Tech Analysis of Pa500

E

2

ENGLISH OS Ver. 1.1

Advanced Edit

Table of Contents

1

Table of Contents
Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Sound operating mode . . . . . . . . . . . . . . . . . . . . . . . . . 2 The MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 How to select oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Sounds, Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Basic: Sound Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Basic: OSC Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Basic: Vel/Key Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 DrumKit: Sample Setup (Drum Kits) . . . . . . . . . . . . . . . . . . . . . 7 DrumKit: Voice Mixer (Drum Kits) . . . . . . . . . . . . . . . . . . . . . . 8 Pitch: Pitch Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Pitch: Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Filter: Filter Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Filter: Filter Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Filter: Filter LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Filter: Filter EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Amp: Amp Level/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Amp: Amp Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Amp: Amp EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 LFO: LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 LFO: LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Effects: FX Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Effects: FX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Effects: FX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Write Sound dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Copy Oscillator dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Copy FX dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Copy Drum Kit dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 AMS (Alternate Modulation Source) list . . . . . . . . . . . . . . . . . 25 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Dynamic Modulation sources . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Dynamics (Dynamic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 EQ and Filters (EQ/Filter) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Overdrive, Amp models, and Mic models (OD Amp Mic) . . . 40 Chorus, Flanger, and Phaser (Cho/Fln Phaser) . . . . . . . . . . . . 45 Modulation and Pitch Shift (Mod./P.Shift) . . . . . . . . . . . . . . . 51 Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Reverb and Early Reflections (Reverb ER) . . . . . . . . . . . . . . . . 72 Mono-Mono Serial (Mono-Mono) . . . . . . . . . . . . . . . . . . . . . . 74 Double Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

2

Sound operating mode
The MIDI channel

Sound operating mode
The Sound operating mode is where you can listen to individual Sounds, and edit them. To select a Sound, see the “Basic operations” chapter. In this mode, the selected Sound can always be played across the full keyboard range. While in a different operating mode, you can easily select the Sound to be edited when switching to the Sound mode. Just select the track the Sound to be edited is assigned to, then keep the SHIFT button pressed while pressing the SOUND button. Hint: This is useful to see the Bank Select/Program Change numbers when programming a Song on an external sequencer. Note: The Sound uses the same Scale of the latest selected Performance or STS.

Main page
Here is the main page of the Sound operating mode:
Page header Page menu icon

Sound Info area

Realtime Controls area

The MIDI channel
Voice Assign Mode area FX area

In Sound mode, Pa500 receives and transmits on the same channel of the Upper 1 track. If the Global channel is assigned, notes can be received also on this channel. See “MIDI: MIDI In Channels” and “MIDI: MIDI Out Channels” in the Global chapter of the User’s Manual for more information.

Page header
This line shows the current operating mode and transposition.

Operating mode name

Master Transpose (in semitones)

How to select oscillators
Operating mode name While in an edit page requiring an oscillator to be selected for editing, use the vertical row of buttons on the right (1…16 max) to select one of the available oscillators. The number of available oscillators depends on the “Oscillators Count” parameter (see page 4). If you cannot see the desired oscillator, press the scroll arrow, until the hidden oscillator is shown in the display. When oscillators cannot be select, since the parameter contained in the current page are global and valid for the whole Sound, these buttons are greyed out, and cannot be selected. Name of the current operating mode. Master transpose Master transpose value in semitones. This value can be changed using the TRANSPOSE buttons on the control panel.

Page menu icon
Press the page menu icon to open the menu. See “Page menu” on page 22 for more information.

Sounds, Drum Kits
Pa500 features two different kinds of Sounds: • • Ordinary Sounds. These are normal instrument Sounds, like pianos, strings, basses. Drum Kits. These are drum and percussion kits, where each note of the keyboard is a different percussive instrument. You can ﬁnd Drum Kits in the DRUM & PERC and USER DK banks.

Sound Info area
This is where basic details for the Sound are shown. Press anywhere in this area to open the Sound Select window. Sound name Name of the Sound assigned to the corresponding Keyboard track. Bank Bank the current Sound belongs to. Bank Select / Program Change sequence Bank Select MSB / Bank Select LSB / Program Change numbers, in the form “CC00.CC32.PC”.

Before pressing MENU to enter the edit environment, you should select a Sound of the type you wish to edit or create. Note: Notes pointing to special Drum Kit features are marked by the icon.

Sound operating mode
Main page

3

CC00

This section shows the value of the Control Change (CC) 00 message (or Bank Select MSB) for the selected Sound. This section shows the value of the Control Change (CC) 32 message (a.k.a. Bank Select LSB) for the selected Sound. This section shows the value of the Program Change (PC) message for the selected Sound. Values are in the standard 0-127 MIDI numbering format. Note: Some manufacturers could use the 1-128 numbering system; when connecting your Pa500 to an instrument of this kind, increment the PC value by 1 unit.

Hold Use this parameter to keep the notes sustained even after releasing the keys. Note: Please remember the Hold must be On before playing the note to be held. Legato This parameter is available when the Mono option is selected. Note: If “Legato” is On, certain multisamples or keyboard locations may produce an incorrect pitch. On Legato is on. When multiple note-on’s occur, the ﬁrst note-on will retrigger the sound, and the second and subsequent note-on’s will not retrigger. When legato is on, multiple note-on’s will not retrigger the voice. If one note is already on and another note is turned on, the ﬁrst voice will continue sounding. The oscillator sound, envelope, and LFO will not be reset, and only the pitch of the oscillator will be updated. This setting is effective for wind instrument sounds and analog synth-type sounds. Off Legato is off. Notes will always be retriggered when note-on occurs. When legato is off, multiple note-on’s will retrigger the voice at each note-on. The oscillator sound, envelope, and LFO will be reset (and retriggered) according to the settings of the Sound.

CC32

PC

Octave Transpose icon Octave transpose value. Use the UPPER OCTAVE buttons to change this value.

Realtime Controls area
Controls in this area allow you to edit the main parameters of the Sounds assigned to each track. Touch one of them, and modify its value by using the TEMPO/VALUE dial (or moving your ﬁnger). Note: All values refer to the original values of the Sound. Note: When selecting the Write Sound command from the page menu, current parameter values, after editing the Realtime Controls, are saved with the Sound. After saving, Realtime Controls are set back to the default position. Note: After selecting a different Sound, Realtime Control values are automatically set to zero. Attack Attack time. This is the time during which the sound goes from zero (at the moment when you strike a key) to it’s maximum level. Decay time. Time to go from the ﬁnal Attack level to the beginning of the Sustain. Release time. This is the time during which the sound goes from the sustaining phase, to zero. The Release is triggered by releasing a key. Filter cutoff. This sets the sound brightness. Intensity of the Vibrato (LFO). Speed of the Vibrato (LFO). Delay time before the Vibrato (LFO) begins, after the sound starts. Use the Filter Resonance to boost the cutoff frequency.

FX Area
In Sound mode, the Sound uses its own effects instead of relying on A-D effects. Two effect processors (FX1 and FX2) are available. On/Off Use this button to turn on or off the corresponding effect. Note: When an effect parameter is edited, this parameter is automatically set to On. Note: If the FX1 and FX2 effects have been set to Off, FX Send values are set to zero when saving the Sound. Selected Effect Non editable. This shows the effect assigned to the corresponding FX processor. To select a different effect, see “FX1/2” on page 21. Send Use this knob to adjust the level of the dry sound sent to the corresponding effect. FX Amount Volume of the effect, that is added to the dry (uneffected) signal.

Decay Release

Cutoff LFO Depth LFO Speed LFO Delay Resonance

Voice Assign Mode
Poly The Sound will play polyphonically, allowing you play chords. Mono The Sound will play monophonically, producing only one note at a time.

4

Sound operating mode
Edit menu

Operating mode

Edit menu
From any page, press the MENU button to open the Sound edit menu. This menu gives access to the various Sound edit sections. When in the menu, select an edit section, or press EXIT or SOUND to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item. When in an edit page, press EXIT or the SOUND button to return to the main page of the Sound operating mode. • When an ordinary Sound is selected:

This indicates that the instrument is in Sound mode. Edit section This identiﬁes the current edit section, corresponding to one of the items of the edit menu (see “Edit menu” on page 4). Page menu icon Press this icon to open the page menu (see “Page menu” on page 22). Selected oscillator Use these buttons to select the oscillator to edit. Parameters area Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the various types of parameters, see sections starting from page 4. Tabs Use tabs to select one of the edit pages of the current edit section.

•

When a Drum Kit is selected, the “Basic” section is replaced by the “DrumKit” section:

Basic: Sound Basic
Here you can make basic settings for the Sound, such as basic oscillator settings, the oscillator count, and the polyphonic mode.

Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by pressing the corresponding tab on the lower part of the display. Oscillators Count Use this box to specify the number of oscillators (up to 16) the Sound is based on. The total amount of polyphony varies depending on the number of oscillators used by the Sound (a maximum of 80 with only 1 oscillator per voice). Low priority
Selected oscillator

Edit page structure
All edit pages share some basic elements.
Operating mode Edit section Page menu icon

Parameters area

Use this parameter to decide if the highest-numbered oscillators must be turned off when more polyphony voices are needed. Keep in mind that, with a dense polyphony, missing oscillators might not even be heard. 0 1 No oscillator will be turned off in any case. The highest-numbered oscillator will be turned off, if needed. The two highest-numbered oscillators can be turned off, one after the other, if needed.

Tabs

2

Sound operating mode
Basic: OSC Basic

5

[n]…16

The n-numbered oscillators (up to 16) can be turned off, one after the other, if needed.

Basic: OSC Basic
The multisample(s) on which the Sound will be based can be selected here for each of the sixteen oscillators. Each oscillator can use 1 or 2 multisamples, each one assigned to the High or Low layer.

Voice Assign Mode This is the polyphonic mode of the Sound. Poly Mono The Sound will play polyphonically, allowing you to play chords. The Sound will play monophonically, producing only one note at a time.

Single Trigger This parameter is available when the selected mode is Poly. On When the same note is played repeatedly, the previous note will be silenced before the next note is sounded, so that the notes do not overlap. When the same note is played repeatedly, the previous note will not be silenced before the next note is sounded.

Off

OSC Multisample
High/Low Bank/Num Use these parameters to select a different multisample for each of the High and Low layers. You can use velocity to switch between the two multisamples. Offset and Level can be adjusted independently for the High and Low multisamples. The High and Low pop-up menus is where you select the bank (STD or something else, depending on the model), while the numeric ﬁeld under it is for selecting the multisample inside the selected bank. The Sound name appears on its right. Use the numeric ﬁeld to select the multisample. The name of the multisample appears on its right. The multisample you select for the High layer will be triggered by velocities higher than the value of the “Velocity Multisample Switch Low-High” parameter (see page 6). If you do not wish to use velocity switching, set the switch to a value of 001, and select only the High multisample. STD Local The standard Factory multisample bank. “Local” multisample bank, that may differ depending on the model. Here are some of the available banks.
Model Pa500 China Pa500 Persian Pa500 Turkish

Legato This parameter is only available when the selected mode is Mono. It is the same found on the main page of the Sound mode. See “Legato” on page 3 for information on this parameter. Priority This parameter is available when the selected mode is Mono. It speciﬁes which note will be given priority to play when two or more notes are played simultaneously. Low High Last Hold Use this parameter to keep the notes sustained even after releasing the keys. Transpose Range Use these parameters to set a range for transposition. Inside this range notes are transposed. Outside this range, they are not transposed. This is useful to avoid RX Sounds being transposed when transposing a Sound. Lowest note will take priority. Highest note will take priority. Last note will take priority.

Abbreviation CHN PRS TRK

Note: Each multisample has an upper note range limit, and cannot produce sound when played above that limit. Note: Local banks only appear on some models. 2nd Offset These parameters specify the point where the multisample(s) will begin to play. For some multisamples this parameter will not be available. On The sound will begin from the offset location pre-determined for each multisample.

6
Off

Sound operating mode
Basic: Vel/Key Zone

The sound will start from the beginning of the multisample waveform.

Basic: Vel/Key Zone
Here you can set a note and velocity range “window” for the selected oscillator.

Level These parameters specify the level of each multisample. 0…127 Multisample level.

Note: Depending on the multisample, high settings of this parameter may cause the sound to distort when a chord is played. If this occurs, lower the level.

Pitch/Delay/Velocity Switch
Octave Use this parameter to adjust the pitch of the selected oscillator in octave units. The normal octave of the multisample is “0”. -2…+1 Transpose Use this parameter to adjust the pitch of the selected oscillator in semitone steps over a range of ±1 octave. -12…+12 Tune Use this parameter to adjust the pitch of the sample in one-cent steps (a semitone is 100 cents) over a range of ±1 octave. -1200…+1200 Fine-tune value in cents. Delay This parameter sets a delay time from the note-on to the real beginning of the sound. With a setting of KeyOff, the sound will begin when note-off occurs. This is useful to create sounds such as the “click” that is heard when a harpsichord note is released. In this case, set the “Sustain” parameter to 0 (see page 15). Key Off 0…5000ms The sound will begin when the note is released. Delay time in milliseconds. Transposition in semitones. Octave transposition. Velocity Zone Here you can specify the velocity range for the selected oscillator. Note: You cannot set the Bottom Velocity higher than the Top Velocity, nor the Top Velocity lower than the Bottom Velocity. 0…127 Assigned velocity.

Keyboard Range Here you can specify the note range for the selected oscillator. Note: You cannot set the Bottom Key higher than the Top key, nor the Top Key lower than the Bottom key. C-1…G9 Assigned note.

Scaled Velocity Use these parameters to scale velocity values received by the oscillator. By using the “Velocity Zone” function (see above), an oscillator may be limited to a restricted range (say, 10 to 20), that may result in weak dynamics when the associated sample is triggered. By assigning a different value to these parameters, the restricted range will be converted to a wider range (for example, the lowest range value of 10 may be converted to a Scaled Velocity value of 0, and the highest range value of 20 may be converted to a Scaled Velocity value of 127). All values included between the minimum and maximum value are scaled accordingly. As a consequence, you can create an RX Sound of guitar, by assigning the guitar fret noise to the 10~20 velocity range. When a dynamics value between 10~20 is received, the real velocity value is scaled to the Scaled Velocity values, and plays louder. 0…127 Assigned velocity value.

Velocity Multisample Switch Low-High This is the velocity value dividing the High and Low layers for the selected oscillator. Notes struck harder than this value will be played by the High multisample.

Sound operating mode
DrumKit: Sample Setup (Drum Kits)

7

DrumKit: Sample Setup (Drum Kits)
This page appears when you edit a Drum Kit. Here you can select a different percussive sample for each key and layer.

Use the numeric ﬁeld to select the sample. The sample name appears on its right. The pop-up menu is where you select the bank (STD or something else, depending on the model), while the numeric ﬁeld under it is for selecting the sample inside the selected bank. The sample name appears on its right. The sample you select for the current layer will be triggered by velocities higher than the value of the “Velocity Switches” parameter (see page 7). If you do not wish to use velocity switching, assign just one layer to the selected key, and assign a sample only to Layer 1. STD Local The standard Factory sample bank. “Local” sample bank, that may differ depending on the model. Here are some of the available banks.
Model Pa500 China Pa500 Persian

Drum Kits use only one oscillator.

Selected Layer Velocity Switches

Abbreviation

Key
Key Key in edit. You can press a key on the keyboard, while this parameter is selected, to select a key. Layers Number of layers assigned to the selected key. Depending on the number of selected layers, you can have a different number of velocity switches. Assign Use this parameter to turn the sample on/off. On Off The sample is assigned to the selected key. The sample is not assigned. The sample assigned to the next highest assigned key is used instead.

CHN PR

Note: Each sample has an upper note range limit, and may not produce sound when played above that limit. Note: Local banks only appear on some models. Warning: Loading Drum Kits made with Local Drum Sample banks on different Pa500 models may result in the Drum Kit’s name appearing in the display, but producing no sound. 2nd Offset These parameters specify the point where the sample will begin to play. For some samples this parameter will not be available. On Off The sound will begin from the offset location pre-determined for each sample. The sound will start from the beginning of the sample.

Layer Selector & Velocity Sample Switch
Level Selected Layer Use these radio buttons to select the layer to edit. The available layers depends on the “Layers” parameter. Velocity Switches Each of these values separates the two adjacent layers for the selected sample/key. Notes stricken harder than a velocity switch will be played by the layer on the right, while notes stricken softer are played by the layer on the left. The ﬁrst and last values are not editable, and are always 001 and 127 (respectively).

This parameter speciﬁes the level of the sample. For more information, see “Level” on page 6. Mono/Stereo indicator Non editable. This indicator tells if the selected sample is mono (one voice per note) or stereo (two voices per note). Transpose This parameter transposes the selected sample. Use it to change the pitch of the selected key. 0 -64…+63 Tune Use this parameter to ﬁne-tune the assigned sample. 0 -99…+99 Original tuning. Fine-tuning value in cents (1/100 of a semitone). No transposition applied. Transpose value in semitones.

Drum Sample
Bank/Num Use these parameters to select a different Drum Sample for each layer. You can use velocity to switch between the available samples. Offset and Level can be adjusted independently for the various multisamples.

8

Sound operating mode
DrumKit: Voice Mixer (Drum Kits)

Cutoff This parameter sets the cutoff frequency for the ﬁlter applied to the selected sample. Resonance This parameter sets the resonance for the ﬁlter applied to the selected sample. Attack This parameter is an offset to the selected sample’s EG Attack. Decay This parameter is an offset to the selected sample’s EG Decay.

Exclusive Group Exclusive Groups are sets of mutually exclusive keys, stopping each other. For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same Exclusive Group, playing an Open Hi-Hat will stop the Closed Hi-Hat playing. None 1…127 No Exclusive Group assigned. The selected key will not be stopped by any other key. Exclusive Groups assigned to the selected key. When you play this key, all other keys assigned to the same Exclusive Group will be stopped, and this key will be stopped by other keys assigned to the same Exclusive Group.

Enable Note On Receive

DrumKit: Voice Mixer (Drum Kits)
This page appears when you edit a Drum Kit. Here you can set various parameters for the different percussive sample assigned to the selected key and layer.

Use this parameter to enable/disable the reception of the Note On (Key On) message. On Off The Note On message is normally received. The Note On message is not received. Therefore, the corresponding key is muted.

Enable Note Off Receive Use this parameter to enable/disable the reception of the Note Off (Key Off) message. On Off The sound will stop as soon as you release the key. The sound will continue playing up to the end of the sample. The Note Off message is ignored.

Mixer
Pan

Key
See “Key” on page 7.

This parameter sets the position in the stereo panorama of the selected key. Send FX1

Voice Assign Mode
Single Trigger Use this parameter to set the sample as a single-triggered one. On When the same key (note) is played repeatedly, the previous note will be stopped before the new note is triggered, so that they will not overlap. When the same key (note) is played repeatedly, the previous note will not be stopped before the new note is triggered.

This parameter sets the FX1 send level for of the selected key. Send FX2 This parameter sets the FX2 send level for of the selected key.

Off

Sound operating mode
Pitch: Pitch Mod

9

Pitch: Pitch Mod
Here you can make pitch settings for each oscillator. These settings specify how keyboard location will affect the pitch of each oscillator, and select the controllers that will affect the oscillator pitch and specify the depth of control. You can also specify the amount of pitch change produced by the Pitch EG and by LFO1 and LFO2, switch portamento on/off and specify how it will apply.

For example if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch. -60…+12 JS (–X) This parameter speciﬁes how the pitch will change when the joystick is moved all the way to the left. A setting of 12 produces 1 octave of change. For example, if you set this to -60 and move the joystick all the way to the left, the pitch will fall ﬁve octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the tremolo arm. -60…+12 Maximum pitch change in semitones. Maximum pitch change in semitones.

AMS (Alternate Modulation Source) This parameter selects the source that will modulate the pitch of the selected oscillator. See “AMS (Alternate Modulation Source) list” on page 25. Intensity

Pitch
Pitch Slope Normally you will leave this parameter at +1.0. Positive (+) values will cause the pitch to rise as you play higher notes, and negative (–) values will cause the pitch to fall as you play higher notes. With a value of 0, there will be no change in pitch, and the C4 pitch will sound regardless of the keyboard location you play. The diagram shows how the Pitch Slope and pitch are related:
Pitch +2 +1 2oct

This parameter speciﬁes the depth and direction of the effect produced by “AMS”. With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave. For example, if you set “AMS” to After Touch and apply pressure to the keyboard, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative (–) value. The range is a maximum of one octave. -12.00…+12.00 Parameter value.

Pitch EG
The Pitch EG (Envelope Generator) is unique to all oscillators.
0

1oct 1oct

Velocity Intensity
This parameter speciﬁes the depth and direction of the modulation that the pitch EG speciﬁed on “Pitch: Pitch EG” will apply to the pitch. With a setting of 12.00, the pitch will change a maximum of ±1 octave. -12.00…+12.00 Parameter value. Pitch EG AMS (Alternate Modulation Source) This parameter selects the source that will modulate the pitch EG of the selected oscillator. See “AMS (Alternate Modulation Source) list” on page 25). Pitch EG Intensity

–1 C4 C5 Key

-1.0…+2.0 Fixed Scale

Pitch slope value.

When this parameter is turned on on an oscillator, Pitch Bend and Sub Scale have no effect on its tuning. The relevant parameters are greyed out and non-selectable:

This is useful when assigning to the oscillator a noise (like the breath noise of a reed) with a ﬁxed frequency, that must not change on different notes and different pitches. JS (+X) This parameter speciﬁes how the pitch will change when the joystick is moved all the way to the right. A setting of 12 produces 1 octave of change.

This parameter speciﬁes the depth and direction of the effect that “AMS” will have. For example, if you set “AMS” to Velocity and set this value to +12.00, the velocity will control the range of pitch change produced by the pitch EG in a range of ±1 octave.

10

Sound operating mode
Pitch: Pitch EG

As you play more softly, the pitch change will draw closer to the pitch EG levels.
Pitch change (level) Note-on Note-off Note-on Note-off Note-on Note-off

Pitch: Pitch EG
Here you can make settings for the pitch EG, which creates timevariant changes in the pitch of the oscillators. The depth of pitch change produced by these EG settings on the oscillators is adjusted by the “Intensity (AMS1/2 Intensity)” parameter (see page 11).

Softly played (Intensity (Pitch EG) setting)

Strongly played with a positive (+) value

Strongly played with a negative (–) value

Note: “Intensity” (Pitch EG) and AMS will be added to determine the depth and direction of the pitch modulation applied by the pitch EG.

Portamento
Enabled This parameter turns the portamento effect (smooth change in pitch from one note to the next) on/off, and speciﬁes how it will be applied. Note: Portamento will also be switched when CC#65 (Portamento SW) is received. On Off Fingered This parameter speciﬁes whether the portamento effect restarts or not with each note played. On Off Time This parameter sets the portamento time. Increasing the value will produce a slower change in pitch. 000…127 Portamento time in MIDI value. Portamento will restart with each note. Portamento will not restart with each note. Portamento will be applied. Portamento will not be applied.

Diagram
The diagram on top of the page shows the Pitch envelope line.

Level
These parameters specify the amount of pitch change. The actual amount of pitch change will depend on the “Intensity (AMS1/2 Intensity)” parameter (see below). For example, with an “Intensity” setting of +12.00, a “Level” setting of +99 would raise the pitch one octave, and a “Level” setting of –99 would lower the pitch one octave.
Time-varying pitch settings (when Pitch EG Intensity = +12.00) +99 = approximately 1 octave Attack Level Note-on 0 = pitch when key is held (sustained) Note-off

Start Level

Time Release Level Attack Time Decay Time Release Time

–99 = approximately 1 octave

Start Level Speciﬁes the amount of pitch change at note-on. -99…+99 Attack Level Speciﬁes the amount of pitch change when the attack time has elapsed. -99…+99 Parameter value. Parameter value.

Release Level Speciﬁes the amount of pitch change when the release time has elapsed. -99…+99 Parameter value.

Time
These parameters specify the time over which the pitch change will occur. See diagram above.

Sound operating mode
Pitch: Pitch EG

11

Attack Time Speciﬁes the time over which the pitch will change from note-on until it reaches the pitch speciﬁed as the attack level. 0…99 Decay Time Speciﬁes the time over which the pitch will change after reaching the attack level until it reaches the normal pitch. 0…99 Parameter value. Parameter value.

At (Attack Level Swing) This parameter speciﬁes the direction of change in “Attack Level” caused by “AMS1/2”. If “Intensity” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change.

Time Modulation
Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value) Note-on Note-off Note-on Note-off Note-on Note-off

Release Time Speciﬁes the time over which the pitch will change from note-off until it reaches the pitch speciﬁed as the release level. 0…99 Parameter value.
A note played softly with Attack Time Swing set to + and Decay Time Swing set to A note played strongly with A note played strongly with Attack Time Swing set to + and Attack Time Swing set to – and Decay Time Swing set to + Decay Time Swing set to –

Level Modulation
Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value Note-on Note-off Note-on Note-off Note-on Note-off

AMS (Alternate Modulation Source) This parameter selects the source that will control the “Time” parameters of the pitch EG (see “AMS (Alternate Modulation Source) list” on page 25). Intensity (AMS Intensity)

A note played softly with Start Level Swing set at 0, Attack Level Swing set to +, the Joystick pulled on

A note played strongly with Start Level Swing set to 0, Attack Level Swing set to +, the Joystick pulled on

A note played strongly with Start Level Swing set to 0, Attack Level Swing set to –, the Joystick pulled on

This parameter speciﬁes the depth and direction of the effect that “AMS” will have on the “Time” parameters. With a setting of 0, the pitch EG times will be just as speciﬁed by the “Time” settings. The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next. For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached. When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the speciﬁed EG times will speed up as much as 2, 4, 8, 16, 32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time). For example if “AMS” is set to Velocity, increasing the absolute value of “Intensity” will allow strongly-played notes to increase the changes in pitch EG “Time” values. The direction of the change is speciﬁed by “At (Attack Time Swing)” and “Dc (Decay Time Swing)”. As you play more softly, the pitch EG times will more closely approach the actual settings of the pitch EG. -99…+99 Parameter value.

AMS1/2 (Alternate Modulation Source 1/2) These parameters select the source that will control the pitch EG “Level” parameters (“AMS (Alternate Modulation Source) list” on page 25). Intensity (AMS1/2 Intensity) These parameters specify the depth and direction of the effect applied by “AMS1”. With a setting of 0, the levels speciﬁed by “Level” will be used. For example if “AMS1” is After Touch, pressing the keys to turn it on will change the “Level” parameters of the Pitch EG. As the absolute value of “Intensity” is increased, the pitch EG levels will change more greatly when the key pressure is released. The direction of the change is speciﬁed by “St (Start Level Swing)” and “At (Attack Level Swing)”. When the key pressure is released, the pitch EG levels will return to their own settings. If “AMS1” is set to Velocity, increasing the absolute value of “Intensity” will produce increasingly wider change in pitch EG levels for strongly-played notes. The direction of the change is speciﬁed by “St (Start Level Swing)” and “At (Attack Level Swing)”. As you play more softly, the pitch change will draw closer to the pitch EG levels. -99…+99 Parameter value.

At (Attack Time Swing) This parameter speciﬁes the direction in which “AMS” will affect the “Attack Time” parameter. With positive (+) values of “Intensity”, a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change. Dc (Decay Time Swing) Specify the direction in which “AMS” will affect the “Decay Time”. With positive (+) values of “Intensity”, a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.

St (Start Level Swing) This parameter speciﬁes the direction of change in “Start Level” caused by “AMS1/2”. If “Intensity” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change.

12

Sound operating mode
Filter: Filter Type

Resonance (Resonance A)

Filter: Filter Type
Here you can make settings for the ﬁlters that will be used by the oscillators. You can select either a 24 dB/octave low pass ﬁlter with resonance, or a series connection of a 12 dB/octave low pass ﬁlter and a 12 dB/octave high pass ﬁlter.

The resonance emphasizes the overtone components that lie in the region of the cutoff frequency speciﬁed by “Frequency”, producing a more distinctive sound. Increasing this value will produce a stronger effect. 00…99 Resonance value.

Res. Mod. by AMS (Resonance modulated by AMS) Selects the source that will control the “Resonance” level. See “AMS (Alternate Modulation Source) list” on page 25.
The effect of resonance Low Pass
Level

Low resonance value

High resonance value

Filter Type This parameter selects the type of ﬁlter (Low Pass Resonant, Low Pass & High Pass) for the selected oscillator. Low Pass Resonance When the Low Pass ﬁlter type is selected, only ﬁlter A will be activated.

Intensity (AMS Intensity) This parameter speciﬁes the depth and direction of the effect that “Res. Mod. by AMS (Resonance modulated by AMS)” will have on the resonance level speciﬁed by “Resonance (Resonance A)”. For example if Velocity has been selected, changes in keyboard velocity will affect the resonance. With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the “Resonance” setting. With negative (–) values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the “Resonance” setting. The resonance level is determined by adding the “Resonance” and “Intensity (AMS Intensity)” values. -99…+99 Parameter value.

Low Pass & High Pass When the Low Pass & High Pass ﬁlter type is selected, the ﬁlter B will be activated.

Trim Use this parameter to adjust the level at which the audio signal output from the selected oscillator is input to ﬁlter A. Note: If this value is raised, the sound may distort if Resonance is set to a high value or when you play a chord. 00…99 Trim level.

Filter B
Frequency (Cutoff Frequency B) This parameter speciﬁes the cutoff frequency of ﬁlter B. This parameter will be displayed when “Filter Type” is set to Low Pass & High Pass.
High Pass Level This filter cuts the low-frequency range that lies below the cutoff frequency. By cutting the lower overtones, it lightens the tone. Frequency

Filter A
Frequency (Cutoff Frequency A) This parameter speciﬁes the cutoff frequency of ﬁlter A.
Low Pass Level
This is a filter that cuts the high-frequency region above the cutoff frequency. This is the most common type of filter, 12dB/oct and is used to cut part of the overtone components, making an originally bright 24dB/oct timbre sound more mellow (darker). When the “Filter Type” is Low Pass Frequency Resonance, the cutoff will have a steeper slope.

12dB/oct

00…99

Cutoff frequency value.

00…99

Cutoff frequency value.

Sound operating mode
Filter: Filter Mod

13

Tracking to A/B

Filter: Filter Mod
These settings let you apply modulation to the cutoff frequency (“Frequency”) of the ﬁlter for the selected oscillator to modify the tone.

These parameters specify the note numbers at which keyboard tracking will begin to apply, and set the “Intensity to A” and “Intensity to B” parameters to specify the depth and direction of the change applied to ﬁlters A and B. For the range of notes between “Key Low” and “Key High”, the cutoff frequency will change according to the keyboard location (pitch). -99…+99 Parameter value.

Filter EG
Changes in cutoff frequency Note-on Note-off Note-on Note-off Note-on Note-off

When “Filter Type” is Low Pass Resonance, parameters for ﬁlter B will not be editable (greyed out).

Softly played

Strongly played Setting to +

Strongly played Setting to –

Keyboard Tracking
Key Low/High These settings specify keyboard tracking for the cutoff frequency of the ﬁlter for the selected oscillator. The way in which the cutoff frequency is affected by the keyboard location you play can be speciﬁed by the “Key Low”, “Key High”, “Ramp Low” and “Ramp High” parameters. Keyboard tracking will apply to the range below the speciﬁed Low note number, and above the speciﬁed High note number. C–1…G9 Lowest/Highest note in the range.

Velocity to A This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter EG (as set on “Filter: Filter EG”) to control the ﬁlter A cutoff frequency. With positive (+) values, playing more strongly will cause the ﬁlter EG to produce greater changes in cutoff frequency. With negative (–) values, playing more strongly will also cause the ﬁlter EG to produce greater changes in cutoff frequency, but with the polarity of the EG inverted. 99…+99 Velocity to B This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter EG to control the ﬁlter B cutoff frequency (see “Velocity to A”). 99…+99 Value of the Velocity to B parameter. Value of the Velocity to A parameter.

Ramp Low/High These parameter speciﬁes the angle of keyboard tracking. If “Intensity to A” and “Intensity to B” are set to +50, “Ramp Low” is set to –62 and “Ramp High” is set to +62, the angle of the change in cutoff frequency will correspond to the keyboard location (pitch). This means that the oscillation that occurs when you increase the “Resonance (Resonance A)” will correspond to the keyboard location. If you set “Ramp Low” to +43 and “Ramp High” to –43, the cutoff frequency will not be affected by keyboard location. Use this setting when you do not want the cutoff frequency to change for each note. -99…+99 Angle value.

Int to A (Intensity to A) Speciﬁes the depth and direction of the effect that the time-varying changes created by the ﬁlter 1 EG will have on the ﬁlter A cutoff frequency. With positive (+) settings, the sound will become brighter when the EG levels set by Filter EG “Level” and “Time” parameters are in the “+” area, and darker when they are in the “–” area. With negative (–) settings, the sound will become darker when the EG levels set by Filter EG “Level” and “Time” parameters are in the “+” area, and brighter when they are in the “–” area. -99…+99 Parameter value.

Here is how cutoff frequency is affected by keyboard location and the Ramp setting (“Intensity to A” and “Intensity to B” = +50):
Cutoff frequency High Ramp=+99 High Ramp=+62 High Ramp=0 High Ramp=–43 High Ramp=–99

Int to B (Intensity to B) Speciﬁes the depth and direction of the effect that the time-varying changes created by the ﬁlter EG will have on the ﬁlter B cutoff frequency (see “Int to A (Intensity to A)”). -99…+99 Parameter value.

Low Ramp=+99 Low Ramp=+43 Low Ramp=0 Low Ramp=–62 Low Ramp=–99 Low Key High Key

Key

14

Sound operating mode
Filter: Filter LFO

AMS (EG Alternate Modulation Source) Selects the source that will control the depth and direction of the effect that the time-varying changes produced by the ﬁlter EG will have on the cutoff frequency of ﬁlters A and B. See “AMS (Alternate Modulation Source) list” on page 25. Int to A (Intensity to A) Speciﬁes the depth and direction of the effect that “AMS” will have on ﬁlter A. For details on how this will apply, refer to “Int to A (Intensity to A)”. Int to B (Intensity to B) Speciﬁes the depth and direction of the effect that “AMS” will have on ﬁlter B. For details on how this will apply, refer to “Int to A (Intensity to A)”. Note: The sum of the settings for “Velocity to A/B”, “Intensity to A/ B”, and “(AMS) Intensity to A/B” will determine the depth and direction of the effect produced by the ﬁlter EG.

Filter: Filter LFO
Here you can use the ﬁlter LFO to apply cyclic modulation to the cutoff frequency of the ﬁlter (for the selected oscillator) to create cyclical changes in tone.

LFO 1 Filter A/B Modulation
Intensity to A AMS1 (Alternate Modulation Source 1 for ﬁlter A/B) Selects the source that will control modulation of the ﬁlter A cutoff frequency. See “AMS (Alternate Modulation Source) list” on page 25. Note: The ﬁlter B parameters will be displayed when “Filter Type” on page 12 is Low Pass & High Pass. Intensity (Intensity to AMS1) Speciﬁes the depth and direction of the effect that “AMS1” will have. When “AMS1” is JS X, a positive (+) value for this parameter will cause the cutoff frequency to rise when the joystick is moved toward the right, and fall when the joystick is moved toward the left. With a negative (–) value for this parameter, the opposite will occur. This value is added to the setting of the Filter A “Frequency”. AMS2 (Alternate Modulation Source 2 for ﬁlter A/B) Selects the source that will control modulation of the ﬁlter A cutoff frequency (see “AMS (Alternate Modulation Source) list” on page 25). Intensity (Intensity to AMS2) Speciﬁes the depth and direction of the effect that the selected source will have (see “Intensity (Intensity to AMS1)” on page 14).
Low setting High setting

Speciﬁes the depth and direction of the modulation that LFO1 (set on “LFO: LFO1”) will have on the cutoff frequency of ﬁlter A. Negative (–) settings will invert the phase.
Change in cutoff

-99…+99

Parameter value.

Intensity to B Specify the depth and direction of the modulation that LFO1 will have on the cutoff frequency of ﬁlter B (see “Intensity to A”). -99…+99 Parameter value.

JS (Joystick) –Y Intensity to A By moving the joystick in the Y direction (toward yourself), you can control the depth at which LFO1 modulates the cutoff frequency of ﬁlter A. This parameter speciﬁes the depth and direction of the control. Higher settings of this parameter will produce greater increases in the effect of LFO1 on the ﬁlter when the joystick is moved toward yourself. -99…+99 Parameter value.

JS (Joystick) –Y Intensity to B By moving the joystick in the Y direction (toward yourself), you can control the depth at which LFO1 modulates the cutoff frequency of ﬁlter B. This parameter speciﬁes the depth and direction of the control (see “JS (Joystick) –Y Intensity to A”). AMS (Filter LFO1 Alternate Modulation Source) Select a source that will control the depth and direction of cutoff frequency change for both ﬁlters A and B. See “AMS (Alternate Modulation Source) list”.

Sound operating mode
Filter: Filter EG

15

Intensity to A Speciﬁes the depth and direction of the effect that “AMS” will have on ﬁlter A. For example if “AMS” is After Touch, higher settings of this parameter will allow greater change to be applied to LFO1 when you apply pressure to the keyboard. -99…+99 Parameter value.

Start This parameter speciﬁes the change in cutoff frequency at the time of note-on. -99…+99 Attack This parameter speciﬁes the change in cutoff frequency after the attack time has elapsed. -99…+99 Level value. Level value.

Intensity to B Speciﬁes the depth and direction of the effect that “AMS” will have on ﬁlter B (see “Intensity to A”).

Break (Break Point) This parameter speciﬁes the change in cutoff frequency after the decay time has elapsed. -99…+99 Sustain This parameter speciﬁes the change in cutoff frequency that will be maintained from after the slope time has elapsed until noteoff occurs. -99…+99 Release This parameter speciﬁes the change in cutoff frequency that will occur when the release time has elapsed. -99…+99 Level value. Level value. Level value.

LFO 2
Adjusts the depth of the cyclic modulation applied by LFO2 (set on “LFO: LFO2”) to the cutoff frequency of ﬁlters A and B. For more information on the parameters see “LFO 1” above.

Filter: Filter EG
Here you can make settings for the EG that will produce timevarying changes in the cutoff frequency of ﬁlters A and B for the selected oscillator. The depth of the effect that these settings will have on the ﬁlter cutoff frequency is determined by the “Velocity” and “Intensity” parameters.

Time
These parameters specify the time over which the ﬁlter change will occur. Attack This parameter speciﬁes the time over which the level will change from note-on until the attack level is reached. 0…99 Decay Time value.

Diagram
The diagram on top of the page shows the Filter envelope line.

This parameter speciﬁes the time over which the level will change from the attack level to the break point level. 0…99 Slope Time value.

Filter envelope
Attack Level Note-on Break Point Level Start Level Note-off Sustain Level Release Level Time

This parameter speciﬁes the time over which the level will change after the decay time has elapsed until the sustain level is reached. 0…99 Release This parameter speciﬁes the time over which the level will change after note-on occurs until the release level is reached. Time value.

The specified cutoff frequency

Attack Time

Decay Time

Slope Time

Release Time

Level
These are the envelope segment levels. The result will depend on the ﬁlter that was selected in “Filter Type”. For example, with the Low Pass Resonance ﬁlter, positive (+) values of EG Intensity will cause the tone to be brightened by positive (+) levels, and darkened by negative (–) levels.

0…99

Time value.

16

Sound operating mode
Filter: Filter EG

Level Modulation
Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value) Note-on Note-off Note-on Note-off Note-on Note-off

Time Modulation
Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value) Note-on Note-off Note-on Note-off Note-on Note-off

Softly played note with Start Level Swing, Attack Level Swing, and Break Level Swing set to +

Strongly played note with Start Strongly played note with Start Level Swing, Attack Level Swing, Level Swing, Attack Level Swing, and Break Level Swing set to – and Break Level Swing set to +

Strongly played note with Softly played note with Attack, Strongly played note with Attack, Decay, Slope and Attack, Decay, Slope and Decay, Slope and Release Release Level Swings set to + Release Level Swings set to – Level Swings set to +

AMS (Alternate Modulation Source) This parameter selects the source that will control the “Level” parameters of the ﬁlter EG (“AMS (Alternate Modulation Source) list” on page 25). Intensity (AMS Intensity) This parameter speciﬁes the depth and direction of the effect applied by “AMS”. With a setting of 0, the levels speciﬁed by “Frequency (Cutoff Frequency A)” will be used. For example, if “AMS” is Velocity, and you set “St (Start Level Swing)”, “At (Attack Level Swing)” and “Br (Break Level Swing)” to + and set “Intensity” to a positive (+) value, the EG levels will rise as you play more strongly. If “Intensity” is set to a negative (–) values, the EG levels will fall as you play more strongly. -99…+99 Intensity value.

AMS1/2 Use this parameter to selecthe source that will control the “Time” parameters of the ﬁlter EG. See “AMS (Alternate Modulation Source) list” on page 25. Int (AMS Intensity) This parameter speciﬁes the depth and direction of the effect that “AMS1/2” will have. For example, if “AMS1/2” is set to FltKTr +/+, the EG “Time” parameters will be controlled by the Keyboard Tracking settings. With positive (+) values of this parameter, positive (+) values of “Ramp Low/High” will lengthen the EG times, and negative (–) values of “Ramp Low/High” will shorten the EG times. The direction of change is speciﬁed by “At (Attack Time Swing)”, “Dc (Decay Time Swing)”, “Sl (Slope Time Swing)”, and “Rl (Release Time Swing)”. With a setting of 0, the times speciﬁed by “Frequency (Cutoff Frequency A)” will be used. If “AMS1/2” is set to Velocity, positive (+) values of this parameter will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. -99…+99 Intensity value.

St (Start Level Swing) This parameter speciﬁes the direction in which “AMS” will affect “Start”. When “Intensity” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change. At (Attack Level Swing) This parameter speciﬁes the direction in which “AMS” will affect “Attack”. When “Intensity” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change. Br (Break Level Swing) This parameter speciﬁes the direction in which “AMS” will affect “Break (Break Point)”. When “Intensity” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.

At (Attack Time Swing) This parameter speciﬁes the direction in which “AMS1/2” will affect the attack time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change. Dc (Decay Time Swing) This parameter speciﬁes the direction in which “AMS1/2” will affect the decay time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change. Sl (Slope Time Swing) This parameter speciﬁes the direction in which “AMS1/2” will affect the slope time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change. Rl (Release Time Swing) This parameter speciﬁes the direction in which “AMS1/2” will affect the release time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time,

Sound operating mode
Amp: Amp Level/Pan

17

and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change.

as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative (–) values of this parameter will have the opposite effect. -99…+99 Parameter value.

Amp: Amp Level/Pan
These parameters control the volume and pan of the selected oscillator.

Amp: Amp Mod
These settings allow you to apply modulation to amp (for each oscillator) to modulate the volume.

Amp Level Volume of the selected oscillator. Note: The volume of a Sound can be controlled by CC#7 (volume) and #11 (expression). The resulting level is determined by multiplying the values of CC#7 and #11. The Global MIDI channel is used for control. 0…127 Pan Pan (stereo position) of the selected oscillator. Volume level.

Keyboard Tracking
These parameters let you use keyboard tracking to adjust the volume of the selected oscillator. Use the “Key” and “Ramp” parameters to specify how the volume will be affected by the keyboard location that you play. Key Low/High

This parameter is not available when editing a Drum Kit. Use the individual Pan control for each key (see “Pan” on page 8).
Random L001 C064 R127 The sound will be heard from a different location at each note-on. Places the sound at far left. Places the sound in the center. Places the sound to far right.

These settings specify the note number at which keyboard tracking will begin to apply. The volume will not change between “Key Low” and “Key High”. Keyboard tracking will apply to the range below the speciﬁed Low note number, and above the speciﬁed Highy note number. C–1…G9 Lowest/Highest note in the range.

Ramp Low/High These parameters specify the angle of keyboard tracking. With positive (+) values of the “Ramp Low” parameter, the volume will increase as you play notes below the “Key Low” note number. With negative (–) values, the volume will decrease. With positive (+) values of the “Ramp High” parameter, the volume will increase as you play notes above the “Key High” note number. With negative (–) values, the volume will decrease. -99…+99 Angle value.

Note: This can be controlled by CC#10 (panpot). A CC#10 value of 0 or 1 will place the sound at the far left, a value of 64 will place the sound at the location speciﬁed by the “Pan” setting for each oscillator, and a value of 127 will place the sound at the far right. This is controlled on the global MIDI channel.

Pan modulation
AMS (Alternate Modulation Source) Selects the source that will modify pan (see “AMS (Alternate Modulation Source) list” on page 25). This change will be relative to the “Pan” setting. Intensity Speciﬁes the depth of the effect produced by “AMS”. For example, if “Pan” is set to C064 and “AMS” is Note Number, positive (+) values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note (i.e.,

Here is an example of volume changes produced by keyboard location and “Ramp” settings:
Volume

Ramp Low=+99 Ramp Low=0 Ramp Low=–99

Ramp High=+99 Ramp High=0 Ramp High=–99

Key Low

Key High

Key

18

Sound operating mode
Amp: Amp EG

Amp Modulation
These parameters specify how the volume of the selected oscillator will be affected by velocity. Velocity Intensity With positive (+) values, the volume will increase as you play more strongly. With negative (–) values, the volume will decrease as you play more strongly.
Volume change (with positive (+) values of this parameter) Note-on Note-off Note-on Note-off

Diagram
The diagram on top of the page shows the Amplitude envelope line.

Level
These parameters are the level of the envelope segment.
Amplifier EG Attack Level Note-on Volume Sustain Level Time Break Point Note-off

Start Level Softly played Strongly played Attack Time Decay Slope Time Time

Release Time

-99…+99

Intensity value. Start

AMS (Alternate Modulation Source) Selects the source that will control the volume of the amp for the selected oscillator (See “AMS (Alternate Modulation Source) list” on page 25). “Velocity” cannot be selected. Intensity This parameter speciﬁes the depth and direction of the effect that “AMS” will have. The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp EG are low, the modulation applied by Alternate Modulation will also be less. For example, if “AMS” is set to After Touch, positive (+) values of this parameter will cause the volume to increase when pressure is applied to the keyboard. However if the EG settings etc. have already raised the volume to its maximum level, the volume cannot be increased further. With negative (–) values of this parameter, the volume will decrease when pressure is applied to the keyboard. -99…+99 Intensity value.

This parameter speciﬁes the volume level at note-on. If you want the note to begin at a loud level, set this to a high value. 0…99 Attack This parameter speciﬁes the volume level that will be reached after the attack time has elapsed. 0…99 Break This parameter speciﬁes the volume level that will be reached after the decay time has elapsed. 0…99 Sustain This parameter speciﬁes the volume level that will be maintained from after the slope time has elapsed until note-off occurs. 0…99 Level value. Level value. Level value. Level value.

Time

Amp: Amp EG
These parameters let you create time-varying changes in the volume of the selected oscillator.

These parameters specify the time over which the volume change will occur. Attack This parameter speciﬁes the time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound. 0…99 Decay This parameter speciﬁes the time over which the volume will change from when it reaches the attack level until it reaches the break point level. 0…99 Time value. Time value.

Sound operating mode
Amp: Amp EG

19

Slope This parameter speciﬁes the time over which the volume will change from when it reaches the break point level until it reaches the sustain level. 0…99 Release This parameter speciﬁes the time over which the volume will change after note-off until it reaches 0. 0…99 Time value. Time value.

Time Modulation
These parameters let you use an alternate modulation source to modify the amp EG times that were speciﬁed in “Time” on page 18.
Amp 1 EG changes (Time) (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track “Low Ramp”= a positive (+) value, and “High Ramp” = a positive (+) value) Note-on Note-off Note-on Note-off Note-on Note-off

Level Modulation
Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value) Note-on Note-off Note-on Note-off Note-on Note-off Note-on Note-off

Low-pitched note played with High -pitched note played with Attack, Decay, Slope, and Attack, Decay, Slope, and Release Time Swing at + Release Time Swing at – Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value) Note-on Note-off Note-on Note-off

Softly played note when Start Level Strongly played note when Start Level Strongly played note when Start Level Swing=0 and Attack Level Swing Swing=0 andAttack Level Swing and Swing=0 andAttack Level Swing and Break Level Swing are set to + and Break Level Swing are set to + Break Level Swing are set to +

Softly played note with Attack, Decay, Slope and Release Time Swing at +

Strongly played note with Attack, Decay, Slope and Release Time Swing at +

Strongly played note with Attack, Decay, Slope and Release Time Swing at –

AMS (Alternate Modulation Source) This parameter speciﬁes the source that will control the “Level” parameters of the amp EG. See “AMS (Alternate Modulation Source) list” on page 25. Intensity This parameter speciﬁes the depth and direction of the effect that “AMS” will have. For example, if “AMS” is Velocity, setting “St (Start Level Swing)”, “At (Attack Level Swing)” and “Br (Break Point Level Swing)” to + and setting “Intensity” to a positive (+) value will cause the amp EG volume levels to increase as you play more strongly. Setting “Intensity” to a negative (–) values will cause the amp EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as speciﬁed on “Amp: Amp EG”. -99…+99 Intensity value.

AMS1 (Alternate Modulation Source 1 - Time) This parameter speciﬁes the source that will control the “Time” parameters of the amp EG (see “AMS (Alternate Modulation Source) list” on page 25). With a setting of Off, there will be no modulation. Intensity This parameter speciﬁes the depth and direction of the effect that “AMS1” will have. For example, if “AMS1(T)” is Amp KTrk +/+, the (Amp) Keyboard Track settings (see “Keyboard Tracking” on page 17) will control the EG “Time” parameters. With positive (+) values of this parameter, positive (+) values of “Ramp (Ramp Setting) will cause EG times to be lengthened, and negative (–) values of “Ramp (Ramp Setting)” will cause EG times to be shortened. The direction of the change is speciﬁed by “At (Attack Time Swing)”, “Dc (Decay Time Swing)”, “Sl (Slope Time Swing)”, and “Rl (Release Time)”. When “AMS1(T)” is Velocity, positive (+) values will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the EG times will be as speciﬁed by the “Level” parameters (see page 18). At (Attack Time Swing) This parameter speciﬁes the direction of the effect that “AMS1” will have on “Attack”. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect. Dc (Decay Time Swing) This parameter speciﬁes the direction of the effect that “AMS1” will have on “Decay”. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

St (Start Level Swing) This parameter speciﬁes the direction in which “AMS” will change “Start”. If “Intensity” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur. At (Attack Level Swing) This parameter speciﬁes the direction in which “AMS” will change “Attack”. If “Intensity” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur. Br (Break Point Level Swing) This parameter speciﬁes the direction in which “AMS” will change “Break”. If “Intensity” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

20

Sound operating mode
LFO: LFO1

Sl (Slope Time Swing) This parameter speciﬁes the direction of the effect that “AMS1” will have on “Slope”. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect. Rl (Release Time) This parameter speciﬁes the direction of the effect that “AMS1” will have on “Release”. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect. AMS2 (Alternate Modulation Source 2) This is another alternate modulation source for the Amp EG. See above “AMS1” parameters.

Frequency Set the LFO frequency. A setting of 99 is the fastest. 00…99 Offset This parameter speciﬁes the central value of the LFO waveform. For example, with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar. When “Waveform” is set to Guitar, the modulation will occur only in the positive (+) direction even if you set “Offset” to 0. Here are offset settings and pitch change produced by vibrato:
Pitch offset = –99 offset = 0 offset = +99

Frequency rate.

Pitch at note-on

LFO: LFO1
In this and the next page you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter, and Amp of each oscillator. There are two LFO units for each oscillator. By setting the LFO1 or LFO2 Intensity to a negative (–) value for Pitch, Filter, or Amp, you can invert the LFO waveform.

-99…+99 Key Sync

Offset value.

This parameter speciﬁes if the LFO is synchronized to key strokes. On Off The LFO will start each time you play a note, and an independent LFO will operate for each note. The LFO effect that was started by the ﬁrst-played note will continue to be applied to each newlyplayed note. (In this case, Delay and Fade will be applied only to the LFO when it is ﬁrst started).

Fade This parameter speciﬁes the time from when the LFO begins to apply until it reaches the maximum amplitude. When “Key Sync.” is Off, the fade will apply only when the LFO is ﬁrst started. Waveform This parameter selects the LFO waveform. The numbers that appear at the right of some of the LFO waveforms indicate the phase at which the waveform will begin.
Triangle Triangle Triangle Random Saw Saw Square Sine Guitar Exponential Triangle Exponential Saw Down Exponential Saw Up 0 0 90 Step Triangle – 4

Here is how “Fade” affects the LFO (when “Key Sync” is On):
Note-on Fade Note-off

Delay

Triangle wave
Phase will change randomly at each key-in

Step Triangle – 6 Step Saw – 4 Step Saw – 6

00…99 Delay

Fade rate.

Sawtooth down ↓
180 Random1 (S/H): Conventional sample & hold (S/H) in which the level changes randomly at fixed intervals of time Random2 (S/H): Both the levels and the time intervals will change randomly. Random3 (S/H): The maximum level and minimum level will alternate at random intervals of time (i.e., a square wave with random period). Random4 (Vector) Random5 (Vector) Random6 (Vector) These types cause Random 1–3 to change smoothly. They can be used to simulate the instability of acoustic instruments etc.

Square wave Sine wave Guitar vibrato

This parameter speciﬁes the time from note-on until the LFO effect begins to apply. When “Key Sync” is Off, the delay will apply only when the LFO is ﬁrst started. 0…99 Delay time.

Frequency Modulation
You can use two alternate modulation sources to adjust the speed of the LFO1 for the selected oscillator.

Sound operating mode
LFO: LFO2

21

AMS1 (Alternate Modulation Source1) Selects the source that will adjust the frequency of the selected oscillator LFO1 (see “AMS (Alternate Modulation Source) list” on page 25). LFO1 can be modulated by LFO2. Intensity (AMS1 Intensity) This parameter speciﬁes the depth and direction of the effect that “AMS1(F)” will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively). For example, if “AMS1(F)” is Note Number, positive (+) values of this parameter will cause the oscillator LFO to speed up as you play higher notes. Negative (–) values will cause the oscillator LFO to slow down as you play higher notes. This change will be centered on the C4 note. If “AMS1(F)” is set to JS +Y, raising the value of this parameter will cause the oscillator LFO1 speed to increase as the joystick is moved away from yourself. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times. -99…+99 Intensity value.

LFO: LFO2
Here you can make settings for the LFO2, which is the second LFO that can be applied to the selected oscillator. See “LFO: LFO1” for more information on the parameters value. However in “Frequency Modulation”, the LFO cannot be selected as a modulation source in “AMS1” or “AMS2.”

Effects: FX Select
Here you can select two effects for the whole Sound, switch them on/off, and specify chaining.

AMS2 (Alternate Modulation Source2) Intensity (AMS2 Intensity) Make settings for a second alternate modulation source that will adjust the frequency of the oscillator LFO1 (see above “AMS1 (Alternate Modulation Source1)” and “Intensity (AMS1 Intensity)”). Note: For details on the effects, refer to the “Effects” chapter.

FX 1/2 Group
Send Send level for each effect. Drum samples have their own send level settings (see “Send FX1” and “Send FX2” on page 8). Use this parameter to adjust the general offset of the Drum Kit. 000…127 FX1/2 Use these parameters to select the effect type for effect 1/2. See the “Effects” chapter for more information. Note: If 000: No Effect is selected, the output from the master effect will be muted. FX Amount Volume of the effect, that is added to the dry (uneffected) signal. 2>1 Use this parameter to send the output of effect 2 to the input of effect 1. 000…127 Level of the signal exiting the effect 2 going back to the effect 1. Effect level.

Frequency MIDI/Tempo Sync
MIDI/Tempo Sync This parameter enables/disables the LFO synchronization with Sequencer 1 Tempo. On The LFO frequency will synchronize to the tempo (MIDI Clock) of Sequencer 1. In this case, the values you speciﬁed for “Frequency” (see page 20) and “Frequency Modulation” (see page 20) will be ignored.

Base Note When “MIDI/Tempo Sync” is On, these parameters set a note length relative to “ (Tempo)” and the multiple (“Times”) that will be applied to it. These parameters will determine the frequency of the LFO1. For example if “Base Note” is (quarter note) and “Times” is 04, the LFO will perform one cycle every four beats. Even if you change the “ (Tempo)” setting of Sequencer 1, the LFO will always perform one cycle every four beats.

This parameter is not available when editing a Drum Kit.
, , , , , , , Note value. Times

Send to Master This parameters allows you to decide if the direct + effected signal must go to the Master, or just the effected signal.

This parameter is not available when editing a Drum Kit.
1...16 Beats before restarting the cycle.

22
On

Sound operating mode
Effects: FX1

Only the effected signal will be sent to the Audio Outputs. The direct (non-effected) signal will not be sent. Both the effected signal and direct signals will be sent to the Audio Outputs.

Page menu
Press the page menu icon to open the menu. Press a command to select it. Press anywhere in the display to close the menu without selecting a command.

Off

Effects: FX1
In this page you can edit the effected assigned to the FX1 effect processor (usually reverb). See “Effects” on page 27 for more information.

Effects: FX2
In this page you can edit the effected assigned to the FX2 effect processor (usually modulating effect). See “Effects” on page 27 for more information. Write Sound Select this command to open the Write Sound dialog box, and save all editing parameters to a Sound. See “Write Sound dialog box” on page 23 for more information. Solo Oscillator Select this command to solo the selected oscillator, and mute the other oscillators. Select it again to unmute the other oscillators. When this function is activated, the “Solo OSC [n]” indicator (n = oscillator number) blinks on the page header. While in this situation, you can select a different oscillator to be soloed. Swap LFO Select this command to replace LFO1 with LFO2, and vice-versa. Copy Oscillator Select this command to copy all settings between oscillators. See “Copy Oscillator dialog box” on page 23 for more information. Copy FX Select this command to copy all FX settings from another Sound. See “Copy FX dialog box” on page 23 for more information. Copy Drum Kit Select this command to copy the Drum Kit from a different Drum Kit. See “Copy Drum Kit dialog box” on page 24 for more information. Init Sound Select this command to delete all parameters, and set them to a default value. Compare When this command is checked, original Sound parameter values are temporarily recalled, to compare them with edited

Sound operating mode
Write Sound dialog box

23

parameters. You cannot edit the Sound while you are in Compare mode. While this function is on, the Compare indicator blinks on the page header.

Copy Oscillator dialog box
Open this window by selecting the Copy Oscillator item from the page menu. Here, you can copy all settings between oscillators.

Write Sound dialog box
Open this window by selecting the Write Sound item from the page menu. Here, you can save all Sound parameters to a Sound location in memory. Warning: If you write over an existing Sound, the Sound will be deleted and replaced by the one you are saving (“overwrite”). Please save on a storage device any User Sound you don’t want to lose. Note: DrumKits cannot be written over standard Sounds, nor vice versa. Note: To save over a Factory Sound location, unckeck the Factory Sound Protect parameter in Media mode (see “Factory Sound Protect” in the Media chapter of the User’s Manual). Warning: When replacing a Factory Sound, please be warned that all Performance, STSs, Styles and Songs making use of it will be modiﬁed as well. Use this feature with great care! To restore the original data, please reload the original Musical Resources, downloadable from our web site (www.korgpa.com).

From Sound Press this button to open the Sound Select window, and select the source Sound. From Oscillator Select the source oscillator to copy from. To Oscillator Target oscillator where to copy the source settings to.

Copy FX dialog box
Open this window by selecting the Copy FX item from the page menu. Here, you can copy all FX settings between FX processors.

Name Name of the Sound to be saved. Press the (Text Edit) button next to the name to open the Text Edit window. Sound Bank Target bank of Sounds. Each bank corresponds to one of the PERFORMANCE/SOUND buttons. Use TEMPO/VALUE dial to select a different bank. Sound Target Sound location in the selected bank. Use TEMPO/VALUE dial to select a different location. Select… button Press this button to open the Sound Select window, and select a target location. From Sound Press this button to open the Sound Select window, and select the source Sound. From FX Select the source effect to copy from. To FX Target effect where to copy the source settings to.

24

Sound operating mode
Copy Drum Kit dialog box

Copy Drum Kit dialog box
Open this window by selecting the Copy Drum Kit item from the page menu. Here, you can copy settings from a range of keys of a Drum Kit.

From Drum Kit Press this button to open the Sound Select window, and select the source Drum Kit. From Key Select the source range of keys to copy from. To Key Target key. Settings are copied starting from this key, and upwards.

Sound operating mode
AMS (Alternate Modulation Source) list

25

AMS (Alternate Modulation Source) list
Off Pitch EG Filter EG Amp EG LFO1 LFO2 Flt KTrk +/+ (Filter Keyboard Track +/+) Flt KTrk +/– (Filter Keyboard Track +/) Flt KTrk 0/+ (Filter Keyboard Track 0/+) Flt KTrk +/0 (Filter Keyboard Track +/0) Amp KTrk +/+ (Amp Keyboard Track +/+) Amp KTrk +/ (Amp Keyboard Track +/) Amp KTrk 0/+ (Amp Keyboard Track 0/+) Amp KTrk +/0 (Amp Keyboard Track +/0) Note Number Velocity Poly AT (Poly After Touch) Channel AT (Channel After Touch) Joystick X Joystick +Y Joystick Y JS+Y & AT/2 (Joy Stick +Y & After Touch/2) JS–Y & AT/2 (Joy Stick Y & After Touch/2) Ass.Pedal CC#18 CC#17 CC#19 CC#20 CC#21 Damper CC#65 Sostenuto CC#80 CC#81 CC#82 CC#83 Tempo Do not use Alternate Modulation Pitch EG Filter EG within the same oscillator Amp EG within the same oscillator LFO1 within the same oscillator LFO2 within the same oscillator Filter keyboard tracking within the same oscillator Filter keyboard tracking within the same oscillator Filter keyboard tracking within the same oscillator Filter keyboard tracking within the same oscillator Amp keyboard tracking within the same oscillator Amp keyboard tracking within the same oscillator Amp keyboard tracking within the same oscillator Amp keyboard tracking within the same oscillator Note number Velocity Polyphonic After Touch (transmitted from the Pa500 only as sequence data) After Touch (Channel After Touch) Joystick X (horizontal) axis Joystick +Y (vertical upward) direction (CC#01) Joystick Y (vertical downward) direction (CC#02) Joystick +Y (vertical upward) direction and After Touch Joystick Y (vertical downward) direction and After Touch Assignable foot pedal (CC#04) CC#18 CC#17 CC#19 CC#20 CC#21 Damper pedal (CC#64) Portamento switch (CC#65) Sostenuto pedal (CC#66) CC#80 CC#81 CC#82 CC#83 Tempo (tempo data from Sequencer 1 clock or external MIDI clock)

Flt KTrk +/+ (Filter Keyboard Track +/+) Flt KTrk +/– (Filter Keyboard Track +/) Flt KTrk 0/+ (Filter Keyboard Track 0/+) Flt KTrk +/0 (Filter Keyboard Track +/0) Amp KTrk +/+ (Amp Keyboard Track +/+) Amp KTrk +/– (Amp Keyboard Track +/–) Amp KTrk 0/+ (Amp Keyboard Track 0/+) Amp KTrk +/0 (Amp Keyboard Track +/0) +/+ The direction of the effect will be determined by the sign (positive or negative) of the “Ramp Low” or “Ramp High” setting.

+/–

The direction of the effect will be determined by the sign of the “Ramp Low” setting, and by the opposite sign of the “Ramp High” setting (50 for a setting of +50, and +50 for a setting of 50). “Ramp Low” will have no AMS effect. The sign of the “Ramp High” setting will determine the direction of its effect.

0/+

26
+/0

Sound operating mode
AMS (Alternate Modulation Source) list

The sign of the “Ramp Low” setting will determine the direction of its effect. “Ramp High” will have no AMS effect.
Amp Ramp Low = +50 Ramp High = +50

example of Amp Keyboard Track settings

Key Low Key High

Note Number

+ max AMS = Amp KTrk +/+ AMS Intensity = positive (+) value

zero Depth and direction of modulation - max

+ max AMS = Amp KTrk +/– AMS Intensity = positive (+) value

zero

Depth and direction of modulation - max

+ max AMS = Amp KTrk 0/+ AMS Intensity = positive (+) value

zero Depth and direction of modulation - max

+ max AMS = Amp KTrk +/0 AMS Intensity = positive (+) value

zero Depth and direction of modulation - max

JS +Y & AT/2 (Joy Stick +Y & After Touch/2) The effect will be controlled by the joystick +Y (vertically upward) and by after touch. In this case, the effect of after touch will be only half of the speciﬁed intensity. JS Y & AT/2 (Joy Stick –Y & After Touch/2) The effect will be controlled by the joystick Y (vertically downward) and by after touch. In this case, the effect of after touch will be only half of the speciﬁed intensity.

Effects
Dynamic Modulation sources

27

Effects
Pa500 is equipped with four powerful Effect Processors for the internal MIDI tracks (Upper, Lower, Style, Song, Pads).
Modulation source
Damper: #64 Prta.SW: #65 Portamento Switch Sostenuto Pedal

Note

Dynamic Modulation sources
When the symbol is encoutered, a Dynamic Modulation can be applied to the corresponding parameter. Dynamic Modulation allows for realtime control of the effect. The following table shows the available modulation sources.
Modulation source
Off Gate1 Gate1+Dmpr Gate2 Gate2+Dmpr Note Nr Velocity Expo Velocity AfterTouch JS X JS+Y: CC#01 JS-Y: CC#02 MIDI(CC#04) MIDI(CC#12) MIDI(CC#13) MIDI(CC#16) MIDI(CC#18) MIDI(CC#17) MIDI(CC#19) MIDI(CC#20) MIDI(CC#21) MIDI(CC#17+) MIDI(CC#19+) MIDI(CC#20+) MIDI(CC#21+) Note Number Note Velocity Exponential Note Velocity After Touch Joystick Left/Right Joystick Forward Joystick Backward

Sostenu: #66 MIDI(CC#67) MIDI(CC#80) MIDI(CC#81) MIDI(CC#82) MIDI(CC#83)

Note
No modulation

MIDI(CC#85) MIDI(CC#86) MIDI(CC#87) MIDI(CC#88) Tempo

Some notes on the Gate parameters follow. Gate1, Gate1+Dmpr (Gate1+Damper) The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Dmpr, the effect will remain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed.
Gate1,Gate1+Dmpr 1 Note Damper Pedal
On Off

2

1

3

2

3

Dmpr

Gate1

Gate1+Dmpr

Time

Gate2, Gate2+Dmpr (Gate2+Damper) This is essentially the same as for Gate 1 or Gate 1 + Dmpr. However when Gate 2 or Gate 2 + Dmpr are used as a dynamic modulation source for the EG, a trigger will occur at each noteon. (In the case of Gate 1 and Gate 1 + Dmpr, the trigger occurs only for the ﬁrst note-on.)
Gate2,Gate2+Dmpr 1 Note Damper Pedal
On Off

2

1

3

2

3

Dmpr

Gate2

Gate2+Dmpr

Time

28

Effects
Dynamics (Dynamic)

Dynamics (Dynamic)
000: No Effect
Select this option when you do not use any effects.
Compressor - Sensitivity Level Wet Sensitivity=100 Louder

001: Stereo Compressor
This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for guitar, piano, and drum sounds. This is a stereo compressor. You can link left and right channels, or use each channel separately.
Stereo In - Stereo Out Left EQ Trim LEQ HEQ FX Amt

Dry

Sensitivity=40

Time

c: Attack

This parameter controls the attack level.
Compressor - Attack Level Attack=80 Attack=20 Wet

Compressor
Envelope - Control Envelope Select Envelope - Control

Output Level

Compressor
EQ Trim Right LEQ HEQ

Output Level

Dry Time

FX Amt

a

Envelope Select

L/R Mix, L/R Individually 1...100 1...100 0...100 Low, Mid-Low High, Mid-High

Determines whether the left and right channels are linked or used separately Sets the sensitivity Sets the attack level Sets the EQ input level Selects the cutoff frequency (low or mid-low) of the lowrange equalizer Selects the cutoff frequency (high or mid-high) of the highrange equalizer Sets the gain of the Low EQ Sets the gain of the High EQ

002: Stereo Limiter
The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the speciﬁed level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered. This effect is a stereo limiter. You can link left and right channels, or use each channel individually.
Stereo In - Stereo Out Left Gain Adjust FX Amt

b Sensitivity c Attack d EQ Trim Pre LEQ Fc e Pre HEQ Fc

f

Pre LEQ Gain –15.0...+15.0 [dB] Pre HEQ Gain –15.0...+15.0 [dB] Output Level 0...100

Limiter

Sets the output level of the compressor Selects the modulation source for the compressor output level Sets the modulation amount for the compressor output level Sets the balance between the effect and the dry input Selects a modulation source for FX Amount Sets the modulation amount for FX Amount a Envelope Select
Right

Side PEQ

+
Envelope Select Envelope Source

Envelope - Control Envelope - Control

Trigger Monitor

g Src Amt FX Amount h Src Amt

Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

Limiter
Gain Adjust FX Amt

FX Control BUS 1 FX Control BUS 2

a: Envelope Select

L/R Mix, L Only, R Only, L/R Individually 1.0 : 1… 50.0 : 1, Inf : 1 –40...0 1...100 1...100 –Inf, –38...+24 Off...Tempo –63...+63 Off, On Off, On

Selects from linking both channels, controlling only from left channel, only from the right channel, or controlling each channel individually Sets the signal compression ratio Sets the level above which the compressor is applied Sets the attack time Sets the release time Sets the output gain Selects the modulation source for the output gain Sets the modulation amount of the output gain Toggles between on/off of the trigger signal’s EQ Switches between effect output monitor and trigger signal monitor

This parameter selects whether the left and right channels are linked to control both signals simultaneously, or whether each channel is controlled independently. b: Sensitivity g: Output Level

b Ratio c v Threshold [dB] Attack Release Gain Adjust [dB] e Src Amt Side PEQ Insert f Trigger Monitor

The “Sensitivity” parameter sets the sensitivity of the compressor. If this parameter is set to a higher value, lower level sounds will be boosted. With a higher Sensitivity, the overall volume level is higher. To adjust the ﬁnal volume level, use the “Output Level” parameter.

Effects
Dynamics (Dynamic)

29

Side PEQ Cutoff [Hz] g Q Gain [dB] FX Amount h Src Amt

20...12.00k 0.5...10.0 –18.0...+18.0 0...100 Off...Tempo –100...+100

Sets the EQ center frequency for the trigger signal Sets the EQ bandwidth for the trigger signal Sets the EQ gain for the trigger signal Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

d: Attack d: Release

These parameters set the attack time and release time. A higher attack time will cause the compression to be applied more slowly.
Limiter - Attack / Release Threshold Dry

a: Envelope Select

When L/R Mix is selected for this parameter, the left and right channels are linked to control the Limiter using the mixed signal. If L Only (or R Only) is selected, the left and right channels are linked, and the Limiter is controlled via only the left (or right) channel. With L/R individually, the left and right channels control the Limiter individually.

Wet

Ratio=Inf : 1 Attack=1 Release=1

Wet

b: Ratio c: Threshold [dB] e: Gain Adjust [dB]

Ratio=Inf : 1 Attack=100 Release=100 Release Attack

This parameter sets the signal compression “Ratio”. Compression is applied only when the signal level exceeds the “Threshold” value. Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be reduced.
Limiter - Threshold / Ratio Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Ration=Inf : 1

f: Trigger Monitor

Setting this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied. Usually, set this to Off. f: Side PEQ Insert g: Side PEQ Cutoff [Hz] g: Q g: Gain [dB]

Louder

These parameters are used to set the EQ applied to the trigger signal.
Louder Input Level

Level

Dry

Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Threshold Ratio=Inf : 1 Time

The Limiter determines whether the compression is applied or not, based on the post-EQ trigger signal. Setting the equalizer allows you to set the Limiter to respond to any frequency band.

30

Effects
Dynamics (Dynamic)

003: Multiband Limiter
This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Band-Pass Filters Low FX Amt

004: St.MasteringLimtr (Stereo Mastering Limiter)
This is a stereo limiter that is optimized for mastering songs.
Stereo In - Stereo Out Left Out Ceiling FX Amt

Limiter

+
Limiter

Envelope - Control

+

Mid

Envelope - Control Low Offset

Limiter
Out Ceiling
Gain Adjust

Limiter
Right

Envelope - Control High Mid Offset Envelope - Control High Offset

Limiter

FX Amt

Right

FX Amt

a a Ratio

Threshold [dB]

–30.0...0.0 –30.0...0.0 0.50...1000.0 0...100 Off...Tempo –100...+100

Sets the level above which the compressor is applied Sets the output gain Sets the release time Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

1.0 : 1...50.0 : 1, Inf : 1
–40...0 1...100 1...100 –40...0 –40...0 –40...0 –Inf, –38...+24 Off...Tempo –63...+63 0...100 Off...Tempo –100...+100

Sets the signal compression ratio Sets the level above which the compressor is applied Sets the attack time Sets the release time Gain of the low-range trigger signal Gain of the mid-range trigger signal Gain of the high-range trigger signal Sets the output gain Selects the modulation source for the output gain Sets the modulation amount of the output gain Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b Out Ceiling [dB] c Release [msec] FX Amount d Src Amt

b Threshold [dB] c Attack Low Offset [dB] Mid Offset [dB] d Release e f

g High Offset [dB] Gain Adjust [dB] h Src Amt FX Amount i Src Amt

e: Low Offset [dB] f: Mid Offset [dB] g: High Offset [dB]

These parameters set the gain of the trigger signal. For example, if you do not want to apply compression to the high range, reduce the “High Offset” value down below the “Threshold” level. In this way, the high range limiter will not respond, and compression will not be applied.

Effects
Dynamics (Dynamic)

31

005: Stereo Gate
This effect mutes the input signal when it falls below a speciﬁed level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.
Stereo In - Stereo Out Left Gain Adjust Envelope Source Side PEQ FX Amt

c: Threshold d: Attack d: Release

“Threshold” speciﬁes the level at which gating occurs when “Envelope Select” is set to L/R Mix, L Only, or R Only. “Attack” and “Release” specify the attack time and release time of the gate.
Gate - Threshold Output Level

Delay
Envelope - Control Envelope - Control

Gate
Trigger Monitor

+
Envelope Select

Delay

Gate
Gain Adjust FX Amt

D-mod
Right FX Control BUS 1 FX Control BUS 2

Threshold

a

Envelope Source Envelope Select

Selects the source to control the D-mod, Input gate: D-mod control, or use the input signal as a trigger L/R Mix, L Only, R Only Off...Tempo 0...100 +, – 1...100 1...100 0...100 Off, On Off, On 20...12.00k 0.5...10.0 –18.0...+18.0 0...100 Off...Tempo –100...+100 Selects the control signal: left and right linked, left only, or right only Selects the source that will control the gate when Envelope Src = D-mod Sets the level at which gating is applied Switches the polarity of gating Sets the attack time Sets the release time Sets the delay time for the gate input Switches the trigger signal equalizer on/off Switches between monitoring the effect output and the trigger signal Sets the center frequency of the equalizer for the trigger signal Sets the bandwidth of the equalizer for the trigger signal Sets the gain of the equalizer for the trigger signal Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source
Wet Wet Dry

Louder

Louder Input Level Gate - Attack / Release Threshold

b Src Threshold Polarity d e Attack Release Delay Time [msec] Side PEQ Insert f Trigger Monitor Side PEQ Cutoff [Hz] g Q Gain [dB] FX Amount h Src Amt

c

Attack=1 Release=1

Attack=100 Release=100 Attack Release

c: Polarity

This inverts the polarity of the gate on/off operation. With the “–” setting, the gate will close when the input signal exceeds the speciﬁed level. The direction in which the modulation source opens or closes the gate will also be reversed. e: Delay Time [msec]

This sets the delay time for the input to the gate. When using shorter Attack Time settings, you can lengthen the Delay Time so that the sound is input after the gate opens.

32

Effects
EQ and Filters (EQ/Filter)

EQ and Filters (EQ/Filter)
006: St.Parametric4EQ (Stereo Parametric 4-Band EQ)
This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.
Stereo In - Stereo Out Left

b: Band1 Type c: Band4 Type

Selects a ﬁlter type for Band 1 and 4.
Parametric 4EQ - Band1, Band4 Type 3dB Band4 Type=Shelving High Band4 Type=Peaking

+Gain

Band1 Band2 Band3 Band4
PEQ Trim LEQ PEQ PEQ PEQ HEQ

FX Amt

0dB Band1 Type=Shelving Low Band1 Type=Peaking 3dB Band1 Cutoff Band4 Cutoff

–Gain

Trim

LEQ PEQ PEQ PEQ

HEQ PEQ FX Amt

Right

Parametric 4EQ - Band2 Gain Mod +15dB

D-mod

D

-mod

a

Trim

0...100

Sets the input level

Band2 Cutoff +6dB 0dB Band2 Cutoff –9dB Band2 Gain[dB]= +6.0 Band2 Gain Mod Amount[dB]= +9.0 +6dB 0dB

b Band1 Type c Band4 Type

Peaking, Selects the type of Band 1 Shelving-Low Peaking, ShelvingHigh Off...Tempo –18.0...+18.0 Selects the type of Band 4 Selects the modulation source of the Band 2 gain Sets the modulation amount of Band 2 gain Sets the center frequency of Band 1 Sets the bandwidth of Band 1 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 Sets the gain of Band 2 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 Sets the gain of Band 4 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

D-mod

Band2 Dynamic d Gain Src Amt [dB]

Band2 Gain[dB]= +6.0 Band2 Gain Mod Amount[dB]= –15.0

e, f, g, h: Q

Band1 Cutoff 20...1.00k [Hz] e Q Gain [dB] 0.5...10.0 –18.0...+18.0

These parameters set the bandwidth of each equalizer. The higher the value, the narrower the band becomes. d: Band2 Dynamic Gain Src d: Amt [dB]

Band2 Cutoff 50...10.00k [Hz] f Q Gain [dB] 0.5...10.0 –18.0...+18.0

You can control the gain of Band 2 using the modulation source.

Band3 Cutoff 300...10.00k [Hz] g Q Gain [dB] 0.5...10.0 –18.0...+18.0

Band4 Cutoff 500...20.00k [Hz] h Q Gain [dB] FX Amount i Src Amt 0.5...10.0 –18.0...+18.0 0...100 Off...Tempo –100...+100

Effects
EQ and Filters (EQ/Filter)

33

007: St. Graphic 7EQ (Stereo Graphic 7-Band EQ)
This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.
Stereo In - Stereo Out Left FX Amt

008: St.Exciter/Enhncr (Stereo Exciter/Enhancer)
This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence.
Stereo In - Stereo Out Left LEQ EQ Trim HEQ FX Amt

Exciter
Delay Depth EQ Trim Delay

Trim

Exciter
Band1 Band2 Band3 Band4 Band5 Band6 Band7
Right

Enhancer
FX Amt

Trim Band1 Band2 Band3 Band4 Band5 Band6 Band7 Right FX Amt

D-mod

Exciter Blend –100...+100 a Src Amt Emphasis Freq b Src Amt c Enhancer Delay L [msec] Off...Tempo –100...+100 0...70 Off...Tempo –70...+70 0.0...50.0

Sets the intensity (depth) of the Exciter effect Selects the modulation source of the Exciter intensity Sets the modulation amount of the Exciter intensity Sets the frequency to be emphasized Selects the modulation source of the frequency to be emphasized Sets the amount of modulation of the frequency to be emphasized Sets the delay time for the Enhancer left channel Sets the delay time for the Enhancer right channel Sets the determines to what degree the Enhancer effect is applied Selects the modulation source of the Enhancer width Sets the modulation amount of the Enhancer width Sets the 2-band EQ input level Selects the cutoff frequency (low or mid-low) of the lowrange equalizer Selects the cutoff frequency (high or mid-high) of the highrange equalizer Gain of the Lo EQ Gain of the High EQ Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

a

Type

1:Wide 1, 2:Wide 2, 3:Wide 3, 4:Half Wide 1, 5:Half Wide 2, 6:Half Wide 3, Selects a combination of center 7:Low, frequencies for each band 8:Wide Low, 9:Mid, 10:Wide Mid, 11:High, 12:Wide High
0...100 –18.0...+18.0 –18.0...+18.0 –18.0...+18.0 –18.0...+18.0 –18.0...+18.0 –18.0...+18.0 –18.0...+18.0 0...100 Off...Tempo –100...+100 Sets the input level Sets the gain of Band 1 Sets the gain of Band 2 Sets the gain of Band 3 Sets the gain of Band 4 Sets the gain of Band 5 Sets the gain of Band 6 Sets the gain of Band 7 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b Trim c e f Band1 [dB] Band3 [dB] Band4 [dB] d Band2 [dB]

Enhancer d Delay R [msec] Enhancer Depth e Src Amt f EQ Trim Pre LEQ Fc g Pre HEQ Fc

0.0...50.0

g Band5 [dB] h Band6 [dB] i Band7 [dB] FX Amount j Src Amt

0...100 Off...Tempo –100...+100 0...100 Low, Mid-Low High, Mid-High

a: Type

This parameter selects a combination of center frequencies for each band. The center frequency of each band is shown in the right of the screen. You can conﬁgure a 21-Band Graphic EQ ranging from 80 Hz to 18 kHz if you route three Graphic 7-Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ.

h

Pre LEQ Gain –15.0...+15.0 [dB] Pre HEQ Gain –15.0...+15.0 [dB] FX Amount 0...100 Off...Tempo –100...+100

i

Src Amt

a: Exciter Blend

This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) different from negative values. b: Emphasis Freq

This parameter sets the frequency to be emphasized. Higher values will emphasize lower frequencies. c: Enhancer Delay L [msec] d: Enhancer Delay R [msec]

These parameters set the delay time for the Enhancer left and right channel. Specifying a slightly different delay time for the left and right channel will add a stereo image, depth, and width to the sound.

34

Effects
EQ and Filters (EQ/Filter)

009: Stereo Isolator
This is a stereo effect that separates the input signal into low, mid, and high-frequency bands, and controls the volume of each band independently. For example you can separately boost or cut the kick, snare, and hi-hat sounds from a drum signal in realtime.
Stereo In - Stereo Out Left Low Mid Trim Isolator Low Mid Trim Right High FX Amt High FX Amt

010: St. Wah/Auto Wah (Stereo Wah/Auto Wah)
This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings.
Stereo In - Stereo Out Left FX Amt

Wah
Envelope Sens

+

D-mod

Envelope Shape Response

Sweep Mode Auto D-mod LFO

LFO

Wah
Right FX Amt

D-mod D-mod D-mod a Trim 0...100 Sets the input level Sets the frequency at which the low and mid bands are divided Sets the frequency at which the mid and high bands are divided Sets the low-frequency gain Selects the source that will modulate low-frequency gain Sets the amount by which the low-frequency gain will be modulated Sets the mid-frequency gain Selects the modulation source for mid-frequency gain Sets the amount by which the mid-frequency gain will be modulated Sets the high-frequency gain Selects the modulation source for high-frequency gain Sets the amount by which the high-frequency gain will be modulated Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

a

Frequency Bottom Frequency Top

0...100 0...100

Sets the lower limit of the wah center frequency Sets the upper limit of the wah center frequency Selects the control from autowah, modulation source, and LFO Selects the modulation source for the wah when Sweep Mode=D-mod Sets the response speed when Sweep Mode = Auto or D-mod Sets the sensitivity of auto-wah Sets the sweep curve of autowah Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the resonance amount Switches the wah low pass ﬁlter on and off Sets the output level of the effect sound Selects the modulation source that will control the effect output level Sets the modulation amount of the effect output level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b Low/Mid [Hz] 100...500 c Mid/High [Hz] Low Gain [dB] d Src Amt Mid Gain [dB] e Src Amt High Gain [dB] f Src Amt FX Amount g Src Amt 2000...6000 –Inf, –59...+12 Off...Tempo –72...+72 –Inf, –59...+12 Off...Tempo –72...+72 –Inf, –59...+12 Off...Tempo –72...+72 0...100 Off...Tempo –100...+100

Auto, Sweep Mode D-mod, LFO b Src Respon Envelope Sens Envelope Shape LFO Frequency [Hz] d Src Amt MIDI Sync Off...Tempo 0...100 0...100 –100...+100 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off, On

c

e

BPM Base Note Times Resonance

f

Low Pass Filter

Output Level 0...100 g Src Amt FX Amount h Src Amt Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

Effects
EQ and Filters (EQ/Filter)

35

a: Frequency Bottom a: Frequency Top

011: St. Vintage Wah (Stereo Vintage/Custom Wah)
This effect simulates the tonal character of a vintage wah pedal. You can customize the tone and range settings.
Stereo In - Stereo Out Left

The sweep width and direction of the wah ﬁlter are determined by the “Frequency Top” and “Frequency Bottom” settings.
Sweep Mode=D-mod Frequency Top=75 Higher Frequency Higher

Wah Bottom=60

FX Amt

Wah
Wah Woo
Envelope Sens Sweep Mode Auto D-mod LFO Shape / Invert Mode Preset Setting Custom Parameters

+
Response

Bottom=25

Woo Higher Zero

Top=30

D-mod

D-mod
Max Zero

Higher

D-mod
Max
Right

LFO

Wah
FX Amt

Sweep Mode=Auto Frequency Top=75 Higher Wah Frequency Bottom=75 Wah Higher Wah

Mode
Envelope

Preset, Custom –100...+100 Off, On 0...100

Selects either preset or custom settings Sets the curve of the sweep Inverts the polarity of the sweep Sets the lower limit of the wah center frequency when Mode = Custom Sets the upper limit of the wah center frequency when Mode = Custom Sets the lower limit of resonance amount when Mode=Custom Sets the upper limit of resonance amount when Mode=Custom Selects the control from autowah, modulation source, and LFO Selects the modulation source for the wah when Sweep Mode=D-mod Sets the center frequency when Sweep Mode=D-mod and Source=Off Sets the auto-wah sensitivity Sets the speed of response when Sweep Mode=Auto or Dmod Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the output level of the effect sound Selects the modulation source that will control the effect output level Sets the modulation amount of the effect output level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

a

Shape Invert

Woo Bottom=25

Woo

Top=25 Woo

Envelope

Time

Envelope

Time

Frequency Bottom b Frequency Top Resonance Bottom c Resonance Top

b: Sweep Mode

0...100

This parameter changes the wah control mode. Setting “Sweep Mode” to Auto will select an auto-wah that sweeps according to envelope changes in the input signal level. Auto-wah is frequently used for funk guitar parts and clav sounds. When “Sweep Mode” is set to D-mod, you can control the ﬁlter directly via the modulation source in the same way as a wah pedal. When “Sweep Mode” is set to LFO, the effect uses LFO to sweep in cycle. c: Envelope Sens

0...100

0...100

Auto, Sweep Mode D-mod, LFO d Src Off...Tempo

Manual Envelope Sens e Response LFO Frequency [Hz] f Src Amt MIDI Sync

0...100 0...100 0...100

This parameter sets the sensitivity of auto-wah. Increase the value if the input signal is too low to sweep. Reduce the value if the input signal is so high that the ﬁlter is stopped temporarily. c: Envelope Shape

0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32

This parameter determines the sweep curve for auto-wah.
Envelope Shape Level

Envelope

value = 0...+100 value = 0...–100 Time

g

BPM Base Note Times

d: LFO Frequency [Hz] e: MIDI Sync

Output Level 0...100 h Src Amt FX Amount i Src Amt Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

When “MIDI/Tempo Sync”=Off, the LFO speed uses the LFO Frequency parameter setting. When “MIDI/Tempo Sync”=On, the LFO speed follows the “BPM”, “Base Note”, and “Times” settings. e: BPM e: Base Note e: Times

One cycle of LFO sweep is obtained by multiplying the length of a note ( … ) (selected for “Base Note”, in relation to the tempo speciﬁed in “BPM”, or the MIDI Clock tempo if “BPM” is set to MIDI) by the number speciﬁed in the Times parameter.

a: Shape

This parameter speciﬁes the sweep curve of the wah. It applies to all control via auto-wah, modulation source, and LFO, and lets you adjust subtle nuances of the wah effect.

36

Effects
EQ and Filters (EQ/Filter)

a: Mode b: Frequency Bottom b: Frequency Top c: Resonance Bottom c: Resonance Top

a: LFO Phase [degree]

Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect.
LFO Phase 0 +90 +180 [degree]

If Mode=Preset, this simulates a vintage wah pedal. In this case, internally ﬁxed values are used for Frequency Bottom/Top and Resonance Bottom/Top, and these settings will be ignored. The settings for Frequency Bottom/Top and Resonance Bottom/Top are valid if Mode=Custom.

–180

–90

0 [degree]

012: St. Random Filter (Stereo Random Filter)
This stereo band pass ﬁlter uses a step-shape waveform and random LFO for modulation. You can create a special effect from ﬁlter oscillation.
Stereo In - Stereo Out Left FX Amt

a: LFO Waveform b: LFO Frequency [Hz] c: LFO Step Freq [Hz]

Filter Filter
Right FX Amt LFO Phase LFO: Step-Tri/Random

When “LFO Waveform” is set to Step-Tri, LFO is a step-shape, triangle waveform. The “LFO Frequency” parameter sets the original triangle waveform speed. Changing the “LFO Step Freq” parameter enables you to adjust the width of the steps. When “LFO Waveform” is set to Random, the “LFO Step Freq” parameter uses a random LFO cycle.
Random Filter LFO LFO Frequency

a

LFO Waveform LFO Phase [degree] LFO Frequency [Hz]

Step-Tri, Random –180...+180 0.02...20.00

Selects the LFO Waveform Sets the LFO phase difference between the left and right
Step Frequency

Sets the speed of the LFO
Step-Tri

Step Frequency Random

b Src Amt LFO Step Freq [Hz] Amt MIDI Sync

Off...Tempo –20.00... +20.00 0.05...50.00 –50.00... +50.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 ...

Selects the modulation source used for both LFO speed and step speed Sets the modulation amount of LFO speed Sets the LFO step speed (speed that changes in steps Sets the modulation amount of LFO step speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Selects the type of notes to specify the LFO step speed Sets the number of notes to specify the LFO step speed Sets the ﬁlter center frequency Selects the modulation source for the ﬁlter center frequency Sets the modulation amount for the ﬁlter center frequency Sets the modulation depth of ﬁlter center frequency Selects the modulation source of ﬁlter modulation Sets the modulation amount of ﬁlter modulation Sets the resonance amount Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

d: BPM e: Step Base Note e: Times

c

d

BPM Base Note Times Step Base Note

The width of an LFO step, or a cycle of random LFO, is obtained by multiplying the length of a note ( … ) (selected for “Step Base Note”, in relation to the tempo speciﬁed in “BPM,” or the MIDI Clock tempo if “BPM” is set to MIDI) by the number speciﬁed in the “Times” parameter. i: FX Amount

The effect sound’s phase will be reversed when you set this parameter in the negative range of values.

e Times Manual f Src Amt Depth g Src Amt h Resonance FX Amount i Src Amt x1...x32 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100 0...100 -100...0...100 Off...Tempo –100...+100

Effects
EQ and Filters (EQ/Filter)

37

013: St. MultiModeFilter (Stereo Multi Mode Filter)
This is a multi-mode ﬁlter with four types; low pass, high pass, band pass, and band reject. You can use LFO or dynamic modulation to vary the cutoff frequency or resonance.
Stereo In - Stereo Out Left

014: St. Sub Oscillator (Stereo Sub Oscillator)
This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.
Stereo In - Stereo Out

FX Amt

Multimode Filter
Trim LPF HPF Filter Type BPF BRF

Driver
Output

Left Envelope Shape Envelope Sens Pre LPF

FX Amt

Multimode Filter
Trim Right

Driver
Output

D-mod
Note No.

Fixed Frequency Note Interval, Fine

Fixed

Sine Oscillator

OSC Mode Pitch Note (Key Follow)

FX Amt LFO Phase LFO: Tri / Sine LFO Shape

Envelope Sens Pre LPF Envelope Shape Right FX Amt

a

Type Trim Cutoff

LPF, HPF, BPF, Selects the type of ﬁlter BRF 0...100 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100 Sets the input level Sets the cutoff frequency (center frequency) Selects the modulation source of the cutoff Sets the modulation amount of the cutoff Sets the resonance amount Selects the source that will modulate the amount of resonance Sets the amount by which the resonance will be modulated c b Note Fine Fixed Frequency [Hz] Src a OSC Mode

Note (Key Follow), Fixed

Determines whether the oscillator frequency follows the note number or whether it is ﬁxed Sets the pitch difference from the note number when OSC Mode=Note (Key Follow) Fine adjustment of the oscillator frequency Sets the oscillator frequency when OSC Mode=Fixed Selects the modulation source for the oscillator frequency when OSC Mode=Fixed Sets the oscillator frequency modulation amount when OSC Mode=Fixed Sets the upper limit of the frequency range for which very low harmonics are added Sets the sensitivity with which very low harmonics are added Sets the oscillator’s volume envelope curve Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Note Interval –48...0 –100...+100 10.0...80.0

b Src Amt Resonance c Src Amt LFO Waveform Phase d [degree] Depth LFO Frequency [Hz] e Src Amt MIDI Sync

Off...Tempo

Amt

–80...+80

Triangle, Sine Selects the LFO Waveform –180...+180 0...100 Sets the LFO phase difference between the left and right Sets the depth to which the LFO will modulate the cutoff frequency Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Switches distortion on/off within the ﬁlter Sets the output level Sets the distortion amount Sets the amount of low-range boost Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source f d Envelope Pre 1...100 LPF Envelope Sens Envelope Shape FX Amount Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 Off, On Src Amt 0...100 –100...+100 0...100 Off...Tempo –100...+100

e

0.02...20.00

f

BPM Base Note Times

a: OSC Mode b: Note Interval b: Note Fine

g

Drive SW

Output Level 0...100 Drive Gain h Low Boost FX Amount i Src Amt 0...100 0...100 0...100 Off...Tempo –100...+100

The “OSC Mode” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator’s frequency is determined based on the note number, allowing you to use it as an octaver. The “Note Interval” parameter sets the pitch offset from the original note number by semitone steps. The “Note Fine” parameter allows you to ﬁne-tune in steps of cents. d: Envelope Pre LPF

This parameter sets the upper limit of the frequency range to which very low harmonics are added. Adjust this parameter if you do not want to add lower harmonics to the higher range.

38

Effects
EQ and Filters (EQ/Filter)

015: Talking Modulator
This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

c: Voice Top d: Voice Center e: Voice Bottom

These parameters assign vowels to the top, center, and bottom position of the controller. E.g.: When “Voice Top”=A, “Voice Center”=I, and “Voice Bottom”=U: If “Sweep Mode”is set to D-mod and Ribbon is selected as the modulation source, moving your ﬁnger from the right to left of the ribbon controller will change the sound from “a” to “i,” then “u.”

+

Talking Modulator

A- I - U- E- O

Right

FX Amt Sweep Mode D-mod LFO Voice Top: A Voice Center: I Voice Bottom: U

D-mod
LFO

If Sweep Mode is set to LFO, the sound will change cyclically from “a” to “i,” “u,” “i,” then “a.”
Talking Modulator Control Voice Bottom Voice Center Voice Top

a

Sweep Mode D-mod, LFO

Switches between modulation source control and LFO control Voice pattern control

A I U

A

Bottom, Manual Voice 1...49, Control Center, b 51...99, Top Src c Voice Top Off...Tempo A, I, U, E, O A, I, U, E, O

Selects the modulation source that controls the voice pattern Selects a vowel sound at the top end of control Selects a vowel sound in the center of control Selects a vowel sound at the bottom end of control Sets the frequency to which the effect is applied Sets the Level of resonance of the voice pattern Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

E O

d Voice Center e

D-mod

JS X Ribbon JS +Y JS –Y etc…

– Max

Zero

+ Max + Max

Voice Bottom A, I, U, E, O Formant Shift Resonance LFO Frequency [Hz] –100...+100 0...100 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo –100...+100

Zero

f

f: Formant Shift

g

Src Amt MIDI Sync

This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value. f: Resonance

This parameter sets the intensity of resonance for the voice pattern. A larger value will add more character to the sound.

h

BPM Base Note Times FX Amount

i

Src Amt

Effects
EQ and Filters (EQ/Filter)

39

016: Stereo Decimator
This effect creates a rough sound like a cheap sampler by lowering the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing).
Stereo In - Stereo Out Left Pre LPF Resolution High Damp Output Level FX Amt

f: Resolution g: Output Level

If you set a smaller value for the “Resolution” parameter, the sound may be distorted. The volume level may also be changed. Use “Output Level” to adjust the level.

Decimator

017: St. Analog Record (Stereo Analog Record)
This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable.
Stereo In - Stereo Out Left FX Amt EQ Trim Pre EQ

D-mod
LFO

Sampling Frequency

Decimator
Pre LPF Right Resolution High Damp Output Level FX Amt

Pre LPF a High Damp [%] Sampling Freq [Hz] b Src Amt LFO Frequency [Hz] c Src Amt MIDI Sync

Off, On

Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not Sets the ratio of cut of the high range Sets the sampling frequency Selects the modulation source of the sampling frequency Sets the modulation amount of the sampling frequency Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the depth of the sampling frequency LFO modulation Selects the LFO modulation source of the sampling frequency Sets the LFO modulation amount of the sampling frequency Sets the data bit length Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source g e a

Analog Record Simulation

0...100 1.00k... 48.00k Off...Tempo –48.00k... +48.00k 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo

EQ Trim Right

Pre EQ FX Amt

Speed [RPM]

33 1/3, 45, 78 0...100 0...100 0...100 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100 0...100 300...10.00k 0.5...10.0 –18.0...+18.0 0...100 Off...Tempo –100...+100

Sets the r.p.m. of a record Sets the modulation depth Sets the noise density Sets the noise tone Sets the noise level Selects the modulation source for the noise level Sets the modulation amount of the noise level Sets the click noise level Selects the modulation source for the click noise level Sets the modulation amount of the click noise level Sets the EQ input level Sets the EQ center frequency Sets the EQ band width Sets the EQ gain Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b Flutter c

Noise Density
Noise Tone Noise Level

d Src Amt Click Level Src Amt f EQ Trim Pre EQ Cutoff [Hz] Q Gain [dB] FX Amount h Src Amt

d

BPM Base Note Times Depth Src

e

Amt f Resolution

–100...+100 4...24

Output Level 0...100 g Src Amt FX Amount h Src Amt Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

b: Flutter

This parameter enables you to set the depth of the modulation caused by a warped turntable. e: Click Level

a: Pre LPF

If a sampler with a very low sampling frequency receives very high-pitched sound that could not be heard during playback, it could generate pitch noise that is unrelated to the original sound. Set “Pre LPF” to On to prevent this noise from being generated. If you set the “Sampling Freq” to about 3 kHz and set “Pre LPF” to Off, you can create a sound like a ring modulator.

This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable. This simulation reproduces record noise, and the noise generated after the music on a vinyl record ﬁnishes.

40

Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)

Overdrive, Amp models, and Mic models (OD Amp Mic)
018: OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah)
This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the wah effect, the 3-band EQ, and the amp simulation will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

a: Wah

The Wah parameter switches the wah effect on/off. a: Sw

This parameter sets how the wah effect is switched on and off via the modulation source. When “Sw” = Moment, the wah effect is usually turned off. It is turned on only when you press the pedal or operate the joystick.
When a value for the modulation source is less than 64, “off ” speed is selected, and when the value is 64 or higher, “on” is selected.

+

Pre Low-cut Wah

Mode: Overdrive / Hi-Gain Drive 3 Band PEQ Amp Simulation Driver Output Level Direct Mix

When “Sw” = Toggle, the wah effect is switched between on and off each time you press the pedal or operate the joystick.
FX Amt

Right

D-mod
Wah Src a Sw Wah Sweep Range Wah Sweep Src Drive Mode Drive d Pre Low-cut 0...10 Output Level 0...50 e Src Amt f Low Cutoff [Hz] Gain [dB] Mid1Cutoff [Hz] g Q Gain [dB] Mid2 Cutoff [Hz] h Q Gain [dB] Direct Mix i Speaker Simulation FX Amount j Src Amt Off...Tempo –50...+50 20...1.00k –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 0...50 Off, On 0...100 Off...Tempo –100...+100 Toggle, Moment –10...+10 Off...Tempo Overdrive, Hi-Gain 1...100 Off, On Off...Tempo Switches Wah on/off Selects the modulation source that switches the Wah on and off Selects the switching mode for the modulation source that switches the Wah on and off Sets the range of Wah Selects the modulation source that controls the Wah Switches between overdrive and hi-gain distortion Sets the degree of distortion Sets the low range cut amount of the distortion input Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/High EQ 2 Sets the gain of Mid/High EQ 2 Sets the amount of the dry sound mixed to the distortion Switches the speaker simulation on/off Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

The switch will be turned on/off each time the value of the modulation source exceeds 64.

b: Wah Sweep Range b: Wah Sweep Src

This parameter sets the sweep range of the wah center frequency. A negative value will reverse the direction of sweep. The wah center frequency can be controlled by the modulation source speciﬁed in the “Wah Sweep Src” parameter. d: Pre Low-cut

b

c

Cutting the signal in the low range before it is input to the Distortion will create a sharp distortion. d: Drive e: Output Level

The degree of distortion is determined by the level of input signal and the setting of “Drive”. Raising the “Drive” setting will cause the entire volume level to increase. Use the “Output Level” parameter to adjust the volume level. The “Output Level” parameter uses the signal level input to the 3-Band EQ. If clipping occurs at the 3-Band EQ, adjust the “Output Level” parameter.

Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)

41

019: St. Guitar Cabinet (Stereo Guitar Cabinet)
This simulates the acoustical character of a guitar amp’s speaker cabinet.
Stereo In - Stereo Out Left FX Amt

020: St. Bass Cabinet (Stereo Bass Cabinet)
This simulates the acoustical character of a bass amp’s speaker cabinet.
Stereo In - Stereo Out Left FX Amt

Cabinet Simulator
Trim Trim

Cabinet Simulator

Trim

Trim

Cabinet Simulator
Right FX Amt Right

Cabinet Simulator

FX Amt

a

Trim

0...100 TWEED 1x12 TWEED 4x10

Sets the input level Selects the type of the cabinet Open-back cabinet with one 12" speaker, typically used for blues Open-back cabinet with four 10" speakers

a

Trim

0...100

Sets the input level Selects the cabinet type Four 10" speakers / LA sound cabinet Four 10" aluminum-cone speakers / modern cabinet

LA - 4x10 MODERN 4x10

BLACK - 2x10 Open-back cabinet with two 10" speakers BLACK - 2x12 American open-back cabinet with two12" speakers b Type VOX AC15 1x12 VOX AC30 2x12 Vox AC15 open-back cabinet with one 12" “Blue” speaker Vox AC30 open-back cabinet with two 12" “Blue” speakers

aluminum-cone METAL - 4x10 Four 10" / modern cabinet speakers CLASSIC 8x10 UK - 4x12 STUDIO b Cabinet Type 1x15 JAZZ - 1x15 Eight 10" speakers / classic cabinet Four 12" speakers / UKmanufactured cabinet One 15" speaker / studio combo cabinet One 15" speaker / jazz combo cabinet

VOX AD412 - VOX AD412 closed-back cabinet 4x12 with four 12" speakers UK H30 4x12 Closed-back classic cabinet with four 30W 12" speakers

VOX AC100 - Two 15" speakers / cabinet for 2x15 Vox AC100 US - 2x15 UK - 4x15 LA - 1x18 Two 15" speakers / US-manufactured cabinet Four 15" speakers / UKmanufactured cabinet One 18" speaker / LA sound cabinet

Closed-back cabinet with four UK T75 - 4x12 75W 12" speakers Closed-back cabinet with four US V30 - 4x12 30W 12" speakers c Air FX Amount d Src Amt 0...100 0...100 Off...Tempo –100...+100 Sets the mic position Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source c Src Amt FX Amount

COMBI - 1x12 One 12" and one 18" speaker & 1x18 combination cabinet 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

42

Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)

021: Bass Amp Model
This simulates a bass amp.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

022: Bass Amp+Cabinet (Bass Amp Model+Cabinet)
This simulates a bass amp and speaker cabinet.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

Volume

+

Bass Amp Model

Volume

+

Bass Amp Model1

Cabinet Simulator

Right FX Amt

D-mod
Selects the ampliﬁer type LA STUDIO JAZZ An amp that is typical of the LA sound. A combo amp favored by jazz bassists. a

Right FX Amt

D-mod

Amp Type

a

Amp Type

An amp distinctive for its eyeGOLD PANEL catching gold panel and clean sound. SCOOPED VALVE2 VALVE CLASSIC An amp typical of 80’s sounds. A tube amp suitable for rock. A tube amp with the ULTRA LO switch turned ON. A tube amp whose basic character changes according to the setting of the value dial. Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the bass (low range) level Sets the middle (mid range) level Sets the mid-frequency range Sets the treble (high range) level Sets the presence (highfrequency tone) Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source e f c d

LA STUDIO, JAZZ , GOLD PANEL, Selects the type of the ampliﬁer SCOOPED, VALVE2, VALVE, CLASSIC 0...100 Off...Tempo –100...+100 0...100 0...100 0...4 0...100 0...100 Off, On Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the bass (low range) level Sets the middle (mid range) level Sets the mid-frequency range Sets the treble (high range) level Sets the presence (highfrequency tone) Switches the cabinet simulator on/off

Volume b Src Amt Bass Middle Mid Range Treble Presence

Volume b Src Amt c d e f Bass Middle Mid Range Treble Presence FX Amount g Src Amt

0...100 Off...Tempo –100...+100 0...100 0...100 0...4 0...100 0...100 0...100 Off...Tempo –100...+100

g Cabinet Simulater

LA - 4x10, MODERN 4x10, METAL 4x10, CLASSIC 8x10, UK - 4x12, h Cabinet Type STUDIO Selects the cabinet type 1x15, JAZZ - 1x15, VOX AC100 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 & 1x18 FX Amount i Src Amt 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

a: Amp Type h: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets:
Amp Type LA STUDIO JAZZ GOLD PANEL SCOOPED VALVE2 VALVE CLASSIC Cabinet Type LA - 4x10, LA - 1x18 JAZZ - 1x15 MODERN - 4x10 METAL - 4x10 CLASSIC - 8x10 CLASSIC - 8x10 COMBI - 1x12 & 1x18

Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)

43

023: Tube PreAmp Model (Tube PreAmp Modeling)
This effect simulates a two-stage vacuum tube preamp. You can make individual settings for two vacuum tubes connected in series. This lets you create the warm sound typical of vacuum tubes.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

b, f: Saturation [%]

With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of this value will produce linear response.
Mic/Pre Amp - Saturation Out Saturation = 0 Saturation = 50 Saturation = 100 In

+

Tube Pre Amp1

Invert + –

Tube Pre Amp2 Output Level

Bias = 0
Right FX Amt

c: Tube1 Bias a Tube1 Low Cut [Hz] Thru, 21...8.00k Sets the cutoff frequency for the low cut ﬁlter of stage 1 Sets the cutoff frequency for the high cut ﬁlter of stage 1 Sets the input gain for stage 1 Sets the input/output response for stage 1 Sets the bias voltage for stage 1 Turns phase reversal on/off Sets the cutoff frequency for the low cut ﬁlter of stage 2 Sets the cutoff frequency for the high cut ﬁlter of stage 2 Sets the input gain for stage 2 Sets the input/output response for stage 2 Sets the bias voltage for stage 2
Satulation = 50

High Cut [Hz] 53...20.00k, Thru Tube1 Gain [dB] Saturation [%] Tube1 Bias –24.0...+24.0 0...100 0...100 Normal, Wet Invert Thru, 21...8.00k

b c

This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform. Higher settings of this value will produce distortion even at low gain levels. Since this will also change the overtone structure, you can use it to control the tonal character.
Mic/Pre Amp - Bias Out Bias = 100 Bias = 50 Bias = 0

d Tube1 Phase Tube2 Low Cut [Hz]

e

High Cut [Hz] 53...20.00k, Thru Tube2 Gain [dB] Saturation [%] –24.0...+24.0 0...100 0...100

In

f

g Tube2 Bias

Tube2 h Output Level –48.0...+0.0 [dB] FX Amount i Src Amt 0...100 Off...Tempo –100...+100

d: Tube1 Phase
Sets the output level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

With the Wet Invert setting, the phase of the signal will be inverted between stage 1 and stage 2. Since “Bias” is applied to the inverted signal in stage 2, this will change the tonal character.

44

Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)

024: St. Tube PreAmp (Stereo Tube PreAmp Modeling)
This is a stereo vacuum tube preamp simulator (See “023: Tube PreAmp Model (Tube PreAmp Modeling)” on page 43.).
Stereo In - Stereo Out Left FX Amt + – Invert Tube Pre Amp1 + – Right FX Amt Output Level Tube Pre Amp2

Tube Pre Amp1

Tube Pre Amp2

025: Mic Model+PreAmp (Mic Modeling + PreAmp)
This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differing sonic characters.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

+

Mic Simulation

Tube Pre Amp Output Level

Right FX Amt

a

Mic Type

Vintage Dynamic, Multi Condenser, Percussion Condenser, Drums Dynamic, Selects the type of mic Vocal Dynamic, Multi Dynamic, Vocal Condenser, Vocal Tube, Kick Dynamic Close, On, Off, Far Thru, 21...8.00k Sets the mic placement distance Sets the frequency of the low cut ﬁlter Sets the frequency of the high cut ﬁlter Sets the input gain to the vacuum tube preamp Sets the input/output response of the preamp Sets the bias level of the preamp Sets the output level of the preamp Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b Mic Position Tube Low Cut [Hz]

c

High Cut [Hz] 53...20.00k, Thru Tube Gain [dB] Saturation [%] Tube Bias –24.0...+24.0 0...100 0...100

d

e f

Tube Output –48.0...+0.0 Level [dB] FX Amount 0...100 Off...Tempo –100...+100

g

Src Amt

b: Mic Position

This expresses the effect that the mic position has on the sound. The Close setting is the closest mic position, and the Far setting is the farthest.

Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

45

Chorus, Flanger, and Phaser (Cho/Fln Phaser)
026: Stereo Chorus
This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Stereo In - Stereo Out Left LEQ EQ Trim HEQ

027: St.HarmonicChorus (Stereo Harmonic Chorus)
This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a ﬂanger.
Stereo In - Stereo Out Left Low Level FX Amt

FX Amt

Chorus

Chorus/Flanger
LEQ EQ Trim Right FX Amt LFO Phase LFO: Tri / Sine LFO Phase LFO: Tri / Sine Right HEQ

Chorus

High/Low Split Point

High Damp Feedback High Damp

High Level

Chorus/Flanger

High Level

Low Level FX Amt

a

LFO Waveform LFO Phase [degree] LFO Frequency [Hz]

Triangle, Sine Selects the LFO Waveform –180...+180 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0.0...50.0 0.0...50.0 0...100 Off...Tempo –100...+100 0...100 Low, Mid-Low High, Mid-High Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the delay time for the left channel Sets the delay time for the right channel Sets the depth of LFO modulation Selects the modulation source for the LFO modulation depth Sets the modulation amount of the LFO modulation depth Sets the EQ input level Selects the cutoff frequency (low or mid-low) of the lowrange equalizer Selects the cutoff frequency (high or mid-high) of the highrange equalizer Gain of the Low EQ Gain of the High EQ Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source FX Amount i Src Amt 0...100 Off...Tempo –100...+100 f e c a LFO Waveform LFO Phase [degree] LFO Frequency [Hz] b Src Amt MIDI Sync Triangle, Sine Selects the LFO Waveform –180...+180 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0.0...50.0 0...100 Off...Tempo –100...+100 1...100 –100...+100 0...100 0...100 0...100 Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the delay time from the original sound Sets the depth of LFO modulation Selects the modulation source of the LFO modulation depth Sets the modulation amount of the LFO modulation depth Sets the frequency split point between the low and high range Sets the feed back amount of the chorus block Sets the high range damping amount of the chorus block Sets the low range output level Sets the high range (chorus) output level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b

Src Amt MIDI Sync

c

BPM Base Note Times L Pre Delay [msec] R Pre Delay [msec] Depth

BPM Base Note Times

d

d Pre Delay [msec] Depth Src Amt High/Low Split Point Feedback g High Damp [%] Low Level h High Level

e

Src Amt

f

EQ Trim Pre LEQ Fc

g Pre HEQ Fc

h

Pre LEQ Gain –15.0...+15.0 [dB] Pre HEQ Gain –15.0...+15.0 [dB] FX Amount -100...0...100 Off...Tempo –100...+100

i

Src Amt

f: High/Low Split Point d: L Pre Delay [msec] d: R Pre Delay [msec]

This parameter sets the frequency that splits the high and low range. Only the high range will be sent to the chorus block. g: Feedback

Setting the left and right delay time individually allows you to control the stereo image.

Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a ﬂanger.

46

Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

028: St. Biphase Mod. (Stereo Biphase Modulation)
This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.
Stereo In - Stereo Out Left FX Amt

029: Multitap Cho/Delay (Multitap Chorus/Delay)
This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also ﬁx some of the chorus blocks to combine the chorus and delay effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left Feedback FX Amt

Chorus/Flanger
High Damp Feedback High Damp

Tap1 Delay

Level Level Level Level

Pan Pan Pan Pan

+

Tap2 Delay Tap3 Delay Tap4 Delay

Chorus/Flanger
Right FX Amt 180 [degree] LFO1: Tri / Sine LFO2: Tri / Sine

Right

0 [degree] 180 [degree] 90 [degree] 270 [degree] LFO: Triangle

FX Amt

LFO1 Waveform a LFO2 Phase Sw LFO1 Frequency [Hz] b Src LFO1 Amt LFO2 Frequency [Hz] Amt Depth1 d Src Amt Depth2 e Amt L Pre Delay [msec] R Pre Delay [msec] Feedback g High Damp [%] FX Amount h Src Amt

Triangle, Sine Selects LFO1 waveform Triangle, Sine Selects LFO2 waveform 0 deg, 180 deg 0.02...30.00 Off...Tempo –30.00... +30.00 0.02...30.00 –30.00... +30.00 0...100 Off...Tempo –100...+100 0...100 –100...+100 0.0...50.0 0.0...50.0 –100...+100 0...100 Switches the LFO phase difference between left and right Sets the LFO1 speed

a

LFO Frequency [Hz] Tap1 (000) [msec]

0.02...13.00 0...1000 0...30 0...30 L6...L1, C, R1...R6 0...1000 0...30 0...30 L6...L1, C, R1...R6 0...1000 0...30 0...30 L6...L1, C, R1...R6 0...1000 0...30 0...30 L6...L1, C, R1...R6 –100...+100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

Sets the speed of the LFO Sets the Tap1 (LFO phase=0 degrees) delay time Sets the Tap1 chorus depth Sets the Tap1 output level Sets the Tap1 stereo image Sets the Tap2 (LFO phase=180 degrees) delay time Sets the Tap2 chorus depth Sets the Tap2 output level Sets the Tap2 stereo image Sets the Tap3 (LFO phase=90 degrees) delay time Sets the Tap3 chorus depth Sets the Tap3 output level Sets the Tap3 stereo image Sets the Tap4 (LFO phase=270 degrees) delay time Sets the Tap4 chorus depth Sets the Tap4 output level Sets the Tap4 stereo image Sets the Tap1 feedback amount Selects the modulation source of Tap1 feedback amount and effect balance Sets the Tap1 feedback amount and modulation amount Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b

Depth Level Pan

Selects the modulation source of LFO1&2 speed Sets the modulation amount of LFO1 speed Sets the LFO2 speed Sets the modulation amount of LFO2 speed Sets the depth of LFO1 modulation Selects the modulation source of LFO1&2 modulation depth Sets the modulation amount of LFO1 modulation depth Sets the depth of LFO2 modulation Sets the modulation amount of LFO2 modulation depth Sets the delay time for the left channel Sets the delay time for the right channel Sets the feedback amount Sets the damping amount in the high range f e d c

Tap2 (180) [msec] Depth Level Pan Tap3 (090) [msec] Depth Level Pan Tap4 (270) [msec] Depth Level Pan Tap1 Feedback Src Amt FX Amount g Src Amt

c

f

-100...0...100 Amount of FX added to the direct signal Off...Tempo –100...+100 Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source
Bi-Phase Modulation LFO

LFO1 Depth1 LFO2 Depth2

+

Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

47

030: Ensemble
This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

031: Polysix Ensemble
This models the ensemble effect built into the classic Korg PolySix programmable polyphonic synthesizer.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

+
+

Polysix
Ensemble

Ensemble
Right FX Amt

Right FX Amt Shimmer LFO

Depth a Src Amt FX Amount b Src Amt

0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

Sets the depth of the effect Selects the modulation source that will control the effect depth Sets the amount by which the effect depth will be modulated Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Speed a Src Amt Depth b Src Amt c Shimmer FX Amount d Src Amt

1...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100 0...100 0...100 Off...Tempo –100...+100

Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed Sets the depth of LFO modulation Selects the modulation source of the LFO modulation depth Sets the modulation amount of the LFO modulation depth Sets the amount of shimmering of the LFO waveform Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

c: Shimmer

This parameter sets the amount of shimmering of the LFO waveform. Increasing this value adds more shimmering, making the chorus effect more complex and richer.
Ensemble LFO Level

Shimmer

Time

48

Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

032: Stereo Flanger
This effect gives a signiﬁcant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo ﬂanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Stereo In - Stereo Out Left FX Amt

033: St. Random Flanger (Stereo Random Flanger)
The stereo effect uses a step-shape waveform and random LFO for modulation, creating a unique ﬂanging effect.
Stereo In - Stereo Out Left FX Amt

Flanger
Feedback

Flanger
High Damp

Flanger
Feedback High Damp Right LFO Phase LFO: Step-Tri/Random Right LFO Phase LFO: Tri / Sine LFO Shape FX Amt FX Amt

Flanger

a a Delay Time [msec] LFO Waveform LFO Shape c LFO Phase [degree] LFO Frequency [Hz] d Src Amt MIDI Sync 0.0...50.0 Sets the delay time from the original sound

Delay Time [msec] LFO Waveform LFO Phase [degree] LFO Frequency [Hz]

0.0...50.0 Step-Tri, Random –180...+180 0.02...20.00

Sets the delay time from the original sound Selects the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects the modulation source used for both LFO speed and step speed Sets the modulation amount of LFO speed Sets the LFO step speed (speed that changes in steps) Sets the modulation amount of LFO step speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Selects the type of notes to specify the LFO step speed Sets the number of notes to specify the LFO step speed Sets the depth of LFO modulation Sets the feedback amount Sets the feedback damping amount in the high range Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b

Triangle, Sine Selects the LFO Waveform –100...+100 –180...+180 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 –100...+100 0...100 -100...0...100 Off...Tempo –100...+100 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO c

b

Src Amt

Off...Tempo –20.00... +20.00 0.05...50.00 –50.00... +50.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 ... x1...x32 0...100 –100...+100 0...100 -100...0...100 Off...Tempo –100...+100

Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the depth of LFO modulation Sets the feedback amount Sets the feedback damping amount in the high range Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source i h f d

LFO Step Freq [Hz] Step Amt MIDI Sync

e

BPM Base Note Times

e

BPM Base Note Times Step Base Note Times

f

Depth Feedback

g

High Damp [%] FX Amount

g Depth Feedback High Damp [%] FX Amount

h Src Amt

g: Feedback h: FX Amount

Src Amt

The peak shape of the positive and negative “Feedback” value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both “Feedback” and “FX Amount”, and if you set a negative value for both “Feedback” and “FX Amount”. g: High Damp [%]

This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmonics.

Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

49

034: St. Env. Flanger (Stereo Envelope Flanger)
This Flanger uses an envelope generator for modulation. You will obtain the same pattern of ﬂanging each time you play. You can also control the Flanger directly using the modulation source.
Stereo In - Stereo Out Left FX Amt

035: Stereo Phaser
This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Stereo In - Stereo Out Left FX Amt

Phaser
Resonance High Damp

Flanger Phaser
Feedback Right High Damp

FX Amt LFO Phase LFO: Tri / Sine LFO Shape

Flanger
Right

D-mod

D-mod EG Attack/Decay EG Sweep Mode

FX Amt

a L Dly Bottom 0.0...50.0 [msec] L Dly Top [msec] 0.0...50.0 Sets the lower limit of the leftchannel delay time Sets the upper limit of the leftchannel delay time Sets the lower limit of the rightchannel delay time Sets the upper limit of the rightchannel delay time Determines whether the ﬂanger is controlled by the envelope generator or by the modulation source Selects the modulation source that triggers the EG (when Sweep Mode = EG), or the modulation source that causes the ﬂanger to sweep (when Sweep Mode = Dmod) Sets the EG attack speed Sets the EG decay speed Sets the feedback amount Sets the feedback damping amount in the high range Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source f e c

LFO Waveform LFO Shape

Triangle, Sine Selects the LFO Waveform –100...+100 –180...+180 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100 –100...+100 0...100 -100...0...100 Off...Tempo –100...+100 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the frequency to which the effect is applied Selects the modulation source for the LFO modulation Sets the modulation amount of the LFO modulation Sets the depth of LFO modulation Selects the modulation source for the LFO modulation depth Sets the modulation amount of the LFO modulation depth Sets the resonance amount Sets the resonance damping amount in the high range Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

a

b LFO Phase [degree] LFO Frequency [Hz] Src Amt MIDI Sync

b

R Dly Bottom 0.0...50.0 [msec] R Dly Top [msec] 0.0...50.0

Sweep Mode EG, D-mod c Src Off...Tempo

d

BPM Base Note Times Manual Src Amt Depth Src Amt Resonance

d e f

EG Attack EG Decay Feedback High Damp [%] FX Amount

1...100 1...100 –100...+100 0...100 -100...0...100 Off...Tempo –100...+100

g Src Amt

c: Sweep Mode c: Src

This parameter switches the ﬂanger control mode. With “Sweep Mode” = EG, the ﬂanger will sweep using the envelope generator. This envelope generator is included in the envelope ﬂanger, and not related to the Pitch EG, Filter EG, or Amp EG. The “Src” parameter selects the source that starts the envelope generator. If you select, for example, Gate, the envelope generator will start when the note-on message is received. When “Sweep Mode” = D-mod, the modulation source can control the ﬂanger directly. Select the modulation source using the “Src” parameter.
The effect is off when a value for the modulation source speciﬁed for the “Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher.

h

High Damp [%] FX Amount

j

Src Amt

h: Resonance i: FX Amount

The peak shape of the positive and negative Feedback value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound, if you set a positive value for both “Resonance” and “FX Amount”, and if you set a negative value for both “Resonance” and “FX Amount”. h: High Damp [%]

d: EG Attack d: EG Decay

Attack and Decay speed are the only adjustable parameters on this EG.

This parameter sets the amount of damping of the resonance in the high range. Increasing the value will cut high-range harmonics.

50

Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

036: St. Random Phaser (Stereo Random Phaser)
This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect.
Stereo In - Stereo Out Left FX Amt

037: St. Env. Phaser (Stereo Envelope Phaser)
This stereo phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source.
Stereo In - Stereo Out Left FX Amt

Phaser Phaser
Resonance High Damp Resonance High Damp

Phaser Phaser
Right FX Amt LFO Phase LFO: Step-Tri/Random Right FX Amt

D-mod

D-mod EG Attack/Decay Sweep Mode EG

a

LFO Waveform LFO Phase [degree] LFO Frequency [Hz]

Step-Tri, Step-Sin, Random –180...+180 0.02...20.00

Selects the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects the modulation source commonly used for LFO speed and step speed Sets the modulation amount of LFO speed Sets the LFO step speed Sweep Mode EG, D-mod Sets the modulation amount of LFO step speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Selects the type of notes to specify the LFO step speed Sets the number of notes to specify the LFO step speed Sets the frequency to which the effect is applied Selects the modulation source for the LFO modulation Sets the modulation amount of the LFO modulation Sets the depth of LFO modulation Sets the resonance amount Sets the resonance damping amount in the high range Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source EG Attack d EG Decay e f Resonance High Damp [%] FX Amount g Src Amt 1...100 –100...+100 0...100 -100...0...100 Off...Tempo –100...+100 1...100 c Src Off...Tempo R Manu Bottom b R Manu Top 0...100 0...100 L Manu Bottom a L Manu Top 0...100 0...100

Sets the lower limit of the frequency range for the effect on the left channel Sets the upper limit of the frequency range for the effect on the left channel Sets the lower limit of the frequency range for the effect on the right channel Sets the upper limit of the frequency range for the effect on the right channel Determines whether the ﬂanger is controlled by the envelope generator or by the modulation source Selects the modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the ﬂanger to sweep (when Dmod is selected for Sweep Mode) Sets the EG attack speed Sets the EG decay speed Sets the resonance amount Sets the resonance damping amount in the high range Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b Src Amt LFO Step Freq [Hz] Amt MIDI Sync

Off...Tempo –20.00... +20.00 0.05...50.00 –50.00... +50.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 ...

c

d

BPM Base Note Times Step Base Note

e Times Manual f Src Amt g Depth Resonance h High Damp [%] FX Amount i Src Amt x1...x32 0...100 Off...Tempo –100...+100 0...100 –100...+100 0...100 -100...0...100 Off...Tempo –100...+100

Effects
Modulation and Pitch Shift (Mod./P.Shift)

51

Modulation and Pitch Shift (Mod./P.Shift)
038: Stereo Vibrato
This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.
Stereo In - Stereo Out Left FX Amt

a: AUTOFADE Src b: Fade-In Delay [msec] b: Fade-In Rate d: LFO Frequency Mod

Vibrato

When “LFO Frequency Mod” is set to AUTOFADE, you can use the modulation source selected in “AUTOFADE Src” as a trigger to automatically fade in the modulation amount. When “MIDI Sync” is set to On, you cannot use this. The “Fade-In Rate” parameter speciﬁes the rate of fade-in. The “Fade-In Delay” parameter determines the time from AutoFade modulation source On until the fade-in starts.

Vibrato
Right LFO: Tri / Sine
AutoFade

FX Amt LFO Shape Fade-In Delay LFO Frequency

The following is an example of fade-in where the LFO speed is increased from “1.0Hz” to “4.0Hz” when a note-on message is received. AUTOFADE Src=Gate1, LFO Frequency Mod=AUTOFADE, LFO Frequency [Hz]=1.0, Amt=3.0
The effect is off when a value for the dynamic modulation source speciﬁed for the “AUTOFADE Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher.
AUTOFADE
AutoFade

a

AUTOFADE Src

Off...Tempo

Selects the modulation source that starts AutoFade Sets the fade-in delay time Sets the rate of fade-in

b

Fade-In Delay 00...2000 [msec] Fade-In Rate LFO Waveform LFO Shape 1...100

Triangle, Sine Selects the LFO Waveform –100...+100 D-mod, AUTOFADE 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100 Changes the curvature of the LFO Waveform Switches between D-mod and AUTOFADE for the LFO frequency modulation Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the depth of LFO modulation Selects the modulation source of the LFO modulation depth Sets the modulation amount of the LFO modulation depth Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

c

LFO d Frequency Mod LFO Frequency [Hz] e Src Amt MIDI Sync

Gate1 Signal

Source=Gate1 LFO Freq. Mod=AUTOFADE LFO Frequency[Hz]=1.0 Amount=+3.0 Note On All Note Off LFO Frequency =1.0+3.0=4.0Hz LFO Frequency =1.0Hz

AUTOFADE

Fade-In Rate Fade-In Dealy

f

BPM Base Note Times Depth

g Src Amt FX Amount h Src Amt

52

Effects
Modulation and Pitch Shift (Mod./P.Shift)

039: St. Auto Fade Mod. (Stereo Auto Fade Modulatiom)
This stereo chorus/ﬂanger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other.
Stereo In - Stereo Out Left FX Amt

040: 2Voice Resonator
This effect resonates the input signal at a speciﬁed pitch. You can set the pitch, output level, and pan settings for two resonators individually. You can control the resonance intensity via an LFO.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left High Damp Trim

FX Amt

Resonator
Resonance

Level

Pan

+

Delay
Trim
Feedback

Resonator
High Damp

Level

Pan

Right

Delay
Right LFO Phase LFO: Tri / Sine
AutoFade

High Damp

FX Amt

D-mod
LFO
FX Amt

Invert: On/Off Pitch, Fine [cents] Control Mode

Manual

LFO Shape LFO Frequency FX Amt

Control Mode a LFO/D-mod Invert LFO Frequency [Hz] D-mod Src

Manual, LFO, Switches the controls of D-mod resonance intensity Off, On Reverses the Voice 1 and 2 control when LFO/D-mod is selected Sets the speed of the LFO Selects the modulation source that controls resonance intensity When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the amount of resonance intensity control via LFO/D-mod Sets the input level at the resonator Sets the voice1 Pitch for resonance Fine-adjusts the voice 1 pitch for resonance Sets the Voice1 output level Sets the intensity of resonance when Control Mode = Manual Sets the damping amount of resonant sound in the high range Sets the Voice1 stereo image Sets the voice 2 Pitch for resonance Fine-adjusts the voice 2 pitch for resonance Sets the Voice2 output level Sets the intensity of resonance when Control Mode = Manual Sets the damping amount of resonant sound in the high range Sets the Voice2 stereo image Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

AUTOFADE Src a

Off...Tempo

Selects the modulation source that starts AutoFade Sets the fade-in delay time Sets the rate of fade-in Switches between D-mod and AUTOFADE for the LFO frequency modulation Switches between D-mod and AUTOFADE for the effect balance modulation b

Fade-In Delay 00...2000 [msec] Rate LFO Frequency Mod 1...100 D-mod, AUTOFADE

0.02...20.00

Off...Tempo

b Wet/Dry Mod D-mod, AUTOFADE LFO Waveform LFO Shape d LFO Phase [degree] LFO Frequency [Hz] e Src Amt L Delay Time [msec]

MIDI Sync

Off, On MIDI, 40.00... 300.00 ... x1...x32 –100...+100 0...100 C0...B8 –50...+50 0...100 –100...+100 0...100 L6...L1, C, R1...R6 C0...B8 –50...+50 0...100 –100...+100 0...100 L6...L1, C, R1...R6 0...100 Off...Tempo –100...+100

c

BPM Base Note Times Mod. Depth

Triangle, Sine Selects the LFO Waveform –100...+100 –180...+180 0.02...20.00 Off...Tempo –20.00... +20.00 0.0...500.0 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed Sets the left channel delay time Sets the right channel delay time Sets the depth of LFO modulation Sets the feedback amount Sets the feedback damping amount in the high range Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source d

c

Trim Voice1: Pitch e Fine [cents] Level Voice1: Resonance f High Damp [%] Pan Voice2: Pitch g Fine [cents] Level Voice2: Resonance h High Damp [%] Pan FX Amount i Src Amt

f

R Delay Time 0.0...500.0 [msec] 0...200 –100...+100 0...100 -100...0...100 Off...Tempo –100...+100

g Depth Feedback h High Damp [%] FX Amount i Src Amt

Effects
Modulation and Pitch Shift (Mod./P.Shift)

53

a: Control Mode f: Voice 1: Resonance h: Voice 2: Resonance

041: Doppler
This effect simulates the “Doppler effect” of a moving sound with a changing pitch, similar to the siren of an passing ambulance. Mixing the effect sound with the dry sound will create a unique chorus effect.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left

This parameter determines the resonance intensity. When “Control Mode” = Manual, the “Resonance” parameter sets the intensity of resonance. If the “Resonance” parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave lower. When “Control Mode” = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and negative values, causing resonance to occur between speciﬁed pitches an octave apart in turn. When “Control Mode” = D-mod, the resonance is controlled by the dynamic modulation source. If JS X or Ribbon is assigned as the modulation source, the pitch an octave higher and lower can be controlled, similar to when LFO is selected for Control Mode. a: LFO/D-mod Invert

FX Amt

+

Doppler

Pan Depth

Right LFO

FX Amt

D

-mod

Trigger

LFO Mode = 1-Shot

LFO Mode a Src

Loop, 1-Shot Off...Tempo Off, On

Switches LFO operation mode Selects the modulation source of LFO reset Switches between LFO reset on and off when LFO Mode is set to Loop Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the pitch variation of the moving sound Selects the modulation source of pitch variation Sets the modulation amount of pitch variation Sets the panning of the moving sound Selects the modulation source of panning Sets the modulation amount of panning Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b LFO Sync LFO Frequency [Hz] c Src Amt MIDI Sync

When “Control Mode” = LFO or D-mod, the controlled phase of either Voice 1 or 2 will be reversed. When the resonance pitch is set for Voice 1 (Resonance has a positive value), Voice 2 will resonate at a pitch an octave below (Resonance has a negative value). f: Voice 1: Pitch f: Fine [cents] h: Voice 2: Pitch h: Fine [cents]

0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo –100...+100 –100...+100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

The Pitch parameter speciﬁes the pitch of resonance by note name. The “Fine” parameter allows for ﬁne adjustment in steps of cents. g: High Damp [%] i: High Damp [%]

d

BPM Base Note Times Pitch Depth

This sets the amount of damping amount for the high frequencies of the resonant sound. Lower values create a metallic sound with a higher range of harmonics.

e

Src Amt Pan Depth

f

Src Amt FX Amount

g Src Amt

a: LFO Mode a: Src b: LFO Sync

The “LFO Mode” parameter switches LFO operation mode. When Loop is selected, the Doppler effect will be created repeatedly. If “LFO Sync” is set to On, the LFO will be reset when the modulation source speciﬁed with the “Src” parameter is turned on. When “LFO Mode” is set to 1-Shot, the Doppler effect is created only once when the modulation source speciﬁed in the “Src” ﬁeld is turned on. At this time if you do not set the “Src” parameter, the Doppler effect will not be created, and no effect sound will be output.

54

Effects
Modulation and Pitch Shift (Mod./P.Shift)

The effect is off when a value for the modulation source speciﬁed for the “Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Doppler effect is triggered when the value changes from 63 or smaller to 64 or higher.

a: Scratch Source b: Response

e: Pitch Depth

With the Doppler effect, the pitch is raised when the sound approaches, and the pitch is lowered when the sound goes away. This parameter sets this pitch variation. f: Pan Depth

The Scratch Source parameter enables you to select the modulation source that controls simulation. The value of the modulation source corresponds to the playback position. The Response parameter enables you to set the speed of the response to the modulation source.
Scratch Source Start Playback Position End

This parameter sets the width of the stereo image of the effect sound. With larger values, the sound seems to come and go from much further away. With positive values, the sound moves from left to right; with negative values, the sound moves from right to left.
Doppler - Pitch / Pan Depth Pitch Higher Pan Depth = (+) value Pan Depth = (–) value Pitch Depth

Recorded Sound

Scratch Source

D-mod

JS X Ribbon JS+Y JS–Y etc…

Scratch! – Max Zero Zero + Max

+ Max

Original Pitch Lower

c: Envelope Select c: Src d: Threshold

Left

Center Pan Depth

Right

<

<

<

< < > > >

>

>

>

When “Envelope Select” is set to D-mod, the input signal will be recorded only when the modulation source value is 64 or higher. When “Envelope Select” is set to Input, the input signal will be recorded only when its level is over the Threshold value. The maximum recording time is 2,730msec. If this is exceeded, the recorded data will start being erased from the top. e: Response

Louder

Volume

Louder

042: Scratch
This effect is applied by recording the input signal and moving the modulation source. It simulates the sound of scratches you can make using a turntable.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

This parameter enables you to set the speed of the response to the end of recording. Set a smaller value when you are recording a phrase or rhythm pattern, and set a higher value if you are recording only one note. f: Direct Mix

+

Scratch
Rec Control Scratch

Direct Mix

Right

D-mod

D-mod Envelope Control Input Envelope Select

FX Amt

With Always On, a dry sound is usually output. With Always Off, dry sounds are not output. With Cross Fade, a dry sound is usually output, and it is muted only when scratching. Set FX Amount to 100 to use this parameter effectively.

D-mod
Scratch Source Selects the modulation source for simulation control Sets the speed of the response to the Scratch Src

a

Off...Tempo 0...100

b Response Envelope Select c Src

Selects whether the start and of D-mod, Input endthe recording is controlled via modulation source or the input signal level Off...Tempo Selects the modulation source that controls recording when Envelope Select is set to D-mod Sets the recording start level when Envelope Select is set to Input Sets the speed of the response to the end of recording Selects how a dry sound is mixed Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

d Threshold e f Response Direct Mix FX Amount g Src Amt

0...100 0...100 Always On, Always Off, Cross Fade 0...100 Off...Tempo –100...+100

Effects
Modulation and Pitch Shift (Mod./P.Shift)

55

043: Grain Shifter
This effect cuts extremely short samples (“grains”) from the input signal waveform and plays them repeatedly, giving a mechanical character to the sound.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

044: Stereo Tremolo
This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.
Stereo In - Stereo Out Left FX Amt

Tremolo

+

Grain Shifter Sample Cycle

Tremolo
Right FX Amt LFO
Right FX Amt LFO Phase

D

-mod

Trigger

LFO: Tri/Sin/Vintage/Up/Down

LFO Shape

Duration Src a Amt b LFO Sync Src LFO Sample Cycle [Hz] c Src Amt MIDI Sync

0...100 Off...Tempo

Sets the duration of the grain Selects the source that will modulate the duration of the grain Sets the amount by which the grain duration will be modulated Selects the modulation source that will reset the LFO Sets the frequency at which the grain will be switched Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source e d c a LFO Waveform LFO Shape b LFO Phase [degree] LFO Frequency [Hz] Src Amt MIDI Sync

Triangle, Sine, Vintage, Up, Down –100...+100 –180...+180 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

Selects the LFO Waveform Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the depth of LFO modulation Selects the modulation source of the depth of modulation Sets the modulation amount of the depth of modulation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

–100...+100 Off...Tempo 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo –100...+100

d

BPM Base Note Times FX Amount

BPM Base Note Times Depth Src Amt FX Amount

e

Src Amt

a: Duration c: LFO Sample Cycle [Hz]

f

Src Amt

Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continuously.
Sample Cycle / Duration Sample Cycle Duration

a: LFO Waveform

This parameter sets the basic shape of the LFO. The Vintage waveform models classic guitar-amp tremolo.
Tremolo - LFO Waveform

Triangle

Sine

Vintage

Up

Down

In

Out

b: LFO Phase [degree]

This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right.

56

Effects
Modulation and Pitch Shift (Mod./P.Shift)

045: St. Env. Tremolo (Stereo Envelope Tremolo)
This effect uses the input signal level to modulate a stereo tremolo (LFO volume modulation). For instance, you can create a tremolo effect that becomes deeper and faster as the input gets more quiet.
Stereo In - Stereo Out Left

046: Stereo Auto Pan
This is a stereo-in, stereo-out auto-panner. The Phase and Shape parameters lets you create various panning effects, such as making the left and right inputs seem to chase each other around the stereo ﬁeld.
Stereo In - Stereo Out Left FX Amt

FX Amt

Pan
Depth

Tremolo

Pan Tremolo
Right LFO Phase LFO: Tri/Sin/Vintage LFO Shape FX Amt LFO: Tri / Sin LFO Shape Right FX Amt LFO Phase

+

Envelope

Envelope Shape Envelope Sens

a

LFO Waveform LFO Shape

Triangle, Sine Selects the LFO Waveform –100...+100 –180...+180 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the depth of LFO modulation Selects the modulation source of the depth of modulation Sets the modulation amount of the depth of modulation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

a

Envelope Sens Envelope Shape LFO Waveform LFO Shape

0...100 –100...+100

Sets the envelope’s sensitivity to the input signal Sets the envelope’s curvature

b LFO Phase [degree] LFO Frequency [Hz] c Src Amt MIDI Sync

b

Triangle, Sine, Vintage Selects the LFO Waveform –100...+100 –180...+180 0.02...20.00 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the speed of the LFO Sets the amount added to or subtracted from the Frequency when the envelope is at maximum Sets the initial amount of tremolo Sets the amount added to or subtracted from the Depth when the envelope is at maximum Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

c

LFO Phase [degree] LFO Frequency [Hz]

d –20.00... Envelope Amount [Hz] +20.00 Depth e Envelope Amount FX Amount f Src Amt 0...100

d

BPM Base Note Times Depth

–100...+100

e

Src Amt FX Amount

0...100 Off...Tempo –100...+100

f

d: LFO Frequency [Hz] d: Envelope Amount [Hz] e: Depth e: Envelope Amount

Src Amt

a: LFO Shape

The graphic below shows an example of tremolo modulation with negative modulation of both Depth and Frequency. At the start of the note, the input is at maximum volume. This slows down the LFO Frequency to 1.0Hz, but also modulates the Depth to 0–so the tremolo doesn’t have any effect. As the input volume dies down, the Frequency speeds up; the Depth also increases, making the tremolo effect increasingly audible. When the input volume approaches silence, the Depth is at its maximum (100) and Frequency is at 8Hz.
Shimmer Level Dry Envelope LFO Frequency[Hz]=8.0 Envelope Amount[Hz]= –7.0Hz Depth=100 Envelope Amount= –100

You can change the panning curve by modifying the LFO’s Shape. b: LFO Phase [degree]

This determines the phase difference between the left and right LFOs. When you gradually change the value away from 0, the sounds from the left and right channels will seem to chase each other around. If you set the parameter to +180 or –180, the sounds from each channel will cross over each other. You’ll only hear the effect of this parameter if the input is true stereo, with different signals in the left and right channels.

Louder

Time

Effects
Modulation and Pitch Shift (Mod./P.Shift)

57

Stereo Auto Pan - LFO Phase LFO Phase = 0 degrees
L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In R-In R-In L-In L-In R-In L-In R-In L-In R-In L-In R-In R-In L-In R-In L-In R-In L-In

LFO Phase = 90 degrees
L-In

LFO Phase = 180 degrees
L-In R-In

Tremolo Depth h Src Amt FX Amount i Src Amt

0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

Sets the tremolo modulation depth Selects the modulation source for the tremolo modulation depth Sets the modulation amount of the tremolo modulation depth Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Left

Right Center Output Stereo Image

a: Type a: LFO Phase [degree]

047: St. Phaser + Trml (Stereo Phaser + Tremolo)
This effect combines a stereo phaser and tremolo, with linked LFOs. Swelling phaser modulation and tremolo effects synchronize with each other, creating a soothing modulation effect particularly suitable for electric piano.
Stereo In - Stereo Out Left FX Amt

Select the type of phaser LFO and tremolo LFO for the “Type” parameter. How the effect sound moves or rotates depends on the type of LFO. Selecting “LFO Phase” enables you to offset the timing of the phaser peak and control a subtle movement and rotation of the sound. f: Phaser Wet/Dry i: FX Amount

Phaser
Phaser FX Amt Resonance Phaser FX Amt

Tremolo

PHASER Wet/Dry sets the balance between the phaser output and the dry sound. OUTPUT FX Amount sets the balance between the ﬁnal phaser and tremolo output level and the dry sound.

Phaser
Right

Tremolo

FX Amt LFO Type LFO LFO Phase LFO Shape

048: St. Ring Modulator (Stereo Ring Modulator)
This effect creates a metallic sound by applying the oscillators to the input signal. Use the LFO or Dynamic Modulation to modulate the oscillator to create a radical modulation. Matching the oscillator frequency with a note number will produce a ring modulation effect in speciﬁc key ranges.
Stereo In - Stereo Out Left Pre LPF

Type a

Phs - Trml, ... Phs LR - Trml LR

Selects the type of the tremolo and phaser LFOs Phaser - Tremolo, Phaser - Tremolo Spin, Phaser - Tremolo LR, Phaser LR - Tremolo, Phaser LR - Tremolo Spin, Phaser LR - Tremolo LR Sets the phase difference between the tremolo and phaser LFOs Sets the speed of the LFO Selects a modulation source for LFO speed Sets the LFO speed modulation amount When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the phaser frequency range Sets the phaser resonance amount Sets the phaser modulation depth Selects the modulation source for the phaser modulation depth Sets the modulation amount for the phaser modulation depth Sets the balance between the phaser effect and dry sounds Sets the degree of the tremolo LFO shaping

FX Amt

LFO Phase [degree] LFO Frequency [Hz] b Src Amt MIDI Sync

–180...+180

Ring Modulator

0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 –100...+100

Pre LPF

Ring Modulator
Right Fixed Frequency
Note No.

FX Amt Fixed Sine Oscillator OSC Mode Pitch

Note Offset, Fine Note (Key Follow) LFO

c

BPM Base Note Times Phaser Manual Resonance

OSC Mode a Pre LPF Fixed Frequency [Hz] b Src

Fixed, Note (Key Follow) 0...100

Switching between specifying the oscillator frequency and using a note number Sets the damping amount of the high range input to the ring modulator Sets the oscillator frequency when OSC Mode is set to Fixed Selects the modulation source for the oscillator frequency when OSC Mode is set to Fixed Sets the modulation amount of the oscillator frequency when OSC Mode is set to Fixed Sets the pitch difference from the original note when OSC Mode is set to Note (Key Follow) Fine-adjusts the oscillator frequency

0...12.00k

d

Off...Tempo –12.00k... +12.00k –48...+48 –100...+100

Phaser Depth 0...100 e Src Amt f Phaser Wet/ Dry Off...Tempo –100...+100 –Wet, –2 : 98...Dry... 2 : 98, Wet –100...+100

Amt

Note Offset c Note Fine

g Tremolo Shape

58

Effects
Modulation and Pitch Shift (Mod./P.Shift)

LFO Frequency [Hz] d Src Amt MIDI Sync

0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the depth of LFO modulation for the oscillator frequency Selects the modulation source of the depth of modulation Sets the modulation amount of the depth of modulation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

049: Detune
Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

e

BPM Base Note Times LFO Depth

Input Level High Damp

+
Input Level Right

Detune

Delay Feedback

FX Amt

f

Src Amt FX Amount

Pitch Shift [cents] a Src Amt b Delay Time [msec] Feedback c High Damp [%] Input Level Dmod [%] Src FX Amount e Src Amt

–100...+100 Off...Tempo –100...+100 0...1000 –100...+100 0...100 –100...+100 Off...Tempo 0...100 Off...Tempo –100...+100

Sets the pitch difference from the input signal Selects a modulation source for pitch shift Sets the modulation amount for pitch shift Sets the delay time Sets the feedback amount Sets the damping amount in the high range Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

g Src Amt

a: OSC Mode

This parameter determines whether or not the oscillator frequency follows the note number. a: Pre LPF

d

This parameter enables you to set the damping amount of the high range sound input to the ring modulator. If the input sound contains lots of harmonics, the effect may sound dirty. In this case, cut a certain amount of high range. b: Fixed Frequency [Hz]

d: Input Level Dmod [%] d: Src

This parameter sets the oscillator frequency when “OSC Mode” is set to Fixed. c: Note Offset c: Note Fine

This parameter sets the dynamic modulation of the input level.
Input Level Dmod
Input Level x1.0 Input Level x1.0 Input Level Dmod= –50 Input Level Dmod= –100

Input Level Dmod= +50 Louder Louder x0.5 Input Level Dmod= +100 x0.5

These parameters for the oscillator are used when “OSC Mode” is set to Note (Key Follow). The “Note Offset” sets the pitch difference from the original note in semitone steps. The “Note Fine” parameter ﬁne-adjusts the pitch in cent steps. Matching the oscillator frequency with the note number produces a ring modulation effect in the correct key.

Higher Zero Max

D-mod
Zero

Higher Max

D-mod

Effects
Modulation and Pitch Shift (Mod./P.Shift)

59

050: Pitch Shifter
This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feedback.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

value for the Feedback parameter, the pitch will be raised (or lowered) more and more each time feedback is repeated. If Feedback Position is set to Post, the feedback signal will not pass through the pitch shifter again. Even if you specify a higher value for the Feedback parameter, the pitch-shifted sound will be repeated at the same pitch.

051: Pitch Shifter BPM
This pitch shifter enables you to set the delay time to match the song tempo.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left
FX Amt

Input Level High Damp

+
Input Level Right

Pitch Shifter
Pre

Delay Post Feedback

Feedback Position

FX Amt

Input Level High Damp

a

Mode

Slow, Switches Pitch Shifter mode Medium, Fast Sets the pitch shift amount by steps of a semitone Selects the modulation source of pitch shift amount Sets the modulation amount of pitch shift amount Sets the pitch shift amount by steps of a cent Sets the modulation amount of pitch shift amount Sets the delay time Switches the feedback connection Sets the feedback amount c Sets the damping amount in the high range Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source f e d Amt BPM a Mode
Right
Tempo

+
Input Level

Pitch Shifter
Pre

Delay Post Feedback

Pitch Shift [1/ –24...+24 2tone] b Src Amt Fine [cents] c Amt d Delay Time [msec] e Feedback Position Feedback f High Damp [%] Input Level Dmod [%] Src FX Amount h Src Amt –100...+100 0...2000 Pre, Post –100...+100 0...100 –100...+100 Off...Tempo 0...100 Off...Tempo –100...+100 Off...Tempo –24...+24 –100...+100

Feedback Position

FX Amt BPM Base Note x Times

BPM

Slow, Switches Pitch Shifter mode Medium, Fast Sets the pitch shift amount in steps of a semitone Selects the modulation source of pitch shift amount Sets the modulation amount of pitch shift amount Sets the pitch shift amount in steps of one cent Sets the modulation amount of pitch shift amount MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Displays an error message when the delay time exceeds the upper limit Selects the type of notes to specify the delay time Sets the number of notes to specify the delay time Switches the feedback connection Sets the feedback amount Sets the damping amount in the high range Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Pitch Shift [1/ –24...+24 2tone] b Src Amt Fine [cents] Off...Tempo –24...+24 –100...+100 –100...+100 MIDI, 40.00... 300.00 ---, OVER! ... x1...x32 Pre, Post –100...+100 0...100 –100...+100 Off...Tempo 0...100 Off...Tempo –100...+100

g

Time Over? Delay Base Note Times Feedback Position Feedback g High Damp [%] Input Level Dmod [%] Src FX Amount

a: Mode

This parameter switches the pitch shifter operating mode. With Slow, tonal quality will not be changed too much. With Fast, the effect becomes a Pitch Shifter that has a quick response, but may change the tone. Medium is in-between these two. If you do not need to set too much pitch shift amount, set this parameter to Slow. If you wish to change the pitch signiﬁcantly, use Fast. b: Pitch Shift [1/2tone] b: Src b: Amt c: Fine [cents] c: Amt

h

i

Src Amt

The amount of pitch shift will use the value of the Pitch Shift plus the Fine value. The amount of modulation will use the b: Amt value plus the c: Amt. The same Modulation Source is used for both Pitch Shift and Fine. e: Feedback Position f: Feedback

d: BPM e: Delay Base Note e: Times

The delay time is the duration of “Times” number of “Delay Base Note” note values at the “BPM” tempo (or if “BPM” is set to MIDI, the tempo determined by MIDI Clock). d: Time Over?

When Feedback Position is set to Pre, the pitch shifter output is again input to the pitch shifter. Therefore, if you specify a higher

You can set the delay time up to 5,290msec. If the delay time exceeds this limit, the error message “OVER!” appears on the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.

60

Effects
Modulation and Pitch Shift (Mod./P.Shift)

052: Pitch Shift Mod. (Pitch Shift Modulation)
This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right. This is especially effective when the effect sound and dry sound output from stereo speakers are mixed.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left

sound is panned right. With a FX Amount = 100 setting, the effect and dry sound will be output in a proportion of 1:1.

053: Organ Vib/Chorus (Organ Vibrato/Chorus)
This effect simulates the chorus and vibrato circuitry of a vintage organ. The modulation speed and depth can be customized.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

FX Amt

Left FX Amt

+

Pitch Shifter

+
Pan

Vibrato/Chorus Preset Setting Custom Parameters Mode FX Amt

Right FX Amt LFO: Tri / Sqr

Right

a

Pitch Shift [cents]

–100...+100 Triangle, Square 0.02...20.00 Off...Tempo –20.00... +20.00 Off, On MIDI, 40.00... 300.00 ... x1...x32 –100...+100 Off...Tempo –100...+100

Sets the pitch difference from the input signal Selects the LFO Waveform Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the LFO modulation depth for pitch shift amount Selects the modulation source of the depth of modulation Sets the modulation amount of the depth of modulation

a

Input Trim

0...100 Preset, Custom V1, C1, V2, C2, V3, C3

Sets the input level Selects either preset or custom settings Selects the effect type when Mode=Preset V1/V2/V3 are variations of vibrato, and C1/C2/C3 are variations of chorus Selects the modulation source that will change the effect type Sets the modulation amount for changing the effect type Sets the mix level of the direct sound when Mode=Preset Selects the modulation source that will control the mix level of the direct sound Sets the modulation amount for controlling the mix level of the direct sound Sets the vibrato depth Selects the modulation source that will control vibrato depth Sets the modulation amount for controlling the vibrato depth Sets the vibrato speed Selects the modulation source for controlling the vibrato speed Sets the modulation amount for controlling the vibrato speed Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b LFO Waveform LFO Frequency [Hz] c Src Amt MIDI Sync

b Control Mode

Preset Type c Src Amt Custom Mix

Off...Tempo –5...+5 Vibrato, 1:99...99:1, Chorus Off...Tempo

d

BPM Base Note Times Depth

d Src

Amt Custom Depth e Src Amt Custom Speed [Hz] f Src Amt FX Amount g Src Amt

–100...+100 0...100 Off...Tempo –100...+100 0.02...20.00 Off...Tempo –20.00... +20.00 0...100 Off...Tempo –100...+100

e

Src Amt

f

Pan FX Amount

L, 1 : 99...99 : Sets the panning effect sound 1, R and dry sound separately 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

g Src Amt

a: Pitch Shift [cents] e: Depth

These parameters set the amount of pitch shift and amount of modulation by means of the LFO.
Pitch Shift Mod - Pitch Shift / Depth Pitch Higher LFO Waveform=Triangle Depth (+value) Pitch Shift (+ value) LFO Waveform=Square Depth (–value)

b: Control Mode c: Preset Type d: Custom Mix e: Custom Depth f: Custom Speed [Hz]

Original Pitch Lower

If Control Mode=Preset, you can use c: Preset Type to select the effect. In this case, the Custom Mix/Depth/Speed settings are ignored. If Control Mode=Custom, the Custom Mix/Depth/ Speed settings are valid, and the c: Preset Type setting is ignored. c: Amt

g: Pan h: FX Amount

The Pan parameter pans the effect sound and dry sound to the left and right. With L, the effect sound is panned left, and the dry

If Preset Type=V1 and Src=JS+Y, you can set this to +5 and move JS +Y to control the effect in the order of V1➝C1➝V2➝C2➝V3➝C3.

Effects
Modulation and Pitch Shift (Mod./P.Shift)

61

054: Rotary Speaker
This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the low range and the horn in the high range separately. The effect also simulates the stereo microphone settings.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Horn FX Amt

b: Speed Switch

This parameter controls how the rotation speed (slow and fast) is switched via the modulation source. When Mode = Toggle, the speed will switch between slow and fast each time you press the pedal or move the joystick. Via MIDI, the speed will switch each time the modulation amount exceeds 64. When Mode = Moment, the speed is usually slow. It becomes fast only when you press the pedal or move the joystick. Via MIDI, modulation values above 64 set the speed to Fast, and values below 64 set it to Slow.

+

Rotary Speaker
Rotor

Horn/Rotor Balance

Mic Distance Mic Spread

Speaker Simulation Right FX Amt
-mod

D D-mod D-mod

Mode Switch: Rotate/Stop Speed Switch: Slow/Fast Manual Speed Control

c: Manual Speed Ctrl

Mode Switch Rotate, Stop a Src Mode Off...Tempo Toggle, Moment

Switches between speaker rotation and stop Selects a modulation source for Rotate/Stop Sets the switch mode for Rotate/ Stop modulation Switches the speaker rotation speed between slow and fast Selects a modulation source for Slow/Fast Sets the switch mode for Slow/ Fast modulation Sets a modulation source for direct control of rotation speed How quickly the horn rotation speed in the high range is switched Adjusts the (high-range side) horn rotation speed. Standard value is 1.00. Selecting “Stop” will stop the rotation Determines how quickly the rotor rotation speed in the low range is switched Adjusts the (low-frequency) rotor speed. Standard value is 1.00. Selecting “Stop” will stop the rotation Sets the level balance between the high-frequency horn and low-frequency rotor Sets the distance between the microphone and rotary speaker Sets the angle of left and right microphones Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

If you wish to control the rotation speed manually, instead of switching between Slow and Fast, select a modulation source in the Manual Speed Ctrl parameter. If you don’t want to use manual control, set this to Off. d: Horn Acceleration e: Rotor Acceleration

Speed Switch Slow, Fast b Src Mode c Manual Speed Ctrl Hore Acceleration d Hore Ratio Stop, 0.50...2.00 Off...Tempo Toggle, Moment Off...Tempo 0...100

On a real rotary speaker, the rotation speed accelerates or decelerates gradually after you switch the speed. The Horn and Rotor Acceleration parameters set the transition times between fast and slow speeds. g: Mic Distance g: Mic Spread

This is a simulation of stereo microphone settings.
Rotary Speaker - Mic Placement Microphone Mic Spread Microphone

Rotor Acceleration e Rotor Ratio

Mic Distance

Mic Distance

0...100

Stop, 0.50...2.00 Rotor, 1...99, Horn 0...100 0...100 0...100 Off...Tempo –100...+100

f

Horn/Rotor Balance Mic Distance

Rotary Speaker (Top View)

g Mic Spread FX Amount h Src Amt

a: Mode

This parameter sets how the modulation source switches between rotation and stop. When Mode = Toggle, the speaker rotates or stops alternately each time you press the pedal or move the joystick. Via MIDI, rotation will switch between start and stop each time the modulation amount exceeds 64. When Mode = Moment, the speaker rotates by default, and stops only when you press the pedal or move the joystick. Via MIDI, modulation values above 64 make the speaker rotate, and values below 64 make it stop.

62

Effects
Delay

Delay
055: L/C/R Delay
This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left Input Level D-mod FX Amt

056: Stereo/CrossDelay
This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing.
Stereo In - Stereo Out Left High Damp Low Damp FX Amt

L Delay
Level
Input Level D-mod

Delay
Feedback High Damp Low Damp Spread

+

High Damp Low Damp

C Delay
Level Feedback

Spread

Stereo/Cross Input Level D-mod

Input Level D-mod Right

R Delay
Level
Right

Delay

Stereo/Cross

FX Amt

FX Amt

a

L Delay Time [msec] Level

0...2730 0...50

Sets the delay time of TapL Sets the output level of TapL Sets the delay time of TapC

a

Stereo/Cross

Stereo, Cross Switches between stereo delay and cross-feedback delay 0.0...1360.0 Sets the delay time for the left channel Sets the delay time for the right channel Sets the feedback amount for the left channel Selects the modulation source of feedback amount Sets the modulation amount of the left channel feedback Sets the feedback amount for the right channel Sets the modulation amount of the right channel feedback Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

C Delay Time 0...2730 b [msec] Level 0...50 c R Delay Time 0...2730 [msec] Level Feedback (C Delay) d Src Amt High Damp [%] Low Damp [%] Input Level Dmod [%] Src g Spread FX Amount h Src Amt 0...50 –100...+100 Off...Tempo –100...+100 0...100 0...100 –100...+100 Off...Tempo 0...50 0...100 Off...Tempo –100...+100

b L Delay Time [msec] c

Sets the output level of TapC Sets the delay time of TapR Sets the output level of TapR Sets the feedback amount of TapC Selects the modulation source of the TapC feedback amount Sets the modulation amount of the TapC feedback amount Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source j h e

R Delay Time 0.0...1360.0 [msec] L Feedback –100...+100 Off...Tempo –100...+100 –100...+100 –100...+100 0...100 0...100 –100...+100 Off...Tempo –50...+50 0...100 Off...Tempo –100...+100

d Src Amt L R Feedback Amt R f High Damp [%]

e

g Low Damp [%] Input Level Dmod [%] Src i Spread FX Amount Src Amt

f

e: High Damp [%] e: Low Damp [%]

These parameters set the damping amount of high range and low range. The tone of the delayed sound becomes darker and lighter as it feeds back. g: Spread

This parameter sets the pan width of the effect sound. The stereo image is widest with a value of 50, and the effect sound of both channels is output from the center with a value of 0.

Effects
Delay

63

057: St. Multitap Delay (Stereo Multitap Delay)
The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap output allows you to create various patterns of complex effect sounds.
Stereo In - Stereo Out Left Feedback FX Amt

058: St. Mod Delay (Stereo Modulation Delay)
This stereo delay uses an LFO to sweep the delay time. The pitch also varies, creating a delay sound which swells and shimmers. You can also control the delay time using a modulation source.
Stereo In - Stereo Out Left FX Amt

Delay
Input Level D-mod Input Level D-mod High Damp Low Damp (1) Mode Tap1 Level High Damp Low Damp (1)

Delay
(2) Mode (2) Spread Tap1=(1) Tap2=(2)
Feedback

Delay
Right Feedback

Delay
Right

FX Amt

FX Amt Response LFO: Tri / Sine L/R: +/+ +/– LFO Shape D-mod

D-mod a Mode Normal, Cross Feedback, Cross Pan1, Cross Pan2 0.0...1360.0 0.0...1360.0 0...100 –100...+100 Off...Tempo –100...+100 0...100 0...100 –100...+100 Off...Tempo –100...+100
LFO Sync

LFO LFO Phase Modulation Mode

Switches the left and right delay routing a Modulation Mode D-mod Modulation b Src Response LFO Waveform LFO Shape LFO Sync d Src e LFO Frequency [Hz] MIDI Sync Off...Tempo 0.02...20.00 LFO, D-mod L/R:+/+, L/R:+/– Off...Tempo 0...30

b Tap1 Time [msec] c Tap2 Time [msec]

Sets the Tap1 delay time Sets the Tap2 delay time Sets the Tap1 output level Sets the Tap2 feedback amount Selects the modulation source of the Tap2 feedback amount Sets the modulation amount of the Tap2 feedback amount Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Selects the modulation source of the effect sound’s stereo image width Sets the modulation amount of the effect sound’s stereo image width Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Switches between LFO modulation control and modulation source control Reversed L/R control by modulation source Selects the modulation source that controls delay time Sets the rate of response to the modulation source

d Tap1 Level Feedback (Tap2) e Src Amt f High Damp [%]

Triangle, Sine Selects the LFO Waveform –100...+100 Off, On Changes the curvature of the LFO Waveform Switches LFO reset off/on Selects the modulation source that resets the LFO Sets the speed of the LFO When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the phase obtained when the left LFO is reset Sets the depth of the left LFO modulation Sets the phase obtained when the right LFO is reset Sets the depth of the right LFO modulation Sets the delay time for the left channel Sets the feedback amount of left delay Sets the delay time for the right channel Sets the feedback amount of right delay Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

c

g Low Damp [%] h Input Level Dmod [%] Src Spread

Off, On MIDI, 40.00... 300.00 ... x1...x32 –180...+180 0...200 –180...+180 0...200 0.0...1000.0 –100...+100

f

BPM Base Note Times L LFO Phase [deg] L Depth R LFO Phase [deg] R Depth L Delay Time [msec] L Feedback

i

Src

Off...Tempo

Amt FX Amount j Src Amt

–100...+100 0...100 Off...Tempo –100...+100

g

h
Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2

i

a: Mode

You can change how the left and right delay signals are panned by modifying the routing of the left and right delay as shown in the ﬁgure above. You need to input different sounds to each channel in order for this parameter to be effective. d: Tap1 Level

j

R Delay Time 0.0...1000.0 [msec] R Feedback FX Amount –100...+100 -100...0...100 Off...Tempo –100...+100

k

Src Amt

This parameter sets the output level of Tap1. Setting a different level from Tap2 will add a unique touch to a monotonous delay and feedback.

b: D-mod Modulation

When the modulation source is used for control, this parameter reverses the left and right modulation direction.

64

Effects
Delay

d: LFO Sync d: Src g: L LFO Phase [deg] h: R LFO Phase [deg]

a: Control Target

This parameter selects no level control, delay output control (effect balance), or feedback amount control. a: Polarity b: Threshold b: Offset c: Attack d: Release

If “LFO Sync” is On, the LFO will be reset by the modulation source that is received. The “Src” parameter sets the modulation source that resets the LFO. For example, you can assign Gate as a modulation source so that the sweep always starts from the speciﬁed point. “L LFO Phase” and “R LFO Phase” set the phase obtained when the left and right LFOs are reset. In this way, you can create changes in pitch sweep for the left and right channels individually.
The effect is off when a value of the modulation source speciﬁed in the “Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher. The LFO is triggered and reset to the “L LFO Phase” and “R LFO Phase” settings when the value changes from 63 or smaller to 64 or higher.

The “Offset” parameter speciﬁes the value for the “Control Target” parameter (that is set to None), expressed as the ratio relative to the parameter value (the “FX Amount” value with “Control Target”=Output level, or the “Feedback” value with “Control Target”=Feedback). When “Polarity” is positive, the “Control Target” value is obtained by multiplying the parameter value by the “Offset” value (if the input level is below the threshold), or equals the parameter value if the input level exceeds the threshold. When “Polarity” is negative, Control Target value equals the parameter value if the input level is below the threshold, or is obtained by multiplying the parameter value by the “Offset” value if the level exceeds the threshold. The “Attack” and “Release” parameters specify attack time and release time of delay level control.
Level Dynamic Delay

059: St. Dynamic Delay (Stereo Dynamic Delay)
This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low.
Stereo In - Stereo Out Left High Damp Low Damp FX Amt

Dry Threshold Release Attack

Delay
Feedback High Damp Low Damp Spread

Envelope

Delay
Right FB Out Attack, Release Threshold Control Target

FX Amt

Wet Target=Output Level Polarity= (–)

(Ducking Delay)

+

Envelope

Delay Time

a

Control Target Polarity

None, Out, FB +, – 0...100 0...100 1...100 1...100 0.0...1360.0

Selects from no control, output, and feedback Reverses level control Sets the level to which the effect is applied Sets the offset of level control Sets the attack time of level control Sets the release time of level control Sets the delay time for the left channel Sets the delay time for the right channel Sets the feedback amount Sets the damping amount in the high range Sets the damping amount in the low range Sets the width of the stereo image of the effect sound Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Wet Target=Output Level Polarity= (+) Time

b c

Threshold Offset Attack

d Release e f L Delay Time [msec]

R Delay Time 0.0...1360.0 [msec] –100...+100 0...100 0...100 –100...+100 0...100 Off...Tempo –100...+100 High Damp [%] Low Damp [%] Spread FX Amount

g Feedback h

i

j

Src Amt

Effects
Delay

65

060: St. AutoPanningDly (Stereo Auto Panning Delay)
This stereo delay effect pans the delay sound left and right using the LFO.
Stereo In - Stereo Out Left High Damp Low Damp FX Amt

061: Tape Echo
This effect simulates a tape echo unit with three playback heads. The distortion and tonal change typical of magnetic tape are also reproduced.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Feedback (3) (2)

Delay
Feedback

Pan
Depth

Feedback Amt

(1) Delay

Level Pan

Delay
High Damp Low Damp Right

Pan

+
Trim Pre Tone
FX Amt

Tape Saturation High / Low Damp Wah Flatter

Tap2/3 Position FX Amt

Right

LFO Phase LFO: Tri / Sin LFO Shape

D

-mod

Delay Time

a

L Delay Time [msec] L Feedback

0.0...1360.0 –100...+100

Sets the delay time for the left channel Sets the feedback amount for the left channel Sets the delay time for the right channel Sets the feedback amount for the right channel Sets the damping amount in the high range Sets the damping amount in the low range a

Delay (Tap1) [msec] Src Amt

0...2700 Off...Tempo –2700... +2700

Sets the delay time (tap1) Selects the modulation source of the delay time Sets the modulation amount of delay time Sets the position of Tap 2 relative to the Tap 1 delay time the depth of pitch variation Sets the position of Tap 3 relative to the Tap 1 delay time the depth of pitch variation Sets the Tap1 output level Sets the stereo image of tap1 Sets the Tap1 feedback amount Sets the Tap2 output level Sets the stereo image of tap2 Sets the Tap2 feedback amount Sets the Tap3 output level Sets the stereo image of tap3 Sets the Tap3 feedback amount Sets the amount of feedback for Taps 1, 2, and 3 Selects the modulation source of feedback amount Sets the feedback amount Sets the damping amount in the high range Sets the damping amount in the low range Sets the distortion amount Sets the input gain Sets the tone of the input Sets the frequency at which pitch variation will occur Sets the depth of pitch variation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b

R Delay Time 0.0...1360.0 [msec] R Feedback High Damp [%] Low Damp [%] LFO Waveform LFO Shape –100...+100 0...100 0...100

b Tap2 Position 0...100 [%] c Tap3 Position 0...100 [%] Tap1 Level d Pan FB Amt Tap2 Level e Pan FB Amt Tap3 Level f Pan FB Amt Feedback g Src Amt h i j High Damp [%] Low Damp [%] Saturation Input Trim Pre Tone Wow Flutter [Hz] Wow Flutter depth FX Amount l Src Amt 0...100 L, 1...99, R –100...+100 0...100 L, 1...99, R –100...+100 0...100 L, 1...99, R –100...+100 0...100 Off...Tempo –100...+100 0...100 0...100 0...100 0...100 0...100 0.02...1.00 0...100 0...100 Off...Tempo –100...+100

c

Triangle, Sine Selects the LFO Waveform –100...+100 –180...+180 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the panning speed Switches between using the frequency of the panning speed and using the tempo and notes MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes to specify the delay time for the panning speed Sets the number of notes to specify the delay time for the panning speed Sets the panning width Selects the modulation source for the panning width Set the modulation amount of the panning width Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

d

e f

Phase [degree]

Panning Freq 0.02...20.00 [Hz] MIDI Sync Off, On MIDI, 40.00... 300.00 ...

BPM g Base Note

Times Panning Depth h Src Amt FX Amount i Src Amt

x1...x32 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

k

a: Delay (Tap1) [msec] a: Src a: Amt b: Tap2 Position [%] b: Tap3 Position [%]

The delay time for Tap 2 and 3 is speciﬁed as a proportion (%) relative to “Delay (Tap1).” Even if you use dynamic modulation to control “Delay (Tap1),” Tap 2 and 3 will change at the same proportion.

66

Effects
Delay

d: FB Amt e: FB Amt f: FB Amt g: Feedback

Mode/Reverse Time Rec Reverse Rec Reverse Envelope Select = Input

Input
Time

The feedback output from Tap 1, 2, and 3 is mixed according to the “FB Amt,” and then the ﬁnal amount of feedback is speciﬁed by “Feedback.”

Mode = Single

062: Auto Reverse
This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound).

Mode = Multi

Reverse Time
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

Reverse Time

+

Auto Reverse
Rec/Reverse Play Control

Direct Mix

c: Envelope Select c: Src d: Threshold

Right

D-mod

D-mod Input Envelope Control

FX Amt

These parameters select the source to control the start and end of recording. When “Envelope Select” is set to D-mod, the input signal will be recorded only when the value of the modulation source selected by the Src parameter is 64 or higher. When “Envelope Select” is set to Input, the input signal will be recorded only when its level exceeds the Threshold level. When recording is completed, reverse playback starts immediately.

Envelope Select

a

Rec Mode

Single, Multi

Sets the recording mode Sets the maximum duration of the reverse playback

b Reverse Time 20...2640 [msec] Envelope Select c Src

Selects whether the start and of D-mod, Input endthe recording is controlled via modulation source or the input signal level Off...Tempo Selects the modulation source that controls recording when Envelope Select is set to D-mod Sets the recording start level when Envelope Select is set to Input Sets the speed of the response to the end of recording Selects how a dry sound is mixed Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

d Threshold e f Response Direct Mix FX Amount g Src Amt

0...100 0...100 Always On, Always Off, Cross Fade 0...100 Off...Tempo –100...+100

a: Rec Mode b: Reverse Time [msec]

When “Rec Mode” is set to Single, you can set up to 2,640msec for “Reverse Time.” If recording starts during the reverse playback, the playback will be interrupted. When “Rec Mode” is set to Multi, you can make another recording during the reverse playback. However, the maximum Reverse Time is limited to 1,320msec. If you wish to record a phrase or rhythm pattern, set “Rec Mode” to Single. If you record only one note, set “Rec Mode” to Multi. The “Reverse Time” parameter speciﬁes the maximum duration of the reverse playback. The part in excess of this limit will not be played in reverse. If you wish to add short pieces of the reverse playback of single notes, make the “Reverse Time” shorter.

Effects
Delay

67

063: Sequence BPM Dly (Sequence BPM Delay)
This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left Pan Input Level D-mod FX Amt

064: L/C/R BPM Delay
The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time with the arpeggiator or sequencer. If you program the tempo before performance, you can achieve a delay effect that synchronizes with the song in real-time. Delay time is set by notes.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left FX Amt Input Level D-mod

+
High Damp Low Damp

Delay

L Delay
Level

+
Feedback

High Damp Low Damp

C Delay
Level Feedback

Spread

Input Level D-mod Right
Tempo

Input Level D-mod Right
Tempo

R Delay
Level

FX Amt BPM

FX Amt BPM BPM

BPM Rythm Pattern

Base Note x Times Base Note x Times Base Note x Times

a

BPM

b Rhythm Pattern Tap1 Pan c Tap2 Pan Tap3 Pan Tap4 Pan Feedback d Src Amt e High Damp [%] Low Damp [%] Input Level Dmod [%] Src FX Amount g Src Amt

MIDI, 40.00... 300.00 3 ... L, 1...99, R L, 1...99, R L, 1...99, R L, 1...99, R –100...+100 Off...Tempo –100...+100 0...100 0...100 –100...+100 Off...Tempo 0...100 Off...Tempo –100...+100

MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects a rhythm pattern Sets the panning of Tap1 Sets the panning of Tap2 Sets the panning of Tap3 Sets the panning of Tap4 Sets the feedback amount Selects the modulation source of feedback amount Sets the feedback amount Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

BPM a Time Over? L Delay Base Note b Times Level C Delay Base Note c Times Level R Delay Base Note d Times Level Feedback (C Delay) e Src Amt High Damp [%] Low Damp [%] Input Level Dmod [%] Src h Spread FX Amount i Src Amt

MIDI, 40.00... 300.00 ---, OVER! ... x1...x32 0...50 ... x1...x32 0...50 ... x1...x32 0...50 –100...+100 Off...Tempo –100...+100 0...100 0...100 –100...+100 Off...Tempo 0...50 0...100 Off...Tempo –100...+100

MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Displays an error message when the delay time exceeds the upper limit Selects the type of notes to specify the delay time for TapL Sets the number of notes to specify the delay time for TapL Sets the output level of TapL elects the type of notes to specify the delay time for TapC Sets the number of notes to specify the delay time for TapC Sets the output level of TapC Selects the type of notes to specify the delay time for TapR Sets the number of notes to specify the delay time for TapR Sets the output level of TapR Sets the feedback amount of TapC Selects the modulation source for the TapC feedback Sets the modulation amount of the TapC feedback Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

f

a: BPM b: Rhythm Pattern

f

With the tempo speciﬁed by the “BPM” parameter (or the MIDI Clock tempo if “BPM” is set to MIDI), the length of one beat equals the feedback delay time, and the interval between taps becomes equal. Selecting a rhythm pattern will automatically turn the tap outputs on and off. When “BPM” is set to MIDI, the lower limit of the “BPM” is 44.

g

a: Time Over?

You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.

68

Effects
Delay

065: Stereo BPM Delay
This stereo delay enables you to set the delay time to match the song tempo.
Stereo In - Stereo Out Left High Damp Low Damp FX Amt

066: St.BPM Mtap Delay (Stereo BPM Multi tap Delay)
This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.
Stereo In - Stereo Out Left Feedback FX Amt

Delay
Input Level D-mod Feedback Input Level D-mod High Damp Low Damp

Delay
Input Level D-mod Input Level D-mod High Damp Low Damp (1) Mode Tap1 Level High Damp Low Damp (1)

(2) Mode (2) Spread Tap1=(1) Tap2=(2)

Delay
Right
Tempo

Delay
FX Amt BPM Right
Tempo

Feedback FX Amt BPM Base Note x Times Base Note x Times

BPM

Base Note x Times Base Note x Times

Adjust [%] Adjust [%]

BPM

BPM

MIDI, 40.00... 300.00

MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Display the error message if the left channel delay time exceeds the upper limit Display the error message if the right channel delay time exceeds the upper limit Selects the type of notes to specify the left channel delay time Sets the number of notes to specify the left channel delay time Fine-adjust the left channel delay time Selects the type of notes to specify the right channel delay time Sets the number of notes to specify the right channel delay time Fine-adjust the right channel delay time Sets the feedback amount for the left channel Selects the modulation source of feedback amount Sets the modulation amount of the left channel feedback Sets the feedback amount for the right channel Sets the modulation amount of the right channel feedback Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source j i h g f c a Mode

a

Time Over? L ---, OVER!

Normal, Cross Feedback, Cross Pan1, Cross Pan2 MIDI, 40.00... 300.00

Switches the left and right delay routing MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Displays an error message when the delay time for Tap1 exceeds the upper limit Displays an error message when the delay time for Tap2 exceeds the upper limit Selects the type of notes to specify the delay time for Tap1 Sets the number of notes to specify the delay time for Tap1 Selects the type of notes to specify the delay time for Tap2 Sets the number of notes to specify the delay time for Tap2 Sets the Tap1 output level Sets the Tap2 feedback amount Selects the modulation source of the Tap2 feedback amount Sets the modulation amount of the Tap2 feedback amount Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Selects the modulation source of the effect sound’s stereo image width Sets the modulation amount of the effect sound’s stereo image width Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

R L Delay Base Note b Times Adjust [%] R Delay Base Note c Times Adjust [%] L Feedback d Src Amt L R Feedback e Amt R f High Damp [%]

---, OVER!

BPM

...

b Time Over? 1 ---, OVER!

x1...x32 –2.50...+2.50 ...

2 Tap 1 Base Note Times Tap 2 Base Note Times e Tap1 Level Feedback (Tap2) Src Amt High Damp [%] Low Damp [%] Input Level Dmod [%] Src Spread Src

---, OVER! ... x1...x32 ... x1...x32 0...100 –100...+100 Off...Tempo –100...+100 0...100 0...100 –100...+100 Off...Tempo –100...+100 Off...Tempo

x1...x32 –2.50...+2.50 –100...+100 Off...Tempo –100...+100 –100...+100 –100...+100 0...100 0...100 –100...+100 Off...Tempo 0...100 Off...Tempo –100...+100

d

g Low Damp [%] h Input Level Dmod [%] Src FX Amount i Src Amt

Amt FX Amount Src Amt

–100...+100 0...100 Off...Tempo –100...+100

a: Time Over? L, R

You can set the delay time up to 2,730msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.

Effects
Delay

69

067: St.BPM Mod. Delay (Stereo BPM Modulation Delay)
This is a stereo modulation delay that lets you synchronize the delay time to the tempo of the song.
Stereo In - Stereo Out Left FX Amt

g

L LFO Phase [deg] Depth R LFO Phase [deg] Depth BPM(Delay)

–180...+180 0...200 –180...+180 0...200 MIDI, 40.00... 300.00

Sets the phase obtained when the left LFO is reset Sets the depth of the left LFO modulation Sets the phase obtained when the right LFO is reset Sets the depth of the right LFO modulation MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Display the error message if the left channel delay time exceeds the upper limit Display the error message if the right channel delay time exceeds the upper limit Selects the type of notes to specify the left channel delay time Sets the number of notes to specify the left channel delay time Sets the feedback amount of left delay Selects the type of notes to specify the right channel delay time Sets the number of notes to specify the right channel delay time Sets the feedback amount of right delay Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

h

Delay
Feedback

i

Time Over? L ---, OVER!

Delay

R
Right
Tempo

---, OVER!

FX Amt BPM Base Note x Times Base Note x Times

BPM

L Delay Base Note
L/R: +/+ +/– D-mod

...

D-mod
LFO Sync

Response LFO: Tri / Sine

j
LFO

LFO Shape

Times Feedback

x1...x32 –100...+100 ...

LFO Phase Modulation Mode

a

Modulation Mode D-mod Modulation

LFO, D-mod L/R:+/+, L/R:+/– Off...Tempo 0...30

Switches between LFO modulation control and modulation source control Reversed L/R control by modulation source Selects the modulation source that controls delay time Sets the rate of response to the modulation source l k

R Delay Base Note Times Feedback FX Amount Src Amt

x1...x32 –100...+100 -100...0...100 Off...Tempo –100...+100

b Src Response LFO Waveform LFO Shape LFO Sync d Src e LFO Frequency [Hz] MIDI Sync

Triangle, Sine Selects the LFO Waveform –100...+100 Off, On Off...Tempo 0.02...20.00 Changes the curvature of the LFO Waveform Switches LFO reset off/on Selects the modulation source that resets the LFO Sets the speed of the LFO When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed

c

i: Time Over? L, R

You can set the delay time up to 2,550msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.

Off, On MIDI, 40.00... 300.00 ... x1...x32

f

BPM Base Note Times

70

Effects
Delay

068: St.BPMAutoPanDly (Stereo BPM Auto Panning Delay)
This stereo auto panning delay enables you to set the delay time to match the song tempo.
Stereo In - Stereo Out Left High Damp Low Damp FX Amt

069: Tape Echo BPM
This is a tape echo that lets you synchronize the delay time to the tempo of the song.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Feedback (3) (2)

Delay
Feedback

Pan
Depth

Feedback Amt

(1) Delay

Level Pan

+
Delay
High Damp Low Damp Right
Tempo

Tape Saturation Trim Pre Tone High / Low Damp Wah Flatter

Pan
Right

Tap2/3 Position FX Amt

FX Amt BPM

Tempo

BPM Base Note x Times

Delay Time

BPM

Base Note x Times Base Note x Times LFO Phase

BPM

LFO: Tri / Sin

LFO Shape

D-mod
MIDI, 40.00... 300.00 Off...Tempo ... x1...x32 ---, OVER! MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the modulation source of the delay time Selects the type of notes to specify the delay time (tap1) Sets the number of notes to specify the delay time (tap1) Displays an error message when the delay time exceeds the upper limit Selects the note value used to specify the delay time when the modulation is at maximum Speciﬁes the number of notes used to specify the delay time when the modulation is at maximum Sets the position of Tap 2 relative to the Tap 1 delay time the depth of pitch variation Sets the position of Tap 3 relative to the Tap 1 delay time the depth of pitch variation Sets the Tap1 output level Sets the stereo image of tap1 Sets the Tap1 feedback amount Sets the Tap2 output level Sets the stereo image of tap2 Sets the Tap2 feedback amount Sets the Tap3 output level Sets the stereo image of tap3 Sets the Tap3 feedback amount Sets the amount of feedback for Taps 1, 2, and 3 Selects the modulation source of feedback amount Sets the depth by which feedback amount will be modulated Sets the damping amount in the high range Sets the damping amount in the low range Sets the distortion amount Sets the input gain Sets the tone of the input Sets the frequency at which pitch variation will occur Sets the depth of pitch variation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

BPM

MIDI, 40.00... 300.00

MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Display the error message if the left channel delay time exceeds the upper limit Display the error message if the right channel delay time exceeds the upper limit Selects the type of notes to specify the left channel delay time Sets the number of notes to specify the left channel delay time Sets the feedback amount for the left channel Selects the type of notes to specify the right channel delay time Sets the number of notes to specify the right channel delay time Sets the feedback amount for the right channel Sets the damping amount in the high range Sets the damping amount in the low range

BPM (Delay) a Tap1 Dmod Src Tap1 Delay Note b Times Time Over? Tap1 Dmod Note c Times

a

Time Over? L ---, OVER!

R L Delay Base Note b Times Feedback R Delay Base Note c Times Feedback High Damp [%] Low Damp [%] LFO Waveform e Shape LFO Phase f

---, OVER!

...

x1...x32 –100...+100 ...

...

x1...x32

x1...x32 –100...+100 0...100 0...100

Tap2 Position 0...100 d [%] e Tap3 Position 0...100 [%] Tap1 Level f Pan FB Amt Tap2 Level g Pan FB Amt Tap3 Level h Pan FB Amt Feedback i Src Amt High Damp [%] Low Damp [%] Saturation Input Trim Pre Tone Wow Flutter [Hz] Wow Flutter depth FX Amount n Src Amt 0...100 L, 1...99, R –100...+100 0...100 L, 1...99, R –100...+100 0...100 L, 1...99, R –100...+100 0...100 Off...Tempo –100...+100 0...100 0...100 0...100 0...100 0...100 0.02...1.00 0...100 0...100 Off...Tempo –100...+100

d

Triangle, Sine Selects the LFO Waveform –100...+100 –180...+180 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right Sets the panning speed When this is on, the pan LFO speed is set by BPM, Base Note, and Times, instead of Frequency MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Selects the type of notes to specify the delay time for the panning speed Sets the number of notes to specify the delay time for the panning speed Sets the panning width Selects the modulation source for the panning width Set the modulation amount of the panning width Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Panning Freq 0.02...20.00 [Hz] MIDI Sync Off, On MIDI, 40.00... 300.00 ...

BPM g Base Note

j k l

Times Panning Depth h Src Amt FX Amount i Src Amt

x1...x32 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

m

Effects
Delay

71

a: Tap1 Dmod Src b: Tap1 Delay Note b: Times c: Tap1 Dmod Note c: Times

If “Tap1 Dmod Src” is Off or the selected modulation is at 0, the delay time will be the length speciﬁed by “Tap1 Delay Note” and “Times.” If “Tap1 Dmod Src” is other than Off, the delay time will change so that it will be as speciﬁed by “Tap1 Dmod Note” and “Times” when the maximum modulation is reached. b: Time Over?

You can set the delay time up to 5,400msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.

72

Effects
Reverb and Early Reflections (Reverb ER)

Reverb and Early Reﬂections (Reverb ER)
070: Reverb Hall
This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls. b: Pre Delay [msec] b: Pre Delay Thru [%]

The “Pre Delay” sets the delay time to the reverb input, allowing you to control spaciousness. Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound.
Reverb - Hall / Plate Type Level Dry

071: Reverb SmoothHall
This hall-type reverb simulates the reverberation of larger halls and stadiums, and creates a smooth release.

072: Reverb Wet Plate
Louder

This plate reverb simulates warm (dense) reverberation.

Reverb Pre Delay Thru Time

073: Reverb Dry Plate
This plate reverb simulates dry (light) reverberation.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Pre Delay Thru HEQ Pre Delay FX Amt EQ Trim LEQ

Pre Delay

Reverb Time

074: Reverb Room
This room-type reverb emphasizes the early reﬂections that make the sound tighter. Changing the balance between the early reﬂections and reverb sound allows you to simulate nuances, such as the type of walls of a room.
FX Amt

+
EQ Trim Right

Reverb

a

Reverb Time [sec] High Damp [%] Pre Delay [msec] Pre Delay Thru [%] EQ Trim Pre LEQ Fc

0.1...10.0 0...100 0...200 0...100 0...100 Low, Mid-Low High, Mid-High

Sets the reverberation time Sets the damping amount in the high range Sets the delay time from the dry sound Sets the mix ratio of non-delay sound Sets the EQ input level Selects the cutoff frequency (low or mid-low) of the lowrange equalizer Selects the cutoff frequency (high or mid-high) of the highrange equalizer Sets the gain of Low EQ Sets the gain of High EQ Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b c

d Pre HEQ Fc

e

Pre LEQ Gain –15.0...+15.0 [dB] Pre HEQ Gain –15.0...+15.0 [dB] FX Amount 0...100 Off...Tempo –100...+100

f

Src Amt

Effects
Reverb and Early Reflections (Reverb ER)

73

075: Reverb BrightRoom
This room-type reverb emphasizes the early reﬂections that make the sound brighter.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left ER Level EQ Trim LEQ HEQ Pre Delay ERs Pre Delay Thru FX Amt

076: Early Reﬂections
This effect is only the early reﬂection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

+
EQ Trim Right

Reverb
ERs

Reverb Level

EQ Trim LEQ HEQ Pre Delay

+
ER Level FX Amt Right EQ Trim

Early Reflections

FX Amt

a

Reverb Time [sec] High Damp [%] Pre Delay [msec] Pre Delay Thru [%] ER Level

0.1...3.0 0...100 0...200 0...100 0...100 0...100 0...100 Low, Mid-Low High, Mid-High

Sets the reverberation time Sets the damping amount in the high range Sets the delay time from the dry sound Sets the mix ratio of non-delay sound Sets the level of early reﬂections Sets the reverberation level Sets the EQ input level Selects the cutoff frequency (low or mid-low) of the lowrange equalizer Selects the cutoff frequency (high or mid-high) of the highrange equalizer Sets the gain of Low EQ Sets the gain of High EQ Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source f e Pre HEQ Fc High, Mid-High a Type Sharp, Loose, Selects the decay curve for the Modulated, early reﬂection Reverse 10...800 0...200 0...100 Low, Mid-Low Sets the time length of early reﬂection Sets the time taken from the original sound to the ﬁrst early reﬂection Sets the input level of EQ applied to the effect sound Selects the cutoff frequency (low or mid-low) of the lowrange equalizer Selects the cutoff frequency (high or mid-high) of the highrange equalizer Gain of the Low EQ Gain of the High EQ Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b c

b ER Time [msec] c Pre Delay [msec]

d Reverb Level e EQ Trim Pre LEQ Fc f Pre HEQ Fc

d EQ Trim Pre LEQ Fc

g

Pre LEQ Gain –15.0...+15.0 [dB] Pre HEQ Gain –15.0...+15.0 [dB] FX Amount 0...100 Off...Tempo –100...+100

Pre LEQ Gain –15.0...+15.0 [dB] Pre HEQ Gain –15.0...+15.0 [dB] FX Amount 0...100 Off...Tempo –100...+100

g Src Amt

h Src Amt

a: Type

c: ER Level d: Reverb Level

This parameter selects the decay curve for the early reﬂection.
Early Reflections - Type

These parameters set the early reﬂection level and reverb level. Changing these parameter values allows you to simulate the type of walls in the room. That is, a larger “ER Level” simulates a hard wall, and a larger “Reverb Level” simulates a soft wall.
Reverb - Room Type Level Dry ER (Early Reflections) Loose Sharp

Louder

Reverb Time

Modulated

Pre Delay Thru Pre Delay Reverb Time Reverse

Dry

Pre Delay

ER Time

74

Effects
Mono-Mono Serial (Mono-Mono)

Mono-Mono Serial (Mono-Mono)
077: P4EQ - Exciter (Parametric 4-Band EQ - Exciter)
This effect combines a mono four-band parametric equalizer and an exciter.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

078: P4EQ - Wah (Parametric 4-Band EQ Wah/Auto Wah)
This effect combines a mono four-band parametric equalizer and a wah. You can change the order of the connection.

Parametric 4Band EQ

Exciter

+
Trim

Parametric 4Band EQ Exciter

Wah/Auto Wah

+
Trim

Wah

Right FX Amt
Right Envelope Sweep Mode FX Amt

P4EQ a [E]Trim [E]B1 Cutoff [Hz] b Q Gain [dB] [E]B2 Cutoff [Hz] c Q Gain [dB] [E]B3 Cutoff [Hz] d Q Gain [dB] [E]B4 Cutoff [Hz] e Q Gain [dB] EXCITER f [X]Exciter Blend –100...+100 0...70 0...100 Off...Tempo –100...+100 Sets the intensity (depth) of the Exciter effect Sets the frequency range to be emphasized Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source e 0...100 20...1.00k 0.5...10.0 –18...+18 50...5.00k 0.5...10.0 –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Sets the parametric EQ input level Sets the center frequency of Band 1 Sets the bandwidth of Band 1 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 Sets the gain of Band 2 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 Sets the gain of Band 4 d c a Routing [E]B1 Cutoff [Hz] b Q Gain [dB] [E]B2 Cutoff [Hz] Q Gain [dB] [E]B3 Cutoff [Hz] Q Gain [dB] [E]B4 Cutoff [Hz] Q Gain [dB] WAH f P4EQ [E]Trim 0...100

D

-mod

Auto D-mod LFO LFO

Sets the parametric EQ input level

the P4EQ ➝ Wah, Changes the order of and wah Wah ➝ P4EQ parametric equalizer connection 20...1.00k 0.5...10.0 –18...+18 50...5.00k 0.5...10.0 –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Sets the center frequency of Band 1 Sets the bandwidth of Band 1 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 Sets the gain of Band 2 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 Sets the gain of Band 4 Sets the lower limit of the wah center frequency Sets the upper limit of the wah center frequency Selects the control from autowah, modulation source, and LFO Selects the modulation source for the wah when Sweep Mode=D-mod Sets the speed of the LFO Sets the resonance amount Switches the wah low pass ﬁlter on and off Sets the wah effect balance Selects the Wet/Dry modulation source for the wah Sets the Wet/Dry modulation amount for the wah Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

g [X]Emphasis Freq FX Amount h Src Amt

[W]Frequency Bottom
Frequency Top [W]Sweep Mode

0...100 0...100 Auto, D-mod, LFO Off...Tempo

g Src [W]LFO Frequency [Hz] h Resonance LPF [W] Wet/Dry i Src Amt FX Amount j Src Amt

0.02...20.00 0...100 Off, On Dry,1 : 99... 99 : 1, Wet Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

Effects
Mono-Mono Serial (Mono-Mono)

75

079: P4EQ - Cho/Flng (Parametric 4-Band EQ - Chorus/Flanger)
This effect combines a mono four-band parametric equalizer and a chorus/ﬂanger.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

080: P4EQ - Phaser (Parametric 4-Band EQ - Phaser)
This effect combines a mono four-band parametric equalizer and a phaser.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

Parametric 4Band EQ

Chorus/Flanger

Parametric 4Band EQ

Phaser

+
Trim

Chorus/Flanger
Feedback Normal Output Mode Wet Invert Cho/Flng FX Amt + – FX Amt Right

+
Trim

Phaser
+ – Resonance

Normal Output Mode Wet Invert

Phaser FX Amt FX Amt

Right LFO: Tri / Sine

LFO: Tri / Sine

P4EQ a [E]Trim [E]B1 Cutoff [Hz] b Q Gain [dB] [E]B2 Cutoff [Hz] c Q Gain [dB] [E]B3 Cutoff [Hz] d Q Gain [dB] [E]B4 Cutoff [Hz] e Q Gain [dB] CHORUS/FLANGER [F]LFO Frequency [Hz] LFO Waveform 0.02...20.00 Sets the speed of the LFO 0...100 20...1.00k 0.5...10.0 –18...+18 50...5.00k 0.5...10.0 –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Sets the parametric EQ input level Sets the center frequency of Band 1 Sets the bandwidth of Band 1 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 Sets the gain of Band 2 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 Sets the gain of Band 4

P4EQ a [E]Trim [E]B1 Cutoff [Hz] b Q Gain [dB] [E]B2 Cutoff [Hz] c Q Gain [dB] [E]B3 Cutoff [Hz] d Q Gain [dB] [E]B4 Cutoff [Hz] e Q Gain [dB] PHASER [P]LFO Frequency [Hz] LFO Waveform [P]Manual g Depth Resonance [P]Phaser Wet/Dry h Src Amt i [P]Output Mode FX Amount j Src Amt 0.02...20.00 Sets the speed of the LFO 0...100 20...1.00k 0.5...10.0 –18...+18 50...5.00k 0.5...10.0 –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Sets the parametric EQ input level Sets the center frequency of Band 1 Sets the bandwidth of Band 1 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 Sets the gain of Band 2 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 Sets the gain of Band 4

f

f Triangle, Sine Selects the LFO Waveform Sets the delay time Sets the depth of LFO modulation Sets the feedback amount Sets the effect balance of the chorus/ﬂanger Selects the Wet/Dry modulation source for the chorus/ﬂanger Sets the Wet/Dry modulation amount for the chorus/ﬂanger Selects the output mode for the chorus/ﬂanger Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Triangle, Sine Selects the LFO Waveform 0...100 0...100 –100...+100 -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert 0...100 Off...Tempo –100...+100 Sets the frequency to which the effect is applied Sets the depth of LFO modulation Sets the resonance amount Sets the phaser effect balance Selects the Wet/Dry modulation source for the phaser Sets the Wet/Dry modulation amount for the phaser Selects the phaser output mode Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

[F]Delay Time 0.0...1350.0 [msec] g Depth Feedback [F]Cho/Flng Wet/Dry h Src Amt i [F]Output Mode FX Amount j Src Amt 0...100 –100...+100 -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert 0...100 Off...Tempo –100...+100

i: Output Mode

When Wet Invert is selected, the right channel phase of the chorus/ﬂanger effect sound is inverted. This creates pseudo-stereo effects and adds spread. However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminating the chorus/ﬂanger effects.

76

Effects
Mono-Mono Serial (Mono-Mono)

081: P4EQ - Mt. Delay (Parametric 4-Band EQ Multitap Delay)
This effect combines a mono four-band parametric equalizer and a multitap delay.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

082: Comp - Wah (Compressor - Wah/Auto Wah)
This effect combines a mono compressor and a wah. You can change the order of the connection.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

Compressor
EQ Trim LEQ HEQ

Wah/Auto Wah

Parametric 4Band EQ

Multitap Delay

+
Feedback

Comp
Output Level

Wah
FX Amt

+
Trim

Delay
High Damp (1)

(2) Mt.Dly FX Amt
Right Envelope - Control Sweep Mode Envelope Auto D-mod LFO FX Amt

Right FX Amt

D-mod

LFO

P4EQ a [E]Trim 0...100 Sets the parametric EQ input level Sets the center frequency of Band 1 Sets the bandwidth of Band 1 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 Sets the gain of Band 2 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 Sets the gain of Band 4 f Src [W]LFO Frequency [Hz] g Resonance LPF [W]Wet/Dry h Src Amt i Routing FX Amount j Src Amt COMPRESSOR a b c d [C] Sensitivity [C]Attack [C]EQ Trim [C]Pre LEQ Gain [dB] 1...100 1...100 0...100 –15...+15 Sets the sensitivity Sets the attack level Sets the compressor output level Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ

[E]B1 Cutoff [Hz] 20...1.00k b Q Gain [dB] 0.5...10.0 –18...+18

Output Level 0...100

[E]B2 Cutoff [Hz] 50...5.00k c Q Gain [dB] 0.5...10.0 –18...+18

Pre HEQ Gain –15...+15 [dB]

WAH e

[E]B3 300...10.00 Cutoff [Hz] k d Q Gain [dB] 0.5...10.0 –18...+18

[W]Frequency Bottom
Frequency Top [w]Sweep Mode

0...100 0...100 Auto, D-mod, LFO Off...Tempo

Sets the lower limit of the wah center frequency Sets the upper limit of the wah center frequency Selects the control from autowah, modulation source, and LFO Selects the modulation source for the wah when Sweep Mode=D-mod Sets the speed of the LFO Sets the resonance amount Switches the wah low pass ﬁlter on and off

[E]B4 500...20.00 Cutoff [Hz] k e Q Gain [dB] MULTITAP DELAY f 0.5...10.0 –18...+18

0.02...20.00 0...100 Off, On

[D]Tap1 Time [msec] 0.0...1360.0 Sets the Tap1 delay time Tap1 Level 0...100 Sets the Tap1 output level

g

[D]Tap2 Time [msec] 0.0...1360.0 Sets the Tap2 delay time Feedback (Tap2) –100...+100 Sets the Tap2 feedback amount 0...100 Sets the damping amount in the high range Sets the multitap delay effect balance Selects the Wet/Dry modulation source for the multitap delay

Dry, 1 : 99...99 : 1, Sets the wah effect balance Wet Off...Tempo –100...+100 Selects the Wet/Dry modulation source for the wah Sets the Wet/Dry modulation amount for the wah

h [D]High Damp [%]

[D]Mt.Dela 0...100 y Wet/Dry i Src Off...Temp o

Comp ➝ Wah, Wah ➝ Switches the order of the compressor and wah Comp 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Amt

Sets the Wet/Dry –100...+100 modulation amount for the multitap delay Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27

FX Amount 0...100 j Src Amt Off...Temp o

–100...+100 Amount of modulation source

Effects
Mono-Mono Serial (Mono-Mono)

77

083: Comp - Amp Sim (Compressor - Amp Simulation)
This effect combines a mono compressor and an amp simulation. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

084: Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain)
This effect combines a mono compressor and an overdrive/highgain distortion. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

Compressor
EQ Trim LEQ HEQ

Amp Simulation

Compressor

Overdrive / Hi-Gain
3 Band PEQ

+

Comp
Output Level

Amp Simulation Filter

+

Comp
Output Level

Driver
Output Level FX Amt Mode: Overdrive / Hi-Gain Drive

Right Envelope - Control

FX Amt

Right Envelope - Control

FX Amt

COMPRESSOR a b c d [C] Sensitivity [C]Attack [C]EQ Trim [C]Pre LEQ Gain [dB] 1...100 1...100 0...100 –15...+15 Sets the sensitivity Sets the attack level Sets the compressor output level Sets the EQ input level Sets the gain of Low EQ

COMPRESSOR a b [C] Sensitivity [C]Attack 1...100 1...100 Sets the sensitivity Sets the attack level Sets the compressor output level Switches between overdrive and high-gain distortion Sets the degree of distortion Sets the overdrive output level Selects the modulation source for the overdrive output level Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/ High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/ High EQ 2 Sets the gain of Mid/High EQ 2

Output Level 0...100

Output Level 0...100 [O] Drive Mode Drive [O]Output Level Overdrive, Hi-Gain 1...100 0...50 Off...Tempo –50...+50 20...1.00k –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18

OD/HI-GAIN c

Pre HEQ Gain –15...+15 [dB] [A]Ampliﬁer Type Routing

Sets the gain of High EQ

AMP SIM e SS, EL84, 6L6 Comp ➝ Amp, Amp ➝ Comp 0...100 Off...Tempo –100...+100 Selects the type of guitar ampliﬁer Switches the order of the compressor and amp simulation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source f e

d Src Amt [O]Low Cutoff [Hz] Gain [dB] [O]Mid1 Cutoff [Hz] Q Gain [dB] [O]Mid2 Cutoff [Hz] g Q Gain [dB] [O]Wet/Dry h Src Amt i Routing FX Amount j Src Amt

f

FX Amount g Src Amt

Dry, 1 : 99...99 : 1, Sets the overdrive effect balance Wet Off...Tempo –100...+100 Selects the Wet/Dry modulation source for the overdrive Sets the Wet/Dry modulation amount for the overdrive

Comp ➝ OD/ Switches the order of the HG, OD/HG compressor and overdrive ➝ Comp 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

78

Effects
Mono-Mono Serial (Mono-Mono)

085: Comp - P4EQ (Compressor - Parametric 4-Band EQ)
This effect combines a mono compressor and a four-band parametric equalizer. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

086: Comp - Cho/Flng (Compressor - Chorus/Flanger)
This effect combines a mono compressor and a chorus/ﬂanger. You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

Compressor

Parametric 4Band EQ

Compressor
EQ Trim LEQ HEQ

Chorus/Flanger

+

Comp
Output Level Trim

+

Comp
Output Level

Chorus/Flanger
+ – Feedback

Normal Output Mode

Wet Invert Cho/Flng FX Amt FX Amt

Right Envelope - Control

Right
FX Amt

Envelope - Control

LFO: Tri / Sine

COMPRESSOR a b [C] Sensitivity [C]Attack 1...100 1...100 Sets the sensitivity Sets the attack level Sets the compressor output level Sets the parametric EQ input level Sets the center frequency of Band 1 Sets the bandwidth of Band 1 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 Sets the gain of Band 2 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 Sets the gain of Band 4 Switches the order of the compressor and parametric EQ Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

COMPRESSOR a b c d [C] Sensitivity [C]Attack 1...100 1...100 Sets the sensitivity Sets the attack level Sets the compressor output level Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ

Output Level 0...100

Output Level 0...100 [C]EQ Trim [C]Pre LEQ Gain [dB] 0...100 –15...+15

P4EQ c [E]Trim [E]B1 Cutoff [Hz] d Q Gain [dB] [E]B2 Cutoff [Hz] e Q Gain [dB] [E]B3 Cutoff [Hz] f Q Gain [dB] [E]B4 Cutoff [Hz] g Q Gain [dB] h Routing FX Amount i Src Amt 0...100 20...1.00k 0.5...10.0 –18...+18 50...5.00k 0.5...10.0 –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Comp ➝ P4EQ, P4EQ ➝ Comp 0...100 Off...Tempo –100...+100

Pre HEQ Gain –15...+15 [dB] [F]LFO Frequency [Hz] LFO Waveform

CHORUS/FLANGER 0.02...20.00 Sets the speed of the LFO

e

Triangle, Sine Selects the LFO Waveform Sets the delay time Sets the depth of LFO modulation Sets the feedback amount Sets the effect balance of the chorus/ﬂanger , Selects the Wet/Dry modulation source for the chorus/ﬂanger Sets the Wet/Dry modulation amount for the chorus/ﬂanger Selects the output mode for the chorus/ﬂanger Switches the order of the compressor and chorus/ﬂanger Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

[F]Delay Time 0.0...1350.0 [msec] f Depth Feedback [F]Cho/Flng Wet/Dry g Src Amt h [F]Output Mode i Routing 0...100 –100...+100 -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert Comp ➝ Flanger, Flanger ➝ Comp 0...100 Off...Tempo –100...+100

FX Amount j Src Amt

h: [F]Output Mode i: Routing

When Wet Invert is selected, the right channel phase of the chorus/ﬂanger effect sound is inverted. This creates pseudo-stereo effects and adds spread. However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminating the chorus/ﬂanger effects. When “Routing” is set to Flanger→Comp, “[F]Output Mode” will be set to Normal.

Effects
Mono-Mono Serial (Mono-Mono)

79

087: Comp - Phaser (Compressor - Phaser)
This effect combines a mono compressor and a phaser. You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

088: Comp - Mt. Delay (Compressor - Multitap Delay)
This effect combines a mono compressor and a multitap delay. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

Compressor
EQ Trim LEQ HEQ

Phaser

Compressor
EQ Trim LEQ HEQ

Multitap Delay
Feedback

+

Comp
Output Level

Phaser
Normal Output Mode Wet Invert Resonance Phaser FX Amt + – FX Amt
Right

+

Comp

Delay

High Damp (1) Output Level

(2) Mt.Dly FX Amt

Right Envelope - Control LFO: Tri / Sine

Envelope - Control

FX Amt

COMPRESSOR a b c d [C] Sensitivity [C]Attack [C]EQ Trim [C]Pre LEQ Gain [dB] 1...100 1...100 0...100 –15...+15 Sets the sensitivity Sets the attack level Sets the compressor output level Sets the EQ input level Sets the gain of Low EQ

COMPRESSOR a b c d Sets the gain of High EQ [C] Sensitivity [C]Attack [C]EQ Trim [C]Pre LEQ Gain [dB] 1...100 1...100 0...100 –15...+15 Sets the sensitivity Sets the attack level Sets the compressor output level Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ

Output Level 0...100

Output Level 0...100

Pre HEQ Gain –15...+15 [dB] [P]LFO Frequency [Hz] LFO Waveform [P]Manual

Pre HEQ Gain –15...+15 [dB] [D]Tap1 Time 0.0...1360.0 [msec] Tap1 Level 0...100

PHASER 0.02...20.00 Sets the speed of the LFO

MULTITAP DELAY Sets the Tap1 delay time Sets the Tap1 output level Sets the Tap2 delay time Sets the Tap2 feedback amount Sets the damping amount in the high range e

e

Triangle, Sine Selects the LFO Waveform 0...100 0...100 –100...+100 -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert Comp ➝ Phaser, Phaser ➝ Comp 0...100 Off...Tempo –100...+100 Sets the frequency to which the effect is applied Sets the depth of LFO modulation Sets the resonance amount Sets the phaser effect balance Selects the Wet/Dry modulation source for the phaser Sets the Wet/Dry modulation amount for the phaser Selects the phaser output mode i Switches the order of the compressor and phaser f

[D]Tap2 Time 0.0...1360.0 [msec] Feedback (Tap2) –100...+100 0...100

f

Depth Resonance [P]Phaser Wet/Dry

g [D]High Damp [%] [D]Mt.Delay Wet/Dry h Src Amt

Dry, 1 : 99...99 : 1, Sets the multitap delay effect balance Wet Off...Tempo –100...+100 Comp ➝ Mt.Delay, Mt.Delay ➝ Comp 0...100 Off...Tempo –100...+100 Selects the Wet/Dry modulation source for the multitap delay Sets the Wet/Dry modulation amount for the multitap delay Switches the order of the compressor and multitap delay Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

g Src Amt h [F]Output Mode i Routing

Routing

FX Amount Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source j Src Amt

FX Amount j Src Amt

80

Effects
Mono-Mono Serial (Mono-Mono)

089: Limiter - P4EQ (Limiter - Parametric 4-Band EQ)
This effect combines a mono limiter and a four-band parametric equalizer. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

a: [L]Ratio a: Threshold [dB] c: [L]Gain Adjust [dB]

This parameter sets the signal compression “[L]Ratio”. Compression is applied only when the signal level exceeds the “Threshold” value. Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be reduced.
Limiter - Threshold / Ratio

Limiter

Parametric 4Band EQ

+

Limiter
Trim Gain Adjust

Ratio=1.0 : 1 Output Level
Right Envelope - Control FX Amt

Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Ration=Inf : 1

[L]Ratio a Threshold [dB] b c [L]Attack Release [L]Gain Adjust [dB]

1.0 : 1... 50.0 : 1, Inf : 1 –40...0 1...100 1...100 –Inf, –38...+24

Sets the signal compression ratio Sets the level above which the compressor is applied Sets the attack time Sets the release time Sets the limiter output gain
Level

Louder

LIMITER

Louder Input Level Dry Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Threshold Ratio=Inf : 1

P4EQ d [E]Trim [E]B1 Cutoff [Hz] e Q Gain [dB] [E]B2 Cutoff [Hz] f Q Gain [dB] [E]B3 Cutoff [Hz] g Q Gain [dB] [E]B4 Cutoff [Hz] h Q Gain [dB] i Routing FX Amount j Src Amt 0...100 20...1.00k 0.5...10.0 –18...+18 50...5.00k 0.5...10.0 –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Limiter ➝ P4EQ, P4EQ ➝ Limiter 0...100 Off...Tempo –100...+100 Sets the parametric EQ input level Sets the center frequency of Band 1 Sets the bandwidth of Band 1 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 Sets the gain of Band 2 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 Sets the gain of Band 4 Switches the order of the limiter and parametric EQ Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Time

Effects
Mono-Mono Serial (Mono-Mono)

81

090: Limiter - Cho/Flng (Limiter - Chorus/Flanger)
This effect combines a mono limiter and a chorus/ﬂanger. You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

091: Limiter - Phaser
This effect combines a mono limiter and a phaser. You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

Limiter

Phaser

Limiter

Chorus/Flanger

+
Normal + Output Mode – Wet Invert Cho/Flng FX Amt FX Amt

Limiter
Gain Adjust

Phaser
+ – Resonance Normal Output Mode Wet Invert

+

Limiter
EQ Trim LEQ HEQ Gain Adjust

Chorus/Flanger
Feedback

Phaser FX Amt Right Envelope - Control FX Amt

LFO: Tri / Sine

Right Envelope - Control LFO: Tri / Sine

LIMITER LIMITER [L]Ratio a Threshold [dB] b c [L]Attack Release [L]Gain Adjust [dB] 1.0 : 1... 50.0 : 1, Inf : 1 –40...0 1...100 1...100 –Inf, –38...+24 Sets the signal compression ratio Sets the level above which the compressor is applied Sets the attack time Sets the release time Sets the limiter output gain c a Threshold [dB] b [L]Attack Release [L]Gain Adjust [dB] [P]LFO Frequency [Hz] LFO Waveform [P]Manual e Depth Resonance [P]Phaser Wet/Dry f –15...+15 Sets the gain of Low EQ Amt Sets the gain of High EQ Sets the effect balance of the chorus/ﬂanger Selects the Wet/Dry modulation source for the chorus/ﬂanger Sets the Wet/Dry modulation amount for the chorus/ﬂanger Selects the output mode for the chorus/ﬂanger Switches the order of the limiter and chorus/ﬂanger Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source i g [P]Output Mode h Routing Normal, Wet Invert Limiter ➝ Phaser, Phaser ➝ Limiter 0...100 Off...Tempo –100...+100 –100...+100 Src [L]Ratio 1.0 : 1... 50.0 : 1, Inf : 1 –40...0 1...100 1...100 –Inf, –38...+24 Sets the signal compression ratio Sets the level above which the compressor is applied Sets the attack time Sets the release time Sets the limiter output gain

PHASER 0.02...20.00 Sets the speed of the LFO

CHORUS/FLANGER [F]LFO Frequency d [Hz] LFO Waveform 0.02...20.00 Sets the speed of the LFO d

Triangle, Sine Selects the LFO Waveform 0...100 0...100 –100...+100 -100...0...100 Off...Tempo Sets the frequency to which the effect is applied Sets the depth of LFO modulation Sets the resonance amount Sets the phaser effect balance Selects the phaser’s Wet/Dry modulation source Sets the phaser’s Wet/Dry modulation amount Selects the phaser output mode Switches the order of the limiter and phaser Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Triangle, Sine Selects the LFO Waveform Sets the delay time Sets the depth of LFO modulation Sets the feedback amount Sets the EQ input level

[F]Delay Time 0.0...1350.0 [msec] e Depth Feedback f g [F]EQ Trim [F]Pre LEQ Gain [dB] 0...100 –100...+100 0...100

Pre HEQ Gain –15...+15 [dB] [F]Cho/Flng Wet/Dry -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert Limiter ➝ Flanger, Flanger ➝ Limiter 0...100 Off...Tempo –100...+100

h Src Amt [F]Output Mode i Routing

FX Amount Src Amt

FX Amount j Src Amt

82

Effects
Mono-Mono Serial (Mono-Mono)

092: Limiter - Mt.Delay (Limiter - Multitap Delay)
This effect combines a mono limiter and a multitap delay. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

093: Exciter - Comp (Exciter -Compressor)
This effect combines a mono exciter and a compressor. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

Limiter

Multitap Delay
Feedback

Exciter
EQ Trim LEQ HEQ

Compressor

+

Limiter

Delay

Gain Adjust High Damp (1)

(2) Mt.Dly FX Amt

+

Exciter

Comp
Output Level

Right Envelope - Control

FX Amt

Right Envelope - Control

FX Amt

LIMITER [L]Ratio a Threshold [dB] b c [L]Attack Release [L]Gain Adjust [dB] 1.0 : 1... 50.0 : 1, Inf : 1 –40...0 1...100 1...100 –Inf, –38...+24 Sets the signal compression ratio Sets the level above which the compressor is applied Sets the attack time Sets the release time Sets the limiter output gain

EXCITER a [X]Exciter Blend –100...+100 0...70 0...100 –15...+15 Sets the intensity (depth) of the Exciter effect Sets the frequency range to be emphasized Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ

b [X]Emphasis Frequency c d [X]EQ Trim [X]Pre LEQ Gain [dB]

Pre HEQ Gain –15...+15 [dB] [C] Sensitivity [C]Attack

MULTITAP DELAY [D]Tap1 Time 0.0...1360.0 d [msec] Tap1 Level 0...100 e f [D]Tap2 Time 0.0...1360.0 [msec] Feedback [D]High Damp [%] [D]Mt.Delay Wet/Dry g Src Amt –100...+100 0...100 0...100 Off...Tempo –100...+100 Limiter ➝ Mt.Delay, Mt.Delay ➝ Limiter 0...100 Off...Tempo –100...+100 Sets the Tap1 delay time Sets the Tap1 output level Sets the Tap2 delay time Sets the Tap2 feedback amount Sets the damping amount in the high range Sets the multitap delay effect balance Selects the multitap delay’s Wet/ Dry modulation source Sets the multitap delay’s Wet/ Dry modulation amount Switches the order of the limiter and multitap delay Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

COMPRESSOR e f 1...100 1...100 Sets the sensitivity Sets the attack level Sets the compressor output level

Output Level 0...100

g Routing FX Amount h Src Amt

Exciter ➝ Comp, Comp Switches the order of the exciter and compressor ➝ Exciter 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

h Routing

FX Amount i Src Amt

Effects
Mono-Mono Serial (Mono-Mono)

83

094: Exciter - Limiter
This effect combines a mono exciter and a limiter. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

095: Exciter - Cho/Flng (Exciter - Chorus/Flanger)
This effect combines a mono limiter and a chorus/ﬂanger.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

Exciter
EQ Trim LEQ HEQ

Limiter
EQ Trim LEQ

Exciter
HEQ

Chorus/Flanger

+

Exciter

Limiter
Gain Adjust

+

Exciter

Chorus/Flanger
Feedback + –

Normal Output Mode

Wet Invert Cho/Flng FX Amt FX Amt

Right Envelope - Control

FX Amt

Right LFO: Tri / Sine

EXCITER a [X]Exciter Blend –100...+100 0...70 0...100 –15...+15 Sets the intensity (depth) of the Exciter effect Sets the frequency range to be emphasized Sets the EQ input level Sets the gain of Low EQ

EXCITER a [X]Exciter Blend –100...+100 0...70 0...100 –15...+15 Sets the intensity (depth) of the Exciter effect Sets the frequency range to be emphasized Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ

b [X]Emphasis Frequency c d [X]Trim [X]Pre LEQ Gain [dB]

b [X]Emphasis Frequency c d [X]Trim [X]Pre LEQ Gain [dB]

Pre HEQ Gain –15...+15 [dB] 1.0 : 1... 50.0 : 1, Inf : 1 –40...0 1...100 1...100 –Inf, –38...+24 Exciter ➝ Limiter, Limiter ➝ Exciter 0...100 Off...Tempo –100...+100

Sets the gain of High EQ

Pre HEQ Gain –15...+15 [dB] [F]LFO Frequency [Hz] LFO Waveform

LIMITER e f [L]Ratio [L]Threshold [dB] Release h [L]Gain[dB] Adjust i Routing Sets the signal compression ratio

CHORUS/FLANGER 0.02...20.00 Sets the speed of the LFO

e Sets the level above which the compressor is applied Sets the attack time Sets the release time Sets the limiter output gain f

Triangle, Sine Selects the LFO Waveform Sets the delay time Sets the depth of LFO modulation Sets the feedback amount Sets the effect balance of the chorus/ﬂanger Selects the Wet/Dry modulation source for the chorus/ﬂanger Sets the Wet/Dry modulation amount for the chorus/ﬂanger Selects the output mode for the chorus/ﬂanger Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

g [L]Attack

[F]Delay Time 0.0...1350.0 [msec] Depth Feedback [F]Cho/Flng Wet/Dry g Src Amt h [F]Output Mode FX Amount i Src Amt 0...100 –100...+100 -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert 0...100 Off...Tempo –100...+100

Switches the order of the exciter and limiter Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

FX Amount j Src Amt

84

Effects
Mono-Mono Serial (Mono-Mono)

096: Exciter - Phaser
This effect combines a mono limiter and a phaser.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

097: Exciter - Mt.Delay (Exciter - Multitap Delay)
This effect combines a mono exciter and a multitap delay.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

Exciter
EQ Trim LEQ HEQ

Phaser

Exciter Exciter Phaser
Resonance + – Normal Output Mode Wet Invert EQ Trim LEQ HEQ

Multitap Delay
Feedback

+

+

Exciter

Delay
High Damp (1)

(2) Mt.Dly FX Amt

Phaser FX Amt Right LFO: Tri / Sine Right FX Amt

FX Amt

EXCITER a [X]Exciter Blend –100...+100 0...70 0...100 –15...+15 Sets the intensity (depth) of the Exciter effect Sets the frequency range to be emphasized Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ

EXCITER a [X]Exciter Blend –100...+100 0...70 0...100 –15...+15 Sets the intensity (depth) of the Exciter effect Sets the frequency range to be emphasized Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ

b [X]Emphasis Frequency c d [X]Trim [X]Pre LEQ Gain [dB]

b [X]Emphasis Frequency c d [X]Trim [X]Pre LEQ Gain [dB]

Pre HEQ Gain –15...+15 [dB] [P]LFO Frequency [Hz] LFO Waveform [P]Manual

PHASER 0.02...20.00 Sets the speed of the LFO

Pre HEQ Gain –15...+15 [dB] [D]Tap1 Time 0.0...1360.0 [msec] Tap1 Level 0...100 [D]Tap2 Time 0.0...1360.0 [msec] Feedback (Tap2) –100...+100 0...100 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

MULTITAP DELAY e Triangle, Sine Selects the LFO Waveform 0...100 0...100 –100...+100 -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert 0...100 Off...Tempo –100...+100 Sets the frequency to which the effect is applied Sets the depth of LFO modulation Sets the resonance amount Sets the phaser effect balance Selects the Wet/Dry modulation source for the phaser Sets the Wet/Dry modulation amount for the phaser Selects the phaser output mode Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source i f Sets the Tap1 delay time Sets the Tap1 output level Sets the Tap2 delay time Sets the Tap2 feedback amount Sets the damping amount in the high range Sets the multitap delay effect balance Selects the Wet/Dry modulation source for the multitap delay Sets the Wet/Dry modulation amount for the multitap delay Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

e

f

Depth Resonance [P]Phaser Wet/Dry

g [D]High Damp [%] [D]Mt.Delay Wet/Dry h Src Amt FX Amount Src Amt

g Src Amt h [P]Output Mode FX Amount i Src Amt

Effects
Mono-Mono Serial (Mono-Mono)

85

098: OD/HG - Amp Sim (Overdrive/Hi.Gain Amp Simulation)
This effect combines a mono overdrive/high-gain distortion and an amp simulation. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing

099: OD/HG - Cho/Flng (Overdrive/Hi.Gain - Chorus/Flanger)
This effect combines a mono overdrive/high-gain distortion and a chorus/ﬂanger. You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

Overdrive / Hi-Gain
FX Amt
3 Band PEQ

Chorus/Flanger

Overdrive / Hi-Gain
3 Band PEQ

Amp Simulation

+ +
Driver
Output Level Mode: Overdrive / Hi-Gain Drive Right FX Amt
Right

Driver
Output Level Mode: Overdrive / Hi-Gain Drive

Chorus/Flanger
Feedback Wet Invert Cho/Flng FX Amt FX Amt LFO: Tri / Sine + – Normal Output Mode

Amp Simulation Filter

OD/HI-GAIN a [O]Drive Mode Drive [O]Output Level b Src Amt e [O]Low Cutoff [Hz] Gain [dB] [O]Mid1 Cutoff [Hz] f Q Gain [dB] [O]Mid2 Cutoff [Hz] g Q Gain [dB] AMP SIM h [A]Ampliﬁer Type i Routing FX Amount j Src Amt SS, EL84, 6L6 Selects the type of guitar ampliﬁe Overdrive, Hi-Gain 1...100 0...50 Off...Tempo –50...+50 20...1.00k –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Switches between overdrive and high-gain distortion Sets the degree of distortion Sets the overdrive output level Selects the modulation source for the overdrive output level Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/ High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/ High EQ 2 Sets the gain of Mid/High EQ 2

OD/HI-GAIN a [O]Drive Mode Drive [O]Output Level b Src Amt e [O]Low Cutoff [Hz] Gain [dB] [O]Mid1 Cutoff [Hz] f Q Gain [dB] [O]Mid2 Cutoff [Hz] g Q Gain [dB] CHORUS/FLANGER [F]LFO Frequency h [Hz] LFO Waveform 0.02...20.00 Sets the speed of the LFO Overdrive, Hi-Gain 1...100 0...50 Off...Tempo –50...+50 20...1.00k –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Switches between overdrive and high-gain distortion Sets the degree of distortion Sets the overdrive output level Selects the modulation source for the overdrive output level Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/ High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/ High EQ 2 Sets the gain of Mid/High EQ 2

OD/HG ➝ Amp, Amp ➝ Switches the order of the overdrive and amp OD/HG 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Triangle, Sine Selects the LFO Waveform Sets the delay time Sets the depth of LFO modulation Sets the feedback amount Sets the effect balance of the chorus/ﬂanger Selects the Wet/Dry modulation source for the chorus/ﬂanger Sets the Wet/Dry modulation amount for the chorus/ﬂanger

[F]Delay Time 0.0...1350.0 [msec] i Depth Feedback [F]Cho/Flng Wet/Dry j Src Amt [F]Output Mode k Routing 0...100 –100...+100 -100...0...100 Off...Tempo –100...+100

Normal, Wet Selects the output mode for the Invert chorus/ﬂanger OD/HG ➝ Flanger, Flanger ➝ OD/HG 0...100 Off...Tempo –100...+100 Switches the order of the overdrive and chorus / ﬂanger Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

FX Amount l Src Amt

86

Effects
Mono-Mono Serial (Mono-Mono)

100: OD/HG - Phaser (Overdrive/Hi.Gain - Phaser)
This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

101: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Multitap Delay)
This effect combines a mono overdrive/high-gain distortion and a multitap delay.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

Overdrive / Hi-Gain
3 Band PEQ

Phaser

Overdrive / Hi-Gain
3 Band PEQ

Multitap Delay
Feedback

+

Driver
Output Level Mode: Overdrive / Hi-Gain Drive

Phaser
Resonance + – Normal Output Mode Wet Invert Right FX Amt LFO: Tri / Sine

+

Driver
Output Level Mode: Overdrive / Hi-Gain Drive

Delay
High Damp (1)

(2) Mt.Dly FX Amt

Phaser FX Amt

Right

FX Amt

OD/HI-GAIN OD/HI-GAIN a [O]Drive Mode Drive [O]Output Level b Src Amt e [O]Low Cutoff [Hz] Gain [dB] [O]Mid1 Cutoff [Hz] f Q Gain [dB] [O]Mid2 Cutoff [Hz] g Q Gain [dB] PHASER [P]LFO Frequency h [Hz] LFO Waveform [P]Manual i Depth Resonance [P]Phaser Wet/Dry j Src Amt [P]Output Mode k Routing 0.02...20.00 Sets the speed of the LFO h Overdrive, Hi-Gain 1...100 0...50 Off...Tempo –50...+50 20...1.00k –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Switches between overdrive and high-gain distortion Sets the degree of distortion Sets the overdrive output level Selects the modulation source for the overdrive output level Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/ High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/ High EQ 2 Sets the gain of Mid/High EQ 2 g f e a [O]Drive Mode Drive [O]Output Level b Src Amt [O]Low Cutoff [Hz] Gain [dB] [O]Mid1 Cutoff [Hz] Q Gain [dB] [O]Mid2 Cutoff [Hz] Q Gain [dB] MULTITAP DELAY [D]Tap1 Time 0.0...1360.0 [msec] Tap1 Level Triangle, Sine Selects the LFO Waveform 0...100 0...100 –100...+100 -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert Sets the frequency to which the effect is applied Sets the depth of LFO modulation Sets the resonance amount Sets the phaser effect balance Selects the Wet/Dry modulation source for the phaser Sets the Wet/Dry modulation amount for the phaser l Selects the phaser output mode k i j 0...100 Sets the Tap1 delay time Sets the Tap1 output level Sets the Tap2 delay time Sets the Tap2 feedback amount Sets the damping amount in the high range Sets the multitap delay effect balance Selects the Wet/Dry modulation source for the multitap delay Sets the Wet/Dry modulation amount for the multitap delay Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source Overdrive, Hi-Gain 1...100 0...50 Off...Tempo –50...+50 20...1.00k –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 Switches between overdrive and high-gain distortion Sets the degree of distortion Sets the overdrive output level Selects the modulation source for the overdrive output level Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/ High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/ High EQ 2 Sets the gain of Mid/High EQ 2

[D]Tap2 Time 0.0...1360.0 [msec] Feedback [D]High Damp [%] [D]Mt.Delay Wet/Dry Src Amt FX Amount Src Amt –100...+100 0...100 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

OD/HG ➝ Phaser, Switches the order of the Phaser ➝ OD/ overdrive and phaser HG 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

FX Amount l Src Amt

Effects
Mono-Mono Serial (Mono-Mono)

87

102: Wah - Amp Sim (Wah - Amp Simulation)
This effect combines a mono wah and an amp simulation. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

103: Decimator - Amp (Decimator - Amp Simulation)
This effect combines a mono decimator and an amp simulation. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

Wah/Auto Wah

Amp Simulation

Decimator
Resolution Output Level

Amp Simulation

+

Wah
FX Amt

Amp Simulation Filter

+
Pre LPF

Decimator
High Damp

Amp Simulation Filter

Right

D-mod

Sweep Mode Envelope Auto D-mod LFO

FX Amt

Right

FX Amt

LFO

DECIMATOR [D]Pre LPF a Off, On Turn the harmonic noise caused by lowered sampling on and off Sets the ratio of high-range damping

WAH [W] Frequency Bottom Frequency Top [W]Sweep Mode b Src [W]LFO Frequency [Hz] c Resonance LPF [W]Wet/Dry d Src Amt AMP SIM e f [A]Ampliﬁer Type Routing FX Amount g Src Amt SS, EL84, 6L6 Wah ➝ Amp, Amp ➝ Wah 0...100 Off...Tempo –100...+100 Selects the type of guitar ampliﬁer Switches the order of the wah and amp simulation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source 0...100 0...100 Auto, D-mod, LFO Off...Tempo Sets the lower limit of the wah center frequency Sets the upper limit of the wah center frequency Selects the control from autowah, modulation source, and LFO Selects the modulation source for the wah when Sweep Mode=D-mod Sets the speed of the LFO Sets the resonance amount Switches the wah low pass ﬁlter on and off Sets the wah effect balance Selects the Wet/Dry modulation source for the wah Sets the Wet/Dry modulation amount for the wah

High Damp 0...100 [%]

a

[D]Samplin 1.00k...48.0 Sets the sampling frequency b g Freq [Hz] 0k Resolution 4...24 Sets the data bit length c [D]Output Level 0...100 Sets the decimator output level Selects the type of guitar ampliﬁer Switches the order of the decimator and amp simulation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27

AMP SIM d [A]Ampliﬁe SS, EL84, r Type 6L6 e Routing Decimator ➝ Amp, Amp ➝ Decimator

0.02...20.00 0...100 Off, On 0...100 Off...Tempo –100...+100

FX Amount 0...100 f Src Amt Off...Temp o

–100...+100 Amount of modulation source

88

Effects
Mono-Mono Serial (Mono-Mono)

104: Decimator - Comp (Decimator - Compressor)
This effect combines a mono decimator and a compressor. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt

105: AmpSim - Tremolo (Amp Simulation- Tremolo)
This effect combines a mono amp simulation and a tremolo.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

Amp Simulation

Tremolo

Decimator
Resolution Output Level

Compressor

+ +
Pre LPF

Amp Simulation Filter

Tremolo

Decimator
High Damp

Comp
Output Level

Right
Right Envelope - Control

FX Amt LFO: Tri/Sin/Vintage/Up/Down LFO Shape

FX Amt

AMP SIM DECIMATOR [D]Pre LPF a High Damp [%] Off, On 0...100 Turn the harmonic noise caused by lowered sampling on and off Sets the ratio of high-range damping b a [A]Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁer

TREMOLO [T]LFO Waveform LFO Shape c [T]LFO Frequency [Hz] Triangle, Sine, Vintage, Up, Down –100...+100 0.02...20.00 0...100 0...100 Off...Tempo –100...+100 Selects the LFO Waveform Changes the curvature of the LFO Waveform Sets the speed of the LFO Sets the depth of LFO modulation Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

[D]Sampling b Freq [Hz] Resolution c [D]Output Level

1.00k...48.00k Sets the sampling frequency 4...24 0...100 Sets the data bit length Sets the decimator output level

COMPRESSOR d [C] Sensitivity e [C]Attack 1...100 1...100 Sets the sensitivity Sets the attack level Sets the compressor output level e

d [T]Depth FX Amount Src Amt

Output Level 0...100 Routing

f

Decimator ➝ Comp, Switches the order of the Comp ➝ decimator and compressor Decimator 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

FX Amount g Src Amt

Effects
Mono-Mono Serial (Mono-Mono)

89

106: Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay)
This effect combines a mono chorus/ﬂanger and a multitap delay.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left

107: Phaser - Cho/Flng (Phaser - Chorus/Flanger)
This effect combines a mono phaser and a chorus/ﬂanger.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

Phaser
FX Amt

Chorus/Flanger

Chorus/Flanger

Multitap Delay

+
Feedback

Phaser
Resonance

Chorus/Flanger
EQ LEQ HEQ Trim Phaser Feedback FX Amt Wet Invert Cho/Flng FX Amt FX Amt LFO: Tri / Sine + – Normal Output Mode

+
EQ LEQ HEQ Trim

Chorus/Flanger
Feedback

(1) Cho/Flng FX Amt High Damp

Delay (2)

Mt.Dly FX Amt Right

LFO: Tri / Sine Right LFO: Tri / Sine FX Amt

PHASER CHORUS/FLANGER [F]LFO Frequency [Hz] LFO Waveform 0.02...20.00 Sets the speed of the LFO a [P]LFO Frequency [Hz] LFO Waveform [P]Manual b Depth Resonance c Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ Sets the effect balance of the chorus/ﬂanger [P]Phaser Wet/Dry 0.02...20.00 Sets the speed of the LFO

a

Triangle, Sine Selects the LFO Waveform 0...100 0...100 –100...+100 -100...0...100 Sets the frequency to which the effect is applied Sets the depth of LFO modulation Sets the resonance amount Sets the phaser effect balance

Triangle, Sine Selects the LFO Waveform Sets the delay time Sets the depth of LFO modulation Sets the feedback amount

[F]Delay Time 0.0...1350.0 [msec] b Depth Feedback c d [F]EQ Trim [F]PreLEQ Gain [dB] 0...100 –100...+100 0...100 –15...+15

CHORUS/FLANGER [F]LFO Frequency d [Hz] LFO Waveform 0.02...20.00 Sets the speed of the LFO

PreHEQ Gain –15...+15 [dB] [F]Cho/Flng Wet/Dry

e

–Wet...–1 : 99, Dry, 1 : 99...Wet

Triangle, Sine Selects the LFO Waveform Sets the delay time Sets the depth of LFO modulation Sets the feedback amount Sets the EQ input level Sets the gain of Low EQ Sets the gain of High EQ Sets the effect balance of the chorus/ﬂanger Selects the Wet/Dry modulation source for the chorus/ﬂanger Sets the Wet/Dry modulation amount for the chorus/ﬂanger Selects the output mode for the chorus/ﬂanger Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

MULTITAP DELAY a [D]Tap1 Time 0.0...1360.0 [msec] Tap1 Level 0...100 Sets the Tap1 delay time Sets the Tap1 output level f Sets the Tap2 delay time Sets the Tap2 feedback amount Sets the damping amount in the high range Sets the multitap delay effect balance Selects the Wet/Dry modulation source for the multitap delay Sets the Wet/Dry modulation amount for the multitap delay Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source i g e

[F]Delay Time 0.0...1350.0 [msec] Depth Feedback [F]EQ Trim [F]PreLEQ Gain [dB] 0...100 –100...+100 0...100 –15...+15

[D]Tap2 Time 0.0...1360.0 b [msec] Feedback –100...+100 c [D]High Damp [%] [D]Mt.Delay Wet/Dry d Src Amt FX Amount e Src Amt 0...100 0...100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

PreHEQ Gain –15...+15 [dB] [F]Cho/Flng Wet/Dry -100...0...100 Off...Tempo –100...+100 Normal, Wet Invert 0...100 Off...Tempo –100...+100

h Src Amt [F]Output Mode FX Amount j Src Amt

90

Effects
Mono-Mono Serial (Mono-Mono)

108: Reverb - Gate
This effect combines a mono reverb and a gate.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left

f: [G]Envelope Select f: Src g: [G]Input Reverb Mix g: Threshold
FX Amt

Reverb
EQ Trim

+

Pre Delay
LEQ HEQ

Reverb

Gate
Reverb Balance

Right Input Reverb Mix Input Envelope - Control Gate+Dmpr D-mod Envelope Select

The “[G]Envelope Select” parameter enables you to select whether turning the gate on and off is triggered by the input signal level or controlled directly by the modulation source. You can select from Off to Tempo for the Src parameter to specify the modulation source. When “[G]Envelope Select” is set to Input, the gate is controlled by the level of signals that are the combination of the dry sound and the reverb sound. When the signal level exceeds the threshold, the gate opens and the reverb sound is output. Normally, set “[G]Input Reverb Mix” to Dry (the gate is controlled only by the dry sound). If you wish to extend the gate time, set the “[G]Input Reverb Mix” value higher and adjust the “Threshold” value.

FX Amt

Gate

REVERB a [R]Reverb Time [sec] High Damp [%] 0.1...10.0 0...100 0...200 0...100 0...100 Low, Mid-Low High, Mid-High –15.0...+15.0 Sets the reverberation time Sets the damping amount in the high range Sets the delay time of the reverb sound and gate control signal Sets the EQ input level Sets the reverb effect balance Selects the cutoff frequency (low or mid-low) of the lowrange equalizer Selects the cutoff frequency (high or mid-high) of the highrange equalizer Sets the gain of Low EQ Sets the gain of High EQ

b [R]Pre Delay [msec] [R]EQ Trim c Reverb Balance [R]PreLEQ Fc d Pre HEQ Fc [R]PreLEQ Gain [dB]

e

Pre HEQ Gain –15.0...+15.0 [dB]

GATE [G]Envelope Select f Src [G]Input Reverb Mix Threshold h [G]Polarity i [G]Attack Release FX Amount j Src Amt Switches between modulation D-mod, Input source control and input signal control Off...Tempo Selects the modulation source that controls the gate when Envelope Select is set to D-mod Sets the balance between the dry and reverb sounds of the gate control signal Sets the gate threshold level Switches between non-invert and invert of the gate on/off state Sets the attack time Sets the release time Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

0...100 0...100 +, – 1...100 1...100 0...100 Off...Tempo –100...+100

g

Effects
Double Size

91

Double Size
Double-size effects can be used only with FX processors B and D.

109: St. Mltband Limiter (Stereo Mltband Limiter)
This is a stereo multiband limiter.
Stereo In - Stereo Out Left Band-Pass Filters Low Envelope - Control Mid Envelope - Control High Envelope - Control Envelope - Control Low Envelope - Control Mid Right High Offset Envelope - Control FX Amt

110: PianoBody/Damper (PianoBody/Damper Simulation)
This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very realistic sound when applied to acoustic piano sounds.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Limiter Limiter

Gain Adjust

Left

Limiter Limiter Limiter Limiter
FX Amt
Right

FX Amt

Gain Adjust

+

Piano Body/Damper Simulation

FX Amt

a

Ratio

1.0 : 1... 50.0 : 1, Inf : 1 –40...0 1...100 1...100 –40...0 –40...0 –40...0 –Inf, –38...+24 Off...Tempo –63...+63 0...100 Off...Tempo –100...+100

Sets the signal compression ratio Sets the level above which the compressor is applied Sets the attack time Sets the release time Sets the low range gain of trigger signal Sets the mid range gain of trigger signal Sets the high range gain of trigger signal Sets the output gain Selects the modulation source for the output gain Sets the modulation amount of the output gain Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source f b a

D

-mod

Damper

b Threshold [dB] c Attack Low Offset [dB] Mid Offset [dB] d Release e f

Sound Board 0...100 Depth Damper Depth Src 0...100 Off...Tempo 1...100 0...36 –50...+50 0...100 Off...Tempo –100...+100

Sets the intensity of resonance of the sound board Sets the intensity of the string resonance created when the damper pedal is pressed Selects the modulation source of damper effect Sets tonal quality of effect sound Sets the mid range of tonal quality Fine tuning Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

c

Tone

g High Offset [dB] Gain Adjust [dB] h Src Amt FX Amount i Src Amt

d Mid Shape e Tune FX Amount Src Amt

a: Sound Board Depth

This parameter sets the intensity of resonance of the piano sound board. b: Damper Depth b: Src

This parameter sets the resonance intensity of the other strings created when the damper pedal is pressed. The “Src” parameter selects the modulation source from which the damper effect is applied. Usually, select Damper #64 Pdl (Damper pedal).
The effect is off when a value for the modulation source speciﬁed for the “Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

c: Tone d: Mid Shape

These parameters control the tonal quality of the effect sound. e: Tune

Since this effect simulates the resonance of the strings, the sound varies depending on the pitch. If you have changed tuning using the “Master Tuning” (Global > General Controls > Basic), adjust this parameter value.

92

Effects
Double Size

111: OD/HyperGain Wah (Overdrive/Hyper Gain Wah)
This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. A higher high-gain setting is required for this effect relative to a normal-size effect.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

112: GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ)
This combines a guitar amp simulation (which even faithfully replicates the distortion and tone control circuitry) with a fourband equalizer. By using this in conjunction with “019: St. Guitar Cabinet (Stereo Guitar Cabinet)” on page 41, you can obtain an even more realistic guitar sound that simulates a guitar amp + speaker cabinet.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Pre Low-cut Wah

Mode: Overdrive / Hyper-Gain Drive 3 Band EQ Amp Simulation Driver Output Level Direct Mix

Right FX Amt

Left FX Amt

D-mod
Volume

Wah Src a Sw Wah Sweep Range b Wah Sweep Src Drive Mode Drive d Pre Low-cut

Off, On Off...Tempo Toggle, Moment –10...+10 Off...Tempo Overdrive, Hyper-Gain 1...120 0...10

Switches Wah on/off Selects the modulation source that switches the Wah on and off Selects the switching mode for the modulation source that switches the Wah on and off Sets the range of Wah Selects the modulation source that controls the Wah Switches between overdrive and hi-gain distortion Sets the degree of distortion Sets the low range cut amount of the distortion input Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/ High EQ 1 Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/ High EQ 2 Sets the gain of Mid/High EQ 2 Sets the amount of the dry sound mixed to the distortion Switches the speaker simulation on/off Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source f e d Presence c b a
Right

+

Guitar Amp Model
Parametric 4Band EQ

FX Amt

D-mod
VOX AC15, VOX AC15TB, VOX AC30, VOX AC30TB, UK BLUES, UK 70'S, UK 80'S, UK 90'S, UK MODERN, US MODERN, Selects the type of the ampliﬁer US HIGAIN, BOUTIQUE OD, BOUTIQUE CL, BLACK 2x12, TWEED 1x12, TWEED 4x10 0...100 0...100 Off...Tempo –100...+100 0...100 0...100 0...100 0...100 Thru, On Sets the input gain Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the bass (low range) level Sets the middle (mid range) level Sets the treble (high range) level Sets the presence (highfrequency tone) Selects through or on for the equalizer Sets the center frequency of Band 1 Sets Band 1’s bandwidth Sets the gain of Band 1 Sets the center frequency of Band 2 Sets Band 2’s bandwidth Sets the gain of Band 2 Sets the center frequency of Band 3 Sets Band 3’s bandwidth Sets the gain of Band 3 Sets the center frequency of Band 4 Sets Band 4’s bandwidth Sets the gain of Band 4 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

c

Amp Type

Output Level 0...50 e Src Amt f Low Cutoff [Hz] Gain [dB] Mid1 Cutoff [Hz] g Q Gain [dB] Mid2 Cutoff [Hz] h Q Gain [dB] Direct Mix i Speaker Simulation FX Amount j Src Amt Off...Tempo –50...+50 20...1.00k –18...+18 300...10.00k 0.5...10.0 –18...+18 500...20.00k 0.5...10.0 –18...+18 0...50 Off, On 0...100 Off...Tempo –100...+100

Drive Gain Volume Src Amt Bass Middle Treble

Post P4EQ

Band1 Cutoff 20...1.00k [Hz] e Q Gain [dB] 0.5...10.0 –18...+18

Band2 Cutoff 50...5.00k [Hz] Q Gain [dB] 0.5...10.0 –18...+18

Band3 Cutoff 300...10.00k [Hz] g Q Gain [dB] 0.5...10.0 –18...+18

Band4 Cutoff 500...20.00k [Hz] h Q Gain [dB] FX Amount i Src Amt 0.5...10.0 –18...+18 0...100 Off...Tempo –100...+100

Effects
Double Size

93

a: Amp Type d: Presence

113: BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet)
This simulates a bass amp (with gain and drive) and speaker cabinet.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

If the Amp Type is VOX AC15...VOX AC30TB, this sets the attenuation of the high-frequency range. For other types, this sets the boost of the high-frequency range. This corresponds to the Cut knob control of amps made by the VOX Corporation. e: Post P4EQ

Volume

+

Bass Amp Model2

Cabinet Simulator

By chaining this with 19: St.Guitar Cabinet you can simulate the combination of a guitar amp and speaker cabinet. In this case, we recommend that you set Post P4EQ to “Thru,” but if necessary you can turn it “On” and adjust the tone.
Recommended Combinations of Guitar Amp Models and Cabinet Simulators:
Amp Type VOX AC15 VOX AC15TB VOX AC30 VOX AC30TB UK BLUES UK 70'S UK 80'S UK 90'S UK MODERN US MODERN US HIGAIN BOUTIQUE OD BOUTIQUE CL BLACK 2x12 TWEED - 1x12 TWEED - 4x10 Cabinet Type VOX AC15 - 1x12 VOX AC15 - 1x12 VOX AC30 - 2x12 VOX AC30 - 2x12 UK H30 - 4x12 UK H30 - 4x12 UK T75 - 4x12 UK T75 - 4x12 UK T75 - 4x12, US V30 - 4x12 US V30 - 4x12 US V30 - 4x12, UK T75 - 4x12 UK H30 - 4x12 UK H30 - 4x12 BLACK - 2x12 TWEED - 1x12 TWEED - 4x10 i c a

Drive Right FX Amt

D-mod
Selects the type of the ampliﬁer STUDIO COMBO Amp Type VOX AC100 UK MAJOR b Drive Gain Volume Src Amt d Bass e f Middle Treble 0...100 0...100 Off...Tempo –100...+100 0...100 0...100 0...100 0...100 Off, On A tube combo ideal for the Motown sound A 100W tube amp AC100 made by Vox A 200W tube amp made in the UK Sets the input gain Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Sets the bass (low range) level Sets the middle (mid range) level Sets the treble (high range) level Sets the presence (highfrequency tone) Switches the cabinet simulator on/off

g Presence h Cabinet Simulator

LA - 4x10, MODERN 4x10, METAL - 4x10, CLASSIC -8x10, UK - 4x12, STUDIO - 1x15, Selects the cabinet type Cabinet Type JAZZ - 1x15, VOX AC100 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 & 1x18 FX Amount 0...100 Off...Tempo –100...+100 Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

j

Src Amt

a: Amp Type i: Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets:
Amp Type STUDIO COMBO AC100 UK MAJOR Cabinet Type STUDIO - 1x15 VOX AC100 - 2x15 UK - 4x15, UK - 4x12

94

Effects
Double Size

114: St. Mic + PreAmp (Stereo Mic Modeling + PreAmp)
This is a stereo mic and preamp simulator (See “025: Mic Model+PreAmp (Mic Modeling + PreAmp)” on page 44.). For example you might use this to simulate micing of a stereo source such as a rotary speaker.
Stereo In - Stereo Out Left FX Amt

Tap5 (120) [msec] Depth f Status

0...2000 0...30 Always On, Always Off, On➝Off (Dm), Off➝On (Dm) 0...2000 0...30 Always On, Always Off, On➝Off (Dm), Off➝On (Dm)

Sets the Tap5 (LFO phase=120 degrees) delay time Sets the Tap5 chorus depth Selects on, off, or modulation source for the control of Tap5 output

Tap6 (300) [msec] Depth g Status

Sets the Tap1 (LFO phase=300 degrees) delay time Sets the Tap6 chorus depth Selects on, off, or modulation source for the control of Tap6 output

Mic Simulation

Tube Pre Amp Output Level

Mic Simulation

Tube Pre Amp

Right FX Amt

h Panning Preset Tap1 Feedback i Src

1 : L 1 2 3 4 5 6 R, Selects the stereo panning 2 : L 135 246 R, pattern for each tap 3 : L 1 3 5 2 4 6 R, 4:L145632R –100...+100 Sets the Tap1 feedback amount Selects the modulation source for the Tap output level, feedback amount, and effect balance Sets the modulation amount of Tap1 feedback amount Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

115: Multitap Cho/Delay (Multitap Chorus/Delay)
This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block. You can control the delay output level via a modulation source.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left Feedback FX Amt

Off...Tempo

Amt FX Amount j Src Amt

–100...+100 0...100 Off...Tempo –100...+100

Tap1 Delay Tap2 Delay Tap3 Delay Tap4 Delay Tap5 Delay Tap6 Delay
Right 0 [degree] 180 [degree] 60 [degree] 240 [degree] 120 [degree] 300 [degree] LFO: Triangle FX Amt Panning Preset

b, c, d, e, f, g: Status

+

These parameters set the output status of each Tap. Always On: Output is always on. (No modulation) Always Off: Output is always off. (No modulation) On→Off (dm): Output level is switched from on to off depending on the modulation source. Off→On (dm): Output level is switched from off to on depending on the modulation source.

D-mod
LFO Frequency [Hz] Tap1 (000) [msec] Depth b Status

On/Off Control

a

0.02...13.00 0...2000 0...30 Always On, Always Off, On➝Off (Dm), Off➝On (Dm) 0...2000 0...30 Always On, Always Off, On➝Off (Dm), Off➝On (Dm) 0...2000 0...30 Always On, Always Off, On➝Off (Dm), Off➝On (Dm) 0...2000 0...30 Always On, Always Off, On➝Off (Dm), Off➝On (Dm)

Sets the speed of the LFO Sets the Tap1 (LFO phase=0 degrees) delay time Sets the Tap1 chorus depth

Combining these parameters, you can change from 4-phase chorus to two-tap delay by crossfading them gradually via the modulation source during a performance. h: Panning Preset

Selects on, off, or modulation source for the control of Tap1 output

This parameter selects combinations of stereo images of the tap outputs.

Tap2 (180) [msec] Depth c Status Tap3 (060) [msec] Depth d Status

Sets the Tap2 (LFO phase=180 degrees) delay time Sets the Tap2 chorus depth Selects on, off, or modulation source for the control of Tap2 output Sets the Tap3 (LFO phase=60 degrees) delay time Sets the Tap3 chorus depth Selects on, off, or modulation source for the control of Tap3 output

Tap4 (240) [msec] Depth e Status

Sets the Tap4 (LFO phase=240 degrees) delay time Sets the Tap4 chorus depth Selects on, off, or modulation source for the control of Tap4 output

Effects
Double Size

95

116: St. Pitch Shifter (Stereo Pitch Shifter)
This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from each other.
Stereo In - Stereo Out Left High Damp FX Amt

117: St. PitchShift BPM (Stereo Pitch Shifter BPM)
This stereo pitch shifter enables you to set the delay time to match the song tempo.
Stereo In - Stereo Out Left High Damp FX Amt

Pitch Shifter
Input Level Pre Pre

Delay
Post Feedback Spread
Input Level Input Level

Pitch Shifter
Pre Pre

Delay
Post Feedback Spread

Feedback Position Input Level Post

Feedback Position Post

Pitch Shifter
Right

Delay
High Damp FX Amt
Right
Tempo

Pitch Shifter

Delay
High Damp FX Amt

BPM BPM

Base Note x Times Base Note x Times

Mode a L/R Pitch

Slow, Switches Pitch Shifter mode Medium, Fast Normal, Up/Down Determines whether or not the L/R pitch shift amount is inverted Sets the pitch shift amount in steps of a semitone Selects the modulation source of pitch shift amount Sets the modulation amount of pitch shift amount Sets the pitch shift amount in steps of one cent Sets the modulation amount of pitch shift amount Sets the delay time for the left channel Sets the delay time for the right channel Sets the feedback amount Sets the damping amount in the high range Switches the feedback connection Sets the width of the stereo image of the effect sound Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source f Times Feedback Position Spread Feedback h High Damp [%] Input Level Dmod [%] Src FX Amount j Src Amt e Times R Delay Base Note c Amt Mode a L/R Pitch

Slow, Switches Pitch Shifter mode Medium, Fast Normal, Up/Down Determines whether or not the L/R pitch shift amount is inverted Sets the pitch shift amount in steps of a semitone Selects the modulation source of pitch shift amount Sets the modulation amount of pitch shift amount Sets the pitch shift amount in steps of one cent Sets the modulation amount of pitch shift amount Sets the modulation amount of pitch shift amount MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Display the error message if the left channel delay time exceeds the upper limit Display the error message if the right channel delay time exceeds the upper limit Selects the type of notes to specify the left channel delay time Sets the number of notes to specify the left channel delay time Selects the type of notes to specify the right channel delay time Sets the number of notes to specify the right channel delay time Switches the feedback connection Sets the width of the stereo image of the effect sound Sets the feedback amount Sets the damping amount in the high range Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Pitch Shift [1/ –24...+24 2tone] b Src Amt Fine [cents] c Amt d L Delay [msec] e R Delay [msec] Feedback f High Damp [%] Feedback Position g Spread Input Level Dmod [%] Src FX Amount i Src Amt –100...+100 –100...+100 Off...Tempo 0...100 Off...Tempo –100...+100 –100...+100 0...2000 0...2000 –100...+100 0...100 Pre, Post Off...Tempo –24...+24 –100...+100

Pitch Shift [1/ –24...+24 2tone] b Src Amt Fine [cents] Off...Tempo –24...+24 –100...+100

–100...+100 MIDI, 40.00... 300.00

BPM

d Time Over? L ---, OVER!

R L Delay Base Note

---, OVER!

...

h

x1...x32

...

x1...x32 Pre, Post –100...+100 –100...+100 0...100 –100...+100 Off...Tempo 0...100 Off...Tempo –100...+100

a: L/R Pitch

When you select Up/Down for this parameter, the pitch shift amount for the right channel will be reversed. If the pitch shift amount is positive, the pitch of the left channel is raised, and the pitch of the right channel is lowered.

g

i

96

Effects
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118: Rotary SpeakerOD (Rotary Speaker Overdrive)
This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recreating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary speaker sound.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Horn FX Amt

a: Sw

This parameter determines how to switch on/off the overdrive via a modulation source. When “Sw” = Toggle, overdrive is turned on/off each time the pedal or joystick is operated.
Overdrive will be switched on/off each time the value of the modulation source exceeds 64.

When “Sw” = Moment, overdrive is applied only when you press the pedal or operate the joystick.
Only when the value for the modulation source is 64 or higher, the overdrive effect is applied.

+

Overdrive

Rotary Speaker
Rotor

Horn/Rotor Balance

Mic Distance Mic Spread

Speaker Simulation Right FX Amt

119: L/C/R Long Delay
This multitap delay outputs three Tap signals to left, right and center respectively. You can set a maximum of 5,460msec for the delay time.

D D-mod D-mod D-mod
-mod

On/Off Mode Switch: Rotate/Stop Speed Switch: Slow/Fast Manual Speed Control

Overdrive Src a Sw Overdrive Gain Overdrive Level Overdrive Tone Speaker Simulator

Off, On Off...Tempo Toggle, Moment 0...100 0...100 0...15 Off, On

Switches overdrive on/off Selects a modulation source to switch overdrive on/off Sets the switch mode for overdrive on/off modulation
+
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left Input Level D-mod FX Amt

L Delay
Level

High Damp Low Damp

C Delay
Level Feedback

Spread

b

Determines the degree of distortion Sets the overdrive output level Sets the tonal quality of the overdrive Switches the speaker simulation on/off Switches between speaker rotation and stop Selects a modulation source for Rotate/Stop Sets the switch mode for Rotate/Stop modulation Switches the speaker rotation speed between slow and fast Selects a modulation source for Slow/Fast Sets the switch mode for Slow/ Fast modulation Sets the volume balance between the high-range horn and low-range rotor Sets a modulation source for direct control of rotation speed Sets how quickly the horn rotation speed changes Adjusts the (high-frequency) horn rotation speed. Standard value is 1.00. “Stop” stops the rotation Sets how quickly the rotor speed changes Adjusts the (low-frequency) rotor rotation speed. Standard value is 1.0. “Stop” stops the rotation Distance between the microphone and rotary speaker Angle of left and right microphones Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source h f a
Right

Input Level D-mod

R Delay
Level FX Amt

C

L Delay Time [msec] Level

0...5460 0...50

Sets the delay time of TapL Sets the output level of TapL Sets the delay time of TapC Sets the output level of TapC Sets the delay time of TapR Sets the output level of TapR Sets the feedback amount of TapC Selects the modulation source for the TapC feedback Sets the modulation amount of the TapC feedback Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Mode Switch Rotate, Stop d Src Sw Off...Tempo Toggle, Moment

C Delay Time 0...5460 b [msec] Level 0...50 c R Delay Time 0...5460 [msec] Level Feedback (C Delay) d Src Amt High Damp [%] Low Damp [%] Input Level Dmod [%] Src 0...50 –100...+100 Off...Tempo –100...+100 0...100 0...100 –100...+100 Off...Tempo 0...50 0...100 Off...Tempo –100...+100

Speed Switch Slow, Fast e Src Sw Horn/Rotor Balance Manual SpeedCtrl Horn Acceleration g Horn Ratio Rotor Acceleration h Rotor Ratio Stop, 0.50...2.00 0...100 Stop, 0.50...2.00 Off...Tempo Toggle, Moment Rotor, 1...99, Horn Off...Tempo 0...100

f

e

g Spread FX Amount Src Amt

Mic Distance i Mic Spread FX Amount j Src Amt

0...100 0...100 0...100 Off...Tempo –100...+100

Effects
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97

120: St/Cross Long Delay (Stereo/Cross Long Delay)
This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing. You can set a maximum of 2,730msec for the delay time.
Stereo In - Stereo Out Left High Damp Low Damp Input Level D-mod Stereo/Cross Input Level D-mod FX Amt

121: Hold Delay
This effect records the input signal and plays it back repeatedly. You can control the start of recording and reset via a modulation source. Easy to use for real-time performances.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

+

Delay
Pan

Delay
Loop Time: Auto/ ...5400ms

Feedback

Stereo/Cross High Damp Low Damp

Spread

Right FX Amt

Delay
Right FX Amt

D D-mod

-mod

REC Control RST Control

Tempo

BPM BPM

Base Note x Times

a

Stereo/Cross

Stereo, Cross 0.0...2730.0

Switches between stereo delay and cross-feedback delay Sets the delay time for the left channel Sets the delay time for the right channel Sets the feedback amount for the left channel Selects the modulation source of feedback amount Sets the modulation amount of the left channel feedback Sets the feedback amount for the right channel Sets the modulation amount of the right channel feedback Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

a

Loop Time [msec]

Auto, 1...10800 Off, On MIDI, 40.00... 300.00 ---, OVER!

Sets Automatic loop time setup mode or speciﬁes loop time Speciﬁes whether delay time is set in milliseconds, or as a note value relative to tempo MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect An error indication that appears if delay time exceeds the upper limit when MIDI/Tempo Sync=On Selects the type of notes to specify the delay time Sets the number of notes to specify the delay time Selects control source for recording Selects control source for reset Sets the recording switch Sets the reset switch Sets the stereo image of the effect Selects the modulation source of stereo image of the effect Sets the modulation amount of stereo image of the effect Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b L Delay Time [msec] c

b Loop BPM Sync BPM c Time Over? Loop Base Note Times e f REC Control Src RST Control Src

R Delay Time 0.0...2730.0 [msec] L Feedback –100...+100 Off...Tempo –100...+100 –100...+100 –100...+100 0...100 0...100 –100...+100 Off...Tempo –50...+50 0...100 Off...Tempo –100...+100

d Src Amt R Feedback e Amt f High Damp [%]

... x1...x32 Off...Tempo Off...Tempo REC Off, REC On Off, RESET L100...L1, C, R1...R100 Off...Tempo –100...+100 0...100 Off...Tempo –100...+100

d

g Low Damp [%] h Input Level Dmod [%] Src i Spread FX Amount j Src Amt

g Manual REC Control h Manual RST Control Pan i Src Amt FX Amount j Src Amt

a: Loop Time [msec]

With Auto, the loop time is automatically set. Otherwise, you can specify the loop time. When Auto is selected, the Loop Time is automatically set to the time it takes for a performance recorded while the Modulation Source or “Manual REC Control” is on. However, if the time length exceeds 10,800msec, the loop time will be automatically set to 10,800msec. c: Time Over?

You can set the delay time up to 10,800msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.

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Effects
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b: Loop BPM Sync c: BPM d: Loop Base Note d: Times

The effect is off when a value for the modulation source speciﬁed for the “RST Control Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

If “Loop BPM Sync” is on, the “Times” setting is ignored; the loop time is determined by “BPM,” “Loop Base Note,” and “Times.” Even in this case, the delay time cannot exceed 10,800 msec. “Hold” procedure (when Loop Time = Auto)
1.

122: LCR BPM Long Dly
The L/C/R delay enables you to match the delay time with the song tempo.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left FX Amt Input Level D-mod

“Rec Src”JS +Y: #01 “Reset Src”JS –Y: #02 “Manual REC Control”REC Off “Manual RST Control”RESET “Loop Time [msec]”Auto “MIDI/Tempo Sync”Off It should be noted that all recordings will be deleted while Reset is On. “Manual RST Control”Off Reset is cancelled and the unit enters Rec ready mode. Push the joystick in the +Y direction (forward) and play a phrase you wish to hold. When you pull the joystick to its original position, the recording will be ﬁnished and the phrase you just played will be held. Loop Time is automatically set only for the ﬁrst recording after resetting. If the time length exceeds 10,800msec, Loop Time will be automatically set to 10,800msec. (If you have set “Times” to 1–10,800msec, the speciﬁed loop time will be used regardless of the time taken from pushing the joystick forward until it is pulled back. However, the recording method remains the same. The phrase being played while the joystick is pushed forward will be held.) a L Delay
Level

+

High Damp Low Damp

C Delay
Level Feedback

Spread

Input Level D-mod Right
Tempo

R Delay
Level FX Amt

BPM BPM

Base Note x Times Base Note x Times Base Note x Times

2. 3.

BPM

MIDI, 40.00... 300.00 ---, OVER! ... x1...x32 0...50 ... x1...x32 0...50 ... x1...x32 0...50 –100...+100 Off...Tempo –100...+100 0...100 0...100 –100...+100 Off...Tempo 0...50 0...100 Off...Tempo –100...+100

MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Displays an error message when the delay time exceeds the upper limit Selects the type of notes to specify the delay time for TapL Sets the number of notes to specify the delay time for TapL Sets the output level of TapL elects the type of notes to specify the delay time for TapC Sets the number of notes to specify the delay time for TapC Sets the output level of TapC Selects the type of notes to specify the delay time for TapR Sets the number of notes to specify the delay time for TapR Sets the output level of TapR Sets the feedback amount of TapC Selects the modulation source for the TapC feedback Sets the modulation amount of the TapC feedback Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

Time Over? L Delay Base Note b Times Level C Delay Base Note c Times Level R Delay Base Note d Times Level

4.

If you made a mistake during recording, pull the joystick in the –Y direction (back) to reset. In this way, the recording will be erased. Repeat step 4. again. The recorded phrase will be repeated again and again. You can use this to create an accompaniment. By pushing the joystick in the +Y direction (forward), you can also overdub performances over the phrase that is being held.

Feedback (C Delay) e Src Amt High Damp [%] Low Damp [%] Input Level Dmod [%] Src h Spread FX Amount i Src Amt

5. 6.

f

e: REC Control Src g: Manual REC Control

g

“REC Control Src” selects the modulation source that controls recording. If this modulation is on, or if “Manual REC Control” is set to On, you can record the input signal. If a recording has already been carried out, additional signals will be overdubbed.
The effect is off when a value for the modulation source speciﬁed for the “REC Control Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

a: Time Over?

f: RST Control Src h: Manual RST Control

You can set the delay time up to 10,920msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.

The “RST Control Src” parameter speciﬁes the modulation source that controls the reset operation. When you set this modulation source to On, or “Manual RST Control” to RESET, you can erase what you recorded. If the Loop Time parameter has been set to Auto, the loop time is also reset.

Effects
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99

123: St. BPM Long Dly (Stereo BPM Long Delay)
The stereo delay enables you to match the delay time with the song tempo.
Stereo In - Stereo Out Left High Damp Low Damp FX Amt

124: Early Reﬂections
This early reﬂection effect has more precise early reﬂections with twice the maximum length of a normal-size effect (See “076: Early Reﬂections” on page 73.). You can create a very smooth and dense sound.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt EQ Trim LEQ HEQ Pre Delay

Delay
Input Level D-mod Feedback Input Level D-mod High Damp Low Damp

Delay
Right
Tempo

+
EQ Trim
FX Amt

Early Reflections

Right
BPM

FX Amt
Base Note x Times Base Note x Times Adjust [%] Adjust [%]

BPM

BPM

MIDI, 40.00... 300.00

MIDI syncs to the system tempo; 40–300 sets the tempo manually for this individual effect Display the error message if the left channel delay time exceeds the upper limit Display the error message if the right channel delay time exceeds the upper limit Selects the type of notes to specify the left channel delay time Sets the number of notes to specify the left channel delay time Fine-adjust the left channel delay time Selects the type of notes to specify the right channel delay time Sets the number of notes to specify the right channel delay time Fine-adjust the right channel delay time Sets the feedback amount for the left channel Selects the modulation source of feedback amount Sets the modulation amount of the left channel feedback Sets the feedback amount for the right channel Sets the modulation amount of the right channel feedback Sets the damping amount in the high range Sets the damping amount in the low range Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

a

Type

Sharp, Loose, Selects the decay curve for the Modulated, early reﬂection Reverse 10...1600 0...200 0...100 Low, Mid-Low High, Mid-High Sets the time length of early reﬂection Sets the time taken from the original sound to the ﬁrst early reﬂection Sets the input level of EQ applied to the effect sound Selects the cutoff frequency (low or mid-low) of the lowrange equalizer Selects the cutoff frequency (high or mid-high) of the highrange equalizer Sets the gain of Low EQ Sets the gain of High EQ Amount of FX added to the direct signal Table , “Dynamic Modulation sources,” on page 27 Amount of modulation source

b ER Time [msec] c Pre Delay [msec]

a

Time Over? L ---, OVER!

R L Delay Base Note b Times Adjust [%] R Delay Base Note c Times Adjust [%] L Feedback d Src L Amt R Feedback e R Amt f High Damp [%]

---, OVER!

d EQ Trim Pre LEQ Fc e Pre HEQ Fc

...

x1...x32 –2.50...+2.50 ...

f

Pre LEQ Gain –15.0...+15.0 [dB] Pre HEQ Gain –15.0...+15.0 [dB] FX Amount 0...100 Off...Tempo –100...+100

x1...x32 –2.50...+2.50 –100...+100 Off...Tempo –100...+100 –100...+100 –100...+100 0...100 0...100 –100...+100 Off...Tempo 0...100 Off...Tempo –100...+100

g Src Amt

g Low Damp [%] h Input Level Dmod [%] Src FX Amount i Src Amt

a: Time Over? L, R

You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter.

100

Effects
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Tech Analysis of Pa500

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