Parameter Guide

AX-Edge Editor

To edit the tone parameters of the AX-Edge, you’ll use the “AX-Edge Editor” smartphone app. You can download the app from the App Store if you’re using an iOS device, or from Google Play if you’re using an Android device.

AX-Edge Editor lets you edit all the parameters except system parameters of the AX-Edge.

© 2018 Roland Corporation 02 List of Shortcut Keys

“[A]+[B]” indicates the operation of “holding down the [A] button and pressing the [B] button.” Shortcut Explanation To change the value rapidly, hold down one of the Value [-] + [+] buttons and press the other button. In the top screen, jumps between program categories. [SHIFT] In a parameter edit screen, changes the value in steps + Value [-] [+] of 10. [SHIFT] Jumps to the Arpeggio Edit screen. + ARPEGGIO [ON] [SHIFT] Raises or lowers the notes of the keyboard in semitone + Octave [-] [+] units. [SHIFT] Shows the Battery Info screen. + Favorite [Bank] Jumps between parameter categories (such as [SHIFT] + [ ] [ ] K J COMMON or SWITCH).

When entering a name

Shortcut Explanation [SHIFT] Cycles between lowercase characters, uppercase + Value [-] [+] characters, and numerals.

2 Contents

List of Shortcut Keys ...... 2 Tone Parameters ...... 19 COMMON (Overall Settings) ...... 19 How the AX-Edge Is Organized ...... 5 SWITCH ...... 20 ::Overview of the AX-Edge ...... 5 MFX ...... 20 ::Sound Generator Block Diagram ...... 6 OSC ...... 20 Effect ...... 7 KEYBOARD ...... 22 Tone ...... 7 STRUCTURE ...... 22 Pitch ...... 23 Program Parameters ...... 8 FILTER ...... 24 ::PROGRAM SOUND ...... 8 AMP ...... 26 COMMON ...... 8 LFO1 / LFO2 ...... 27 SWITCH (Part1–4) ...... 8 PARTIAL EQ ...... 29 TONE (Part1–4) ...... 8 OUTPUT ...... 29 PITCH (Part1–4) ...... 9 CONTROL ...... 29 SCALE TUNE (Part1–4) ...... 9 MATRIX CONTROL ...... 29 MODIFY (Part1–4) ...... 9 SYSTEM EFFECT Parameters ...... 31 MFX (Part1–4) ...... 9 MFX EDIT (Part1–4) ...... 10 ::SYSTEM EFFECT ...... 31 EQ (Part 1–4) ...... 10 SYS CHORUS ...... 31 KEYBOARD (Part 1–4) ...... 10 SYS REVERB ...... 31 IFX ...... 10 MASTER COMP ...... 31 IFX EDIT ...... 10 MASTER EQ ...... 32 CHORUS ...... 11 ::CHORUS Parameters ...... 32 CHORUS EDIT ...... 11 CHORUS ...... 32 REVERB ...... 11 CE-1 ...... 32 REVERB EDIT ...... 11 SDD-320 ...... 32 ::PROGRAM CTRL ...... 11 DELAY ...... 32 CTRL RX (Part1–4) ...... 11 T-CTRL DELAY ...... 32 MIDI RX (Part1–4) ...... 11 DELAY 0 TREMOLO ...... 33 MIDI OUT (Part1–4) ...... 12 2TAP PAN DELAY ...... 33 CTRL BUTTON (Control Button) ...... 12 3TAP PAN DELAY ...... 33 CTRL KNOB (Control Knob) ...... 12 ::Reverb Parameters ...... 34 CTRL PEDAL (Control Pedal) ...... 13 INTEGRA ...... 34 CTRL RIBBON (Control Ribbon Controller) ...... 13 WARM HALL ...... 34 CTRL MOD BAR (Control Modulation Bar) ...... 14 HALL ...... 34 CTRL SRC SEL (Control Source Select) ...... 14 GS ...... 34 VOICE RESERVE (Voice Reserve) ...... 14 SRV2000 ...... 34 GM2 REVERB ...... 34 ::ARPEGGIO ...... 15 ::VOCODER ...... 15 SETTING ...... 15 CRR TONE (Carrier Tone) ...... 15 CRR PITCH (Carrier Pitch) ...... 16 CRR SCALE TUNE (Carrier Scale Tune) ...... 16 CRR MODIFY (Carrier Modify) ...... 17 CRR MFX (Carrier MFX) ...... 17 CRR MFX EDIT ...... 17 CRR EQ (Carrier EQ) ...... 17 CRR KEYBOARD (Carier Keyboard) ...... 17 CRR CTRL RX (Carrier Control Receive Settings) ...... 18 CRR MIDI RX (Carrier MIDI Receive Settings) ...... 18 3 Contents

System Parameters ...... 35 GENERAL ...... 35 KEYBOARD ...... 35 MIC ...... 35 CTRL BUTTON ...... 35 CTRL KNOB ...... 36 CTRL PEDAL ...... 36 CTRL RIBBON ...... 37 CTRL MOD BAR ...... 37 MIDI ...... 38 MIDI TX ...... 38 MIDI RX ...... 38

MFX/IFX Parameters ...... 39 ::Note ...... 72

4 How the AX-Edge Is Organized

Overview of the AX-Edge

AX-Edge Controller Section

Keyboard Button/Knob Modulation Bar Ribbon Controller

Sound Generator Section

Program System Effect

Part 4 Part 3 IFX Reverb Part 2 Part 1 Chorus/Delay

Tone LEVEL

Partial 1–4 MFX EQ

Master Comp/EQ

Arpeggio

Vocoder part OUTPUT

Carrier (tone) LEVEL Vocoder Partial 1–4 MFX Effect EQ System

MIC INPUT

Controller Section Effect The controller section is what you use for performing. The AX-Edge is equipped with a multi-effect for each tone (MFX), a multi-effect that can be specified for each program (IFX), and reverb, When you press or release the keyboard or press the modulation chorus/delay, compressor, and EQ effects that are applied to the final lever, the controller section sends performance data to the sound output (system effects). generator section. Reverb and chorus/delay can also be specified and selected for each The controller section of the AX-Edge consists of the keyboard, the program. MODULATION BAR, the RIBBON CONTROLLER, and the panel buttons and knobs. System Sound Generator Section System memory contains system parameter settings that specify how the AX-Edge is to operate. The sound generator section creates the sound. & “System Parameters” (p. 35) It receives performance data sent from the controller section, and produces sound.

Program On the AX-Edge, “programs” are the units by which you switch sounds. A program consists of four parts and a vocoder part, and also contains arpeggio and effect settings for that program.

Tone You can select one tone (sound) for each part. A tone consists of four elements of sound (partials), and you can specify a multi-effect (MFX) for each tone. You can also edit tones by using an editor app (AX-Edge Editor) on your smartphone.

5 How the AX-Edge Is Organized

Sound Generator Block Diagram

EQ Master Master Compressor Output Rev Send Level Level IFX Program Cho/Rev Send To Chorus/Reverb Chorus Reverb (Delay) IFX From each route From each route DRY DRY Assign Assign Part Output Part Output Part Part To Chorus/Reverb To Chorus/Reverb Pan/Level Pan/Level EQ EQ Part Part Part Cho/Rev Send Part Cho/Rev Send E ect Vocoder To Chorus/Reverb To Chorus To Reverb MFX MFX Cho/Rev Send DRY MIC INPUT Partial Output Assign Partial Partial Partial Pan/Level Rev Send Cho Send EQ EQ EQ EQ Tone Pan/Level * The Carrier Tone has the same structure as a Tone. has the same structure as a Tone Carrier The * Partial 1 Partial 2 Partial 3 Partial 4 Carrier Tone Tone Part 4 Vocoder Part Part 1

6 How the AX-Edge Is Organized

Effect Master Comp Compressor compresses sounds that are louder than a This unit has the following built-in effects. specified volume level, making the volume more consistent. You can adjust this independently for the high, mid, and low- Tone effects (editable only in AX-Edge Editor) frequency regions.

Master EQ Partial equalizer (EQ) This is an equalizer that is applied to the overall output This is an equalizer that you can apply to each partial. sound. You can independently adjust the high, mid, and low- You can adjust this independently for the high, mid, and low- frequency regions. frequency regions. Multi effect (MFX) Tone This is a general-purpose multi-effect that modifies the Each tone has four sets (Partial 1–4) of OSC, Filter, AMP, LFO × 2, and sound itself, potentially giving it a completely different EQ settings, plus multi-effect (MFX) settings. character. It provides 79 effect types, and you can choose the type that You can create sounds by combining the four partials. suits your purpose. Each partial can be turned on/off, letting you choose which partials In addition to types that consist of a single effect such as will produce sound. distortion or flanger, it also provides a variety of other types. Each tone has one set of multi-effect settings.

MEMO Partial 4 Multi-effect settings are specified for each tone. Partial 3 If you want to make multi-effect settings for a program (individual parts), go to “PROGRAM SOUND” 0 “MFX” and change the “FllwToneMfx” Partial 2 setting to “OFF” (p. 9). Partial 1

Program effects LFO 1

EQ Part equalizer (EQ) OSC Filter Amp This is an equalizer that you can apply to each part. Pitch Filter Amp You can adjust this independently for the high, mid, and low- Env Env Env frequency regions. MFX LFO 2 Insert effect (IFX) This is a general-purpose insert effect that modifies the sound itself, potentially giving it a completely different character. (Oscillator) It provides 79 effect types, and you can choose the type that OSC suits your purpose. This selects the waveform that is the basis of the sound, and Use this when you apply a further effect in addition to the specifies how the pitch of the sound changes. multi-effect. Filter Vocoder effect This specifies how the frequency components of the sound This is an effect that is provided for the vocoder part. change. It lets you adjust the output sound of the vocoder. Amp System effects This specifies volume change and panning.

LFO (Low Frequency Oscillator) Chorus/Delay LFO stands for Low Frequency Oscillator; it’s a low-frequency Chorus is an effect that gives depth and spaciousness to the oscillator that cycles very slowly. It can output waveforms sound. This also includes a delay effect. such as sine wave, triangle wave, square wave, or sawtooth wave. Reverb By using the LFO to modulate another audio signal, you can Reverb is an effect adds the reverberation that is apply effects such as vibrato or tremolo. characteristic of sound heard in a hall. MEMO Although chorus and reverb are system effects that are applied to the overall output sound, they can also be specified for individual programs. If you want to make these settings for individual programs, go to “PROGRAM SOUND” -> “CHORUS” or “PROGRAM SOUND” 0 “REVERB,” and change the “Source” setting to “PRG” (p. 11).

7 Program Parameters

Parameter Value 1. Press the [MENU/WRITE] button. Explanation [K] [J] buttons [-] [+] buttons (Tone number/ 2. Use the cursor [K] [J] buttons to select an (Number/Name) Selects the tone. item, and press the [ENTER] button. Tone name) Level 0–127 Specifies the volume of each part. PROGRAM SOUND page 8 Specifies the panning of each part’s Pan L64–0–63R PROGRAM CTRL page 11 sound when using stereo output. ARPEGGIO page 15 For each part, selects one of the following VOCODER page 15 four velocity curves as appropriate for the touch response of the MIDI keyboard. To use the velocity curve of the keyboard, 3. Use the cursor [K] [J] buttons to select a Velo Curve OFF, 1–4 use the “OFF” setting. parameter, and use the [–] [+] buttons to edit (Velocity Curve Type) the value. 1 2 3 4 PROGRAM SOUND Choose “MONO” if you want the tone assigned to the part to play Here you can make settings for a program’s sound. monophonically; choose “POLY” if you Mono/Poly MONO, POLY, TONE want to play it polyphonically. Parameters other than COMMON, IFX, CHORUS, and REVERB are Choose “TONE” if you want to use the edited for each individual part. setting specified by the tone. In the edit screen for each part, the upper right corner of the LCD If you play monophonically, you can shows “P1”–“P4” to indicate the part whose settings you’re seeing apply legato. “Legato” is a performance (P1 is part 1). technique that smoothly connects one note to the next. This produces an effect At this time, you can use the panel buttons 1–4 to select (switch similar to hammering-on or pulling-off Legato Sw OFF, ON, TONE between) parts 1–4. The button of the selected part blinks. (Legato Switch) when playing a guitar. Choose “ON” to apply legato, or “OFF” if Additionally, you can use buttons 5–8 to turn parts 1–4 on/off you don’t want to apply it. (button 5 corresponds to part 1). Buttons whose corresponding part Choose “TONE” if you want to use the is on will blink. setting specified by the tone. Specifies whether portamento is applied. Choose “ON” to apply portamento, or Select (switch between) parts Turn parts on/off Porta Sw “OFF” if you don’t want to apply it. (Portamento Switch) OFF, ON, TONE Choose “TONE” if you want to use the setting specified by the tone. Specifies the time over which the pitch changes when using portamento. Higher settings will cause the pitch change to Porta Time 0–127, TONE (Portamento Time) the next note to take more time. Choose “TONE” if you want to use the setting specified by the tone. This layers a single sound. SWITCH P1 Choose “ON” if you want to use unison, or “OFF” if you don’t. Unison Sw OFF, ON, TONE Kbd Sw ON (Unison Switch) Choose “TONE” if you want to use the setting specified by the tone. ** Parts whose Unison Switch is On will be MONO. MEMO Specifies how notes are sounded when you press the same key You can use the [SHIFT] button + [K] [J] buttons to jump between types multiple times. of parameter (such as COMMON and SWITCH). Only one note of the same key is sounded at a time. COMMON SINGLE If you repeatedly play notes of a long- sustaining sound, the previous note is Parameter Value Explanation silenced before the next note is sounded. [K] [J] buttons [-] [+] buttons The sound of the same key is layered Specifies the volume of the entire Level 0–127 (with the currently-heard sound). program. VoiceAsgn (Voice Assign Mode) LIMIT If you repeatedly play notes of a long- Specifies the tempo of the program sustaining sound, previous notes are Tempo 20–250 (including the arpeggio). silenced after a certain number have accumulated. The sound of the same key is layered (with the currently-heard sound). SWITCH (Part1–4) FULL Even if you repeatedly play notes of a long-sustaining sound, each new sound is Parameter Value layered onto the currently-heard sounds Explanation [K] [J] buttons [-] [+] buttons without limitation. Turns on/off the part(s) that are played by Selects the output destination. Kbd Sw OFF, ON (Keyboard Switch) the keyboard. The sound is output without passing Output (Output Assign) Specifies whether each part’s arpeggio DRY Arp Sw OFF, ON through the effects. (Arpeggio Switch) is on or off. IFX The sound is sent to IFX. Cho Send (Chorus Send Level) 0–127 Specifies the send level to chorus. Rev Send TONE (Part1–4) (Reverb Send Level) 0–127 Specifies the send level to reverb.

Parameter Value Explanation [K] [J] buttons [-] [+] buttons Bank PRESET, USER Selects the tone bank.

8 Program Parameters

PITCH (Part1–4) MODIFY (Part1–4)

Parameter Value Parameter Value Explanation Explanation [K] [J] buttons [-] [+] buttons [K] [J] buttons [-] [+] buttons Shifts the pitch of the keyboard in one- Adjusts how far the filter is open. Oct Shift (Octave Shift) -3–+3 octave units. Increasing this value makes the sound Cutoff (Cutoff Offset) -64–+63 brighter, and decreasing it makes the Coarse Tune -48–+48 Specifies the pitch in semitone units. (Coarse Tune) sound darker.

Fine Tune (Fine Tune) -50–+50 Finely adjusts the pitch in one-cent units. Emphasizes the frequency components near the cutoff frequency, giving a When pitch bend is assigned to a distinctive character to the sound. controller such as the ribbon controller, Raising this value excessively might cause this specifies the amount of pitch change Resonance -64–+63 Bend Range 0–24, TONE (Resonance Offset) oscillation, making the sound distort. (Bend Range) (in semitone units, maximum of two Increasing this value strengthens the octaves) that occurs when you operate character, and decreasing it weakens the the controller. character. When pitch bend is assigned to a controller such as the ribbon Adjusts the time over which the sound controller, this specifies how the controller operates. reaches its maximum volume after you The conventional pitch bend effect press the key. NORMAL Attack -64–+63 occurs. (Attack Time Offset) Larger settings of this value make the The pitch bend effect applies only to the attack gentler, and smaller settings make Bend Mode (Bend Mode) last-played note. If a note-on occurs while the attack sharper. C+L pitch bend is already applied, the new Adjusts the time over which the volume (CATCH + LAST) note sounds at the center pitch. The pitch decreases from its maximum value. starts changing only after the controller Decay (Decay Time Offset) -64–+63 Larger settings of this value make the passes through its center position. decay longer, and smaller settings make TONE The tone setting is used. the decay shorter. Adjusts the time over which the sound decays to silence after you release the key. Release -64–+63 SCALE TUNE (Part1–4) (Release Time Offset) Larger settings of this value make the sound linger, and smaller settings make Parameter Value Explanation the sound end more sharply. [K] [J] buttons [-] [+] buttons Adjust the vibrato speed (the rate at Custom: which the pitch is modulated). The pitch CUSTOM This lets you create a custom scale. Vib Rate (Vibrato Rate) -64–+63 will be modulated more rapidly for higher settings, and more slowly with lower Equal Temperament: settings. This tuning divides an octave into 12 EQUAL equal parts. Every interval produces This adjusts the depth of the vibrato about the same amount of slight effect (the depth at which the pitch is modulated). dissonance. Vib Depth -64–+63 (Vibrato Depth) The pitch will be modulated more greatly Just (Major): for higher settings, and less with lower This scale eliminates dissonance in settings. JUST-MAJ fifths and thirds. It is unsuited to playing melodies and cannot be transposed, but Adjusts the time until vibrato (pitch is capable of beautiful sonorities. modulation) starts to apply. Vib Delay -64–+63 Higher settings will produce a longer Just (Minor): (Vibrato Delay) delay time before vibrato begins, while The scales of the major and minor just lower settings produce a shorter time. JUST-MIN intonations are different. You can get the Adjusts the velocity sensitivity. same effect with the minor scale as with Velo Sens -63–+63 the major scale. (Velocity Sens Offset) Larger settings raise the sensitivity. Pythagorean: This scale, devised by the philosopher Type (Scale Tune Type) PYTHAGORE Pythagoras, eliminates dissonance in MFX (Part1–4) fourths and fifths. Dissonance is produced in thirds, but melodies are euphonious. Parameter Value Explanation Kirnberger: [K] [J] buttons [-] [+] buttons This scale is a modification of the Turn this “ON” if you want to use the MFX KIRNBERGE meantone and just intonations that settings of the tone that is assigned to permits greater freedom in transposition FllwToneMfx OFF, ON the part. to other keys. Performances are possible (Follow Tone MFX) If this is “OFF,” you can edit the MFX type in all keys (III). and its parameters. Meantone: Selects the MFX type. This scale makes some compromises in MEANTONE Press the [Enter] button to enter the MFX Edit screen and edit just intonation, enabling transposition to the MFX parameters. To exit the MFX Edit screen, press the other keys. MFX Type (MFX Type) [EXIT] button. Werckmeister: ** If FllwToneMfx is ON, the MFX settings of the tone are used, so you won’t This is a combination of the meantone be able to edit the values. WERCKMEIS “MFX/IFX Parameters” (p. 39) and Pythagorean scales. Performances & are possible in all keys (first technique, III). Arabic Scale: ARABIC This scale is suitable for Arabic music.

Key (Scale Tune Key) C–B Sets the keynote. C–B -64–+63 Finely adjusts the pitch.

9 Program Parameters

MFX EDIT (Part1–4) KEYBOARD (Part 1–4)

Parameter Value Parameter Value Explanation Explanation [K] [J] buttons [-] [+] buttons [K] [J] buttons [-] [+] buttons Switch OFF, ON Turns the effect on/off. Specifies the key range for each part. Key Rng Low (Key Range Lower) C-1–G9 Make these settings when you want to MFX parameters (Shows the parameters of the selected MFX.) play different tones in different regions of the keyboard. Cho Send Specifies the chorus send level of the (Chorus Send Level) 0–127 Specifies the lower limit (Key Rng Low) sound after MFX is applied. Key Rng Upp (Key Range Upper) C-1–G9 and upper limit (Key Rng Upp) of the key Specifies the reverb send level of the Rev Send 0–127 range you want to specify. (Reverb Send Level) sound after MFX is applied. Specifies the degree to which the part Specifies the MIDI message that will control the corresponding will sound notes played below Key Rng Key Fade Low 0–127 MFX CONTROL parameter. (Key Fade Width Lower) Low. Specify “0” if you don’t want any OFF MFX will not be used. such notes to sound. MOD:CC01–31 Controller number 1–31 Specifies the degree to which the part will sound notes played above Key Rng MFX CTRL CC33–PHASR:CC95 Controller number 33–95 Key Fade Upp 0–127 Src1–4 (Key Fade Width Upper) Upp. Specify “0” if you don’t want any (MFX CtrlSrc 1–4) BEND Pitch Bend such notes to sound. AFT Aftertouch Specifies the lower velocity limit (Velo Velo Rng Low The controllers assigned by the system (Velocity Range Lower) 1–127 Rng Low) and upper velocity limit (Velo SYS-CTRL1–SYS- parameters SysCtrlSrc1–4 Source are Rng Upp) for which the tone will sound. CTRL4 used. Make these settings when you want to Specifies which of the multi-effect parameters are controlled Velo Rng Upp 1–127 play different tones depending on your MFX CTRL (Velocity Range Upper) keyboard dynamics. Dst1–4 using MFX CONTROL. The multi-effects parameters available for (MFX CtrlDst 1–4) control will depend on the multi-effects type. Specifies the degree to which the part Specifies the depth of MFX CONTROL. Velo FadeLow will sound notes played more softly than (Velocity Fade Width 0–127 Specify a positive “+” value if you want Lower) Velo Rng Low. Specify “0” if you don’t to change the value of the assigned want such notes to be sounded. MFX CTRL destination in a positive direction (larger, Specifies the degree to which the part Sens1–4 -63–+63 toward the right, faster, etc.), or specify a Velo FadeUpp will sound notes played more strongly (MFX CtrlSens 1–4) (Velocity Fade Width 0–127 negative value “-” if you want to change Upper) than Velo Rng Upp. Specify “0” if you don’t the value in a negative direction (smaller, want such notes to sound. toward the left, slower, etc.). Larger values will allow a greater amount of control. IFX Controlling a MFX via MIDI (MFX CONTROL) Parameter Value Explanation [K] [J] buttons [-] [+] buttons You can use MIDI messages such as control change messages to control the principal MFX parameters. This capability is called “MFX CONTROL (multi-effects control).” Selects the IFX type. The editable parameters are pre-determined according to the MFX type. You can Press the [Enter] button to enter the IFX Edit screen and edit specify up to four parameters for multi-effect control. IFX Type the IFX parameters. To exit the IFX Edit screen, press the [EXIT] To use MFX CONTROL, you’ll need to specify which MIDI message (Source) will affect (IFX Type) button. which parameter (Destination), and how greatly (Sens). ** The available types and parameters are the same for MFX and IFX. & “MFX/IFX Parameters” (p. 39) EQ (Part 1–4)

Parameter Value Explanation IFX EDIT [K] [J] buttons [-] [+] buttons

Parameter Value Switch OFF, ON Turns the equalizer (EQ) on/off. Explanation [K] [J] buttons [-] [+] buttons Specifies the amount of boost/cut for the In Gain (Input Gain) -24–+24 [dB] input sound. Switch OFF, ON Turns IFX on/off. Specifies the amount of boost/cut for the IFX parameters (Shows the parameters of the selected IFX.) Low Gain (Low Gain) -24–+24 [dB] low-frequency region. Specifies the chorus send level of the Cho Send 0–127 Low Freq (Chorus Send Level) sound after IFX is applied. (Low Frequency) 20–16000 [Hz] Frequency of the low range. Rev Send Specifies the reverb send level of the Specifies the amount of boost/cut for the (Reverb Send Level) 0–127 Mid Gain (Mid Gain) -24–+24 [dB] sound after IFX is applied. mid-frequency region. Specifies the center frequency for the Mid Freq 20–16000 [Hz] (Mid Frequency) mid-frequency region. Specifies the width of mid-frequency region. Mid Q (Mid Q) 0.5–16.0 Set a higher value for Q to narrow the range to be affected. Specifies the amount of boost/cut for the High Gain (High Gain) -24–+24 [dB] high-frequency region. HighFreq (High Frequency) 20–16000 [Hz] Frequency of the high range.

10 Program Parameters

CHORUS PROGRAM CTRL

Parameter Value Explanation Here you can make settings for the controllers and for MIDI [K] [J] buttons [-] [+] buttons transmission and reception. Specifies whether the chorus settings Source PRG, SYS follow the program’s settings (PRG) or the These settings can be saved and switched in units of programs. system settings (SYS). MEMO If CHORUS: Source is “PRG,” you can change the chorus type and edit the parameters. You can use the [SHIFT] button + [K] [J] button to jump between Chorus Type parameter categories. (Chorus Type) In the chorus type page, you can press the [Enter] button to enter the chorus parameter page. & “CHORUS Parameters” (p. 32) CTRL RX (Part1–4)

Parameter Value Explanation CHORUS EDIT [K] [J] buttons [-] [+] buttons Specifies whether ribbon controller Parameter Value Ribbon Posi OFF, ON operations (position data) are received Explanation (Ribbon Position) [K] [J] buttons [-] [+] buttons (ON) or not received (OFF). Switch OFF, ON Switches chorus on/off. Specifies whether ribbon controller Ribbon Pres OFF, ON operations (pressure data) are received Specifies the output level of the sound (Ribbon Pressure) Level 0–127 (ON) or not received (OFF). with chorus applied. Specifies whether modulation bar Rev Send 0–127 Specifies the reverb send level. Mod Bar (Reverb Send) (Modulation Bar) OFF, ON operations are received (ON) or not received (OFF). Specifies whether aftertouch is received Aftertouch OFF, ON REVERB (After Touch) (ON) or not received (OFF). Specifies whether control knob Ctrl Knob OFF, ON operations are received (ON) or not Parameter Value (Control Knob) Explanation received (OFF). [K] [J] buttons [-] [+] buttons Specifies whether the reverb settings Ctrl Pedal Specifies whether pedal operations are (Control Pedal) OFF, ON Source PRG, SYS follow the program’s settings (PRG) or the received (ON) or not received (OFF). system settings (SYS). Specifies whether [S1]–[S7] button If REVERB: Source is “PRG,” you can change the reverb type S1–S7 OFF, ON operations are received (ON) or not and edit the parameters. received (OFF). Reverb Type (Reverb Type) In the reverb type page, you can press the [Enter] button to Specifies whether master volume enter the reverb parameter page. operations are transmitted (ON) or not & “Reverb Parameters” (p. 34) transmitted (OFF). Ext Volume (External OFF, ON Control Volume Knob) You should also turn Ext Volume ON if you want to use master volume to adjust REVERB EDIT the volume of an external MIDI device.

Parameter Value Explanation [K] [J] buttons [-] [+] buttons MIDI RX (Part1–4) Switch OFF, ON Switches reverb on/off. Specifies the output level of the sound Parameter Value Level 0–127 Explanation with reverb applied. [K] [J] buttons [-] [+] buttons Specifies whether program change is Rx PC (Receive Program OFF, ON Change) received (ON) or not received (OFF). Specifies whether bank select is received Rx Bank OFF, ON (Receive Bank Select) (ON) or not received (OFF). Specifies whether pitch bend is received Rx Bend OFF, ON (Receive Pitch Bend) (ON) or not received (OFF). Specifies whether polyphonic aftertouch Rx Poly Pres (Receive OFF, ON Polyphonic Key Pressure) is received (ON) or not received (OFF). Specifies whether channel aftertouch is Rx Ch Pres (Receive OFF, ON Channel Pressure) received (ON) or not received (OFF). Specifies whether modulation is received Rx Mod OFF, ON (Receive Modulation) (ON) or not received (OFF). Specifies whether volume is received Rx Volume OFF, ON (Receive Volume) (ON) or not received (OFF). Specifies whether pan is received (ON) or Rx Pan (Receive Pan) OFF, ON not received (OFF). Specifies whether expression is received Rx Exp OFF, ON (Receive Expression) (ON) or not received (OFF).

Specifies whether hold 1 is received (ON) Rx Hold-1 OFF, ON (Receive Hold-1) or not received (OFF).

11 Program Parameters

Parameter Value Explanation MIDI OUT (Part1–4) [K] [J] buttons [-] [+] buttons Specifies how each controller operates. Parameter Value Explanation [K] [J] buttons [-] [+] buttons Alternates on/off each time you press the LATCH S1 (M)–S7 (M) button. Specifies whether MIDI messages are (S1–S7 (Mode)) transmitted (ON) or not transmitted (OFF). The controller is on only while you hold Tx Mode (Tx Mode) ON, OFF, MKB Choose “MKB” if you’re using the AX-Edge MOMENTARY down the button, and turns off when you as a master keyboard. release it. Specifies the transmit channel for MIDI Mkb Ch (Master 1–16 Keyboard Tx CH) (*1) messages of the keyboard part. Mkb MSB (Master CTRL KNOB (Control Knob) Keyboard Bank MSB) (*1) OFF, 0–127 Enter the program number and the bank Mkb LSB (Master Parameter Value Keyboard Bank LSB) (*1) OFF, 0–127 MSB/LSB as numerical values to switch Explanation [K] [J] buttons [-] [+] buttons sounds on an external MIDI device. Mkb PC (Master Keyboard Program OFF, 1–128 Specifies whether the parameter Change) (*1) controlled by the control knob follows Source PRG, SYS Adjusts the volume of the external MIDI the program’s settings (PRG) or the Mkb Volume (Master 0–127 Keyboard Volume) (*1) device. system settings (SYS). Specify the function that is assigned to the control knob when *1 MkbCH and subsequent parameters are effective when TxMode = MKB. CTRL KNOB: Source is set to “PRG.” OFF No function is assigned. CTRL BUTTON (Control Button) Controller number 1–31, 32, 33–95 CC01–31, 32 (OFF), ** CC74 (Cutoff) varies in the range of -64–0, Parameter Value 33–95 and CC71 (Resonance), CC72 (Release), CC73 Explanation (Attack), and CC75 (Decay) vary in the range [K] [J] buttons [-] [+] buttons of 0–+63. Specifies whether the parameters AFT Aftertouch controlled by the [S1]–[S7] buttons Source PRG, SYS BEND DOWN Lowers the pitch. follow the program’s settings (PRG) or the system settings (SYS). BEND UP Raises the pitch. Specify the function that is assigned to each button when Continuously control the level of parts CTRL BUTTON: Source is set to “PRG.” 1–4. Part1 expression 127 OFF No function is assigned. Part2 Part3 CC01–31, 32 (OFF), Part4 Controller number 1–31, 32, 33–95 expression 0 33–95 0 Value 127 AFT Aftertouch Part1 expression 127 PART FADE1 MONO/POLY Switch between mono/poly. Part3 Func (Function) Part4 PRG DOWN Switch the program to the previous expression 0 0 Value 127 (PROGRAM DOWN) number. Part1 expression 127 PRG UP Switch the program to the next number. (PROGRAM UP) Part4 expression 0 OCT DOWN Lower the keyboard range in octave units 0 Value 127 (OCTAVE DOWN) (maximum -3 octaves). Continuously control the level of parts OCT UP Raise the keyboard range in octave units 1–4. (OCTAVE UP) (maximum +3 octaves). Part1 expression 127 Part2 TRANS DOWN Lower the keyboard range in semitone Part3 Part4 (TRANSPOSE DOWN) units (maximum -5 semitones). expression 0 0 Value 127 TRANS UP Raise the keyboard range in semitone Part1 expression 127 (TRANSPOSE UP) units (maximum +6 semitones). PART FADE2 Part3 CHO SW Part4 Switch the chorus on/off. S1 (F)–S7 (F) (CHORUS SWITCH) expression 0 (S1–S7 (Function)) 0 Value 127 REV SW expression 127 Switch the reverb on/off. Part1 (REVERB SWITCH) EQ SW Part4 Switch the master EQ on/off. expression 0 (MASTER EQ SWITCH) 0 Value 127 COMP SW Switch the master compressor on/off. (MASTER COMP SWITCH) IFX SW Switch the IFX on/off. (IFX SWITCH) ARP SW Switch the arpeggio on/off. (ARPEGGIO SWITCH) ARP HOLD Switch arpeggio hold on/off. (ARPEGGIO HOLD) VOCODER SW Switch the vocoder on/off. (VOCODER SWITCH) UNISON SW Switch unison on/off for the part 1 tone. (UNISON SWITCH) Switch the BEND MODE (NORMAL or BEND MODE C+L). START/STOP Play/stop the Song Player. Set the tempo to the interval at which TAP TEMPO you press the button (tap tempo).

12 Program Parameters

CTRL PEDAL (Control Pedal) CTRL RIBBON (Control Ribbon Controller)

Parameter Value Parameter Value Explanation Explanation [K] [J] buttons [-] [+] buttons [K] [J] buttons [-] [+] buttons Specifies whether the parameter Specifies whether the parameter controlled by a pedal connected to the controlled by the ribbon controller Source PRG, SYS Source PRG, SYS PEDAL jack follows the program’s settings follows the program’s settings (PRG) or (PRG) or the system settings (SYS). the system settings (SYS). Specify the function that is assigned to the pedal when CTRL Specifies the function that is assigned to the ribbon controller PEDAL: Source is set to “PRG.” (left/right axis) when CTRL RIBBON: Source is set to “PRG.” OFF No function is assigned. OFF No function is assigned. Controller number 1–31, 32, 33–95 Controller number 1–31, 32, 33–95 CC01–31, 32 (OFF), ** CC74 (Cutoff) varies in the range of -64–0, CC01–31, 32 (OFF), NOTE 33–95 and CC71 (Resonance), CC72 (Release), CC73 (Attack), and CC75 (Decay) vary in the range 33–95 If a CC with a value range of 0–127 is assigned to of 0–+63. Position Function, the value will be the center point (64) when you're not touching the ribbon. AFT Aftertouch AFT Aftertouch BEND DOWN Lowers the pitch. PITCH BEND Raise or lower the pitch. BEND UP Raises the pitch. Continuously control the level of parts Continuously control the level of parts 1–4. 1–4. Part1 expression 127 Part2 Part1 expression 127 Part3 Part2 Part4 Part3 Part4 expression 0 expression 0 0 Value 127 0 Value 127 Part1 expression 127 Part1 expression 127 PART FADE1 Part3 PART FADE1 Part4 Part3 Posi (Position Function) expression 0 Func (Function) Part4 expression 0 0 Value 127 0 Value 127 Part1 expression 127 Part1 expression 127 Part4 Part4 expression 0 expression 0 0 Value 127 0 Value 127 Continuously control the level of parts Continuously control the level of parts 1–4. 1–4. Part1 expression 127 Part2 Part1 expression 127 Part3 Part2 Part4 Part3 Part4 expression 0 expression 0 0 Value 127 0 Value 127 Part1 expression 127 Part1 expression 127 PART FADE2 Part3 PART FADE2 Part4 Part3 Part4 expression 0 expression 0 0 Value 127 0 Value 127 Part1 expression 127 Part1 expression 127 Part4 Part4 expression 0 expression 0 0 Value 127 0 Value 127 Specifies the function that occurs when the ribbon controller is STANDARD, Specifies the polarity of the pedal pressed (pressure axis). Pole (Pedal Polarity) REVERSE connected to the PEDAL jack. OFF No function is assigned. Controller number 1–31, 32, 33–95 CC01–31, 32 (OFF), ** CC74 (Cutoff) varies in the range of -64–0, 33–95 and CC71 (Resonance), CC72 (Release), CC73 (Attack), and CC75 (Decay) vary in the range of 0–+63. AFT Aftertouch BEND DOWN Lowers the pitch. BEND UP Raises the pitch. Continuously control the level of parts Pres (Pressure Function) 1–4. Part1 expression 127 Part2 Part3 Part4 expression 0 0 Value 127

Part1 expression 127 PART FADE1 Part3 Part4 expression 0 0 Value 127

Part1 expression 127

Part4 expression 0 0 Value 127

13 Program Parameters

Parameter Value Explanation [K] [J] buttons [-] [+] buttons VOICE RESERVE (Voice Reserve) Continuously control the level of parts 1–4. Parameter Value [ ] [ ] buttons [-] [+] buttons Explanation Part1 expression 127 K J Part2 Part3 Part4 Specifies the number of voices that are expression 0 Part1–4, Vocoder reserved for each part if you attempt (Voice Reserve Part1–4, 1–10 0 Value 127 Vocoder) to play more notes than the maximum Part1 expression 127 polyphony. Pres (Pressure Function) PART FADE2 Part3 Part4 expression 0 0 Value 127

Part1 expression 127

Part4 expression 0 0 Value 127

CTRL MOD BAR (Control Modulation Bar)

Parameter Value Explanation [K] [J] buttons [-] [+] buttons Specifies whether the parameter controlled by the modulation bar follows Source PRG, SYS the program’s settings (PRG) or the system settings (SYS). Specifies the function that is assigned to the modulation bar when CTRL MOD BAR: Source is set to “PRG.” OFF No function is assigned. Controller number 1–31, 32, 33–95 CC01–31, 32 (OFF), ** CC74 (Cutoff) varies in the range of -64–0, 33–95 and CC71 (Resonance), CC72 (Release), CC73 (Attack), and CC75 (Decay) vary in the range of 0–+63. AFT Aftertouch BEND DOWN Lowers the pitch. BEND UP Raises the pitch. Continuously control the level of parts 1–4. Part1 expression 127 Part2 Part3 Part4 expression 0 0 Value 127

Part1 expression 127 PART FADE1 Part3 Func (Modulation Bar Part4 Function) expression 0 0 Value 127

Part1 expression 127

Part4 expression 0 0 Value 127 Continuously control the level of parts 1–4. Part1 expression 127 Part2 Part3 Part4 expression 0 0 Value 127

Part1 expression 127 PART FADE2 Part3 Part4 expression 0 0 Value 127

Part1 expression 127

Part4 expression 0 0 Value 127

CTRL SRC SEL (Control Source Select)

Parameter Value Explanation [K] [J] buttons [-] [+] buttons Specifies which MIDI messages modify CC01–95, BEND, Src1–4 the tone parameters when using matrix (Control Source (1–4)) AFT control.

14 Program Parameters

ARPEGGIO VOCODER

Here you can make arpeggio-related settings. Here you can make vocoder-related settings. Arpeggio settings can be saved and switched for individual Vocoder settings can be saved and switched for individual programs. programs. MEMO Parameter Value Explanation [K] [J] buttons [-] [+] buttons You can use the [SHIFT] button + [K] [J] button to jump between parameter categories. Switch OFF, ON Turns the ARPEGGIO on/off. If this is “ON,” the arpeggio continues SETTING Hold OFF, ON playing even after you release the keyboard. Parameter Value Explanation Specifies the time signature of the arpeggio. This specifies the [K] [J] buttons [-] [+] buttons note value of each grid unit. Switch OFF, ON Turns the VOCODER on/off. 1/4 Quarter note (1 grid unit = 1 beat) Adjusts the output level of the sound that Level 0–127 1/8 Eighth note (2 grid units = 1 beat) passes through the vocoder. Grid Adjusts the pan of the sound that passes 1.5/8 Dotted eighth note Pan L64–0–63R through the vocoder. 1/16 Sixteenth note (4 grid units = 1 beat) Selects the character of sound. 1.5/16 Dotted sixteenth note SHARP Emphasizes the human voice. 1/32 Thirty-second note (8 grid units = 1 beat) Envelope SOFT Emphasizes the instrumental sound. Choose from the following to specify the order in which the Produces a vintage sound with a long notes of the chord are sounded. LONG decay. Keys you press are sounded in ascending UP Adjusts the input level of the order (UP). CarrierLevel 0–127 (Carrier Level) instrumental sound. Keys you press are sounded in DOWN descending order (DOWN). Mic Sens 0–127 Adjusts the input sensitivity of the mic. Keys you press are sounded in ascending Specifies the volume at which the mic Motif UP&DOWN order, and then back down in descending Mic Mix (Mic Mix Level) 0–127 sound that has passed through Mic HPFis order. added to the vocoder’s output. Keys you press are sounded in random Specifies the frequency at which the high RAMDOM order. Mic HPF BYPASS, 1000– pass filter (HPF) applied to the mic sound (Mic High Pass Filter) 16000Hz starts to take effect. Keys are sounded in the order in which you press them. You can create a melody This does nothing if “BYPASS” is selected. NOTE ORDER line by pressing keys in the appropriate Specifies whether the arpeggio applies to Arp Sw OFF, ON order. (Arpeggio Switch) the vocoder (ON) or does not apply (OFF). Specifies the duration for each arpeggio note to sound. Duration 0–100 [%] This determines whether the sounds are CRR TONE (Carrier Tone) played staccato (short and clipped), or tenuto (fully drawn out) . Parameter Value Explanation Specifies the amount by which the [K] [J] buttons [-] [+] buttons arpeggio is shifted. This adds an effect Bank PRESET, USER Oct Range that shifts arpeggios one cycle at a time Selects the instrumental sound that will (Octave Range) -3–+3 in octave units (octave range).You can set Tone number/tone be the carrier. the shift range upwards or downwards (Number/Name) name (up to three octaves up or down) . For each part, select one of the following Modifies the timing at which notes are four velocity curves as appropriate for the sounded, producing a shuffle rhythm. touch response of your MIDI keyboard. If With a setting of “50%” the notes are you want to use the velocity curve of the Shuffle Rate Velo Curve keyboard, turn this “OFF.” (Shuffle Rate) 0–100 [%] spaced at equal intervals. As you increase (Velocity Curve Type) OFF, 1–4 this setting, you’ll get an increasingly “bouncy” feel as though the notes were dotted. 1 2 3 4 Specifies the note value on which the shuffle is based. Set this to “MONO” if you want to play the ShuffleReso 16TH Sixteenth note (Shuffle Resolution) carrier monophonically, or to “POLY” if 8TH Eighth note Mono/Poly MONO, POLY, TONE you want to play polyphonically. Specifies the strength at which the keys Choose “TONE” if you want to use the you press are sounded. If you want setting specified by the tone. your playing dynamics to control the When playing monophonically, you strength at which the notes are sounded, Velocity REAL, 1–127 can apply legato. “Legato” is a playing (Keyboard Velocity) choose “REAL.” If you want the notes technique in which one note is smoothly to be sounded at a fixed velocity value connected to the next. This produces regardless of your playing dynamics, Legato Sw an effect similar to hammering-on or specify that value (1–127). (Legato Switch) OFF, ON, TONE pulling-off when playing a guitar. Turn this “ON” if you want to apply legato, or “OFF” if you don’t. Choose “TONE” if you want to use the setting specified by the tone. Specifies whether portamento is applied. Select “ON” to apply portamento, or “OFF” Porta Sw if you don’t want to apply portamento. (Portamento Switch) OFF, ON, TONE Choose “TONE” if you want to use the setting specified by the tone.

15 Program Parameters

Parameter Value Explanation [K] [J] buttons [-] [+] buttons CRR SCALE TUNE (Carrier Scale Tune) Specifies the time over which the pitch Parameter Value changes when using portamento. Higher Explanation [K] [J] buttons [-] [+] buttons settings will cause the pitch change to Porta Time 0–127, TONE (Portamento Time) the next note to take more time. Custom: CUSTOM Choose “TONE” if you want to use the This lets you create a custom scale. setting specified by the tone. Equal Temperament: This layers a single sound. This tuning divides an octave into 12 Turn this “ON” if you want to play using EQUAL equal parts. Every interval produces unison, or “OFF” if you don’t. about the same amount of slight Unison Sw (Unison Switch) OFF, ON, TONE Choose “TONE” if you want to use the dissonance. setting specified by the tone. Just (Major): ** If Unison Switch is On, MONO performance This scale eliminates dissonance in is used. JUST-MAJ fifths and thirds. It is unsuited to playing Specifies how notes are sounded when you press the same key melodies and cannot be transposed, but multiple times. is capable of beautiful sonorities. Only one note of the same key is sounded Just (Minor): at a time. The scales of the major and minor just SINGLE If you repeatedly play notes of a long- JUST-MIN intonations are different. You can get the sustaining sound, the previous note is same effect with the minor scale as with silenced before the next note is sounded. the major scale. The sound of the same key is layered Pythagorean: (with the currently-heard sound). This scale, devised by the philosopher VoiceAsgn Type (Scale Tune Type) (Voice Assign Mode) LIMIT If you repeatedly play notes of a long- PYTHAGORE Pythagoras, eliminates dissonance in sustaining sound, previous notes are fourths and fifths. Dissonance is produced silenced after a certain number have in thirds, but melodies are euphonious. accumulated. Kirnberger: The sound of the same key is layered This scale is a modification of the (with the currently-heard sound). KIRNBERGE meantone and just intonations that FULL Even if you repeatedly play notes of a permits greater freedom in transposition long-sustaining sound, each new sound is to other keys. Performances are possible layered onto the currently-heard sounds in all keys (III). without limitation. Meantone: Selects the output destination. MEANTONE This scale makes some compromises in The sound is output without passing just intonation, enabling transposition to Output (Output Assign) DRY through the effects. other keys. IFX The sound is sent to IFX. Werckmeister: Cho Send WERCKMEIS This is a combination of the meantone (Chorus Send Leve) 0–127 Specifies the send level to chorus. and Pythagorean scales. Performances are possible in all keys (first technique, III). Rev Send 0–127 Specifies the send level to reverb. (Reverb Send Level) Arabic Scale: ARABIC This scale is suitable for Arabic music.

Key (Scale Tune Key) C–B Sets the keynote. CRR PITCH (Carrier Pitch) C–B -64–+63 Finely adjusts the pitch.

Parameter Value Explanation [K] [J] buttons [-] [+] buttons Shifts the pitch of the keyboard in units of Oct Shift (Octave Shift) -3–+3 one octave. Coarse Tune (Coarse Tune) -48–+48 Shifts the pitch in units of a semitone. Finely adjusts the pitch in units of one Fine Tune (Fine Tune) -50–+50 cent. Specifies the amount of pitch change in semitone units (maximum two octaves) Bend Range (Bend Range) 0–24, TONE that occurs when you move a controller such as the ribbon controller when pitch bend is assigned to that controller. Specifies what occurs when you operate a controller such as the ribbon controller when pitch bend is assigned to it. The conventional pitch bend effect NORMAL occurs. Pitch bend applies only to the last-played Bend Mode (Bend Mode) note. If a note-on occurs during a pitch C+L (CATCH + bend, the newly played note sounds at LAST) the center pitch. The pitch will change only after the controller has passed through its center position. TONE The tone’s settings are used.

16 Program Parameters

Parameter Value Explanation CRR MODIFY (Carrier Modify) [K] [J] buttons [-] [+] buttons OFF, CC01–31, Specifies the MIDI message that will Parameter Value MFX CTRL Explanation Src1–4 CC33–95, BEND, control the corresponding MFX CONTROL [K] [J] buttons [-] [+] buttons (MFX CtrlSrc 1–4) AFT, SYS1–4 parameter. Adjusts how far the filter is open. Specifies the depth of MFX CONTROL. Increasing this value makes the sound Cutoff (Cutoff Offset) -64–+63 Specify a positive “+” value if you want brighter, and decreasing it makes the to change the value of the assigned sound darker. MFX CTRL destination in a positive direction (larger, Emphasizes the frequency components Sens1–4 -63–+63 toward the right, faster, etc.), or specify a near the cutoff frequency, giving a (MFX CtrlSens 1–4) negative value “-” if you want to change distinctive character to the sound. the value in a negative direction (smaller, Raising this value excessively might cause toward the left, slower, etc.). Larger values Resonance -64–+63 (Resonance Offset) oscillation, making the sound distort. will allow a greater amount of control. Increasing this value strengthens the Selects the MFX parameter controlled by character, and decreasing it weakens the MFX CTRL Source 1–4. character. Dst1–4 (MFX CtrlAsgn 1–4) The type of parameters that you can Adjusts the time over which the sound select depend on the MFX type. reaches its maximum volume after you press the key. Attack -64–+63 (Attack Time Offset) Larger settings of this value make the attack gentler, and smaller settings make CRR EQ (Carrier EQ) the attack sharper. Adjusts the time over which the volume Parameter Value [ ] [ ] buttons [-] [+] buttons Explanation decreases from its maximum value. K J Decay (Decay Time Offset) -64–+63 Larger settings of this value make the Switch OFF, ON Turns the equalizer (EQ) on/off. decay longer, and smaller settings make Specifies the amount of boost/cut for the In Gain (Input Gain) -24–+24 [dB] the decay shorter. input sound. Adjusts the time over which the sound Specifies the amount of boost/cut for the Low Gain (Low Gain) -24–+24 [dB] decays to silence after you release the low-frequency region. Release key. (Release Time Offset) -64–+63 Low Freq Larger settings of this value make the (Low Frequency) 20–16000 [Hz] Frequency of the low range. sound linger, and smaller settings make Specifies the amount of boost/cut for the the sound end more sharply. Mid Gain (Mid Gain) -24–+24 [dB] mid-frequency region. Adjust the vibrato speed (the rate at Specifies the center frequency for the which the pitch is modulated).The pitch Mid Freq 20–16000 [Hz] (Mid Frequency) mid-frequency region. Vib Rate (Vibrato Rate) -64–+63 will be modulated more rapidly for higher settings, and more slowly with lower Specifies the width of mid-frequency settings. region. Mid Q (Mid Q) 0.5–16.0 This adjusts the depth of the vibrato Set a higher value for Q to narrow the effect (the depth at which the pitch is range to be affected. Vib Depth modulated). Specifies the amount of boost/cut for the -64–+63 High Gain (High Gain) -24–+24 [dB] (Vibrato Depth) The pitch will be modulated more greatly high-frequency region. for higher settings, and less with lower HighFreq settings. (High Frequency) 20–16000 [Hz] Frequency of the high range. Adjusts the time until vibrato (pitch modulation) starts to apply. Vib Delay (Vibrato Delay) -64–+63 Higher settings will produce a longer delay time before vibrato begins, while CRR KEYBOARD (Carier Keyboard) lower settings produce a shorter time. Parameter Value Adjusts the velocity sensitivity. [ ] [ ] buttons [-] [+] buttons Explanation Velo Sens -63–+63 K J (Velocity Sens Offset) Larger settings raise the sensitivity. Specifies the key range for each part. Key Rng Low (Key Range Lower) C-1–G9 Make these settings when you want to play different tones in different regions of CRR MFX (Carrier MFX) the keyboard. Specifies the lower limit (Key Rng Low) Key Rng Upp C-1–G9 Parameter Value (Key Range Upper) and upper limit (Key Rng Upp) of the key Explanation [K] [J] buttons [-] [+] buttons range you want to specify. Turn this “ON” if you want to use the MFX Specifies the degree to which the part settings of the tone that is assigned to Key Fade Low will sound notes played below Key Rng (Key Fade Width Lower) 0–127 FllwToneMfx OFF, ON the part. Low. Specify “0” if you don’t want any (Follow Tone MFX) such notes to sound. If this is “OFF,” you can edit the MFX type and its parameters. Specifies the degree to which the part will sound notes played above Key Rng Selects the MFX type. Key Fade Upp 0–127 (Key Fade Width Upper) Upp. Specify “0” if you don’t want any MFX Type Press the [Enter] button to see the MFX parameters. such notes to sound. (MFX Type) ** If FllwToneMfx is ON, the MFX settings of the tone are used, so you won’t be able to edit the values. Specify the lower limit (Velo Rng Low) “MFX/IFX Parameters” (p. 39) Velo Rng Low & (Velocity Range Lower) 1–127 and upper limit (Velo Rng Upp) of the velocity range that will sound the tone. Make these settings when you want to Velo Rng Upp (Velocity Range Upper) 1–127 play different tones depending on your CRR MFX EDIT keyboard dynamics.

Parameter Value Specifies the degree to which the part Explanation Velo FadeLow will sound notes played more softly than [K] [J] buttons [-] [+] buttons (Velocity Fade Width 0–127 Lower) Velo Rng Low. Specify “0” if you don’t Switch OFF, ON Turns the effect on/off. want such notes to be sounded. Cho Send Specifies the degree to which the part (Chorus Send Level) 0–127 Specifies the send level to chorus. Velo FadeUpp will sound notes played more strongly (Velocity Fade Width 0–127 Rev Send 0–127 Specifies the send level to reverb. Upper) than Velo Rng Upp. Specify “0” if you don’t (Reverb Send Level) want such notes to sound.

17 Program Parameters

CRR CTRL RX (Carrier Control Receive Settings)

Parameter Value Explanation [K] [J] buttons [-] [+] buttons Specifies whether ribbon controller Ribbon Posi (Ribbon Position) OFF, ON operations (position data) are received (ON) or not received (OFF). Specifies whether ribbon controller Ribbon Pres (Ribbon Pressure) OFF, ON operations (pressure data) are received (ON) or not received (OFF). Specifies whether modulation bar Mod Bar (Modulation Bar) OFF, ON operations (position data) are received (ON) or not received (OFF). Specifies whether aftertouch is received Aftertouch OFF, ON (After Touch) (ON) or not received (OFF). Specifies whether control knob Ctrl Knob (Control Knob) OFF, ON operations are received (ON) or not received (OFF). Specifies whether pedal operations are Ctrl Pedal OFF, ON (Control Pedal) received (ON) or not received (OFF). Specifies whether [S1]–[S7] button S1–S7 OFF, ON operations are received (ON) or not received (OFF). Specifies whether master volume operations are transmitted (ON) or not transmitted (OFF). Ext Volume (External OFF, ON Control Volume Knob) You should also turn Ext Volume ON if you want to use master volume to adjust the volume of an external MIDI device.

CRR MIDI RX (Carrier MIDI Receive Settings)

Parameter Value Explanation [K] [J] buttons [-] [+] buttons Specifies whether program change is Rx PC (Receive Program OFF, ON Change) received (ON) or not received (OFF). Specifies whether bank select is received Rx Bank OFF, ON (Receive Bank Select) (ON) or not received (OFF). Specifies whether pitch bend is received Rx Bend OFF, ON (Receive Pitch Bend) (ON) or not received (OFF). Specifies whether polyphonic aftertouch Rx Poly Pres (Receive OFF, ON Polyphonic Key Pressure) is received (ON) or not received (OFF). Specifies whether channel aftertouch is Rx Ch Pres (Receive OFF, ON Channel Pressure) received (ON) or not received (OFF). Specifies whether modulation is received Rx Mod OFF, ON (Receive Modulation) (ON) or not received (OFF). Specifies whether volume is received Rx Volume OFF, ON (Receive Volume) (ON) or not received (OFF). Specifies whether pan is received (ON) or Rx Pan (Receive Pan) OFF, ON not received (OFF). Specifies whether expression is received Rx Exp OFF, ON (Receive Expression) (ON) or not received (OFF). Specifies whether hold 1 is received (ON) Rx Hold-1 OFF, ON (Receive Hold-1) or not received (OFF).

18 Tone Parameters

To edit the tone parameters, you’ll need to use the editor app. These Parameter Value Explanation parameters cannot be edited from the AX-Edge itself. [K] [J] buttons [-] [+] buttons This layers a single sound. COMMON (Overall Settings) If the Unison Switch is on, the number of notes layered on one key will change Parameter Value according to the number of keys you play. Explanation [K] [J] buttons [-] [+] buttons Due to considerations of polyphony, turning UnisonSwitch ON imposes the (Name) Tone name Unison Switch OFF, ON following limitations. Category 0–49 Selects the category of the tone. 55 Operation is forced to MONO mode. Tone Level 0–127 Adjusts the overall volume of the tone 55 Even if Legato Retrigger Interval is specified, it operates as OFF. Specifies the pan of the tone. “L64” is far Tone Pan L64–0–63R left, “0” is center, and “63R” is far right. 55 Even if Delay Time is specified, it is ignored for operation. This determines how notes will be managed when the Number of notes assigned to each key maximum polyphony is exceeded. Unizon Size 2–8 when the Unison Switch is on The last-played voices will be given priority, and currently sounding notes will Detunes each of the notes that are LAST be turned off in order, beginning with the allocated by the Unison Size number, Priority first-played note. Unison Detune 0–100 producing a detuned effect. As you increase this value, each note is detuned The voices with the loudest volume will more greatly, producing a thicker sound. be given priority, and currently sounding LOUDEST notes will be turned off, beginning with This is effective when Mono/Poly is set the lowest-volume voice. to MONO and Legato Switch is turned ON. When you press the next key while Adjusts the pitch of the tone’s sound up still holding down the previous key Coarse Tune -48–+48 [semitone] Legato Switch OFF, ON or down in semitone steps (+/-4 octaves). (legato performance), the pitch changes Adjusts the pitch of the tone’s sound up smoothly. The way in which the change Fine Tune -50–+50 [cent] or down in 1-cent steps (+/-50 cents). occurs depends on the Legato Retrigger Interval. Adjusts the pitch of the tone’s sound Octave Shift -3–+3 up or down in units of an octave (+/-3 When LegatoSwitch is enabled and octaves). you play legato, this specifies whether retriggering occurs (0–12) or does not This setting allows you to apply “stretched occur (OFF). tuning” to the tone (Stretched tuning is If this is off, only the pitch of the a system by which acoustic pianos are currently-sounding tones changes normally tuned, causing the lower range according to the pitch of the key. to be lower and the higher range to be higher than the mathematical tuning If this is set to 1–12, retriggering occurs ratios would otherwise dictate.). With a smoothly when the pitch difference setting of “OFF,” the tone’s tuning will be during legato performance exceeds the equal temperament. A setting of “3” will specified value. produce the greatest difference in the For example, if this is set to 4, and using C4 as the reference pitch, playing notes pitch of the low and high ranges. Legato Retrigger 0–12, OFF The diagram shows the pitch change Interval Db4–E4 legato will change only the pitch relative to equal temperament that will without retriggering, but playing the F4 occur in the low and high ranges. This note (which is five semitones away from C4) legato will retrigger F4. Stretch Tune OFF, 1–4 setting will have a subtle effect on the Depth way in which chords resonate. When F4 is retriggered at this time, F4 Pitch di erence from Parameter now becomes the reference pitch. equal temperament value If this is set to 0, each note is retriggered 3 every time regardless of the pitch 2 difference.

1 For acoustic-type sounds in particular, an unnatural impression can occur if only

OFF OFF the pitch is changed, so you'll need to adjust the Legato Retrigger Interval.

1 Specifies whether the portamento effect will be applied (ON) or not (OFF). 2 Portamento ** Portamento is an effect which smoothly 3 OFF, ON changes the pitch from the first-played key to Switch the next-played key. By applying portamento High note range Low note range when the Mono/Poly parameter is “MONO,” you can simulate slide performance techniques on a Applies time-varying change to the pitch violin or similar instrument. and volume of the tone that is producing sound, adding a sense of variability. Specifies the performance conditions for which portamento Analog Feel 0–127 As you increase this value toward the will be applied. maximum, the variability becomes NORMAL Portamento will always be applied. greater, producing instability. Portamento Mode Applies portamento only when you play Specifies whether the tone will play polyphonically (POLY) or LEGATO legato (i.e., when you press the next key monophonically (MONO). The “MONO” setting is effective when before releasing the previous key). playing a solo instrument tone such as sax or flute. Mono/Poly Specifies the type of portamento effect. MONO Only the last-played note will sound. The time it takes will depend on the Two or more notes can be played Portamento Type RATE POLY distance between the two pitches. simultaneously. TIME The time it takes will be constant When another key is pressed during a pitch change produced Portamento Start by portamento, a new pitch change will begin. This setting specifies the pitch at which the change will begin.

19 Tone Parameters

Parameter Value Parameter Value Explanation Explanation [K] [J] buttons [-] [+] buttons [K] [J] buttons [-] [+] buttons Starts a new portamento when another Specifies how partials are played key is pressed while the pitch is changing. according to your keyboard playing Pitch dynamics (velocity). If this is “ON,” different partials are C5 sounded according to the playing velocity and the Velocity Range Lower/ Pitch PMT Velocity OFF, ON, RANDOM, Upper and Velocity Fade Lower/Upper D4 Control CYCLE settings. C4 If this is “RANDOM” or “CYCLE,” each partial is sounded randomly or cyclically. Time press D4 key In the case of “RANDOM” or “CYCLE,” press C5 key velocity has no effect, but you’ll need to press C4 key make settings for each partial so that the Portamento Start Portamento will begin from the pitch Velocity Range does not conflict. where the current change would end. Pitch

C5 MFX

Parameter Value NOTE Explanation [K] [J] buttons [-] [+] buttons D4 C4 Type Specifies whether the multi-effect is used Time Switch OFF, ON press D4 key (ON) or not used (OFF). press C5 key press C4 key Adjusts the amount of chorus. Chorus Send Level 0–127 If you don’t want to add the chorus effect, Specifies the time taken for the pitch to set it to 0. change when playing portamento. Higher Portamento Time 0–1023 settings will cause the pitch change to the next note to take more time. Adjusts the amount of reverb. Reverb Send Level 0–127 If you don’t want to add the reverb effect, Specifies in semitones the amount of set it to 0. change that occurs when you press the far right end of the ribbon controller. 0–48 Specifies the MIDI message that will Bend Range Up For example, if this parameter is set to [semitone] control the corresponding MFX CONTROL “12,” the pitch will rise one octave when parameter. the pitch bend lever is moved to the right-most position. OFF MFX will not be used. Specifies in semitone units the amount of change that occurs when you press the CC01–31 Controller number 1–31 0–48 far left end of the ribbon controller. Control Source Bend Range Down 1–4 [semitone] For example if this is set to “48” and you CC33–95 Controller number 33–95 move the pitch bend lever all the way to BEND Pitch Bend the left, the pitch will fall 4 octaves. AFT Aftertouch The pitch bend lever works in the NORMAL The controllers specified by the system conventional way. SYS-CTRL1–4 parameters SysCtrlSrc1–4 Source are The ribbon controller affects only the last- used. sounded note. If you play a note while Bend Mode the ribbon controller is already moved, Specifies the multi-effect parameters that that note sounds at its normal pitch (as Control are controlled by MFX Control. The multi- CATCH+LAST though the controller were in the center). Destination 1–4 effects parameters available for control The pitch starts changing only after the will depend on the multi-effects type. controller passes through the center position. Specifies the depth of MFX CONTROL. Specifies the amount of volume change Specify a positive “+” value if you want that occurs when you operate the soft to change the value of the assigned Soft Level Sens 0–100 pedal (CC#67). destination in a positive direction (larger, Control Sens 1–4 -63–+63 toward the right, faster, etc.), or specify a This is effective when specified for piano negative value “-” if you want to change sounds. the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control. SWITCH

Parameter Value Explanation OSC [K] [J] buttons [-] [+] buttons

Use these buttons to turn the partials Parameter Value Partial Switch OFF, ON Explanation on/off. [K] [J] buttons [-] [+] buttons This imitates the operation of the ADSR Specifies the oscillator type. envelope that is provided on an analog PCM is used. The wave of the number synthesizer. PCM specified by the Wave Group and Wave ADSR Envelope OFF, ON If ADSR Env Switch is ON, the “Time 2” Number L/R is used. Switch parameters of Pitch/Filter/Amp Env Time respectively are ignored, and only the A numerically calculated analog-modeled “Level 3” parameters of Pitch/Filter/Amp wave is generated. The wave of the OSC Type VirtualAnalog Env Level are valid. number specified by VA Waveform is used. The wave of the number specified by PCM-Sync PCM-Sync Wave Number is used. SuperSAW SuperSAW is used. WhiteNoise White noise is used.

20 Tone Parameters

Parameter Value Parameter Value Explanation Explanation [K] [J] buttons [-] [+] buttons [K] [J] buttons [-] [+] buttons INT A Partial Delay Specifies the wave group that is used Wave Group INT B This produces a time delay between the moment a key is when OSC Type is PCM. pressed (or released), and the moment the partial actually INT C begins to sound. You can also make settings that shift the Specifies the wave number within the timing at which each partial is sounded. group specified by Wave Group. This differs from the Delay in the internal effects, in that by Wave Number L If using mono, specify only the left side changing the sound qualities of the delayed partials and (L). If using stereo, specify the right side changing the pitch for each partial, you can also perform (R) as well. arpeggio-like passages just by pressing one key. If using mono, specify only Wave Number You can also synchronize the partial delay time to the tempo of the external MIDI sequencer. Wave Number R L and leave Wave Number R at 0: OFF. If you specify only Wave Number R, no If Legato Retrigger Interval is other than OFF, legato operation sound is heard. occurs only when Delay Mode is NORMAL. Specifies the wave that is used when OSC Type is VirtualAnalog. Also in this case, Legato Retrigger Interval operates as 0 (retriggers at each DelayTime). SAW Sawtooth wave The partial begins to play after the SQR Square wave time specified in the Partial Delay Time VA Waveform TRI Triangle wave parameter has elapsed.

SIN sine wave No Partial Delay RAMP Ramp wave JUNO Modulated sawtooth wave NORMAL Specifies the wave that is used when OSC Type is PCM-Sync. PCM-Sync Wave The PCM-Sync oscillator is effective when specified as the Slave Delay time Number (the sync-modulated partial 1 or 3) when Structure is set to SYNC. Note on Note o Specifies the gain (amplitude) of the waveform. Although the partial begins to play after Gain -18–+12 [dB] The value will change in 6 dB (decibel) the time specified in the Partial Delay steps.Each 6 dB increase doubles the Time parameter has elapsed, if the key is gain. released before the time specified in the Partial Delay Time parameter has elapsed, This effect is produced when the the partial is not played. waveform is deformed by varying the duty cycle of the pulse width. Delay Mode It is effective when OSCType is VA, and is HOLD Pulse Width 0–127 also effective with waveforms other than SQR (square wave). ** If the value is 64, the pulse width has a No sound 50%:50% duty cycle. Delay time played ** This effect does not apply to partials 1 and 2.

Specifies the amount (depth) of LFO Note on Note o PWM Depth -63–+63 applied to PW (Pulse Width). LFO uses the settings of LFO2. Rather than being played while the key is pressed, the partial begins to play once Specifies the amount of pitch variance the period of time specified in the Partial between the (seven) sawtooth waves that Delay Time parameter has elapsed after are layered within one oscillator. release of the key. This is effective in ** As this value is increased, the pitch variance situations such as when simulating noises Super-SAW 0–127 becomes greater. (At this time, OSC Detune Detune applies an equal amount of pitch difference from guitars and other instruments. between the seven sawtooth waves.) KEY-OFF-NORMAL ** This has no effect if Structure is SYNC. ** This is effective only when SuperSAW is selected as the OSC Type. Delay time Changes the sense of attack by varying the position at which the sound starts. Note on Note o Click Type SOFT, HARD This is effective if OSC Type is VirtualAnalog. However, HARD is effective Rather than being played while the key only when VA Waveform is TRI or SIN. is pressed, the partial begins to play Boosts the low-frequency region. once the period of time specified in the Partial Delay Time parameter has elapsed Fat 0–127 This is effective when OSC Type is after release of the key. Here, however, VirtualAnalog. changes in the TVA Envelope begin while This sets whether FXM will be used (ON) KEY-OFF-DECAY the key is pressed, which in many cases or not (OFF). means that only the sound from the release portion of the envelope is heard. FXM Switch OFF, ON ** FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency Delay time modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects. Specifies how FXM will perform Note on Note o frequency modulation.Higher settings FXM Color 1–4 Set this ON if you want the partial delay result in a grainier sound, while lower Delay Time Sync OFF, ON settings result in a more metallic sound. time to synchronize with the tempo. Specifies the depth of the modulation This is available when Delay Time Sync is FXM Depth 0–16 produced by FXM. Delay Time (note) 1/64T–2 ON. It specifies the delay time in terms of a note value. This is available when Delay Time Sync is Delay Time 0–1023 OFF. It specifies the delay time without regard to the tempo.

21 Tone Parameters

KEYBOARD STRUCTURE Level Structure lets you sound two partials as a set. You can create a wide range of sounds by using partial 2 or 4 (the Pitch modulator) to modulate partial 1 or 3 (the carrier). Since the Structure uses two partials as a pair, it provides parameters that are used in common by the carrier and modulator. For the following parameters, only the partial settings of the carrier are valid (the settings of the modulator are ignored). Fade Lower Fade Upper Range Lower Range Upper KEYBOARD Parameter Value Explanation [K] [J] buttons [-] [+] buttons 55Keyboard Range Lower 55Keyboard Range Upper Specify the key range for each partial. Key Range Lower C-–G9 Keyboard Fade Width Lower Make these settings when you want 55 different key ranges to play different 55Keyboard Fade Width Upper tones. 55Velocity Range Lower Key Range Upper C-–G9 Specify the lower limit (Lower) and upper 55Velocity Range Upper limit (Upper) of the key range. 55Velocity Fade Width Lower Specifies the degree to which the partial 55Velocity Fade Width Upper is sounded by notes played below the Key Fade Lower 0–127 Keyboard Range Lower. Specify “0” if you SWITCH don’t want such notes to be sounded. Specifies the degree to which the partial 55Partial Switch is sounded by notes played above the Key Fade Upper 0–127 Keyboard Range Upper. Specify “0” if you OSC don’t want such notes to be sounded. 55Delay Mode (note) 55Delay Mode Level 55Delay Time Sync 55Delay Time (note) 55Delay Time Velocity CONTROL

Fade Lower Fade Upper 55Envelope Mode Range Lower Range Upper 55Receive Hold-1 Redamper Switch Parameter Value 55 Explanation [K] [J] buttons [-] [+] buttons 55Damper Free Note

Velocity Range Specify the lower limit (Lower) and upper MATRIX CONTROL Lower 1–127 limit (Upper) of the velocities that will sound the partial. 55Destination: PMT Make these settings when you want Destination: CROSS-MOD Velocity Range 55 1–127 different partials to sound depending on Upper Parameter Value keyboard playing dynamics. Explanation [K] [J] buttons [-] [+] buttons Specifies the degree to which the partial The sound of partial 1 is modulated by partial 2. Velocity Fade is sounded by notes played more softly 0–127 Lower (PMT 1–4) than Velocity Range Lower. Specify “0” if OFF OFF you don’t want such notes to be sounded. Implements the oscillator sync function Specifies the degree to which the partial that is provided by an analog synthesizer. Velocity Fade is sounded by notes played more strongly 0–127 SYNC The partial 1 oscillator is reset at intervals Upper than Velocity Range Upper. Specify “0” if of partial 2’s pitch cycle. This is effective you don’t want such notes to be sounded. only if OSC Type is VirtualAnalog or PCM-Sync. Implements the ring modulator function Structure1-2 that is provided by an analog synthesizer. RING The output sound of partial 2 is multiplied with partial 1. & “RING” (p. 23) Implements the cross modulation function that is provided by an analog synthesizer. CROSS-MOD The output sound of partial 2 is applied as the pitch of partial 1. & “CROSS-MOD” (p. 23)

22 Tone Parameters

Parameter Value RING Explanation [K] [J] buttons [-] [+] buttons

The output sound of partial 3 is modulated by partial 4. Partial 1/3 OSC HPF ADSR VCF 3Band EQ ADSR TVA PAN OFF OFF L # R RING Implements the oscillator sync function that is provided by an analog synthesizer. ADSR Pitch LFO 1/2 SYNC The partial 3 oscillator is reset at intervals of partial 4’s pitch cycle. This is effective only if OSC Type is VirtualAnalog or Partial 2/4 PCM-Sync. OSC HPF ADSR VCF 3Band EQ ADSR TVA PAN L # R Implements the ring modulator function Structure3-4 that is provided by an analog synthesizer. ADSR Pitch LFO 1/2 RING The output sound of partial 4 is multiplied with partial 3. & “RING” (p. 23) Implements the cross modulation function that is provided by an analog CROSS-MOD synthesizer. CROSS-MOD The output sound of partial 4 is applied Partial 1/3 as the pitch of partial 3. OSC HPF ADSR VCF 3Band EQ ADSR TVA PAN & “CROSS-MOD” (p. 23) L # R RING level when Structure1-2 is RING. RING1-2 Level 0–127 ADSR Pitch LFO 1/2 & “RING” (p. 23)

RING3-4 Level 0–127 RING level when Structure3-4 is RING. & “RING” (p. 23) Effective when Structure1-2 is RING. Sets Partial 2/4 OSC RING OSC1 Level 0–127 the partial 1 OSC level. & “RING” (p. 23)

Effective when Structure1-2 is RING. Sets ADSR Pitch LFO 1/2 RING OSC2 Level 0–127 the partial 2 OSC level. & “RING” (p. 23) Effective when Structure3-4 is RING. Sets RING OSC3 Level 0–127 the partial 3 OSC level. & “RING” (p. 23) Pitch Effective when Structure3-4 is RING. Sets Parameter Value RING OSC4 Level 0–127 the partial 4 OSC level. Explanation [K] [J] buttons [-] [+] buttons & “RING” (p. 23) Adjusts the pitch of the partial’s sound up Cross Modulation Depth when Coarse Tune -48–+48 [semitone] CrossMod1-2 or down in semitone steps (+/-4 octaves). Depth 0–9600 [cent] Structure1-2 is CROSS-MOD. & “CROSS-MOD” (p. 23) Adjusts the pitch of the partial’s sound up Fine Tune -50–+50 [cent] Cross Modulation Depth when or down in 1-cent steps (+/-50 cents). CrossMod3-4 Depth 0–9600 [cent] Structure3-4 is CROSS-MOD. This specifies the width of random pitch “CROSS-MOD” (p. 23) & deviation that will occur each time a key Effective when Structure1-2 is CROSS- Random Pitch is pressed.If you do not want the pitch to CrossMod OSC1 Depth 0–1200 [cent] Level 0–127 MOD. Sets the partial 1 OSC level. change randomly, set this to “0.” & “CROSS-MOD” (p. 23) ** One cent is 1/100th of a semitone. Effective when Structure1-2 is CROSS- CrossMod OSC2 This specifies the amount of pitch change Level 0–127 MOD. Sets the partial 2 OSC level. that will occur when you play a key one & “CROSS-MOD” (p. 23) octave higher (i.e., 12 keys upward on the Effective when Structure3-4 is CROSS- keyboard). CrossMod OSC3 Level 0–127 MOD. Sets the partial 3 OSC level. If you want the pitch to rise one octave & “CROSS-MOD” (p. 23) as on a conventional keyboard, set this to Effective when Structure3-4 is CROSS- “+100.” If you want the pitch to rise two CrossMod OSC4 octaves, set this to “+200.” Conversely, set Level 0–127 MOD. Sets the partial 4 OSC level. & “CROSS-MOD” (p. 23)23 this to a negative (-) value if you want the pitch to fall. With a setting of “0,” all keys Pitch Keyfollow -200–+200 will produce the same pitch. Pitch +200 +100

+50

0

-50

-200 -100 C1 C2 C3 C4 C5 C6 C7 Key

Specifies the amount by which the Vibrato Pitch Sens -100–+100 Pitch Depth of LFO1 is changed by the program’s Modify Vibrato Depth.

Specifies the detune between L#R when Stereo Detune -50–+ 50 [cent] outputting in stereo.

23 Tone Parameters

PITCH ENVELOPE FILTER Parameter Value Explanation Parameter Value [K] [J] buttons [-] [+] buttons Explanation [K] [J] buttons [-] [+] buttons Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch Selects the type of filter. envelope to produce greater change. ** TVF stands for Time Variant Filter, a filter that Filter Type TVF, VCF lets you specify in detail how the frequency Depth -100–+100 Negative “-” settings will invert the shape components of the sound change over time. of the envelope. If you select VCF, the polyphony will be lower If OSC Type is other than Virtual Analog, than if you select TVF. this is limited to ±63. TVFSelects the type of filter. Keyboard playing dynamics can be ** If Filter Type is set to VCF, this will be LPF. used to control the depth of the pitch OFF No filter is used. envelope.If you want the pitch envelope Low Pass Filter. This reduces the volume to have more effect for strongly played Velocity Sens -100–+100 of all frequencies above the cutoff notes, set this parameter to a positive “+” frequency (Cutoff Frequency) in order to value. If you want the pitch envelope to LPF round off, or un-brighten the sound. have less effect for strongly played notes, set this to a negative “-” value. This is the most common filter used in synthesizers. This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. Band Pass Filter. This leaves only the frequencies in the region of the cutoff If you want Time 1 to be speeded up for Time 1 Velocity BPF frequency (Cutoff Frequency), and cuts -100–+100 strongly played notes, set this parameter Sens the rest. This can be useful when creating to a positive “+” value. If you want it to distinctive sounds. be slowed down, set this to a negative “-” value. High Pass Filter. This cuts the frequencies in the region below the cutoff frequency Use this parameter when you want key HPF (Cutoff Frequency). This is suitable for release speed to affect the Time 4 value of creating percussive sounds emphasizing the pitch envelope. their higher tones. Time 4 Velocity -100–+100 If you want Time 4 to be speeded up for Sens quickly released notes, set this parameter Peaking Filter. This emphasizes the to a positive “+” value. If you want it to frequencies in the region of the cutoff frequency (Cutoff Frequency). You can be slowed down, set this to a negative TVF Type PKG “-” value. use this to create wah-wah effects by employing an LFO to change the cutoff Use this setting if you want the pitch frequency cyclically. envelope times (Time 2–Time 4) to be affected by the keyboard location. Based Low Pass Filter 2. Although frequency on the pitch envelope times for the C4 components above the Cutoff frequency key, positive (+) value will cause notes (Cutoff Frequency) are cut, the sensitivity higher than C4 to have increasingly of this filter is half that of the LPF. This shorter times, and negative (-) value will LPF2 makes it a comparatively warmer low cause them to have increasingly longer pass filter. This filter is good for use with times. Larger settings will produce simulated instrument sounds such as the greater change. acoustic piano. Time Keyfollow -100–+100 Time ** If you set “LPF2,” the setting for the Resonance -100 parameter will be ignored (p. 25).

-50 Low Pass Filter 3. Although frequency components above the Cutoff frequency 0 (Cutoff Frequency) are cut, the sensitivity of this filter changes according to the +50 Cutoff frequency. While this filter is also

+100 LPF3 good for use with simulated acoustic Key C1 C2 C3 C4 C5 C6 C7 instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings. Specify the pitch envelope times (Time ** If you set “LPF3,” the setting for the Resonance 1–Time 4). parameter will be ignored (p. 25). Higher settings will result in a longer time until the next pitch is reached. (For This parameter is effective when Filter example, Time 2 is the time over which Type is VCF. the pitch changes from Level 1 to Level 2.) Each setting simulates the operation of ** If ADSR Envelope Switch is ON, the Pitch Env VCF Type 1–4 an analog synthesizer’s LPF. In particular, Time 2 has no effect. 2–4 are types that are suitable for Time 1–4 0–1023 T1 T2 T3 T4 reproducing synthesizer sounds of the past.

Pitch L0 Time This button selects the slope (steepness) L1 L3 of the filter. Note on Note o L2 L4 For VCF, you can choose -12, -18, or -24. T：Time L：Level For TVF, only -12 or -24 can be selected. If Filter Type is TVF, the following -12, -18, -24 [dB/ Specify the pitch envelope levels (Level Filter Slope limitations apply. 0–Level 4). It determines how much the Oct] 55 You can specify only -12 dB or -24 pitch changes from the reference pitch dB. If you specify -18 dB, the sound (the value set with Coarse Tune or Fine generator operates internally with the Tune on the Pitch screen) at each point. -12 dB setting. Level 0–4 -511–+511 Positive “+” settings will cause the pitch 55 If you specify -24 dB, the polyphony to be higher than the standard pitch, will be lower than if you specify -12 dB. and negative “-” settings will cause it to be lower. Specifies the cutoff frequency of the -6 dB ** If ADSR Envelope Switch is ON, only Pitch Env Level 3 (Sustain) has an effect. Also in this case, HPF Cutoff 0–1023 high-pass filter. settings with a negative value are ignored. ** This is effective if Filter Type is VCF.

24 Tone Parameters

Parameter Value FLITER ENVELOPE Explanation [K] [J] buttons [-] [+] buttons Parameter Value Selects the frequency at which the Explanation filter begins to have an effect on the [K] [J] buttons [-] [+] buttons waveform’s frequency components. Specifies the depth of the filter envelope. With “LPF/LPF2/LPF3” selected for the Higher settings increase the change Filter Type parameter, lower cutoff Depth -63–+63 produced by the filter envelope. Negative frequency settings reduce a tone’s upper “-” settings will invert the shape of the harmonics for a more rounded, warmer envelope. sound. Higher settings make it sound Selects one of the following seven brighter. types of curve by which keyboard If “BPF” is selected, harmonic components Cutoff Frequency 0–1023 playing dynamics affect the depth of will change depending on the TVF Cutoff the filter envelope. If you don’t want Frequency setting. This can be useful Velocity Curve FIXED, 1–7 keyboard playing dynamics to affect the when creating distinctive sounds. filter envelope depth, specify “FIXED.” With “HPF” selected, higher Cutoff Frequency settings will reduce lower 1 2 3 4 5 6 7 harmonics to emphasize just the brighter components of the sound. Specify this if you want keyboard playing With “PKG” selected, the harmonics to dynamics to affect the filter envelope be emphasized will vary depending on depth. Specify a positive “+” value if you Cutoff Frequency setting. Velocity Sens -100–+100 want the filter envelope to apply more deeply as you play more strongly, or a Use this parameter if you want the cutoff negative “-” value if you want it to apply frequency to change according to the less deeply. key that is pressed. Relative to the cutoff frequency at the C4 key (center C), Specify this if you want keyboard playing positive (+) value will cause the cutoff dynamics to affect Time 1 of the filter frequency to rise for notes higher than envelope. C4, and negative (-) value will cause the Time 1 Velocity -100–+100 If you want Time 1 to be speeded up for cutoff frequency to fall for notes higher Sens strongly played notes, set this parameter than C4. to a positive “+” value. If you want it to Higher values will produce greater be slowed down, set this to a negative change. “-” value. Cutoff Keyfollow -200–+200 Cuto frequency (Octave) Specify this if you want key release

+200 velocity to affect Time 4 of the filter +100 envelope. +2 +50 Time 4 Velocity If you want Time 4 to be speeded up for +1 -100–+100 Sens quickly released notes, set this parameter o 0 to a positive “+” value. If you want it to -1 -50 be slowed down, set this to a negative -2 “-” value.

-200 -100 C1 C2 C3 C4 C5 C6 C7 Key Specify this if you want the filter envelope times (Time 2–Time 4) to vary depending on the keyboard position you play. Selects one of the following seven curves Relative to the filter envelope times at that determine how keyboard playing the C4 key (middle C), positive “+” values dynamics (velocity) influence the cutoff shorten the times for notes played in the Cutoff Velocity frequency. Set this to “FIXED” if you don’t region above C4, and negative “-” values Curve FIXED, 1–7 want the Cutoff frequency to be affected lengthen the times. by the keyboard velocity. Higher values will produce greater change. Time Keyfollow -100–+100 Time 1 2 3 4 5 6 7 -100 Use this parameter when changing the cutoff frequency to be applied as a result -50

of changes in playing velocity. If you want 0 strongly played notes to raise the cutoff Cutoff Velocity -100–+100 Sens frequency, set this parameter to positive +50 (+) value. If you want strongly played +100 notes to lower the cutoff frequency, use C1 C2 C3 C4 C5 C6 C7 Key negative (-) value.

Emphasizes the portion of the sound in Specify the filter envelope times (Time 1– the region of the cutoff frequency, adding Time 4). Higher values lengthen the time character to the sound. Excessively high before reaching the next cutoff frequency settings can produce oscillation, causing (for example, Time 2 is the time over the sound to distort. which Level 1 changes to 2). LPF BPF HPF PKG Level ** If ADSR Envelope Switch is ON, Filter Env Time High 2 has no effect. Resonance 0–1023 Frequency Time 1–4 0–1023 T1 T2 T3 T4 Cuto Frequency

Cuto Frequency L0

parameter value parameter Time L1 L2 L3 L4 Note on Note o

Low T: Time L: Level

Specifies this if you want the amount of Specify the filter envelope levels (Level resonance to be affected by keyboard 0–Level 4). playing dynamics. Specify a positive “+” Specify the amount of cutoff frequency Resonance -100–+100 Velocity Sens value if you want resonance to increase change at each point relative to the when you play strongly, or a negative “-” Level 0–4 0–1023 reference cutoff frequency (the cutoff value if you want it to decrease. frequency value specified in the Filter screen). Specifies how the TVF Depth of LFO1 Vibrato Cutoff -100–+100 is affected by the program’s Modify Vib ** If ADSR Envelope Switch is ON, only Filter Env Sens Level 3 (Sustain) is effective. Depth.

25 Tone Parameters

Parameter Value Explanation AMP [K] [J] buttons [-] [+] buttons Adjusts the amount of width when Parameter Value Explanation Stereo Width 0–100 outputting in stereo. This has no effect [K] [J] buttons [-] [+] buttons when outputting in mono. Sets the volume of the partial. This setting Level 0–127 is useful primarily for adjusting the volume balance between partials. AMP ENVELOPE Selects one of the following seven curves that determine how keyboard dynamics Parameter Value will affect the volume. Set this to “FIXED” Explanation [K] [J] buttons [-] [+] buttons Level Velocity if you don’t want the volume of the Curve FIXED, 1–7 partial to be affected by the keyboard Specify this if you want keyboard velocity. dynamics to affect the AMP envelope’s Time 1. Time 1 Velocity 1 2 3 4 5 6 7 -100–+100 If you want Time 1 to be speeded up for Sens strongly played notes, set this parameter Set this when you want the volume of the to a positive “+” value. If you want it to partial to change depending on the force be slowed down, set this to a negative with which you press the keys. Set this to “-” value. a positive (+) value to have the changes Level Velocity -100–+100 Sens in partial volume increase the more Specify this if you want key release forcefully the keys are played; to make velocity to affect the AMP envelope’s the partial play more softly as you play Time 4. harder, set this to a negative (-) value. Time 4 Velocity -100–+100 If you want Time 4 to be speeded up for Sens quickly released notes, set this parameter Adjusts the angle of the volume change to a positive “+” value. If you want it to that will occur in the selected Bias be slowed down, set this to a negative Direction. Larger settings will produce “-” value. Bias Level -100–+100 greater change. Negative (-) values will invert the change Specify this if you want keyboard position direction. to affect the AMP envelope’s times (Time 2–Time 4). Relative to the AMP envelope Specifies the key relative to which the times at the C4 key (middle C), positive Bias Position 0–127 volume will be modified. “+” values cause the times to shorten as A setting of 64 is the C4 key (middle C). you play higher on the keyboard, and Selects the direction in which change will occur starting from negative “-” values cause the times to the Bias Position. lengthen. Higher values will produce greater The volume will be modified for the LOWER change. keyboard area below the Bias Point. Time Keyfollow -100–+100 Time The volume will be modified for the -100 UPPER Bias Direction keyboard area above the Bias Point. -50 The volume will be modified LOWER&UPPER symmetrically toward the left and right of 0

the Bias Point. +50 The volume changes linearly with the bias ALL +100 point at the center. C1 C2 C3 C4 C5 C6 C7 Key Sets the pan of the partial. “L64” is far left, Pan L64–63R “0” is center, and “63R” is far right. Specify the AMP envelope times (Time Use this parameter if you want key 1–Time 4). Larger values lengthen the position to affect panning. Positive (+) time until reaching the next volume. (For value will cause notes higher than C4 Time 1–4 0–1023 example, Time 2 is the time of the change key (center C) to be panned increasingly from Level 1 to Level 2.) further toward the right, and negative ** If ADSR Envelope Switch is ON, the Amp Env (-) value will cause notes higher than C4 Time 2 is ignored. key (center C) to be panned toward the Specify the AMP envelope levels (Level left. Larger settings will produce greater 1–Level 3). change. Pan These specify the amount of change Pan Keyfollow -100–+100 at each point relative to the reference R +100 volume (the partial level value specified

+50 in the Amp screen). T1 T2 T3 T4 o 0 Level 1–3 0–1023

-50

Level L -100 Key Time C1 C2 C3 C4 C5 C6 C7 L1 L2 L3 Note on Note o

T: Time L: Level Use this parameter when you want the ** If ADSR Envelope Switch is ON, only Amp Env stereo location to change randomly each Random Pan 0–63 Level 3 (Sustain) is effective. Depth time you press a key. Higher settings will produce a greater amount of change. This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will Alternate Pan Depth L63–63R reverse the order in which the pan will alternate between left and right. For example if two partials are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played. Specifies how the program’s Modify Vib Vibrato Level Sens -100–+100 Depth affects the Amp Depth of LFO1.

26 Tone Parameters

Parameter Value Value LFO1 / LFO2 [K] [J] buttons [-] [+] Buttons [-] [+] buttons Specifies the time over which the LFO Parameter Value Value amplitude will reach the maximum [K] [J] buttons [-] [+] Buttons [-] [+] buttons Fade Time (minimum). (LFO1, LFO2) 0–1023 Selects the waveform of the LFO. ** After referring to “How to Apply the LFO” (p. 28), change the setting until the desired SIN Sine wave effect is achieved. TRI Triangle wave Specifies whether the LFO cycle will be Key Trigger SAW-UP Sawtooth wave (LFO1, LFO2) OFF, ON synchronized to begin when the key is pressed (ON) or not (OFF). SAW-DW Sawtooth wave (negative polarity) Specifies how deeply the LFO will affect SQR Square wave Pitch Depth pitch. (LFO1, LFO2) -100–+100 RND Random wave ** If OSC Type is other than VirtualAnalog, the range is limited to -63–+63. TRP Trapezoidal wave Waveform Filter Depth Specifies how deeply the LFO will affect (LFO1, LFO2) Sample & Hold wave (one time per cycle, -100–+100 S&H (LFO1, LFO2) the cutoff frequency. LFO value is changed) Specifies how deeply the LFO will affect Amp Depth -100–+100 CHS Chaos wave (LFO1, LFO2) the volume. Modified sine wave. The amplitude of a Specifies how deeply the LFO will affect VSIN sine wave is randomly varied once each the pan. cycle. MEMO A waveform generated by the data specified by LFO Step 1–64. This produces Positive (+) and negative (-) value for the Depth STEP parameter result in differing kinds of change in stepped change with a fixed pattern Pan Depth pitch and volume. For example, if you set the Depth (LFO1, LFO2) -63–+63 similar to a step modulator. parameter to a positive (+) value for one partial, and set another partial to the same numerical value, Rate Sync OFF Set this ON if you want the LFO rate to but make it negative (-), the modulation phase for (LFO1, LFO2) synchronize with the tempo. the two partials will be the reverse of each other. ON This allows you to shift back and forth between two This is effective if Rate Sync is ON. different partials, or combine it with the Pan setting Rate Note to cyclically change the location of the sound image. (LFO1, LFO2) 1/64T–4 Specifies the LFO rate in terms of a note value. Specifies the LFO's starting phase value when Key Trigger is ON. This is effective if Rate Sync is OFF. ** This has no effect if Waveform is RND, S&H, or CHS. Specifies the LFO rate without regard to Rate (LFO1, LFO2) 0–1023 Phase Position 0 1 cycle the tempo. Higher values produce a faster (LFO1, LFO2) LFO rate (a shorter cycle). 1 1/4 cycle Raises or lowers the LFO waveform 2 1/2 cycle relative to the central value (pitch or 3 3/4 cycle cutoff frequency). Positive (+) value will move the waveform so that modulation This is effective if Waveform is STEP. Offset (LFO1, LFO2) -100–+100 Step Size (LFO1, LFO2) 1–16 will occur from the central value upward. Specifies the step size that is looped. Negative (-) value will move the This is effective when Waveform is STEP. waveform so that modulation will occur Specify the Depth value of each step. from the central value downward. If you want to specify this in pitch scale Subtly changes the LFO cycle speed (Rate degrees (100 cents), the settings are as parameter) each time you press a key. follows. Rate Detune 0–127 Higher values produce wider variation. (LFO1, LFO2) PitchDepth: 51, Step: multiples of This parameter is ignored if Rate is set to 1 6 … up to one octave of change “note value.” Step 1-16 -72–+72 (LFO1, LFO2) PitchDepth: 74, Step: multiples of Delay Time (LFO Delay Time) specifies 2 3 … up to two octaves of change the time elapsed before the LFO effect is applied (the effect continues) after the PitchDepth: 89, Step: multiples Delay Time (LFO1, LFO2) 0–1023 key is pressed (or released). 3 of 2 … up to three octaves of ** After referring to “How to Apply the LFO” (p. change 28), change the setting until the desired ** If OSC Type is not VirtualAnalog, the Pitch effect is achieved. Depth setting range is limited to -63–+63, so Adjusts the value for the Delay Time only “1” above is possible. parameter depending on the key Step Curve 1-16 0–36 Specifies the type of curve at each step. position, relative to the C4 key (center C). (LFO1, LFO2) & “Step curve types” (p. 27) To decrease the time that elapses before the LFO effect is applied (the effect is continuous) with each higher key that is pressed in the upper registers, select a Step curve types positive (+) value; to increase the elapsed time, select a negative (-) value. Larger settings will produce greater change. If Step Curve 0 you do not want the elapsed time before Delay Time Keyfollow -100–+100 the LFO effect is applied (the effect is (LFO1, LFO2) continuous) to change according to the key pressed, set this to “0.” Time

-100

-50

0

+50

+100 C1 C2 C3 C4 C5 C6 C7 Key

ON-IN Specifies how the LFO will be applied. ON-OUT Fade Mode ** After referring to “How to Apply the LFO” (LFO1, LFO2) OFF-IN (p. 28), change the setting until the desired effect is achieved. OFF-OUT

27 Tone Parameters

Curve Type 1–6 (variations of square wave) Curve Type 32–36 (other variations)

1 2 3 4 32 33 34 35

5 6 36

Curve Type 7–10 (variations of ascending saw) How to Apply the LFO 7 8 9 10 Apply the LFO gradually after the key is pressed Fade Mode: ON-IN Delay high (more) Time Fade Time Curve Type 11–15 (variations of descending saw) Pitch Cuto Frequency Depth 11 12 13 14 Level Pan Note on

low (less)

15 Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect Fade Mode: ON-OUT

high (more) Delay Time Fade Time Curve Type 16–19 (variations of ascending exponential) Pitch Cuto Frequency Depth 16 17 18 19 Level Pan Note on

low (less)

Apply the LFO gradually after the key is released Curve Type 20–23 (variations of descending exponential) Fade Mode: OFF-IN 20 21 22 23 Delay high (more) Fade Time Time Pitch Cuto Frequency Depth Level Pan Curve Type 24–27 (variations of ascending charging curve) Note Note on o 24 25 26 27 low (less)

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the effect when the key is released Fade Mode: OFF-OUT Curve Type 28–31 (variations of descending charging curve) Delay high (more) Fade Time 28 29 30 31 Time Pitch Cuto Frequency Depth Level Pan

low (less) Note on Note o

28 Tone Parameters

PARTIAL EQ MATRIX CONTROL

Parameter Value Ordinarily, if you wanted to change partial parameters using an Explanation [K] [J] button [-] [+] Buttons external MIDI device, you would need to send System Exclusive Switch OFF, ON Turns the equalizer on/off for each partial. messages-MIDI messages designed exclusively for the AX-Edge. However, System Exclusive messages tend to be complicated, and Low Gain -24.0–+ 24.0 [dB] Gain of the low frequency range. the amount of data that needs to be transmitted can get quite large. Mid Gain -24.0–+ 24.0 [dB] Gain of the middle range For that reason, a number of the more typical of the AX-Edge’s High Gain -24.0–+ 24.0 [dB] Gain of the high frequency range. partial parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making Low Frequency 20–16000 [Hz] Frequency of the low range. changes in their values. This provides you with a variety of means Mid Frequency 20–16000 [Hz] Frequency of the middle range of changing the way tones are played. For example, you can use the Modulation Bar to change the LFO cycle rate, or use the keyboard’s High Frequency 20–16000 [Hz] Frequency of the high range. touch to open and close a filter. Width of the middle range Mid Q 0.5–16.0 (0.1step) Set a higher value for Q to narrow the The function which allows you use MIDI messages to make these range to be affected. changes in realtime to the partial parameters is called the “Matrix Control.” Up to four Matrix Controls can be used in a single tone. To use Matrix Control, you specify which MIDI message (Source) controls which parameter (Destination) and how deeply (Sens: OUTPUT sensitivity).

Parameter Value Parameter Value Explanation Explanation [K] [J] button [-] [+] Buttons [K] [J] button [-] [+] Buttons Specifies how the sound of each partial Output Assign DRY, MFX Sets the MIDI message used to change the partial parameter will be output. with the Matrix Control. Specifies the level of the signal sent to the OFF Matrix control will not be used. Chorus Level Send 0–127 chorus for each partial. CC01–31, CC33–95 Controller numbers 1–31, 33–95 Specifies the level of the signal sent to the Reverb Level Send 0–127 BEND Pitch Bend reverb for each partial. AFT Aftertouch MIDI messages assigned by the SYSTEM SYS-CTRL1–4 parameters SYS-CTRL 1–4 CONTROL VELOCITY Velocity (pressure you press a key with)

Parameter Value Keyfollow (keyboard position with C4 Explanation KEYFOLLOW [K] [J] button [-] [+] Buttons as 0) Tempo specified by the tempo assign If this is set to SUSTAIN, the Envelope TEMPO Level 3 is held from when the envelope source Time 3 has elapsed until note-off. LFO 1 LFO1, LFO2 When note-off occurs, the envelope LFO 2 transitions from the current value to the Envelope Mode NO-SUS, SUSTAIN Time 4 segment (release segment). PIT-ENV Pitch envelope If this is set to NO-SUS, the envelope TVF-ENV TVF envelope transitions to the release segment after TVA envelope passing Time 3 regardless of the note-off TVA-ENV timing, operating according to the times specified by the envelope. Source 1–4 For notes above the specified note (Matrix Control 1–4) ** Velocity and Keyfollow correspond to Note messages. number, the Envelope Mode operates as ** Although there are no MIDI messages for LFO 1 through TVA Envelope, Damper Free Note OFF, 1–127 NO-SUS. they can be used as Matrix Control. In this case, you can change the partial Use this to simulate the undamped settings in realtime by playing tones. region of a piano sound. ** If you want to use common controllers for the entire AX-Edge, select “SYS- CTRL1”–”SYS-CTRL4.” MIDI messages used as System Control 1–4 are set Specifies for each partial whether MIDI with the SysCtrlSrc1–4 (p. 38). Receive Bender OFF, ON pitch bend messages are received (ON) or & For more information about Control Change messages, please refer to “MIDI Implementation (English)” (PDF). not received (OFF). NOTE Specifies for each partial whether MIDI Receive expression messages are received (ON) or Expression OFF, ON 55 There are parameters that determine whether or not Pitch not received (OFF). Bend, Controller Number 11 (Expression) and Controller Specifies for each partial whether MIDI Number 64 (Hold 1) are received (p. 29). When these Receive Hold-1 OFF, ON hold 1 messages are received (ON) or not settings are “ON,” and the MIDI messages are received, then received (OFF). when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings If Redamper Switch is ON, you can also change simultaneously. If you want to change the perform the Half Damper operations used targeted parameters only, then set these to “OFF.” for piano sounds. 55 There are parameters that let you specify whether specific Redamper Switch OFF, ON However, the following conditions must MIDI messages will be received for each part in a studio be satisfied in order to use this operation. set (p. 11). When a tone with Matrix Control settings is 55 Envelope Mode is NO-SUS assigned to a part, confirm that any MIDI messages used for 55 Amp Envelope’s Level 1 and2 are 1 or greater the Matrix Control will be received. If the AX-Edge is set up 5 Amp Envelope’s Times are Time 3 > Time4 5 such that reception of MIDI messages is disabled, then the Increases the proportion by which the Matrix Control will not function. EQ’s HighGain is lowered by the amount Soft EQ Sens 0–100 of pedal. With a setting of 0, this has no effect.

29 Tone Parameters

Parameter Value Parameter Value Explanation Explanation [K] [J] button [-] [+] Buttons [K] [J] button [-] [+] Buttons Selects the partial parameter that is to be controlled when This setting is valid only for the carrier using the Matrix Control. The following parameters can be partial (Partial 1 or 3), and applies change CROSS-MOD controlled. to the CrossMod1-2Depth or CrossMod3- When not controlling parameters with the Matrix Control, set 4Depth. this to “OFF.” Up to four parameters can be specified for each Destination 1–4 (MATRIX CONTROL 1–4) LFO1-STEP This is valid if the LFO1/LFO2 Waveform is Matrix Control, and controlled simultaneously. STEP; it specifies the step position. In this LFO2-STEP OFF Matrix Control will not be used. case, the Sens value is ignored. This is effective if OSC Type is SuperSAW; SSAW-DETN PCH Changes the pitch. it applies change to Super-SAW Detune. CUT Changes the cutoff frequency. Specify the effective depth of the matrix Emphasizes the overtones in the region controls. RES of the cutoff frequency, adding character To make an increase in the currently to the sound. selected value (to get higher values, move to the right, increase rates, and so LEV Changes the volume level. on), select a positive (+) value; to make a decrease in the currently selected PAN Changes the pan. Sens 1–4 value (to get lower values, move to the (MATRIX CONTROL 1–4) -63–+63 CHO Changes the amount of chorus. left, decrease rates, and so on), select a negative (-) value. REV Changes the amount of reverb. For either positive or negative value, PIT-LFO greater absolute values will allow greater Changes the vibrato depth. amounts of change. PIT-LFO2 Set this to “0” if you don’t want to apply the effect. TVF-LFO1 Changes the wah depth. TVF-LFO2 TVA-LFO1 Changes the tremolo depth. TVA-LFO2 PAN-LFO1 Changes the effect that the LFO will have PAN-LFO2 on pan. LFO1-RATE Changes the speed of the LFO cycles. The speed will not change if LFO Rate is set LFO2-RATE to “note.” PIT-ATK Changes the Time 1 of the pitch envelope. Changes the Time 2 and Env Time 3 of the PIT-DCY Destination 1–4 pitch envelope. (MATRIX CONTROL 1–4) PIT-REL Changes the Time 4 of the pitch envelope. TVF-ATK Changes the Time 1 of the TVF envelope. Changes the Time 2 and Env Time 3 of the TVF-DCY TVF envelope. TVF-REL Changes the Time 4 of the TVF envelope. TVA-ATK Changes the Time 1 of the TVA envelope. Changes the Time 2 and Env Time 3 of the TVA-DCY TVA envelope. TVA-REL Changes the Time 4 of the TVA envelope. If the Matrix Control is used to split partials, set the PMT Velocity Control (p. 20) to “OFF.” 55 If the Matrix Control is used to split partials, we recommend setting the Sens (p. 30) to “+63.” Selecting a lower value may prevent switching of the partials. Furthermore, if you want PMT to reverse the effect, set the value to “-63.” 55 If you want to use matrix control to switch smoothly between partials, use the Velocity Fade Lower and Velocity Fade Upper (p. 22). The higher the values set, the smoother the switch is between the partials. Changing the Depth of Frequency FXM Modulation Produced by FXM MFX-CTRL1 Applies a change to MFX CONTROL 1–4 MFX-CTRL2 Source. If this is specified for more than MFX-CTRL3 one partial, the result will be the summed values. MFX-CTRL4 PW Applies change to PW. PWM Applies change to PWM. FAT Applies change to FAT.

30 SYSTEM EFFECT Parameters

Parameter Value Explanation SYSTEM EFFECT [K] [J] button [-] [+] Buttons In a state when compression is already being applied, this specifies the time from 1. Press the [MENU/WRITE] button. Low Rels (Low Release) 10–1000 [ms] when the input decreases below Low Thres until the low-frequency band stops 2. Use the cursor [ ] [ ] buttons to select being compressed. K J Specifies the volume level at which Low Thres “SYSTEM EFFECT,” and then press the [ENTER] (Low Threshold) -60–0 [dB] compression starts for the low-frequency button. band. 1: 1, 2: 1, 3: 1, 4: 1, Specifies the compression ratio for the Low Ratio (Low Ratio) 8: 1, 16: 1, 32: 1, 3. Use the cursor [K] [J] buttons to select a low-frequency band. parameter, and use the [–] [+] buttons to edit INF: 1 This is a function that smooths the onset the value. of compression from the uncompressed Low Knee (Low Knee) 0–30 [dB] state; it gradually applies compression MEMO starting earlier than Low Thres. Higher To save the change, hold down the [SHIFT] button and press the [MENU/ values produce a smoother transition. WRITE] button. Specifies the output volume of the low- Low Gain (Low Gain) -24.0–+24.0 [dB] Execute: Press the [ENTER] button. frequency band. Cancel: Press the [EXIT] button. Specifies the time from when the input ** To save system effect settings, perform the Write operation in the Mid Attack exceeds Mid Thres until compression (Mid Attack) 0.1–100 [ms] system effect edit screen. You can’t save system effect settings in other is applied to the volume of the mid- screens. frequency band. In a state when compression is already being applied, this specifies the time from SYS CHORUS Mid Rels (Mid Release) 10–1000 [ms] when the input decreases below Mid Thres until the mid-frequency band stops Parameter Value Explanation being compressed. [K] [J] button [-] [+] Buttons Specifies the volume level at which Selects the types of chorus. Mid Thres -60–0 [dB] compression starts for the mid-frequency Chorus Type (Mid Threshold) (Chorus Type) When you press the [Enter] button, the parameters for the band. selected type appear. 1: 1, 2: 1, 3: 1, 4: 1, Specifies the compression ratio for the Switch OFF, ON Switches chorus on/off. Mid Ratio (Mid Ratio) 8: 1, 16: 1, 32: 1, mid-frequency band. Specifies the output level of the sound INF: 1 Level 0–127 with chorus applied. This is a function that smooths the onset Edit the parameters of the selected chorus type. The available of compression from the uncompressed Chorus parameters differ depending on the type of chorus you Mid Knee (Mid Knee) 0–30 [dB] state; it gradually applies compression parameters selected in Chorus Type. starting earlier than Mid Thres. Higher values produce a smoother transition. & “CHORUS Parameters” (p. 32) Specifies the output volume of the mid- Rev Send 0–127 Specifies the send level to reverb. Mid Gain (Mid Gain) -24.0–+24.0 [dB] (Reverb Send) frequency band. Specifies the time from when the input exceeds High Thres until compression HighAttack 0.1–100 [ms] (High Attack) is applied to the volume of the high- SYS REVERB frequency band.

Parameter Value In a state when compression is already Explanation [K] [J] button [-] [+] Buttons being applied, this specifies the time High Rels (High Release) 10–1000 [ms] from when the input decreases below Selects the types of reverb. High Thres until the high-frequency band Reverb Type (Reverb Type) When you press the [Enter] button, the parameters for the stops being compressed. selected type appear. Specifies the volume level at which Switch OFF, ON Switches the reverb on/off. High Thres (High Threshold) -60–0 [dB] compression starts for the high-frequency Specifies the output level of the sound band. Level 0–127 with reverb applied. 1: 1, 2: 1, 3: 1, 4: 1, Specifies the compression ratio for the High Ratio 8: 1, 16: 1, 32: 1, Edit the parameters of the selected reverb type. The available (High Ratio) high-frequency band. Reverb parameters differ depending on the type of reverb you INF: 1 parameters selected in Reverb Type. This is a function that smooths the onset & “Reverb Parameters” (p. 34) of compression from the uncompressed High Knee (High Knee) 0–30 [dB] state; it gradually applies compression starting earlier than High Thres. Higher MASTER COMP values produce a smoother transition. Specifies the output volume of the high- HighGain (High Gain) -24.0–+24.0 [dB] frequency band. Parameter Value Explanation [K] [J] button [-] [+] Buttons Specifies whether the master COMP (a compressor applied to the entire sound Switch OFF, ON generator of the AX-Edge) is used (ON) or not used (OFF). Specifies the frequency at which the Splt Low (Low Split Frequency) low-frequency band (LOW) and mid- frequency band (MID) are divided. 16–16000 [Hz] Specifies the frequency at which the SpltHigh (High Split Frequency) high-frequency band (HIGH) and mid- frequency band (MID) are divided. Specifies the time from when the input exceeds Low Thres until compression Low Attack 0.1–100 [ms] (Low Attack) is applied to the volume of the low- frequency band.

31 SYSTEM EFFECT Parameters

MASTER EQ CHORUS Parameters

Parameter Value Explanation NOTE [K] [J] button [-] [+] Buttons The SYSTEM EFFECT chorus cannot be edited if the currently selected Specifies whether the master EQ (an program’s CHORUS Src is set to “PRG” (the settings are specified by the equalizer applied to the entire sound Switch OFF, ON program sound parameters). You can either edit the chorus settings for generator of the AX-Edge) is used (ON) or the program, or change Src to “SYS” and edit them. not used (OFF). Adjusts the amount of boost/cut for the In Gain (Input Gain) -24–+24 [dB] input to the EQ. CHORUS Lo Gain (Low Gain) -24–+24 [dB] Gain of the low frequency range. This is a stereo chorus. Lo Freq 20–16000 [Hz] Frequency of the low range. (Low Frequency) Parameter Value Explanation Mid1 Gain (Mid1 Gain) -24–+24 [dB] Gain of the middle frequency range 1. Rate 0–127 Frequency of modulation Mid1Freq Depth 0–127 Depth of modulation (Mid1 Frequency) 20–16000 [Hz] Frequency of the middle range 1. Level at which chorus sound is returned Feedback 0–127 Width of the middle frequency range to the input Mid1 Q (Mid1 Q) 0.5–16.0 1.Set a higher value for Q to narrow the range to be affected. Mid2 Gain (Mid2 Gain) -24–+24 [dB] Gain of the middle frequency range 2. CE-1 Mid2Freq (Mid2 Frequency) 20–16000 [Hz] Frequency of the middle range 2. This models the classic BOSS CE-1 chorus effect unit. It provides a Width of the middle frequency range chorus sound with a distinctively analog warmth. Mid2 Q (Mid2 Q) 0.5–16.0 2.Set a higher value for Q to narrow the Parameter Value Explanation range to be affected. Intensity 0–127 Chorus depth Mid3 Gain (Mid3 Gain) -24–+24 [dB] Gain of the middle frequency range 3. Mid3 Freq (Mid3 Frequency) 20–16000 [Hz] Frequency of the middle range 3. Width of the middle frequency range SDD-320 Mid3 Q (Mid3 Q) 0.5–16.0 3.Set a higher value for Q to narrow the range to be affected. This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound. High Gain (High Gain) -24–+24 [dB] Gain of the high frequency range. HighFreq Parameter Value Explanation (High Frequency) 20–16000 [Hz] Frequency of the high range. Mode 1–4, 1+4, 2+4, 3+4 Switches the mode.

DELAY This is a stereo delay. Parameter Value Explanation If this is ON, the delay synchronizes with Dly Sync (sync sw) OFF, ON the tempo. 1–1300 [msec] Dly Msec (msec) Adjusts the delay time from the direct Dly Note (note) Note sound until the delay sound is heard. & “Note” (p. 72) Adjusts the proportion of the delay sound Feedback -98–+98 [%] that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered 200–8000 [Hz], HF Damp out. If you don’t want to filter out any BYPASS high frequencies, set this parameter to BYPASS.

T-CTRL DELAY A stereo delay in which the delay time can be varied smoothly. Parameter Value Explanation If this is ON, the delay synchronizes with Dly Sync (sync sw) OFF, ON the tempo.

1–1300 [msec] Dly Msec (msec) Adjusts the delay time from the direct Dly Note (note) Note sound until the delay sound is heard. & “Note” (p. 72) When you change the delay time, this specifies the time over which the current Acceleration 0–15 delay time changes to the specified delay time. This affects the speed of pitch change as well as the delay time. Adjusts the proportion of the delay sound Feedback -98–+98 [%] that is fed back into the effect. Negative (-) settings will invert the phase.

32 SYSTEM EFFECT Parameters

Parameter Value Explanation 3TAP PAN DELAY Adjusts the frequency above which sound fed back to the effect is filtered 200–8000 [Hz], Delay sound is heard in the three locations you specify. HF Damp out. If you don’t want to filter out any BYPASS high frequencies, set this parameter to Parameter Value Explanation BYPASS. If this is ON, the delay synchronizes with Dly Sync (sync sw) OFF, ON the tempo.

1–2600 [msec] DELAY 0 TREMOLO Dly Msec (msec) Delay time of the third delay sound after Dly Note (note) the original sound is heard. Tremolo is applied to the delay sound. Note & “Note” (p. 72) Parameter Value Explanation Adjusts the proportion of the delay sound Feedback -98–+98 [%] that is fed back into the effect. MONAURAL The input is mono-mixed. Input Negative (-) settings will invert the phase. STEREO The sound is input in stereo. Adjusts the frequency above which sound fed back to the effect is filtered 200–8000 [Hz], If this is ON, the delay synchronizes with HF Damp out. If you don’t want to filter out any Dly Sync (sync sw) OFF, ON BYPASS the tempo. high frequencies, set this parameter to BYPASS. 1–1300 [msec] Dly Msec (msec) Adjusts the delay time from the direct Dly 1 Pan L64–63R Stereo location of Delay 1 Dly Note (note) sound until the delay sound is heard. Note Dly 2 Pan L64–63R Stereo location of Delay 2 & “Note” (p. 72) Dly 3 Pan L64–63R Stereo location of Delay 3 Adjusts the proportion of the delay sound Feedback -98–+98 [%] that is fed back into the effect. Dly 1 Level 0–127 Volume of delay 1 Negative (-) settings will invert the phase. Dly 2 Level 0–127 Volume of delay 2 Adjusts the frequency above which Dly 3 Level 0–127 Volume of delay 3 sound fed back to the effect is filtered 200–8000 [Hz], HF Damp out. If you don’t want to filter out any BYPASS high frequencies, set this parameter to BYPASS. Trm Switch OFF, ON Switches the tremolo effect on/off Modulation Wave (panning) TRI Triangle wave SQR Square wave Trm ModWave SIN Sine wave SAW1 Sawtooth wave SAW2 TRP Trapezoidal wave If this is on, the tremolo synchronizes Trm Sync (sync sw) OFF, ON with the tempo.

0.05–10.00 [Hz] Trm Hz (Hz) Tremolo rate Trm Note (note) Note & “Note” (p. 72) Trm Depth 0–127 Tremolo depth

2TAP PAN DELAY Delay sound is heard in the two locations you specify. Parameter Value Explanation If this is ON, the delay synchronizes with Dly Sync (sync sw) OFF, ON the tempo.

1–1300 [msec] Dly Msec (msec) Adjusts the time until the second delay Dly Note (note) Note sound is heard. & “Note” (p. 72) Adjusts the proportion of the delay sound Feedback -98–+98 [%] that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered 200–8000 [Hz], HF Damp out. If you don’t want to filter out any BYPASS high frequencies, set this parameter to BYPASS. Dly 1 Pan L64–63R Stereo location of Delay 1 Dly 2 Pan L64–63R Stereo location of Delay 2 Dly 1 Level 0–127 Volume of delay 1 Dly 2 Level 0–127 Volume of delay 2

33 SYSTEM EFFECT Parameters

Reverb Parameters Parameter Value Explanation LF damp attenuation amount (0: no LF Damp G -36–0 [dB] NOTE effect) The SYSTEM EFFECT reverb cannot be edited if the currently selected Frequency above which the high- program’s REVERB Src is set to “PRG” (the settings are specified by the HF DampF 4000–12500 [Hz] frequency portion of the reverb sound program sound parameters). You can either edit the reverb settings for the is cut program, or change Src to “SYS” and edit them. HF damp attenuation amount (0: no HF Damp G -36–0 [dB] effect) INTEGRA Parameter Value Explanation GS 01: ROOM1 Selects the types of reverb. Parameter Value Explanation 02: ROOM2 OFF: Reverb is not used Type 03: HALL1 Room 1/2: Room ROOM1–3, 04: HALL2 Hall 1/2: Hall Char HALL1–2, PLATE, Type of reverb DELAY, PAN-DELAY 05: PLATE Plate: Plate Amount of high-frequency attenuation Adjusts the delay time from the direct Pre LPF 0–7 Pre Delay 0–100 [msec] for the sound being input to the reverb sound until the reverb sound is heard. Level 0–127 Time length of reverberation Time 0.1–10.0 [sec] Time length of reverberation Level at which the reverb sound is Density 0–127 Density of reverb Feedback 0–127 returned to the input Adjusts the change in the density of the reverb over time. The higher the value, the more the Diffusion 0–127 density increases with time. SRV2000 (The effect of this setting is most Parameter Value Explanation pronounced with long reverb times.) Selects the type of reverb offered by the Roland SRV-2000 Adjusts the low-frequency portion of the LF Damp 0–100 digital reverb. reverb. Room reverb. Higher values increase the Adjusts the high-frequency portion of R37–R0.3 HF Damp 0–100 size of the room. the reverb. Selection Hall reverb. Higher values increase the Spread 0–127 Reverb spread H37–H15 size of the concert hall. Tone 0–127 Tonal character of the reverb Plate reverb. A more flamboyant reverb P-B sound than P-A. WARM HALL P-A Plate reverb Adjusts the delay time from the direct Pre Delay 0–160 Parameter Value Explanation sound until the reverb sound is heard. Time 1–990 [msec] Time length of reverberation Adjusts the delay time from the direct Pre Delay 0–100 [msec] sound until the reverb sound is heard. Adjusts the high-frequency portion of HF Damp 0.05–1.00 the reverb. Time 0.3–30 [sec] Time length of reverberation Adjusts the density of the late Frequency above which to cut the high- Density 0–9 16–15000 [Hz], reverberation. PreLPF frequency portion of the sound entering Bypass the reverb Attack Gain 0–9 Adjusts the gain of the early reflections. Frequency below which to cut the low- Attack Time 0–9 Adjusts the time of the early reflections. 16–15000 [Hz], PreHPF frequency portion of the sound entering Adjusts the density of the early Bypass ER Density 0–9 the reverb reflections. Frequency above which to cut the 16–15000 [Hz], Adjusts the volume of the early PreLoop LPF high-frequency portion of the extended ER Level 0–99 Bypass reflections. reverberation Low Freq 0.04–1.00 [kHz] Frequency of the low range. Adjusts the change in the density of the Diffusion 0–127 reverb over time. Low Gain -24–+12 [dB] Gain of the low frequency range. Frequency above which to cut the high- Adjusts the amount of mid-frequency HF Damp Freq 1000–8000 [Hz] Mid Freq 0.25–9.99 [kHz] frequency portion of the reverb boost/cut. Amount by which to attenuate the high- Specifies the reference frequency of the HF Damp Ratio 0.1–1.0 Mid Gain -24–+12 [dB] frequency portion of the reverb mid-frequency range. Specifies the width of the mid-frequency range. Mid Q 0.2–9.0 HALL Set a higher value for Q to narrow the range to be affected. Parameter Value Explanation High Freq 0.80–9.99 [kHz] Frequency of the high range. Adjusts the delay time from the direct Pre Delay 0.0–100 [msec] High Gain -24–+12 [dB] Gain of the high frequency range. sound until the reverb sound is heard. Specifies the width of the high-frequency Time 0–127 Time length of reverberation range. HIGH Q 0.2–9.0 Size 1–8 Size of room/hall Set a higher value for Q to narrow the range to be affected. Frequency above which the high- 160–12500 [Hz], High Cut frequency portion of the final output BYPASS sound is cut (BYPASS: no cut) Density 0–127 Density of reverb GM2 REVERB Adjusts how reverb density increases over Diffusion 0–127 time. (This effect is especially noticeable Parameter Value Explanation with long reverb times.) Character 0–5 Type of reverb Frequency below which the low- Time 0–127 Time length of reverberation LF Damp F 50–4000 [Hz] frequency portion of the reverb sound is cut.

34 System Parameters

Here you can make settings for the entire AX-Edge. CTRL BUTTON GENERAL You can specify whether the CTRL BUTTON settings follow the settings of the currently selected program or follow the system Parameter Value Explanation settings. [K] [J] button [-] [+] Buttons Sets the AX-Edge’s overall tuning (the If the currently selected program’s CTRL BUTTON: Source parameter MasterTune 415.3–466.2 frequency of the A4 key). is set to “SYS,” the system settings are used. Shifts the AX-Edge’s overall pitch range in Parameter Value MasKeyShift -24–24 Explanation (Master Key Shift) semitone steps. [K] [J] button [-] [+] Buttons Enables (ON) or disables (OFF) the Specify the function assigned to each button when CTRL Scale Tune Sw OFF, ON (Scale Tune Switch) program’s SCALE TUNE setting BUTTON: Source is set to “SYS.” Tempo 20–250 Specifies the system tempo. OFF No function is assigned. CC01–31, 32 (OFF), When you switch programs, this specifies Controller number 1–31, 32, 33–95 whether to follow the system tempo 33–95 Tempo Src PRG, SYS (Tempo Source) (SYS) or the tempo setting stored in the AFT Aftertouch program (PRG). MONO/POLY Switch between mono/poly. Player Level 0–127 Adjusts the volume of the Song Player. PRG DOWN Switch the program to the previous Out Gain (PROGRAM DOWN) (Output Gain) -12–+12 [dB] Adjusts the output gain of the AX-Edge. number. Enables (ON) or disables (OFF) Bluetooth PRG UP Bluetooth OFF, ON Switch the program to the next number. communication. (PROGRAM UP) Specifies whether the unit will turn off OCT DOWN Lower the keyboard range in octave units automatically after a certain time has (OCTAVE DOWN) (maximum -3 octaves). Auto Off OFF, 30, 240 [min] elapsed. OCT UP Raise the keyboard range in octave units If you don’t want the unit to turn off (OCTAVE UP) (maximum +3 octaves). automatically, choose “OFF” setting. TRANS DOWN Lower the keyboard range in semitone LCD Contrast 1–10 Adjusts the contrast of the display. (TRANSPOSE DOWN) units (maximum -5 semitones). TRANS UP Raise the keyboard range in semitone (TRANSPOSE UP) units (maximum +6 semitones). CHO SW KEYBOARD Switch the chorus on/off. S1 (F)–S7 (F) (CHORUS SWITCH) (S1–S7 (Function)) Parameter Value REV SW Explanation Switch the reverb on/off. [K] [J] button [-] [+] Buttons (REVERB SWITCH) EQ SW Specifies the velocity value transmitted when you play the Switch the master EQ on/off. keyboard. (MASTER EQ SWITCH) COMP SW The transmitted velocity value will Switch the master compressor on/off. REAL correspond to the force with which you (MASTER COMP SWITCH) Velocity strike the key. IFX SW Switch the IFX on/off. The transmitted velocity value will be (IFX SWITCH) ARP SW 1–127 fixed, regardless of the force with which Switch the arpeggio on/off. you strike the key. (ARPEGGIO SWITCH) ARP HOLD Specifies the keyboard touch. Switch arpeggio hold on/off. (ARPEGGIO HOLD) This is a light-feeling keyboard touch. VOCODER SW Switch the vocoder on/off. Since fortissimo (ff) can be produced with (VOCODER SWITCH) a softer touch than the MEDIUM setting, LIGHT UNISON SW the keyboard will feel lighter. This setting Switch unison on/off for the part 1 tone. allows easier playing for people with less (UNISON SWITCH) hand strength. Switch the BEND MODE (NORMAL or BEND MODE Velo Crv C+L). (Velocity Curve) This is the standard keyboard touch MEDIUM setting. START/STOP Play/stop the Song Player. This is a heavy-feeling keyboard touch. Set the tempo to the interval at which TAP TEMPO Since fortissimo (ff) will require a stronger you press the button (tap tempo). touch than with the MEDIUM setting, the HEAVY Specify the operation of each controller. keyboard will feel heavier. This setting allows more expressive playing when Alternates on/off each time you press the LATCH playing dynamically. S1 (M)–S7 (M) button. (S1–S7 (Mode)) Adjusts the keyboard velocity curve. The function is on only while you hold Lower values make the keyboard feel MOMENTARY down the button, and turns off when you Velo Offset (Velocity release the button. Curve Offset) -10–+9 lighter. Higher values make the keyboard feel heavier.

MIC

Parameter Value Explanation [K] [J] button [-] [+] Buttons Turns the noise suppressor on/off. NS Switch (Noise OFF, ON The noise suppressor is a function that Suppressor Switch) suppresses noise during periods of silence. Adjusts the volume at which noise starts NS Threshold (Noise 0–127 Suppressor Threshold) being suppressed. Adjusts the time from when noise NS Release (Noise Suppressor Release) 0–127 suppression starts until the volume reaches 0.

35 System Parameters

CTRL KNOB CTRL PEDAL You can specify whether the CTRL KNOB settings follow the settings You can specify whether the CTRL PEDAL settings follow the settings of the currently selected program or follow the system settings. of the currently selected program or follow the system settings. If the currently selected program’s CTRL KNOB: Source parameter is If the currently selected program’s CTRL PEDAL: Source parameter is set to “SYS,” the system settings are used. set to “SYS,” the system settings are used.

Parameter Value Parameter Value Explanation Explanation [K] [J] button [-] [+] Buttons [K] [J] button [-] [+] Buttons Specifies the function that is assigned to the control knob Specifies the function that is assigned to the pedal when CTRL when CTRL KNOB: Source is set to “SYS.” PEDAL: Source is set to “SYS.” OFF No function is assigned. OFF No function is assigned. Controller number 1–31, 32, 33–95 Controller number 1–31, 32, 33–95 CC01–31, 32 (OFF), ** CC74 (Cutoff) varies in the range of -64–0, CC01–31, 32 (OFF), ** CC74 (Cutoff) varies in the range of -64–0, 33–95 and CC71 (Resonance), CC72 (Release), CC73 33–95 and CC71 (Resonance), CC72 (Release), CC73 (Attack), and CC75 (Decay) vary in the range (Attack), and CC75 (Decay) vary in the range of 0–+63. of 0–+63. AFT Aftertouch AFT Aftertouch BEND DOWN Lowers the pitch. BEND DOWN Lowers the pitch. BEND UP Raises the pitch. BEND UP Raises the pitch. Continuously control the level of parts Continuously control the level of parts 1–4. 1–4. expression 127 Part1 Part1 expression 127 Part2 Part2 Part3 Part3 Part4 Part4 expression 0 expression 0 0 Value 127 0 Value 127 expression 127 Part1 Part1 expression 127 PART FADE1 PART FADE1 Part3 Part3 Func (Function) Part4 Func (Function) Part4 expression 0 expression 0 0 Value 127 0 Value 127 expression 127 Part1 Part1 expression 127

Part4 Part4 expression 0 expression 0 0 Value 127 0 Value 127 Continuously control the level of parts Continuously control the level of parts 1–4. 1–4. expression 127 Part1 Part1 expression 127 Part2 Part2 Part3 Part3 Part4 Part4 expression 0 expression 0 0 Value 127 0 Value 127 expression 127 Part1 Part1 expression 127 PART FADE2 PART FADE2 Part3 Part3 Part4 Part4 expression 0 expression 0 0 Value 127 0 Value 127 expression 127 Part1 Part1 expression 127

Part4 Part4 expression 0 expression 0 0 Value 127 0 Value 127 STANDARD, Specifies the polarity of the pedal Pole (Pedal Polarity) REVERSE connected to the PEDAL jack.

36 System Parameters

Parameter Value Explanation CTRL RIBBON [K] [J] button [-] [+] Buttons Continuously control the level of parts You can specify whether the CTRL RIBBON settings follow the 1–4. settings of the currently selected program or follow the system Part1 expression 127 settings. Part2 Part3 Part4 If the currently selected program’s CTRL RIBBON: Source parameter expression 0 is set to “SYS,” the system settings are used. 0 Value 127 Part1 expression 127 Parameter Value Pres (Pressure Function) PART FADE2 Explanation Part3 [K] [J] button [-] [+] Buttons Part4 expression 0 Specifies the function that is assigned to the ribbon controller 0 Value 127 (left/right axis) when program’s CTRL RIBBON: Source is set Part1 expression 127 to “SYS.” Part4 OFF No function is assigned. expression 0 0 Value 127 CC01–31, 32 (OFF), Controller number 1–31, 32, 33–95 33–95 AFT Aftertouch PITCH BEND Raise or lower the pitch. CTRL MOD BAR Continuously control the level of parts You can specify whether the CTRL MOD BAR settings follow the 1–4. Part1 expression 127 settings of the currently selected program or follow the system Part2 settings. Part3 Part4 expression 0 If the currently selected program’s CTRL MOD BAR: Source 0 Value 127 parameter is set to “SYS,” the system settings are used. Part1 expression 127 PART FADE1 Parameter Value Part3 Explanation Part4 [K] [J] button [-] [+] Buttons expression 0 Posi (Position Function) 0 Value 127 Specify the function that is assigned to the modulation bar Part1 expression 127 when program’s CTRL MOD BAR: Source is set to “SYS.”

Part4 OFF No function is assigned. expression 0 0 Value 127 Controller number 1–31, 32, 33–95 CC01–31, 32 (OFF), ** CC74 (Cutoff) varies in the range of -64–0, Continuously control the level of parts 33–95 and CC71 (Resonance), CC72 (Release), CC73 1–4. (Attack), and CC75 (Decay) vary in the range of 0–+63. Part1 expression 127 Part2 Part3 AFT Aftertouch Part4 expression 0 BEND DOWN Lowers the pitch. 0 Value 127 BEND UP Raises the pitch. Part1 expression 127 PART FADE2 Part3 Continuously control the level of parts Part4 1–4. expression 0 Part1 expression 127 0 Value 127 Part2 expression 127 Part3 Part1 Part4 expression 0 Part4 0 Value 127 expression 0 Part1 expression 127 0 Value 127 PART FADE1 Part3 Specifies the function when the ribbon controller is pressed Func (Modulation Bar Part4 Function) expression 0 (pressure axis). 0 Value 127 OFF No function is assigned. Part1 expression 127

Controller number 1–31, 32, 33–95 Part4 CC01–31, 32 (OFF), ** CC74 (Cutoff) varies in the range of -64–0, expression 0 33–95 and CC71 (Resonance), CC72 (Release), CC73 0 Value 127 (Attack), and CC75 (Decay) vary in the range of 0–+63. Continuously control the level of parts 1–4. AFT Aftertouch Part1 expression 127 Part2 BEND DOWN Lowers the pitch. Part3 Part4 BEND UP Raises the pitch. expression 0 Continuously control the level of parts 0 Value 127 Pres (Pressure Function) Part1 expression 127 1–4. PART FADE2 Part1 expression 127 Part3 Part2 Part4 Part3 expression 0 Part4 0 Value 127 expression 0 expression 127 0 Value 127 Part1

Part1 expression 127 PART FADE1 Part4 Part3 expression 0 Part4 0 Value 127 expression 0 0 Value 127

Part1 expression 127

Part4 expression 0 0 Value 127

37 System Parameters

MIDI MIDI RX

Parameter Value Parameter Value Explanation Explanation [K] [J] button [-] [+] Buttons [K] [J] button [-] [+] Buttons Specifies the MIDI channel assigned to Specifies whether program change Rx PC (Receive Program each part. MIDI channels are assigned Change) OFF, ON messages are received (ON) or not consecutively. received (OFF). For example, if Basic Ch = 1, part 1 uses Rx Bank Specifies whether bank select messages MIDI channel 1, part 2 uses MIDI channel (Receive Bank Select) OFF, ON Basic Ch are received (ON) or not received (OFF). (Basic Channel) 1–10 2, part 3 uses MIDI channel 3, and part 4 uses MIDI channel 4. Specifies whether system exclusive Rx Exclusive OFF, ON messages are received (ON) or not In an alternative example, if Basic Ch = (Receive Exclusive) received (OFF). 5, part 1 uses MIDI channel 5, part 2 uses MIDI channel 6, part 3 uses MIDI channel 7, and part 4 uses MIDI channel 8. Specifies the MIDI receive channel used when an external MIDI device sends MIDI messages (program change and Ctrl Ch (Program Control Channel) 1–16, OFF bank select) to switch programs on the AX-Edge. If you don’t want programs to be switched by a connected MIDI device, turn this “OFF.” SYS SysCtrlSrc1–4 are used for tone control. Ctrl Src Sel (Control The program’s CtrlSrc1–4 are used for Source Select) PRG tone control. Specify the MIDI messages that will be used as system controls. System control settings specify MIDI messages that are used in common by SysCtrlSrc1–4 OFF, CC01–31, the entire AX-Edge to control the volume (System Control Source CC33–95, BEND, and the sound. You can specify up to four 1–4) AFT MIDI messages that are used for control. If you want to make assignments for realtime control of the sound and effects for each tone independently, use “matrix control” or “multi-effect control.” Specifies whether MIDI messages received at the USB COMPUTER port or MIDI IN connector are retransmitted USB-MIDIThru OFF, ON without change from the MIDI OUT connector and USB COMPUTER port (ON) or not transmitted (OFF). Turn this “ON” if you’re using an external MIDI keyboard instead of the keyboard of the AX-Edge. In this case, the MIDI Remote Kbd (Remote OFF, ON transmit channel of the external MIDI Keyboard Switch) keyboard does not matter. Normally you’ll leave this “OFF.” ** If you want to control the arpeggiator from an external MIDI device, turn this “ON.” If this is ON, MIDI messages that are input from the MIDI IN connector are Soft Thru OFF, ON re-transmitted without change from the MIDI OUT connector. When transmitting and receiving system Device ID 17–32 exclusive messages, the device ID numbers of both devices must match.

MIDI TX

Parameter Value Explanation [K] [J] button [-] [+] Buttons Specifies whether program change Tx PC (Transmit Program Change) OFF, ON messages are transmitted (ON) or not transmitted (OFF). Specifies whether bank select messages Tx Bank (Transmit Bank Select) OFF, ON are transmitted (ON) or not transmitted (OFF). Specifies whether edits made to program settings are transmitted as Tx Edit OFF, ON (Transmit Edit Data) system exclusive messages (ON) or not transmitted (OFF).

38 MFX/IFX Parameters

MFX/IFX provides 79 different effect types. Delay effects Some of the effect types connect two or more types of effect in 37 DELAY page 53 series. 38 MODULATION DELAY page 54 39 3TAP PAN DELAY page 54 00 THRU page 40 40 4TAP PAN DELAY page 55 Filter effects 41 MULTI TAP DELAY page 55 42 REVERSE DELAY page 56 01 EQUALIZER page 40 43 TIME CTRL DELAY page 56 02 SPECTRUM page 40 44 TAPE ECHO page 57 03 ISOLATOR page 41 04 LOW BOOST page 41 Lo-fi effects 05 SUPER FILTER page 41 45 LOFI COMPRESS page 57 06 STEP FILTER page 42 46 BIT CRUSHER page 57 07 ENHANCER page 42 08 AUTO WAH page 42 Pitch effects 09 HUMANIZER page 43 47 PITCH SHIFTER page 57 10 SPEAKER SIM page 43 48 2V PITCH SHIFTER page 58

Modulation effects Combination effects

11 PHASER 1 page 44 49 OD 0 CHORUS page 58

12 PHASER 2 page 44 50 OD 0 FLANGER page 58

13 PHASER 3 page 44 51 OD 0 DELAY page 59

14 STEP PHASER page 45 52 DS 0 CHORUS page 59

15 MULTI STAGE PHSR page 45 53 DS 0 FLANGER page 59

16 INFINITE PHASER page 45 54 DS 0 DELAY page 59

17 RING MODULATOR page 46 55 OD/DS 0 TWAH page 60

18 TREMOLO page 46 56 OD/DS 0 AWAH page 60

19 AUTO PAN page 46 57 GTAMPSIM 0 CHORUS page 61

20 SLICER page 47 58 GTAMPSIM 0 FLNGR page 62

21 ROTARY page 47 59 GTAMPSIM 0 PHASER page 63

22 VK ROTARY page 48 60 GTAMPSIM 0 DELAY page 64

61 EP 0 TREMOLO page 65 Chorus effects 62 EP 0 CHORUS page 65 23 CHORUS page 48 63 EP 0 FLANGER page 65 24 FLANGER page 49 64 EP 0 PHASER page 66 25 STEP FLANGER page 49 65 EP 0 DELAY page 66 26 HEXA-CHORUS page 50 66 ENHANCER 0 CHORUS page 66 27 TREMOLO CHORUS page 50 67 ENHANCER 0 FLNGR page 67 28 SPACE-D page 50 68 ENHANCER 0 DELAY page 67 Dynamics effects 69 CHORUS 0 DELAY page 67 70 FLANGER 0 DELAY page 68 29 OVERDRIVE page 50 71 CHORUS 0 FLANGER page 68 30 DISTORTION page 51 31 T-SCREAM page 51 Other 32 GUITAR AMP SIM page 51 72 CE-1 (Chorus) page 68 33 COMPRESSOR page 52 73 SBF-325 (Flanger) page 69 34 LIMITER page 52 74 SDD-320 (DIMENSION D) page 69 35 SUSTAINER page 53 75 2TAP PAN DELAY page 69 36 GATE page 53 76 TRANSIENT page 70 77 MID-SIDE EQ page 70 78 MID-SIDE COMP page 71 79 TONE FATTENER page 71

39 MFX/IFX Parameters

00 THRU 02 SPECTRUM

This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies.

01 EQUALIZER L in Spectrum L out

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

Parameter Value Explanation L in 4-Band EQ L out Band1 (Band1 (250 Hz)) Band2 R in 4-Band EQ R out (Band2 (500 Hz)) Band3 Parameter Value Explanation (Band3 (1000 Hz)) Band4 20, 25, 31, 40, 50, (Band4 (1250 Hz)) Low Freq 63, 80, 100, 125, -15–+15 [dB] Gain of each frequency band (Low Frequency) Frequency of the low range Band5 160, 200, 250, 315, (Band5 (2000 Hz)) 400 [Hz] Band6 Amount of boost/cut for the low- (Band6 (3150 Hz)) Low Gain -15–+15 [dB] frequency range Band7 200, 250, 315, 400, (Band7 (4000 Hz)) 500, 630, 800, Band8 1000, 1250, 1600, (Band8 (8000 Hz)) Mid1 Freq Frequency of the middle range 1 (Mid1 Frequency) 2000, 2500, 3150, Simultaneously adjusts the width of the 4000, 5000, 6300, Q 0.5, 1.0, 2.0, 4.0, 8.0 adjusted ranges for all the frequency 8000 [Hz] bands. Level 0–127 Output Level Mid1 Gain -15–+15 [dB] Gain of the middle range 1

Width of the middle range 1 Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the range to be affected. 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, Mid2 Freq Frequency of the middle range 2 (Mid2 Frequency) 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz] Mid2 Gain -15–+15 [dB] Gain of the middle range 2 Width of the middle range 2 Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the range to be affected. 2000, 2500, 3150, 4000, 5000, 6300, HighFreq Frequency of the high range (High Frequency) 8000, 10000, 12500, 16000 [Hz] Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

40 MFX/IFX Parameters

03 ISOLATOR 05 SUPER FILTER

This is an equalizer which cuts the volume greatly, allowing you to This is a filter with an extremely sharp slope. The cutoff frequency add a special effect to the sound by cutting the volume in varying can be varied cyclically. ranges. L in Super Filter L out L in Isolator Low Boost L out

R in Super Filter R out R in Isolator Low Boost R out Parameter Value Explanation Parameter Value Explanation Filter type Low Level Frequency range that will pass through (Boost/Cut Low) -60–+4 [dB] These boost and cut each of the High, Middle, and Low frequency ranges. each filter LPF: Frequencies below the cutoff Mid Level -60–+4 [dB] At -60 dB, the sound becomes inaudible. LPF, BPF, HPF, (Boost/Cut Mid) Filt Type (Filter Type) 0 dB is equivalent to the input level of NOTCH BPF: Frequencies in the region of the cutoff High Level -60–+4 [dB] the sound. (Boost/Cut High) HPF: Frequencies above the cutoff Turns the Anti-Phase function on and off NOTCH: Frequencies other than the for the Low frequency ranges. region of the cutoff Low AP Sw (Anti OFF, ON Phase Low Switch) When turned on, the counter-channel of Amount of attenuation per octave stereo sound is inverted and added to Filt Slope (Filter Slope) -12, -24, -36 [dB] the signal. -12 dB: Gentle, -24 dB: Steep, -36 dB: Extremely steep Adjusts the level settings for the Low Cutoff frequency of the filter frequency ranges. Filt Cutoff (Filter Cutoff) 0–127 Increasing this value will raise the cutoff Low AP Level 0–127 Adjusting this level for certain (Anti Phase Low Level) frequencies allows you to lend emphasis frequency. to specific parts (This is effective only for Filter resonance level stereo source.). Filt Reso (Filter Resonance) 0–100 Increasing this value will emphasize the Mid AP Sw (Anti Settings of the Anti-Phase function for region near the cutoff frequency. Phase Mid Switch) OFF, ON the Middle frequency ranges. Filt Gain (Filter Gain) 0–+12 [dB] Amount of boost for the filter output Mid AP Level The parameters are the same as for the (Anti Phase Mid Level) 0–127 Mod Switch Low frequency ranges. (Modulation Switch) OFF, ON On/off switch for cyclic change Turns Low Booster on/off. How the cutoff frequency will be Boost Sw (Low Boost Switch) OFF, ON This emphasizes the bottom to create a modulated heavy bass sound. TRI: Triangle wave TRI, SQR, SIN, SQR: Square wave Increasing this value gives you a heavier SAW1, SAW2 low end. SIN: Sine wave Boost Level (Low Boost Level) 0–127 Depending on the Isolator and filter Mod Wave SAW1: Sawtooth wave (upward) settings this effect may be hard to (Modulation Wave) SAW2: Sawtooth wave (downward) distinguish. SAW1 SAW2 Level 0–127 Output Level

04 LOW BOOST If this is ON, the rate synchronizes with Rate Sync (Rate (sync switch)) OFF, ON the tempo of the rhythm. Boosts the volume of the lower range, creating powerful lows. & “Tempo” (p. 8) Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Note Frequency of modulation L in Low Boost 2-Band EQ L out Rate Note (Rate (note)) & “Note” (p. 72) Depth 0–127 Depth of modulation R in Low Boost 2-Band EQ R out Speed at which the cutoff frequency will Attack 0–127 change This is effective if Modulation Wave is SQR, SAW1, or SAW2. Parameter Value Explanation Level 0–127 Output Level 50, 56, 63, 71, 80, Center frequency at which the lower Boost Freq 90, 100, 112, 125 (Boost Frequency) range will be boosted [Hz] Center frequency at which the lower Boost Gain 0–+12 [dB] range will be boosted Boost Wid WIDE, MID, Width of the lower range that will be (Boost Width) NARROW boosted Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

41 MFX/IFX Parameters

06 STEP FILTER 08 AUTO WAH

This is a filter whose cutoff frequency can be modulated in steps. You Cyclically controls a filter to create cyclic change in timbre. can specify the pattern by which the cutoff frequency will change. You can use MFX CONTROL to restart the step sequence from the L in Auto Wah 2-Band EQ L out beginning (p. 10).

L in Step Filter L out R in Auto Wah 2-Band EQ R out

Parameter Value Explanation R in Step Filter R out Type of filter LPF: The wah effect will be applied over a Parameter Value Explanation Mode (Filter Type) LPF, BPF wide frequency range. BPF: The wah effect will be applied over a Step 01–16 0–127 Cutoff frequency at each step narrow frequency range. If this is ON, the rate synchronizes with Center frequency at which the wah effect Rate Sync OFF, ON the tempo of the rhythm. Manual 0–127 (Rate (sync switch)) is applied & “Tempo” (p. 8) Width of the frequency region at which Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] the wah effect is applied Frequency of modulation Peak 0–127 Rate Note Note Increasing this value will make the (Rate (note)) & “Note” (p. 72) frequency region narrower. Speed at which the cutoff frequency Attack 0–127 Sensitivity with which the filter is changes between steps Sens 0–127 modified Type of filter Direction in which the filter will move Frequency range that will pass through each filter UP: The filter will change toward a higher Polarity UP, DOWN frequency. LPF: Frequencies below the cutoff LPF, BPF, HPF, DOWN: The filter will change toward a Filt Type (Filter Type) NOTCH BPF: Frequencies in the region of the lower frequency. cutoff HPF: Frequencies above the cutoff If this is ON, the rate synchronizes with Rate Sync OFF, ON the tempo of the rhythm. NOTCH: Frequencies other than the (Rate (sync switch)) & “Tempo” (p. 8) region of the cutoff Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Amount of attenuation per octave Note Frequency of modulation Filt Slope (Filter Slope) -12, -24, -36 [dB] -12 dB: Gentle, -24 dB: Steep, Rate Note (Rate (note)) & “Note” (p. 72) -36 dB: Extremely steep Depth at which the wah effect is Filter resonance level Depth 0–127 Filt Reso modulated (Filter Resonance) 0–127 Increasing this value will emphasize the region near the cutoff frequency. Adjusts the degree of phase shift of the Phase 0–180 [deg] left and right sounds when the wah effect Filt Gain (Filter Gain) 0–+12 [dB] Amount of boost for the filter output is applied. Level 0–127 Output Level Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] 07 ENHANCER frequency range Level 0–127 Output Level Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

L in Enhancer 2-Band EQ L out Mix

R in Enhancer 2-Band EQ R out Mix

Parameter Value Explanation Sens 0–127 Sensitivity of the enhancer Level of the overtones generated by the Mix 0–127 enhancer Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

42 MFX/IFX Parameters

09 HUMANIZER 10 SPEAKER SIM

Adds a vowel character to the sound, making it similar to a human Simulates the speaker type and mic settings used to record the voice. speaker sound.

L in L out L in Speaker L out Pan L Overdrive Formant 2-Band EQ Pan R R in Speaker R out R in R out Parameter Value Explanation Parameter Value Explanation Cabinet Speaker Microphone Drive Sw OFF, ON Overdrive on/off (Drive Switch) small Degree of distortion SMALL 1 open-back 10 dynamic Drive 0–127 enclosure Also changes the volume. small Vowel1 a, e, i, o, u Selects the vowel. SMALL 2 open-back 10 dynamic Vowel2 a, e, i, o, u enclosure open back If this is ON, the rate synchronizes with MIDDLE 12 x 1 dynamic Rate Sync enclosure (Rate (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) open back JC-120 12 x 2 dynamic Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] enclosure Frequency at which the two vowels open back Rate Note Note switch BUILT-IN 1 12 x 2 dynamic (Rate (note)) & “Note” (p. 72) enclosure Depth 0–127 Effect depth open back BUILT-IN 2 12 x 2 condenser LFO reset on/off enclosure open back BUILT-IN 3 12 x 2 condenser In Sync Sw OFF, ON Determines whether the LFO for enclosure (Input Sync Switch) switching the vowels is reset by the Type (Speaker Type) open back input signal (ON) or not (OFF). BUILT-IN 4 12 x 2 condenser enclosure In Sync Thre (Input Sync Threshold) 0–127 Volume level at which reset is applied open back BUILT-IN 5 12 x 2 condenser enclosure Point at which Vowel 1/2 switch sealed 0–49: Vowel 1 will have a longer BG STACK 1 12 x 2 condenser duration. enclosure Manual 0–100 large sealed 50: Vowel 1 and 2 will be of equal BG STACK 2 12 x 2 condenser duration. enclosure 51–100: Vowel 2 will have a longer large sealed MS STACK 1 12 x 4 condenser duration. enclosure Amount of boost/cut for the low- large sealed Low Gain -15–+15 [dB] MS STACK 2 12 x 4 condenser frequency range enclosure Amount of boost/cut for the high- large double High Gain -15–+15 [dB] METAL STACK 12 x 4 condenser frequency range stack large double Pan L64–63R Stereo location of the output sound 2-STACK 12 x 4 condenser stack Level 0–127 Output Level large triple 3-STACK 12 x 4 condenser stack Adjusts the location of the microphone that is recording the sound of the speaker. Mic Setting 1, 2, 3 This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3. Mic Level 0–127 Volume of the microphone Direct Level 0–127 Volume of the direct sound Level 0–127 Output Level

43 MFX/IFX Parameters

11 PHASER 1 13 PHASER 3

A phase-shifted sound is added to the original sound and This simulates a different analog phaser than Phaser 2. modulated. It is particularly suitable for electric piano.

L in Phaser 2-Band EQ L out L in Phaser 2-Band EQ L out Mix R in Phaser 2-Band EQ R out R in Phaser 2-Band EQ R out Mix Parameter Value Explanation Speed 0–100 Speed of modulation Parameter Value Explanation Depth 0–127 Depth of modulation 4-STAGE, 8-STAGE, Amount of boost/cut for the low- Mode Number of stages in the phaser Low Gain -15–+15 [dB] 12-STAGE frequency range Adjusts the basic frequency from which Amount of boost/cut for the high- Manual 0–127 High Gain -15–+15 [dB] the sound will be modulated. frequency range If this is ON, the rate synchronizes with Level 0–127 Output Level Rate Sync (Rate (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Rate Note Note Frequency of modulation (Rate (note)) & “Note” (p. 72) Depth 0–127 Depth of modulation

Selects whether the left and right phase of the modulation will be the same or the opposite. INVERSE: The left and right phase will be opposite. Polarity INVERSE, SYNCHRO When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.

Resonance 0–127 Amount of feedback

Adjusts the proportion of the phaser Feedback sound that is fed back into the effect. (Cross Feedback) -98–+98 [%] Negative (-) settings will invert the phase.

Mix 0–127 Level of the phase-shifted sound Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

12 PHASER 2

This simulates an analog phaser of the past. It is particularly suitable for electric piano.

L in Phaser 2-Band EQ L out

R in Phaser 2-Band EQ R out

Parameter Value Explanation Rate 0–100 Frequency of modulation Color 1, 2 Modulation character Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

44 MFX/IFX Parameters

14 STEP PHASER Parameter Value Explanation If this is ON, the rate synchronizes with Rate Sync (Rate (sync switch)) OFF, ON the tempo of the rhythm. The phaser effect will be varied gradually. & “Tempo” (p. 8) Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Rate Note Note Frequency of modulation L in Step Phaser 2-Band EQ L out (Rate (note)) & “Note” (p. 72) Mix Depth 0–127 Depth of modulation Resonance 0–127 Amount of feedback R in Step Phaser 2-Band EQ R out Mix 0–127 Level of the phase-shifted sound Mix Pan L64–63R Stereo location of the output sound Amount of boost/cut for the low- Low Gain -15–+15 [dB] Parameter Value Explanation frequency range 4-STAGE, 8-STAGE, Amount of boost/cut for the high- Mode Number of stages in the phaser High Gain -15–+15 [dB] 12-STAGE frequency range Adjusts the basic frequency from which Level 0–127 Output Level Manual 0–127 the sound will be modulated. If this is ON, the rate synchronizes with Rate Sync (Rate (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) 16 INFINITE PHASER Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] A phaser that continues raising/lowering the frequency at which the Rate Note Note Frequency of modulation (Rate (note)) & “Note” (p. 72) sound is modulated. Depth 0–127 Depth of modulation Selects whether the left and right phase L in L out Pan L of the modulation will be the same or the Infinite opposite. Phaser 2-Band EQ INVERSE: The left and right phase will be Pan R opposite. R in R out Polarity INVERSE, SYNCHRO When using a mono source, this spreads the sound. Parameter Value Explanation SYNCHRO: The left and right phase will Higher values will produce a deeper be the same. Mode 1, 2, 3, 4 phaser effect. Select this when inputting a stereo source. Speed at which to raise or lower Speed -100–+100 the frequency at which the sound is Resonance 0–127 Amount of feedback modulated (+: upward / -: downward) Adjusts the proportion of the phaser Resonance 0–127 Amount of feedback Feedback sound that is fed back into the effect. (Cross Feedback) -98–+98 [%] Negative (-) settings will invert the phase. Mix 0–127 Level of the phase-shifted sound If this is ON, the rate synchronizes with Pan L64–63R Stereo location of the output sound S Rate Sync (Step OFF, ON the tempo of the rhythm. Amount of boost/cut for the low- Rate (sync switch)) Low Gain -15–+15 [dB] & “Tempo” (p. 8) frequency range S RateHz 0.10–20.00 [Hz] Amount of boost/cut for the high- (Step Rate (Hz)) High Gain -15–+15 [dB] Rate of the step-wise change in the frequency range S RateNote Note phaser effect (Step Rate (note)) & “Note” (p. 72) Level 0–127 Output Level Mix 0–127 Level of the phase-shifted sound Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

15 MULTI STAGE PHSR

Extremely high settings of the phase difference produce a deep phaser effect.

L in L out Multi Pan L Stage 2-Band EQ Phaser Mix Pan R R in R out

Parameter Value Explanation 4-STAGE, 8-STAGE, 12-STAGE, Mode 16-STAGE, Number of stages in the phaser 20-STAGE, 24-STAGE Adjusts the basic frequency from which Manual 0–127 the sound will be modulated.

45 MFX/IFX Parameters

17 RING MODULATOR 19 AUTO PAN

This is an effect that applies amplitude modulation (AM) to the Cyclically modulates the stereo location of the sound. input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect. L in Auto Pan 2-Band EQ L out

L in Ring Mod 2-Band EQ L out R in Auto Pan 2-Band EQ R out

Parameter Value Explanation R in Ring Mod 2-Band EQ R out Modulation Wave TRI: Triangle wave Parameter Value Explanation TRI, SQR, SIN, SQR: Square wave Adjusts the frequency at which Frequency 0–127 SAW1, SAW2, TRP SIN: Sine wave modulation is applied. SAW1/2: Sawtooth wave Adjusts the amount of frequency Sens 0–127 Mod Wave TRP: Trapezoidal wave modulation applied. (Modulation Wave) SAW1 SAW2 Determines whether the frequency R R modulation moves towards higher frequencies or lower frequencies. Polarity UP, DOWN UP: The filter will change toward a higher frequency. L L DOWN: The filter will change toward a If this is ON, the rate synchronizes with lower frequency. Rate Sync (Rate (sync switch)) OFF, ON the tempo of the rhythm. Amount of boost/cut for the low- Low Gain -15–+15 [dB] & “Tempo” (p. 8) frequency range Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Amount of boost/cut for the high- High Gain -15–+15 [dB] Note Frequency of the change frequency range Rate Note (Rate (note)) & “Note” (p. 72) D100: 0W–D0: Volume balance between the direct Balance Depth 0–127 Depth to which the effect is applied 100W sound (D) and the effect sound (W) Amount of boost/cut for the low- Low Gain -15–+15 [dB] Level 0–127 Output Level frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range 18 TREMOLO Level 0–127 Output Level

Cyclically changes the volume.

L in Tremolo 2-Band EQ L out

R in Tremolo 2-Band EQ R out

Parameter Value Explanation Modulation Wave TRI: Triangle wave TRI, SQR, SIN, SQR: Square wave SAW1, SAW2, TRP SIN: Sine wave SAW1/2: Sawtooth wave Mod Wave (Modulation Wave) TRP: Trapezoidal wave SAW1 SAW2

If this is ON, the rate synchronizes with Rate Sync (Rate (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Rate Note Note Frequency of the change (Rate (note)) & “Note” (p. 72) Depth 0–127 Depth to which the effect is applied Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

46 MFX/IFX Parameters

20 SLICER 21 ROTARY

By applying successive cuts to the sound, this effect turns a This simulates a classic rotary speaker of the past. conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain- Since the operation of the high-frequency and low-frequency rotors type sounds. can be specified independently, the distinctive modulation can be reproduced realistically. This is most effective on organ patches. You can use MFX CONTROL to restart the step sequence from the beginning (p. 10). L in L out

L in Slicer L out Rotary

R in R out R in Slicer R out Parameter Value Explanation Parameter Value Explanation Simultaneously switch the rotational speed of the low frequency rotor and Step 01–16 0–127 Level at each step high frequency rotor. If this is ON, the rate synchronizes with Rate Sync Speed SLOW, FAST SLOW: Slows down the rotation to the (Rate (sync switch)) OFF, ON the tempo of the rhythm. Slow Rate. “Tempo” (p. 8) & FAST: Speeds up the rotation to the Fast Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Rate. Rate at which the 16-step sequence will Rate Note Note cycle Slow speed (SLOW) of the low frequency Wf Slow 0.05–10.00 [Hz] (Rate (note)) & “Note” (p. 72) (Woofer Slow Speed) rotor Speed at which the level changes Fast speed (FAST) of the low frequency Attack 0–127 Wf Fast 0.05–10.00 [Hz] between steps (Woofer Fast Speed) rotor Specifies whether an input note will Adjusts the time it takes the low cause the sequence to resume from the In Sync Sw OFF, ON frequency rotor to reach the newly (Input Sync Sw) first step of the sequence (ON) or not Wf Accel (Woofer Acceleration) 0–15 selected speed when switching from fast (OFF) to slow (or slow to fast) speed. Lower Volume at which an input note will be values will require longer times. In Sync Thre 0–127 (Input Sync Threshold) detected Wf Level (Woofer Level) 0–127 Volume of the low frequency rotor Sets the manner in which the volume changes as one step progresses to the Tw Slow 0.05–10.00 [Hz] next. (Tweeter Slow Speed) LEGATO: The change in volume from one Tw Fast Settings of the high frequency rotor (Tweeter Fast Speed) 0.05–10.00 [Hz] step’s level to the next remains unaltered. The parameters are the same as for the Tw Accel If the level of a following step is the (Tweeter Acceleration) 0–15 low frequency rotor same as the one preceding it, there is no Mode LEGATO, SLASH Tw Level change in volume. (Tweeter Level) 0–127 SLASH: The level is momentarily set to 0 before progressing to the level of the Separation 0–127 Spatial dispersion of the sound next step. Level 0–127 Output Level This change in volume occurs even if the level of the following step is the same as the preceding step. Timing of volume changes in levels for even numbered steps (step 2, step 4, Shuffle 0–127 step 6...). The higher the value, the later the beat progresses. Level 0–127 Output Level

47 MFX/IFX Parameters

22 VK ROTARY 23 CHORUS

This type provides modified response for the rotary speaker, with the This is a stereo chorus. A filter is provided so that you can adjust the low end boosted further. timbre of the chorus sound. This effect features the same specifications as the VK-7’s built-in rotary speaker. Balance D L in 2-Band EQ L out Chorus L in 2-Band EQ L out Balance W

Rotary Balance W Chorus R in 2-Band EQ R out R in 2-Band EQ R out Balance D Parameter Value Explanation Parameter Value Explanation Rotational speed of the rotating speaker Type of filter Speed SLOW, FAST SLOW: Slow OFF: No filter is used FAST: Fast Filter Type OFF, LPF, HPF LPF: Cuts the frequency range above the Switches the rotation of the rotary Cutoff Freq speaker. HPF: Cuts the frequency range below the Brake OFF, ON When this is turned on, the rotation will Cutoff Freq gradually stop. When it is turned off, the rotation will gradually resume. 200, 250, 315, 400, 500, 630, 800, Wf Slow 0.05–10.00 [Hz] Low-speed rotation speed of the woofer 1000, 1250, 1600, (Woofer Slow Speed) Cof Freq (Cutoff Freq) Basic frequency of the filter 2000, 2500, 3150, Wf Fast 4000, 5000, 6300, (Woofer Fast Speed) 0.05–10.00 [Hz] High-speed rotation speed of the woofer 8000 [Hz] Adjusts the rate at which the woofer Wf Trans Up Adjusts the delay time from the direct (Woofer Trans Up) 0–127 rotation speeds up when the rotation is Pre Delay 0.0–100 [msec] switched from Slow to Fast. sound until the chorus sound is heard. Adjusts the rate at which the woofer If this is ON, the rate synchronizes with Rate Sync OFF, ON Wf Trans Dw 0–127 rotation speeds up when the rotation is (Rate (sync switch)) the tempo of the rhythm. (Woofer Trans Down) “Tempo” (p. 8) switched from Fast to Slow. & Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Wf Level 0–127 Volume of the woofer (Woofer Level) Rate Note Note Frequency of modulation Tw Slow (Rate (note)) & “Note” (p. 72) (Tweeter Slow Speed) 0.05–10.00 [Hz] Depth 0–127 Depth of modulation Tw Fast (Tweeter Fast Speed) 0.05–10.00 [Hz] Phase 0–180 [deg] Spatial spread of the sound Settings of the tweeter Amount of boost/cut for the low- Tw Trans Up 0–127 The parameters are the same as for the Low Gain -15–+15 [dB] (Tweeter Trans Up) frequency range woofer. Tw Trans Dw 0–127 Amount of boost/cut for the high- (Tweeter Trans Down) High Gain -15–+15 [dB] frequency range Tw Level (Tweeter Level) 0–127 D100: 0W–D0: Volume balance between the direct Balance Sets the rotary speaker stereo image. 100W sound (D) and the chorus sound (W) Spread 0–10 The higher the value set, the wider the Level 0–127 Output Level sound is spread out. Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level OD Switch (Overdrive Switch) OFF, ON Overdrive on/off Overdrive input level OD Gain 0–127 (Overdrive Gain) Higher values will increase the distortion. OD Drive (Overdrive Drive) 0–127 Degree of distortion OD Level (Overdrive Level) 0–127 Volume of the overdrive

48 MFX/IFX Parameters

24 FLANGER 25 STEP FLANGER

This is a stereo flanger (The LFO has the same phase for left and This is a flanger in which the flanger pitch changes in steps. The right.). speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo. Produces a metallic resonance reminiscent of a jet airplane taking off and landing. Balance D A filter is provided so that you can adjust the timbre of the flanged L in 2-Band EQ L out sound. Step Flanger Balance W Balance D L in 2-Band EQ L out Feedback Feedback Flanger Balance W Step Balance W Feedback Flanger Feedback R in 2-Band EQ R out Balance D Flanger Balance W Parameter Value Explanation R in 2-Band EQ R out Type of filter Balance D OFF: No filter is used LPF: Cuts the frequency range above the Parameter Value Explanation Filter Type OFF, LPF, HPF Cutoff Freq Type of filter HPF: Cuts the frequency range below the OFF: No filter is used Cutoff Freq Filter Type OFF, LPF, HPF LPF: Cuts the frequency range above the 200, 250, 315, 400, Cutoff Freq 500, 630, 800, HPF: Cuts the frequency range below the 1000, 1250, 1600, Cof Freq (Cutoff Freq) Basic frequency of the filter Cutoff Freq 2000, 2500, 3150, 4000, 5000, 6300, 200, 250, 315, 400, 8000 [Hz] 500, 630, 800, 1000, 1250, 1600, Adjusts the delay time from when the Cof Freq (Cutoff Freq) Basic frequency of the filter 2000, 2500, 3150, Pre Delay 0.0–100.0 [msec] direct sound begins until the flanger 4000, 5000, 6300, sound is heard. 8000 [Hz] If this is ON, the rate synchronizes with Rate Sync Adjusts the delay time from when the (Rate (sync switch)) OFF, ON the tempo of the rhythm. Pre Delay 0.0–100 [msec] direct sound begins until the flanger & “Tempo” (p. 8) sound is heard. Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] If this is ON, the rate synchronizes with Frequency of modulation Rate Sync Rate Note Note (Rate (sync switch)) OFF, ON the tempo of the rhythm. (Rate (note)) & “Note” (p. 72) & “Tempo” (p. 8) Depth 0–127 Depth of modulation Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Phase 0–180 [deg] Spatial spread of the sound Rate Note Note Frequency of modulation (Rate (note)) & “Note” (p. 72) Adjusts the proportion of the flanger Feedback -98–+98 [%] sound that is fed back into the effect. Depth 0–127 Depth of modulation Negative (-) settings will invert the phase. Phase 0–180 [deg] Spatial spread of the sound If this is ON, the rate synchronizes with Adjusts the proportion of the flanger S Rate Sync (Step Rate (sync switch)) OFF, ON the tempo of the rhythm. Feedback -98–+98 [%] sound that is fed back into the effect. & “Tempo” (p. 8) Negative (-) settings will invert the phase. S RateHz (Step Rate (Hz)) 0.10–20.00 [Hz] Amount of boost/cut for the low- Low Gain -15–+15 [dB] Rate (period) of pitch change frequency range S RateNote Note (Step Rate (note)) & “Note” (p. 72) Amount of boost/cut for the high- High Gain -15–+15 [dB] Amount of boost/cut for the low- frequency range Low Gain -15–+15 [dB] frequency range D100: 0W–D0: Volume balance between the direct Balance Amount of boost/cut for the high- 100W sound (D) and the flanger sound (W) High Gain -15–+15 [dB] frequency range Level 0–127 Output Level D100: 0W–D0: Volume balance between the direct Balance 100W sound (D) and the flanger sound (W) Level 0–127 Output Level

49 MFX/IFX Parameters

26 HEXA-CHORUS Parameter Value Explanation Volume balance between the direct D100: 0W–D0: Balance sound (D) and the tremolo chorus sound 100W Uses a six-phase chorus (six layers of chorused sound) to give (W) richness and spatial spread to the sound. Level 0–127 Output Level Balance D L in L out

Balance W 28 SPACE-D Hexa Chorus Balance W This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a R in R out transparent chorus effect. Balance D Balance D Parameter Value Explanation L in 2-Band EQ L out Adjusts the delay time from the direct Pre Delay 0.0–100 [msec] Space D sound until the chorus sound is heard. Balance W If this is ON, the rate synchronizes with Rate Sync Balance W (Rate (sync switch)) OFF, ON the tempo of the rhythm. Space D & “Tempo” (p. 8) R in 2-Band EQ R out Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Balance D Rate Note Note Frequency of modulation (Rate (note)) & “Note” (p. 72) Parameter Value Explanation Depth 0–127 Depth of modulation Adjusts the delay time from the direct Pre Delay 0.0–100 [msec] Adjusts the differences in Pre Delay sound until the chorus sound is heard. Pre Delay Dev 0–20 (Pre Delay Deviation) between each chorus sound. If this is ON, the rate synchronizes with Adjusts the difference in modulation Rate Sync OFF, ON the tempo of the rhythm. Depth Dev -40 (Rate (sync switch)) (Depth Deviation) depth between each chorus sound. & “Tempo” (p. 8) Adjusts the difference in stereo location Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] between each chorus sound. Rate Note Note Frequency of modulation Pan Dev (Rate (note)) (Pan Deviation) -20–+20 0: All chorus sounds will be in the center. & “Note” (p. 72) 20: Each chorus sound will be spaced at Depth 0–127 Depth of modulation 60 degree intervals relative to the center. Phase 0–180 [deg] Spatial spread of the sound D100: 0W–D0: Volume balance between the direct Balance Amount of boost/cut for the low- 100W sound (D) and the chorus sound (W) Low Gain -15–+15 [dB] frequency range Level 0–127 Output Level Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range D100: 0W–D0: Volume balance between the direct Balance 27 TREMOLO CHORUS 100W sound (D) and the chorus sound (W) Level 0–127 Output Level This is a chorus effect with added Tremolo (cyclic modulation of volume).

Balance D 29 OVERDRIVE L in L out This is an overdrive that provides heavy distortion. Balance W Tremolo Chorus Balance W L in L out Pan L Amp Overdrive Smlator 2-Band EQ R in R out Pan R Balance D R in R out Parameter Value Explanation Parameter Value Explanation Adjusts the delay time from the direct Pre Delay 0.0–100 [msec] sound until the chorus sound is heard. Degree of distortion Drive 0–127 If this is ON, the rate synchronizes with Also changes the volume. Cho Sync (Chorus Rate (sync switch)) OFF, ON the tempo of the rhythm. Tone 0–127 Sound quality of the Overdrive effect & “Tempo” (p. 8) Amp Switch OFF, ON Turns the Amp Simulator on/off. Cho Hz 0.05–10.00 [Hz] (Chorus Rate (Hz)) Modulation frequency of the chorus Type of guitar amp Cho Note Note effect SMALL, SMALL: Small amp (Chorus Rate (note)) & “Note” (p. 72) AmpType (Amp Type) BUILT-IN, 2-STACK, BUILT-IN: Single-unit type amp 3-STACK 2-STACK: Large double stack amp CHO_DEPTH 0–127 Modulation depth of the chorus effect (Chorus Depth) 3-STACK: Large triple stack amp If this is ON, the rate synchronizes with Amount of boost/cut for the low- Trm Sync (Tremolo OFF, ON Low Gain -15–+15 [dB] Rate (sync switch)) the tempo of the rhythm. frequency range & “Tempo” (p. 8) Amount of boost/cut for the high- Trm Hz High Gain -15–+15 [dB] (Tremolo Rate (Hz)) 0.05–10.00 [Hz] frequency range Modulation frequency of the tremolo Pan L64–63R Stereo location of the output sound Trm Note Note effect (Tremolo Rate (note)) & “Note” (p. 72) Level 0–127 Output Level Trm Separate (Tremolo Separation) 0–127 Spread of the tremolo effect Trm Phase (Tremolo Phase) 0–180 [deg] Spread of the tremolo effect

50 MFX/IFX Parameters

30 DISTORTION 32 GUITAR AMP SIM

Produces a more intense distortion than Overdrive. This is an effect that simulates the sound of a guitar amplifier.

L in L out L in L out Pan L Pan L Amp Distortion Smlator 2-Band EQ Pre Amp Speaker Pan R Pan R R in R out R in R out

Parameter Value Explanation Parameter Value Explanation Degree of distortion Pre Amp Sw Drive 0–127 (Pre Amp Switch) OFF, ON Turns the amp switch on/off. Also changes the volume. Type of guitar amp Tone 0–127 Sound quality of the Overdrive effect This models the sound of the Roland Amp Switch OFF, ON Turns the Amp Simulator on/off. JC-120 JC-120. Type of guitar amp CLEAN TWIN This models a Fender Twin Reverb. SMALL, SMALL: Small amp AmpType (Amp Type) BUILT-IN, 2-STACK, BUILT-IN: Single-unit type amp This models the sound input to left input on a Matchless D/C-30. 3-STACK 2-STACK: Large double stack amp MATCH DRIVE A simulation of the latest tube amp 3-STACK: Large triple stack amp widely used in styles from blues and rock. Amount of boost/cut for the low- Low Gain -15–+15 [dB] This models the lead sound of the MESA/ frequency range Boogie combo amp. Amount of boost/cut for the high- BG LEAD High Gain -15–+15 [dB] The sound of a tube amp typical of the frequency range late ‘70s to ‘80s. Pan L64–63R Stereo location of the output sound This models the sound input to Input I on Level 0–127 Output Level MS1959I a Marshall 1959. This is a trebly sound suited to hard rock. This models the sound input to Input II on MS1959II Type (Pre Amp Type) a Marshall 1959. 31 T-SCREAM The sound of connecting inputs I and II MS1959I+II of the guitar amp in parallel, creating a This models a classic analog overdrive. It is distinctive in adding an sound with a stronger low end than I. appropriate amount of overtones without muddying the sound. This models a Soldano SLO-100. This is SLDN LEAD the typical sound of the eighties. This models the lead channel of a Peavey L in Overdrive Tone L out METAL 5150 EVH 5150. This is distortion sound that is ideal for METAL LEAD R in Overdrive Tone R out performances of heavy riffs. This models the sound of the BOSS OD-1. OD-1 Parameter Value Explanation This produces sweet, mild distortion. Degree of distortion This is the high-gain overdrive sound of Distortion 0–127 OD-2 TURBO Also changes the volume. the BOSS OD-2. This gives a basic, traditional distortion Tone 0–127 Tonal character of the overdrive DISTORTION sound. Level 0–127 Output Level FUZZ A fuzz sound with rich harmonic content. Volume and amount of distortion of the Volume 0–127 (Pre Amp Volume) amp Master (Pre Amp Master) 0–127 Volume of the entire pre-amp LOW, MIDDLE, Gain (Pre Amp Gain) Amount of pre-amp distortion HIGH Bass (Pre Amp Bass) Tone of the bass/mid/treble frequency range Middle 0–127 (Pre Amp Middle) Middle cannot be set if “Match Drive” is Treble (Pre Amp Treble) selected as the Pre Amp Type. Presence (Pre Amp Presence) 0–127 Tone for the ultra-high frequency range Turning this “On” produces a sharper and brighter sound. Bright (Pre Amp Bright) OFF, ON ** This parameter applies to the “JC-120,” “CLEAN TWIN,” and “BG LEAD” Pre Amp Types.

51 MFX/IFX Parameters

Parameter Value Explanation 33 COMPRESSOR Selects whether the sound will be sent Speaker Sw (Speaker Switch) OFF, ON through the speaker simulation (ON) or not (OFF) Flattens out high levels and boosts low levels, smoothing out fluctuations in volume. Cabinet Speaker Microphone small SMALL 1 open-back 10 dynamic L in Compressor 2-Band EQ L out enclosure small SMALL 2 open-back 10 dynamic R in Compressor 2-Band EQ R out enclosure open back Parameter Value Explanation MIDDLE 12 x 1 dynamic enclosure Sets the speed at which compression open back Attack 0–124 JC-120 12 x 2 dynamic starts enclosure Adjusts the time after the signal volume open back BUILT-IN 1 12 x 2 dynamic Release 0–124 falls below the Threshold Level until enclosure compression is no longer applied. open back Adjusts the volume at which compression BUILT-IN 2 12 x 2 condenser Threshold -60–0 [dB] enclosure begins open back BUILT-IN 3 12 x 2 condenser This is a function that smooths the onset enclosure of compression from the uncompressed SpType (Speaker Type) open back BUILT-IN 4 12 x 2 condenser Knee 0–30 [dB] state; it gradually applies compression enclosure starting earlier than Threshold. Higher open back values produce a smoother transition. BUILT-IN 5 12 x 2 condenser enclosure 1:1, 1.5:1, 2:1, 4:1, Ratio Compression ratio sealed 16:1, INF:1 BG STACK1 12 x 2 condenser enclosure Post Gain 0–+18 [dB] Level of the output sound large sealed BG STACK2 12 x 2 condenser Level 0–127 Output Level enclosure large sealed MS STACK1 12 x 4 condenser enclosure large sealed MS STACK2 12 x 4 condenser 34 LIMITER enclosure large double MTL STACK 12 x 4 condenser Compresses signals that exceed a specified volume level, preventing stack distortion from occurring. large double 2-STACK 12 x 4 condenser stack large triple L in Limiter 2-Band EQ L out 3-STACK 12 x 4 condenser stack Adjusts the location of the microphone that is recording the sound of the R in Limiter 2-Band EQ R out speaker. Mic Setting 1, 2, 3 This can be adjusted in three steps, with Parameter Value Explanation the micrpphone becoming more distant in the order of 1, 2, and 3. Adjusts the time after the signal volume Release 0–127 falls below the Threshold Level until Mic Level 0–127 Volume of the microphone compression is no longer applied. Direct Level 0–127 Volume of the direct sound Adjusts the volume at which compression Threshold 0–127 Pan L64–63R Stereo location of the output sound begins 1.5: 1, 2: 1, 4: 1, Level 0–127 Output Level Ratio Compression ratio 100: 1 Post Gain 0–+18 [dB] Level of the output sound Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

52 MFX/IFX Parameters

35 SUSTAINER 37 DELAY

By compressing loud input and boosting low input, this effect keeps This is a stereo delay. the volume consistent to produce a sustain effect without distortion. When Feedback Mode is NORMAL:

L in Sustainer 2-Band EQ L out Balance D L in 2-Band EQ L out

R in Sustainer 2-Band EQ R out Delay Balance W

Parameter Value Explanation Feedback Feedback Adjusts the range in which a low input Sustain 0–127 signal is boosted to a consistent volume. Delay Balance W Higher values produce longer sustain. Attack 0–127 Time until the volume is compressed R in 2-Band EQ R out Release 0–127 Time until compression is removed Balance D Post Gain -15–+15 [dB] Level of the output sound When Feedback Mode is CROSS: Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Balance D Amount of boost/cut for the high- L in 2-Band EQ L out High Gain -15–+15 [dB] frequency range Delay Balance W Level 0–127 Output Level

Feedback Feedback 36 GATE Delay Balance W Cuts the reverb’s delay according to the volume of the sound R in 2-Band EQ R out sent into the effect. Use this when you want to create an artificial- sounding decrease in the reverb’s decay. Balance D Parameter Value Explanation L in Gate L out If this is ON, the rate synchronizes with Dly L Sync (Delay Left (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) R in Gate R out Dly L Msec 1–1300 [msec] (Delay Left (msec)) Adjusts the time the left delay sound is heard. Parameter Value Explanation Dly L Note Note (Delay Left (note)) & “Note” (p. 72) Volume level at which the gate begins Threshold 0–127 If this is ON, the rate synchronizes with to close Dly R Sync (Delay Right (sync switch)) OFF, ON the tempo of the rhythm. Type of gate & “Tempo” (p. 8) GATE: The gate will close when the Dly R Msec 1–1300 [msec] volume of the original sound decreases, (Delay Right (msec)) Adjusts the time the right delay sound Mode GATE, DUCK cutting the original sound. Dly R Note Note is heard. DUCK (Duking): The gate will close (Delay Right (note)) & “Note” (p. 72) when the volume of the original sound Phase L (Phase Left) Phase of left and right delay sound increases, cutting the original sound. NORMAL, INVERSE NORMAL: Non-inverted Adjusts the time it takes for the gate to Attack 0–127 Phase R (Phase Right) INVERT: Inverted fully open after being triggered. Selects the way in which delay sound is Adjusts the time it takes for the gate to Fbk Mode NORMAL, CROSS fed back into the effect. (See the figures Hold 0–127 start closing after the source sound falls (Feedback Mode) above.) beneath the Threshold. Adjusts the proportion of the delay sound Adjusts the time it takes the gate to fully Release 0–127 that is fed back into the effect. close after the hold time. Feedback -98–+98 [%] Negative (-) settings will invert the phase. D100: 0W–D0: Volume balance between the direct Balance 200, 250, 315, 400, 100W sound (D) and the effect sound (W) Adjusts the frequency above which 500, 630, 800, sound fed back to the effect is filtered Level 0–127 Output Level 1000, 1250, 1600, HF Damp out. If you don’t want to filter out any 2000, 2500, 3150, high frequencies, set this parameter to 4000, 5000, 6300, BYPASS. 8000, BYPASS [Hz] Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range D100: 0W–D0: Volume balance between the direct Balance 100W sound (D) and the delay sound (W) Level 0–127 Output Level

53 MFX/IFX Parameters

38 MODULATION DELAY 39 3TAP PAN DELAY

Adds modulation to the delayed sound. Produces three delay sounds; center, left and right.

When Feedback Mode is NORMAL: Balance D

Balance D L in 2-Band EQ L out

L in 2-Band EQ L out Balance W Left Tap Delay Modulation Balance W

Triple Tap Center Tap Delay Feedback Feedback Feedback Right Tap Balance W

Delay Modulation Balance W R in 2-Band EQ R out R in 2-Band EQ R out Balance D Balance D Parameter Value Explanation When Feedback Mode is CROSS: If this is ON, the rate synchronizes with Dly L Sync (Delay Left (sync switch)) OFF, ON the tempo of the rhythm. Balance D & “Tempo” (p. 8) L in 2-Band EQ L out Dly L Msec 1–2600 [msec] (Delay Left (msec)) Adjusts the time until the left delay sound Delay Modulation Note is heard. Balance W Dly L Note (Delay Left (note)) & “Note” (p. 72) Feedback If this is ON, the rate synchronizes with Dly R Sync (Delay Feedback Right (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Balance W Dly R Msec 1–2600 [msec] Delay Modulation (Delay Right (msec)) Adjusts the time until the right delay R in 2-Band EQ R out Dly R Note Note sound is heard. (Delay Right (note)) & “Note” (p. 72) Balance D If this is ON, the rate synchronizes with Dly C Sync (Delay Parameter Value Explanation Center (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) If this is ON, the rate synchronizes with Dly C Msec Dly L Sync (Delay Left OFF, ON 1–2600 [msec] (sync switch)) the tempo of the rhythm. (Delay Center (msec)) Adjusts the time until the center delay & “Tempo” (p. 8) Dly C Note Note sound is heard. Dly L Msec 1–1300 [msec] (Delay Center (note)) & “Note” (p. 72) (Delay Left (msec)) Adjusts the time until the left delay sound Adjusts the proportion of the delay sound Note is heard. Dly L Note C Feedback -98–+98 [%] that is fed back into the effect. (Delay Left (note)) & “Note” (p. 72) (Center Feedback) Negative (-) settings will invert the phase. If this is ON, the rate synchronizes with Dly R Sync (Delay 200, 250, 315, 400, Right (sync switch)) OFF, ON the tempo of the rhythm. Adjusts the frequency above which 500, 630, 800, & “Tempo” (p. 8) sound fed back to the effect is filtered 1000, 1250, 1600, Dly R Msec HF Damp out. If you don’t want to filter out any 1–1300 [msec] 2000, 2500, 3150, (Delay Right (msec)) Adjusts the time until the right delay high frequencies, set this parameter to 4000, 5000, 6300, sound is heard. BYPASS. Dly R Note Note 8000, BYPASS [Hz] (Delay Right (note)) & “Note” (p. 72) Left Level 0–127 Selects the way in which delay sound is Fbk Mode (Feedback Mode) NORMAL, CROSS fed back into the effect. (See the figures Right Level 0–127 Volume of each delay sound above.) Center Level 0–127 Adjusts the proportion of the delay sound Amount of boost/cut for the low- Low Gain -15–+15 [dB] Feedback -98–+98 [%] that is fed back into the effect. frequency range Negative (-) settings will invert the phase. Amount of boost/cut for the high- 200, 250, 315, 400, High Gain -15–+15 [dB] Adjusts the frequency above which frequency range 500, 630, 800, sound fed back to the effect is filtered 1000, 1250, 1600, D100: 0W–D0: Volume balance between the direct HF Damp out. If you don’t want to filter out any Balance 2000, 2500, 3150, 100W sound (D) and the delay sound (W) high frequencies, set this parameter to 4000, 5000, 6300, BYPASS. Level 0–127 Output Level 8000, BYPASS [Hz] If this is ON, the rate synchronizes with Rate Sync (Rate (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Rate Hz (Rate (Hz)) 0.05–10.00 [Hz] Rate Note Note Frequency of modulation (Rate (note)) & “Note” (p. 72) Depth 0–127 Depth of modulation Phase 0–180 [deg] Spatial spread of the sound Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range D100: 0W–D0: Volume balance between the direct Balance 100W sound (D) and the delay sound (W) Level 0–127 Output Level

54 MFX/IFX Parameters

40 4TAP PAN DELAY 41 MULTI TAP DELAY

This effect has four delays. This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can Balance D also set the panning and level of each delay sound. L in L out Balance D Feedback Delay 1 Balance W L in 2-Band EQ L out

Delay 2 Delay 1 Quadruple Feedback Balance W Tap Delay Delay 2 Delay 3 Multi Tap Delay Delay 4 Balance W Delay 3 R in R out Delay 4 Balance W Balance D R in 2-Band EQ R out Balance D 2 3

1 4 Parameter Value Explanation If this is ON, the rate synchronizes with L R Dly 1 Sync (Delay 1 Time (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Parameter Value Explanation Dly 1 Msec 1–2600 [msec] (Delay 1 Time (msec)) Adjusts the time from the original sound If this is ON, the rate synchronizes with until delay 1 sounds is heard. Dly 1 Sync (Delay 1 OFF, ON the tempo of the rhythm. Dly 1 Note Note Time (sync switch)) (Delay 1 Time (note)) & “Note” (p. 72) & “Tempo” (p. 8) Dly 1 Msec If this is ON, the rate synchronizes with 1–2600 [msec] Dly 2 Sync (Delay 2 OFF, ON (Delay 1 Time (msec)) Adjusts the time from the original sound Time (sync switch)) the tempo of the rhythm. & “Tempo” (p. 8) Dly 1 Note Note until delay 1 sounds is heard. (Delay 1 Time (note)) & “Note” (p. 72) Dly 2 Msec 1–2600 [msec] (Delay 2 Time (msec)) Adjusts the time from the original sound If this is ON, the rate synchronizes with until delay 2 sounds is heard. Dly 2 Sync (Delay 2 OFF, ON the tempo of the rhythm. Dly 2 Note Note Time (sync switch)) (Delay 2 Time (note)) & “Note” (p. 72) & “Tempo” (p. 8) Dly 2 Msec If this is ON, the rate synchronizes with 1–2600 [msec] Dly 3 Sync (Delay 3 OFF, ON (Delay 2 Time (msec)) Adjusts the time from the original sound Time (sync switch)) the tempo of the rhythm. & “Tempo” (p. 8) Dly 2 Note Note until delay 2 sounds is heard. (Delay 2 Time (note)) & “Note” (p. 72) Dly 3 Msec 1–2600 [msec] (Delay 3 Time (msec)) Adjusts the time from the original sound If this is ON, the rate synchronizes with until delay 3 sounds is heard. Dly 3 Sync (Delay 3 OFF, ON the tempo of the rhythm. Dly 3 Note Note Time (sync switch)) (Delay 3 Time (note)) & “Note” (p. 72) & “Tempo” (p. 8) Dly 3 Msec If this is ON, the rate synchronizes with 1–2600 [msec] Dly 4 Sync (Delay 4 OFF, ON (Delay 3 Time (msec)) Adjusts the time from the original sound Time (sync switch)) the tempo of the rhythm. & “Tempo” (p. 8) Dly 3 Note Note until delay 3 sounds is heard. (Delay 3 Time (note)) & “Note” (p. 72) Dly 4 Msec 1–2600 [msec] (Delay 4 Time (msec)) Adjusts the time from the original sound If this is ON, the rate synchronizes with until delay 4 sounds is heard. Dly 4 Sync (Delay 4 OFF, ON the tempo of the rhythm. Dly 4 Note Note Time (sync switch)) (Delay 4 Time (note)) & “Note” (p. 72) & “Tempo” (p. 8) Dly 4 Msec Adjusts the proportion of the delay sound (Delay 4 Time (msec)) 1–2600 [msec] Dly 1 Fbk that is fed back into the effect. Adjusts the time from the original sound (Delay 1 Feedback) -98–+98 [%] Dly 4 Note Note until delay 4 sounds is heard. Negative (-) settings will invert the phase. (Delay 4 Time (note)) & “Note” (p. 72) 200, 250, 315, 400, Adjusts the frequency above which 500, 630, 800, Adjusts the proportion of the delay sound sound fed back to the effect is filtered Dly 1 Fbk that is fed back into the effect. 1000, 1250, 1600, (Delay 1 Feedback) -98–+98 [%] HF Damp out. If you don’t want to filter out any 2000, 2500, 3150, Negative (-) settings will invert the phase. high frequencies, set this parameter to 4000, 5000, 6300, 200, 250, 315, 400, BYPASS. Adjusts the frequency above which 8000, BYPASS [Hz] 500, 630, 800, sound fed back to the effect is filtered 1000, 1250, 1600, Dly 1 Pan HF Damp out. If you don’t want to filter out any (Delay 1 Pan) 2000, 2500, 3150, high frequencies, set this parameter to 4000, 5000, 6300, Dly 2 Pan BYPASS. (Delay 2 Pan) 8000, BYPASS [Hz] L64–63R Stereo location of Delays 1–4 Dly 3 Pan Dly 1 Level (Delay 3 Pan) (Delay 1 Level) Dly 4 Pan Dly 2 Level (Delay 4 Pan) (Delay 2 Level) 0–127 Volume of each delay Dly 1 Level Dly 3 Level (Delay 1 Level) (Delay 3 Level) Dly 2 Level Dly 4 Level (Delay 2 Level) (Delay 4 Level) 0–127 Volume of each delay Dly 3 Level Amount of boost/cut for the low- (Delay 3 Level) Low Gain -15–+15 [dB] frequency range Dly 4 Level Amount of boost/cut for the high- (Delay 4 Level) High Gain -15–+15 [dB] frequency range Amount of boost/cut for the low- Low Gain -15–+15 [dB] D100: 0W–D0: Volume balance between the direct frequency range Balance 100W sound (D) and the delay sound (W) Amount of boost/cut for the high- High Gain -15–+15 [dB] Level 0–127 Output Level frequency range D100: 0W–D0: Volume balance between the direct Balance 100W sound (D) and the effect sound (W) Level 0–127 Output Level

55 MFX/IFX Parameters

42 REVERSE DELAY Parameter Value Explanation Amount of boost/cut for the high- High Gain -15–+15 [dB] This is a reverse delay that adds a reversed and delayed sound to the frequency range D100: 0W–D0: Volume balance between the direct input sound. A tap delay is connected immediately after the reverse Balance delay. 100W sound (D) and the delay sound (W) Level 0–127 Output Level 2-Band L in EQ L out

Rev D1 43 TIME CTRL DELAY Rev. Delay Delay A stereo delay in which the delay time can be varied smoothly. Feedback D3 D2 Balance D L in 2-Band EQ L out 2-Band R in EQ R out Time Ctrl Delay Balance W Parameter Value Explanation Feedback Volume at which the reverse delay will Threshold 0–127 Feedback begin to be applied If this is ON, the rate synchronizes with Time Ctrl Dly R Sync (Reverse Balance W Delay Time (sync switch)) OFF, ON the tempo of the rhythm. Delay & “Tempo” (p. 8) R in 2-Band EQ R out Dly R Msec (Reverse Delay Time (msec)) 1–1300 [msec] Delay time from when sound is input into Balance D the reverse delay until the delay sound Dly R Note (Reverse Note is heard Parameter Value Explanation Delay Time (note)) & “Note” (p. 72) Proportion of the delay sound that is to If this is ON, the rate synchronizes with Dly Sync (Delay Time OFF, ON Dly R Fbk (Reverse -98–+98 [%] be returned to the input of the reverse (sync switch)) the tempo of the rhythm. Delay Feedback) “Tempo” (p. 8) delay negative (-) values invert the phase & Dly Msec 1–1300 [msec] 200, 250, 315, 400, (Delay Time (msec)) Adjusts the delay time from the direct 500, 630, 800, Frequency at which the high-frequency Note sound until the delay sound is heard. 1000, 1250, 1600, Dly Note Dly R HF (Reverse content of the reverse-delayed sound will (Delay Time (note)) & “Note” (p. 72) Delay HF Damp) 2000, 2500, 3150, be cut (BYPASS: no cut) 4000, 5000, 6300, Adjusts the speed which the Delay Time 8000, BYPASS [Hz] changes from the current setting to a Acceleration 0–15 specified new setting. The rate of change Dly R Pan (Reverse Delay Pan) L64–63R Panning of the reverse delay sound for the Delay Time directly affects the rate of pitch change. Dly R Level 0–127 Volume of the reverse delay sound (Reverse Delay Level) Adjusts the proportion of the delay sound If this is ON, the rate synchronizes with Feedback -98–+98 [%] that is fed back into the effect. Dly 1 Sync (Delay 1 Negative (-) settings will invert the phase. Time (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) 200, 250, 315, 400, Adjusts the frequency above which Dly 1 Msec 500, 630, 800, 1–1300 [msec] Delay time from when sound is input sound fed back to the effect is filtered (Delay 1 Time (msec)) 1000, 1250, 1600, into the tap delay until the delay sound HF Damp out. If you don’t want to filter out any 2000, 2500, 3150, Dly 1 Note Note is heard high frequencies, set this parameter to (Delay 1 Time (note)) “Note” (p. 72) 4000, 5000, 6300, & BYPASS. If this is ON, the rate synchronizes with 8000, BYPASS [Hz] Dly 2 Sync (Delay 2 OFF, ON the tempo of the rhythm. Amount of boost/cut for the low- Time (sync switch)) Low Gain -15–+15 [dB] & “Tempo” (p. 8) frequency range Dly 2 Msec 1–1300 [msec] Amount of boost/cut for the high- (Delay 2 Time (msec)) Delay time from when sound is input High Gain -15–+15 [dB] into the tap delay until the delay sound frequency range Dly 2 Note Note is heard D100: 0W–D0: Volume balance between the direct (Delay 2 Time (note)) & “Note” (p. 72) Balance 100W sound (D) and the delay sound (W) If this is ON, the rate synchronizes with Dly 3 Sync (Delay 3 Level 0–127 Output Level Time (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Dly 3 Msec (Delay 3 Time (msec)) 1–1300 [msec] Delay time from when sound is input into the tap delay until the delay sound Dly 3 Note Note is heard (Delay 3 Time (note)) & “Note” (p. 72) Proportion of the delay sound that is to Dly 3 Fbk (Delay 3 Feedback) -98–+98 [%] be returned to the input of the tap delay (negative (-) values invert the phase) 200, 250, 315, 400, 500, 630, 800, Frequency at which the hi-frequency 1000, 1250, 1600, Dly HF (Delay HF Damp) content of the tap delay sound will be cut 2000, 2500, 3150, (BYPASS: no cut) 4000, 5000, 6300, 8000, BYPASS [Hz] Dly 1 Pan (Delay 1 Pan) L64–63R Panning of the tap delay sounds Dly 2 Pan (Delay 2 Pan) L64–63R Dly 1 Level (Delay 1 Level) 0–127 Volume of the tap delay sounds Dly 2 Level (Delay 2 Level) 0–127 Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range

56 MFX/IFX Parameters

44 TAPE ECHO Parameter Value Explanation 200, 250, 315, 400, 500, 630, 800, A virtual tape echo that produces a realistic tape delay sound. This 1000, 1250, 1600, Cutoff Basic frequency of the Post Filter simulates the tape echo section of a Roland RE-201 Space Echo. (Post Filter Cutoff) 2000, 2500, 3150, 4000, 5000, 6300, Direct Level 8000 [Hz] L in L out Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Echo Level Amount of boost/cut for the high- Tape Echo High Gain -15–+15 [dB] Echo Level frequency range D100: 0W–D0: Volume balance between the direct Balance R in R out 100W sound (D) and the effect sound (W) Direct Level Level 0–127 Output Level

Parameter Value Explanation Combination of playback heads to use Select from three different heads with 46 BIT CRUSHER S, M, L, S+M, S+L, different delay times. Mode M+L, S+M+L S: short Produces an extreme lo-fi effect. M: middle L: long L in Bit Crusher 2-Band EQ L out Tape speed Repeat Rate 0–127 Increasing this value will shorten the spacing of the delayed sounds. R in Bit Crusher 2-Band EQ R out Intensity 0–127 Amount of delay repeats Boost/cut for the lower range of the echo Parameter Value Explanation Bass -15–+15 [dB] sound Sample Rate 0–127 Adjusts the sample rate. Boost/cut for the upper range of the echo Treble -15–+15 [dB] sound Bit Down 0–20 Adjusts the bit depth. Head S Pan L64–63R Filter 0–127 Adjusts the filter depth. Independent panning for the short, Amount of boost/cut for the low- Head M Pan L64–63R Low Gain -15–+15 [dB] middle, and long playback heads frequency range Head L Pan L64–63R Amount of boost/cut for the high- High Gain -15–+15 [dB] Amount of tape-dependent distortion to frequency range be added Level 0–127 Output Level Distortion 0–5 This simulates the slight tonal changes (Tape Distortion) that can be detected by signal-analysis equipment. Increasing this value will increase the distortion. Speed of wow/flutter (complex variation 47 PITCH SHIFTER Wf Rate (W/F Rate) 0–127 in pitch caused by tape wear and rotational irregularity) A stereo pitch shifter.

Wf Depth (W/F Depth) 0–127 Depth of wow/flutter Echo Level 0–127 Volume of the echo sound L in 2-Band EQ L out Direct Level 0–127 Volume of the original sound Pitch Shifter Level 0–127 Output Level Pitch Shifter 45 LOFI COMPRESS R in 2-Band EQ R out Parameter Value Explanation This is an effect that intentionally degrades the sound quality for Adjusts the pitch of the pitch shifted creative purposes. Coarse -24–+12 [semi] sound in semitone steps. Adjusts the pitch of the pitch shifted L in Compressor Lo-Fi 2-Band EQ L out Fine -100–+100 [cent] sound in 2-cent steps. If this is ON, the rate synchronizes with Dly Sync (Delay Time OFF, ON the tempo of the rhythm. R in Compressor Lo-Fi 2-Band EQ R out (sync switch)) & “Tempo” (p. 8) Dly Msec Parameter Value Explanation (Delay Time (msec)) 1–1300 [msec] Adjusts the delay time from the direct sound until the pitch shifted sound is Selects the type of filter applied to the Dly Note Note heard. sound before it passes through the Lo-Fi (Delay Time (note)) & “Note” (p. 72) Pre Filter effect. Adjusts the proportion of the pitch (Pre Filter Type) 1, 2, 3, 4, 5, 6 1: Compressor off shifted sound that is fed back into the Feedback -98–+98 [%] 2–6: Compressor on effect. Negative (-) settings will invert the phase. Degrades the sound quality. The sound Amount of boost/cut for the low- LoFi Type 1, 2, 3, 4, 5, 6, 7, 8, 9 quality grows poorer as this value is Low Gain -15–+15 [dB] increased. frequency range Amount of boost/cut for the high- Type of filter High Gain -15–+15 [dB] OFF: No filter is used frequency range LPF: Cuts the frequency range above the Volume balance between the direct Post Filter OFF, LPF, HPF D100: 0W–D0: (Post Filter Type) Cutoff Freq Balance sound (D) and the pitch shifted sound 100W HPF: Cuts the frequency range below the (W) Cutoff Freq Level 0–127 Output Level

57 MFX/IFX Parameters

48 2V PITCH SHIFTER 49 OD 0 CHORUS Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the Balance D original sound. L in L out Balance W Balance D Overdrive Chorus L in 2-Band EQ L out Balance W Level 1 Pan 1 L Balance W R in R out Pan 1 R Balance D

2 Voice Parameter Value Explanation Pitch Shifter Pan 2 L OD Drive Degree of distortion (Overdrive Drive) 0–127 Balance W Also changes the volume. Level 2 Pan 2 R OD Pan (Overdrive Pan) L64–63R Stereo location of the overdrive sound R in 2-Band EQ R out Adjusts the delay time from the direct Cho PreDly 0.0–100 [msec] Balance D (Chorus Pre Delay) sound until the chorus sound is heard. Parameter Value Explanation If this is ON, the rate synchronizes with Cho Sync (Chorus Rate OFF, ON the tempo of the rhythm. Adjusts the pitch of Pitch Shift 1 in (sync switch)) P1Coarse -24–+12 [semi] & “Tempo” (p. 8) (Pitch1 Coarse) semitone steps. Cho Hz 0.05–10.00 [Hz] Adjusts the pitch of Pitch Shift Pitch 1 in (Chorus Rate (Hz)) P1 Fine (Pitch1 Fine) -100–+100 [cent] Frequency of modulation 2-cent steps. Cho Note Note (Chorus Rate (note)) If this is ON, the rate synchronizes with & “Note” (p. 72) P1 Dly Sync (Pitch1 OFF, ON Delay (sync switch)) the tempo of the rhythm. Cho Depth 0–127 Depth of modulation & “Tempo” (p. 8) (Chorus Depth) P1 Dly Msec Adjusts the volume balance between the 1–1300 [msec] Adjusts the delay time from the direct (Pitch1 Delay (msec)) Cho Bal D100: 0W–D0: sound that is sent through the chorus (W) sound until the Pitch Shift 1 sound is (Chorus Balance) 100W and the sound that is not sent through P1 DlyNote Note heard. (Pitch1 Delay (note)) & “Note” (p. 72) the chorus (D). Adjusts the proportion of the pitch Level 0–127 Output Level shifted sound that is fed back into the P1 Feedback -98–+98 [%] (Pitch1 Feedback) effect. Negative (-) settings will invert the phase. P1 Pan (Pitch1 Pan) L64–63R Stereo location of the Pitch Shift 1 sound 50 OD 0 FLANGER P1 Level (Pitch1 Level) 0–127 Volume of the Pitch Shift 1 sound P2Coarse Balance D (Pitch2 Coarse) -24–+12 [semi] L in L out P2 Fine (Pitch2 Fine) -100–+100 [cent] Feedback Balance W P2 Dly Sync (Pitch2 Delay (sync switch)) OFF, ON Overdrive Flanger P2 Dly Msec Settings of the Pitch Shift 2 sound. Balance W (Pitch2 Delay (msec)) 1–1300 [msec] The parameters are the same as for the R in R out P2 DlyNote Note Pitch Shift 1 sound. Balance D (Pitch2 Delay (note)) & “Note” (p. 72) P2 Feedback Parameter Value Explanation (Pitch2 Feedback) -98–+98 [%] Degree of distortion P2 Pan (Pitch2 Pan) L64–63R OD Drive 0–127 (Overdrive Drive) Also changes the volume. P2 Level (Pitch2 Level) 0–127 OD Pan (Overdrive Pan) L64–63R Stereo location of the overdrive sound Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Adjusts the delay time from when the Flg PreDly 0.0–100 [msec] direct sound begins until the flanger Amount of boost/cut for the high- (Flanger Pre Delay) High Gain -15–+15 [dB] sound is heard. frequency range If this is ON, the rate synchronizes with Volume balance between the direct Flg Sync (Flanger Rate D100: 0W–D0: OFF, ON the tempo of the rhythm. Balance sound (D) and the pitch shifted sound (sync switch)) 100W & “Tempo” (p. 8) (W) Flg Hz 0.05–10.00 [Hz] Level 0–127 Output Level (Flanger Rate (Hz)) Frequency of modulation Flg Note Note (Flanger Rate (note)) & “Note” (p. 72)

Flg Depth (Flanger Depth) 0–127 Depth of modulation Adjusts the proportion of the flanger Flg Fbk sound that is fed back into the effect. (Flanger Feedback) -98–+98 [%] Negative (-) settings will invert the phase. Adjusts the volume balance between the Flg Bal D100: 0W–D0: sound that is sent through the flanger (Flanger Balance) 100W (W) and the sound that is not sent through the flanger (D). Level 0–127 Output Level

58 MFX/IFX Parameters

51 OD 0 DELAY 53 DS 0 FLANGER

Balance D Balance D L in L out L in L out Feedback Balance W Balance W Overdrive Delay Distortion Flanger Balance W Balance W Feedback R in R out R in R out Balance D Balance D

Parameter Value Explanation Parameter Value Explanation Degree of distortion Degree of distortion OD Drive 0–127 Dist Drive 0–127 (Overdrive Drive) Also changes the volume. (Distortion Drive) Also changes the volume.

OD Pan (Overdrive Pan) L64–63R Stereo location of the overdrive sound Dist Pan (Distortion Pan) L64–63R Stereo location of the overdrive sound If this is ON, the rate synchronizes with Dly Sync (Delay Time OFF, ON Adjusts the delay time from when the (sync switch)) the tempo of the rhythm. Flg PreDly & “Tempo” (p. 8) (Flanger Pre Delay) 0.0–100 [msec] direct sound begins until the flanger sound is heard. Dly Msec 1–2600 [msec] (Delay Time (msec)) Adjusts the delay time from the direct If this is ON, the rate synchronizes with Flg Sync (Flanger Rate OFF, ON Dly Note Note sound until the delay sound is heard. (sync switch)) the tempo of the rhythm. “Tempo” (p. 8) (Delay Time (note)) & “Note” (p. 72) & Flg Hz Adjusts the proportion of the delay sound (Flanger Rate (Hz)) 0.05–10.00 [Hz] Dly Fbk that is fed back into the effect. (Delay Feedback) -98–+98 [%] Frequency of modulation Negative (-) settings will invert the phase. Flg Note Note (Flanger Rate (note)) & “Note” (p. 72) 200, 250, 315, 400, Flg Depth 500, 630, 800, Adjusts the frequency above which sound (Flanger Depth) 0–127 Depth of modulation 1000, 1250, 1600, fed back to the effect will be cut. If you do Dly HF (Delay HF Damp) Adjusts the proportion of the flanger 2000, 2500, 3150, not want to cut the high frequencies, set Flg Fbk -98–+98 [%] sound that is fed back into the effect. 4000, 5000, 6300, this parameter to BYPASS. (Flanger Feedback) 8000, BYPASS [Hz] Negative (-) settings will invert the phase. Adjusts the volume balance between the Adjusts the volume balance between the D100: 0W–D0: sound that is sent through the delay (W) Flg Bal D100: 0W–D0: sound that is sent through the flanger Dly Bal (Delay Balance) (Flanger Balance) 100W and the sound that is not sent through 100W (W) and the sound that is not sent the delay (D). through the flanger (D). Level 0–127 Output Level Level 0–127 Output Level

52 DS 0 CHORUS 54 DS 0 DELAY

Balance D Balance D L in L out L in L out

Balance W Balance W Distortion Chorus Distortion Delay Balance W Balance W Feedback R in R out R in R out Balance D Balance D

Parameter Value Explanation Parameter Value Explanation Degree of distortion Dist Drive Degree of distortion Dist Drive 0–127 (Distortion Drive) 0–127 (Distortion Drive) Also changes the volume. Also changes the volume. Dist Pan Dist Pan (Distortion Pan) L64–63R Stereo location of the overdrive sound (Distortion Pan) L64–63R Stereo location of the overdrive sound Adjusts the delay time from the direct If this is ON, the rate synchronizes with Cho PreDly 0.0–100 [msec] Dly Sync (Delay Time OFF, ON (Chorus Pre Delay) sound until the chorus sound is heard. (sync switch)) the tempo of the rhythm. & “Tempo” (p. 8) If this is ON, the rate synchronizes with Dly Msec Cho Sync (Chorus Rate OFF, ON the tempo of the rhythm. 1–2600 [msec] (sync switch)) (Delay Time (msec)) Adjusts the delay time from the direct & “Tempo” (p. 8) Dly Note Note sound until the delay sound is heard. Cho Hz (Delay Time (note)) & “Note” (p. 72) (Chorus Rate (Hz)) 0.05–10.00 [Hz] Frequency of modulation Adjusts the proportion of the delay sound Cho Note Note Dly Fbk -98–+98 [%] that is fed back into the effect. (Chorus Rate (note)) & “Note” (p. 72) (Delay Feedback) Negative (-) settings will invert the phase. Cho Depth 0–127 Depth of modulation (Chorus Depth) 200, 250, 315, 400, Adjusts the volume balance between the 500, 630, 800, Adjusts the frequency above which sound 1000, 1250, 1600, fed back to the effect will be cut. If you do Cho Bal D100: 0W–D0: sound that is sent through the chorus (W) Dly HF (Delay HF Damp) (Chorus Balance) 100W and the sound that is not sent through 2000, 2500, 3150, not want to cut the high frequencies, set the chorus (D). 4000, 5000, 6300, this parameter to BYPASS. 8000, BYPASS [Hz] Level 0–127 Output Level Adjusts the volume balance between the D100: 0W–D0: sound that is sent through the delay (W) Dly Bal (Delay Balance) 100W and the sound that is not sent through the delay (D).

Level 0–127 Output Level

59 MFX/IFX Parameters

55 OD/DS 0 TWAH 56 OD/DS 0 AWAH

L in L out L in L out Pan L Pan L Overdrive/ Amp Touch 2-Band Overdrive/ Amp 2-Band Simulator Wah EQ Distortion Simulator Auto Wah EQ Distortion Pan R Pan R R in R out R in R out

Parameter Value Explanation Parameter Value Explanation Drive Switch OFF, ON Turns overdrive/distortion on/off Drive Switch OFF, ON Turns overdrive/distortion on/off OVERDRIVE, OVERDRIVE, Type (Drive Type) Type of distortion Type (Drive Type) Type of distortion DISTORTION DISTORTION Degree of distortion. Also changes the Degree of distortion. Also changes the Drive 0–127 Drive 0–127 volume. volume. Tone 0–127 Sound quality of the Overdrive effect Tone 0–127 Sound quality of the Overdrive effect Amp Switch OFF, ON Turns the Amp Simulator on/off. Amp Switch OFF, ON Turns the Amp Simulator on/off. Type of guitar amp Type of guitar amp SMALL: Small amp SMALL: Small amp SMALL, BUILT-IN, SMALL, BUILT-IN, (Amp Type) AmpType (Amp Type) BUILT-IN: Single-unit type amp AmpType BUILT-IN: Single-unit type amp 2-STACK, 3-STACK 2-STACK, 3-STACK 2-STACK: Large double stack amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp 3-STACK: Large triple stack amp AWah Switch TWah Switch (AutoWah Switch) OFF, ON Wah on/off (TouchWah Switch) OFF, ON Wah on/off Type of filter Type of filter LPF: The wah effect will be applied over a LPF: The wah effect will be applied over a AWah Mode TWah Mode (AutoWah Mode) LPF, BPF wide frequency range. (TouchWah Mode) LPF, BPF wide frequency range. BPF: The wah effect will be applied over a BPF: The wah effect will be applied over a narrow frequency range. narrow frequency range. Center frequency at which the wah effect Direction in which the filter will move AWah Manual 0–127 (AutoWah Manual) is applied UP: The filter will change toward a higher TWah Polar Width of the frequency region at which (TouchWah Polarity) DOWN, UP frequency. the wah effect is applied DOWN: The filter will change toward a AWah Peak 0–127 lower frequency. (AutoWah Peak) Increasing this value will make the frequency region narrower. Sensitivity with which the filter is TWah Sens 0–127 (TouchWah Sens) modified If this is ON, the rate synchronizes with AWah Sync (AutoWah OFF, ON the tempo of the rhythm. Center frequency at which the wah effect Rate (sync switch)) TWah Manual 0–127 & “Tempo” (p. 8) (TouchWah Manual) is applied AWah Hz Width of the frequency region at which (AutoWah Rate (Hz)) 0.05–10.00 [Hz] the wah effect is applied Frequency of modulation TWah Peak 0–127 AWah Hz Note (TouchWah Peak) Increasing this value will make the (AutoWah Rate (note)) & “Note” (p. 72) frequency region narrower. Depth at which the wah effect is AWah Depth 0–127 Adjusts the volume balance between the (AutoWah Depth) modulated TWah Bal D100: 0W–D0: sound that is sent through the wah (W) (TouchWah Balance) 100W and the sound that is not sent through Adjusts the volume balance between the the wah (D). AWah Bal D100: 0W–D0: sound that is sent through the wah (W) (AutoWah Balance) 100W and the sound that is not sent through Amount of boost/cut for the low- Low Gain -15–+15 [dB] the wah (D). frequency range Amount of boost/cut for the low- Amount of boost/cut for the high- Low Gain -15–+15 [dB] High Gain -15–+15 [dB] frequency range frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] Level 0–127 Output Level frequency range Level 0–127 Output Level

60 MFX/IFX Parameters

57 GTAMPSIM CHORUS Parameter Value Explanation 0 Selects whether the sound will be sent Speaker Sw (Speaker Switch) OFF, ON through the speaker simulation (ON) or Balance D not (OFF) L in L out Cabinet Speaker Microphone

Balance W small Pre Amp Speaker Chorus SMALL 1 open-back 10 dynamic Balance W enclosure R in R out small SMALL 2 open-back 10 dynamic Balance D enclosure Parameter Value Explanation open back MIDDLE 12 x 1 dynamic enclosure Pre Amp Sw OFF, ON Turns the amp switch on/off. (Pre Amp Switch) open back JC-120 12 x 2 dynamic Type of guitar amp enclosure This models the sound of the Roland open back JC-120 BUILT-IN1 12 x 2 dynamic JC-120. enclosure CLEAN TWIN This models a Fender Twin Reverb. open back BUILT-IN2 12 x 2 condenser This models the sound input to left input enclosure on a Matchless D/C-30. MATCH DRIVE open back BUILT-IN3 12 x 2 condenser A simulation of the latest tube amp enclosure widely used in styles from blues and rock. open back This models the lead sound of the MESA/ BUILT-IN4 12 x 2 condenser Boogie combo amp. enclosure BG LEAD The sound of a tube amp typical of the open back SpType (Speaker Type) BUILT-IN5 12 x 2 condenser late ‘70s to ‘80s. enclosure This models the sound input to Input I on sealed BG STACK1 12 x 2 condenser MS1959I a Marshall 1959. enclosure This is a trebly sound suited to hard rock. large This models the sound input to Input II on MS1959II BG STACK2 sealed 12 x 2 condenser Type (Pre Amp Type) a Marshall 1959. enclosure The sound of connecting inputs I and II large MS1959I+II of the guitar amp in parallel, creating a sound with a stronger low end than I. MS STACK1 sealed 12 x 4 condenser enclosure This models a Soldano SLO-100. This is SLDN LEAD the typical sound of the eighties. large MS STACK2 sealed condenser This models the lead channel of a Peavey 12 x 4 METAL 5150 EVH 5150. enclosure This is distortion sound that is ideal for large METAL LEAD performances of heavy riffs. MTL STACK double 12 x 4 condenser This models the sound of the BOSS OD-1. stack OD-1 This produces sweet, mild distortion. large This is the high-gain overdrive sound of 2-STACK double 12 x 4 condenser OD-2 TURBO the BOSS OD-2. stack This gives a basic, traditional distortion large triple DISTORTION 3-STACK 12 x 4 condenser sound. stack FUZZ A fuzz sound with rich harmonic content. Cho Switch (Chorus Switch) OFF, ON Chorus on/off Volume and amount of distortion of the Volume 0–127 Adjusts the delay time from the direct (Pre Amp Volume) amp Cho PreDly 0.0–100 [msec] (Chorus Pre Delay) sound until the chorus sound is heard. Master (Pre Amp Master) 0–127 Volume of the entire pre-amp Cho Hz (Chorus Rate (Hz)) 0.05–10.00 [Hz] Frequency of modulation LOW, MIDDLE, Gain (Pre Amp Gain) Amount of pre-amp distortion Cho Depth HIGH (Chorus Depth) 0–127 Depth of modulation Bass (Pre Amp Bass) 0–127 Tone of the bass/mid/treble frequency Adjusts the volume balance between the range D100: 0W–D0: sound that is sent through the chorus (W) Middle 0–127 Cho Bal (Pre Amp Middle) Middle cannot be set if “Match Drive” is (Chorus Balance) 100W and the sound that is not sent through Treble (Pre Amp Treble) 0–127 selected as the Pre Amp Type. the chorus (D). Level 0–127 Output Level

61 MFX/IFX Parameters

58 GTAMPSIM FLNGR Parameter Value Explanation 0 Selects whether the sound will be sent Speaker Sw (Speaker Switch) OFF, ON through the speaker simulation (ON) or Balance D not (OFF) L in L out Cabinet Speaker Microphone Feedback Balance W small SMALL 1 open-back 10 dynamic Pre Amp Speaker Flanger enclosure Balance W small R in R out SMALL 2 open-back 10 dynamic Balance D enclosure open back MIDDLE 12 x 1 dynamic Parameter Value Explanation enclosure Pre Amp Sw open back OFF, ON Turns the amp switch on/off. JC-120 12 x 2 dynamic (Pre Amp Switch) enclosure Type of guitar amp open back BUILT-IN1 12 x 2 dynamic This models the sound of the Roland enclosure JC-120 JC-120. open back BUILT-IN2 12 x 2 condenser enclosure CLEAN TWIN This models a Fender Twin Reverb. open back BUILT-IN3 12 x 2 condenser This models the sound input to left input enclosure on a Matchless D/C-30. MATCH DRIVE SpType (Speaker Type) open back A simulation of the latest tube amp BUILT-IN4 12 x 2 condenser widely used in styles from blues and rock. enclosure open back This models the lead sound of the MESA/ BUILT-IN5 12 x 2 condenser enclosure Boogie combo amp. BG LEAD sealed The sound of a tube amp typical of the BG STACK1 12 x 2 condenser late ‘70s to ‘80s. enclosure large sealed This models the sound input to Input I on BG STACK2 12 x 2 condenser enclosure MS1959I a Marshall 1959. large sealed This is a trebly sound suited to hard rock. MS STACK1 12 x 4 condenser enclosure This models the sound input to Input II on MS1959II large sealed Type (Pre Amp Type) a Marshall 1959. MS STACK2 12 x 4 condenser enclosure The sound of connecting inputs I and II large double MS1959I+II of the guitar amp in parallel, creating a MTL STACK 12 x 4 condenser stack sound with a stronger low end than I. large double This models a Soldano SLO-100. This is 2-STACK 12 x 4 condenser SLDN LEAD stack the typical sound of the eighties. large triple This models the lead channel of a Peavey 3-STACK 12 x 4 condenser METAL 5150 stack EVH 5150. Flg Switch OFF, ON Flanger on/off This is distortion sound that is ideal for (Flanger Switch) METAL LEAD performances of heavy riffs. Adjusts the delay time from when the This models the sound of the BOSS OD-1. Flg PreDly 0.0–100 [msec] direct sound begins until the flanger OD-1 (Flanger Pre Delay) This produces sweet, mild distortion. sound is heard. This is the high-gain overdrive sound of Flg Hz 0.05–10.00 [Hz] Frequency of modulation OD-2 TURBO (Flanger Rate (Hz)) the BOSS OD-2. Flg Depth This gives a basic, traditional distortion (Flanger Depth) 0–127 Depth of modulation DISTORTION sound. Adjusts the proportion of the flanger FUZZ A fuzz sound with rich harmonic content. Flg Fbk sound that is fed back into the effect. (Flanger Feedback) -98–+98 [%] Volume and amount of distortion of the Negative (-) settings will invert the phase. Volume 0–127 (Pre Amp Volume) amp Adjusts the volume balance between the D100: 0W–D0: sound that is sent through the flanger Master 0–127 Volume of the entire pre-amp Flg Bal (Pre Amp Master) (Flanger Balance) 100W (W) and the sound that is not sent LOW, MIDDLE, through the flanger (D). Gain (Pre Amp Gain) Amount of pre-amp distortion HIGH Level 0–127 Output Level Bass (Pre Amp Bass) 0–127 Tone of the bass/mid/treble frequency range Middle 0–127 (Pre Amp Middle) Middle cannot be set if “Match Drive” is Treble (Pre Amp Treble) 0–127 selected as the Pre Amp Type.

62 MFX/IFX Parameters

59 GTAMPSIM PHASER Parameter Value Explanation 0 Selects whether the sound will be sent Speaker Sw (Speaker Switch) OFF, ON through the speaker simulation (ON) or not (OFF) L in L out Cabinet Speaker Microphone small Pre Amp Speaker Phaser SMALL 1 open-back 10 dynamic Mix enclosure Resonance R in R out small SMALL 2 open-back 10 dynamic enclosure Parameter Value Explanation open back MIDDLE 12 x 1 dynamic Pre Amp Sw enclosure (Pre Amp Switch) OFF, ON Turns the amp switch on/off. open back Type of guitar amp JC-120 12 x 2 dynamic enclosure This models the sound of the Roland open back JC-120 BUILT-IN1 12 x 2 dynamic JC-120. enclosure CLEAN TWIN This models a Fender Twin Reverb. open back BUILT-IN2 12 x 2 condenser This models the sound input to left input enclosure on a Matchless D/C-30. open back MATCH DRIVE BUILT-IN3 12 x 2 condenser A simulation of the latest tube amp enclosure widely used in styles from blues and rock. SpType (Speaker Type) open back BUILT-IN4 12 x 2 condenser This models the lead sound of the MESA/ enclosure Boogie combo amp. open back BG LEAD BUILT-IN5 12 x 2 condenser The sound of a tube amp typical of the enclosure late ‘70s to ‘80s. sealed BG STACK1 12 x 2 condenser This models the sound input to Input I on enclosure MS1959I a Marshall 1959. large sealed BG STACK2 12 x 2 condenser This is a trebly sound suited to hard rock. enclosure This models the sound input to Input II on large sealed MS1959II MS STACK1 12 x 4 condenser Type (Pre Amp Type) a Marshall 1959. enclosure large sealed The sound of connecting inputs I and II MS STACK2 12 x 4 condenser MS1959I+II of the guitar amp in parallel, creating a enclosure sound with a stronger low end than I. large double MTL STACK 12 x 4 condenser This models a Soldano SLO-100. This is stack SLDN LEAD the typical sound of the eighties. large double 2-STACK 12 x 4 condenser This models the lead channel of a Peavey stack METAL 5150 EVH 5150. large triple 3-STACK 12 x 4 condenser stack This is distortion sound that is ideal for METAL LEAD performances of heavy riffs. Phs Switch (Phaser Switch) OFF, ON Phaser on/off This models the sound of the BOSS OD-1. OD-1 Phs Hz This produces sweet, mild distortion. (Phaser Rate (Hz)) 0.05–10.00 [Hz] Frequency of modulation This is the high-gain overdrive sound of Adjusts the basic frequency from which OD-2 TURBO Phs Manual 0–127 the BOSS OD-2. (Phaser Manual) the sound will be modulated. This gives a basic, traditional distortion Phs Depth DISTORTION 0–127 Depth of modulation sound. (Phaser Depth) Phs Reso FUZZ A fuzz sound with rich harmonic content. (Phaser Resonance) 0–127 Amount of feedback Volume and amount of distortion of the Volume 0–127 Phs Mix (Phaser Mix) 0–127 Level of the phase-shifted sound (Pre Amp Volume) amp Level 0–127 Output Level Master (Pre Amp Master) 0–127 Volume of the entire pre-amp LOW, MIDDLE, Gain (Pre Amp Gain) Amount of pre-amp distortion HIGH

Bass (Pre Amp Bass) 0–127 Tone of the bass/mid/treble frequency Middle range (Pre Amp Middle) 0–127 ** Middle cannot be set if “MATCH DRIVE” is selected as the Pre Amp Type. Treble (Pre Amp Treble) 0–127

63 MFX/IFX Parameters

60 GTAMPSIM DELAY Parameter Value Explanation 0 Selects whether the sound will be sent Speaker Sw (Speaker Switch) OFF, ON through the speaker simulation (ON) or Balance D not (OFF) L in L out Cabinet Speaker Microphone

Balance W small Pre Amp Speaker Delay SMALL 1 open-back 10 dynamic Balance W enclosure Feedback small R in R out SMALL 2 open-back 10 dynamic Balance D enclosure Parameter Value Explanation open back MIDDLE 12 x 1 dynamic Pre Amp Sw enclosure (Pre Amp Switch) OFF, ON Turns the amp switch on/off. open back JC-120 12 x 2 dynamic Type of guitar amp enclosure This models the sound of the Roland open back JC-120 BUILT-IN1 12 x 2 dynamic JC-120. enclosure CLEAN TWIN This models a Fender Twin Reverb. open back BUILT-IN2 12 x 2 condenser This models the sound input to left input enclosure on a Matchless D/C-30. MATCH DRIVE open back A simulation of the latest tube amp BUILT-IN3 12 x 2 condenser enclosure widely used in styles from blues and rock. open back This models the lead sound of the MESA/ BUILT-IN4 12 x 2 condenser Boogie combo amp. enclosure BG LEAD The sound of a tube amp typical of the open back SpType (Speaker Type) BUILT-IN5 12 x 2 condenser late ‘70s to ‘80s. enclosure This models the sound input to Input I on sealed BG STACK1 12 x 2 condenser MS1959I a Marshall 1959. enclosure This is a trebly sound suited to hard rock. large This models the sound input to Input II on MS1959II BG STACK2 sealed 12 x 2 condenser Type (Pre Amp Type) a Marshall 1959. enclosure The sound of connecting inputs I and II large MS1959I+II of the guitar amp in parallel, creating a sound with a stronger low end than I. MS STACK1 sealed 12 x 4 condenser enclosure This models a Soldano SLO-100. This is SLDN LEAD the typical sound of the eighties. large MS STACK2 sealed condenser This models the lead channel of a Peavey 12 x 4 METAL 5150 EVH 5150. enclosure This is distortion sound that is ideal for large METAL LEAD performances of heavy riffs. MTL STACK double 12 x 4 condenser This models the sound of the BOSS OD-1. stack OD-1 This produces sweet, mild distortion. large This is the high-gain overdrive sound of 2-STACK double 12 x 4 condenser OD-2 TURBO the BOSS OD-2. stack This gives a basic, traditional distortion large triple DISTORTION 3-STACK 12 x 4 condenser sound. stack FUZZ A fuzz sound with rich harmonic content. Dly Switch (Delay Switch) OFF, ON Delay on/off Volume and amount of distortion of the Volume 0–127 Adjusts the delay time from the direct (Pre Amp Volume) amp Dly Time (Delay Time) 1–1300 [msec] sound until the delay sound is heard. Master (Pre Amp Master) 0–127 Volume of the entire pre-amp Adjusts the proportion of the delay sound Dly Fbk -98–+98 [%] that is fed back into the effect. LOW, MIDDLE, (Delay Feedback) Gain (Pre Amp Gain) Amount of pre-amp distortion HIGH Negative (-) settings will invert the phase. 200, 250, 315, 400, Bass (Pre Amp Bass) 0–127 Tone of the bass/mid/treble frequency 500, 630, 800, range Frequency at which the high-frequency Middle 0–127 1000, 1250, 1600, (Pre Amp Middle) Dly HF (Delay HF Damp) portion of the delay sound will be cut Middle cannot be set if “MATCH DRIVE” is 2000, 2500, 3150, (BYPASS: no cut) Treble (Pre Amp Treble) 0–127 selected as the Pre Amp Type. 4000, 5000, 6300, 8000, BYPASS [Hz] Adjusts the volume balance between the D100: 0W–D0: sound that is sent through the delay (W) Dly Bal (Delay Balance) 100W and the sound that is not sent through the delay (D). Level 0–127 Output Level

64 MFX/IFX Parameters

61 EP TREMOLO Parameter Value Explanation 0 Adjusts the volume balance between the Cho Bal D100: 0W–D0: sound that is sent through the chorus (W) (Chorus Balance) 100W and the sound that is not sent through L in L out the chorus (D). Type of speaker EP Amp Speaker Tremolo LINE, OLD, NEW, Sp Type (Speaker Type) WURLY, TWIN If LINE is selected, the sound will not be R in R out sent through the speaker simulation. OD Switch (Overdrive Switch) OFF, ON Overdrive on/off Parameter Value Explanation OD Gain 0–127 Overdrive input level Type of amp (Overdrive Gain) A standard electric piano sound of the OD Drive 0–127 Degree of distortion OLDCASE (Overdrive Drive) early 70s Level 0–127 Output Level Type A standard electric piano sound of the NEWCASE late 70s and early 80s A standard electric piano sound of the WURLY 60s 63 EP 0 FLANGER Bass -50–+50 Amount of low-frequency boost/cut

Treble -50–+50 Amount of high-frequency boost/cut Balance D Trm Switch (Tremolo Switch) OFF, ON Tremolo on/off L in L out Feedback If this is ON, the rate synchronizes with Balance W Trm Sync (Tremolo Speed (sync switch)) OFF, ON the tempo of the rhythm. EP Amp Speaker Flanger “Tempo” (p. 8) & Balance W Trm Hz 0.05–10.00 [Hz] (Tremolo Speed (Hz)) R in R out Rate of the tremolo effect Trm Note Note Balance D (Tremolo Speed (note)) & “Note” (p. 72) Parameter Value Explanation Trm Depth 0–127 Depth of the tremolo effect (Tremolo Depth) Type of amp Adjusts the duty cycle of the LFO Trm Duty -10–+10 A standard electric piano sound of the (Tremolo Duty) waveform used to apply tremolo. OLDCASE Type early 70s Type of speaker LINE, OLD, NEW, A standard electric piano sound of the Sp Type (Speaker Type) NEWCASE WURLY, TWIN If LINE is selected, the sound will not be late 70s and early 80s sent through the speaker simulation. Bass -50–+50 Amount of low-frequency boost/cut OD Switch OFF, ON Overdrive on/off (Overdrive Switch) Treble -50–+50 Amount of high-frequency boost/cut OD Gain 0–127 Overdrive input level Flg Switch (Overdrive Gain) (Flanger Switch) OFF, ON Flanger on/off OD Drive 0–127 Degree of distortion Adjusts the delay time from when the (Overdrive Drive) Flg PreDly (Flanger Pre Delay) 0.0–100 [msec] direct sound begins until the flanger Level 0–127 Output Level sound is heard. Flg Sync If this is ON, the rate synchronizes with (Flanger Rate OFF, ON the tempo of the rhythm. (sync switch)) & “Tempo” (p. 8) 62 EP 0 CHORUS Flg Hz (Flanger Rate (Hz)) 0.05–10.00 [Hz] Frequency of modulation Balance D Flg Note Note (Flanger Rate (note)) & “Note” (p. 72) L in L out Flg Depth (Flanger Depth) 0–127 Depth of modulation Balance W EP Amp Speaker Chorus Adjusts the proportion of the flanger Flg Fbk sound that is fed back into the effect. Balance W (Flanger Feedback) -98–+98 [%] Negative (-) settings will invert the phase. R in R out Adjusts the volume balance between the Balance D Flg Bal D100: 0W–D0: sound that is sent through the flanger (Flanger Balance) 100W (W) and the sound that is not sent Parameter Value Explanation through the flanger (D). Type of amp Type of speaker LINE, OLD, NEW, A standard electric piano sound of the Sp Type (Speaker Type) If LINE is selected, the sound will not be OLDCASE WURLY, TWIN Type early 70s sent through the speaker simulation. A standard electric piano sound of the OD Switch NEWCASE (Overdrive Switch) OFF, ON Overdrive on/off late 70s and early 80s OD Gain Bass -50–+50 Amount of low-frequency boost/cut (Overdrive Gain) 0–127 Overdrive input level Treble -50–+50 Amount of high-frequency boost/cut OD Drive (Overdrive Drive) 0–127 Degree of distortion Cho Switch OFF, ON Chorus on/off (Chorus Switch) Level 0–127 Output Level Adjusts the delay time from the direct Cho PreDly 0.0–100 [msec] (Chorus Pre Delay) sound until the chorus sound is heard. If this is ON, the rate synchronizes with Cho Sync (Chorus Rate (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Cho Hz (Chorus Rate (Hz)) 0.05–10.00 [Hz] Frequency of modulation Cho Note Note (Chorus Rate (note)) & “Note” (p. 72) Cho Depth (Chorus Depth) 0–127 Depth of modulation

65 MFX/IFX Parameters

64 EP PHASER Parameter Value Explanation 0 Speed at which the current delay time changes to the specified delay time when you change the delay time. L in L out Dly Accel (Delay Accel) 0–15 The speed of the pitch change will change simultaneously with the delay EP Amp Speaker Phaser time. Mix Adjusts the proportion of the delay sound Resonance Dly Fbk that is fed back into the effect. (Delay Feedback) -98–+98 [%] R in R out Negative (-) settings will invert the phase. 200, 250, 315, 400, Parameter Value Explanation 500, 630, 800, Frequency at which the high-frequency Type of amp 1000, 1250, 1600, Dly HF (Delay HF Damp) portion of the delay sound will be cut 2000, 2500, 3150, A standard electric piano sound of the (BYPASS: no cut) OLDCASE 4000, 5000, 6300, Type early 70s 8000, BYPASS [Hz] A standard electric piano sound of the NEWCASE Adjusts the volume balance between the late 70s and early 80s D100: 0W–D0: sound that is sent through the delay (W) Dly Bal (Delay Balance) Bass -50–+50 Amount of low-frequency boost/cut 100W and the sound that is not sent through Treble -50–+50 Amount of high-frequency boost/cut the delay (D). Type of speaker Phs Switch OFF, ON Phaser on/off LINE, OLD, NEW, (Phaser Switch) Sp Type (Speaker Type) WURLY, TWIN If LINE is selected, the sound will not be If this is ON, the rate synchronizes with sent through the speaker simulation. Phs Sync OFF, ON the tempo of the rhythm. (Phaser Rate (sync switch)) OD Switch OFF, ON Overdrive on/off & “Tempo” (p. 8) (Overdrive Switch) Phs Hz OD Gain (Phaser Rate (Hz)) 0.05–10.00 [Hz] (Overdrive Gain) 0–127 Overdrive input level Frequency of modulation Phs Note Note OD Drive 0–127 Degree of distortion (Phaser Rate (note)) & “Note” (p. 72) (Overdrive Drive) Adjusts the basic frequency from which Level 0–127 Output Level Phs Manual 0–127 (Phaser Manual) the sound will be modulated. Phs Depth (Phaser Depth) 0–127 Depth of modulation Phs Reso 66 ENHANCER 0 CHORUS (Phaser Resonance) 0–127 Amount of feedback

Phs Mix (Phaser Mix) 0–127 Level of the phase-shifted sound Balance D Type of speaker LINE, OLD, NEW, L in Enhancer L out Sp Type (Speaker Type) WURLY, TWIN If LINE is selected, the sound will not be sent through the speaker simulation. Mix Balance W Chorus OD Switch OFF, ON Overdrive on/off (Overdrive Switch) Balance W OD Gain 0–127 Overdrive input level (Overdrive Gain) R in Enhancer R out OD Drive Mix Balance D (Overdrive Drive) 0–127 Degree of distortion Level 0–127 Output Level Parameter Value Explanation Enh Sens (Enhancer Sens) 0–127 Sensitivity of the enhancer Level of the overtones generated by the Enh Mix 0–127 65 EP 0 DELAY (Enhancer Mix) enhancer Adjusts the delay time from the direct Cho PreDly 0.0–100 [msec] (Chorus Pre Delay) sound until the chorus sound is heard. Balance D If this is ON, the rate synchronizes with L in L out Cho Sync (Chorus Rate (sync switch)) OFF, ON the tempo of the rhythm. Balance W & “Tempo” (p. 8) EP Amp Speaker Time Ctrl Cho Hz Delay (Chorus Rate (Hz)) 0.05–10.00 [Hz] Balance W Frequency of modulation Feedback Cho Note Note R in R out (Chorus Rate (note)) & “Note” (p. 72) Balance D Cho Depth (Chorus Depth) 0–127 Depth of modulation Parameter Value Explanation Adjusts the volume balance between the Type of amp Cho Bal D100: 0W–D0: sound that is sent through the chorus (W) (Chorus Balance) 100W and the sound that is not sent through A standard electric piano sound of the OLDCASE the chorus (D). Type early 70s Level 0–127 Output Level A standard electric piano sound of the NEWCASE late 70s and early 80s Bass -50–+50 Amount of low-frequency boost/cut Treble -50–+50 Amount of high-frequency boost/cut Dly Switch (Delay Switch) OFF, ON Delay on/off If this is ON, the rate synchronizes with Dly Sync (Delay Time (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Dly Msec 1–1300 [msec] (Delay Time (msec)) Adjusts the delay time from the direct Dly Note Note sound until the delay sound is heard. (Delay Time (note)) & “Note” (p. 72)

66 MFX/IFX Parameters

67 ENHANCER 0 FLNGR 69 CHORUS 0 DELAY

Balance D Balance D Balance D L in Enhancer L out L in L out Feedback Balance W Mix Balance W Balance W Flanger Chorus Delay Balance W Balance W Balance W Feedback R in Enhancer R out R in R out Mix Balance D Balance D Balance D

Parameter Value Explanation Parameter Value Explanation Adjusts the delay time from the direct Enh Sens 0–127 Sensitivity of the enhancer Cho PreDly 0.0–100 [msec] (Enhancer Sens) (Chorus Pre Delay) sound until the chorus sound is heard. Level of the overtones generated by the Enh Mix 0–127 If this is ON, the rate synchronizes with (Enhancer Mix) enhancer Cho Sync (Chorus Rate (sync switch)) OFF, ON the tempo of the rhythm. Adjusts the delay time from when the & “Tempo” (p. 8) Flg PreDly 0.0–100 [msec] direct sound begins until the flanger (Flanger Pre Delay) Cho Hz 0.05–10.00 [Hz] sound is heard. (Chorus Rate (Hz)) Frequency of modulation If this is ON, the rate synchronizes with Cho Note Note Flg Sync (Flanger Rate (Chorus Rate (note)) & “Note” (p. 72) (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Cho Depth (Chorus Depth) 0–127 Depth of modulation Flg Hz 0.05–10.00 [Hz] (Flanger Rate (Hz)) Cho Bal D100: 0W–D0: Volume balance between the direct Frequency of modulation (Chorus Balance) 100W sound (D) and the chorus sound (W) Flg Note Note (Flanger Rate (note)) & “Note” (p. 72) If this is ON, the rate synchronizes with Dly Sync (Delay Time OFF, ON FLG_DEPTH 0–127 Depth of modulation (sync switch)) the tempo of the rhythm. (Flanger Depth) & “Tempo” (p. 8) Adjusts the proportion of the flanger Dly Msec 1–2600 [msec] Flg Fbk sound that is fed back into the effect. (Delay Time (msec)) Adjusts the delay time from the direct (Flanger Feedback) -98–+98 [%] Negative (-) settings will invert the phase. Dly Note Note sound until the delay sound is heard. (Delay Time (note)) & “Note” (p. 72) Adjusts the volume balance between the Adjusts the proportion of the delay sound Flg Bal D100: 0W–D0: sound that is sent through the flanger (Flanger Balance) Dly Fbk that is fed back into the effect. 100W (W) and the sound that is not sent (Delay Feedback) -98–+98 [%] through the flanger (D). Negative (-) settings will invert the phase. Level 0–127 Output Level 200, 250, 315, 400, 500, 630, 800, Adjusts the frequency above which sound 1000, 1250, 1600, fed back to the effect will be cut. If you do Dly HF (Delay HF Damp) 2000, 2500, 3150, not want to cut the high frequencies, set 4000, 5000, 6300, this parameter to BYPASS. 68 ENHANCER 0 DELAY 8000, BYPASS [Hz] Adjusts the volume balance between the Balance D D100: 0W–D0: sound that is sent through the delay (W) Dly Bal (Delay Balance) 100W and the sound that is not sent through L in Enhancer L out the delay (D). Mix Balance W Level 0–127 Output Level Delay Balance W Feedback R in Enhancer R out Mix Balance D

Parameter Value Explanation Enh Sens (Enhancer Sens) 0–127 Sensitivity of the enhancer Level of the overtones generated by the Enh Mix 0–127 (Enhancer Mix) enhancer If this is ON, the rate synchronizes with Dly Sync (Delay Time (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) Dly Msec 1–2600 [msec] (Delay Time (msec)) Adjusts the delay time from the direct Dly Note Note sound until the delay sound is heard. (Delay Time (note)) & “Note” (p. 72) Adjusts the proportion of the delay sound Dly Fbk that is fed back into the effect. (Delay Feedback) -98–+98 [%] Negative (-) settings will invert the phase. 200, 250, 315, 400, 500, 630, 800, Adjusts the frequency above which sound 1000, 1250, 1600, fed back to the effect will be cut. If you do Dly HF (Delay HF Damp) 2000, 2500, 3150, not want to cut the high frequencies, set 4000, 5000, 6300, this parameter to BYPASS. 8000, BYPASS [Hz] Adjusts the volume balance between the D100: 0W–D0: sound that is sent through the delay (W) Dly Bal (Delay Balance) 100W and the sound that is not sent through the delay (D). Level 0–127 Output Level

67 MFX/IFX Parameters

70 FLANGER 0 DELAY 71 CHORUS 0 FLANGER

Balance D Balance D Balance D Balance D L in L out L in L out Feedback Balance W Feedback Balance W Balance W Balance W Flanger Delay Chorus Flanger Balance W Balance W Balance W Feedback Balance W R in R out R in R out Balance D Balance D Balance D Balance D

Parameter Value Explanation Parameter Value Explanation

Adjusts the delay time from when the Cho PreDly Adjusts the delay time from the direct Flg PreDly (Chorus Pre Delay) 0.0–100 [msec] (Flanger Pre Delay) 0.0–100 [msec] direct sound begins until the flanger sound until the chorus sound is heard. sound is heard. If this is ON, the rate synchronizes with If this is ON, the rate synchronizes with Cho Sync (Chorus Rate OFF, ON the tempo of the rhythm. Flg Sync (Flanger Rate (sync switch)) (sync switch)) OFF, ON the tempo of the rhythm. & “Tempo” (p. 8) & “Tempo” (p. 8) Cho Hz 0.05–10.00 [Hz] Flg Hz (Chorus Rate (Hz)) Modulation frequency of the chorus (Flanger Rate (Hz)) 0.05–10.00 [Hz] Frequency of modulation Cho Note Note effect Flg Note Note (Chorus Rate (note)) & “Note” (p. 72) (Flanger Rate (note)) & “Note” (p. 72) Cho Depth 0–127 Modulation depth of the chorus effect Flg Depth (Chorus Depth) (Flanger Depth) 0–127 Depth of modulation Cho Bal D100: 0W–D0: Volume balance between the direct Adjusts the proportion of the flanger (Chorus Balance) 100W sound (D) and the chorus sound (W) Flg Fbk -98–+98 [%] sound that is fed back into the effect. (Flanger Feedback) Adjusts the delay time from when the Negative (-) settings will invert the phase. Flg PreDly (Flanger Pre Delay) 0.0–100 [msec] direct sound begins until the flanger Flg Bal D100: 0W–D0: Volume balance between the direct sound is heard. (Flanger Balance) 100W sound (D) and the flanger sound (W) If this is ON, the rate synchronizes with Flg Sync (Flanger Rate If this is ON, the rate synchronizes with (sync switch)) OFF, ON the tempo of the rhythm. Dly Sync (Delay Time “Tempo” (p. 8) (sync switch)) OFF, ON the tempo of the rhythm. & & “Tempo” (p. 8) Flg Hz (Flanger Rate (Hz)) 0.05–10.00 [Hz] Dly Msec 1–2600 [msec] Modulation frequency of the flanger (Delay Time (msec)) Adjusts the delay time from the direct Flg Note Note effect Dly Note Note sound until the delay sound is heard. (Flanger Rate (note)) & “Note” (p. 72) (Delay Time (note)) & “Note” (p. 72) Flg Depth 0–127 Modulation depth of the flanger effect Adjusts the proportion of the delay sound (Flanger Depth) Dly Fbk that is fed back into the effect. Adjusts the proportion of the flanger (Delay Feedback) -98–+98 [%] Flg Fbk sound that is fed back into the effect. Negative (-) settings will invert the phase. (Flanger Feedback) -98–+98 [%] Negative (-) settings will invert the phase. 200, 250, 315, 400, 500, 630, 800, Adjusts the frequency above which sound Adjusts the volume balance between the 1000, 1250, 1600, fed back to the effect will be cut. If you do D100: 0W–D0: sound that is sent through the flanger Dly HF (Delay HF Damp) Flg Bal 2000, 2500, 3150, not want to cut the high frequencies, set (Flanger Balance) 100W (W) and the sound that is not sent 4000, 5000, 6300, this parameter to BYPASS. through the flanger (D). 8000, BYPASS [Hz] Level 0–127 Output Level Adjusts the volume balance between the D100: 0W–D0: sound that is sent through the delay (W) Dly Bal (Delay Balance) 100W and the sound that is not sent through the delay (D). 72 CE-1 (Chorus) Level 0–127 Output Level This models the classic BOSS CE-1 chorus effect unit. It provides a chorus sound with a distinctively analog warmth.

L in 2-Band EQ L out CE-1 R in 2-Band EQ R out

Parameter Value Explanation Intensity 0–127 Chorus depth Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

68 MFX/IFX Parameters

73 SBF-325 (Flanger) 75 2TAP PAN DELAY

This effect reproduces Roland’s SBF-325 analog flanger. It provides three types of flanging effect (which adds a metallic resonance to Balance D the original sound) and a chorus-type effect. L in L out

Delay 1 Balance W L in L out SBF-325 Double Tap Delay R in R out

Feedback Delay 2 Balance W Parameter Value Explanation Types of flanging effect R in R out FL1 A typical mono flanger Balance D A stereo flanger that preserves the stereo FL2 Parameter Value Explanation Mode positioning of the original sound Dly Sync (Delay Time If this is ON, the delay synchronizes with A cross-mix flanger that produces a more OFF, ON FL3 (sync switch)) the tempo. intense effect Dly Msec 1–2600 [msec] CHO A chorus effect (Delay Time (msec)) Adjusts the time until the second delay If this is ON, the rate synchronizes with Dly Note Note sound is heard. Rate Sync (Delay Time (note)) “Note” (p. 72) (Rate (sync switch)) OFF, ON the tempo of the rhythm. & & “Tempo” (p. 8) Adjusts the proportion of the delay sound Rate Hz (Rate (Hz)) 0.02–5.00 [Hz] Dly Fbk -98–+98 [%] that is fed back into the effect. Modulation frequency of the flanger (Delay Feedback) Negative (-) settings will invert the phase. Rate Note Note effect (Rate (note)) & “Note” (p. 72) 200, 250, 315, 400, Adjusts the frequency above which 500, 630, 800, Depth 0–127 Modulation depth of the flanger effect sound fed back to the effect is filtered 1000, 1250, 1600, Dly HF (Delay HF Damp) out. If you don’t want to filter out any Center frequency at which the flanger 2000, 2500, 3150, Manual 0–127 high frequencies, set this parameter to effect is applied 4000, 5000, 6300, BYPASS. Amount by which the flanging effect is 8000, BYPASS [Hz] Feedback 0–127 boosted Dly 1 Pan L64–63R Stereo location of Delay 1 If Mode is CHO, this setting is ignored. (Delay 1 Pan) Phase of the right channel modulation: Dly 2 Pan (Delay 2 Pan) L64–63R Stereo location of Delay 2 Typically, you will leave this at Normal Dly 1 Level R Mod Phase (NORM). If you specify Inverted (INV), (Delay 1 Level) 0–127 Volume of delay 1 (CH-R Modulation Phase) the modulation (upward/downward movement) of the right channel is Dly 2 Level (Delay 2 Level) 0–127 Volume of delay 2 NORM, INV inverted. Amount of boost/cut for the low- Low Gain -15–+15 [dB] L Phase (CH-L Phase) Phase when mixing the flanging sound frequency range with the original sound Amount of boost/cut for the high- High Gain -15–+15 [dB] NORM: normal phase frequency range R Phase (CH-R Phase) INV: inverse phase Adjusts the volume balance between the D100: 0W–D0: sound that is sent through the delay (W) Level 0–127 Output Level Balance 100W and the sound that is not sent through the delay (D). Level 0–127 Output Level 74 SDD-320 (DIMENSION D)

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

L in 2-Band EQ L out SDD-320 R in 2-Band EQ R out

Parameter Value Explanation 1, 2, 3, 4, 1+4, 2+4, Mode Switches the mode. 3+4 Amount of boost/cut for the low- Low Gain -15–+15 [dB] frequency range Amount of boost/cut for the high- High Gain -15–+15 [dB] frequency range Level 0–127 Output Level

69 MFX/IFX Parameters

76 TRANSIENT Parameter Value Explanation 200, 250, 315, 400, 500, 630, 800, This effect lets you control the way in which the sound attacks and 1000, 1250, 1600, M Mid3 F Frequency of the middle range 3 decays. (M Mid3 Frequency) 2000, 2500, 3150, 4000, 5000, 6300, L in L out 8000 [Hz] M Mid3G (M Mid3 Gain) -12.00–+12.00 [dB] Gain of the middle range 3 Envelope Controller Width of the middle range 3 M Mid3 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the R in R out range to be affected. 2000, 2500, 3150, 4000, 5000, 6300, Parameter Value Explanation M High F Frequency of the high range (M High Frequency) 8000, 10000, Character of the attack. 12500, 16000 [Hz] Attack -50–+50 Higher values make the attack more Amount of boost/cut for the high- M HighG (M High Gain) -12.00–+12.00 [dB] aggressive; lower values make the attack frequency range milder. Switches whether to apply tonal Character of the decay. S EQ Switch OFF, ON adjustment to left/right input signals Release -50–+50 Higher values make the sound linger; whose phase is distant (opposite phase). lower values make the sound cutoff Volume of left/right signals whose phase quickly. S In G (S Input Gain) -12.00–+12.00 [dB] is distant (opposite phase) Out Gain (Output Gain) -24–+12 [dB] Output gain 20, 25, 31, 40, 50, 63, 80, 100, 125, Quickness with which the attack is S Low F Frequency of the low range Sens (Sense) LOW, MID, HIGH (S Low Frequency) 160, 200, 250, 315, detected 400 [Hz] Level 0–127 Output Level Amount of boost/cut for the low- S Low G (S Low Gain) -12.00–+12.00 [dB] frequency range 200, 250, 315, 400, 500, 630, 800, 77 MID-SIDE EQ 1000, 1250, 1600, S Mid1 F Frequency of the middle range 1 (S Mid1 Frequency) 2000, 2500, 3150, This effect allows the left/right signals that have similar phase to be 4000, 5000, 6300, tonally adjusted in a different way than the left/right signals that 8000 [Hz] have different phase. S Mid1G (S Mid1 Gain) -12.00–+12.00 [dB] Gain of the middle range 1 Width of the middle range 1 Mid S Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the L in LR 5-Band EQ MS L out range to be affected. / / MS LR 200, 250, 315, 400, R in 5-Band EQ R out Side 500, 630, 800, 1000, 1250, 1600, S Mid2 F Frequency of the middle range 2 Parameter Value Explanation (S Mid2 Frequency) 2000, 2500, 3150, 4000, 5000, 6300, Switches whether to apply tonal 8000 [Hz] M EQ Switch OFF, ON adjustment to left/right input signals whose phase is similar (in phase). S Mid2G (S Mid2 Gain) -12.00–+12.00 [dB] Gain of the middle range 2 Volume of left/right input signals whose Width of the middle range 2 M In G (M Input Gain) -12.00–+12.00 [dB] phase is similar (in phase) S Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the range to be affected. 20, 25, 31, 40, 50, 63, 80, 100, 125, 200, 250, 315, 400, M Low F Frequency of the low range (M Low Frequency) 160, 200, 250, 315, 500, 630, 800, 400 [Hz] 1000, 1250, 1600, S Mid3 F Frequency of the middle range 3 (S Mid3 Frequency) 2000, 2500, 3150, Amount of boost/cut for the low- M Low G (M Low Gain) -12.00–+12.00 [dB] 4000, 5000, 6300, frequency range 8000 [Hz] 200, 250, 315, 400, S Mid3G (S Mid3 Gain) -12.00–+12.00 [dB] Gain of the middle range 3 500, 630, 800, 1000, 1250, 1600, Width of the middle range 3 M Mid1 F Frequency of the middle range 1 (M Mid1 Frequency) 2000, 2500, 3150, S Mid3 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the 4000, 5000, 6300, range to be affected. 8000 [Hz] 2000, 2500, 3150, M Mid1G 4000, 5000, 6300, (M Mid1 Gain) -12.00–+12.00 [dB] Gain of the middle range 1 S High F Frequency of the high range (S High Frequency) 8000, 10000, Width of the middle range 1 12500, 16000 [Hz] M Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the Amount of boost/cut for the high- S HighG (S High Gain) -12.00–+12.00 [dB] range to be affected. frequency range 200, 250, 315, 400, Level 0–127 Output Level 500, 630, 800, 1000, 1250, 1600, M Mid2 F Frequency of the middle range 2 (M Mid2 Frequency) 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz] M Mid2G (M Mid2 Gain) -12.00–+12.00 [dB] Gain of the middle range 2 Width of the middle range 2 M Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 Set a higher value for Q to narrow the range to be affected.

70 MFX/IFX Parameters

78 MID-SIDE COMP 79 TONE FATTENER

This effect allows the left/right signals that have similar phase to be This effect applies distinctive distortion, adding overtones to give adjusted to a different sense of volume than the left/right signals more depth to the sound. that have different phase. L in L out Mid L in LR Compressor MS L out Odd Overtone / / Generator MS LR R in Compressor R out Side Even Overtone Parameter Value Explanation Generator Switches whether to adjust the sense of Even M Comp Sw (M Comp Switch) OFF, ON volume for left/right input signals whose Overtone phase is similar (in phase). Generator Sets the speed at which compression Odd M Attack 0–124 starts Overtone Generator Adjusts the time after the signal volume M Release 0–124 falls below the Threshold Level until R in R in compression is no longer applied. Parameter Value Explanation Adjusts the volume at which compression M Thres (M Threshold) -60–0 [dB] begins Raising the value adds odd-order Odd Level 0–400 [%] This is a function that smooths the onset overtones. of compression from the uncompressed Raising the value adds even-order Even Level 0–400 [%] M Knee 0–30 [dB] state; it gradually applies compression overtones. starting earlier than THRES. Higher values Level 0–127 Output Level produce a smoother transition. 1: 1, 1.5: 1, 2: 1, 4: 1, M Ratio Compression ratio 16: 1, INF: 1

M Gain (M Post Gain) 0–+18 [dB] ‑ Level of the output sound Switches whether to adjust the sense of S Comp Sw (S Compressor Switch) OFF, ON volume for left/right input signals whose phase is distant (opposite phase). Sets the speed at which compression S Attack 0–124 starts Adjusts the time after the signal volume S Release 0–124 falls below the Threshold Level until compression is no longer applied. Adjusts the volume at which compression S Thres (S Threshold) -60–0 [dB] begins This is a function that smooths the onset of compression from the uncompressed S Knee 0–30 [dB] state; it gradually applies compression starting earlier than THRES. Higher values produce a smoother transition. 1: 1, 1.5: 1, 2: 1, 4: 1, S Ratio Compression ratio 16: 1, INF: 1

S Gain (S Post Gain) 0–+18 [dB] Level of the output sound Level 0–127 Output Level

71 MFX/IFX Parameters

Note

Sixty-fourth-note Sixty-fourth Thirty-second- Thirty-second triplet note note triplet note Sixteenth-note Dotted thirty- Eighth-note Sixteenth note triplet second note triplet Dotted sixteenth Quarter-note Dotted eighth Eighth note note triplet note Dotted quarter Quarter note Half-note triplet Half note note Whole-note Double-note Dotted half note Whole note triplet triplet Dotted whole Double note note

72