUSTIC
VOX WAH
U-VIBE
BLK/ORG PHASE
OCTAVE
RING MODULATOR
TREBLE BOOST
TUBE OD
SUPER OD
BOUTIQUE
FAT DIST
ORANGE DIST
METAL DIST
FUZZ
OCTAFUZZ
SENS LEVEL
1.0~10.0 0.0~10.0
BODY
0.0~10.0
----
----
SPEED DEPTH
1.00~10.00 0.0~10.0
SPEED DEPTH
0.100~10.00 0.0~10.0
DIRECT 1OCTAVE
0.0~10.0 0.0~10.0
DIRECT EFFECT
0.0~10.0 0.0~10.0
DRIVE LEVEL
1.0~10.0 0.0~10.0
DRIVE LEVEL
1.0~10.0 0.0~10.0
DRIVE
1.0~10.0 0.0~10.0
DRIVE LEVEL
1.0~10.0 0.0~10.0
DRIVE LEVEL
1.0~10.0 0.0~10.0
DRIVE LEVEL
1.0~10.0 0.0~10.0
DRIVE
1.0~10.0
DRIVE
1.0~10.0
DRIVE
1.0~10.0
BASS
1.0~10.0
CLOSE
1.0~10.0
LEVEL
LEVEL
0.0~10.0
LEVEL
0.0~10.0
LEVEL
0.0~10.0
----
----
TREBLE
1.0~10.0
OPEN
1.0~10.0
MIX
0.0~10.0
RESO
0.0~10.0
2OCTAVE
0.0~10.0
FILTER
1.0~10.0
TONE
1.0~10.0
TONE
1.0~10.0
TONE
1.0~10.0
TONE
1.0~10.0
TONE
1.0~10.0
TONE
1.0~10.0
TONE
1.0~10.0
TREBLE
0.0~10.0
TONE
1.0~10.0
----
----
----
----
MANUAL
1.0~10.0
----
----
MANUAL
1.0~10.0
----
----
MANUAL
0.0~10.0
----
----
----
----
----
----
----
----
----
----
----
----
MIDDLE
0.0~10.0
----
----
----
----
----
----
TYPE
1/2/3/4
TYPE
847/848
----
----
TYPE
bL/Or1/Or2
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
BASS
0.0~10.0
----
----
----
----
----
----
----
----
ORDER
PrE/PoS
----
----
ORDER
PrE/PoS
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
----
1. COMP
Gotta play a clean passage that needs to be
nice, smooth and even? Need a hair more sustain on a lead line? Then, look no further; COMP
is the pedal for you. Modelled on a compressor
pedal that is hugely popular due to the percussive clean sound it can produce — making it perfect for ’80s and ’90s pop and funk rhythm work.
It can also add a singing, mellow sustain to lead
lines — clean or dirty.
[1] "SENS"............................................... 1.0...10.0
* Adjusts the sensitivity of the compressor (i.e.
when its “smoothing” effect kicks in). The
amount of compression/sustain will increase
the more you turn this control up.
[2] "LEVEL"............................................. 0.0...10.0
* Adjusts the output level.
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2. ACOUSTIC
Wanna go “unplugged” without the hassle of
switching guitars and amps? Enter the acoustic
guitar simulator — a clever effect that magically
converts an electric guitar’s sound into that of an
acoustic. It works best with a single coil (read: low
output) pickup in the neck position, especially
when paired with the BLACK 2x12 amp model.
[1] "BODY" ...............................................0.0...10.0
* Adjusts the resonance of the body selected
via the TYPE parameter.
[2] "BASS" ...............................................1.0...10.0
* Adjusts the bass.
[3] "TREBLE"...........................................1.0...10.0
* Adjusts the treble.
[5] "TYPE"........................................................1...4
Selects the type of body.
1: M-SMALL Small-size, old body suitable for
delicate arpeggio technique.
2: G-SMALL Small-size body that features a
unique mid range loved by country blues players.
3: T-LARGE Large-size body that features a
sophisticated sound suitable for
pop music.
4: RESO Body suitable for a resonator gui-
tar for playing slide.
3. VOX WAH
This effect is modeled on two legendary VOX
wah pedals; the V847 and the V848 Clyde
McCoy model. Thanks to their unique “throaty”
tone, these are the only wah pedals many professionals will consider stepping on. When used
wisely , this pedal can either make y our guitar cry
like a baby or howl like a man possessed!
[2] "CLOSE".............................................1.0...10.0
Adjusts the tone when the wah pedal is closed.
[3] "OPEN"...............................................1.0...10.0
Adjusts the tone when the wah pedal is open.
[4] "MANUAL"..........................................1.0...10.0
* Adjusts the openness (position) of the wah.
[5] "TYPE".................................................847, 848
Selects either V847 or V848 Clyde McCoy
model as the wah type
[6] "ORDER"......................PrE(PRE), PoS(POST)
Selects the connection order. PRE/POST connects the wah before/after the Amp Model.
USEFUL TONE HINT:
A great tonal trick that’s employed by many guitarists, including some who are household
names, is to find a “sweet spot” within the range
of their Wah pedal and then leave it there. This
is often called stuck-Wah (imagine that!) and,
when used tastefully, can be very effective as it
produces a very distinctive sound that will cut
through any mix. You can dial in a stuck-Wah
“sweet spot” with your TONE control in a heartbeat. Try it, it’s cool...
4. U-VIBE
Modeled on the famous phase/vibrato pedal eff ect
unit. This effect simulates a rotating speaker and
produces a wonderfully seductive and “watery”
tone. Interestingly enough, the guy responsible for
this great pedal is also responsible for the birth of
the remarkable Valve Reactor Technology used in
the power amp of your ToneLab LE.
[1] "SPEED".................................1.00...10.00 [Hz]
* Adjusts the speed of the Uni-Vibe effect.
[2] "DEPTH"............................................ 0.0...10.0
* Adjusts the depth of the Uni-Vibe effect.
[3] "MIX"..................................................0.0...10.0
Adjusts the mixture of direct sound and vibrato.
HINT: If you set up Speed to be controlled by an
expression pedal, you’ll be able to control the
vibrato speed just like on a phase/vibrato
pedal effect unit.
5. BLK/ORG PHASE (B/O PHAS)
This models three models of phaser; a wide-range
four-stage phaser that was made in Denmark and
packaged in a black box, a popular f our-stage phaser
that came in a banana-colored box, and a mildsounding ten-stage phaser that was likewise bananacolored. Use the TYPE knob to select the model.
[1] "SPEED"...............................0.100...10.00 [Hz]
* Adjusts the modulation speed.
[2] "DEPTH"............................................ 0.0...10.0
* Adjusts the modulation depth.
[3] "RESO".............................................. 0.0...10.0
* Adjusts the amount of resonance.
[4] "MANUAL"..........................................1.0...10.0
* Adjusts the center frequency of the sweep.
MANUAL has no effect if DEPTH is set to 10.
[5] "TYPE"..........................................bL, Or1, Or2
Selects the type of phaser.
bL: Danish four-stage phaser with a wide
range.
Or1: Popular four-stage phaser in a banana-
colored box.
Or2: Sophisticated-sounding ten-stage phaser
in a banana-colored box.
[6] "ORDER" ....................PrE (PRE), PoS (POST)
Selects the connection order . PRE/POST places
the effect before or after the AMP MODEL.
6. OCTAVE
This effect generates a note one or two octaves
lower than the one you’re playing, adding thickness and “weight” to single note lines.
[1] "DIRECT"...........................................0.0...10.0
* Adjusts the level of the original note.
[2] "1OCTAVE"........................................ 0.0...10.0
* Adjusts the mix level of the note one octave
below.
[3] "2OCTAVE"........................................ 0.0...10.0
* Adjusts the mix level of the note two octaves
below.
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
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WARNING!
Like all pedals of this type, OCT AVE only works
with single notes...chords confuse the heck out
of it! NOT a fault — that’s just the way these
pedals operate.
7. RING MODULATOR (RING MOD)
A ring modulator is an effect that uses an oscillator to generate a sine wave which is then multiplied with the signal from your guitar to produce
harmonics above and below the frequencies originally produced by your guitar. This creates complex and unpredictable pitches. A filter is b uilt into
the output of this effect to let you extract just the
lower frequencies if desired, and this can generate low sounds that could not otherwise be produced by a guitar.
If you assign the MANUAL parameter to the
expression pedal, you’ll be able to control the
sound in unique ways while you perform.
[1] "DIRECT"............................................0.0...10.0
* Adjusts the amount of original sound that is
mixed in.
[2] "EFFECT"...........................................0.0...10.0
* Adjusts the effect volume.
[3] "FILTER".............................................1.0...10.0
* Adjusts the filter cutoff frequency.
[4] "MANUAL"..........................................0.0...10.0
* Adjusts the oscillator frequency.
8. TREBLE BOOST (TREB BST)
This pedal effect is modelled after a built-in treble booster that was designed with the VOX
VBM-1 specifically in mind. It is a great way of
adding “teeth” to an overdriven sound.
9. TUBE OD
This model is based on an overdrive pedal that’s
housed in a garish, “seasick green” box and is considered an all-time classic due to the wonderfully
warm tones it produces.
10. SUPER OD
This models a yellow overdrive pedal manufactured in Japan, and is popular as a booster.
12. FAT DIST
Based on a pedal named after one of the most
disliked rodents to ever walk the planet! The
result is a smooth distortion rich in harmonics...nasty but nice.
13. ORANGE DIST (OR DIST)
This models a classic distortion unit manufactured in Japan and packaged in an orange box.
[1] "DRIVE" .............................................1.0...10.0
* Adjusts the amount of distortion (boost).
[2] "LEVEL"............................................. 0.0...10.0
* Adjusts the output level.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone.
14. METAL DIST (MTL DIST)
This distortion model is perfect for the “metal
head” in you!
[1] "DRIVE" .............................................1.0...10.0
* Adjusts the amount of distortion.
[2] "LEVEL"............................................. 0.0...10.0
* Adjusts the output level.
[3] "TREBLE" ..........................................0.0...10.0
* Adjusts the high-range volume level.
[4] "MIDDLE"...........................................0.0...10.0
* Adjusts the mid-range volume level.
[5] "BASS"...............................................0.0...10.0
* Adjusts the low-range volume level.
15. FUZZ
Retro, rude “n” raw...get the picture!? The name
says it all.
16. OCTAFUZZ
This models a legendary fuzz unit that adds a
pitch one octave above the original. To get the
best results, be sure to use your front pickup.
[1] "DRIVE" .............................................1.0...10.0
* Adjusts the amount of distortion (boost).
[2] "LEVEL"............................................. 0.0...10.0
* Adjusts the output level.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone.
11. BOUTIQUE
This models an overdrive unit named after a halfhuman half-horse creature appearing in Greek
fables. When the gain is lowered, you can use this
as a booster that does not impair the original tonal
character of your guitar. Raising the gain lets you
use this as an overdrive that delivers a rich midrange. The 12 o’clock position is the standard setting for tone, b ut feel free to adjust this aggressively.
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D. MODULATION EFFECTS
This section enables you to add a modulation
effect after the cabinet. You can choose one of
eleven types.
(*): This indicates a parameter that you can control from an expression pedal.
CLASSIC CHORUS
MULTI TAP CHORUS
CLASSIC FLANGER
BI CHORUS
DUO PHASE
TEXTREM
ROTARY
PITCH SHIFTER
MOD DELAY
FILTRON
TALK MOD
SPEED
0.100~10.00
SPEED
0.100~10.00
SPEED
0.100~10.00
SPEED1
0.100~10.00
SPEED1
0.100~10.00
SPEED
1.00~10.00
SPEED1
0.80~10.00
PITCH
-24~24
SPEED
0.100~10.00
ATTACK
1.0~10.0
ATTACK
1.0~10.0
DEPTH
0.0~10.0 1.0~10.0 1,2,3
DEPTH
0.0~10.0 0.0~10.0
DEPTH
0.0~10.0
DEPTH
0.0~10.0
DEPTH
0.0~10.0
DEPTH
0.0~10.0
DEPTH
0.0~10.0
FINE
-50~50
DEPTH
0.0~10.0
DEPTH
0.0~10.0
DEPTH
0.0~10.0
RESONANCE
0.0~10.0
RESONANCE
0.0~10.0
RESONANCE
0.0~10.0
FEEDBACK
0.0~10.0
RESONANCE
0.0~10.0
TYPE
A-E~O-U
1. CLASSIC CHORUS (CL CHORS) .........................
Mono In/Mono Out 1 (Mode=1,3) Mono In/Mono Out 3
(Mode=2)
This models a chorus unit that has two modes
(chorus and vibrato), and is best-known for being
built into a guitar amp. There’s no parameter to
switch between chorus and vibrato, but you can
use the SPEED and DEPTH knobs to create
either of these sounds, giving you an e ven broader
range of possibilities than the original unit! The
output vibrato mode allows you to create vibrato
(pitch modulation) by outputting just the effect
sound.
[1] "SPEED"............................... 0.100...10.00 [Hz]
* Adjusts the modulation speed.
[2] "DEPTH".............................................0.0...10.0
* Adjusts the modulation depth.
[4] "MANUAL"..........................................1.0...10.0
----
----
----
----
----
----
----
----
----
----
MANUAL
MANUAL
1.0~10.0
SPEED2
0.100~10.00
SPEED2
0.100~10.00
----
----
SPEED2
0.80~10.0
TRACKING
10~150
TIME
1.0~10.0
MANUAL
1.0~10.0
MANUAL
1.0~10.0
MODE
----TIME
----
OFFSET
0.0~10.0
MODE
S/P1/P2/P3
MODE
S1/S2/P1/P2/P3
SPREAD
0.0~10.0
ACCEL
1.0~10.0
DIRECT
0.0~10.0
MODE
1,2,3
POLARITY
uP/dn
POLARITY
uP/dn
----
----
MIX
0.0~10.0
MIX
0.0~10.0
MIX
0.0~10.0
----
----
LEVEL
1.0~10.0
----
----
EFFECT
0.0~10.0
MIX
0.0~10.0
SENS
0.0~10.0
SENS
0.0~10.0
* Adjusts the center frequency of the sweep. If
DEPTH is set to 10, MANUAL will not function.
[5] "MODE"................................................... 1, 2, 3
Selects the output mode.
1: Mono output.
2: Stereo mode in which the effect is panned
right, and the dry sound panned left.
3: Vibrato mode, in which only the effect
sound is output. Setting MANUAL to 10
will minimize the delay of the output
sound.
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
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2. MULTI TAP CHORUS (MT CHORS)
.......................
Stereo In/Stereo Out 1
This model features independent chorus taps for
each of the left, center and right outputs, producing a feeling of depth and spaciousness.
[1] "SPEED"............................... 0.100...10.00 [Hz]
* Adjusts the modulation speed.
[2] "DEPTH".............................................0.0...10.0
* Adjusts the modulation depth.
[4] "TIME" ................................................0.0...10.0
Adjusts the delay time.
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the effect.
3. CLASSIC FLANGER (CL FLANG)
................
Mono In/Mono Out 1
A model of a truly classic analogue flanger that
“unchained” a highly influential modern guitarist
who many hail as the “godfather of two handed
tapping.”
[1] "SPEED"............................... 0.100...10.00 [Hz]
* Adjusts the modulation speed.
[2] "DEPTH".............................................0.0...10.0
* Adjusts the modulation depth.
[3] "RESO"...............................................0.0...10.0
* Adjusts the amount of resonance.
[4] "MANUAL"..........................................1.0...10.0
* Adjusts the center frequency of the sweep. If
DEPTH is set to 10, MANUAL will not function.
[5] "OFFSET"...........................................0.0...10.0
Adjusts the starting position of the LFO. If you
assign “FLN TRIG” to the control switch, the
LFO will be reset to the starting position specified by OFFSET whenever you operate the control switch. When you defeat BYPASS, the LFO
will start from the position you specify here.
(p.49 Control switch settings)
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the effect sound.
CONTROL switch....................................FLN TRIG
If you set the FLN TRIG: CONTROL switch setting to “FLN TRIG,” the LFO will be reset to the
position specified by OFFSET whenever you
operate the switch. (p.49 Control switch settings)
4. BI CHORUS (BI CHORS)
.
......
Mono In/Mono Out
1 (Mode=S) Stereo In/Stereo Out 1 (Mode=P1, P2, P3)
This is a chorus model unique to VOX. It provides
two chorus units, CHOR US 1 and CHORUS 2, and
lets you connect the two units not only in ser ies or in
parallel, but also to synchronize or de-synchronize
the two LFOs. It produces a variety of tones that
cover a range from wonderfully spacious sounds to
bizarre flanger-like sounds with complex modulation.
[1] "SPEED 1"............................ 0.100...10.00 [Hz]
* Adjusts the modulation speed of CHORUS 1.
[2] "DEPTH"...........................................0.0...10.00
* Adjusts the modulation depth of CHORUS 1/2.
[3] "RESO"...............................................0.0...10.0
* Adjusts the amount of resonance for CHO-
RUS 1/2.
[4] "SPEED 2"............................0.100...10.00 [Hz]
* Adjusts the modulation speed of CHORUS 2.
NOTE: This will not function if MODE is set to P2 or
P3.
[5] "MODE"...........................................S/P1/P2/P3
Specifies the connection and LFO for CHORUS
1/2.
S: CHORUS 1/2 are connected in series.
P1: CHORUS 1/2 are connected in parallel.
P2: CHORUS 1/2 are connected in parallel,
and their LFOs are synchronized.
P3: CHORUS 1/2 are connected in parallel,
and their LFOs are synchronized in opposite phase (Stereo mode).
NOTE: If P2 or P3 is selected, the speed is adjusted
by the SPEED 1 knob.
[6] "MIX"..................................................0.0...10.0
* Adjusts the mix amount of the effect sound.
5. DUO PHASE (DUO PHAS).......
Mono In/Mono Out
2 (Mode=S1, S2) Stereo In/Stereo Out 2 (Mode=P1, P2, P3)
This is an amazing phaser that provides two sixstage phasers; PHASER 1 and PHASER 2. The y
can be connected in series (to make a pseudotwelve-stage phaser!) or in parallel, and you can
also synchronize or de-synchronize the two
LFOs.
[1] "SPEED 1"............................0.100...10.00 [Hz]
* Adjusts the modulation speed of PHASER 1.
[2] "DEPTH"............................................ 0.0...10.0
* Adjusts the modulation depth of PHASER 1/2.
[3] "RESO".............................................. 0.0...10.0
* Adjusts the amount of resonance for PHASER
1/2.
[4] "SPEED 2"............................0.100...10.00 [Hz]
* Adjusts the modulation speed of PHASER 2.
NOTE: This will not function if MODE is set to S2, P2,
or P3.
[5] "MODE"............................... S1, S2, P1, P2, P3
Specifies the connection and LFO for PHASER
1/2.
S1: PHASER 1/2 are connected in series.
S2: PHASER 1/2 are connected in series and
their LFOs are synchronized to create a
pseudo-twelve-stage phaser.
P1: PHASER 1/2 are connected in parallel.
P2: PHASER 1/2 are connected in parallel, and
their LFOs are synchronized (Stereo mode).
P3: PHASER 1/2 are connected in parallel,
and their LFOs are synchronized in oppo-
site phase (Stereo mode).
NOTE:
If S2, P2 or P3 is selected, the speed is
adjusted by the SPEED 1 knob.
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6. TEXTREM............................Stereo In/Stereo Out 2
This models the popular tremolo circuit that’ s built
into the BLACK 2x12 model. The SPREAD setting lets you produce a panning effect that
spreads to left and right.
[1] "SPEED"................................. 1.00...10.00 [Hz]
* Adjusts the tremolo speed.
[2] "DEPTH".............................................0.0...10.0
* Adjusts the tremolo depth.
[5] "SPREAD"..........................................0.0...10.0
Adjusts the left/right spaciousness.
[6] "LEVEL"..............................................1.0...10.0
* Adjusts the output level.
7. ROTARY .................................Mono In/Stereo Out 2
This models a stereo rotary speaker. When you
adjust the speed, it will take a certain amount of
time for the specified speed to be reached — just
like on an actual rotary speaker. This is because
it takes several seconds for the motor that creates the rotation to accelerate or decelerate.
[1] "SPEED 1"................................ 0.80...10.0 [Hz]
* Adjusts the rotational speed of the speaker. If
you assign “ROT SPD” to the CONTROL
switch, this will be the SLOW speed. This
knob is effective even if you’re not using the
CONTROL switch. (p.49 Control switch settings)
[2] "DEPTH"...........................................0.0...10.00
* Adjusts the modulation depth.
[4] "SPEED 2"................................ 0.80...10.0 [Hz]
* Adjusts the rotational speed of the speaker. If
you assign “ROT SPD” to the CONTROL
switch, this will be the FAST speed. This knob
will not function if you’re not using the CONTROL switch. (p.49 Control switch settings)
[5] "ACCEL".............................................1.0...10.0
* Adjusts the time it takes for the rotational
speed to change. With higher settings, the
change will take more time.
CONTROL switch ....................................ROT SPD
If you select “ROT SPD” as the CONTROL
switch setting, the rotation speed will alternate
between SLOW/FAST (SPEED 1/SPEED 2)
each time you press the CONTROL switch. This
lets you control the effect just as on an actual
rotary speaker. (p.49 Control switch settings)
8. PITCH SHIFTER (PITCH)...Mono In/Mono Out 1
This is a pitch shifter with a range of two octaves
up or down, rivaling sophisticated rack-mounted
signal processors.
PITCH SHIFTER TIPS: If you assign the PITCH
knob to an expression pedal, you can use the
p.47
pedal to control the pitch change. (
expression pedal to control the sound)
[1] "PITCH"..............................................–24...+24
* Adjusts the pitch in 100-cent units.
[2] "FINE".................................................–50...+50
* Adjusts the pitch in one-cent units.
Using the
[4] "TRACKING"................................10...150 [ms]
Adjusts the tracking of the pitch shifter (i.e., how
closely it will follow). Shorter settings are effective if the PITCH setting is close to 0, and longer
settings are effective if the PITCH setting is
close to +/–24. While listening to the pitchshifted sound, adjust this so that you do not
have difficulty playing.
[5] "DIRECT"...........................................0.0...10.0
* Adjusts the level of the direct sound.
[6] "EFFECT" ..........................................0.0...10.0
* Adjusts the level of the effect.
9. MOD DELAY (MOD DLY)...Mono In/Mono Out 1
(Mode=1) Mono In/Mono Out 3 (Mode=2) Mono In/Stereo Out 1 (Mode=3)
This models an analog delay that lets you add a
vibrato effect to the delayed sound. The actual
unit provided 400 ms of delay time, but this simulation extends this up to 1400 ms while maintaining the same warm sound, and can also be used
as a sub-delay for the DELAY section.
[1] "SPEED"...............................0.100...10.00 [Hz]
* Adjusts the modulation speed.
[2] "DEPTH"............................................ 0.0...10.0
* Adjusts the modulation depth.
[3] "FEEDBACK".....................................0.0...10.0
* Adjusts the amount of feedback.
[4] "TIME"................................................1.0...10.0
* Specifies the delay time.
[5] "MODE"..................................................... 1,2,3
Selects the output method.
1: Mono output.
2: Stereo mode with the effect sound from
the right and dry sound from the left.
3: Reverse-phase stereo mode with dry +
effect in the left side and dry — effect in
the right side.
[6] "MIX"..................................................0.0...10.0
* Adjusts the mix amount of the effect.
10. FILTRON...........................Stereo In/Stereo Out 2
This is an envelope controlled filter — a filter that
opens and closes according to the guitar input.
By assigning the MANUAL knob to the expression pedal you can simulate Korg’s TRAVELER
pedal.
[1] "ATTACK" ...........................................1.0...10.0
* Adjusts the speed of response.
[2] "DEPTH"............................................ 0.0...10.0
* Adjusts the depth of the effect.
[3] "RESO".............................................. 0.0...10.0
* Adjusts the amount of resonance.
[4] "MANUAL"..........................................1.0...10.0
* Sets the cutoff frequency. If DEPTH is set to
10, MANUAL will not function.
[5] "POLARITY".....................uP (UP), dn (DOWN)
Specifies the direction of movement.
[6] "SENS"............................................... 0.0...10.0
* Adjusts the sensitivity of response to the gui-
tar volume.
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
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11. TALK MOD...........................Mono In/Mono Out 2
This is an envelope controlled talking modulator.
The vocal character will change according to the
input from your guitar. If y ou assign the MANUAL
knob to the expression pedal, you’ll be able to
control the vowel sound from the pedal. (In this
case, set the DEPTH knob to 0.)
[1] "ATTACK"............................................1.0...10.0
* Adjusts the speed of the response.
[2] "DEPTH".............................................0.0...10.0
* Adjusts the depth of operation.
[3] "TYPE"............................................. A–E...O–U
Selects one of the following transitions between
vowels.
‘A’-‘E’, ‘A’-‘I’, ‘A’-‘O’, ‘A’-‘U’, ‘E’-‘I’, ‘E’-‘O’, ‘E’-‘U’,
‘I’-‘O’, ‘I’-‘U’, ‘O’-‘U’
[4] "MANUAL"..........................................1.0...10.0
* Adjusts the vocal character. If DEPTH is set to
10, MANUAL will not function.
[5] "POLARITY".................... uP (UP), dn (DOWN)
Specifies the direction of change.
[6] "SENS"...............................................0.0...10.0
* Adjusts the sensitivity of response to the gui-
tar volume.
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E. DELAY EFFECTS
Here you can make settings for a delay effect
inserted after the cabinet. You can choose one of
eleven types.
(*): This indicates a parameter that you can control from the expression pedal.
ECHOPLUS
MULTIHEAD
ANALOG DELAY
MOD DELAY
SWEEP DELAY
STEREO DELAY
CROSS DELAY
2TAP DELAY
RHYTHM DELAY
HOLD DELAY
REVERSE DELAY
TIME FEEDBACK TONE LODAMP MIX
26~2000[ms]
TIME FEEDBACK TONE MODE MIX
1~2000[ms] 0.0~10.0 1.0~10.0 1,2,3,4,5 0.0~10.0
TIME FEEDBACK TONE MIX
1~2000[ms] 0.0~10.0 1.0~10.0 0.0~10.0
TIME FEEDBACK TONE
3~2000[ms] 0.0~10.0 1.0~10.0
TIME FEEDBACK TONE
26~2000[ms]
TIME FEEDBACK TONE
1~4000[ms] 0.0~10.0 1.0~10.0
TIME FEEDBACK TONE
1~4000[ms] 0.0~10.0 1.0~10.0
TIME FEEDBACK TONE
1~4000[ms] 0.0~10.0 1.0~10.0
TIME FEEDBACK TONE
1~4000[ms] 0.0~10.0 1.0~10.0
TIME FEEDBACK TONE MIX
1~8000[ms] 0.0~10.0 1.0~10.0 0.0~10.0
TIME FEEDBACK TONE MIX
26~8000[ms]
0.0~10.0 1.0~10.0 0.0~10.0 0.0~10.0
0.0~10.0 1.0~10.0
0.0~10.0 1.0~10.0 0.0~10.0
1. ECHO PLUS............................Mono In/Mono Out 1
This models one of the most respected analogue
tape echo machines ever made. In the original, the
“echo” is produced by a playback head and the
exact “delay time” is set by varying the motor
speed. Many professionals prefer these “lo-fi” units
because of the warm, dark echoes they produce.
[1] "TIME" ........................................26...2000 [ms]
* Sets the delay time.
[2] "FEEDBACK"......................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[5] "LODAMP"..........................................0.0...10.0
* Adjusts the amount of low-frequency attenua-
tion.
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the delay.
----
----
----
----
----
----
----
----
----
----
DUCKING
0.0~10.0
DUCKING
0.0~10.0
DUCKING
0.0~10.0
DUCKING
0.0~10.0
----
----
----
----
----
----
SPEED
0.100~10.00[Hz]
SENS
0.0~10.0
----
----
----
----
TAP TIME
0.0~10.0
RHYTHM
1,2,..11
----
----
----
----
MIX
0.0~10.0
MIX
0.0~10.0
MIX
0.0~10.0
MIX
0.0~10.0
MIX
0.0~10.0
MIX
0.0~10.0
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
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2. MULTI HEAD (MULTI HD)Mono In/Mono Out 1
This is a model of a tape echo unit boasting three
playback heads. The echo from each head has its
own feedback loop, letting you create warm and
complex “multi-tap” echo effects.
[1] "TIME" ..........................................1...2000 [ms]
Sets the delay time.
[2] "FEEDBACK"......................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay sound.
[5] "MODE"...........................................1, 2, 3, 4, 5
Specifies the combination of heads that will be
used.
1: Conventional echo.
2: The delayed sound produces a
3: The delayed sound produces a
4: The delayed sound produces a
5: The delayed sound produces a
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the delay.
3. ANALOG DELAY (ANALG DL)
rhythm of “ta-ta-ta (rest).”
rhythm of “ta (rest) ta-ta.”
rhythm of “ta-ta (rest) ta.”
rhythm of “ta-ta-ta-ta.”
...................
Mono In/Mono Out 1
This models an analog delay that used a bucketbrigade device (BBD) instead of a tape mechanism and was known for its compactness and
reliability. It is characterized by a warmly distorted sound.
[1] "TIME" ..........................................1...2000 [ms]
* Sets the delay time.
[2] "FEEDBACK"......................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the delay.
4. MOD DELAY (MOD DLY)..Mono In/Mono Out 1
This models Korg’ s first digital dela y, the SDD-3000.
You can also use this to produce chorus or flangerlike effects by setting a short TIME and using the
LFO to modulate it.
[1] "TIME" ..........................................3...2000 [ms]
* Sets the delay time.
[2] "FEEDBACK"......................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[5] "SPEED"............................... 0.100...10.00 [Hz]
* Adjusts the modulation speed.
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the delay.
5. SWEEP DELAY (SWEEP DL)
......................
Mono In/Mono Out 1
This also models the SDD-3000. Here you can
use the envelope of your guitar signal to control
the DELAY TIME, and by setting a short TIME
and raising the FEEDBACK you can produce a
distinctive flanger effect. Even with conventional
settings of TIME, you can produce unique effects
that would not be possible with an LFO.
[1] "TIME"........................................26...2000 [ms]
* Sets the delay time.
[2] "FEEDBACK".....................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[5] "SENS"............................................... 0.0...10.0
* Adjusts the sensitivity at which the effect
responds to the volume of your guitar.
[6] "MIX"..................................................0.0...10.0
* Adjusts the mix amount of the delay.
6. STEREO DELAY (ST DL).. Stereo In/Stereo Out 1
This is Korg’s 24-bit digital delay, the DL8000R.
With the exception of the sampling frequency
and wave control of the DELAY TIME, the circuit
is essentially identical. Since this is a full-stereo
design, it’s particularly effective to place it after
the output of a stereo MOD or REVERB effect.
[1] "TIME"..........................................1...4000 [ms]
Sets the delay time.
[2] "FEEDBACK".....................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[4] "DUCKING"........................................0.0...10.0
* Adjusts the sensitivity at which the effect will
“duck” (decrease) in response to the volume
of your guitar.
[6] "MIX"..................................................0.0...10.0
* Adjusts the mix amount of the delay.
HINT: Ducking: This automatically lowers the volume
of the delay sound when you play your guitar
loudly, allowing your playing to come through.
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7. CROSS DELAY (CROSS DL)
........................
Stereo In/Stereo Out 3
This is the DL8000R with settings to make the
feedback cross over from L→R and R→L.
[1] "TIME" ..........................................1...4000 [ms]
Sets the delay time.
[2] "FEEDBACK"......................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[4] "DUCKING" ........................................0.0...10.0
* Adjusts the sensitivity at which the effect will
“duck” (decrease) in response to the volume
of your guitar.
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the delay.
10. HOLD DELAY (HOLD DLY)
......................
Mono In/Mono Out 1
If you select “HOLD DLY,” “HOLD DLY” will be
automatically assigned to the CONTROL switch,
enabling you to hold the delay sound.
[1] "TIME"..........................................1...8000 [ms]
Sets the delay time.
[2] "FEEDBACK".....................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[6] "MIX"..................................................0.0...10.0
* Adjusts the mix amount of the delay.
CONTROL switch:.................................HOLD DLY:
The delay sound will be held from the moment
you turn the switch on.
8. 2TAP DELAY (2TAP DLY).Mono In/Stereo Out 1
This is the DL8000R with two delay taps whose
DELA Y TIME is skewed by 20 ms and separately
assigned to L and R, turning a mono input into stereo.
[1] "TIME" ..........................................1...4000 [ms]
Sets the delay time.
[2] "FEEDBACK"......................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[4] "DUCKING" ........................................0.0...10.0
* Adjusts the sensitivity at which the effect will
“duck” (decrease) in response to the volume
of your guitar.
[5] "T AP TIME".........................................0.0...10.0
Adjusts the ratio of delay time of the right relative to the left.
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the delay.
9. RHYTHM DELAY (RHYTM DL)
Mono In/Mono Out 1
This provides a DL8000R function in which the
TIME of two delay taps is automatically set
according to the RHYTHM you specify.
[1] "TIME" ..........................................1...4000 [ms]
Sets the delay time.
[2] "FEEDBACK"......................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[4] "DUCKING" ........................................0.0...10.0
* Adjusts the sensitivity at which the effect will
“duck” (decrease) in response to the volume
of your guitar.
[5] "RHYTHM"..........................................1, 2, ...11
Specifies the two-tap rhythm delay when the
delay time is set to quarter-note timing. For
some settings, only one tap is used.
[6] "MIX"...................................................0.0...10.0
* Adjusts the mix amount of the delay.
...................
11. REVERSE DELAY (REVRS DL)
.................
Mono In/Mono Out 1
This is a digital delay that plays the delay sound
backward. You can get some really cool results
by playing long notes in a legato fashion.
[1] "TIME"........................................26...8000 [ms]
Sets the delay time.
[2] "FEEDBACK".....................................0.0...10.0
* Adjusts the amount of feedback.
[3] "TONE"...............................................1.0...10.0
* Adjusts the tone of the delay.
[6] "MIX"..................................................0.0...10.0
Adjusts the mix balance between the delay
sound and direct sound. With a setting of 10
you will hear only the delay.
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
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F. REVERB EFFECTS
Here you can make settings for the reverb effect
that is placed after the cabinet. You can choose
one of eleven types.
(*): This indicates a parameter that you can control from an expression pedal.
SLAP
SPRING
BOUNCE
PLATE
GARAGE
CHAMBER
CANYON
ROOM
STUDIO
HALL
ARENA
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
TIME LO DAMP HI DAMP PRE DELAY ---- MIX
1.0~10.0 0.0~10.0 0.0~10.0 0~70[ms] ---- 0.0~10.0
1. SLAP.......................................Mono In/Stereo Out 1
This models a tiny room with a very short reverb
time.
2. SPRING..................................Mono In/Stereo Out 1
This models the spring reverb system used in
guitar amps — ideal for surf music!
3. BOUNCE................................Mono In/Stereo Out 1
This models a spring reverb that produces a
higher-density reverberation.
4. PLATE.....................................Mono In/Stereo Out 1
This models a type of reverb unit that works by
vibrating a metal plate instead of a spring. It is
adjusted to a fairly short reverb time. This rever-
beration is characterized by a rapid attack, and is
suitable for percussive playing.
5. GARAGE.................................Mono In/Stereo Out 1
This models a garage that produces a high-density reverberation.
6. CHAMBER .............................Mono In/Stereo Out 1
In years past, recording studios often used a
room (echo chamber) that was specially
designed to produce reverberation and contained a speaker and mic used to record reverberation. This model simulates a mild-sounding
echo chamber.
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7. CANYON................................Mono In/Stereo Out 1
This models the reverberation of a canyon.
8. ROOM ....................................Mono In/Stereo Out 1
This models the reverberation of a typical room,
with numerous early reflections.
9. STUDIO ..................................Mono In/Stereo Out 1
This models the reverberation of a large room.
10. HALL.....................................Mono In/Stereo Out 1
This models the reverberation of a concert hall
with numerous echoes.
BLOCK DIAGRAM
11. ARENA.................................Mono In/Stereo Out 1
This models an arena with smooth and dense
reverberation.
[1] "TIME"................................................1.0...10.0
* Sets the reverb time, which will differ depend-
ing on the reverb type.
[2] "LO DAMP"........................................ 1.0...10.0
* Adjusts the attenuation of the low-frequency
range.
[3] "HI DAMP"..........................................1.0...10.0
* Adjusts the attenuation of the high-frequency
range.
[4] "PRE DLY"...................................... 1.0...70[ms]
Sets the initial delay before the reverberation
begins. By adjusting this setting you can clarify
the definition of the original sound.
[6] "MIX"..................................................1.0...10.0
* Adjusts the mix amount of the reverb.
Mono In / Mono Out 1
Mono In / Stereo Out 1
Stereo In / Stereo Out 1 Stereo In / Stereo Out 2 Stereo In / Stereo Out 3
Mono In / Mono Out 2 Mono In / Mono Out 3
Mono In / Stereo Out 2
AMP TYPECABINET
TYPE
PEDAL
MODULATION
DELAYREVERB Amp/Effect
45
Page 46
Tuner
4. Watch the meter, and tune your guitar.
The pitch is sharp
(Bypass, Mute)
For your convenience, ToneLab LE contains an
automatic chromatic tuner. The frequency of the
middle “A” reference pitch can be adjusted (calibrated) over a range of 438 Hz–445 Hz.
TUNING PROCEDURE
HINT: Pressing the EXIT/TUNE button while the
name display is indicating a program name will
activate the tuner.
1. Make sure that ToneLab LE is in Program
Select mode, and that the BANK UP and
DOWN switch LEDs are turned off. If the
BANK UP switch LED is lit green, ToneLab
LE is in Effect On/Off mode. In this case,
press the BANK UP switch to enter Program
Select mode.
2. Press and hold the
pedal of the currently-selected program (the pedal LED
is lit red) for about
0.5 seconds. All
effects will be
bypassed, and the
Auto Chromatic
Tuner will operate.
If you are playing a
live performance and want to tune without
being heard by the audience, select Silent
Tuning mode as follows before you tune
your guitar.
Hold down the pedal of the currentlyselected program for about 1.5 seconds
to enter Silent Tuning mode. This mode
enables you to tune your guitar with the
output muted.
3. When you play a string on your guitar, the
nearest pitch will appear in the bank display ,
and a meter will appear in the name display.
The note names are displayed as follows.
Name display
The pitch is correct
Name display
The pitch is flat
Name display
5. When you’re finished tuning, press any program select switch again to return to Program Select mode.
HINT: If you have cancelled Tuning mode by pressing
a program select switch that is different from
the one you pressed to start the tuner, the program will be also changed.
CALIBRATING THE TUNER
When you switch ToneLab LE on, the built-in
tuner is automatically calibrated to A=440 Hz
(a.k.a. “concert pitch”). If desired, you can recalibrate the tuner in the range of A = 438 Hz–445
Hz.
• While the tuner is active, the value display
(3.3) shows the frequency of the reference
pitch. You can use the ▲, ▼ buttons to adjust
(calibrate) this in the range of 438 Hz–445 Hz.
NOTE: If you’ve recalibrated the tuner, remember that
the setting will be automatically reset to 440
Hz the next time you turn ToneLab LE on.
CC#DD#E F
F# G G# A A# B
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Using the expr ession pedals
EXPRESSION PEDAL SET-
be assigned to expression. If you then set the
PEDAL effect to a different type without making
any further settings, the Target, Min, and Max settings will automatically return to their former settings. (How ever in the case of “P/******”, it will be
initialized to “--OFF--” instead of returning to its
former setting.)
NOTE: When you change the expression target, the
MIN and MAX values will be initialized.
TINGS
ToneLab LE provides two expression pedals that
you can use to control not only wah or volume,
but a wide variety of effect parameters. For each
program, you can specify which effect will be
controlled, and how.
HINT: If you assigned a parameter to an expression
pedal, operating the pedal has the same result
as using the knob to edit the program. When
you write the program, it will be written with the
sound as currently specified by the position of
the pedal. However if the expression pedal target is “--OFF--,” “VOLUME,” “M/PITCH,” “D/
INPUT,” or “R/INPUT,” the program parameter
will not be edited by the pedal.
EXPRESSION TARGET QUICK ASSIGN
Here’s a very easy and convenient wa y to set the
expression target.
As an example, use the MODULATION selector
to choose PITCH SHIFTER. So that the effect
will be easy to hear, we’ll initialize the PITCH
SHIFTER. If PITCH SHIFTER is already
selected, turn the selector to choose a different
effect, and then re-select PITCH SHIFTER.
1. When you’re editing PITCH SHIFTER, turn
value knob 1 or use the
make the name display show PITCH; the
EXP-CTL-CHAIN button will light. If in this
state you press and hold (for one second)
the EXP-CTL-CHAIN button, the name display will indicate COMPLETE. The PITCH
parameter has now been assigned to the
expression pedal, letting you control the
amount of PITCH SHIFT. If you want to
make more detailed settings, you can press
the EXP-CTL-CHAIN button and set the
minimum value (“EXP MIN,” value knob 2)
and maximum value (“EXP MAX,” value
knob 3) of the target range.
NOTE: If you change the effect type of a parameter
that is assigned to an expression target (i.e., to
be controlled by one of the expression pedals),
the target will be initialized to a setting of “-OFF--”. (However, “A/*****”, “D/INPUT”, and
“R/INPUT” are exceptions.)
If you’ve set the PEDAL eff ect type to “V O X W AH,”
HINT:
the “P/MANUAL” (wah position) will automatically
√√
√√
, ®®®® buttons to
SETTING THE EXPRESSION TARGET
Here are the items you can set.
When you’ve pressed the EXP-CTL-CHAIN button to make it blink, you’ll be able to set the following items by turning value knobs 1–3.
“*/######”: EXP expression target
(value display indicates EP)
“EXP MIN:” EXP (expression pedal)
target range (minimum value)
“EXP MAX:” EXP (expression pedal)
target range (maximum value)
NOTE: You can set the above items individually for
each program. If you switch to a different program or turn off the power without saving, any
changes you’ve made will be lost.
Using the same example we described earlier in
Quick Assign, here’s how to assign the expression pedal to control the PITCH parameter of the
PITCH SHIFTER modulation effect.
1. Use the MODULATION selector to select
PITCH SHIFTER. If PITCH SHIFTER is
already selected, turn the selector to
choose a different effect, and then re-select
PITCH SHIFTER.
NOTE: If you change the effect type of a parameter
that is assigned to an expression target, the
target will be initialized to a setting of “--OFF--”.
(However , “A/*****”, “D/INPUT”, and “R/INPUT”
are exceptions.)
HINT: If you’ve set the PEDAL effect type to “VOX
WAH,” the “P/MANUAL” (wah position) will
automatically be assigned to expression. If you
then set the PEDAL effect to a different type
without making any further settings, the target
setting will also automatically return to the
former setting.
2. Press the EXP-CTL-CHAIN button to make
it blink.
3. Press the √ and ® buttons or turn value
knob 1 until the value display reads “EP.”
4. Use the ▲, ▼ buttons or turn value knob 1
to make the name display read “M/PITCH”.
The PITCH parameter of the PITCH
SHIFTER effect has now been assigned to
expression pedal.
Value knob 1
Value knob 2
Value knob 3
TunerPedals
MIDI/DIGITAL
Factory
settings
Trouble-
shooting
Spec.Program
List
47
Page 48
NOTE: Unlike other parameters, the PITCH parameter
is not edited (while the tone is affected) when
you control it from an expression pedal.
This is so that the pitch will change smoothly
even when MIN and MAX are set to values that
are close to each other (i.e., when you made
settings so that the pedal produces only a
small amount of pitch change).
NOTE: Nothing will be controlled if the target effect is
“OFF.”
The expression pedal target is indicated as follows.
“*/###### *: Target category, ######: Target
parameter
• Examples
“--OFF--” --- OFF (controls nothing)
“VOLUME” --- Volume pedal
“P/DIRECT” --- (*: P (pedal)) DIRECT (mix amount
“M/SPEED” --- (*: M (modula-
tion))
“D/INPUT” --- (*: D (delay)) Input level of a delay
“R/MIX” --- (*: R (reverb)) MIX (mix amount of
of original sound) for
a pedal effect (e.g.,
OCTAVE)
SPEED of a modulation effect
effect
reverb) of a reverb
effect
In addition to the examples we’ve shown here, a
wide variety of expression targets provided for
each effect model can be freely assigned to the
expression pedal.
If desired, you can make more detailed settings.
NOTE: For “--OFF--,” “VOLUME,” “M/PITCH, ” “D/
INPUT” and “R/INPUT,” operating the expression pedal changes the tone, but does not edit
the parameter.
5. Turn value knob 2 to make the name display
read “EXP MIN.” Here you can specify the
PITCH value for when the pedal is at the
minimum position. Use value knob 2 or the
▲, ▼ buttons to adjust the setting.
Turn value knob 3 to make the name display
6.
read “EXP MAX.” Here you can specify the
PITCH value for when the pedal is at the
maximum position. Use value knob 3 or the
▲, ▼ buttons to adjust the setting.
When you operate the expression pedal,
the target parameter will change within
the range you specified here.
NOTE: When you change the expression target, the
MIN and MAX values will be initialized.
7. Press the EXIT/TUNE button to return to the
mode you were in.
NOTE:
The changes you make will not be preserved in
internal memory unless you store the program.
EXPRESSION PEDAL CONTROL INITIAL-
IZATION
1. Press the GLOBAL button, then the ® but-
2. Use the ▲, ▼ buttons or rotate value knob 6
NOTE: The “EXP INIT” setting is not saved in a pro-
NOTE: If the expression pedal target is “VOLUME,” “D/
SETTINGS (EXPINIT)
ton.
The “INIT” setting screen will appear.
“EXP INIT” lets you specify whether the
control data for an expression pedal (i.e.,
the position of the pedal) will be maintained when you switch programs.
to change the setting.
If this is turned “OFF”: The instant you
switch programs, the parameter that is
specified as the expression target will
change according to the current position
of the pedal.
If this is turned “ON”: The parameter will
be initialized to the same setting as when
the program was saved (i.e., the control
data will be initialized).
Press the EXIT/TUNE button to exit this
editing operation and return to the previous mode.
gram. This setting applies to all programs globally, and the setting is saved automatically.
INPUT,” or “R/INPUT,” the tone will be changed
according to the current position of the pedal,
regardless of the “EXP INIT” setting.
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Page 49
CONTROL SWITCH SETTINGS
You can make the following control switch settings independently for each program.
Press the EXP-CTL-CHAIN button to make it
blink, and use value knob 4 to select the effect
you want to control.
SWITCHING EACH EFFECT ON/OFF
make the name display read “FACTOR”.
Here you can specify the proportion of
SPEED or TIME in relation to the interval of
your taps. For example if you set DLY TAP
as the target, and FACTOR to “1-4,” the
delay time will be set to 1/4th of the duration
between taps.
5. Press the EXIT/TUNE button to return to the
mode you were in.
• “I/ONOFF”
• “P/ONOFF” Pedal effect on/off
• “A/ONOFF” Amp model on/off
•“AC/ONOFF”
• “C/ONOFF” Cabinet effect on/off
• “M/ONOFF” Modulation effect on/off
• “D/ONOFF” Delay effect on/off
• “R/ONOFF” Reverb effect on/off
NOTE: The CONTROL switch LEDs indicate the on/
off status.
External effect insertion on/off
Links the Amp model on/off status to the Cabinet model on/off
USING TAP TEMPO TO SET A
PARAMETER
• “MOD TAP” Use TAP TEMPO to set the
SPEED parameter of the modulation effect
• “DLY TAP” Use TAP TEMPO to set the
TIME parameter of the delay
effect
NOTE: The CONTROL switch LED will blink at the
tempo you specify.
EFFECT CONTROL
FACTOR VALUE KNOB 5 SETTING
If the MODULATION effect’s SPEED parameter
or the DELAY effect’s TIME parameter are
assigned to a control switch, you can set the
MODULATION effect’s LFO SPEED or the
DELAY effect’s DELAY TIME by the interval at
which you press the control switch twice. When
you do so, the interval at which you actually
press the pedal will be applied to the parameter
at a “factor” (i.e., multiple) of 1/6, 1/4, 1/3, 1/2, 2/
3, 3/4, 1, 4/3, 3/2, 2, 3, or 4, according to the setting of the FACTOR parameter (value knob 5).
NOTE: The maximum spacing of your taps can be no
more than ten seconds.
NOTE: If you’ve assigned a parameter other than
MOD TAP or DLY TAP, the FACTOR setting
does nothing.
NOTE: If you change the control switch setting, the
FACTOR parameter is reset to “1.”
TunerPedals
MIDI/DIGITAL
• “FLN TRIG”
•“ROT SPD” SPEED SW of the ROTARY
• “HOLD DLY” HOLD of the HOLD DELAY
NOTE: If you haven’t selected an applicable effect,
nothing will be controlled.
1. Press the EXP-CTL-CHAIN button to make
it blink.
2. To display the control target, press the
button four times.
3. To select the control target, use the ▲, ▼
buttons or turn value knob 4.
4. If you’ve selected MOD TAP or DLY TAP,
press the
LFO START TRIGGER of the
CLASSIC FLANGER effect
effect
effect
®®
®®
button or turn value knob 5 to
®®
®®
49
Factory
settings
Trouble-
shooting
Spec.Program
List
Page 50
ADJUSTING THE SENSITIVITY
OF THE PEDAL
If you notice that advancing the ToneLab LE’s
expression pedal does not reach the full effect or
volume even when the Min and Max parameters
are set to the minimum and maximum settings,
or that returning the expression pedal does not
reach the minimum effect or volume, you will
need to perform the following adjustment so that
ToneLab LE’s expression pedal will be able to
reach its full range of operation.
NOTE: When adjusting the sensitivity, you should use
your hand to operate the pedal. Accurate
adjustment may not be possible if you use y our
foot to operate it.
EXPRESSION PEDAL
1. Turn the power OFF.
2. While holding
down the EXPCTL-CHAIN button and the ▲ but-
ton, turn the
power on. The name display indicates EXP
MAX.
3. Slowly advance the expression pedal away
from yourself (pedal forward), and take your
hand off the pedal when it stops.
4. Press the GLOBAL button. The name display indicates EXP MIN.
5. Slowly return the
expression pedal
toward yourself
(pedal back), and
take your hand off
the pedal when it stops.
NOTE: If you decide to cancel the calibration proce-
dure, press the EXIT/TUNE button.
6. Press the GLOBAL button.
The name display will indicate COMPLETE for one second, and then ToneLab
LE will return to normal operation.
If the sensitivity could not be adjusted correctly, the name display will indicate
ERROR, and will then indicate EXP MAX.
Repeat the procedure from step 3.
NOTE: If you are still unable to adjust the sensitivity
after repeated attempts, it is possible that
ToneLab LE has malfunctioned. Please contact your dealer or Vox authorized service center.
50
Page 51
Control via MIDI
IDI stands for Musical Instrument Digital Interface, and is a world-wide
M
musical instruments and computers. When MIDI
cables are used to connect two or more MIDI
devices, performance data can be exchanged
between the devices, even if they were made by
different manufacturers.
cate in the following ways with another MIDI
device. Y ou can:
• Operate T oneLab LE to switch progr ams on an
external MIDI device, or switch ToneLab LE
programs from an external MIDI device.
→“Program change”
• Operate a connected optional foot controller to
control an external MIDI device, or use an
external MIDI device to control ToneLab LE’s
volume or effects. →“Control change”
• Use Sound Editor to edit parameters.
→“Parameter change”
• Backup (save) and restore (load) ToneLab LE
program data. →“Backing up and restoring
program data”
NOTE: In order to do the above things, you need to
NOTE: When you change the settings described in
NOTE: If your external MIDI device does not recog-
CONNECTING A MIDI
D
If you want to control an external MIDI de vice from
ToneLab LE, connect a MIDI cable from ToneLab
LE’s MIDI OUT jack to the MIDI IN jack of your
external MIDI device
If you want to control ToneLab LE from a MIDI
sequencer or other external MIDI device, connect a MIDI cable from your external MIDI
device’s MIDI OUT jac k to ToneLab LE’s MIDI IN
jack.
standard for exchanging various types
of musical data between electronic
ToneLab LE can use MIDI to communi-
use a MIDI cable to connect ToneLab LE and
your external MIDI device, and set the MIDI
channels appropriately. →“Connecting a MIDI
device or computer,” “Setting the MIDI channel”
this section, they will be saved automatically.
When you have finished making settings, simply press the EXIT/TUNE button (4.8) to return
to the mode you were in.
nize certain types of MIDI messages, those
messages cannot be used for control. Check
the “MIDI implementation chart” of ToneLab LE
and of your external MIDI device.
EVICE OR COMPUTER
.
MIDI interface
MIDI OUT
MIDI IN
ToneLab LE
When you connect ToneLab LE with a MIDI
sequencer or sound editor, data will normally be
sent in both directions, so you will need to connect MIDI cables from ToneLab LE’s MIDI OUT
jack to the external MIDI device’s MIDI IN jack,
and from the external MIDI device’s MIDI OUT
jack to ToneLab LE’s MIDI IN jack.
NOTE: You will need a MIDI interface in order to con-
S
ETTING THE
MIDI IN MIDI OUT
nect your computer with ToneLab LE.
Some USB-MIDI interface devices may not be
able to transmit/receive the ToneLab LE’s MIDI
exclusive messages.
MIDI M
To a MIDI sequencer/
computer
ESSAGE
SETTING THE MIDI CHANNEL (GLO-
BAL “MIDI CH”)
In order to exchange data with an external MIDI
device, ToneLab LE’s MIDI channel must match
the MIDI channel of your external MIDI device.
Here’s how to set the MIDI channel.
1. Press the GLOBAL button (4.6).
The name display (3.1) will show “MIDI CH.”
2.
If a different parameter is selected, press the
√√
√√
, ®®®® buttons (4.3) to change the display.
3.
Use the value knob 6 (2.2) or the ▲, ▼ buttons (4.2) to set ToneLab LE’s MIDI channel.
4. Set the MIDI channel of your connected
external MIDI device.
For details on how to set the MIDI channel
of your external MIDI device, refer to its
owner’s manual.
PROGRAM CHANGE (GLOBAL “PCHG
OUT”)
When you switch programs on ToneLab LE, a
program change message is transmitted from the
MIDI OUT jack, causing an external MIDI device
TunerPedals
MIDI/DIGITAL
Factory
settings
Trouble-
shooting
Spec.Program
List
51
Page 52
to switch programs. Similarly, when ToneLab LE
receives a program change message , its program
will switch automatically. Here’s how you can
specify whether a program change message will
be transmitted from the MIDI OUT jack when you
switch programs on ToneLab LE.
NOTE: Program change numbers not used by
ToneLab LE will be ignored. For details on the
range of program change numbers used by
ToneLab LE, refer to End of this manual.
1. Press the GLOBAL button (4.6).
2. Press the √√√√, ®®®® buttons (4.3) to make the
name display (3.1) show “PCHG OUT.”
3. Specify whether program change messages
will be transmitted. Use value knob 6 (2.2)
or the ▲, ▼ buttons (4.2) to make the
desired setting.
“OFF”: Program change messages will
not be transmitted.
“On”: Program change messages will be
transmitted.
C
ONTROL CHANGE
When you operate the EXPRESSION pedal, or
Control switch of the ToneLab LE, control
change messages will be transmitted. This
means that functions for the corresponding control change numbers on an external MIDI device
can be controlled in realtime.
Similarly, when ToneLab LE receives control
change messages from an external MIDI device,
it will be controlled in the same way as if its own
foot controller were operated.
For a list of the functions that can be controlled
from an external MIDI device, refer to step 4.
Here you can specify whether ToneLab LE will
transmit and receive control change messages.
1. Press the GLOBAL button (4.6).
2. Press the
name display (3.1) read “CCHG I/O.”
3. Specify whether all control change messages will be transmitted or received. Use
value knob 6 (2.2) or the ▲, ▼ buttons (4.2)
to make your choice.
“On” allows transmitting and receiving.
“OFF” disables transmitting and receiving.
NOTE: If this setting is “OFF,” no control change mes-
4. Simultaneously press both √√√√, ®®®® buttons
(4.3) to access the screen where you can
set control numbers individually . Use the √√√√,
®®
®®
√√
sages will be transmitted or received even if
you specify individual control change numbers
in step 4.
buttons to select each controller.
(GLOBAL “C CHG I/O”)
√√
, ®®®® buttons (4.3) to make the
The controllers will be selected in the following order.
“EXP PDL” Expression pedal control
“CTRL PDL” Control switch on/off
“PEDAL FX” PEDAL effect on/off
“MOD FX” MODULATION effect on/off
“DELAY FX” DELAY effect on/off
“REVRB FX” REVERB effect on/off
“INSRT FX” External effect on/off
“AMP CTRL”
“CAB CTRL”
5.
For each controller, specify whether ToneLab
LE will transmit and receive control change
messages. If y ou want ToneLab LE to transmit
and receive messages for a controller , specify
the control change number. Select a controller, and use value knob 6 (2.2) or the ▲, ▼
buttons (4.2) to make the desired setting.
Amp model on/off (limited to
reception)
Cabinet model on/off (limited to
reception)
“OFF”: Control change messages will not
be transmitted or received.
“CC00”–“CC95”: When you operate a
controller, messages of the specified control change number 00–95 will be transmitted. Similarly, ToneLab LE will be
controlled when it receives messages of
the same control change number from an
external MIDI device.
6. To return to the screen where you specify
transmit or receive for all control change
messages, press both √√√√, ®®®® buttons (4.3)
simultaneously.
PARAMETER CHANGE (GLOBAL “SYEX
OUT”
)
When you operate T oneLab LE’ s knobs or buttons
to edit the value of a parameter, system exclusive
such as parameter changes are transmitted.
If you want ToneLab LE’s parameters to be
transmitted to an external device, turn the “SYEX
OUT” setting “On.” Normally, you will turn “SYEX
OUT” on when using the Sound Editor.
This setting specifies whether ToneLab LE will
transmit parameter changes.
1. Press the GLOBAL button (4.6).
2. Press the
name display (3.1) read “SYEX OUT.”
3. Specify whether parameter change messages will be transmitted. Use value knob 3
(2.2) or the ▲, ▼ buttons (4.2) to make your
choice.
√√
√√
, ®®®® buttons (4.3) to make the
52
Page 53
“OFF”:
“On”:
NOTE: When ToneLab LE receives parameter
Parameter change messages will not
be transmitted.
Parameter change messages will be
transmitted.
changes or other system exclusive messages,
its parameters, modes, or program numbers
will change — regardless of the “SYEX OUT”
setting.
BACKING UP AND RESTOR-
ING
PROGRAM DATA (GLO-
BAL “DUMP CUR,” DUMP
ALL”)
All of ToneLab LE’s data (including its programs)
can be transmitted and received in the form of
system exclusive messages. Exchanging this
type of data with an external device via system
exclusive messages is known as a “data dump.”
By performing a data dump, ToneLab LE programs you created can be backed up (saved) on
an external device such as a MIDI data filer or a
sequencer that is able to transmit and receive
system exclusive messages. Then when necessary, you can re-transmit that data back to
ToneLab LE to restore it. This provides a way for
you to organize large numbers of programs. You
can also use this method to copy program data
between two connected ToneLab LEs.
You can transfer program data in one of two
ways; one program at a time, or all programs at
once. When you transmit all programs at once,
all of ToneLab LE’s data will also be transmitted,
including Dump settings and MIDI settings.
NOTE:
You can transmit data dumps regardless of the
“SYEX OUT” setting. In fact, if you want to
transfer program data between two ToneLabs,
we recommend that you turn the “SYEX OUT”
setting “OFF.” If “SYEX OUT” is “On,” operating
the knobs or other controls may change the
parameters of the other ToneLab LE in unintended ways.
BACKING UP
1. Connect ToneLab LE’s MIDI OUT to the
MIDI IN of the device that will receive the
data dump.
2. If you want to transmit only one program,
use Program Select Mode to select the program you want to transmit.
3. Press the GLOBAL button (4.6).
4. Press the
name display (3.1) read “DUMP CUR” or
“DUMP ALL.”
√√
√√
, ®®®® buttons (4.3) to make the
“DUMP CUR” (Dump current program
data): The data of the currently selected
program will be dumped. If you are editing
the program (and have not yet saved it),
the current settings will be transmitted.
“DUMP ALL” (Dump all data): All of the
ToneLab LE’s data will be dumped.
5. Put the receiving device in a mode in which
it can record the data dump.
NOTE: For details, refer to the owner’s manual of the
device that will receive the data dump.
6. Press ToneLab LE’s WRITE button (4.7) to
begin transmitting. When transmitting is
completed, the display will indicate “COMPLETE,” and you will return to the screen of
step 4. (While “DUMP ALL” is being transmitted, the display will indicate “SEND.”)
NOTE: While data is being transmitted, do not touch
the buttons or knobs of ToneLab LE or its foot
controller, and never turn off the power.
RESTORING
1. Connect the transmitting device’s MIDI OUT
to ToneLab LE’s MIDI IN.
2. Set the transmitting MIDI device and
ToneLab LE to the same MIDI channel. If
ToneLab LE will be receiving data that was
previously transmitted to the external MIDI
device, select the same MIDI channel as
was used when transmitting.
Transmit the data dump from the external
3.
device.
While ToneLab LE is receiving all data, its
display will indicate “RECEIVE.” When
reception has been successfully completed,
it will indicate “COMPLETE.” If an error
occurs, the display will indicate “ERROR”; in
this case, try transmitting the data again.
NOTE: For details, refer to the owner’s manual of the
device that will be transmitting the data dump.
NOTE: While data is being transmitted, don’t touch the
ToneLab LE’s buttons, pedal, or knobs, and
never turn off the power.
4. If you received data for a single program,
select the save-destination bank and program, and save the data. (p.26)
NOTE: The program data will not be written into
ToneLab LE’s program memory unless you
store it.
If ToneLab LE receives all data, all of its data
HINT:
will be overwritten automatically. However, the
data currently being edited (i.e., the edit buffer)
will not be affected.
TunerPedals
MIDI/DIGITAL
Factory
settings
Trouble-
shooting
Spec.Program
List
53
Page 54
Restoring the Factory Preset Programs
ere’s how you can restore ToneLab LE’s
programs and all its other settings to the
H
NOTE: Executing this procedure will erase all the pro-
1. While holding down the three buttons ▲, ▼
2. If at this point you decide that you really
3. Press the WRITE button (4.7). The name
NOTE: Never turn off the power while this reload oper-
state in which it was shipped from the
factory.
grams you created and saved in ToneLab LE,
and will load the factory-set programs. MIDI
settings will also be initialized. If there are any
settings you want to keep, you should first use
the data dump function to back them up, or use
the “Program sheet” (the fold-out inside the
back cover of this manual) to write down your
settings.
(4.2), and EXIT/TUNE button (4.8), press
the STANDBY switch to turn on the power.
The bank display (3.4) “P” and the LED 1–4
buttons (5.2) will blink, and the name display
(3.1) will ask “RELOAD?” Release the three
buttons you were holding down.
don’t want to execute this operation, you
can press the EXIT/TUNE button.
display (3.1) will show “LOADING,” and the
factory-set data will begin being reloaded.
When reloading has been completed, the
name display will indicate “COMPLETE,”
and ToneLab LE will automatically switch to
Program Select Mode.
ation is occurring.
Troubleshooting
f you suspect a malfunction, please check the
following points first. If this does not resolve
the problem, please contact your dealer or
Vox authorized service center.
1. The amp isn’t powering up when the
STANDBY switch is “on”
• Is the AC/AC power supply connected to the
rear panel ~AC9V jack?
• Is the AC/AC power supply plugged into an AC
outlet?
• Is the STANDBY switched on?
• Could the AC/AC power supply be damaged?
2. There’s no sound.
• Is your guitar turned up?
• Are both ends of your guitar cable plugged into
the correct jacks?
• Is your guitar cable working?
• Could the rear panel OUTPUT LEVEL knob
be turned down?
• Check the GAIN, TREBLE, MIDDLE, BASS,
VR GAIN, and CH VOLUME settings. For
some amp types, you might not hear any
sound if the TREBLE, MIDDLE, and BASS
settings are turned down — just like the circuitry on the original amp!
If you are using a pedal effect, check the
DRIVE and LEVEL settings as well.
• Could an expression pedal be at the minimum
position with a parameter such as DRIVE,
LEVEL, VOLUME, GAIN, or VR GAIN
assigned to it?
• Could you have activated the Mute function?
Press the program select switch to defeat muting.
• Could the PROG LVL parameter value be too
low?
3. You can’t hear any effects even though
they’re dialed in.
• Are the effect LEDs lit?
If an LED is dark, the corresponding effect is off.
Press the MODE select button to turn on the
effect.
• Could the modulation “DEPTH” or the delay/
reverb “MIX” be set to a low value?
Press the MODE select button to select an
effect and use the value knobs to adjust the
appropriate parameters.
• Could the effect be bypassed?
If so, press the program select switch to cancel
bypass.
54
Page 55
4. You’re using the ACOUSTIC pedal
effect and getting nasty high frequency
distortion.
• Could the Drive setting be excessively high?
• Are you using a very high output humbucking
pickup?
Either turn down the volume of your guitar, the
Amp GAIN or Treble setting for the pedal.
5. The sound connected to your guitar
amp is distorted, or sounds wrong.
• Could “OUT SEL” switch be set to “Ln1” or
“Ln2” (LINE)?
• Could LEVEL be raised excessively?
→ Make the correct settings as described in
Basic Connections.
Specifications
NUMBER OF AMP TYPES: 16
NUMBER OF CABINET TYPES: 11
NUMBER OF EFFECTS
PEDAL TYPES: 16
MODULA TION TYPES: 11
DELA Y TYPES: 11
REVERB TYPES: 11
NOISE REDUCTION: 1
NUMBER OF PROGRAMS: 120 (30 BANKS x 4
PROGRAMS)
AUDIO INPUTS
INPUT x 1
INSERT RETURN x1
AUDIO OUTPUTS
OUTPUT x 2
INSERT SEND x1
HEADPHONES x 1
LEVEL knob (adjusts OUTPUT and HEAD-
PHONES)
DIGITAL AUDIO OUTPUT
S/P DIF (optical) x 1
VALVE
12AX7 (ECC83) x 1
SIGNAL PROCESSING
A/D conversion: 24bit
D/A conversion: 24bit
Sampling frequency: 44.1kHz
TUNER
TUNING RANGE: A0–C7 (27.5Hz–
2093Hz)
TUNER CALIBRATION: A = 438Hz–445Hz
OTHER
MIDI IN x 1, MIDI OUT x 1, ~AC9V x 1,
STANDBY switch
DIMENSIONS (W x D x H): 500 x 249 x80 (mm)/
19.69 x 9.80 x 3.15 (inches)
WEIGHT: 4.2 kg/9.26 lbs.
INCLUDED ITEMS: AC/AC power supply 9VAC
3.0A
* Appearance and specifications of this product
are subject to change without notice.
TunerPedals
MIDI/DIGITAL
Factory
settings
Trouble-
shooting
Spec.Program
55
List
Page 56
MIDI IMPLEMENTATION CHART
Date : 2006. 4.20
2
Memorized
MIDI Implementation Chart
Default
Function Transmitted Recognized Remarks
Changed
Memorized
Messages
Altered
True Voice
Note On
Note Off
Monophonic (Channel)
Polyphonic (Key)
Effect Control
0–95
ToneLab LE
[VOX Valvetronix]
Basic
Channel
Mode
Note
Number:
56
Velocity
Aftertouch
Pitch Bend
Control
Change
Page 57
Program Data Dump
Parameter Control
0–119
0–119 0–119
Variable Range
Tune
Clock
Song Position
Song Select
Command
Local On/Off
All Notes Off
Active Sense
Reset
TunerPedals
MIDI/DIGITAL
Factory
settings
Trouble-
shooting
Program
Change
System Exclusive
System
Common
System
Real Time
Aux
Messages
57
Notes
*P: Transmitted if GLOBAL “PCHG OUT” is On.
*C: Transmitted and received according to the setting of each controller if GLOBAL “CCHG I/O” is On.
Transmitted if GLOBAL “SYEX OUT” is On. (Responses to Request messages are always transmitted regardless of the “SYEX OUT” setting.)
*E:
*1: In addition to messages specifically for this device, Device Inquiry is also supported.
*2: “AMP CTRL” and “CAB CTRL” can be received but cannot be transmitted.
Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO : Yes
Consult your local VOX distributor for more information on MIDI Implementation.
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO : No
Spec.Program
List
Page 58
Index
Numerics
0dB 20
A
amp model 28
AMP Models
AMP/LINE
21
AP1
21
AP2
21
AP3
automatic chromatic tuner
27
21
B
Backing up 53
22
Bank
46
Bypass
C
Cabinet 31
CABINET Models
Calibrating
52
CC
CCHG I/O
CH VOLUME
25
CHAIN
Connections
Control Change
Control switch
31
46
52
28
19, 51
52
49
D
DELAY Effects 41
42
duck
DUMP ALL
DUMP CUR
53
53
E
Effect On/Off mode 22
25
EQ
equalizer
Expression pedal
25
47
Expression Target
Sensitivity of the Pedal
47
F
FACTOR 49
Factory Preset Programs
46
50
54
G
GAIN 27
K
Key Lock 23
L
Ln1 21
21
Ln2
M
MIDI 51
MIDI CH
MIDI Channel
MIDI device
Modulation Effects
Mute
51
51
20
37
46
N
name 26
O
ORIG icon 26
original value
Output settings
26
21
P
Parameter Change 52
PCHG OUT
PEDAL Effects
PRESENCE control
preset program
Program Change
Program Data
program name
Program Select mode
programs
51
34
27
22, 24
51
53
26
22
Q
Quick Assign 47
R
RELOAD? 54
RENAME
Restoring
26
53
22
REVERB Effects
44
S
S/P DIF connector 20
Silent T uning mode
Sound Editor
speaker
SYEX OUT
31
46
9, 52
52
T
Three-band Equalizer 25
TONE CONTROLS
28
Tube
46
Tuner
27
V
Valve 18
Valve Reactor
Volume
VR GAIN
10
27
28
W
WRITE 26
58
Page 59
IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specifications and voltage requirements that are applicab le
in the country in which it is intended that this product should be used. If you ha ve purchased this product via the
internet, through mail order, and/or via a telephone sale, you m ust verify that this product is intended to be used in
the country in which you reside.
WARNING: Use of this product in any country other than that for which it is intended could be dangerous and could
invalidate the manuf acturer’ s or distributor’s warranty .
Please also retain your receipt as proof of purchase otherwise your product ma y be disqualified from the
manufacturer’ s or distributor’s warranty.
Owner’s Manual
1
2006 VOX AMPLIFICATION LTD.
E1
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