KORG Pa2x 2.0 Advanced Edit Manual

E 2

ENGLISH OS Ver. 2.0 Advanced Edit

Table of Contents 1

Table of Contents

Sound operating mode ...... 2 Sampling operating mode ...... 31 The MIDI channel ...... 2 Entering and exiting the Sampling mode ...... 31 How to select oscillators ...... 2 The Record (Sampling) procedure ...... 31 Sounds, Drum Kits, Digital Drawbars ...... 2 Edit menu ...... 33 Main page ...... 2 Sampling: Record ...... 33 Digital Drawbars page ...... 4 Sampling: Edit ...... 34 Edit menu ...... 5 Sampling: Loop Edit ...... 35 Edit page structure ...... 5 Sampling: Sampling Info ...... 36 Basic: Sound Basic ...... 5 Time Slice ...... 36 Basic: OSC Basic ...... 7 The Time Slice procedure ...... 39 Basic: Vel/Key Zone ...... 9 The Extend procedure ...... 40 Basic: Damper Mode ...... 9 Multisample: Edit MS ...... 41 Basic: Damper Trigger ...... 10 Multisample: Key Assign ...... 41 DrumKit: Sample Setup (Drum Kits) ...... 11 Page menu ...... 42 DrumKit: Voice Mixer (Drum Kits) ...... 12 Write Sample dialog box ...... 43 Pitch: Pitch Mod ...... 13 Write MultiSample dialog box ...... 43 Pitch: Pitch EG ...... 14 Write Slice dialog box ...... 44 Filter: Filter Type ...... 16 Delete Sample dialog box ...... 44 Filter: Filter Mod ...... 17 Delete Multisample dialog box ...... 44 Filter: Filter LFO ...... 18 Export Sample page ...... 45 Filter: Filter EG ...... 19 Export Multisample page ...... 45 Amp: Amp Level/Pan ...... 21 How to merge PCM samples from various sources ...... 45 Amp: Amp Mod ...... 21 Effects ...... 46 Amp: Amp EG ...... 22 Dynamic Modulation sources ...... 46 LFO: LFO1 ...... 24 Dynamics (Dynamic) ...... 47 LFO: LFO2 ...... 25 EQ and Filters (EQ/Filter) ...... 51 Effects: FX Select ...... 25 Overdrive, Amp models, and Mic models (OD Amp Mic) . . . 59 Effects: FX1 ...... 26 Chorus, Flanger, and Phaser (Cho/Fln Phaser) ...... 64 Effects: FX2 ...... 26 Modulation and Pitch Shift (Mod./P.Shift) ...... 70 Page menu ...... 26 Delay ...... 81 Write Sound dialog box ...... 27 Reverb and Early Reflections (Reverb ER) ...... 91 Copy Oscillator dialog box ...... 27 Mono-Mono Serial (Mono-Mono) ...... 93 Copy FX dialog box ...... 27 Double Size ...... 110 Copy Drum Kit dialog box ...... 28 Vocoder ...... 119 AMS (Alternate Modulation Source) list ...... 29 2 Sound operating mode The MIDI channel

Sound operating mode

The Sound operating mode is where you can listen to individual Before pressing MENU to enter the edit environment, you Sounds, and edit them. should select a Sound of the type you wish to edit or create. To select a Sound, see the “Basic operations” chapter. Note: Notes pointing to special Drum Kit features are marked by In this mode, the selected Sound can always be played across the the icon. full keyboard range. While in a different operating mode, you can easily select the Sound to be edited when switching to the Sound mode. Just select the track the Sound to be edited is assigned to, then keep Main page the SHIFT button pressed while pressing the SOUND button. Here is the main page of the Sound operating mode. Hint: This is useful to see the Bank Select/Program Change numbers when programming a Song on an external sequencer. Page header Page menu icon Note: The Sound uses the same Scale of the latest selected Perfor- mance or STS. Sound Info area

The MIDI channel Realtime Controls area In Sound mode, Pa2X receives and transmits on the same channel of the Upper 1 track. If the Global channel is assigned, notes can be received also on this channel. See “MIDI: MIDI In Chan- nels” on page 230 and “MIDI: MIDI Out Channels” on page 230 of the User’s Manual for more information. Voice Assign Mode area FX area

How to select oscillators Page header This line shows the current operating mode and transposition. While in an edit page requiring an oscillator to be selected for editing, use the vertical row of buttons on the right (1…16 max) to select one of the available oscillators. The Operating mode Master Transpose number of available oscillators depends on the “Oscillators name (in semitones) Count” parameter (see page 5). If you cannot see the desired oscillator, touch the scroll Operating mode name arrow, until the hidden oscillator is shown in the display. Name of the current operating mode. When oscillators cannot be select, since the parameter contained in the current page are global and valid for the Master transpose whole Sound, these buttons are greyed out, and cannot be Master transpose value in semitones. This value can be changed selected. using the TRANSPOSE buttons on the control panel.

Page menu icon Sounds, Drum Kits, Digital Drawbars Touch the page menu icon to open the menu. See “Page menu” on page 26 for more information. Pa2X features three different kinds of Sounds: • Ordinary Sounds. These are normal instrument Sounds, like pianos, strings, basses. Sound Info area • Drum Kits. These are drum and percussion kits, where This is where basic details for the Sound are shown. Touch any- each note of the keyboard is a different percussive instru- where in this area to open the Sound Select window. ment. You can ﬁnd Drum Kits in the DRUM & PERC and USER DK banks. Sound name • Digital Drawbars. These are Sounds with a very complex Name of the Sound assigned to the corresponding Keyboard structure, and a special usage. See “Digital Drawbars page” track. on page 4 for more information. Sound operating mode 3 Main page

Bank Cutoff Filter cutoff. This sets the sound brightness. Bank the current Sound belongs to. LFO Depth Intensity of the Vibrato (LFO).

Bank Select / Program Change sequence LFO Speed Speed of the Vibrato (LFO). LFO Delay Delay time before the Vibrato (LFO) begins, after Bank Select MSB / Bank Select LSB / Program Change numbers, the sound starts. in the form “CC00.CC32.PC”. Resonance Use the Filter Resonance to boost the cutoff fre- CC00 This section shows the value of the Control quency. Change (CC) 00 message (or Bank Select MSB) for the selected Sound. CC32 This section shows the value of the Control Voice Assign Mode Change (CC) 32 message (a.k.a. Bank Select LSB) Poly for the selected Sound. PC This section shows the value of the Program The Sound will play polyphonically, allowing you play chords. Change (PC) message for the selected Sound. Mono Values are in the standard 0-127 MIDI numbering format. The Sound will play monophonically, producing only one note at a time. Note: Some manufacturers could use the 1-128 numbering system; when connecting your Pa2X to Hold an instrument of this kind, increment the PC value by 1 unit. Use this parameter to keep the notes sustained even after releasing the keys. Octave Transpose icon Note: Please remember the Hold must be On before playing the Octave transpose value. Use the UPPER OCTAVE buttons to note to be held. change this value. Legato Realtime Controls area This parameter is available when the Mono option is selected. Controls in this area allow you to edit the main parameters of Note: If “Legato” is On, certain multisamples or keyboard locations the Sounds assigned to each track. Touch one of them, and mod- may produce an incorrect pitch. ify its value by using the TEMPO/VALUE controls (or moving On Legato is on. When multiple note-on’s occur, the your finger). first note-on will retrigger the sound, and the sec- While in this page, Assignable Sliders are linked to the corre- ond and subsequent note-on’s will not retrigger. sponding Realtime Controls (a.k.a. Easy Sound Edit parame- When legato is on, multiple note-on’s will not ters). retrigger the voice. If one note is already on and another note is turned on, the first voice will con- Assignable Realtime Assignable Realtime tinue sounding. The oscillator sound, envelope, Slider Control Slider Control and LFO will not be reset, and only the pitch of the oscillator will be updated. This setting is 1 Attack 5 LFO Depth effective for wind instrument sounds and analog 2 Decay 6 LFO Speed synth-type sounds. 3 Release 7 LFO Delay Off Legato is off. Notes will always be retriggered 4 Cutoff 8 Resonance when note-on occurs.

Note: All values refer to the original values of the Sound. When legato is off, multiple note-on’s will retrigger the voice at each note-on. The oscillator sound, Note: When selecting the Write Sound command from the page envelope, and LFO will be reset (and retriggered) menu, current parameter values, after editing the Realtime Con- according to the settings of the Sound. trols, are saved with the Sound. After saving, Realtime Controls are set back to the default position. FX Area Note: After selecting a different Sound, Realtime Control values are automatically set to zero. In Sound mode, the Sound uses its own effects instead of relying on A-D effects. Two effect processors (FX1 and FX2) are available. Attack Attack time. This is the time during which the sound goes from zero (at the moment when you On/Off strike a key) to it’s maximum level. Use this button to turn on or off the corresponding effect. Decay Decay time. Time to go from the ﬁnal Attack level to the beginning of the Sustain. Note: When an effect parameter is edited, this parameter is automatically set to On. Release Release time. This is the time during which the sound goes from the sustaining phase, to zero. Note: If the FX1 and FX2 effects have been set to Off, FX Send val- The Release is triggered by releasing a key. ues are set to zero when saving the Sound. 4 Sound operating mode Digital Drawbars page

Selected Effect Percussion Non editable. This shows the effect assigned to the corresponding The percussion adds a percussive sound to the attack segment of FX processor. To select a different effect, see “FX1/2” on page 25. the organ sound.

Send On/Off Use this knob to adjust the level of the dry sound sent to the cor- Use this parameter to turn percussion on or off. responding effect. Foot FX Amount Use this parameter to select a percussion register. Volume of the effect, that is added to the dry (uneffected) signal. 4’ Percussion added to the 4’ foot. 2 2 2 /3’ Percussion added to the 2 /3’ foot.

Digital Drawbars page Mode (Percussion Mode) This parameters lets you decide if the percussion sound has to be DIGITAL DRAWBARS are different from ordinary Sounds. triggered on the ﬁrst note of a group of held notes, or to all Their parameters are not saved as a new Sound, but can be saved notes. to a Performance. Therefore, when entering the Digital Draw- bars page, the MENU button is disabled. All The percussive attack is played on all notes of a chord. Note: In Style Play and Backing Sequence mode, only a Digital Drawbar Sound is available for the Keyboard tracks, and one for 1st The percussive attack is played only on the ﬁrst the Style tracks. Save them to a Performance (see “Write Perfor- note of a chord or a group of held notes. Release mance dialog box” on page 112 of the User’s Manual). all notes to trigger the percussion again. Note: In Song Play mode, there is a Digital Drawbars Sound for the Volume (Percussion Volume) Keyboard tracks, one for Song tracks 1-8, another one for Song tracks 9-16. Level of the percussive sound. Note: In Sequencer mode there is a Digital Drawbars Sound for 0…99 Level. Song tracks 1-8, one for Song tracks 9-16. Length (Percussion Length) When you select the DIGITAL DRAWBARS bank, the Digital Drawbar page appears, and the current setting is assigned to the Decay speed of the percussive sound. selected track. 0…99 Decay time.

Atk Noise (Attack Noise)

On/Off Turns the noise component of the percussive attack on of off.

Volume Level of the attack noise (from 0 to 7).

Wave (Drawbar Wave) When entering this page, the SLIDER MODE button is automat- Waveshape of the drawbars. ically set to DRAWBARS, so you can use the sliders to change each foot volume. As an alternative, touch a footage and drag it Mellow A mellow-sounding synthetic wave. on the display, or use the TEMPO/VALUE controls to change its Hard A harder-sounding synthetic wave. value. Each foot refers to the pipe length in a pipe organ, in which the Get Sliders sound is produced by pipes of different length. Longer pipes mean a lower sound; therefore, the 16’ drawbar produces the Touch this button to get the current position of the physical slid- lowest pitched sound, while the 1’ drawbar produces the highest ers, and assign their value to the virtual slider. pitched sound. Sound operating mode 5 Edit menu

Operating mode Edit menu This indicates that the instrument is in Sound mode.

Edit section From any page, press the MENU button to open the Sound edit menu. This menu gives access to the various Sound edit sections. This identiﬁes the current edit section, corresponding to one of the items of the edit menu (see “Edit menu” on page 5). When in the menu, select an edit section, or press EXIT or SOUND to exit the menu and return to the main page. To return Page menu icon to the main page, you can also select the Main Page menu item. Touch this icon to open the page menu (see “Page menu” on When in an edit page, press EXIT or the SOUND button to page 26). return to the main page of the Sound operating mode. • When an ordinary Sound is selected: Selected oscillator Use these buttons to select the oscillator to edit.

Parameters area Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the various types of parameters, see sections starting from page 5.

Tabs Use tabs to select one of the edit pages of the current edit section.

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

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

Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by touch- ing the corresponding tab on the lower part of the display.

Edit page structure Oscillator Count Oscillators Count All edit pages share some basic elements. Use this box to specify the number of oscillators (up to 16) the Sound is based on. Operating mode Edit section Page menu icon The total amount of polyphony varies depending on the number of oscillators used by the Sound (a maximum of 120 with only 1 Selected oscillator per voice). oscillator Note: When editing the Grand Piano sound, keep in mind Oscilla- tors 10~15 can only be heard when the Damper pedal is depressed. Parameters area Low priority Use this parameter to decide if the highest-numbered oscillators must be turned off when more polyphony voices are needed. Keep in mind that, with a dense polyphony, missing oscillators Tabs might not even be heard. 0 No oscillator will be turned off in any case. 6 Sound operating mode Basic: Sound Basic

1 The highest-numbered oscillator will be turned Transpose Range off, if needed. 2 The two highest-numbered oscillators can be Top/Bottom Key turned off, one after the other, if needed. Use these parameters to set a range for transposition. Inside this [n]…16 The n-numbered oscillators (up to 16) can be range notes are transposed. Outside this range, they are not turned off, one after the other, if needed. transposed. This is useful to avoid RX Sounds being transposed when transposing a Sound. Voice Assign Mode Note: Set these (general) values so that all RX Noises assigned to any Oscillator fall out of the Transpose Range. For example, if you Poly/Mono assigned an RX Noise to a G7 on OSC1, and an RX Noise to an A7 on OSC2, set the “Top Key” value no higher than F#7 (just below This is the polyphonic mode of the Sound. the lowest RX Noise). Poly The Sound will play polyphonically, allowing you to play chords. Legato as OSC Trigger Mono The Sound will play monophonically, producing The parameters included in this section are to be considered only one note at a time. when a note is played ‘legato’, i.e., with no gap with the previous Single Trigger note. These parameters are valid for the whole Sound (all oscillators). This parameter is available when the selected mode is Poly. Max Time On When the same note is played repeatedly, the previous note will be silenced before the next note is This delay allows notes to be considered Legato, even if there is a sounded, so that the notes do not overlap. small gap before them. This is useful to avoid some notes in a chord are played Legato, and some others Staccato. Off When the same note is played repeatedly, the previous note will not be silenced before the next 1…999 ms Notes played with a small gap are still considered note is sounded. Legato notes. A value of approx. 15 ms is usually considered effective when playing chords. Legato Max Range This parameter is only available when the selected mode is Mono. It is the same found on the main page of the Sound This is the range (in semitones) within the Legato is considered. mode. If you play a wider interval, the note is considered Staccato. This is typical of some acoustic instruments, where legato is only pos- See “Legato” on page 3 for information on this parameter. sible within a small interval, but not on wider ones. Priority As an example, please try the Sound “Nylon Guitar DNC”, where This parameter is available when the selected mode is Mono. It the Max Range is 5 semitones. Play legato with intervals smaller speciﬁes which note will be given priority to play when two or than 5 semitones, and you will hear how smoother legato notes more notes are played simultaneously. will become. Play legato with wider intervals, and legato smoothing will be lost. Low Lowest note will take priority. 1…127 st Max range in semitones. High Highest note will take priority. Last Last note will take priority.

Hold Use this parameter to keep the notes sustained even after releasing the keys. Sound operating mode 7 Basic: OSC Basic

On The sound will begin from the offset location Basic: OSC Basic pre-determined for each multisample. Off The sound will start from the beginning of the The multisample(s) on which the Sound will be based can be multisample waveform. selected here for each of the sixteen oscillators. Each oscillator Level can use 1 or 2 multisamples, each one assigned to the High or Low layer. These parameters specify the level of each multisample. 0…127 Multisample level. Note: Depending on the multisample, high settings of this parameter may cause the sound to distort when a chord is played. If this occurs, lower the level.

Pitch/Delay/Velocity Switch

Octave Use this parameter to adjust the pitch of the selected oscillator in octave units. The normal octave of the multisample is “0”. -2…+1 Octave transposition. OSC Multisample Transpose High/Low Bank/Num Use this parameter to adjust the pitch of the selected oscillator in Use these parameters to select a different multisample for each of semitone steps over a range of ±1 octave. the High and Low layers. You can use velocity to switch between -12…+12 Transposition in semitones. the two multisamples. Offset and Level can be adjusted independently for the High and Low multisamples. Tune The High and Low pop-up menus is where you select the bank Use this parameter to adjust the pitch of the sample in one-cent (ROM or RAM), while the numeric ﬁeld under it is for selecting steps (a semitone is 100 cents) over a range of ±1 octave. the multisample inside the selected bank. The Sound name appears on its right. -1200…+1200 The multisample you select for the High layer will be triggered Fine-tune value in cents. by velocities higher than the value of the “Velocity Multisample Switch Low-High” parameter (see page 7). If you do not wish to Velocity Multisample Switch Low-High use velocity switching, set the switch to a value of 001, and select This is the velocity value dividing the High and Low layers for only the High multisample. the selected oscillator. Notes struck harder than this value will be ROM The Factory bank. The internal Factory area of played by the High multisample. the Flash-ROM memory contains 604 different multisamples (preset multisamples), supplied by OSC Trigger Mode Korg as standard. OSC Trigger parameters are used to set the condition to trigger RAM RAM multisample, read from the RAM. These the selected Oscillator. For example, a Normal Oscillator will are user-loaded or created multisamples. always play, while a Legato Oscillator will only play when a note Note: If you create a new Sound based on a RAM is played Legato. multisample, the RAM samples must be loaded from the internal HD (hidden PCM folder). See Mode “PCM Autoload” and “Load PCM button” on This is the trigger that allows the selected Oscillator to play. page 264 of the User’s Manual (Media mode) for Normal The Oscillator always plays when a key is pressed information on loading PCM samples, either at (unless the “OSC Off when Sound Controllers startup or with a dedicated command. are On” parameter is checked). In case samples are not loaded, no sound will be Legato The Oscillator only plays when the note is played heard, even if the Sound can be selected and its ‘legato’. The delay and pitch interval from the name appears in the display. previous note are also to be considered, as set in Note: Each multisample has an upper note range limit, and cannot the Sound > Basic page (see “Legato as OSC Trig- produce sound when played above that limit. ger” above).

2nd Offset Staccato The Oscillator only plays when the note is NOT played legato (it is the opposite of the above These parameters specify the point where the multisample(s) choice). will begin to play. For some multisamples this parameter will not be available. 8 Sound operating mode Basic: OSC Basic

Sound Controller 1 Random As the above, but with a random selection of Oscillators within the assigned group. The Oscillator only plays after a switch, footswitch or EC5 pedal programmed as the Sound After Touch Trigger On Controller 1 has been pressed. Press and release The Oscillator starts playing when an After Touch it, and the next note will also trigger the selected message with a value of at least 90 is received. The Oscillator. If you keep it pressed, the Oscillator Velocity value is the same as the latest Note On will continue to be triggered until you release the message. The Oscillator will stop playing when controller. the After Touch value falls back to zero. Note: In Sequencer and Sound mode, the Assign- Hint: This (like the following Triggers) is especially able Switch 1 is automatically assigned to Sound useful to trigger harmonics or growls when a note is Controller 1. already playing. Hint: This (like the following Sound Controllers) is Y+ Trigger On especially useful to enable a different nuance to the following note(s). As the above, but with the Joystick, assigned as the Sound Controller, pushed at least half-way Sound Controller 2 forward (value 64). The controller is turned off As the above, but with a switch, footswitch or EC5 when the Joystick is released. This control is pedal programmed as the Sound Controller 2. equivalent to a CC#01 (Modulation) Control Change message. Note: In Sequencer and Sound mode, the Assign- able Switch 2 is automatically assigned to Sound Y- Trigger On Controller 2. As the above, but with the Joystick, assigned as Sound Controller Y+ the Sound Controller, pulled at least half-way back (value 64). The controller is turned off when As the above, but with the Joystick, assigned as the Joystick is released. This control is equivalent the Sound Controller, pushed at least half-way to a CC#02 (Breath Controller) Control Change forward (value 64). The controller is turned off message. when the Joystick is released. This control is equivalent to a CC#01 (Modulation) Control Delay Change message. This parameter sets a delay time from the note-on to the real Sound Controller Y- beginning of the sound. With a setting of KeyOff, the sound will As the above, but with the Joystick, assigned as begin when note-off occurs. This is useful to create sounds such the Sound Controller, pulled at least half-way as the “click” that is heard when a harpsichord note is released. back (value 64). The controller is turned off when In this case, set the “Sustain” parameter to 0 (see page 19). the Joystick is released. This control is equivalent Key Off The sound will begin when the note is released. to a CC#02 (Breath Controller) Control Change message. 0…5000ms Delay time in milliseconds.

Cycle 1 All Oscillators with this same trigger mode OSC Off when Sound Controllers are On assigned will play in cycle. For example, if Oscil- lators 1, 2 and 4 are assigned the Cycle 1 trigger This ‘mirrors’ the way Sound Controllers work. With this mode, the following note will trigger Oscillator 1, parameter checked, the current Oscillator will not play when one then 2, then 4, then 1 again. of the Sound Controllers (Sound Controller 1, Sound Controller 2, Sound Controller Y+, Sound Controller Y-) is activated. It Hint: This is especially useful to trigger different should be applied to Oscillators with Normal, Legato or Staccato sound nuances or create vector-like sound trigger modes, that can be turned off by using a switch, foot- sequences. switch, EC5 pedal, or the Joystick, programmed as a Sound Con- Cycle 2 As the above, for use with a different (and paral- troller. lel) group of Oscillators. Having two Cycle Trig- ger Modes allows for cycling stereo multisamples. Sound operating mode 9 Basic: Vel/Key Zone

Basic: Vel/Key Zone Basic: Damper Mode

Here you can set a note and velocity range “window” for the Here you can program how the Damper pedal works, the Reso- selected oscillator. nance/Halo effect, and the range within the Note Off message is not sent to the selected Oscillator:

Velocity Zone Here you can specify the velocity range for the selected oscillator. Damper Mode Note: You cannot set the Bottom Velocity higher than the Top Here you can program the Damper Mode for each Oscillator. Velocity, nor the Top Velocity lower than the Bottom Velocity. 0…127 Assigned velocity. Damper Mode This parameter determines how the Damper pedal works. Keyboard Range Normal The Damper pedal works as usual: by keeping it Here you can specify the note range for the selected oscillator. pressed, the note decay is lengthened, to simulate Note: You cannot set the Bottom Key higher than the Top key, nor the longer note decay of an acoustic piano. the Top Key lower than the Bottom key. Damper Off The Damper pedal is deactivated for the selected C-1…G9 Assigned note. Oscillator. Hint: Set the Damper to Damper Off, if you plan to Scaled Velocity use the selected Oscillator in the Damper Trigger Use these parameters to scale velocity values received by the page to trigger sounds. Check the Sound “Harmon- oscillator. By using the “Velocity Zone” function (see above), an ica DNC”, and see how the Damper Trigger is used. oscillator may be limited to a restricted range (say, 10 to 20), that Resonance/Halo may result in weak dynamics when the associated sample is triggered. The Damper pedal enables a multisample, normally used for the Piano Resonance/Halo effect. By assigning a different value to these parameters, the restricted If the pedal is pressed when the note is already range will be converted to a wider range (for example, the lowest playing, the speed at which the multisample range value of 10 may be converted to a Scaled Velocity value of appears and disappears, and the volume it can 0, and the highest range value of 20 may be converted to a Scaled reach, depend on the “Resonance/Halo” parame- Velocity value of 127). All values included between the mini- ters programmed below. mum and maximum value are scaled accordingly. Hint: This Damper mode is much more realistic As a consequence, you can create an RX Sound of guitar, by than the Normal mode, but also ‘steals’ more notes assigning the guitar fret noise to the 10~20 velocity range. When from the overall polyphony, and is especially sug- a dynamics value between 10~20 is received, the real velocity gested for solo piano playing. value is scaled to the Scaled Velocity values, and plays louder. Note: Half-pedaling, as well as Damper messages 0…127 Assigned velocity value. received via MIDI (as Control Change #64), control the level of the Resonance/Halo effect. Repedaling This mode acts as the Normal mode, but also enables the Damper pedal effect when the pedal is pressed after the note has been released (Note Off). In this case, the Damper effect starts from the current Release level, and decays slowly. Warning: Do not use Sounds with the “Repedal- ing” assigned to any Oscillator in a Style, or the sustained sound could cause unwanted dissonances. The “Grand Piano RX” Sound is an example of this kind of Sounds to be avoided in a Style track. 10 Sound operating mode Basic: Damper Trigger

Resonance/Halo Here you can program the Resonance/Halo effect that is enabled Basic: Damper Trigger by the “Resonance/Halo” Damper Mode (see above). These parameters only affect the Resonance/Halo that is enabled when Here you can set the notes triggered by pressing and releasing pressing the Damper pedal down when a note is already playing. the Damper Pedal. The parameters in this page have effect on the Sound as a whole, and not on a single Oscillator. Attack Time Time needed to the Resonance/Halo to reach the maximum level after the Damper pedal has been pressed. 0…99 Attack time as a value relative to the current Amp Env Attack value.

Release Time Time needed to the Resonance/Halo to extinguish after the Damper pedal has been released. 0…99 Release time as a value relative to the current Amp Env Release value. As warned by the message on the lower area of the display, these Volume Scaling parameters have no effect if the assigned note falls inside of the Transpose Range programmed in the “Basic: Sound Basic” page Volume of the Resonance/Halo effect, relative to the current level (see “Transpose Range” on page 6). Please either choose a note of the sound (as determined by the sum of the Multisample Vol- out of that range, or modify the Transpose Range, so that the ume, Velocity value and current Amp Env value). note is either higher or lower than that range. 0% No volume at all. Transpose Range 1…100% Volume expressed as a percentage of the current sound level.

No Note Off Range

From Note Damper Trigger Sample Like in an acoustic piano, the dampers can only dampen strings up to a certain pitch. Starting from that pitch, it is as if the Damper was always pressed down. Damper On Trigger Note: This parameter only affects the Normal Damper mode. It has Pressing down the Damper pedal (Damper On) can play a spe- no effect on the Resonance/Halo mode. cial sample assigned to a particular note (for example, pedal down squeaking in the Sound “Grand Piano RX”, breathing in in C#-1…G9 Note starting from which the Damper is always the Sound “Harmonica DNC” …). pressed down. In an acoustic piano, this is usually set to G6. Note Note where the special Damper On sample is located.

Velocity Fixed velocity of the special Damper On sample.

Note Off on Damper Off If checked, the special Damper On sample stops playing when the Damper pedal is released.

Damper Off Trigger Releasing the Damper pedal (Damper Off) can play a special sample assigned to a particular note (for example, Damper pedal release noise in the Sound “Grand Piano RX”).

Note Note where the special Damper Off sample is located.

Velocity Fixed velocity of the special Damper Off sample. Sound operating mode 11 DrumKit: Sample Setup (Drum Kits)

The pop-up menu is where you select the bank (ROM or RAM), DrumKit: Sample Setup (Drum Kits) while the numeric ﬁeld under it is for selecting the sample inside the selected bank. The sample name appears on its right.

This page appears when you edit a Drum Kit. Here you can The sample you select for the current layer will be triggered by select a different percussive sample for each key and layer. velocities higher than the value of the “Velocity Switches” parameter (see page 11). If you do not wish to use velocity Drum Kits use only one oscillator. switching, assign just one layer to the selected key, and assign a sample only to Layer 1. ROM The Factory bank. The internal Factory area of the Flash-ROM memory contains 944 different Selected Layer samples (preset samples), supplied by Korg as Velocity standard. Switches RAM RAM sample, read from the RAM. These are user-loaded or created samples. Note: If you create a new Drum Kit based on a RAM sample, the RAM samples must be loaded from the internal HD (hidden PCM folder). See “PCM Autoload” and “Load PCM button” on Key page 264 of the User’s Manual (Media mode) for information on loading PCM samples, either at startup or with a dedicated command. Key In case samples are not loaded, no sound will be Key in edit. You can press a key on the keyboard, while this heard, even if the Drum Kit can be selected and its parameter is selected, to select a key. name appears in the display. Layers Note: Each sample has an upper note range limit, and may not Number of layers assigned to the selected key. Depending on the produce sound when played above that limit. number of selected layers, you can have a different number of 2nd Offset velocity switches. These parameters specify the point where the sample will begin Assign to play. For some samples this parameter will not be available. Use this parameter to turn the sample on/off. On The sound will begin from the offset location On The sample is assigned to the selected key. pre-determined for each sample. Off The sample is not assigned. The sample assigned Off The sound will start from the beginning of the to the next highest assigned key is used instead. sample. Reverse Layer Selector & Velocity Sample Switch Non editable. The sample will be played in reverse. In the case of Factory (Flash-ROM) or User (RAM) samples that were origi- Selected Layer nally speciﬁed to loop, the sample will be played back in “one- Use these radio buttons to select the layer to edit. The available shot” reverse mode. If the sample was originally set to reverse, it layers depends on the “Layers” parameter. will playback without change.

Velocity Switches On The sample will playback in reverse. Each of these values separates the two adjacent layers for the Off The sample will play back normally. selected sample/key. Notes stricken harder than a velocity switch Level will be played by the layer on the right, while notes stricken softer are played by the layer on the left. This parameter speciﬁes the level of the sample. For more information, see “Level” on page 7. The ﬁrst and last values are not editable, and are always 001 and 127 (respectively). Mono/Stereo indicator Non editable. This indicator tells if the selected sample is mono Drum Sample (one voice per note) or stereo (two voices per note).

Bank/Num Transpose Use these parameters to select a different Drum Sample for each This parameter transposes the selected sample. Use it to change layer. You can use velocity to switch between the available sam- the pitch of the selected key. ples. Offset and Level can be adjusted independently for the various multisamples. 0 No transposition applied. -64…+63 Transpose value in semitones. 12 Sound operating mode DrumKit: Voice Mixer (Drum Kits)

Tune Exclusive Group Use this parameter to ﬁne-tune the assigned sample. Exclusive Groups are sets of mutually exclusive keys, stopping each other. For example, if the Open Hi-Hat and Closed Hi-Hat 0 Original tuning. are assigned the same Exclusive Group, playing an Open Hi-Hat -99…+99 Fine-tuning value in cents (1/100 of a semitone). will stop the Closed Hi-Hat playing.

Cutoff None No Exclusive Group assigned. The selected key will not be stopped by any other key. This parameter sets the cutoff frequency for the ﬁlter applied to the selected sample. 1…127 Exclusive Groups assigned to the selected key. When you play this key, all other keys assigned to Resonance the same Exclusive Group will be stopped, and this key will be stopped by other keys assigned to This parameter sets the resonance for the ﬁlter applied to the the same Exclusive Group. selected sample. Enable Note On Receive Attack Use this parameter to enable/disable the reception of the Note This parameter is an offset to the selected sample’s EG Attack. On (Key On) message. Decay On The Note On message is normally received. This parameter is an offset to the selected sample’s EG Decay. Off The Note On message is not received. Therefore, the corresponding key is muted.

Enable Note Off Receive DrumKit: Voice Mixer (Drum Kits) Use this parameter to enable/disable the reception of the Note Off (Key Off) message. This page appears when you edit a Drum Kit. Here you can set On The sound will stop as soon as you release the various parameters for the different percussive sample assigned key. to the selected key and layer. Off The sound will continue playing up to the end of the sample. The Note Off message is ignored.

Mixer

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

Send FX1 This parameter sets the FX1 send level for of the selected key. Key Send FX2 See “Key” on page 11. This parameter sets the FX2 send level for of the selected key.

Voice Assign Mode

Single Trigger Use this parameter to set the sample as a single-triggered one. On When the same key (note) is played repeatedly, the previous note will be stopped before the new note is triggered, so that they will not overlap. Off When the same key (note) is played repeatedly, the previous note will not be stopped before the new note is triggered. Sound operating mode 13 Pitch: Pitch Mod

For example, if you set this to -60 and move the joystick all the Pitch: Pitch Mod way to the left, the pitch will fall ﬁve octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the tremolo arm. Here you can make pitch settings for each oscillator. These settings specify how keyboard location will affect the pitch of each -60…+12 Maximum pitch change in semitones. oscillator, and select the controllers that will affect the oscillator AMS (Alternate Modulation Source) pitch and specify the depth of control. You can also specify the amount of pitch change produced by the Pitch EG and by LFO1 This parameter selects the source that will modulate the pitch of and LFO2, switch portamento on/off and specify how it will the selected oscillator. See “AMS (Alternate Modulation Source) apply. list” on page 29.

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

Pitch Slope Pitch EG Normally you will leave this parameter at +1.0. Positive (+) val- The Pitch EG (Envelope Generator) is unique to all oscillators. ues will cause the pitch to rise as you play higher notes, and negative (–) values will cause the pitch to fall as you play higher Velocity Intensity notes. This parameter speciﬁes the depth and direction of the modula- With a value of 0, there will be no change in pitch, and the C4 tion that the pitch EG speciﬁed on “Pitch: Pitch EG” will apply pitch will sound regardless of the keyboard location you play. to the pitch. With a setting of 12.00, the pitch will change a max- The diagram shows how the Pitch Slope and pitch are related: imum of ±1 octave. Pitch -12.00…+12.00 +2 Parameter value. +1

2oct Pitch EG AMS (Alternate Modulation Source) 1oct 0 1oct This parameter selects the source that will modulate the pitch

–1 EG of the selected oscillator. See “AMS (Alternate Modulation Source) list” on page 29). C4 C5 Key -1.0…+2.0 Pitch slope value. Pitch EG Intensity

JS (+X) This parameter speciﬁes the depth and direction of the effect that “AMS” will have. For example, if you set “AMS” to Velocity This parameter speciﬁes how the pitch will change when the joy- and set this value to +12.00, the velocity will control the range of stick is moved all the way to the right. A setting of 12 produces 1 pitch change produced by the pitch EG in a range of ±1 octave. octave of change. As you play more softly, the pitch change will draw closer to the For example if you set this to +12 and move the joystick all the pitch EG levels. way to the right, the pitch will rise one octave above the original Pitch change (level) pitch. Note-on Note-on Note-on Note-off Note-off Note-off -60…+12 Maximum pitch change in semitones.

JS (–X)

This parameter speciﬁes how the pitch will change when the joy- Softly played Strongly played with Strongly played with a stick is moved all the way to the left. A setting of 12 produces 1 (Intensity (Pitch EG) setting) a positive (+) value negative (–) value octave of change. Note: “Intensity” (Pitch EG) and AMS will be added to determine the depth and direction of the pitch modulation applied by the pitch EG. 14 Sound operating mode Pitch: Pitch EG

Portamento Pitch: Pitch EG Enabled

This parameter turns the portamento effect (smooth change in Here you can make settings for the pitch EG, which creates time- pitch from one note to the next) on/off, and speciﬁes how it will variant changes in the pitch of the oscillators. The depth of pitch be applied. change produced by these EG settings on the oscillators is Note: Portamento will also be switched when CC#65 (Portamento adjusted by the “Intensity (AMS1/2 Intensity)” parameter (see SW) is received. page 15). On Portamento will be applied. Off Portamento will not be applied.

Fingered This parameter speciﬁes whether the portamento effect restarts or not with each note played. On Portamento will restart with each note. Off Portamento will not restart with each note.

Time This parameter sets the portamento time. Increasing the value Diagram will produce a slower change in pitch. The diagram on top of the page shows the Pitch envelope line. 000…127 Portamento time in MIDI value. Level These parameters specify the amount of pitch change. The actual amount of pitch change will depend on the “Intensity (AMS1/2 Intensity)” parameter (see below). For example, with an “Inten- sity” setting of +12.00, a “Level” setting of +99 would raise the pitch one octave, and a “Level” setting of –99 would lower the pitch one octave.

Time-varying pitch settings (when Pitch EG Intensity = +12.00)

+99 = approximately 1 octave Attack Level Note-on Note-off

0 = pitch when key is held Time (sustained) Start Level Release Level Attack Decay Time Time Release Time –99 = approximately 1 octave

Start Level Speciﬁes the amount of pitch change at note-on. -99…+99 Parameter value.

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

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

Time These parameters specify the time over which the pitch change will occur. See diagram above. Sound operating mode 15 Pitch: Pitch EG

Attack Time At (Attack Level Swing) Specifies the time over which the pitch will change from note-on This parameter specifies the direction of change in “Attack until it reaches the pitch specified as the attack level. Level” caused by “AMS1/2”. If “Intensity” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will 0…99 Parameter value. decrease it. With a setting of 0 there will be no change. Decay Time Specifies the time over which the pitch will change after reaching Time Modulation the attack level until it reaches the normal pitch. Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value) Note-on Note-on Note-on 0…99 Parameter value. Note-off Note-off Note-off

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

Level Modulation AMS (Alternate Modulation Source)

Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value This parameter selects the source that will control the “Time”

Note-on Note-on Note-on parameters of the pitch EG (see “AMS (Alternate Modulation Note-off Note-off Note-off Source) list” on page 29).

Intensity (AMS Intensity) This parameter speciﬁes the depth and direction of the effect A note played softly with A note played strongly with A note played strongly with Start Level Swing set at 0, Start Level Swing set to 0, Start Level Swing set to 0, that “AMS” will have on the “Time” parameters. With a setting of Attack Level Swing set to +, Attack Level Swing set to +, Attack Level Swing set to –, 0, the pitch EG times will be just as speciﬁed by the “Time” set- the Joystick pulled on the Joystick pulled on the Joystick pulled on tings.

AMS1/2 (Alternate Modulation Source 1/2) The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time These parameters select the source that will control the pitch EG that comes next. “Level” parameters (“AMS (Alternate Modulation Source) list” on page 29). For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached. Intensity (AMS1/2 Intensity) When this parameter is set to values of 16, 33, 49, 66, 82, or 99, These parameters specify the depth and direction of the effect the specified EG times will speed up as much as 2, 4, 8, 16, 32, or applied by “AMS1”. With a setting of 0, the levels specified by 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, “Level” will be used. or 1/64 of the original time). For example if “AMS1” is After Touch, pressing the keys to turn For example if “AMS” is set to Velocity, increasing the absolute it on will change the “Level” parameters of the Pitch EG. As the value of “Intensity” will allow strongly-played notes to increase absolute value of “Intensity” is increased, the pitch EG levels will the changes in pitch EG “Time” values. The direction of the change more greatly when the key pressure is released. The change is specified by “At (Attack Time Swing)” and “Dc (Decay direction of the change is specified by “St (Start Level Swing)” Time Swing)”. As you play more softly, the pitch EG times will and “At (Attack Level Swing)”. When the key pressure is more closely approach the actual settings of the pitch EG. released, the pitch EG levels will return to their own settings. -99…+99 Parameter value. If “AMS1” is set to Velocity, increasing the absolute value of “Intensity” will produce increasingly wider change in pitch EG At (Attack Time Swing) levels for strongly-played notes. The direction of the change is This parameter specifies the direction in which “AMS” will affect specified by “St (Start Level Swing)” and “At (Attack Level the “Attack Time” parameter. With positive (+) values of “Inten- Swing)”. As you play more softly, the pitch change will draw sity”, a setting of + will cause the time to be lengthened, and a closer to the pitch EG levels. setting of – will cause the time to be shortened. With a setting of -99…+99 Parameter value. 0 there will be no change.

St (Start Level Swing) Dc (Decay Time Swing) This parameter speciﬁes the direction of change in “Start Level” Specify the direction in which “AMS” will affect the “Decay caused by “AMS1/2”. If “Intensity” is a positive (+) value, a set- Time”. With positive (+) values of “Intensity”, a setting of + will ting of + will raise the EG level, and a setting of – will decrease it. cause the time to be lengthened, and a setting of – will cause the With a setting of 0 there will be no change. time to be shortened. With a setting of 0 there will be no change. 16 Sound operating mode Filter: Filter Type

Resonance (Resonance A) Filter: Filter Type The resonance emphasizes the overtone components that lie in the region of the cutoff frequency specified by “Frequency”, pro- Here you can make settings for the filters that will be used by the ducing a more distinctive sound. Increasing this value will pro- oscillators. You can select either a 24 dB/octave low pass filter duce a stronger effect. with resonance, or a series connection of a 12 dB/octave low pass 00…99 Resonance value. filter and a 12 dB/octave high pass filter. Res. Mod. by AMS (Resonance modulated by AMS) Selects the source that will control the “Resonance” level. See “AMS (Alternate Modulation Source) list” on page 29.

The effect of resonance

Low Pass Level

Low resonance value High resonance value

Filter Type Intensity (AMS Intensity) This parameter selects the type of filter (Low Pass Resonant, Low This parameter specifies the depth and direction of the effect Pass & High Pass) for the selected oscillator. that “Res. Mod. by AMS (Resonance modulated by AMS)” will Low Pass Resonance have on the resonance level specified by “Resonance (Resonance A)”. When the Low Pass filter type is selected, only filter A will be activated. For example if Velocity has been selected, changes in keyboard velocity will affect the resonance. With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will Low Pass & High Pass approach the level specified by the “Resonance” setting. When the Low Pass & High Pass filter type is With negative (–) values, the resonance will decrease as you play selected, the filter B will be activated. more strongly, and as you play more softly the resonance will approach the level specified by the “Resonance” setting. The resonance level is determined by adding the “Resonance” Trim and “Intensity (AMS Intensity)” values. -99…+99 Parameter value. Use this parameter to adjust the level at which the audio signal output from the selected oscillator is input to filter A. Note: If this value is raised, the sound may distort if Resonance is Filter B set to a high value or when you play a chord. Frequency (Cutoff Frequency B) 00…99 Trim level. This parameter specifies the cutoff frequency of filter B. This parameter will be displayed when “Filter Type” is set to Low Pass Filter A & High Pass.

Frequency (Cutoff Frequency A) High Pass Level This filter cuts the low-frequency range that This parameter speciﬁes the cutoff frequency of ﬁlter A. lies below the cutoff frequency. By cutting the lower overtones, it lightens the tone. This is a filter that cuts the 12dB/oct Low Pass high-frequency region above the cutoff Frequency Level frequency. This is the most common type of filter, 12dB/oct and is used to cut part of the overtone components, making an originally bright 00…99 Cutoff frequency value. 24dB/oct timbre sound more mellow (darker). When the “Filter Type” is Low Pass Frequency Resonance, the cutoff will have a steeper slope.

00…99 Cutoff frequency value. Sound operating mode 17 Filter: Filter Mod

Tracking to A/B Filter: Filter Mod These parameters specify the note numbers at which keyboard tracking will begin to apply, and set the “Intensity to A” and These settings let you apply modulation to the cutoff frequency “Intensity to B” parameters to specify the depth and direction of (“Frequency”) of the ﬁlter for the selected oscillator to modify the change applied to ﬁlters A and B. the tone. For the range of notes between “Key Low” and “Key High”, the cutoff frequency will change according to the keyboard location (pitch). -99…+99 Parameter value.

Filter EG

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

When “Filter Type” is Low Pass Resonance, parameters for ﬁlter Softly playedStrongly played Strongly played B will not be editable (greyed out). Setting to + Setting to –

Keyboard Tracking Velocity to A

Key Low/High This parameter specifies the depth and direction of the effect that velocity will have on the time-varying changes created by These settings specify keyboard tracking for the cutoff frequency the filter EG (as set on “Filter: Filter EG”) to control the filter A of the filter for the selected oscillator. The way in which the cut- cutoff frequency. off frequency is affected by the keyboard location you play can be specified by the “Key Low”, “Key High”, “Ramp Low” and With positive (+) values, playing more strongly will cause the fil- “Ramp High” parameters. ter EG to produce greater changes in cutoff frequency. With negative (–) values, playing more strongly will also cause the filter Keyboard tracking will apply to the range below the specified EG to produce greater changes in cutoff frequency, but with the Low note number, and above the specified High note number. polarity of the EG inverted. C–1…G9 Lowest/Highest note in the range. 99…+99 Value of the Velocity to A parameter.

Ramp Low/High Velocity to B These parameter specifies the angle of keyboard tracking. This parameter specifies the depth and direction of the effect If “Intensity to A” and “Intensity to B” are set to +50, “Ramp that velocity will have on the time-varying changes created by Low” is set to –62 and “Ramp High” is set to +62, the angle of the filter EG to control the filter B cutoff frequency (see “Velocity the change in cutoff frequency will correspond to the keyboard to A”). location (pitch). This means that the oscillation that occurs 99…+99 Value of the Velocity to B parameter. when you increase the “Resonance (Resonance A)” will correspond to the keyboard location. Int to A (Intensity to A) If you set “Ramp Low” to +43 and “Ramp High” to –43, the cut- Specifies the depth and direction of the effect that the time-vary- off frequency will not be affected by keyboard location. Use this ing changes created by the filter 1 EG will have on the filter A setting when you do not want the cutoff frequency to change for cutoff frequency. each note. With positive (+) settings, the sound will become brighter when -99…+99 Angle value. the EG levels set by Filter EG “Level” and “Time” parameters are Here is how cutoff frequency is affected by keyboard location in the “+” area, and darker when they are in the “–” area. and the Ramp setting (“Intensity to A” and “Intensity to B” = With negative (–) settings, the sound will become darker when +50): the EG levels set by Filter EG “Level” and “Time” parameters are

Cutoff frequency High Ramp=+99 in the “+” area, and brighter when they are in the “–” area.

High Ramp=+62 -99…+99 Parameter value.

High Ramp=0 Int to B (Intensity to B) High Ramp=–43 Low Ramp=+99 Specifies the depth and direction of the effect that the time-vary- Low Ramp=+43 High Ramp=–99 ing changes created by the filter EG will have on the filter B cut- Low Ramp=0 off frequency (see “Int to A (Intensity to A)”).

Low Ramp=–62 Key Low Key High Key -99…+99 Parameter value. Low Ramp=–99 18 Sound operating mode Filter: Filter LFO

AMS (EG Alternate Modulation Source) Selects the source that will control the depth and direction of the Filter: Filter LFO effect that the time-varying changes produced by the filter EG will have on the cutoff frequency of filters A and B. See “AMS Here you can use the filter LFO to apply cyclic modulation to the (Alternate Modulation Source) list” on page 29. cutoff frequency of the filter (for the selected oscillator) to create cyclical changes in tone. Int to A (Intensity to A) Specifies the depth and direction of the effect that “AMS” will have on filter A. For details on how this will apply, refer to “Int to A (Intensity to A)”.

Int to B (Intensity to B) Specifies the depth and direction of the effect that “AMS” will have on filter B. For details on how this will apply, refer to “Int to A (Intensity to A)”. Note: The sum of the settings for “Velocity to A/B”, “Intensity to A/ B”, and “(AMS) Intensity to A/B” will determine the depth and direction of the effect produced by the filter EG. LFO 1 Filter A/B Modulation Intensity to A AMS1 (Alternate Modulation Source 1 for filter A/B) Specifies the depth and direction of the modulation that LFO1 Selects the source that will control modulation of the filter A (set on “LFO: LFO1”) will have on the cutoff frequency of filter cutoff frequency. See “AMS (Alternate Modulation Source) list” A. Negative (–) settings will invert the phase. on page 29. Change in cutoff Note: The filter B parameters will be displayed when “Filter Type” on page 16 is Low Pass & High Pass.

Intensity (Intensity to AMS1) Specifies the depth and direction of the effect that “AMS1” will Low setting High setting have. -99…+99 Parameter value. When “AMS1” is JS X, a positive (+) value for this parameter will cause the cutoff frequency to rise when the joystick is moved Intensity to B toward the right, and fall when the joystick is moved toward the Specify the depth and direction of the modulation that LFO1 left. With a negative (–) value for this parameter, the opposite will have on the cutoff frequency of filter B (see “Intensity to A”). will occur. -99…+99 Parameter value. This value is added to the setting of the Filter A “Frequency”. JS (Joystick) –Y Intensity to A AMS2 (Alternate Modulation Source 2 for filter A/B) By moving the joystick in the Y direction (toward yourself), you Selects the source that will control modulation of the filter A can control the depth at which LFO1 modulates the cutoff fre- cutoff frequency (see “AMS (Alternate Modulation Source) list” quency of filter A. This parameter specifies the depth and direc- on page 29). tion of the control. Intensity (Intensity to AMS2) Higher settings of this parameter will produce greater increases in the effect of LFO1 on the filter when the joystick is moved Specifies the depth and direction of the effect that the selected toward yourself. source will have (see “Intensity (Intensity to AMS1)” on page 18). -99…+99 Parameter value.

JS (Joystick) –Y Intensity to B By moving the joystick in the Y direction (toward yourself), you can control the depth at which LFO1 modulates the cutoff frequency of ﬁlter B. This parameter speciﬁes the depth and direction of the control (see “JS (Joystick) –Y Intensity to A”).

AMS (Filter LFO1 Alternate Modulation Source) Select a source that will control the depth and direction of cutoff frequency change for both ﬁlters A and B. See “AMS (Alternate Modulation Source) list”. Sound operating mode 19 Filter: Filter EG

Intensity to A Start Specifies the depth and direction of the effect that “AMS” will This parameter specifies the change in cutoff frequency at the have on filter A. time of note-on. For example if “AMS” is After Touch, higher settings of this -99…+99 Level value. parameter will allow greater change to be applied to LFO1 when you apply pressure to the keyboard. Attack -99…+99 Parameter value. This parameter specifies the change in cutoff frequency after the attack time has elapsed. Intensity to B -99…+99 Level value. Specifies the depth and direction of the effect that “AMS” will have on filter B (see “Intensity to A”). Break (Break Point) This parameter specifies the change in cutoff frequency after the LFO 2 decay time has elapsed. Adjusts the depth of the cyclic modulation applied by LFO2 (set -99…+99 Level value. on “LFO: LFO2”) to the cutoff frequency of filters A and B. For Sustain more information on the parameters see “LFO 1” above. This parameter specifies the change in cutoff frequency that will be maintained from after the slope time has elapsed until note- off occurs. Filter: Filter EG -99…+99 Level value.

Here you can make settings for the EG that will produce time- Release varying changes in the cutoff frequency of filters A and B for the This parameter specifies the change in cutoff frequency that will selected oscillator. The depth of the effect that these settings will occur when the release time has elapsed. have on the filter cutoff frequency is determined by the “Veloc- ity” and “Intensity” parameters. -99…+99 Level value.

Time These parameters specify the time over which the ﬁlter change will occur.

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

Decay Diagram This parameter speciﬁes the time over which the level will change from the attack level to the break point level. The diagram on top of the page shows the Filter envelope line. 0…99 Time value.

Filter envelope Slope

Note-off Attack Level Sustain Level This parameter speciﬁes the time over which the level will

Note-on Release change after the decay time has elapsed until the sustain level is Level Break reached. Point The specified Level Time 0…99 Time value. cutoff frequency Start Level Attack Decay Slope Release Release Time Time Time Time This parameter specifies the time over which the level will change after note-on occurs until the release level is reached. Level 0…99 Time value. These are the envelope segment levels. The result will depend on the filter that was selected in “Filter Type”. For example, with the Low Pass Resonance filter, positive (+) values of EG Intensity will cause the tone to be brightened by positive (+) levels, and darkened by negative (–) levels. 20 Sound operating mode Filter: Filter EG

Level Modulation Time Modulation

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value) Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on Note-on Note-on Note-on Note-on Note-on Note-off Note-off Note-off Note-off Note-off Note-off

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

AMS (Alternate Modulation Source) AMS1/2 This parameter selects the source that will control the “Level” Use this parameter to selecthe source that will control the parameters of the ﬁlter EG (“AMS (Alternate Modulation “Time” parameters of the ﬁlter EG. See “AMS (Alternate Modu- Source) list” on page 29). lation Source) list” on page 29.

Intensity (AMS Intensity) Int (AMS Intensity) This parameter specifies the depth and direction of the effect This parameter specifies the depth and direction of the effect applied by “AMS”. With a setting of 0, the levels specified by that “AMS1/2” will have. “Frequency (Cutoff Frequency A)” will be used. For example, if “AMS1/2” is set to FltKTr +/+, the EG “Time” For example, if “AMS” is Velocity, and you set “St (Start Level parameters will be controlled by the Keyboard Tracking settings. Swing)”, “At (Attack Level Swing)” and “Br (Break Level Swing)” With positive (+) values of this parameter, positive (+) values of to + and set “Intensity” to a positive (+) value, the EG levels will “Ramp Low/High” will lengthen the EG times, and negative (–) rise as you play more strongly. If “Intensity” is set to a negative values of “Ramp Low/High” will shorten the EG times. The (–) values, the EG levels will fall as you play more strongly. direction of change is specified by “At (Attack Time Swing)”, -99…+99 Intensity value. “Dc (Decay Time Swing)”, “Sl (Slope Time Swing)”, and “Rl (Release Time Swing)”. St (Start Level Swing) With a setting of 0, the times specified by “Frequency (Cutoff This parameter specifies the direction in which “AMS” will affect Frequency A)” will be used. “Start”. When “Intensity” has a positive (+) value, a setting of + If “AMS1/2” is set to Velocity, positive (+) values of this parame- for this parameter will allow “AMS” to raise the EG level, and a ter will cause EG times to lengthen as you play more strongly, setting of – will allow “AMS” to lower the EG level. With a setting and negative (–) values will cause EG times to shorten as you of 0 there will be no change. play more strongly. At (Attack Level Swing) -99…+99 Intensity value.

This parameter speciﬁes the direction in which “AMS” will affect At (Attack Time Swing) “Attack”. When “Intensity” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a This parameter speciﬁes the direction in which “AMS1/2” will setting of – will allow “AMS” to lower the EG level. With a setting affect the attack time. With positive (+) values of “Intensity”, set- of 0 there will be no change. ting this parameter to + will allow AMS to lengthen the time, and setting this parameter to – will allow AMS to shorten the Br (Break Level Swing) time. With a setting of 0 there will be no change.

This parameter speciﬁes the direction in which “AMS” will affect Dc (Decay Time Swing) “Break (Break Point)”. When “Intensity” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise This parameter speciﬁes the direction in which “AMS1/2” will the EG level, and a setting of – will allow “AMS” to lower the EG affect the decay time. With positive (+) values of “Intensity”, set- level. With a setting of 0 there will be no change. ting this parameter to + will allow AMS to lengthen the time, and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change.

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

Rl (Release Time Swing) This parameter speciﬁes the direction in which “AMS1/2” will affect the release time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time, Sound operating mode 21 Amp: Amp Level/Pan and setting this parameter to – will allow AMS to shorten the as you play higher), and toward the left as the note numbers time. With a setting of 0 there will be no change. decrease (i.e., as you play lower). Negative (–) values of this parameter will have the opposite effect. -99…+99 Parameter value. Amp: Amp Level/Pan

These parameters control the volume and pan of the selected Amp: Amp Mod oscillator. These settings allow you to apply modulation to amp (for each oscillator) to modulate the volume.

Amp Level Volume of the selected oscillator. Note: The volume of a Sound can be controlled by CC#7 (volume) Keyboard Tracking and #11 (expression). The resulting level is determined by multiplying the values of CC#7 and #11. The Global MIDI channel is These parameters let you use keyboard tracking to adjust the used for control. volume of the selected oscillator. Use the “Key” and “Ramp” parameters to specify how the volume will be affected by the 0…127 Volume level. keyboard location that you play.

Pan Key Low/High Pan (stereo position) of the selected oscillator. These settings specify the note number at which keyboard track- This parameter is not available when editing a Drum Kit. ing will begin to apply. The volume will not change between Use the individual Pan control for each key (see “Pan” on “Key Low” and “Key High”. page 12). Keyboard tracking will apply to the range below the specified Random The sound will be heard from a different location Low note number, and above the specified Highy note number. at each note-on. C–1…G9 Lowest/Highest note in the range. L001 Places the sound at far left. Ramp Low/High C064 Places the sound in the center. These parameters specify the angle of keyboard tracking. R127 Places the sound to far right. With positive (+) values of the “Ramp Low” parameter, the vol- Note: This can be controlled by CC#10 (panpot). A CC#10 value of ume will increase as you play notes below the “Key Low” note 0 or 1 will place the sound at the far left, a value of 64 will place the number. With negative (–) values, the volume will decrease. sound at the location specified by the “Pan” setting for each oscillator, and a value of 127 will place the sound at the far right. This is With positive (+) values of the “Ramp High” parameter, the vol- controlled on the global MIDI channel. ume will increase as you play notes above the “Key High” note number. With negative (–) values, the volume will decrease. Pan modulation -99…+99 Angle value. Here is an example of volume changes produced by keyboard AMS (Alternate Modulation Source) location and “Ramp” settings:

Selects the source that will modify pan (see “AMS (Alternate Volume Modulation Source) list” on page 29). This change will be relative to the “Pan” setting. Ramp Low=+99 Ramp High=+99 Intensity Ramp Low=0 Ramp High=0 Speciﬁes the depth of the effect produced by “AMS”. For exam- Ramp Low=–99 Ramp High=–99 ple, if “Pan” is set to C064 and “AMS” is Note Number, positive

(+) values of this parameter will cause the sound to move toward Key the right as the note numbers increase beyond the C4 note (i.e., Key Low Key High 22 Sound operating mode Amp: Amp EG

Amp Modulation Diagram These parameters specify how the volume of the selected oscilla- The diagram on top of the page shows the Amplitude envelope tor will be affected by velocity. line.

Velocity Intensity Level With positive (+) values, the volume will increase as you play more strongly. With negative (–) values, the volume will These parameters are the level of the envelope segment. decrease as you play more strongly. Amplifier EG Attack Level Note-off Volume change (with positive (+) values of this parameter) Note-on Break Point Note-on Note-on Volume Note-off Note-off

Sustain Level Start Level Time

Softly played Strongly played Attack Decay Slope Release Time -99…+99 Intensity value. Time Time Time

AMS (Alternate Modulation Source) Start Selects the source that will control the volume of the amp for the This parameter speciﬁes the volume level at note-on. If you want selected oscillator (See “AMS (Alternate Modulation Source) the note to begin at a loud level, set this to a high value. list” on page 29). “Velocity” cannot be selected. 0…99 Level value.

Intensity Attack This parameter specifies the depth and direction of the effect This parameter specifies the volume level that will be reached that “AMS” will have. The actual volume will be determined by after the attack time has elapsed. multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of 0…99 Level value. the amp EG are low, the modulation applied by Alternate Modu- lation will also be less. Break For example, if “AMS” is set to After Touch, positive (+) values of This parameter specifies the volume level that will be reached this parameter will cause the volume to increase when pressure is after the decay time has elapsed. applied to the keyboard. However if the EG settings etc. have 0…99 Level value. already raised the volume to its maximum level, the volume cannot be increased further. Sustain With negative (–) values of this parameter, the volume will This parameter specifies the volume level that will be maintained decrease when pressure is applied to the keyboard. from after the slope time has elapsed until note-off occurs. -99…+99 Intensity value. 0…99 Level value.

Time Amp: Amp EG These parameters specify the time over which the volume change will occur.

These parameters let you create time-varying changes in the vol- Attack ume of the selected oscillator. This parameter speciﬁes the time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound. 0…99 Time value.

Decay This parameter speciﬁes the time over which the volume will change from when it reaches the attack level until it reaches the break point level. 0…99 Time value. Sound operating mode 23 Amp: Amp EG

Slope Time Modulation This parameter speciﬁes the time over which the volume will These parameters let you use an alternate modulation source to change from when it reaches the break point level until it reaches modify the amp EG times that were speciﬁed in “Time” on the sustain level. page 22.

0…99 Time value. Amp 1 EG changes (Time) (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track “Low Ramp”= a positive (+) value, and Release “High Ramp” = a positive (+) value) Note-on Note-on Note-on This parameter speciﬁes the time over which the volume will Note-off Note-off Note-off change after note-off until it reaches 0. 0…99 Time value.

Low-pitched note played with High -pitched note played with Attack, Decay, Slope, and Attack, Decay, Slope, and Level Modulation Release Time Swing at + Release Time Swing at –

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

Softly played note when Start Level Strongly played note when Start Level Strongly played note when Start Level Softly played note with Strongly played note with Strongly played note with Swing=0 and Attack Level Swing Swing=0 and Attack Level Swing and Swing=0 and Attack Level Swing and Attack, Decay, Slope and Attack, Decay, Slope and Attack, Decay, Slope and and Break Level Swing are set to + Break Level Swing are set to + Break Level Swing are set to + Release Time Swing at + Release Time Swing at + Release Time Swing at –

AMS (Alternate Modulation Source) AMS1 (Alternate Modulation Source 1 - Time) This parameter specifies the source that will control the “Level” This parameter specifies the source that will control the “Time” parameters of the amp EG. See “AMS (Alternate Modulation parameters of the amp EG (see “AMS (Alternate Modulation Source) list” on page 29. Source) list” on page 29). With a setting of Off, there will be no modulation. Intensity Intensity This parameter specifies the depth and direction of the effect that “AMS” will have. For example, if “AMS” is Velocity, setting This parameter specifies the depth and direction of the effect “St (Start Level Swing)”, “At (Attack Level Swing)” and “Br that “AMS1” will have. For example, if “AMS1(T)” is Amp KTrk (Break Point Level Swing)” to + and setting “Intensity” to a pos- +/+, the (Amp) Keyboard Track settings (see “Keyboard Track- itive (+) value will cause the amp EG volume levels to increase as ing” on page 21) will control the EG “Time” parameters. With you play more strongly. Setting “Intensity” to a negative (–) val- positive (+) values of this parameter, positive (+) values of ues will cause the amp EG volume levels to decrease as you play “Ramp (Ramp Setting) will cause EG times to be lengthened, more strongly. With a setting of 0, the levels will be as specified and negative (–) values of “Ramp (Ramp Setting)” will cause EG on “Amp: Amp EG”. times to be shortened. The direction of the change is specified by “At (Attack Time Swing)”, “Dc (Decay Time Swing)”, “Sl (Slope -99…+99 Intensity value. Time Swing)”, and “Rl (Release Time)”. St (Start Level Swing) When “AMS1(T)” is Velocity, positive (+) values will cause EG times to lengthen as you play more strongly, and negative (–) This parameter specifies the direction in which “AMS” will values will cause EG times to shorten as you play more strongly. change “Start”. If “Intensity” is set to a positive (+) value, setting With a setting of 0, the EG times will be as specified by the this parameter to + will allow AMS to increase the EG level, and “Level” parameters (see page 22). setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur. At (Attack Time Swing) At (Attack Level Swing) This parameter specifies the direction of the effect that “AMS1” will have on “Attack”. With positive (+) values of “Intensity”, set- This parameter specifies the direction in which “AMS” will ting this parameter to + will allow AMS1 to lengthen the time, change “Attack”. If “Intensity” is set to a positive (+) value, set- and setting it to – will allow AMS1 to shorten the time. With a ting this parameter to + will allow AMS to increase the EG level, setting of 0 there will be no effect. and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur. Dc (Decay Time Swing) Br (Break Point Level Swing) This parameter specifies the direction of the effect that “AMS1” will have on “Decay”. With positive (+) values of “Intensity”, set- This parameter specifies the direction in which “AMS” will ting this parameter to + will allow AMS1 to lengthen the time, change “Break”. If “Intensity” is set to a positive (+) value, set- and setting it to – will allow AMS1 to shorten the time. With a ting this parameter to + will allow AMS to increase the EG level, setting of 0 there will be no effect. and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur. 24 Sound operating mode LFO: LFO1

Sl (Slope Time Swing) Frequency This parameter specifies the direction of the effect that “AMS1” Set the LFO frequency. A setting of 99 is the fastest. will have on “Slope”. With positive (+) values of “Intensity”, set- 00…99 Frequency rate. ting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a Offset setting of 0 there will be no effect. This parameter specifies the central value of the LFO waveform. Rl (Release Time) For example, with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on the note-on This parameter specifies the direction of the effect that “AMS1” pitch. With a setting of +99, the vibrato will only raise the pitch will have on “Release”. With positive (+) values of “Intensity”, above the note-on pitch, in the way in which vibrato is applied setting this parameter to + will allow AMS1 to lengthen the time, on a guitar. and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect. When “Waveform” is set to Guitar, the modulation will occur only in the positive (+) direction even if you set “Offset” to 0. AMS2 (Alternate Modulation Source 2) Here are offset settings and pitch change produced by vibrato: This is another alternate modulation source for the Amp EG. See Pitch offset = –99 offset = 0 offset = +99 above “AMS1” parameters.

Pitch at note-on

LFO: LFO1 -99…+99 Offset value.

In this and the next page you can make settings for the LFO that Key Sync can be used to cyclically modulate the Pitch, Filter, and Amp of This parameter specifies if the LFO is synchronized to key each oscillator. There are two LFO units for each oscillator. By strokes. setting the LFO1 or LFO2 Intensity to a negative (–) value for On The LFO will start each time you play a note, and Pitch, Filter, or Amp, you can invert the LFO waveform. an independent LFO will operate for each note. Off The LFO effect that was started by the first-played note will continue to be applied to each newly- played note. (In this case, Delay and Fade will be applied only to the LFO when it is first started).

Fade This parameter speciﬁes the time from when the LFO begins to apply until it reaches the maximum amplitude. When “Key Sync.” is Off, the fade will apply only when the LFO is ﬁrst started. Here is how “Fade” affects the LFO (when “Key Sync” is On): Waveform Note-on Note-off This parameter selects the LFO waveform. The numbers that Fade appear at the right of some of the LFO waveforms indicate the phase at which the waveform will begin. Delay Triangle 0 Step Triangle – 4

Triangle 90 Triangle wave Step Triangle – 6 00…99 Fade rate.

Triangle Phase will change randomly at each key-in Step Saw – 4 Random Delay Saw 0 Step Saw – 6 Sawtooth down ↓ This parameter speciﬁes the time from note-on until the LFO Saw 180 Random1 (S/H): Conventional sample & hold (S/H) in which the effect begins to apply. When “Key Sync” is Off, the delay will level changes randomly at fixed intervals of Square Square wave time apply only when the LFO is ﬁrst started. Random2 (S/H): Sine Sine wave Both the levels and the time intervals will 0…99 Delay time. change randomly. Guitar Guitar vibrato Random3 (S/H): The maximum level and minimum level will alternate at random intervals of time (i.e., a Exponential square wave with random period). Frequency Modulation Triangle Exponential Random4 (Vector) You can use two alternate modulation sources to adjust the Saw Down Random5 (Vector) Random6 (Vector) Exponential These types cause Random 1–3 to change speed of the LFO1 for the selected oscillator. Saw Up smoothly. They can be used to simulate the instability of acoustic instruments etc. Sound operating mode 25 LFO: LFO2

AMS1 (Alternate Modulation Source1) Selects the source that will adjust the frequency of the selected LFO: LFO2 oscillator LFO1 (see “AMS (Alternate Modulation Source) list” on page 29). LFO1 can be modulated by LFO2. Here you can make settings for the LFO2, which is the second LFO that can be applied to the selected oscillator. See “LFO: Intensity (AMS1 Intensity) LFO1” for more information on the parameters value. This parameter speciﬁes the depth and direction of the effect However in “Frequency Modulation”, the LFO cannot be that “AMS1(F)” will have. When this parameter is set to a value selected as a modulation source in “AMS1” or “AMS2.” of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively). Effects: FX Select For example, if “AMS1(F)” is Note Number, positive (+) values of this parameter will cause the oscillator LFO to speed up as you Here you can select two effects for the whole Sound, switch them play higher notes. Negative (–) values will cause the oscillator on/off, and specify chaining. LFO to slow down as you play higher notes. This change will be centered on the C4 note. If “AMS1(F)” is set to JS +Y, raising the value of this parameter will cause the oscillator LFO1 speed to increase as the joystick is moved away from yourself. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times. -99…+99 Intensity value.

AMS2 (Alternate Modulation Source2) Intensity (AMS2 Intensity)

Make settings for a second alternate modulation source that will Note: For details on the effects, refer to the “Effects” chapter. adjust the frequency of the oscillator LFO1 (see above “AMS1 (Alter- nate Modulation Source1)” and “Intensity (AMS1 Intensity)”). FX 1/2 Group

Frequency MIDI/Tempo Sync Send

MIDI/Tempo Sync Send level for each effect. This parameter enables/disables the LFO synchronization with Drum samples have their own send level settings (see “Send Sequencer 1 Tempo. FX1” and “Send FX2” on page 12). Use this parameter to On The LFO frequency will synchronize to the tempo adjust the general offset of the Drum Kit. (MIDI Clock) of Sequencer 1. In this case, the 000…127 Effect level. values you speciﬁed for “Frequency” (see page 24) and “Frequency Modulation” (see FX1/2 page 24) will be ignored. Use these parameters to select the effect type for effect 1/2. See the “Effects” chapter for more information. Base Note Note: If 000: No Effect is selected, the output from the master effect When “MIDI/Tempo Sync” is On, these parameters set a note will be muted. length relative to “ (Tempo)” and the multiple (“Times”) that will be applied to it. These parameters will determine the fre- FX Amount quency of the LFO1. For example if “Base Note” is (quarter note) and “Times” is 04, the LFO will perform one cycle every Volume of the effect, that is added to the dry (uneffected) signal. four beats. 2>1 Even if you change the “ (Tempo)” setting of Sequencer 1, the LFO will always perform one cycle every four beats. Use this parameter to send the output of effect 2 to the input of effect 1. This parameter is not available when editing a Drum Kit. 000…127 Level of the signal exiting the effect 2 going back , , , , , , , to the effect 1. Note value. Send to Master Times This parameters allows you to decide if the direct + effected sig- This parameter is not available when editing a Drum Kit. nal must go to the Master, or just the effected signal. 1...16 Beats before restarting the cycle. 26 Sound operating mode Effects: FX1

On Only the effected signal will be sent to the Audio Outputs. The direct (non-effected) signal will not Page menu be sent.

Off Both the effected signal and direct signals will be Touch the page menu icon to open the menu. Touch a command sent to the Audio Outputs. to select it. Touch anywhere in the display to close the menu without selecting a command. Effects: FX1

In this page you can edit the effected assigned to the FX1 effect processor (usually reverb). See “Effects” on page 46 for more information.

Effects: FX2

In this page you can edit the effected assigned to the FX2 effect Write Sound processor (usually modulating effect). See “Effects” on page 46 for more information. Select this command to open the Write Sound dialog box, and save all editing parameters to a Sound. See “Write Sound dialog box” on page 27 for more information.

Solo Oscillator Select this command to solo the selected oscillator, and mute the other oscillators. Select it again to unmute the other oscillators. When this function is activated, the “Solo OSC [n]” indicator (n = oscillator number) blinks on the page header. While in this sit- uation, you can select a different oscillator to be soloed.

Swap LFO Select this command to replace LFO1 with LFO2, and vice-versa.

Copy Oscillator Select this command to copy all settings between oscillators. See “Copy Oscillator dialog box” on page 27 for more information.

Copy FX Select this command to copy all FX settings from another Sound. See “Copy FX dialog box” on page 27 for more information.

Copy Drum Kit Select this command to copy the Drum Kit from a different Drum Kit. See “Copy Drum Kit dialog box” on page 28 for more information.

Init Sound Select this command to delete all parameters, and set them to a default value.

Compare When this command is checked, original Sound parameter values are temporarily recalled, to compare them with edited Sound operating mode 27 Write Sound dialog box parameters. You cannot edit the Sound while you are in Com- pare mode. Copy Oscillator dialog box While this function is on, the Compare indicator blinks on the page header. Open this window by selecting the Copy Oscillator item from the page menu. Here, you can copy all settings between oscillators. Write Sound dialog box

Open this window by selecting the Write Sound item from the page menu. Here, you can save all Sound parameters to a Sound location in memory. Warning: If you write over an existing Sound, the Sound will be deleted and replaced by the one you are saving (“overwrite”). Please save on a storage device any User Sound you don’t want to lose. From Sound Note: DrumKits cannot be written over standard Sounds, nor vice Touch this button to open the Sound Select window, and select versa. the source Sound. Note: To save over a Factory Sound location, unckeck the Factory Sound Protect parameter in Media mode (see “Factory Sound Pro- From Oscillator tect” on page 264 of the User’s Manual). Select the source oscillator to copy from. Warning: When replacing a Factory Sound, please be warned that all Performance, STSs, Styles and Songs making use of it To Oscillator will be modiﬁed as well. Use this feature with great care! Target oscillator where to copy the source settings to. To restore the original data, please reload the original Musical Resources, available in the Accessory CD or downloadable from our web site (www.korgpa.com). Copy FX dialog box

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

Name

Name of the Sound to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window. From Sound Sound Bank Touch this button to open the Sound Select window, and select Target bank of Sounds. Each bank corresponds to one of the the source Sound. PERFORMANCE/SOUND buttons. Use TEMPO/VALUE controls to select a different bank. From FX Sound Select the source effect to copy from.

Target Sound location in the selected bank. Use TEMPO/VALUE To FX controls to select a different location. Target effect where to copy the source settings to. Select… Touch this button to open the Sound Select window, and select a target location. 28 Sound operating mode Copy Drum Kit dialog box

Copy Drum Kit dialog box

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

From Drum Kit Touch this button to open the Sound Select window, and select the source Drum Kit.

From Key Select the source range of keys to copy from.

To Key Target key. Settings are copied starting from this key, and upwards. Sound operating mode 29 AMS (Alternate Modulation Source) list

AMS (Alternate Modulation Source) list

Off Do not use Alternate Modulation Pitch EG Pitch EG Filter EG Filter EG within the same oscillator Amp EG Amp EG within the same oscillator LFO1 LFO1 within the same oscillator LFO2 LFO2 within the same oscillator Flt KTrk +/+ (Filter Keyboard Track +/+) Filter keyboard tracking within the same oscillator Flt KTrk +/– (Filter Keyboard Track +/) Filter keyboard tracking within the same oscillator Flt KTrk 0/+ (Filter Keyboard Track 0/+) Filter keyboard tracking within the same oscillator Flt KTrk +/0 (Filter Keyboard Track +/0) Filter keyboard tracking within the same oscillator Amp KTrk +/+ (Amp Keyboard Track +/+) Amp keyboard tracking within the same oscillator Amp KTrk +/ (Amp Keyboard Track +/) Amp keyboard tracking within the same oscillator Amp KTrk 0/+ (Amp Keyboard Track 0/+) Amp keyboard tracking within the same oscillator Amp KTrk +/0 (Amp Keyboard Track +/0) Amp keyboard tracking within the same oscillator Note Number Note number Velocity Velocity Poly AT (Poly After Touch) Polyphonic After Touch (transmitted from the Pa2X only as sequence data) Channel AT (Channel After Touch) After Touch (Channel After Touch) Joystick X Joystick X (horizontal) axis Joystick +Y Joystick +Y (vertical upward) direction (CC#01) Joystick Y Joystick Y (vertical downward) direction (CC#02) JS+Y & AT/2 (Joy Stick +Y & After Touch/2) Joystick +Y (vertical upward) direction and After Touch JS–Y & AT/2 (Joy Stick Y & After Touch/2) Joystick Y (vertical downward) direction and After Touch Ass.Pedal Assignable foot pedal (CC#04) CC#18 CC#18 CC#17 CC#17 CC#19 CC#19 CC#20 CC#20 CC#21 CC#21 Damper Damper pedal (CC#64) CC#65 Portamento switch (CC#65) Sostenuto Sostenuto pedal (CC#66) CC#80 CC#80 CC#81 CC#81 CC#82 CC#82 CC#83 CC#83 Tempo Tempo (tempo data from Sequencer 1 clock or external MIDI clock)

Flt KTrk +/+ (Filter Keyboard Track +/+) +/– The direction of the effect will be determined by the sign of the “Ramp Low” setting, and by the Flt KTrk +/– (Filter Keyboard Track +/) opposite sign of the “Ramp High” setting (50 for a setting of +50, and +50 for a setting of 50). Flt KTrk 0/+ (Filter Keyboard Track 0/+) 0/+ “Ramp Low” will have no AMS effect. The sign of Flt KTrk +/0 (Filter Keyboard Track +/0) the “Ramp High” setting will determine the direction of its effect. Amp KTrk +/+ (Amp Keyboard Track +/+)

Amp KTrk +/– (Amp Keyboard Track +/–)

Amp KTrk 0/+ (Amp Keyboard Track 0/+)

Amp KTrk +/0 (Amp Keyboard Track +/0) +/+ The direction of the effect will be determined by the sign (positive or negative) of the “Ramp Low” or “Ramp High” setting. 30 Sound operating mode AMS (Alternate Modulation Source) list

+/0 The sign of the “Ramp Low” setting will determine the direction of its effect. “Ramp High” will have no AMS effect.

Amp example of Amp Keyboard Track settings Ramp Low Ramp High = +50 = +50

Key Low Key High Note Number

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

zero

Depth and direction of modulation - max

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

zero

Depth and direction of modulation - max

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

zero

Depth and direction of modulation - max

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

zero

Depth and direction of modulation - max

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

JS Y & AT/2 (Joy Stick –Y & After Touch/2) The effect will be controlled by the joystick Y (vertically downward) and by after touch. In this case, the effect of after touch will be only half of the speciﬁed intensity. Sampling operating mode 31 Entering and exiting the Sampling mode

Sampling operating mode

Pa2X includes a full-featured sampler, with powerful tools for creating (a) new sounds and (b) rhythm patterns, based on Entering and exiting the Sampling mode audio grooves.

New Sounds. Sampling allows you to create new sounds, by • While in Sound mode, press the RECORD button to enter in recording from an external source (e.g., a microphone or a CD Sampling mode. player) connected to Pa2X Audio Inputs, or by loading files from a storage device. Pa2X can read common formats, like WAV and • While in Sampling mode, press the RECORD button to exit the AIFF files, Korg Trinity and Triton Samples, Korg Trinity and Sampling mode, and return to the Sound mode. Triton Multisamples, Korg Triton Programs, and Akai™ S1000 and S3000 Samples and Programs. To be used, Samples must then be assigned to a Multisample or a The Record (Sampling) procedure Drum Kit. A Multisample allows you to arrange samples into separate zones of the keyboard. Drum Kits allows you to assign a different sample to each note of the keyboard, with up to six Here is a short overview of a typical sampling procedure. dynamic layers per note. Multisamples can then be assigned to Sounds. Sounds created Preparing to record with this function can be used as any ordinary Sound, and First of all, you will set the recording levels for sampling. assigned to any track. 1. With the MASTER VOLUME slider set to zero, connect the The Load Sample function allows you to read samples (Korg source to be sampled (e.g., a microphone or a CD player) “.KSF”, Akai® “.S1” or “.S3”, “.AIFF” and “.WAV”) from a storage to the relevant Audio Input(s) on the rear of the Pa2X. device. The Import function allows to read multisamples (Korg When the source has been connected, raise the MASTER “.KMP”) from Korg Trinity and Triton files, and Programs VOLUME slider to a position other than zero. (Akai® “.P1” or “.P3”) from Akai S1000 or S3000 CDs. Programs (“.PCG” files) can be imported from Korg Triton disks, and con- 2. Go to the “Audio Setup: Audio Input” page of the Global verted to Sounds. mode to set the signal routing for the input source, and turn the phantom power on in case a condenser micro- You can also use the Export function to export samples (“.KSF”) phone has been connected. and multisamples (“.KMP”) in Korg proprietary format. 3. Press the SOUND button to access the Sound mode, then Audio Grooves. Another powerful feature of the Sampling mode press RECORD to access the Record page. is the Time Slice. This feature lets you add realism to MIDI tracks, by using sampled patterns as the rhythm track of a Style. 4. Choose the input source, by using the “Record Mode” parameter. Cycling rhythm samples, usually named “audio grooves”, can be “sliced” into separate percussive instruments. Combined with 5. Adjust the source’s volume. If you are recording with a MIDI tracks, the “sliced” audio groove can be kept in sync with microphone, use the MIC GAIN knob of the Pa2X (next to the Tempo, and can play slower or faster than the original the MIC connector). If you are sampling from a line source groove. (like a CD player or another instrument), set the source’s own output level. If possible, set the output level of the Warning: When loading a “.SET” folder containing Sounds associ- source to be sampled to the maximum. ated with PCM data, all existing PCM data in memory are deleted. Save them before loading the folder, by selecting the “PCM” option Watch at the meters in the display to check the input level. during a Save All operation (see “Saving the full memory content” Red means distortion (signal clipping), so ideally, the LED on page 257 of the User’s Manual). bar should never go to red. To see if a “.SET” folder contains PCM data, open it and look for a Also, check the microphone level with the MIC INPUT “PCM” folder. LED in the MIC INPUT section on the control panel. They should never go to red, and stay to orange (green means Hint: Load single Sounds, if you want to load new PCM data with- too low an input signal). out deleting the ones already contained in memory. 6. Use the “Record Mode” parameter to select the audio input Note: When entering the Sampling mode, samples are automati- to be sampled. cally loaded from the (hidden) PCM folder on the internal HD. This may cause a delay before the Sampling mode becomes opera- tive. Note: No sound will be heard when you first enter the Sampling mode. 32 Sampling operating mode The Record (Sampling) procedure

Recording • To access the new sample(s), you must assign them to a Drum Kit. First select a Drum Kit. Press MENU and go to Next, you’ll record the sound or audio groove. the “DrumKit: Sample Setup (Drum Kits)” page (see 1. If you can, start first the source to be recorded, then touch page 11). Select a key and a layer, then select the RAM bank the Record button in the display to start recording. of samples. Finally, select the new samples. As an alternative, touch the Record button in the display, 7. Select the Write Sound command from the page menu, and and immediately start the source to be recorded. save the Sound to an empty User location. 2. Touch the Record button in the display again to stop 8. If you want so, assign the new Sound to a track, then select recording. When the memory is full, the sampling auto- the “Write Performance”, “Write Current Style Perf.” or matically stops. A maximum of 21.8 seconds is allowed for “Write STS” command from the page menu, to save the each sample. Sound to a Performance, Style Performance or STS. Note: Stereo and Mono samples have the same sampling time. Hint: Drum Kits are better suited for the Drum or Percussion This apply only to the editor; memory needed for saving track. Assign them to a Style Performance. depends on the actual size of the sampled data. 3. Select a page (tab) different from Record, and play the key- B) Saving an Audio Groove board to listen to the sampled sound. After recording an audio groove, you must “slice” it to create a series 4. If you are not satisfied with the recorded sound, return to of separate percussive samples, a multisample and a MIDI Groove. the Record page and touch the Record button in the display 1. Go to the Time Slice page. After creating a series of slices, again, to repeat recording. Touch Record again to stop use the Extend function to refine your groove. recording. A new sample will be automatically created. 2. Select the Write command from the page menu, to save the 5. When finished sampling your sound, you can save it (see sliced samples, a multisample, a Sound and the MIDI Step A below). If it is an audio groove, continue editing it Groove. Choose one of the User Sound locations. The with the Time Slice function (see Step B below). Sound, multisample and MIDI Groove are saved to the internal SSD memory, while the sliced samples are saved to A) Saving the sample and creating a Sound the (hidden) PCM folder of the internal HD. You can save the sample, and create a multisample and a Sound 3. Press RECORD to exit the Sampling mode and return to to use it. the Sound mode. 1. Select the Write command from the page menu. The Write Sample dialog box will appear (see “Write Sample dialog C) Using the Groove in other Sounds box” on page 43). Assign a name to the new Sample, and You can use the same multisample and sliced samples in other save it to the (hidden) PCM folder of the internal HD. The Sounds. samples will be preserved when the Pa2X is turned off. 1. To access the new multisample for use in other Sounds, go Note: The PCM area of the HD can contain up to 128MB of to the Sound mode. samples (256MB with the optional EXB-M256 expansion board). 2. Select an ordinary Sound. Press MENU and go to the “Basic: OSC Basic” page (see page 7). Select one of the 2. After saving, you can repeat the recording procedure to cre- available layers, then select the RAM bank of multisamples. ate other samples. Finally, select the new multisample. 3. When you have recorded and saved all needed samples, 3. Select the Write Sound command from the page menu, and press the MENU button and go to the “Multisample” sec- save the Sound to an empty User location. tion, to assign the sample(s) to a multisample. Assign each sample to a different keyboard zone of the multisample. D) Using the Groove in Styles or Pads 4. When finished editing the multisample, select the Write command from the page menu. The Write Multisample Sounds based on sliced samples can be used in Styles or Pads. dialog box will appear (see “Write MultiSample dialog box” 1. Assign the new Sound to a Style track (preferably, the on page 43). Assign a name to the new multisample, and Drum or Percussion track) or to a Pad track, then select the save it to the internal memory (SSD). “Save Current Style Perf.” or “Write Pad” command from 5. Press RECORD to exit the Sampling mode and return to the page menu, to save the Style Performance or the Pad. the Sound mode. 2. Use the “Import: Import Groove” function in the Style or 6. You can either use the multisample to create a new Sound, Pad Record mode (see page 137 or page 157 of the User’s or the single samples to create a new Drum Kit. Manual) to import the generated MIDI Groove to the Style • To access the new multisample, first select an ordinary track you assigned the new Sound to. By playing this MIDI Sound. Press MENU and go to the “Basic: OSC Basic” page Groove with the new Sound, you’ll be able to play the orig- (see page 7). Select one of the available layers, then select inal audio groove on the keyboard. the RAM bank of multisamples. Finally, select the new Warning: Generated MIDI Grooves will be deleted when multisample. turning the instrument off. Import them to a Style track before turning the instrument off. Sampling operating mode 33 Edit menu

Level Edit menu Use these meters to see the level of the entering signal. When the CLIP indicator turns red, the signal is too hot. Lower it by reduc- From any page of the Sampling mode, press the MENU button ing the source output level, or by using the GAIN knob on the to open the Sampling edit menu. This menu gives access to the rear panel of the Pa2X. various Sampling edit sections. When in the menu, select an edit section, or press EXIT to exit REC Setup the menu and return to the Sample Edit / Sample Record page. To return to this page, you can also select the Sample Edit / Sam- Record Mode ple Record menu item. Use this parameter to choose between the mono or stereo sampling mode, by selecting one or both the line audio inputs (Left / Right) on the back of the Pa2X. Channel 1 (L) Only the Left Input is selected. A mono sample will be produced. Channel 2 (R) Only the Right Input is selected. A mono sample will be produced. Channel 1&2 (Stereo) Both inputs will be selected. A stereo sample will be produced.

Each item in this menu corresponds to an edit section. Each edit Note: Whether you record or load a stereo or mono sample, the section groups various edit pages, that may be selected by touch- sample in memory will be treated as if it was stereo. Mono samples ing the corresponding tab on the lower part of the display. will be saved as mono files. Stereo samples will be saved as two separate mono files, and will be treated as mono files when reloaded.

Source Sampling: Record Use this parameter to choose either a microphone or a line source as the input. This page allows you to record a 16-bit, 48kHz stereo or mono Line You can connect a mono or stereo line source to sample . While in this page, you will be able to monitor the input the Left and/or Right audio inputs. Use the signal. The keyboard will not play. “Record Mode” mode parameter (see above) to choose one or both inputs. Mic You can connect a microphone to the Mic input. If it is a condenser microphone, after having connected it go to the Global > Audio Setup > Audio Input page, and turn the phantom power on (see “+48V Phantom Power” on page 233). Use the MIC GAIN knob to set the input level.

Left to Sample Non editable. Remaining memory (in samples/seconds) for sampling. The maximum space available for samples is 1,048,576 (mono or stereo) samples, or 21.8 seconds. SM (Sample) Sampled Touch this area to open the Choose Sample window, and select Non editable. Used memory (in samples/seconds) for sampling. one of the available samples to be loaded in the editor. Sampling Buffer Non editable. Available memory (in samples/seconds) for sample editing.

Record Touch this button to start recording. Touch it again to stop recording. Recording will automatically stop when the maximum available space will end. Note: Pa2X always samples at the maximum quality (16 bit, 48,000Hz). Samples of a different quality may be loaded (8 or 16 bit, 11,025Hz to 48,000Hz). The window will be automatically closed after selecting. 34 Sampling operating mode Sampling: Edit

When editing audio grooves, the Loop Start should match the Sampling: Edit Sample Start point. This parameter usually differs from the Sam- ple Start in ordinary sounds (i.e., a guitar, a piano, a voice…).

This page allows you to cut, trim or normalize a sample, as well Loop Start (L) Loop End (E) as edit the loop points. The sample can played on the full key- Loop board.

Length Sample Start (S) Sample End (E)

End (Sample/Loop End) This is the sample and loop end point (in samples). You may edit this point, to shorten the sample. Warning: When saving the edited sample (Write Sample operation), the segments exceeding the Start and End points are perma- SM (Sample) nently removed.

Selected sample. See “SM (Sample)” above. Use Zero If this parameter is turned on, when you move the Start, Loop Waveform display Start and End points, the selection fall on the nearest zero-cross- This is the graphical display of the selected sample waveform, ing point (i.e., points where the waveform crosses the x-axis, and i.e., the one you can hear when playing the keyboard. The area goes from negative to positive, or from positive to negative val- included between the Start and End points is highlighted (dark ues). This will make loops more accurate, and will reduce the background). risk of “clicks”.

OrigNote (Original Note) Parameters Original pitch of the sampled note. While this parameter has no Start (Sample Start) effect on sound, it will be useful to identify the original pitch of the sample and when assigning a sample to the multisample. This is the sample start point (in samples). You may edit this point, as well as the End point, to shorten the sample. Changing For example, if you sample a C4, set this parameter to “C4”. the Sample Start cuts out the attack portion of the sound. When the sample will be assigned to a keyboard zone of the multisample, it will be transposed (if needed) according to this Note: When moving the “Start” point forward, and reach the parameter, to avoid a change of the original pitch. “Loop Start” point, this latter is also moved forward. Warning: When saving the edited sample (Write Sample opera- Zoom tion), the segments exceeding the Start and End points are permanently removed. Use these buttons to change the size of the waveform shown in the diagram. When a button is greyed-out, it means the maxi- Loop Start mum or minimum value has been reached. Note: This parameter has no effect, unless you don’t turn the loop Increase the vertical size. on. Use the “Loop On” parameter on the “Sampling: Loop Edit” page to turn the loop on (see page 35). Decrease the vertical size. Use this parameter to adjust the Loop Start point. When you adjust this parameter, an audible click may appear, due to a pitch Increase the horizontal size. and/or level mismatch between the starting and ending points of the loop. Move the Loop Start and Loop/Sample End point, so Decrease the horizontal size. that the click can no longer be heard. Full zoom in.

Full zoom out. Sampling operating mode 35 Sampling: Loop Edit

Changing the sample length and ﬁnding Use Zero good-sounding loop points See “Use Zero” on page 34.

To adjust the sample length and loop points, check the “Loop Loop Lock On” parameter, then use the “Start”, “Loop Start” and “End” parameters to create a fine sounding cycling loop. This fixes the length of the loop being edited. For example, you may have sampled an audio groove of an Off The “Loop S.” and “End” parameters can be exceeding length. Use the “End” parameter to cut the exceeding edited separately. portion at the end of the sample, and adjust the starting point of On When the “Loop S.” or “End” parameter is edited, the loop using the “Start” or “Loop Start” parameters. the other one will be automatically adjusted so Usually, checking the “Use Zero” parameter is a big help, to that the distance between them (i.e., the loop avoid the loop clicks due to level mismatches. length) does not change. This is convenient when you are creating a rhythm loop to match a spe- cific tempo. Sampling: Loop Edit Loop On Use this parameter to turn the loop on or off. The loop is a cycling portion of a sampled sound. It is a tech- On The loop is turned on, and the portion of sound nique used to reduce the sampling time, cycling a portion of the included between the Loop Start and Loop End sound to create the sustain phase of the sound. After the attack points will cycle until a key is kept pressed. If the stage, most sounds repeat the same waveform during their sus- “Loop Start” point matches the “Start” point, the tain stage. You may adjust the Loop Start point with the “Loop whole sample is cycled. Start” parameter, and the Loop End point (always matching the When the loop is turned on, a vertical yellow line, Sample End point) using the “End” parameter. showing the loop point, appears in the waveform This page lets you fine tune the loop points, by watching at the display. Loop End and Loop Start points matching at the center of the Off The loop is turned off. The sound will play from diagram. A good-sounding loop is shown as a continuous, non- the Sample Start to the Sample End point only breaking line. once, even if you keep a key pressed on the keyboard.

Crossfade When looping the pitched sample of a complex sound such as strings or woodwinds to make the sound sustain, it is necessary to create a long loop to preserve the rich character of the sound. Crossfade Loop can be used to minimize the difference in pitch and level between the beginning and ending of the loop region, to create a natural-sounding loop. In order to solve such prob- lems, Crossfade Loop causes the sound to change gradually from the end to the beginning of the loop. SM (Sample) In practice, here is how it works. A speciﬁc length (the “Cross- fade Length” value) of the waveform immediately before the Selected sample. See “SM (Sample)” on page 33. beginning of the loop is taken and mixed with the end portion. At this time, the waveform level of the portion immediately Loop diagram before the end (the length speciﬁed by “Crossfade Length”) will gradually decrease, and the waveform level immediately before This diagram shows the “End” (Loop End) point on the left half, the beginning of the loop will gradually increase as the two are and the “Loop Start” point on the right half of the screen. Use mixed. the “End” and “Loop Start” parameters to adjust the loop. When the “Loop On” parameter is checked, and the “Start” and “Loop S.” parameters have different values, the “Crossfde” but- Parameters ton becomes available.

Start See “Start (Sample Start)” on page 34.

Loop Start See “Loop Start” on page 34.

End See “End (Sample/Loop End)” on page 34. 36 Sampling operating mode Sampling: Sampling Info

When you touch the Crossfade button, the Crossfade Loop dia- Drum Samples log box appears: Number of drum samples in memory.

Multisamples Number of multisamples in memory.

Available Memory

RAM Bank Crossfade Length Pa2X comes with 128MB of RAM already installed, and can be expanded up to 256MB with the optional EXB-M256 board. In “Crossfade Length,” specify the length of the sample that you This is the maximum amount of samples that can be loaded or wish to crossfade. You can enter it either as the number of sam- recorded. ples, or a percentage (%). If you set this as a percentage, the number of samples will be calculated automatically. Mono Time If you set this to 50%, crossfade will be performed on the second Remaining sample memory (in seconds). This value is given for half of the region between loop start and loop end. mono samples. With stereo samples, this time has to be halved. The “Crossfade Length” cannot be greater than the smaller length between the Sample Start – Loop Start points, or the Bytes Loop Start – Sample End points. Remaining memory for sampling (in Bytes). This value is given for mono samples. With stereo samples, this time has to be Curve halved. Set “Curve” to specify how the volume will change in the cross- faded region. Sample Info Linear The volume will change linearly. Selected Samples Power The volume will change non-linearly. Sometimes a setting of Linear will produce the impression Size of the selected sample (in samples). that the volume has dropped in the middle of the crossfade curve. In such cases, use Power. Samples Total size of the samples in memory (in samples). Sampling: Sampling Info Sampling Frequency Sampling frequency of the selected sample (in Hertz).

Use this page to see detailed info on the sample in edit. General information for the RAM memory is also available. Time Slice

The Time Slice function lets you transform a rhythm audio groove in a series of single percussive samples, to be assigned to the Drum or Percussion track of a Style or a Song.

SM (Sample) Selected sample. See “SM (Sample)” on page 33.

Sampling Info How timeslice works Samples Number of samples in memory. Analyzing and processing. This function detects the attacks (e.g., kick and snare) inside a rhythm audio groove (a sample that loops a drum pattern), and automatically divides the audio groove into individual percussive samples. Sampling operating mode 37 Time Slice

The divided percussive samples will be automatically assigned to Ex.1 - Generating samples and MIDI Groove data: different keys in a multisample, and the multisample to a Sound. Original rhythm sample

Within the generated multisample, a separate sample is assigned 120BPM to a different note on the keyboard, starting from C#3. By playing an ascending chromatic scale with this multisample, you could recreate the original audio groove. KickSnare Kick Kick Snare Original pattern A MIDI Groove will also be created, containing a sequence of notes triggering the sliced percussive samples in the same order Execute the Time Slice command as in the original audio groove (i.e., it plays an ascending chromatic scale starting from C#3). When you will import this MIDI Groove to the percussive track of a Style (see “Import: Import Groove” on page 137 of the User’s Manual), this sequence will let you adjust the groove’s Sample1 Sample2 Sample3 Sample4 Sample5 tempo without affecting the pitch of the percussive samples. In addition to changing the groove’s tempo without affecting its pitch, this lets you do the following:

• change the order in which notes are played A multisample, a program and MIDI Groove data will be created automatically • change the timing

• edit the pattern notes to freely recreate a new rhythm loop. C3

Saving. After the slicing, you can select the Write command Play in Style Play mode from the page menu, to save the Sound based on sliced samples, 120BPM and the MIDI Groove containing the corresponding MIDI sequence. Generated MIDI Groove • The Sound will be saved to the selected location in the User area of the internal memory. You will be able to select it as an Note: Sliced samples and MIDI data are saved with a Write operation. ordinary Sound, and assign it to the Drum or Percussion track of a Style. • The Multisample will be automatically saved to the next free Ex.2 - Varying the groove’s tempo available location. 150BPM • Samples will be permanently saved to the (hidden) PCM folder on the internal HD. They can be automatically loaded when turning the instrument on, by checking the “PCM Autoload” Played closer together, option in Media mode (see page 264 in the User’s Manual). 90BPM but pitch is unchanged • The MIDI Groove will be temporarily saved to the SSD memory, and will be available only when using the Import function of the Style Record mode (see “Import: Import Groove” on page 137 of the User’s Manual). Warning: All MIDI Grooves will be delete each time the Pa2X is turned off. Played further apart, but pitch is unchanged

Note: To vary the groove’s tempo, you must ﬁrst import the generated MIDI data into the Percussion track (Import function of the Style and Pad Record mode), and assign the new generated Sound to the Percussion track. Gaps between sliced samples, when slowing down the tempo, can be automatically ﬁlled by the Extend function, smoothing each sample’s tail. 38 Sampling operating mode Time Slice

Ex.3 - Recombining MIDI notes and samples Metronome Information

Meter Use this parameter to specify the Meter of the original sample.

Measures Edit the MIDI data Use this parameter to specify the number of measures of the original sample. Usually, you will load a groove 1 or 2-measures long.

BPM This parameter speciﬁes the tempo (in Beats Per Minute) of the original sample. Pa2X automatically calculates this value based Note: To recombine notes inside the generated MIDI sequence, you must ﬁrst import the MIDI data in Style or Pad Record on the Start, End (see page 34), Meter and Measures parameters. mode, by using the “Import” function. Then, use the Event The BPM can be only adjusted to values lower than the one Edit to change the note order. automatically calculated. This can be useful, for example, when the actual sample is shorter than the entered Meter and Mea- sures values. Sample diagram Meas.1 Meas.2 This diagram shows the sample waveform and the slices. Here is how the sample diagram appears before the Slice:

In the above example, the actual groove lasts only up to the ﬁrst half of Measure 2. The recognized tempo is 130, while the real tempo is 100. Set the BPM value to 100, and a rest will be added to the end of the groove, to allow it to loop seamlessly. … and the same diagram after the Slice: Time Slice See “The Time Slice procedure” on page 39 for more information.

Release Adjust the value of this parameter to change the number of recognized attacks, by varying the speed needed to the Slice engine to start working again. For example, in the following example, if the Release value is too high (i.e., too long), the second attack may be lost:

Note: After changing the Release value, you must select the Slice command again.

Threshold This parameter varies the threshold over which the attacks are recognized (i.e., the Time Slice sensitivity). If it is too low, weaker attacks may be ignored. Note: After changing the Threshold value, you are not obliged to select the Slice command again. The Slices value is immediately changed.

Attacks This (non-editable) parameter shows the number of attacks recognized. More than one attack may be recognized in a single slice. Adjust the Release and Threshold parameters to change the number of recognized attacks. Sampling operating mode 39 The Time Slice procedure

Slices Long This option is most suitable for cymbals, whose sound should be sustained up until the next note. This (non-editable) parameter shows the number of generated The “tail” envelope is sustained and falls slowly, slices, i.e. generated samples and notes in the midiﬁle. To change then falls suddenly next to the end. this value, edit the Release and Threshold parameters. Note: You can have a maximum of 100 slices.

Slice Select this command to execute the Slice after entering the Time Slice page, or changing the Release value. This command is “ghosted” (i.e., non-selectable) if no sample has been recorded Extend of loaded yet. Touch this button to execute the Extend command. After you The Time Slice operation is executed on the sample, from the select it, it will return “ghosted”, meaning that you can’t select it “Start” to the “End” point set in the Sample Edit / Sample again. If you change any of the parameters in this page, it will be Record section. available again.

Extend

See “The Extend procedure” on page 40 for more information. The Time Slice procedure When using a sliced groove with a tempo slower than the original, an annoying gap may be heard between a sample and the Before executing a Slice operation, you must record or load a following one. The Extend function allows you to ﬁx this prob- sample. Then, you may edit the sample on “Sampling: Edit”, lem by adding a “tail” to all samples, making their decay then execute the Slice operation on this sample. smoother and more musical. 1. After recording or loading a sample, go to the Time Slice Before extending… page. Added “tail” 2. Pa2X automatically calculates the BPM parameter, based on the given Meter and Measures values. If you know these data, set the Meter, Measures and BPM (Beats Per Minute) parameters. This would make the slicing more accurate. 3. Select the “Slice” command. The original sample will be sliced, and each generated sample assigned to a different key:

…and after extending…

Note: You can use the Extend function only after a Time Slice operation. C2…B2: Full pattern at Separate sliced samples a slower speed C3: Full pattern at Note: The Extend function increases the original sample size. the original speed By

Use this parameter to set the length of the “tail” added to the Key Assigned sample/pattern Speed % samples (in percentage). The higher this value, the greater the C2 Full pattern cycling at half the speed 50% size of the samples. A setting of 20-30% is usually suitable to most grooves. C#2 53% D2 56% Caveat: With higher “By” values, the Extend function may add D#2 60% audible artifacts. E2 63% Mode F2 67% This parameter speciﬁes if the added “tail” must decay in a linear F#2Full pattern cycling at various speeds 71% way, or sustain for a longer time and then fall suddenly. G2 75% Normal This option is most suitable for percussive sound G#2 80% with a short (but not immediate) decay. The A2 84% “tail” envelope is linear, and the level decays fast. A#2 89% B2 94% C3 Full pattern cycling at the original speed 100% C#3 and – Separate sliced samples above 40 Sampling operating mode The Extend procedure

A MIDI Groove with the original pattern will also be generated. The screen will change, to show slices sepa- The Extend procedure rated by vertical lines:

1. Set the By parameter, according to the tempo of the groove you will use. If you will slow down the groove very much, assign higher values to this parameter, otherwise you may assign lower values. 2. Select the Extend Mode. “Long” is more suitable for cym- 4. Test the generated sliced drum kit on the keyboard. bals. • To test the full pattern at different speed, play a note from 3. Select the Extend command. C2 (half speed) to C3 (original speed). See table above. 4. After the Extend operation is complete, test the full pattern • To test the single sliced samples, play notes from C#3 and at different speed, by playing notes from C2 (half speed) to above. If you play a full chromatic scale, the original pat- C3 (original speed). See table on page 39. tern will be sounded. 5. If the Extend didn’t produce satisfactory results, change the Hint: If too many samples have been generated, and the key- settings. Any previously made change will be deleted. board can’t ﬁt them all, use the OCTAVE buttons to transpose 6. the keyboard, and listen to samples exceeding the upper limit. When the Extend is completed, you can save the sliced and extended samples and the resulting MIDI Groove to the 5. If the Slice didn’t produce satisfactory results, adjust the internal memory. Release parameter. If this does not produces good results, try adjusting the Threshold parameter, too. After adjusting Select the Write command from the page menu. The Write the Release parameter, you must execute the Time Slice Slice dialog box will appear (see “Write Slice dialog box” on again. page 44). Assign a name to the new Sound, and save it to an User Sound location. 6. Since a tempo value rounding happens when making a Time Slice operation, and the loop may not be accurate, A MIDI Groove with the same name will also be saved to a you may need to adjust both the “Start” and “End” parame- reserved area of the internal memory. Be warned, that this ters of the “Sampling: Edit” page, to make the groove loop area will be deleted when turning the instrument off. Con- ﬂawlessly. After editing these parameters, you must execute vert it to an internal Style pattern, by using the Import the Time Slice again. function of the Style Record mode, before turning the instrument off. Go on experimenting different settings! Editing an audio 7. groove is a pure matter of experimentation. After saving, you may press RECORD to exit the Sampling mode. 7. When the Slice is completed, you can save the sliced sam- 8. ples and the MIDI Groove, or use the Extend function to After exiting the Sampling mode, you may load the gener- improve the quality of the slices. ated MIDI Groove by using the Import function of the Style or Pad Record mode (see “Import: Import Groove” Select the Write command from the page menu. The Write on page 137 of the User’s Manual for more information). Slice dialog box will appear (see “Write Slice dialog box” on page 44). Assign a name to the new Sound, and save it to an User Sound location. A MIDI Groove with the same name will also be saved to a reserved area of the internal memory. Be warned, that this area will be deleted when turning the instrument off. Con- vert it to an internal Style pattern, by using the Import function of the Style or Pad Record mode, before turning the instrument off. • To improve the quality of the slices, use the Extend function (see “Extend” below). 8. After saving, you may press RECORD to exit the Sampling mode. 9. After exiting the Sampling mode, you may load the generated MIDI Groove by using the Import function of the Style Record mode (see “Import: Import Groove” on page 137 of the User’s Manual for more information). Sampling operating mode 41 Multisample: Edit MS

Pitch Multisample: Edit MS Fine tuning of the selected sample in cents (1 cent = 1/100 of a semitone). The Multisample is a way of organizing several samples on the From … To keyboard. Each sample is assigned to a Keyboard Zone (or Index), with a higher and a lower limit. Range of the selected Zone (or Index). The minimum size is one key. When reducing the range of a zone, the adjacent one is auto- A Multisample is then assigned to a Sound (see “Basic: OSC matically increased to ﬁll the gap. Basic” on page 7), where it is enriched with several performance parameters, like Amplitude Envelope, LFO, Filters, etc… Hint: To create a silent zone, create it and assign no sample to it.

Buttons

Insert Touch this button to split the current zone in half, and create a new zone (Index) on the left of the selected one.

Add Touch this button to add a new zone (Index) after the last one.

Delete MS (MultiSample) Touch this button to delete the selected Zone/Index. The zone on the right of the deleted one is automatically extended to ﬁll Touch this area to open the Choose Multisample window, and the gap. select one of the available multisamples in memory.

Keyboard diagram Multisample: Key Assign This diagram shows the selected Index/Zone (highlighted), and its Original Note (in red). Use the big “–” and “+” button on its Use this page to see and edit the samples assigned to each Key- side to scroll the diagram one octave lower or upper. board Range/Index in the multisample. This page gives a better display of the assigned samples and their range on the keyboard. Multisample Setup

Index Index number of the selected Zone of the multisample / total Sample list number of Zones in the multisample. A Zone always corresponds to a single sample. When you play a note on the keyboard, the corresponding index number is automatically selected.

Sample Number / Name Number / name of the sample assigned to the selected zone of Keyboard ranges the multisample.

Original Note MS (MultiSample) Use this parameter to automatically transpose the assigned sample on the keyboard. When you play this note, the sample sounds See “MS (MultiSample)” on page 41. exactly as it was recorded. At ﬁrst, it matches the “OrigNote (Original Note)” value Sample list assigned when editing the sample (see page 34). This will speed List of samples assigned to the selected multisample. Use the big up the programming. button with an arrow on top and to the bottom of the list to The note set with this parameter is also shown in red in the vir- scroll the list up or down. tual keyboard diagram.

Level Keyboard ranges Relative level of the selected zone. This value can only be nega- Next to each sample name the low and high Zone limits appear. tive. Edit these values to change the Zone range. The Original Note is shown in red. 42 Sampling operating mode Page menu

Trim/Crop Page menu Select this command to cut all parts of the sample out of the selected range (i.e., out of the “Start” and “End” points). Touch the page menu icon to open the menu. Touch a command Select All to select it. Touch anywhere in the display to close the menu without selecting a command. Use this command to select the whole sample.

Init Multisample Only available in the Multisample page. Select this command to create a new, blank multisample. Only one Zone will be available, with no sample assigned.

Load Sample Use this command to load single samples (mono or stereo), in KSF, AIFF or WAVE format. Warning: By loading new samples, the sample currently in edit will Write be lost if not saved. Before loading, use the Write command to save the sample in edit, if not yet saved, to the SSD memory. Select this command to open the Write Sample, Write Multisam- ple or Write Slice dialog box (depending on the page you are in), and do the following: • Write Sample: Saves the sample to the internal hard disk (hidden PCM folder). See “Write Sample dialog box” on page 43, for more information. • Write Multisample: Saves the multisample to the internal SSD memory. See “Write MultiSample dialog box” on page 43 for more information. • Write Slice: After a Time Slice opration, saves the Sound and Multisample to the internal memory, and the sliced Samples to internal hard disk (hidden PCM folder). See “Write Slice dialog The samples are loaded to the editor. Before leaving the Sam- box” on page 44 for more information. pling mode, use the Write command to save any unsaved sample to the internal HD (hidden PCM folder) as a New Sample. Delete • “KSF” is Korg’s native sample format, used by the Trinity Select this command to open the Delete Sample or Delete Multi- and Triton series of workstations, as well as the Pa-series Sample dialog box (depending on the page you are in): arrangers. The file name must have the “.KSF” extension. • Delete Sample: Deletes one or all samples and multisamples • “S1” is Akai S1000, and “S3” is S3000 native sample format. from the SSD memory and hard disk (hidden PCM folder). See • “AIFF” is the Apple® Macintosh© preferred format for “Delete Sample dialog box” on page 44 for more information. audio. The file name must have the “.AIF” extension. • Delete MultiSample: Deletes a multisample, or all samples and • “WAVE” is the Microsoft© Windows© preferred format for multisamples from memory. See “Delete Multisample dialog audio. The file name must have the “.WAV” extension. box” on page 44 for more information. Note: You can only load samples in a 8 or 16-bit resolution, and a Normalize sampling frequency rate from 11,025 to 48,000Hz. Loaded samples always preserve their original resolution. Select this command to automatically rescale the level of the selected sample. Peaks will be raised to -0dB (i.e., maximum vol- Note: If the sample exceeds the maximum size allowed by the Pa2X ume before clipping), while the remaining parts of the sample (1,048,576 samples, corresponding to 1 Megasample, either mono will be proportionally raised. or stereo), it will be truncated. A warning will appear in the display. Normalization optimizes the sample’s level relative to other samples, making all samples sound more uniformly. It also helps Hint: While in this window, you can use the Search ( ) func- optimizing signal/noise ratio, by preventing further stages of amplification from increasing any residual noise. tion, allowing for searching a Sample file in the various media. See “Searching files” on page 244 of the User’s Manual for more infor- Cut mation. Select this command to cut the selected part of the sample (inside the “Start” and “End” points). Sampling operating mode 43 Write Sample dialog box

Import export a sample in one of two popular computer audio ﬁle formats (WAVE and AIFF), or a multisample in a Korg “.KMP” ﬁle. Use the Import command to import complex formats, i.e., sounds, multisamples and samples in non-native (i.e., non- See “Export Sample page” on page 45, or “Export Multisample Korg) formats. page” on page 45 for more information.

Exit from Record Choose this command to exit from the Sampling mode.

Write Sample dialog box

Open this dialog box by selecting the Write command from the page menu, while in the Sample Edit / Sample Record section. In this dialog box you can save the sample to the internal hard disk With this command, you can import the following formats: (hidden PCM folder). • “PCG” is Korg’s native Program format, used by the Trinity and Triton series of workstations. The file name must have the “.PCG” extension. Note that Drum Kits cannot be imported. • “KMP” is Korg’s native multisample format, used by the Trinity and Triton series of workstations. The file name must have the “.KMP” extension. • “P” is Akai S1000 and S3000 native Program format (including the sample key assignation, or multisample). To assign a different name to the sample, touch the (Text Imported Sounds and Multisamples are automatically stored in Edit) button to open the Text Edit window. the internal SSD memory, so that they will not be lost when turning the instrument off. In case you are saving a percussive sample, choose a Drum Sam- ple family to be assigned to. To automatically load samples when turning the instrument on, check the “PCM Autoload” function in Media mode (see Select an option to choose a memory location where to save the page 264 of the User’s Manual). To load samples after turning sample: the instrument on, touch the “Load PCM” button in the same • Select “Save as a new Sample” to save to a new location. page (see page 264 of the User’s Manual). Samples are also automatically loaded when entering the Sampling mode. • Select “Save to” to overwrite an existing location. Warning: The older sample at the same location will be deleted! Note: While Pa2X and Triton share most of their internal multisamples, some of them may differ. While reading a PCG file, Pa2X tries to use exactly the same multisamples as in Triton. If this is not possible, it looks for a similar multisample. If this too is not possi- Write MultiSample dialog box ble, an multisample will be selected. Enter the Sound Edit mode, and select a multisample suitable for the imported Program. Open this dialog box by selecting the Write command from the Note: Not all Triton’s PCG data are imported. Insert FX, EQ, page menu, while in the Multisample section. In this dialog box Arpeggio, Combi, Global and Drum Kit data are not loaded. you can save the multisample to the internal memory (SSD). Note: You cannot import Drum Kits. Multisamples are a way to organize samples on the keyboard, and are used by Sounds as their basis. Note: Multisample may contain many different samples. They are assigned to the same keys as in the original file. Note: Multisamples are maintained in memory even when turning the instrument off, but the associated samples are not. To automat- Hint: When importing a KMP file, take note of the selected multi- ically reload them to the RAM memory when turning the instru- sample name; you will need it in Sound Edit mode, when assigning ment on, check the “PCM Autoload” parameter in the Media mode the multisample to a new Sound. (see page 264 of the User’s Manual). Hint: While in this window, you can use the Search ( ) function, allowing for searching a Sample file in the various media. See “Searching files” on page 244 of the User’s Manual for more information.

Export Depending on wheter you are in the “Sample Edit / Sample Record” or “Multisample” section, this command allows you to 44 Sampling operating mode Write Slice dialog box

To assign a different name to the multisample, touch the (Text Edit) button to open the Text Edit window. Delete Sample dialog box Select an option to select a memory location where to save the sample: Open this dialog box by selecting the Delete command from the page menu, while you are in any page of the Sample Edit/Sample • Select “Save as a new MultiSample” to save to a new loca- Record section. tion. • Select “Save to” to overwrite an existing location. Warning: The older multisample at the same location will be deleted!

Write Slice dialog box

Open this dialog box by selecting the Write command from the • Select “Selected”, and select a sample number, to delete just page menu, while in the Time Slice page. In this dialog box you one of the samples from from the SSD memory and hard can save the Sound, sliced Samples and Multisample generated disk (hidden PCM folder). by the Time Slice function, together with the generated MIDI Groove. • Select “Not assigned to any Multisample/Drumkit” to delete only samples not yet assigned to a multisample or The Sound will be saved to the selected User bank location in the drumkit (see paragraphs on the “Multisample” section, internal, non-volatile memory (SSD). The Multisample will be starting from page 198). saved to a free location in the same memory (SSD). Samples will be saved to the internal hard disk (hidden PCM folder). Note: Use this option with care, since you may delete samples you would like to preserve, that have not yet been assigned to Note: The MIDI Groove is automatically saved in a reserved, tem- a multisample or drumkit. Use it only when you are sure all porary location, and is automatically deleted when turning the desired samples have been assigned to a multisample or instrument off. So, import it (by using the “Import: Import Groove” drumkit. function in Style or Pad Record mode, see page 137 of teh User’s Manual), before turning the instrument off. • Select “All Samples, Multisamples, Drum Samples” to delete all samples, multisamples and drum samples from Warning: The older Sound at the target location will be deleted! the SSD memory and itnernal hard disk (hidden PCM folder). This operation completely resets the RAM, and may be used to “clean-up” any trouble.

Delete Multisample dialog box

Open this dialog box by selecting the Delete command from the page menu, while you are in any page of the Multisample sec- Name tion.

To assign a different name to the Sound, touch the (Text Edit) button to open the Text Edit window.

Sound Bank Target bank of Sounds. Each bank corresponds to one of the SOUND buttons. Use TEMPO/VALUE controls to select a different bank. • Select “Selected”, then a multisample number, to delete just Sound one of the multisamples from memory. Target Sound location in the selected bank. Use TEMPO/VALUE Check the “Delete Unassigned Samples” option, to also controls to select a different location. delete all samples not assigned to a different multisample. By checking this option, all samples assigned to the multi- Select… sample you are deleting, and all samples not assigned to a Touch this button to open the Sound Select window, and select a different multisample, will be deleted. target location. Note: Use this option with care, since you may delete samples you would like to preserve, that have not yet been assigned to a multisample or drumkit. Use it only when you are sure all desired samples have been assigned to a multisample or drumkit. Sampling operating mode 45 Export Sample page

• Select “MultiSamples” to delete all multisamples. No samples will be deleted, including those associated with the Export Multisample page deleted multisamples.

• Select “All Samples, Multisamples, Drum Samples” to Open this page by selecting the Export command from the page delete all samples, multisamples and drum samples from menu, while you are in any page of the Multisample section. the SSD memory and itnernal hard disk (hidden PCM folder). This operation completely resets the RAM, and may be used to “clean-up” any trouble.

Export Sample page

Open this page by selecting the Export command from the page menu, while you are in any page of the Sample Edit/Sample Record section.

By using this function, you can export from the internal memory the multisample in edit in the Multisample section, and all linked samples. The Export operation generates a “.KMP” file (Korg’s proprietary file format for multisamples), and a folder containing a series of “.KSF” files (Korg’s proprietary file format for samples) inside the same directory. Note: When exporting a stereo multisample, be careful to assign a different name to the Left and Right channel files, to avoid over- writing. A “-L” and “-R” suffix is usually added after the name of this kind of files.

Original Name Name of the sample being exported. How to merge PCM samples from File Name various sources Name of the generated file on the storage device. When you load a .SET folder, all PCM samples in memory are File Type deleted. To merge samples from several sources, do the follow- Either of the file types you can choose as the file format. ing. WAV Microsoft Wave format, very common on Win- 1. Load a .SET folder containing samples you want to merge dows PCs. with other samples. AIFF Apple’s Audio Interchange File Format, standard 2. Load single Sounds from other .SET folders. on the Macintosh. 3. Load or import Samples from other sources (Trinity, Tri- ton, Akai, Wav, Aiff files). 4. Save the .SET folder, over the same or a new .SET folder. 46 Effects Dynamic Modulation sources

Effects

Pa2X is equipped with four powerful Effect Processors for the internal MIDI tracks (Upper, Lower, Style, Song, Pads). Modulation source Note Damper: #64 Prta.SW: #65 Portamento Switch Dynamic Modulation sources Sostenu: #66 Sostenuto Pedal MIDI(CC#67) When the symbol is encoutered, a Dynamic Modulation MIDI(CC#80) can be applied to the corresponding parameter. Dynamic Modu- MIDI(CC#81) lation allows for realtime control of the effect. The following MIDI(CC#82) table shows the available modulation sources. MIDI(CC#83)

Modulation source Note MIDI(CC#85) MIDI(CC#86) Off No modulation MIDI(CC#87) Gate1 MIDI(CC#88) Gate1+Dmpr Tempo Gate2 Gate2+Dmpr Some notes on the Gate parameters follow.

Note Nr Note Number Gate1, Gate1+Dmpr (Gate1+Damper) Velocity Note Velocity The effect is at maximum during note-on, and will stop when all Expo Velocity Exponential Note Velocity keys are released. With Gate1 + Dmpr, the effect will remain at AfterTouch After Touch maximum even after the keys are released, as long as the damper JS X Joystick Left/Right (sustain) pedal is pressed. Gate1,Gate1+Dmpr Dmpr JS+Y: CC#01 Joystick Forward 1 2 1 3 2 3 Note JS-Y: CC#02 Joystick Backward Damper Pedal On Gate1 Off MIDI(CC#04) Gate1+Dmpr MIDI(CC#12)

Time MIDI(CC#13)

MIDI(CC#16) Gate2, Gate2+Dmpr (Gate2+Damper) MIDI(CC#18) This is essentially the same as for Gate 1 or Gate 1 + Dmpr. MIDI(CC#17) However when Gate 2 or Gate 2 + Dmpr are used as a dynamic MIDI(CC#19) modulation source for the EG, a trigger will occur at each note- MIDI(CC#20) on. (In the case of Gate 1 and Gate 1 + Dmpr, the trigger occurs only for the ﬁrst note-on.)

MIDI(CC#21) Gate2,Gate2+Dmpr Dmpr 1 2 1 3 2 3 MIDI(CC#17+) Note Damper Pedal

MIDI(CC#19+) On Gate2 Off MIDI(CC#20+) Gate2+Dmpr MIDI(CC#21+) Time Effects 47 Dynamics (Dynamic)

Dynamics (Dynamic)

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

001: Stereo Compressor Dry Sensitivity=40 Louder This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for guitar, piano, and drum Time sounds. This is a stereo compressor. You can link left and right c: Attack channels, or use each channel separately. This parameter controls the attack level.

Stereo In - Stereo Out Compressor - Attack Left Level FX Amt EQ Trim LEQ HEQ Attack=80 Compressor Output Level Attack=20 Envelope - Control Wet Envelope Select Envelope - Control

Output Level Compressor Dry EQ Trim LEQ HEQ Right FX Amt Time

L/R Mix, Determines whether the left a Envelope L/R Individ- and right channels are linked or 002: Stereo Limiter Select ually used separately b Sensitivity 1...100 Sets the sensitivity The Limiter regulates the input signal level. It is similar to the c Attack 1...100 Sets the attack level Compressor, except that the Limiter compresses only signals that d EQ Trim 0...100 Sets the EQ input level exceed the speciﬁed level to lower unnecessary peak signals. The Selects the cutoff frequency Limiter applies a peaking-type EQ to the trigger signal (which Pre LEQ Fc Low, (low or mid-low) of the low- Mid-Low range equalizer controls the degree of the Limiter effect), allowing you to set any e band width to be covered. This effect is a stereo limiter. You can High, Selects the cutoff frequency Pre HEQ Fc (high or mid-high) of the high- link left and right channels, or use each channel individually. Mid-High range equalizer

Pre LEQ Gain –15.0...+15.0 Sets the gain of the Low EQ [dB] Stereo In - Stereo Out f Left Pre HEQ Gain FX Amt [dB] –15.0...+15.0 Sets the gain of the High EQ Gain Adjust Limiter Sets the output level of the Side PEQ Output Level 0...100 Envelope - Control Trigger Monitor compressor + Envelope - Control Selects the modulation source g Src Off...Tempo Envelope Select for the compressor output level Envelope Source Limiter Sets the modulation amount for Gain Adjust Amt –100...+100 Right the compressor output level FX Amt Sets the balance between the FX Control BUS 1 FX Amount 0...100 effect and the dry input FX Control BUS 2 Selects a modulation source for h Src Off...Tempo FX Amount Selects from linking both Sets the modulation amount for L/R Mix, channels, controlling only from Amt –100...+100 FX Amount Envelope L Only, R a Select Only, L/R left channel, only from the right Individually channel, or controlling each a: Envelope Select channel individually 1.0 : 1… b Ratio 50.0 : 1, Sets the signal compression This parameter selects whether the left and right channels are Inf : 1 ratio linked to control both signals simultaneously, or whether each Threshold Sets the level above which the channel is controlled independently. c [dB] –40...0 compressor is applied Attack 1...100 Sets the attack time v b: Sensitivity Release 1...100 Sets the release time g: Output Level Gain Adjust –Inf, [dB] –38...+24 Sets the output gain

The “Sensitivity” parameter sets the sensitivity of the compres- e Src Off...Tempo Selects the modulation source sor. If this parameter is set to a higher value, lower level sounds for the output gain Sets the modulation amount of will be boosted. With a higher Sensitivity, the overall volume Amt –63...+63 the output gain level is higher. To adjust the ﬁnal volume level, use the “Output Side PEQ Off, On Toggles between on/off of the Level” parameter. Insert trigger signal’s EQ f Switches between effect output Trigger Off, On monitor and trigger signal Monitor monitor 48 Effects Dynamics (Dynamic)

d: Attack Side PEQ 20...12.00k Sets the EQ center frequency for Cutoff [Hz] the trigger signal d: Release g Q 0.5...10.0 Sets the EQ bandwidth for the trigger signal These parameters set the attack time and release time. A higher Sets the EQ gain for the trigger Gain [dB] –18.0...+18.0 signal attack time will cause the compression to be applied more Amount of FX added to the slowly. FX Amount 0...100 direct signal Limiter - Attack / Release h Src Off...Tempo Table , “Dynamic Modulation sources,” on page 46 Threshold Amt –100...+100 Amount of modulation source Dry a: Envelope Select When L/R Mix is selected for this parameter, the left and right channels are linked to control the Limiter using the mixed signal. If L Only (or R Only) is selected, the left and right channels are Ratio=Inf : 1 Wet Attack=1 linked, and the Limiter is controlled via only the left (or right) Release=1 channel. With L/R individually, the left and right channels control the

Limiter individually. Ratio=Inf : 1 Wet Attack=100 b: Ratio Release=100 c: Threshold [dB] Release e: Gain Adjust [dB] Attack This parameter sets the signal compression “Ratio”. Compres- f: Trigger Monitor sion is applied only when the signal level exceeds the “Thresh- old” value. Setting this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the Adjust the output level using the “Gain Adjust” parameter, since trigger signal with EQ applied. compression causes the entire level to be reduced. Usually, set this to Off. Limiter - Threshold / Ratio

Ratio=1.0 : 1 f: Side PEQ Insert Output Level g: Side PEQ Cutoff [Hz] Ratio=2.0 : 1 g: Q Threshold Ratio=4.0 : 1 g: Gain [dB] Ration=Inf : 1 These parameters are used to set the EQ applied to the trigger signal. Louder Louder The Limiter determines whether the compression is applied or Input Level not, based on the post-EQ trigger signal. Setting the equalizer

Level Dry Ratio=1.0 : 1 allows you to set the Limiter to respond to any frequency band. Ratio=2.0 : 1 Ratio=4.0 : 1

Threshold

Ratio=Inf : 1

Time Effects 49 Dynamics (Dynamic)

003: Multiband Limiter 004: St.MasteringLimtr This effect applies the Limiter to the low range, mid range, and (Stereo Mastering Limiter) high range of the input signal. You can control dynamics for This is a stereo limiter that is optimized for mastering songs. each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ. Stereo In - Stereo Out Left FX Amt Out Ceiling FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Limiter Left FX Amt Band-Pass Filters Low + Envelope - Control Limiter Envelope - Control Mid Low Offset Limiter + Limiter Out Ceiling Gain Adjust Envelope - Control Right High Mid Offset FX Amt Limiter Envelope - Control High Offset Right FX Amt Threshold Sets the level above which the a [dB] –30.0...0.0 compressor is applied

1.0 : 1...50.0 : b Out Ceiling –30.0...0.0 Sets the output gain a Ratio 1, Sets the signal compression [dB] Inf : 1 ratio c Release 0.50...1000.0 Sets the release time Threshold Sets the level above which the [msec] b [dB] –40...0 compressor is applied FX Amount 0...100 Amount of FX added to the c Attack 1...100 Sets the attack time direct signal d Release 1...100 Sets the release time d Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Low Offset Gain of the low-range trigger e [dB] –40...0 signal Amt –100...+100 Amount of modulation source Mid Offset Gain of the mid-range trigger f [dB] –40...0 signal High Offset Gain of the high-range trigger g [dB] –40...0 signal Gain Adjust –Inf, [dB] –38...+24 Sets the output gain Selects the modulation source h Src Off...Tempo for the output gain Sets the modulation amount of Amt –63...+63 the output gain Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source e: Low Offset [dB] f: Mid Offset [dB] g: High Offset [dB] These parameters set the gain of the trigger signal. For example, if you do not want to apply compression to the high range, reduce the “High Offset” value down below the “Threshold” level. In this way, the high range limiter will not respond, and compression will not be applied. 50 Effects Dynamics (Dynamic)

005: Stereo Gate c: Threshold d: Attack This effect mutes the input signal when it falls below a speciﬁed d: Release level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly. “Threshold” speciﬁes the level at which gating occurs when “Envelope Select” is set to L/R Mix, L Only, or R Only.

Stereo In - Stereo Out Left “Attack” and “Release” specify the attack time and release time of FX Amt Gain Adjust the gate. Envelope Source Delay Gate Side PEQ Envelope - Control Trigger Monitor Gate - Threshold + Envelope - Control Output Level Envelope Select Delay Gate D-mod Gain Adjust Right Threshold FX Amt FX Control BUS 1 FX Control BUS 2 Louder

Envelope Selects the source to control the Louder a D-mod, Input gate: D-mod control, or use the Input Level Source input signal as a trigger L/R Mix, Selects the control signal: left Gate - Attack / Release Envelope L Only, and right linked, left only, or Select R Only right only b Threshold Selects the source that will Src Off...Tempo control the gate when Envelope Dry Src = D-mod

Threshold 0...100 Sets the level at which gating is c applied Polarity +, – Switches the polarity of gating Attack 1...100 Sets the attack time Wet Attack=1 d Release=1 Release 1...100 Sets the release time Delay Time Sets the delay time for the gate e [msec] 0...100 input Side PEQ Switches the trigger signal Off, On Wet Attack=100 Insert equalizer on/off Release=100 f Switches between monitoring Trigger Off, On the effect output and the Attack Release Monitor trigger signal Side PEQ Sets the center frequency of the Cutoff [Hz] 20...12.00k equalizer for the trigger signal c: Polarity Sets the bandwidth of the g Q 0.5...10.0 equalizer for the trigger signal This inverts the polarity of the gate on/off operation. With the Sets the gain of the equalizer “–” setting, the gate will close when the input signal exceeds the Gain [dB] –18.0...+18.0 for the trigger signal speciﬁed level. The direction in which the modulation source Amount of FX added to the FX Amount 0...100 direct signal opens or closes the gate will also be reversed. h Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 e: Delay Time [msec] Amt –100...+100 Amount of modulation source This sets the delay time for the input to the gate. When using shorter Attack Time settings, you can lengthen the Delay Time so that the sound is input after the gate opens. Effects 51 EQ and Filters (EQ/Filter)

EQ and Filters (EQ/Filter)

006: St.Parametric4EQ b: Band1 Type (Stereo Parametric 4-Band EQ) c: Band4 Type Selects a ﬁlter type for Band 1 and 4. This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 Parametric 4EQ - Band1, Band4 Type can be controlled by dynamic modulation. +Gain 3dB Band4 Type=Shelving High Band4 Type=Peaking Stereo In - Stereo Out Left Band1 Band2 Band3 Band4 FX Amt 0dB PEQ PEQ PEQ PEQ Band1 Type=Shelving Low Trim LEQ HEQ –Gain Band1 Type=Peaking 3dB

LEQ HEQ Trim Band1 Cutoff Band4 Cutoff

PEQ PEQ PEQ PEQ Right FX Amt Parametric 4EQ - Band2 Gain Mod D-mod -mod +15dB D Band2 Cutoff a Trim 0...100 Sets the input level +6dB +6dB Peaking, Selects the type of Band 1 b Band1 Type 0dB 0dB Shelving-Low Band2 Cutoff

Peaking, –9dB -mod c Band4 Type Shelving- Selects the type of Band 4 D High Band2 Gain[dB]= +6.0 Band2 Gain[dB]= +6.0 Band2 Selects the modulation source of Band2 Gain Mod Amount[dB]= +9.0 Band2 Gain Mod Amount[dB]= –15.0 Dynamic Off...Tempo the Band 2 gain d Gain Src Sets the modulation amount of e, f, g, h: Q Amt [dB] –18.0...+18.0 Band 2 gain These parameters set the bandwidth of each equalizer. The Band1 Cutoff 20...1.00k Sets the center frequency of [Hz] Band 1 higher the value, the narrower the band becomes. e Q 0.5...10.0 Sets the bandwidth of Band 1 Gain [dB] –18.0...+18.0 Sets the gain of Band 1 d: Band2 Dynamic Gain Src Band2 Cutoff Sets the center frequency of d: Amt [dB] [Hz] 50...10.00k Band 2 f Q 0.5...10.0 Sets the bandwidth of Band 2 You can control the gain of Band 2 using the modulation source. Gain [dB] –18.0...+18.0 Sets the gain of Band 2 Band3 Cutoff Sets the center frequency of [Hz] 300...10.00k Band 3 g Q 0.5...10.0 Sets the bandwidth of Band 3 Gain [dB] –18.0...+18.0 Sets the gain of Band 3 Band4 Cutoff Sets the center frequency of [Hz] 500...20.00k Band 4 h Q 0.5...10.0 Sets the bandwidth of Band 4 Gain [dB] –18.0...+18.0 Sets the gain of Band 4 Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 52 Effects EQ and Filters (EQ/Filter)

007: St. Graphic 7EQ 008: St.Exciter/Enhncr (Stereo Graphic 7-Band EQ) (Stereo Exciter/Enhancer) This is a stereo 7-band graphic equalizer. The bar graph of the This effect is a combination of the Exciter, which adds a punch gain setting for each band gives you a clear, visual idea of fre- to the sound and the Enhancer, which adds spread and presence. quency responses. You can select a center frequency setting for Stereo In - Stereo Out each band from twelve types, according to the sound. Left FX Amt LEQ HEQ Exciter Stereo In - Stereo Out EQ Trim Delay Left Depth FX Amt EQ Trim Delay Exciter Trim Band1 Band2 Band3 Band4 Band5 Band6 Band7 Enhancer Right FX Amt Trim D-mod Band1 Band2 Band3 Band4 Band5 Band6 Band7 Right FX Amt Sets the intensity (depth) of the Exciter Blend –100...+100 Exciter effect Selects the modulation source of 1:Wide 1, a Src Off...Tempo the Exciter intensity 2:Wide 2, 3:Wide 3, Amt –100...+100 Sets the modulation amount of 4:Half Wide 1, the Exciter intensity 5:Half Wide 2, Emphasis Sets the frequency to be empha- 6:Half Wide 3, Selects a combination of center Freq 0...70 sized a Type 7:Low, frequencies for each band 8:Wide Low, b Src Off...Tempo Selects the modulation source of 9:Mid, the frequency to be emphasized 10:Wide Mid, Sets the amount of modulation of 11:High, Amt –70...+70 the frequency to be emphasized 12:Wide High Enhancer b Trim 0...100 Sets the input level Sets the delay time for the c Delay L 0.0...50.0 Enhancer left channel c Band1 [dB] –18.0...+18.0 Sets the gain of Band 1 [msec] d Band2 [dB] –18.0...+18.0 Sets the gain of Band 2 Enhancer d Delay R 0.0...50.0 Sets the delay time for the e Band3 [dB] –18.0...+18.0 Sets the gain of Band 3 [msec] Enhancer right channel f Band4 [dB] –18.0...+18.0 Sets the gain of Band 4 Enhancer Sets the determines to what g Band5 [dB] –18.0...+18.0 Sets the gain of Band 5 0...100 degree the Enhancer effect is Depth applied h Band6 [dB] –18.0...+18.0 Sets the gain of Band 6 e Selects the modulation source of i Band7 [dB] –18.0...+18.0 Sets the gain of Band 7 Src Off...Tempo the Enhancer width FX Amount 0...100 Amount of FX added to the Sets the modulation amount of direct signal Amt –100...+100 the Enhancer width j Table , “Dynamic Modulation f EQ Trim 0...100 Sets the 2-band EQ input level Src Off...Tempo sources,” on page 46 Selects the cutoff frequency Amt –100...+100 Amount of modulation source Pre LEQ Fc Low, (low or mid-low) of the low- Mid-Low range equalizer g a: Type High, Selects the cutoff frequency Pre HEQ Fc Mid-High (high or mid-high) of the high- This parameter selects a combination of center frequencies for range equalizer Pre LEQ Gain each band. The center frequency of each band is shown in the [dB] –15.0...+15.0 Gain of the Lo EQ h right of the screen. Pre HEQ Gain [dB] –15.0...+15.0 Gain of the High EQ You can conﬁgure a 21-Band Graphic EQ ranging from 80 Hz to Amount of FX added to the 18 kHz if you route three Graphic 7-Band EQ effects in series, FX Amount 0...100 direct signal with a setting of 7:Low, 9:Mid, and 11:High for each EQ. i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

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

b: Emphasis Freq This parameter sets the frequency to be emphasized. Higher values will emphasize lower frequencies.

c: Enhancer Delay L [msec] d: Enhancer Delay R [msec] These parameters set the delay time for the Enhancer left and right channel. Specifying a slightly different delay time for the left and right channel will add a stereo image, depth, and width to the sound. Effects 53 EQ and Filters (EQ/Filter)

009: Stereo Isolator 010: St. Wah/Auto Wah This is a stereo effect that separates the input signal into low, (Stereo Wah/Auto Wah) mid, and high-frequency bands, and controls the volume of each This stereo wah effect allows you to create sounds from vintage band independently. For example you can separately boost or wah pedal simulation to auto-wah simulation, and much cut the kick, snare, and hi-hat sounds from a drum signal in broader range settings. realtime. Stereo In - Stereo Out Left Stereo In - Stereo Out FX Amt

Left Low FX Amt Wah Envelope Sens Sweep Mode Mid + Envelope Shape Auto Response D-mod Trim High -mod D LFO Isolator LFO Low Wah Mid Right Trim High FX Amt Right FX Amt D-mod Frequency Sets the lower limit of the wah -mod 0...100 D Bottom center frequency D-mod a Frequency Sets the upper limit of the wah Top 0...100 center frequency a Trim 0...100 Sets the input level Auto, Selects the control from auto- Sweep Mode D-mod, wah, modulation source, and Sets the frequency at which the LFO LFO b Low/Mid [Hz] 100...500 low and mid bands are divided b Selects the modulation source c Mid/High 2000...6000 Sets the frequency at which the Src Off...Tempo for the wah when Sweep [Hz] mid and high bands are divided Mode=D-mod Low Gain –Inf, Sets the low-frequency gain Sets the response speed when [dB] –59...+12 Respon 0...100 Sweep Mode = Auto or D-mod Src Off...Tempo Selects the source that will Envelope d modulate low-frequency gain Sens 0...100 Sets the sensitivity of auto-wah c Sets the amount by which the Envelope Sets the sweep curve of auto- Amt –72...+72 low-frequency gain will be Shape –100...+100 wah modulated LFO Mid Gain –Inf, Sets the mid-frequency gain Frequency 0.02...20.00 Sets the speed of the LFO [dB] –59...+12 [Hz] Src Off...Tempo Selects the modulation source d Selects a modulation source for e for mid-frequency gain Src Off...Tempo LFO speed Sets the amount by which the –20.00... Sets the modulation amount of Amt –72...+72 mid-frequency gain will be Amt +20.00 LFO speed modulated When this is on, the LFO speed High Gain –Inf, Sets the high-frequency gain MIDI Sync Off, On is set by BPM, Base Note, and [dB] –59...+12 Times, instead of Frequency Src Off...Tempo Selects the modulation source MIDI, MIDI syncs to the system tempo; f for high-frequency gain BPM 40.00... 40–300 sets the tempo manually Sets the amount by which the e 300.00 for this individual effect Amt –72...+72 high-frequency gain will be Selects the type of notes that modulated Base Note ... specify the LFO speed FX Amount 0...100 Amount of FX added to the Sets the number of notes that direct signal Times x1...x32 specify the LFO speed g Table , “Dynamic Modulation Resonance 0...100 Sets the resonance amount Src Off...Tempo sources,” on page 46 f Low Pass Switches the wah low pass ﬁlter Amt –100...+100 Amount of modulation source Filter Off, On on and off Sets the output level of the Output Level 0...100 effect sound Selects the modulation source g Src Off...Tempo that will control the effect output level Sets the modulation amount of Amt –100...+100 the effect output level Amount of FX added to the FX Amount 0...100 direct signal h Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 54 Effects EQ and Filters (EQ/Filter) a: Frequency Bottom 011: St. Vintage Wah a: Frequency Top (Stereo Vintage/Custom Wah) The sweep width and direction of the wah ﬁlter are determined This effect simulates the tonal character of a vintage wah pedal. by the “Frequency Top” and “Frequency Bottom” settings. You can customize the tone and range settings. Sweep Mode=D-mod Frequency Frequency Stereo In - Stereo Out Left Top=75 Wah FX Amt

Bottom=60 Higher Wah Wah Envelope Sens Sweep Mode Woo Higher + Auto Shape / Invert Top=30 Response Mode Bottom=25 Woo -mod D-mod Preset Setting D LFO -mod -mod LFO Custom Parameters Higher D Higher D Zero Max Zero Max Wah

Right Sweep Mode=Auto FX Amt Frequency Frequency

Wah Wah Wah Top=75 Bottom=75 Preset, Selects either preset or custom Mode Custom settings Envelope a Shape –100...+100 Sets the curve of the sweep Higher Higher Woo Woo Bottom=25 Top=25 Invert Off, On Inverts the polarity of the sweep Woo Frequency Sets the lower limit of the wah Bottom 0...100 center frequency when Mode = Envelope Time Envelope Time Custom b Sets the upper limit of the wah b: Sweep Mode Frequency 0...100 center frequency when Mode = Top Custom This parameter changes the wah control mode. Setting “Sweep Sets the lower limit of Resonance 0...100 resonance amount when Mode” to Auto will select an auto-wah that sweeps according to Bottom Mode=Custom c envelope changes in the input signal level. Auto-wah is fre- Sets the upper limit of Resonance 0...100 resonance amount when quently used for funk guitar parts and clav sounds. Top Mode=Custom When “Sweep Mode” is set to D-mod, you can control the filter Auto, Selects the control from auto- Sweep Mode D-mod, wah, modulation source, and directly via the modulation source in the same way as a wah LFO LFO pedal. Selects the modulation source d Src Off...Tempo for the wah when Sweep When “Sweep Mode” is set to LFO, the effect uses LFO to sweep Mode=D-mod Sets the center frequency when in cycle. Manual 0...100 Sweep Mode=D-mod and Source=Off c: Envelope Sens Envelope Sens 0...100 Sets the auto-wah sensitivity This parameter sets the sensitivity of auto-wah. Increase the e Sets the speed of response value if the input signal is too low to sweep. Reduce the value if Response 0...100 when Sweep Mode=Auto or D- mod the input signal is so high that the filter is stopped temporarily. LFO Frequency 0.02...20.00 Sets the speed of the LFO c: Envelope Shape [Hz] f Selects a modulation source for This parameter determines the sweep curve for auto-wah. Src Off...Tempo LFO speed –20.00... Sets the modulation amount of Envelope Shape Amt +20.00 LFO speed Level When this is on, the LFO speed MIDI Sync Off, On is set by BPM, Base Note, and Envelope Times, instead of Frequency MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually value = 0...+100 g 300.00 for this individual effect value = 0...–100 Base Note ... Selects the type of notes that Time specify the LFO speed Times x1...x32 Sets the number of notes that d: LFO Frequency [Hz] specify the LFO speed Sets the output level of the e: MIDI Sync Output Level 0...100 effect sound Selects the modulation source When “MIDI/Tempo Sync”=Off, the LFO speed uses the LFO h Src Off...Tempo that will control the effect Frequency parameter setting. When “MIDI/Tempo Sync”=On, output level the LFO speed follows the “BPM”, “Base Note”, and “Times” set- Sets the modulation amount of Amt –100...+100 the effect output level tings. Amount of FX added to the FX Amount 0...100 direct signal e: BPM i Src Off...Tempo Table , “Dynamic Modulation e: Base Note sources,” on page 46 e: Times Amt –100...+100 Amount of modulation source One cycle of LFO sweep is obtained by multiplying the length of a: Shape a note ( … ) (selected for “Base Note”, in relation to the tempo This parameter specifies the sweep curve of the wah. It applies to specified in “BPM”, or the MIDI Clock tempo if “BPM” is set to all control via auto-wah, modulation source, and LFO, and lets MIDI) by the number specified in the Times parameter. you adjust subtle nuances of the wah effect. Effects 55 EQ and Filters (EQ/Filter) a: Mode a: LFO Phase [degree] b: Frequency Bottom Offsetting the left and right phases alters how modulation is b: Frequency Top applied to the left and right channels, creating a swelling affect. c: Resonance Bottom c: Resonance Top LFO Phase 0 +90 +180 [degree] If Mode=Preset, this simulates a vintage wah pedal. In this case, internally fixed values are used for Frequency Bottom/Top and Resonance Bottom/Top, and these settings will be ignored. The settings for Frequency Bottom/Top and Resonance Bottom/Top are valid if Mode=Custom. –180 –90 0 [degree]

012: St. Random Filter (Stereo Random Filter) This stereo band pass ﬁlter uses a step-shape waveform and ran- a: LFO Waveform dom LFO for modulation. You can create a special effect from b: LFO Frequency [Hz] ﬁlter oscillation. c: LFO Step Freq [Hz]

Stereo In - Stereo Out When “LFO Waveform” is set to Step-Tri, LFO is a step-shape,

Left FX Amt triangle waveform. The “LFO Frequency” parameter sets the

Filter original triangle waveform speed. Changing the “LFO Step Freq” parameter enables you to adjust the width of the steps. Filter

Right When “LFO Waveform” is set to Random, the “LFO Step Freq” FX Amt LFO Phase parameter uses a random LFO cycle. LFO: Step-Tri/Random Random Filter LFO LFO Frequency LFO Step-Tri, Waveform Random Selects the LFO Waveform a LFO Phase Sets the LFO phase difference [degree] –180...+180 between the left and right Step Frequency LFO Frequency 0.02...20.00 Sets the speed of the LFO Step Frequency [Hz] Step-Tri Random b Selects the modulation source Src Off...Tempo used for both LFO speed and step speed d: BPM –20.00... Sets the modulation amount of e: Step Base Note Amt +20.00 LFO speed LFO Step Sets the LFO step speed (speed e: Times Freq [Hz] 0.05...50.00 that changes in steps c –50.00... Sets the modulation amount of The width of an LFO step, or a cycle of random LFO, is obtained Amt +50.00 LFO step speed by multiplying the length of a note (…) (selected for “Step When this is on, the LFO speed Base Note”, in relation to the tempo speciﬁed in “BPM,” or the MIDI Sync Off, On is set by BPM, Base Note, and Times, instead of Frequency MIDI Clock tempo if “BPM” is set to MIDI) by the number MIDI, MIDI syncs to the system tempo; speciﬁed in the “Times” parameter. BPM 40.00... 40–300 sets the tempo manually d 300.00 for this individual effect i: FX Amount Base Note ... Selects the type of notes that specify the LFO speed The effect sound’s phase will be reversed when you set this Sets the number of notes that Times x1...x32 specify the LFO speed parameter in the negative range of values. Selects the type of notes to Step Base Note ... specify the LFO step speed e Sets the number of notes to Times x1...x32 specify the LFO step speed

Manual 0...100 Sets the filter center frequency Selects the modulation source f Src Off...Tempo for the filter center frequency Sets the modulation amount for Amt –100...+100 the filter center frequency Sets the modulation depth of Depth 0...100 filter center frequency Selects the modulation source g Src Off...Tempo of filter modulation Sets the modulation amount of Amt –100...+100 filter modulation h Resonance 0...100 Sets the resonance amount Amount of FX added to the FX Amount -100...0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 56 Effects EQ and Filters (EQ/Filter)

013: St. MultiModeFilter 014: St. Sub Oscillator (Stereo Multi Mode Filter) (Stereo Sub Oscillator) This is a multi-mode ﬁlter with four types; low pass, high pass, This effect adds very low frequencies to the input signal. It is band pass, and band reject. You can use LFO or dynamic modu- very useful when simulating a roaring drum sound or emphasiz- lation to vary the cutoff frequency or resonance. ing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics. You can also Stereo In - Stereo Out adjust the oscillator frequency to match a particular note num- Left FX Amt ber, for use as an octaver. Multimode Filter Driver Trim Output

LPF Stereo In - Stereo Out HPF Left Filter Type FX Amt BPF Envelope Shape BRF Envelope Sens Pre LPF Sine Oscillator -mod Fixed Frequency Fixed Multimode Filter Driver D Pitch Trim Output OSC Mode Note No. Note Interval, Fine Right Note (Key Follow) FX Amt Envelope Sens Pre LPF LFO Phase Envelope Shape LFO: Tri / Sine LFO Shape Right FX Amt

Type LPF, HPF, BPF, Selects the type of ﬁlter a BRF Note (Key Determines whether the oscil- a OSC Mode Follow), lator frequency follows the note Trim 0...100 Sets the input level Fixed number or whether it is ﬁxed Cutoff 0...100 Sets the cutoff frequency Sets the pitch difference from (center frequency) Note Interval –48...0 the note number when OSC Selects the modulation source b Mode=Note (Key Follow) b Src Off...Tempo of the cutoff Note Fine –100...+100 Fine adjustment of the oscillator Sets the modulation amount of frequency Amt –100...+100 the cutoff Fixed Sets the oscillator frequency Resonance 0...100 Sets the resonance amount Frequency 10.0...80.0 [Hz] when OSC Mode=Fixed Selects the source that will Src Off...Tempo modulate the amount of Selects the modulation source c resonance c Src Off...Tempo for the oscillator frequency when OSC Mode=Fixed Sets the amount by which the Amt –100...+100 resonance will be modulated Sets the oscillator frequency Amt –80...+80 modulation amount when OSC LFO Mode=Fixed Waveform Triangle, Sine Selects the LFO Waveform Envelope Pre Sets the upper limit of the Phase –180...+180 Sets the LFO phase difference d 1...100 frequency range for which very d [degree] between the left and right LPF low harmonics are added Sets the depth to which the LFO Envelope Sets the sensitivity with which Depth 0...100 will modulate the cutoff Sens 0...100 very low harmonics are added frequency e Envelope Sets the oscillator’s volume LFO Shape –100...+100 envelope curve Frequency 0.02...20.00 Sets the speed of the LFO [Hz] Amount of FX added to the FX Amount 0...100 direct signal e Selects a modulation source for Src Off...Tempo LFO speed f Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 –20.00... Sets the modulation amount of Amt +20.00 LFO speed Amt –100...+100 Amount of modulation source When this is on, the LFO speed MIDI Sync Off, On is set by BPM, Base Note, and a: OSC Mode Times, instead of Frequency MIDI, MIDI syncs to the system tempo; b: Note Interval BPM 40.00... 40–300 sets the tempo manually b: Note Fine f 300.00 for this individual effect

Base Note ... Selects the type of notes that The “OSC Mode” parameter selects the oscillator operation specify the LFO speed mode. When Note (Key Follow) is selected, the oscillator’s fre- Sets the number of notes that Times x1...x32 specify the LFO speed quency is determined based on the note number, allowing you to

Drive SW Off, On Switches distortion on/off use it as an octaver. The “Note Interval” parameter sets the pitch g within the ﬁlter offset from the original note number by semitone steps. The Output Level 0...100 Sets the output level “Note Fine” parameter allows you to ﬁne-tune in steps of cents. Drive Gain 0...100 Sets the distortion amount h Sets the amount of low-range d: Envelope Pre LPF Low Boost 0...100 boost Amount of FX added to the This parameter sets the upper limit of the frequency range to FX Amount 0...100 direct signal which very low harmonics are added. Adjust this parameter if i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 you do not want to add lower harmonics to the higher range. Amt –100...+100 Amount of modulation source Effects 57 EQ and Filters (EQ/Filter)

015: Talking Modulator c: Voice Top d: Voice Center This effect adds an unusual character, like a human voice, to the e: Voice Bottom input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or syn- These parameters assign vowels to the top, center, and bottom thesizer is talking. position of the controller. E.g.: When “Voice Top”=A, “Voice Center”=I, and FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left “Voice Bottom”=U: FX Amt If “Sweep Mode”is set to D-mod and Ribbon is selected as the modulation source, moving your ﬁnger from the right to left of + Talking Modulator A - I - U - E - O the ribbon controller will change the sound from “a” to “i,” then “u.”

Right FX Amt If Sweep Mode is set to LFO, the sound will change cyclically Sweep Mode Voice Top: A -mod Voice Center: I D D-mod Voice Bottom: U from “a” to “i,” “u,” “i,” then “a.” LFO LFO Talking Modulator Control

Switches between modulation Voice Bottom Voice Center Voice Top a Sweep Mode D-mod, LFO source control and LFO control A A Bottom, Manual Voice 1...49, I Control Center, Voice pattern control b 51...99, Top U Selects the modulation source E Src Off...Tempo that controls the voice pattern Selects a vowel sound at the top O c Voice Top A, I, U, E, O end of control -mod JS X + Max D Zero d Voice Center A, I, U, E, O Selects a vowel sound in the Ribbon – Max center of control JS +Y + Max JS –Y e Voice Bottom A, I, U, E, O Selects a vowel sound at the Zero bottom end of control etc… Formant Sets the frequency to which the Shift –100...+100 effect is applied f f: Formant Shift Resonance 0...100 Sets the Level of resonance of the voice pattern This parameter adjusts the frequency level to which the effect is LFO Frequency 0.02...20.00 Sets the speed of the LFO applied. If you wish to apply the effect to a higher-range sound, [Hz] set this parameter to a higher value; to apply the effect to a g Selects a modulation source for lower-range sound, set this to a lower value. Src Off...Tempo LFO speed –20.00... Sets the modulation amount of f: Resonance Amt +20.00 LFO speed When this is on, the LFO speed This parameter sets the intensity of resonance for the voice pat- MIDI Sync Off, On is set by BPM, Base Note, and Times, instead of Frequency tern. A larger value will add more character to the sound. MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually h 300.00 for this individual effect Selects the type of notes that Base Note ... specify the LFO speed Sets the number of notes that Times x1...x32 specify the LFO speed Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 58 Effects EQ and Filters (EQ/Filter)

016: Stereo Decimator f: Resolution g: Output Level This effect creates a rough sound like a cheap sampler by lower- ing the sampling frequency and data bit length. You can also If you set a smaller value for the “Resolution” parameter, the simulate noise unique to a sampler (aliasing). sound may be distorted. The volume level may also be changed. Use “Output Level” to adjust the level.

Stereo In - Stereo Out Left FX Amt Pre LPF Resolution High Damp Output Level 017: St. Analog Record Decimator (Stereo Analog Record) D-mod Sampling Frequency LFO This effect simulates the noise caused by scratches and dust on Decimator Pre LPF Resolution High Damp Output Level analog records. It also reproduces some of the modulation Right FX Amt caused by a warped turntable.

Stereo In - Stereo Out Selects whether the harmonic Left Pre LPF Off, On noise caused by a decrease in FX Amt sampling frequency is EQ Trim Pre EQ Analog Record a generated or not Simulation High Damp Sets the ratio of cut of the high [%] 0...100 range

Sampling 1.00k... Sets the sampling frequency Freq [Hz] 48.00k EQ Trim Pre EQ Selects the modulation source Right b FX Amt Src Off...Tempo of the sampling frequency –48.00k... Sets the modulation amount of Amt +48.00k the sampling frequency a Speed [RPM] 33 1/3, 45, 78 Sets the r.p.m. of a record LFO b Flutter 0...100 Sets the modulation depth Frequency 0.02...20.00 Sets the speed of the LFO [Hz] Noise Density 0...100 Sets the noise density c c Selects a modulation source for Noise Tone 0...100 Sets the noise tone Src Off...Tempo LFO speed Noise Level 0...100 Sets the noise level –20.00... Sets the modulation amount of Amt +20.00 LFO speed Selects the modulation source d Src Off...Tempo for the noise level When this is on, the LFO speed MIDI Sync Off, On is set by BPM, Base Note, and Amt –100...+100 Sets the modulation amount of Times, instead of Frequency the noise level

MIDI, MIDI syncs to the system tempo; Click Level 0...100 Sets the click noise level BPM 40.00... 40–300 sets the tempo manually d 300.00 for this individual effect e Src Off...Tempo Selects the modulation source Selects the type of notes that for the click noise level Base Note ... specify the LFO speed Amt –100...+100 Sets the modulation amount of Sets the number of notes that the click noise level Times x1...x32 specify the LFO speed f EQ Trim 0...100 Sets the EQ input level Sets the depth of the sampling Depth 0...100 frequency LFO modulation Pre EQ Cutoff [Hz] 300...10.00k Sets the EQ center frequency Selects the LFO modulation g Q 0.5...10.0 Sets the EQ band width e Src Off...Tempo source of the sampling frequency Gain [dB] –18.0...+18.0 Sets the EQ gain Sets the LFO modulation Amount of FX added to the Amt –100...+100 amount of the sampling FX Amount 0...100 direct signal frequency h Table , “Dynamic Modulation f Resolution 4...24 Sets the data bit length Src Off...Tempo sources,” on page 46 Output Level 0...100 Sets the output level Amt –100...+100 Amount of modulation source Src Off...Tempo Selects the modulation source g for the output level b: Flutter Sets the modulation amount of Amt –100...+100 the output level This parameter enables you to set the depth of the modulation Amount of FX added to the caused by a warped turntable. FX Amount 0...100 direct signal h Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 e: Click Level Amt –100...+100 Amount of modulation source This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable. This simulation a: Pre LPF reproduces record noise, and the noise generated after the music If a sampler with a very low sampling frequency receives very on a vinyl record ﬁnishes. high-pitched sound that could not be heard during playback, it could generate pitch noise that is unrelated to the original sound. Set “Pre LPF” to On to prevent this noise from being generated. If you set the “Sampling Freq” to about 3 kHz and set “Pre LPF” to Off, you can create a sound like a ring modulator. Effects 59 Overdrive, Amp models, and Mic models (OD Amp Mic)

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

018: OD/Hi.Gain Wah a: Wah (Overdrive/Hi.Gain Wah) The Wah parameter switches the wah effect on/off.

This distortion effect utilizes an Overdrive mode and a Hi-Gain a: Sw mode. Controlling the wah effect, the 3-band EQ, and the amp simulation will allow you to create versatile distortion sounds. This parameter sets how the wah effect is switched on and off via This effect is suitable for guitar and organ sounds. the modulation source. When “Sw” = Moment, the wah effect is usually turned off. It is FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left turned on only when you press the pedal or operate the joystick. FX Amt Mode: Overdrive / Hi-Gain When a value for the modulation source is less than 64, “off” speed is Drive Pre Low-cut 3 Band PEQ selected, and when the value is 64 or higher, “on” is selected. + Wah Driver Amp Simulation Output Level When “Sw” = Toggle, the wah effect is switched between on and

Direct Mix off each time you press the pedal or operate the joystick.

Right FX Amt The switch will be turned on/off each time the value of the D-mod modulation source exceeds 64. b: Wah Sweep Range Wah Off, On Switches Wah on/off b: Wah Sweep Src Selects the modulation source Src Off...Tempo that switches the Wah on and a off This parameter sets the sweep range of the wah center frequency. A negative value will reverse the direction of sweep. The wah Toggle, Selects the switching mode for Sw the modulation source that center frequency can be controlled by the modulation source Moment switches the Wah on and off Wah Sweep speciﬁed in the “Wah Sweep Src” parameter. Range –10...+10 Sets the range of Wah b Wah Sweep Selects the modulation source d: Pre Low-cut Src Off...Tempo that controls the Wah Overdrive, Switches between overdrive and Cutting the signal in the low range before it is input to the Dis- c Drive Mode Hi-Gain hi-gain distortion tortion will create a sharp distortion. Drive 1...100 Sets the degree of distortion d d: Drive Sets the low range cut amount Pre Low-cut 0...10 of the distortion input e: Output Level Output Level 0...50 Sets the output level The degree of distortion is determined by the level of input sig- Selects the modulation source e Src Off...Tempo for the output level nal and the setting of “Drive”. Raising the “Drive” setting will Sets the modulation amount of cause the entire volume level to increase. Use the “Output Level” Amt –50...+50 the output level parameter to adjust the volume level. The “Output Level” Low Cutoff 20...1.00k Sets the center frequency for parameter uses the signal level input to the 3-Band EQ. If clip- f [Hz] Low EQ (shelving type) Gain [dB] –18...+18 Sets the gain of Low EQ ping occurs at the 3-Band EQ, adjust the “Output Level” param- Mid1Cutoff Sets the center frequency for eter. [Hz] 300...10.00k Mid/High EQ 1 (peaking type) g Sets the band width of Mid/High Q 0.5...10.0 EQ 1 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 Mid2 Cutoff Sets the center frequency for [Hz] 500...20.00k Mid/High EQ 2 (peaking type) h Sets the band width of Mid/High Q 0.5...10.0 EQ 2 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 Sets the amount of the dry Direct Mix 0...50 sound mixed to the distortion i Speaker Switches the speaker simulation Simulation Off, On on/off Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 60 Effects Overdrive, Amp models, and Mic models (OD Amp Mic)

019: St. Guitar Cabinet 020: St. Bass Cabinet (Stereo Guitar Cabinet) (Stereo Bass Cabinet) This simulates the acoustical character of a guitar amp’s speaker This simulates the acoustical character of a bass amp’s speaker cabinet. cabinet.

Stereo In - Stereo Out Stereo In - Stereo Out Left Left FX Amt FX Amt

Cabinet Simulator Cabinet Simulator Trim Trim

Trim Trim Cabinet Simulator Cabinet Simulator

Right Right FX Amt FX Amt

a Trim 0...100 Sets the input level a Trim 0...100 Sets the input level Selects the type of the cabinet Selects the cabinet type TWEED - Open-back cabinet with one 12" Four 10" speakers / LA sound 1x12 speaker, typically used for blues LA - 4x10 cabinet TWEED - Open-back cabinet with four MODERN - Four 10" aluminum-cone 4x10 10" speakers 4x10 speakers / modern cabinet

BLACK - 2x10 Open-back cabinet with two Four 10" aluminum-cone 10" speakers METAL - 4x10 speakers / modern cabinet American open-back cabinet CLASSIC - Eight 10" speakers / classic BLACK - 2x12 with two12" speakers 8x10 cabinet VOX AC15 - Vox AC15 open-back cabinet Four 12" speakers / UK- b Type 1x12 with one 12" “Blue” speaker UK - 4x12 manufactured cabinet VOX AC30 - Vox AC30 open-back cabinet STUDIO - One 15" speaker / studio combo 2x12 with two 12" “Blue” speakers b Cabinet Type 1x15 cabinet VOX AD412 - VOX AD412 closed-back cabinet One 15" speaker / jazz combo 4x12 with four 12" speakers JAZZ - 1x15 cabinet UK H30 - Closed-back classic cabinet with VOX AC100 - Two 15" speakers / cabinet for 4x12 four 30W 12" speakers 2x15 Vox AC100

UK T75 - 4x12 Closed-back cabinet with four Two 15" speakers / US-manufac- 75W 12" speakers US - 2x15 tured cabinet

US V30 - 4x12 Closed-back cabinet with four Four 15" speakers / UK- 30W 12" speakers UK - 4x15 manufactured cabinet c Air 0...100 Sets the mic position One 18" speaker / LA - 1x18 LA sound cabinet FX Amount 0...100 Amount of FX added to the direct signal COMBI - 1x12 One 12" and one 18" speaker & 1x18 combination cabinet d Src Off...Tempo Table , “Dynamic Modulation sources,” on page 46 Amount of FX added to the FX Amount 0...100 direct signal Amt –100...+100 Amount of modulation source c Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 61 Overdrive, Amp models, and Mic models (OD Amp Mic)

021: Bass Amp Model 022: Bass Amp+Cabinet This simulates a bass amp. (Bass Amp Model+Cabinet) This simulates a bass amp and speaker cabinet. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Volume + Bass Amp Model Volume + Bass Amp Model1 Cabinet Simulator

Right FX Amt Right -mod D FX Amt D-mod

Selects the ampliﬁer type An amp that is typical of the LA LA STUDIO, LA STUDIO sound. JAZZ , GOLD PANEL, Selects the type of the ampliﬁer JAZZ A combo amp favored by jazz a Amp Type SCOOPED, bassists. VALVE2, An amp distinctive for its eye- VALVE, GOLD PANEL catching gold panel and clean CLASSIC a Amp Type sound. Volume 0...100 Sets the output level SCOOPED An amp typical of 80’s sounds. Src Off...Tempo Selects the modulation source VALVE2 A tube amp suitable for rock. b for the output level A tube amp with the ULTRA LO Amt –100...+100 Sets the modulation amount of VALVE switch turned ON. the output level A tube amp whose basic c Bass 0...100 Sets the bass (low range) level CLASSIC character changes according to Middle 0...100 Sets the middle (mid range) the setting of the value dial. d level Volume 0...100 Sets the output level Mid Range 0...4 Sets the mid-frequency range Src Off...Tempo Selects the modulation source Sets the treble (high range) b for the output level e Treble 0...100 level Amt –100...+100 Sets the modulation amount of Sets the presence (high- the output level f Presence 0...100 frequency tone) c Bass 0...100 Sets the bass (low range) level Cabinet Switches the cabinet simulator g Simulater Off, On on/off Middle 0...100 Sets the middle (mid range) d level LA - 4x10, Mid Range 0...4 Sets the mid-frequency range MODERN - 4x10, e Treble 0...100 Sets the treble (high range) level METAL - Sets the presence (high- 4x10, f Presence 0...100 frequency tone) CLASSIC - 8x10, Amount of FX added to the UK - 4x12, FX Amount 0...100 direct signal h Cabinet Type STUDIO - Selects the cabinet type g Table , “Dynamic Modulation 1x15, Src Off...Tempo sources,” on page 46 JAZZ - 1x15, VOX AC100 - Amt –100...+100 Amount of modulation source 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 & 1x18 Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

a: Amp Type h: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabinets:

Amp Type Cabinet Type

LA STUDIO LA - 4x10, LA - 1x18 JAZZ JAZZ - 1x15 GOLD PANEL MODERN - 4x10 SCOOPED METAL - 4x10 VALVE2 CLASSIC - 8x10 VALVE CLASSIC - 8x10 CLASSIC COMBI - 1x12 & 1x18 62 Effects Overdrive, Amp models, and Mic models (OD Amp Mic)

023: Tube PreAmp Model b, f: Saturation [%] (Tube PreAmp Modeling) With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of This effect simulates a two-stage vacuum tube preamp. You can this value will produce linear response. make individual settings for two vacuum tubes connected in series. This lets you create the warm sound typical of vacuum Mic/Pre Amp - Saturation tubes. Out Saturation = 0 Saturation = 50 FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Saturation = 100 FX Amt In

Invert + + Tube Pre Amp1 Tube Pre Amp2 – Output Level Bias = 0

Right FX Amt c: Tube1 Bias Tube1 Low Thru, Sets the cutoff frequency for the This expresses the effect that changes in vacuum tube bias have Cut [Hz] 21...8.00k low cut filter of stage 1 a on the distortion of the waveform. Higher settings of this value 53...20.00k, Sets the cutoff frequency for the High Cut [Hz] Thru high cut filter of stage 1 will produce distortion even at low gain levels. Since this will Tube1 Gain also change the overtone structure, you can use it to control the [dB] –24.0...+24.0 Sets the input gain for stage 1 b tonal character. Saturation Sets the input/output response [%] 0...100 for stage 1 Mic/Pre Amp - Bias c Tube1 Bias 0...100 Sets the bias voltage for stage 1 Out d Tube1 Phase Normal, Turns phase reversal on/off Bias = 100 Wet Invert Bias = 50 Bias = 0 Tube2 Low Thru, Sets the cutoff frequency for the Cut [Hz] 21...8.00k low cut filter of stage 2 e 53...20.00k, Sets the cutoff frequency for the In High Cut [Hz] Thru high cut filter of stage 2 Tube2 Gain [dB] –24.0...+24.0 Sets the input gain for stage 2 f Saturation Sets the input/output response Satulation = 50 [%] 0...100 for stage 2

g Tube2 Bias 0...100 Sets the bias voltage for stage 2 d: Tube1 Phase Tube2 h Output Level –48.0...+0.0 Sets the output level With the Wet Invert setting, the phase of the signal will be [dB] Amount of FX added to the inverted between stage 1 and stage 2. Since “Bias” is applied to FX Amount 0...100 direct signal the inverted signal in stage 2, this will change the tonal character. i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 63 Overdrive, Amp models, and Mic models (OD Amp Mic)

024: St. Tube PreAmp (Stereo Tube PreAmp Modeling) This is a stereo vacuum tube preamp simulator (See “023: Tube PreAmp Model (Tube PreAmp Modeling)” on page 62.).

Stereo In - Stereo Out Left FX Amt

+ Tube Pre Amp1 Tube Pre Amp2 – Invert Output Level + Tube Pre Amp1 Tube Pre Amp2 –

Right FX Amt

025: Mic Model+PreAmp (Mic Modeling + PreAmp) This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differ- ing sonic characters.

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

+ Mic Simulation Tube Pre Amp Output Level

Right FX Amt

Vintage Dynamic, Multi Condenser, Percussion Condenser, a Mic Type Drums Dynamic, Selects the type of mic Vocal Dynamic, Multi Dynamic, Vocal Condenser, Vocal Tube, Kick Dynamic Close, On, b Mic Position Off, Far Sets the mic placement distance Tube Low Thru, Sets the frequency of the low Cut [Hz] 21...8.00k cut ﬁlter c 53...20.00k, Sets the frequency of the high High Cut [Hz] Thru cut ﬁlter Tube Gain Sets the input gain to the [dB] –24.0...+24.0 vacuum tube preamp d Saturation Sets the input/output response [%] 0...100 of the preamp Sets the bias level of the e Tube Bias 0...100 preamp Tube Output Sets the output level of the f Level [dB] –48.0...+0.0 preamp Amount of FX added to the FX Amount 0...100 direct signal g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source b: Mic Position This expresses the effect that the mic position has on the sound. The Close setting is the closest mic position, and the Far setting is the farthest. 64 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser)

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

026: Stereo Chorus 027: St.HarmonicChorus This effect adds thickness and warmth to the sound by modulat- (Stereo Harmonic Chorus) ing the delay time of the input signal. You can add spread to the This effect applies chorus only to higher frequencies. This can be sound by offsetting the phase of the left and right LFOs from used to apply a chorus effect to a bass sound without making the each other. sound thinner. You can also use this chorus block with feedback as a ﬂanger. Stereo In - Stereo Out Left FX Amt Stereo In - Stereo Out LEQ HEQ Left Chorus Low Level FX Amt EQ Trim

Chorus/Flanger High Level High Damp LEQ HEQ High/Low Split Point Chorus Feedback High Damp EQ Trim High Level Chorus/Flanger Right FX Amt LFO Phase Low Level Right LFO: Tri / Sine FX Amt

LFO Phase LFO: Tri / Sine LFO Waveform Triangle, Sine Selects the LFO Waveform a LFO Phase Sets the LFO phase difference LFO –180...+180 Waveform Triangle, Sine Selects the LFO Waveform [degree] between the left and right a LFO LFO Phase –180...+180 Sets the LFO phase difference Frequency 0.02...20.00 Sets the speed of the LFO [degree] between the left and right [Hz] LFO b Selects a modulation source for Frequency 0.02...20.00 Sets the speed of the LFO Src Off...Tempo LFO speed [Hz] –20.00... Sets the modulation amount of b Src Off...Tempo Selects a modulation source for Amt +20.00 LFO speed LFO speed When this is on, the LFO speed Amt –20.00... Sets the modulation amount of MIDI Sync Off, On is set by BPM, Base Note, and +20.00 LFO speed Times, instead of Frequency When this is on, the LFO speed MIDI, MIDI syncs to the system tempo; MIDI Sync Off, On is set by BPM, Base Note, and BPM 40.00... 40–300 sets the tempo manually Times, instead of Frequency c 300.00 for this individual effect MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually Selects the type of notes that c Base Note ... specify the LFO speed 300.00 for this individual effect Sets the number of notes that Base Note ... Selects the type of notes that Times x1...x32 specify the LFO speed specify the LFO speed L Pre Delay Sets the delay time for the left Times x1...x32 Sets the number of notes that [msec] 0.0...50.0 channel specify the LFO speed d R Pre Delay Sets the delay time for the right d Pre Delay 0.0...50.0 Sets the delay time from the [msec] 0.0...50.0 channel [msec] original sound Sets the depth of LFO Depth 0...100 Sets the depth of LFO Depth 0...100 modulation modulation Selects the modulation source e Src Off...Tempo Selects the modulation source e Src Off...Tempo for the LFO modulation depth of the LFO modulation depth Sets the modulation amount of Amt –100...+100 Sets the modulation amount of Amt –100...+100 the LFO modulation depth the LFO modulation depth f EQ Trim 0...100 Sets the EQ input level High/Low Sets the frequency split point f Split Point 1...100 between the low and high Low, Selects the cutoff frequency range Pre LEQ Fc Mid-Low (low or mid-low) of the low- range equalizer Feedback –100...+100 Sets the feed back amount of g the chorus block g High, Selects the cutoff frequency Pre HEQ Fc (high or mid-high) of the high- High Damp 0...100 Sets the high range damping Mid-High range equalizer [%] amount of the chorus block Low Level 0...100 Sets the low range output level Pre LEQ Gain –15.0...+15.0 Gain of the Low EQ [dB] h Sets the high range (chorus) h High Level 0...100 output level Pre HEQ Gain –15.0...+15.0 Gain of the High EQ [dB] Amount of FX added to the FX Amount 0...100 direct signal FX Amount -100...0...100 Amount of FX added to the direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 i Src Off...Tempo Table , “Dynamic Modulation sources,” on page 46 Amt –100...+100 Amount of modulation source Amt –100...+100 Amount of modulation source f: High/Low Split Point d: L Pre Delay [msec] This parameter sets the frequency that splits the high and low d: R Pre Delay [msec] range. Only the high range will be sent to the chorus block. Setting the left and right delay time individually allows you to control the stereo image. g: Feedback Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a ﬂanger. Effects 65 Chorus, Flanger, and Phaser (Cho/Fln Phaser)

028: St. Biphase Mod. 029: Multitap Cho/Delay (Stereo Biphase Modulation) (Multitap Chorus/Delay) This stereo chorus effect adds two different LFOs together. You This effect has four chorus blocks with a different LFO phase. can set the Frequency and Depth parameters for each LFO indi- You can create a complex stereo image by setting each block’s vidually. Depending on the setting of these LFOs, very complex delay time, depth, output level, and pan individually. You can waveforms will create an analog-type, unstable modulated also ﬁx some of the chorus blocks to combine the chorus and sound. delay effects.

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

Chorus/Flanger Tap1 Delay Level Pan High Damp Tap2 Delay Feedback + Level Pan Tap3 Delay High Damp Level Pan Chorus/Flanger Tap4 Delay Level Pan

Right Right FX Amt 0 [degree] FX Amt 180 [degree] 180 [degree] 90 [degree] LFO1: Tri / Sine 270 [degree] LFO2: Tri / Sine LFO: Triangle

LFO1 Triangle, Sine Selects LFO1 waveform LFO Waveform a Frequency 0.02...13.00 Sets the speed of the LFO [Hz] a LFO2 Triangle, Sine Selects LFO2 waveform Tap1 (000) 0...1000 Sets the Tap1 (LFO phase=0 0 deg, Switches the LFO phase [msec] degrees) delay time Phase Sw 180 deg difference between left and right Depth 0...30 Sets the Tap1 chorus depth b LFO1 Level 0...30 Sets the Tap1 output level Frequency 0.02...30.00 Sets the LFO1 speed [Hz] L6...L1, C, Pan R1...R6 Sets the Tap1 stereo image b Selects the modulation source Src Off...Tempo of LFO1&2 speed Tap2 (180) Sets the Tap2 (LFO phase=180 [msec] 0...1000 degrees) delay time –30.00... Sets the modulation amount of LFO1 Amt Depth 0...30 Sets the Tap2 chorus depth +30.00 LFO1 speed c LFO2 Level 0...30 Sets the Tap2 output level Frequency 0.02...30.00 Sets the LFO2 speed Pan L6...L1, C, Sets the Tap2 stereo image c [Hz] R1...R6 Amt –30.00... Sets the modulation amount of Tap3 (090) Sets the Tap3 (LFO phase=90 +30.00 LFO2 speed [msec] 0...1000 degrees) delay time Sets the depth of LFO1 Depth 0...30 Sets the Tap3 chorus depth Depth1 0...100 modulation d Level 0...30 Sets the Tap3 output level Selects the modulation source d Src Off...Tempo of LFO1&2 modulation depth L6...L1, C, Pan R1...R6 Sets the Tap3 stereo image Sets the modulation amount of Amt –100...+100 LFO1 modulation depth Tap4 (270) Sets the Tap4 (LFO phase=270 [msec] 0...1000 degrees) delay time Sets the depth of LFO2 Depth2 0...100 Depth 0...30 Sets the Tap4 chorus depth modulation e e Level 0...30 Sets the Tap4 output level Amt –100...+100 Sets the modulation amount of LFO2 modulation depth L6...L1, C, Pan R1...R6 Sets the Tap4 stereo image L Pre Delay 0.0...50.0 Sets the delay time for the left [msec] channel Tap1 f Feedback –100...+100 Sets the Tap1 feedback amount R Pre Delay 0.0...50.0 Sets the delay time for the right [msec] channel Selects the modulation source Sets the feedback amount f Src Off...Tempo of Tap1 feedback amount and Feedback –100...+100 effect balance g High Damp Sets the damping amount in Amt –100...+100 Sets the Tap1 feedback amount [%] 0...100 the high range and modulation amount Amount of FX added to the FX Amount 0...100 Amount of FX added to the FX Amount -100...0...100 direct signal direct signal h Table , “Dynamic Modulation g Src Off...Tempo Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 sources,” on page 46 Amt –100...+100 Amount of modulation source Amt –100...+100 Amount of modulation source

Bi-Phase Modulation LFO

LFO1 Depth1 + LFO2 Depth2 66 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser)

030: Ensemble 031: Polysix Ensemble This Ensemble effect has three chorus blocks that use LFO to This models the ensemble effect built into the classic Korg create subtle shimmering, and gives three dimensional depth PolySix programmable polyphonic synthesizer. and spread to the sound, because the signal is output from the left, right, and center. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt + Polysix Ensemble

+ Ensemble

Right FX Amt

Right FX Amt Depth 0...100 Sets the depth of the effect Shimmer Selects the modulation source LFO Src Off...Tempo that will control the effect a depth Speed 1...100 Sets the speed of the LFO Sets the amount by which the Amt –100...+100 effect depth will be modulated Selects a modulation source for a Src Off...Tempo LFO speed Amount of FX added to the FX Amount 0...100 direct signal Sets the modulation amount of Amt –100...+100 LFO speed b Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Sets the depth of LFO Depth 0...100 modulation Amt –100...+100 Amount of modulation source Selects the modulation source b Src Off...Tempo of the LFO modulation depth Sets the modulation amount of Amt –100...+100 the LFO modulation depth Sets the amount of shimmering c Shimmer 0...100 of the LFO waveform Amount of FX added to the FX Amount 0...100 direct signal d Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source c: Shimmer This parameter sets the amount of shimmering of the LFO waveform. Increasing this value adds more shimmering, making the chorus effect more complex and richer.

Ensemble LFO Level

Shimmer

Time Effects 67 Chorus, Flanger, and Phaser (Cho/Fln Phaser)

032: Stereo Flanger 033: St. Random Flanger This effect gives a significant swell and movement of pitch to the (Stereo Random Flanger) sound. It is more effective when applied to a sound with a lot of The stereo effect uses a step-shape waveform and random LFO harmonics. This is a stereo flanger. You can add spread to the for modulation, creating a unique flanging effect. sound by offsetting the phase of the left and right LFOs from each other. Stereo In - Stereo Out Left FX Amt Stereo In - Stereo Out Flanger Left FX Amt Feedback Flanger High Damp Flanger Feedback

High Damp Right FX Amt Flanger LFO Phase LFO: Step-Tri/Random Right FX Amt LFO Phase LFO: Tri / Sine LFO Shape Delay Time Sets the delay time from the a [msec] 0.0...50.0 original sound Delay Time Sets the delay time from the LFO Step-Tri, a 0.0...50.0 Waveform Random Selects the LFO Waveform [msec] original sound b LFO LFO Phase –180...+180 Sets the LFO phase difference Waveform Triangle, Sine Selects the LFO Waveform [degree] between the left and right b Changes the curvature of the LFO LFO Shape –100...+100 LFO Waveform Frequency 0.02...20.00 Sets the speed of the LFO [Hz] c LFO Phase –180...+180 Sets the LFO phase difference [degree] between the left and right c Selects the modulation source Src Off...Tempo used for both LFO speed and LFO step speed Frequency 0.02...20.00 Sets the speed of the LFO [Hz] –20.00... Sets the modulation amount of Amt +20.00 LFO speed d Selects a modulation source for Src Off...Tempo LFO speed LFO Step Sets the LFO step speed (speed Freq [Hz] 0.05...50.00 that changes in steps) –20.00... Sets the modulation amount of d Amt +20.00 LFO speed –50.00... Sets the modulation amount of Step Amt +50.00 LFO step speed When this is on, the LFO speed MIDI Sync Off, On is set by BPM, Base Note, and When this is on, the LFO speed Times, instead of Frequency MIDI Sync Off, On is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually MIDI, MIDI syncs to the system tempo; e 300.00 for this individual effect BPM 40.00... 40–300 sets the tempo manually e 300.00 for this individual effect Selects the type of notes that Base Note ... specify the LFO speed Selects the type of notes that Base Note ... specify the LFO speed Sets the number of notes that Times x1...x32 specify the LFO speed Sets the number of notes that Times x1...x32 specify the LFO speed Sets the depth of LFO f Depth 0...100 modulation Step Base Selects the type of notes to Note ... specify the LFO step speed Sets the feedback amount Feedback –100...+100 f Sets the number of notes to Times x1...x32 specify the LFO step speed g Sets the feedback damping High Damp 0...100 amount in the high range [%] Sets the depth of LFO g Depth 0...100 modulation FX Amount -100...0...100 Amount of FX added to the direct signal Feedback –100...+100 Sets the feedback amount h Table , “Dynamic Modulation h Src Off...Tempo sources,” on page 46 High Damp Sets the feedback damping [%] 0...100 amount in the high range Amt –100...+100 Amount of modulation source Amount of FX added to the FX Amount -100...0...100 direct signal g: Feedback i Src Off...Tempo Table , “Dynamic Modulation h: FX Amount sources,” on page 46 Amt –100...+100 Amount of modulation source The peak shape of the positive and negative “Feedback” value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both “Feedback” and “FX Amount”, and if you set a negative value for both “Feedback” and “FX Amount”. g: High Damp [%] This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmonics. 68 Effects Chorus, Flanger, and Phaser (Cho/Fln Phaser)

034: St. Env. Flanger 035: Stereo Phaser (Stereo Envelope Flanger) This effect creates a swell by shifting the phase. It is very effective This Flanger uses an envelope generator for modulation. You on electric piano sounds. You can add spread to the sound by will obtain the same pattern of ﬂanging each time you play. You offsetting the phase of the left and right LFOs from each other. can also control the Flanger directly using the modulation source. Stereo In - Stereo Out Left FX Amt

Stereo In - Stereo Out Phaser Left FX Amt Resonance Flanger High Damp Phaser Feedback Right High Damp FX Amt Flanger LFO Phase LFO: Tri / Sine LFO Shape

Right FX Amt D-mod D-mod EG Attack/Decay Sweep Mode EG LFO Waveform Triangle, Sine Selects the LFO Waveform a LFO Shape –100...+100 Changes the curvature of the L Dly Bottom Sets the lower limit of the left- LFO Waveform [msec] 0.0...50.0 channel delay time a LFO Phase Sets the LFO phase difference b [degree] –180...+180 between the left and right L Dly Top 0.0...50.0 Sets the upper limit of the left- [msec] channel delay time LFO R Dly Bottom Sets the lower limit of the right- Frequency 0.02...20.00 Sets the speed of the LFO [msec] 0.0...50.0 channel delay time [Hz] b R Dly Top Sets the upper limit of the right- c Src Off...Tempo Selects a modulation source for [msec] 0.0...50.0 channel delay time LFO speed Determines whether the flanger –20.00... Sets the modulation amount of Amt +20.00 LFO speed Sweep Mode EG, D-mod is controlled by the envelope generator or by the modulation When this is on, the LFO speed source MIDI Sync Off, On is set by BPM, Base Note, and c Selects the modulation source Times, instead of Frequency that triggers the EG (when Sweep MIDI, MIDI syncs to the system tempo; Mode = EG), or the modulation Src Off...Tempo BPM 40.00... 40–300 sets the tempo manually source that causes the flanger to d 300.00 for this individual effect sweep (when Sweep Mode = D- mod) Selects the type of notes that Base Note ... specify the LFO speed EG Attack 1...100 Sets the EG attack speed d Sets the number of notes that EG Decay 1...100 Sets the EG decay speed Times x1...x32 specify the LFO speed e Feedback –100...+100 Sets the feedback amount Sets the frequency to which the Manual 0...100 effect is applied Sets the feedback damping High Damp e Src Off...Tempo Selects the modulation source f [%] 0...100 amount in the high range for the LFO modulation Sets the modulation amount of Amount of FX added to the Amt –100...+100 the LFO modulation FX Amount -100...0...100 direct signal Sets the depth of LFO g Table , “Dynamic Modulation Depth 0...100 modulation Src Off...Tempo sources,” on page 46 Selects the modulation source Amt –100...+100 Amount of modulation source f Src Off...Tempo for the LFO modulation depth Sets the modulation amount of c: Sweep Mode Amt –100...+100 the LFO modulation depth c: Src Resonance –100...+100 Sets the resonance amount h This parameter switches the flanger control mode. With “Sweep High Damp Sets the resonance damping Mode” = EG, the flanger will sweep using the envelope genera- [%] 0...100 amount in the high range tor. This envelope generator is included in the envelope flanger, FX Amount -100...0...100 Amount of FX added to the and not related to the Pitch EG, Filter EG, or Amp EG. direct signal j Src Off...Tempo Table , “Dynamic Modulation The “Src” parameter selects the source that starts the envelope sources,” on page 46 generator. If you select, for example, Gate, the envelope genera- Amt –100...+100 Amount of modulation source tor will start when the note-on message is received. h: Resonance When “Sweep Mode” = D-mod, the modulation source can con- i: FX Amount trol the flanger directly. Select the modulation source using the The peak shape of the positive and negative Feedback value is “Src” parameter. different. The harmonics will be emphasized when the effect The effect is off when a value for the modulation source specified for sound is mixed with the dry sound, if you set a positive value for the “Src” parameter is smaller than 64, and the effect is on when the both “Resonance” and “FX Amount”, and if you set a negative value is 64 or higher. The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher. value for both “Resonance” and “FX Amount”. d: EG Attack h: High Damp [%] d: EG Decay This parameter sets the amount of damping of the resonance in Attack and Decay speed are the only adjustable parameters on the high range. Increasing the value will cut high-range harmon- this EG. ics. Effects 69 Chorus, Flanger, and Phaser (Cho/Fln Phaser)

036: St. Random Phaser 037: St. Env. Phaser (Stereo Random Phaser) (Stereo Envelope Phaser) This is a stereo phaser. The effect uses a step-shape waveform This stereo phaser uses an envelope generator for modulation. and random LFO for modulation, creating a unique phasing You will obtain the same pattern of phasing each time you play. effect. You can also control the Phaser directly using the modulation source.

Stereo In - Stereo Out Left FX Amt Stereo In - Stereo Out Left Phaser FX Amt Phaser Resonance

Resonance High Damp Phaser High Damp Phaser Right FX Amt LFO Phase Right FX Amt LFO: Step-Tri/Random D-mod D-mod EG Attack/Decay Sweep Mode EG Step-Tri, LFO Step-Sin, Selects the LFO Waveform Waveform Random Sets the lower limit of the a L Manu 0...100 frequency range for the effect LFO Phase Sets the LFO phase difference Bottom on the left channel [degree] –180...+180 between the left and right a Sets the upper limit of the LFO L Manu Top 0...100 frequency range for the effect Frequency 0.02...20.00 Sets the speed of the LFO on the left channel [Hz] R Manu Sets the lower limit of the b Selects the modulation source 0...100 frequency range for the effect Src Off...Tempo commonly used for LFO speed Bottom on the right channel and step speed b Sets the upper limit of the Amt –20.00... Sets the modulation amount of R Manu Top 0...100 frequency range for the effect +20.00 LFO speed on the right channel LFO Step 0.05...50.00 Sets the LFO step speed Determines whether the ﬂanger Freq [Hz] is controlled by the envelope c Sweep Mode EG, D-mod –50.00... Sets the modulation amount of generator or by the modulation Amt +50.00 LFO step speed source Selects the modulation source When this is on, the LFO speed c MIDI Sync Off, On is set by BPM, Base Note, and that triggers the EG (when EG is Times, instead of Frequency selected for Sweep Mode), or Src Off...Tempo modulation source that causes MIDI, MIDI syncs to the system tempo; the ﬂanger to sweep (when D- BPM 40.00... 40–300 sets the tempo manually mod is selected for Sweep d 300.00 for this individual effect Mode) Selects the type of notes that Sets the EG attack speed Base Note ... specify the LFO speed EG Attack 1...100 d Sets the number of notes that Sets the EG decay speed Times x1...x32 specify the LFO speed EG Decay 1...100 Selects the type of notes to Sets the resonance amount Step Base e Resonance –100...+100 Note ... specify the LFO step speed e Sets the resonance damping Sets the number of notes to f High Damp 0...100 amount in the high range Times x1...x32 specify the LFO step speed [%] Amount of FX added to the Sets the frequency to which the FX Amount -100...0...100 direct signal Manual 0...100 effect is applied g Table , “Dynamic Modulation Selects the modulation source Src Off...Tempo sources,” on page 46 f Src Off...Tempo for the LFO modulation Amt –100...+100 Amount of modulation source Sets the modulation amount of Amt –100...+100 the LFO modulation Sets the depth of LFO g Depth 0...100 modulation

Resonance –100...+100 Sets the resonance amount h High Damp Sets the resonance damping [%] 0...100 amount in the high range

Amount of FX added to the FX Amount -100...0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 70 Effects Modulation and Pitch Shift (Mod./P.Shift)

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

038: Stereo Vibrato a: AUTOFADE Src b: Fade-In Delay [msec] This effect causes the pitch of the input signal to shimmer. Using b: Fade-In Rate the AutoFade allows you to increase or decrease the shimmering d: LFO Frequency Mod speed. When “LFO Frequency Mod” is set to AUTOFADE, you can use Stereo In - Stereo Out the modulation source selected in “AUTOFADE Src” as a trigger Left FX Amt to automatically fade in the modulation amount. When “MIDI Vibrato Sync” is set to On, you cannot use this. The “Fade-In Rate” parameter speciﬁes the rate of fade-in. The

Vibrato “Fade-In Delay” parameter determines the time from AutoFade modulation source On until the fade-in starts. Right FX Amt LFO: Tri / Sine LFO Shape The following is an example of fade-in where the LFO speed is AutoFade Fade-In Delay LFO Frequency increased from “1.0Hz” to “4.0Hz” when a note-on message is received. AUTOFADE Selects the modulation source a Src Off...Tempo that starts AutoFade AUTOFADE Src=Gate1, LFO Frequency Mod=AUTOFADE, Fade-In Delay Sets the fade-in delay time LFO Frequency [Hz]=1.0, Amt=3.0 [msec] 00...2000 b Sets the rate of fade-in The effect is off when a value for the dynamic modulation source Fade-In Rate 1...100 speciﬁed for the “AUTOFADE Src” parameter is smaller than 64, and LFO the effect is on when the value is 64 or higher. The AutoFade function Waveform Triangle, Sine Selects the LFO Waveform c is triggered when the value changes from 63 or smaller to 64 or Changes the curvature of the higher. LFO Shape –100...+100 LFO Waveform

LFO Switches between D-mod and AUTOFADE AutoFade d Frequency D-mod, AUTOFADE for the LFO Mod AUTOFADE frequency modulation Source=Gate1 LFO Freq. Mod=AUTOFADE LFO Gate1 Signal LFO Frequency[Hz]=1.0 Frequency 0.02...20.00 Sets the speed of the LFO Amount=+3.0 [Hz] e Selects a modulation source for Note On All Note Off Src Off...Tempo LFO speed LFO Frequency –20.00... Sets the modulation amount of Fade-In Rate Amt AUTOFADE =1.0+3.0=4.0Hz +20.00 LFO speed Fade-In Dealy When this is on, the LFO speed is LFO Frequency MIDI Sync Off, On set by BPM, Base Note, and =1.0Hz Times, instead of Frequency MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually f 300.00 for this individual effect Selects the type of notes that Base Note ... specify the LFO speed Sets the number of notes that Times x1...x32 specify the LFO speed Sets the depth of LFO Depth 0...100 modulation Selects the modulation source of g Src Off...Tempo the LFO modulation depth Sets the modulation amount of Amt –100...+100 the LFO modulation depth Amount of FX added to the FX Amount 0...100 direct signal h Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 71 Modulation and Pitch Shift (Mod./P.Shift)

039: St. Auto Fade Mod. 040: 2Voice Resonator (Stereo Auto Fade Modulatiom) This effect resonates the input signal at a speciﬁed pitch. You can This stereo chorus/ﬂanger effect enables you to control the LFO set the pitch, output level, and pan settings for two resonators speed and effect balance using auto fade, and you can spread the individually. You can control the resonance intensity via an LFO. sound by offsetting the phase of the left and right LFOs from FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out each other. Left FX Amt High Damp Resonator Stereo In - Stereo Out Trim Level Pan Left FX Amt + Resonance Delay Resonator Trim Level Pan High Damp Feedback Right FX Amt High Damp Delay D-mod Invert: On/Off

Right LFO Pitch, Fine [cents] FX Amt Control Mode LFO Phase Manual LFO: Tri / Sine LFO Shape

AutoFade LFO Frequency FX Amt Control Manual, LFO, Switches the controls of Mode D-mod resonance intensity a LFO/D-mod Reverses the Voice 1 and 2 AUTOFADE Selects the modulation source Invert Off, On control when LFO/D-mod is Src Off...Tempo that starts AutoFade selected Fade-In Delay Sets the fade-in delay time LFO a [msec] 00...2000 Frequency 0.02...20.00 Sets the speed of the LFO [Hz] Sets the rate of fade-in b Rate 1...100 Selects the modulation source D-mod Src Off...Tempo that controls resonance Switches between D-mod and intensity LFO D-mod, AUTOFADE for the LFO Frequency AUTOFADE frequency modulation When this is on, the LFO speed Mod MIDI Sync Off, On is set by BPM, Base Note, and b Times, instead of Frequency Switches between D-mod and D-mod, AUTOFADE for the effect MIDI, MIDI syncs to the system tempo; Wet/Dry Mod AUTOFADE balance modulation BPM 40.00... 40–300 sets the tempo manually c 300.00 for this individual effect

LFO Base Note ... Selects the type of notes that Waveform Triangle, Sine Selects the LFO Waveform specify the LFO speed c Changes the curvature of the Times x1...x32 Sets the number of notes that LFO Shape –100...+100 LFO Waveform specify the LFO speed LFO Phase Sets the LFO phase difference Mod. Depth –100...+100 Sets the amount of resonance d [degree] –180...+180 between the left and right intensity control via LFO/D-mod d LFO Trim 0...100 Sets the input level at the Frequency 0.02...20.00 Sets the speed of the LFO resonator [Hz] Sets the voice1 Pitch for Voice1: Pitch C0...B8 resonance e Src Off...Tempo Selects a modulation source for LFO speed e Fine-adjusts the voice 1 pitch for Fine [cents] –50...+50 resonance Amt –20.00... Sets the modulation amount of +20.00 LFO speed Level 0...100 Sets the Voice1 output level L Delay Time Voice1: Sets the intensity of resonance [msec] 0.0...500.0 Sets the left channel delay time –100...+100 f Resonance when Control Mode = Manual R Delay Time 0.0...500.0 Sets the right channel delay Sets the damping amount of [msec] time f High Damp 0...100 resonant sound in the high [%] range g Depth 0...200 Sets the depth of LFO modulation L6...L1, C, Pan R1...R6 Sets the Voice1 stereo image Feedback –100...+100 Sets the feedback amount Sets the voice 2 Pitch for h Voice2: Pitch C0...B8 resonance High Damp Sets the feedback damping [%] 0...100 amount in the high range g Fine-adjusts the voice 2 pitch for Fine [cents] –50...+50 resonance Amount of FX added to the Level 0...100 Sets the Voice2 output level FX Amount -100...0...100 direct signal Voice2: Sets the intensity of resonance i Table , “Dynamic Modulation Resonance –100...+100 when Control Mode = Manual Src Off...Tempo sources,” on page 46 Sets the damping amount of Amt –100...+100 Amount of modulation source h High Damp 0...100 resonant sound in the high [%] range L6...L1, C, Pan R1...R6 Sets the Voice2 stereo image Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 72 Effects Modulation and Pitch Shift (Mod./P.Shift) a: Control Mode 041: Doppler f: Voice 1: Resonance h: Voice 2: Resonance This effect simulates the “Doppler effect” of a moving sound with a changing pitch, similar to the siren of an passing ambu- This parameter determines the resonance intensity. lance. Mixing the effect sound with the dry sound will create a When “Control Mode” = Manual, the “Resonance” parameter unique chorus effect. sets the intensity of resonance. If the “Resonance” parameter has FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left a negative value, harmonics will be changed, and resonance will FX Amt occur at a pitch one octave lower.

When “Control Mode” = LFO, the intensity of resonance varies + Doppler according to the LFO. The LFO sways between positive and neg- Pan Depth ative values, causing resonance to occur between speciﬁed

Right pitches an octave apart in turn. FX Amt LFO When “Control Mode” = D-mod, the resonance is controlled by D-mod Trigger LFO Mode = 1-Shot the dynamic modulation source. If JS X or Ribbon is assigned as the modulation source, the pitch an octave higher and lower can LFO Mode Loop, 1-Shot Switches LFO operation mode be controlled, similar to when LFO is selected for Control Mode. a Selects the modulation source Src Off...Tempo of LFO reset a: LFO/D-mod Invert Switches between LFO reset on b LFO Sync Off, On and off when LFO Mode is set to When “Control Mode” = LFO or D-mod, the controlled phase of Loop LFO either Voice 1 or 2 will be reversed. When the resonance pitch is Frequency 0.02...20.00 Sets the speed of the LFO set for Voice 1 (Resonance has a positive value), Voice 2 will reso- [Hz] nate at a pitch an octave below (Resonance has a negative value). c Selects a modulation source for Src Off...Tempo LFO speed –20.00... Sets the modulation amount of f: Voice 1: Pitch Amt +20.00 LFO speed f: Fine [cents] When this is on, the LFO speed h: Voice 2: Pitch MIDI Sync Off, On is set by BPM, Base Note, and Times, instead of Frequency h: Fine [cents] MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually The Pitch parameter speciﬁes the pitch of resonance by note d 300.00 for this individual effect name. The “Fine” parameter allows for ﬁne adjustment in steps Base Note ... Selects the type of notes that of cents. specify the LFO speed Sets the number of notes that Times x1...x32 specify the LFO speed g: High Damp [%] Sets the pitch variation of the i: High Damp [%] Pitch Depth 0...100 moving sound Selects the modulation source This sets the amount of damping amount for the high frequen- e Src Off...Tempo of pitch variation cies of the resonant sound. Lower values create a metallic sound Amt –100...+100 Sets the modulation amount of with a higher range of harmonics. pitch variation Sets the panning of the moving Pan Depth –100...+100 sound Selects the modulation source f Src Off...Tempo of panning Sets the modulation amount of Amt –100...+100 panning Amount of FX added to the FX Amount 0...100 direct signal g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

a: LFO Mode a: Src b: LFO Sync The “LFO Mode” parameter switches LFO operation mode. When Loop is selected, the Doppler effect will be created repeatedly. If “LFO Sync” is set to On, the LFO will be reset when the modulation source specified with the “Src” parameter is turned on. When “LFO Mode” is set to 1-Shot, the Doppler effect is created only once when the modulation source specified in the “Src” field is turned on. At this time if you do not set the “Src” parameter, the Doppler effect will not be created, and no effect sound will be output. Effects 73 Modulation and Pitch Shift (Mod./P.Shift)

The effect is off when a value for the modulation source speciﬁed for a: Scratch Source the “Src” parameter is smaller than 64, and the effect is on when the b: Response value is 64 or higher. The Doppler effect is triggered when the value changes from 63 or smaller to 64 or higher. The Scratch Source parameter enables you to select the modulation source that controls simulation. The value of the modula- e: Pitch Depth tion source corresponds to the playback position. The Response With the Doppler effect, the pitch is raised when the sound parameter enables you to set the speed of the response to the approaches, and the pitch is lowered when the sound goes away. modulation source.

This parameter sets this pitch variation. Scratch Source f: Pan Depth Start Playback Position End

This parameter sets the width of the stereo image of the effect Recorded Sound sound. With larger values, the sound seems to come and go from much further away. With positive values, the sound moves from left to right; with negative values, the sound moves from right to Scratch Source Scratch! left. -mod JS X D Ribbon – Max Zero + Max Doppler - Pitch / Pan Depth JS+Y Pitch JS–Y Zero + Max etc… Pan Depth Pan Depth = (+) value = (–) value Higher Original Pitch Pitch Depth c: Envelope Select c: Src Lower d: Threshold Left Center Right When “Envelope Select” is set to D-mod, the input signal will be Pan Depth recorded only when the modulation source value is 64 or higher. < < < < < <<<<<< >>>>>> > > > > > Louder Volume Louder When “Envelope Select” is set to Input, the input signal will be recorded only when its level is over the Threshold value. The maximum recording time is 2,730msec. If this is exceeded, 042: Scratch the recorded data will start being erased from the top.

This effect is applied by recording the input signal and moving e: Response the modulation source. It simulates the sound of scratches you can make using a turntable. This parameter enables you to set the speed of the response to the end of recording. Set a smaller value when you are recording

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out a phrase or rhythm pattern, and set a higher value if you are Left FX Amt recording only one note.

Direct f: Direct Mix + Scratch Mix Rec Control Scratch With Always On, a dry sound is usually output. With Always Off,

Right dry sounds are not output. With Cross Fade, a dry sound is usu- FX Amt -mod D-mod D Envelope Control ally output, and it is muted only when scratching. Input Envelope Select D-mod Set FX Amount to 100 to use this parameter effectively.

Scratch Selects the modulation source a Source Off...Tempo for simulation control Sets the speed of the response b Response 0...100 to the Scratch Src Selects whether the start and Envelope end of recording is controlled Select D-mod, Input via the modulation source or c the input signal level Selects the modulation source Src Off...Tempo that controls recording when Envelope Select is set to D-mod Sets the recording start level d Threshold 0...100 when Envelope Select is set to Input Sets the speed of the response e Response 0...100 to the end of recording Always On, f Direct Mix Always Off, Selects how a dry sound is mixed Cross Fade Amount of FX added to the FX Amount 0...100 direct signal g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 74 Effects Modulation and Pitch Shift (Mod./P.Shift)

043: Grain Shifter 044: Stereo Tremolo This effect cuts extremely short samples (“grains”) from the This effect modulates the volume level of the input signal. The input signal waveform and plays them repeatedly, giving a effect is stereo, and offsetting the LFO of the left and right phases mechanical character to the sound. from each other produces a tremolo effect between left and right.

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

Tremolo + Grain Shifter Sample Cycle

Tremolo Right FX Amt Right LFO FX Amt LFO Phase -mod Trigger D LFO: Tri/Sin/Vintage/Up/Down LFO Shape

Duration 0...100 Sets the duration of the grain Triangle, LFO Sine, Selects the source that will Waveform Vintage, Up, Selects the LFO Waveform Src Off...Tempo modulate the duration of the a Down a grain Changes the curvature of the Sets the amount by which the LFO Shape –100...+100 LFO Waveform Amt –100...+100 grain duration will be modulated LFO Phase Sets the LFO phase difference b [degree] –180...+180 between the left and right Selects the modulation source b LFO Sync Src Off...Tempo that will reset the LFO LFO Frequency 0.02...20.00 Sets the speed of the LFO LFO Sample Sets the frequency at which the [Hz] Cycle [Hz] 0.02...20.00 grain will be switched c Selects a modulation source for Selects a modulation source for Src Off...Tempo LFO speed c Src Off...Tempo LFO speed –20.00... Sets the modulation amount of –20.00... Sets the modulation amount of Amt +20.00 LFO speed Amt +20.00 LFO speed When this is on, the LFO speed When this is on, the LFO speed MIDI Sync Off, On is set by BPM, Base Note, and MIDI Sync Off, On is set by BPM, Base Note, and Times, instead of Frequency Times, instead of Frequency MIDI, MIDI syncs to the system tempo; MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually BPM 40.00... 40–300 sets the tempo manually d 300.00 for this individual effect d 300.00 for this individual effect Selects the type of notes that Selects the type of notes that Base Note ... specify the LFO speed Base Note ... specify the LFO speed Sets the number of notes that Sets the number of notes that Times x1...x32 specify the LFO speed Times x1...x32 specify the LFO speed Sets the depth of LFO Amount of FX added to the Depth 0...100 modulation FX Amount 0...100 direct signal Selects the modulation source e Table , “Dynamic Modulation e Src Off...Tempo of the depth of modulation Src Off...Tempo sources,” on page 46 Sets the modulation amount of Amt –100...+100 Amount of modulation source Amt –100...+100 the depth of modulation Amount of FX added to the a: Duration FX Amount 0...100 direct signal c: LFO Sample Cycle [Hz] f Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Duration sets the length of the sampled grain, and the LFO Amt –100...+100 Amount of modulation source Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continu- a: LFO Waveform ously. This parameter sets the basic shape of the LFO. The Vintage

Sample Cycle / Duration waveform models classic guitar-amp tremolo.

Sample Cycle Tremolo - LFO Waveform

Duration

Triangle Sine Vintage Up Down In

Out b: LFO Phase [degree] This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right. Effects 75 Modulation and Pitch Shift (Mod./P.Shift)

045: St. Env. Tremolo 046: Stereo Auto Pan (Stereo Envelope Tremolo) This is a stereo-in, stereo-out auto-panner. The Phase and Shape This effect uses the input signal level to modulate a stereo trem- parameters lets you create various panning effects, such as mak- olo (LFO volume modulation). For instance, you can create a ing the left and right inputs seem to chase each other around the tremolo effect that becomes deeper and faster as the input gets stereo ﬁeld. more quiet. Stereo In - Stereo Out Left FX Amt Stereo In - Stereo Out Left FX Amt Pan

Tremolo Depth

Pan

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

LFO + Envelope Envelope Shape Triangle, Sine Selects the LFO Waveform Envelope Sens Waveform a Changes the curvature of the LFO Shape –100...+100 LFO Waveform Envelope Sets the envelope’s sensitivity to Sens 0...100 the input signal LFO Phase Sets the LFO phase difference a b [degree] –180...+180 between the left and right Envelope Shape –100...+100 Sets the envelope’s curvature LFO Frequency 0.02...20.00 Sets the speed of the LFO LFO Triangle, [Hz] Waveform Sine, Vintage Selects the LFO Waveform b c Selects a modulation source for Changes the curvature of the Src Off...Tempo LFO speed LFO Shape –100...+100 LFO Waveform –20.00... Sets the modulation amount of LFO Phase Sets the LFO phase difference Amt +20.00 LFO speed c [degree] –180...+180 between the left and right When this is on, the LFO speed is LFO MIDI Sync Off, On set by BPM, Base Note, and Frequency 0.02...20.00 Sets the speed of the LFO Times, instead of Frequency [Hz] d MIDI, MIDI syncs to the system tempo; Sets the amount added to or BPM 40.00... 40–300 sets the tempo manually Envelope –20.00... subtracted from the Frequency d 300.00 for this individual effect Amount [Hz] +20.00 when the envelope is at maximum Selects the type of notes that Base Note ... specify the LFO speed Sets the initial amount of Depth 0...100 tremolo Sets the number of notes that Times x1...x32 specify the LFO speed e Sets the amount added to or Envelope subtracted from the Depth Depth 0...100 Sets the depth of LFO Amount –100...+100 when the envelope is at modulation maximum e Src Off...Tempo Selects the modulation source of Amount of FX added to the the depth of modulation FX Amount 0...100 direct signal Amt –100...+100 Sets the modulation amount of f Table , “Dynamic Modulation the depth of modulation Src Off...Tempo sources,” on page 46 FX Amount 0...100 Amount of FX added to the Amt –100...+100 Amount of modulation source direct signal f Src Off...Tempo Table , “Dynamic Modulation d: LFO Frequency [Hz] sources,” on page 46 Amt –100...+100 Amount of modulation source d: Envelope Amount [Hz] e: Depth a: LFO Shape e: Envelope Amount You can change the panning curve by modifying the LFO’s The graphic below shows an example of tremolo modulation Shape. with negative modulation of both Depth and Frequency. At the start of the note, the input is at maximum volume. This slows b: LFO Phase [degree] down the LFO Frequency to 1.0Hz, but also modulates the This determines the phase difference between the left and right Depth to 0–so the tremolo doesn’t have any effect. LFOs. When you gradually change the value away from 0, the As the input volume dies down, the Frequency speeds up; the sounds from the left and right channels will seem to chase each Depth also increases, making the tremolo effect increasingly other around. If you set the parameter to +180 or –180, the audible. When the input volume approaches silence, the Depth sounds from each channel will cross over each other. is at its maximum (100) and Frequency is at 8Hz. You’ll only hear the effect of this parameter if the input is true

Shimmer stereo, with different signals in the left and right channels.

Level Dry Envelope LFO Frequency[Hz]=8.0 Envelope Amount[Hz]= –7.0Hz Depth=100 Envelope Amount= –100 Louder

Time 76 Effects Modulation and Pitch Shift (Mod./P.Shift)

Stereo Auto Pan - LFO Phase Tremolo 0...100 Sets the tremolo modulation LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees Depth depth

L-In L-In L-In Selects the modulation source h Src Off...Tempo for the tremolo modulation R-In R-In R-In depth L-In L-In L-In Amt –100...+100 Sets the modulation amount of R-In R-In R-In the tremolo modulation depth L-In L-In L-In FX Amount 0...100 Amount of FX added to the R-In R-In R-In direct signal L-In L-In L-In i Src Off...Tempo Table , “Dynamic Modulation R-In R-In R-In sources,” on page 46 L-In L-In L-In Amt –100...+100 Amount of modulation source R-In R-In R-In

Left Center Right Output Stereo Image a: Type a: LFO Phase [degree] Select the type of phaser LFO and tremolo LFO for the “Type” 047: St. Phaser + Trml parameter. How the effect sound moves or rotates depends on (Stereo Phaser + Tremolo) the type of LFO. Selecting “LFO Phase” enables you to offset the timing of the phaser peak and control a subtle movement and This effect combines a stereo phaser and tremolo, with linked rotation of the sound. LFOs. Swelling phaser modulation and tremolo effects synchronize with each other, creating a soothing modulation effect par- f: Phaser Wet/Dry ticularly suitable for electric piano. i: FX Amount PHASER Wet/Dry sets the balance between the phaser output Stereo In - Stereo Out Left and the dry sound. OUTPUT FX Amount sets the balance FX Amt between the ﬁnal phaser and tremolo output level and the dry Phaser Tremolo Phaser FX Amt sound. Resonance

Phaser FX Amt Phaser Tremolo 048: St. Ring Modulator

Right FX Amt (Stereo Ring Modulator) LFO Type LFO LFO Shape This effect creates a metallic sound by applying the oscillators to LFO Phase the input signal. Use the LFO or Dynamic Modulation to modu- Selects the type of the tremolo late the oscillator to create a radical modulation. Matching the and phaser LFOs oscillator frequency with a note number will produce a ring Phs - Trml, Phaser - Tremolo, ... Phaser - Tremolo Spin, modulation effect in speciﬁc key ranges. Type Phs LR - Trml Phaser - Tremolo LR, a LR Phaser LR - Tremolo, Phaser LR - Tremolo Spin, Phaser Stereo In - Stereo Out Left LR - Tremolo LR FX Amt Sets the phase difference Pre LPF LFO Phase –180...+180 between the tremolo and Ring Modulator [degree] phaser LFOs LFO Frequency 0.02...20.00 Sets the speed of the LFO Pre LPF [Hz] Ring Modulator

b Selects a modulation source for Right Src Off...Tempo FX Amt LFO speed Fixed Sine Oscillator Fixed Frequency –20.00... Sets the LFO speed modulation OSC Mode Pitch Amt Note No. Note Offset, Fine +20.00 amount Note (Key Follow) When this is on, the LFO speed LFO MIDI Sync Off, On is set by BPM, Base Note, and Times, instead of Frequency Switching between specifying MIDI, MIDI syncs to the system tempo; OSC Mode Fixed, Note the oscillator frequency and BPM 40.00... 40–300 sets the tempo manually (Key Follow) using a note number c 300.00 for this individual effect a Sets the damping amount of Base Note ... Selects the type of notes that Pre LPF 0...100 the high range input to the ring specify the LFO speed modulator Sets the number of notes that Fixed Times x1...x32 specify the LFO speed Sets the oscillator frequency Frequency 0...12.00k when OSC Mode is set to Fixed Phaser [Hz] Manual 0...100 Sets the phaser frequency range d Selects the modulation source Sets the phaser resonance b Src Off...Tempo for the oscillator frequency Resonance –100...+100 amount when OSC Mode is set to Fixed Sets the phaser modulation –12.00k... Sets the modulation amount of Phaser Depth 0...100 depth Amt the oscillator frequency when +12.00k OSC Mode is set to Fixed Selects the modulation source e Src Off...Tempo for the phaser modulation Sets the pitch difference from the depth Note Offset –48...+48 original note when OSC Mode is set to Note (Key Follow) Sets the modulation amount for c Amt –100...+100 the phaser modulation depth Fine-adjusts the oscillator Note Fine –100...+100 frequency –Wet, –2 : f Phaser Wet/ 98...Dry... 2 : Sets the balance between the Dry 98, Wet phaser effect and dry sounds Tremolo Sets the degree of the tremolo g Shape –100...+100 LFO shaping Effects 77 Modulation and Pitch Shift (Mod./P.Shift)

LFO 049: Detune Frequency 0.02...20.00 Sets the speed of the LFO [Hz] Using this effect, you can obtain a detune effect that offsets the d Selects a modulation source for Src Off...Tempo LFO speed pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thick- Amt –20.00... Sets the modulation amount of +20.00 LFO speed ness will be created. When this is on, the LFO speed MIDI Sync Off, On is set by BPM, Base Note, and Times, instead of Frequency FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left MIDI, MIDI syncs to the system tempo; FX Amt BPM 40.00... 40–300 sets the tempo manually e 300.00 for this individual effect Input Level High Damp Selects the type of notes that Base Note ... specify the LFO speed + Detune Delay

Times x1...x32 Sets the number of notes that Feedback specify the LFO speed Input Level Sets the depth of LFO Right LFO Depth 0...100 modulation for the oscillator FX Amt frequency

f Src Off...Tempo Selects the modulation source Pitch Shift Sets the pitch difference from of the depth of modulation [cents] –100...+100 the input signal Amt –100...+100 Sets the modulation amount of Selects a modulation source for the depth of modulation a Src Off...Tempo pitch shift FX Amount 0...100 Amount of FX added to the Sets the modulation amount for direct signal Amt –100...+100 pitch shift g Src Off...Tempo Table , “Dynamic Modulation Delay Time sources,” on page 46 b [msec] 0...1000 Sets the delay time Amt –100...+100 Amount of modulation source Feedback –100...+100 Sets the feedback amount c High Damp Sets the damping amount in the a: OSC Mode [%] 0...100 high range Input Level Sets the modulation amount of This parameter determines whether or not the oscillator fre- Dmod [%] –100...+100 the input level d quency follows the note number. Selects the modulation source Src Off...Tempo for the input level a: Pre LPF Amount of FX added to the FX Amount 0...100 direct signal

This parameter enables you to set the damping amount of the e Src Off...Tempo Table , “Dynamic Modulation high range sound input to the ring modulator. If the input sources,” on page 46 Amt –100...+100 Amount of modulation source sound contains lots of harmonics, the effect may sound dirty. In this case, cut a certain amount of high range. d: Input Level Dmod [%] b: Fixed Frequency [Hz] d: Src This parameter sets the oscillator frequency when “OSC Mode” This parameter sets the dynamic modulation of the input level. is set to Fixed. Input Level Dmod Input Level Input Level

x1.0 x1.0 Input Level Dmod= –50 c: Note Offset Input Level Dmod= –100 c: Note Fine Input Level Dmod= +50 x0.5 Input Level Dmod= +100 x0.5 These parameters for the oscillator are used when “OSC Mode” Louder Louder -mod -mod Higher D Higher D is set to Note (Key Follow). The “Note Offset” sets the pitch dif- Zero Max Zero Max ference from the original note in semitone steps. The “Note Fine” parameter ﬁne-adjusts the pitch in cent steps. Matching the oscillator frequency with the note number produces a ring modulation effect in the correct key. 78 Effects Modulation and Pitch Shift (Mod./P.Shift)

050: Pitch Shifter value for the Feedback parameter, the pitch will be raised (or lowered) more and more each time feedback is repeated. This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (pre- If Feedback Position is set to Post, the feedback signal will not serves tonal quality). You can also create an effect in which the pass through the pitch shifter again. Even if you specify a higher pitch is gradually raised (or dropped) using the delay with feed- value for the Feedback parameter, the pitch-shifted sound will back. be repeated at the same pitch.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out 051: Pitch Shifter BPM Left FX Amt This pitch shifter enables you to set the delay time to match the Input Level High Damp song tempo. + Pitch Shifter Delay Post Pre Feedback Position Feedback FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Input Level Left FX Amt Right FX Amt Input Level High Damp + Pitch Shifter Delay Slow, Switches Pitch Shifter mode Post a Mode Medium, Fast Pre Feedback Position Feedback Input Level Pitch Shift [1/ –24...+24 Sets the pitch shift amount by 2tone] steps of a semitone Right FX Amt Selects the modulation source Tempo b Src Off...Tempo BPM of pitch shift amount BPM Base Note x Times Sets the modulation amount of Amt –24...+24 pitch shift amount Sets the pitch shift amount by a Mode Slow, Switches Pitch Shifter mode Fine [cents] –100...+100 steps of a cent Medium, Fast c Sets the modulation amount of Pitch Shift [1/ –24...+24 Sets the pitch shift amount in Amt –100...+100 pitch shift amount 2tone] steps of a semitone Delay Time b Src Off...Tempo Selects the modulation source d [msec] 0...2000 Sets the delay time of pitch shift amount Feedback Switches the feedback Amt –24...+24 Sets the modulation amount of e Position Pre, Post connection pitch shift amount Sets the feedback amount Sets the pitch shift amount in Feedback –100...+100 Fine [cents] –100...+100 steps of one cent f c High Damp Sets the damping amount in the Amt –100...+100 Sets the modulation amount of [%] 0...100 high range pitch shift amount Input Level Sets the modulation amount of MIDI, MIDI syncs to the system tempo; Dmod [%] –100...+100 the input level BPM 40.00... 40–300 sets the tempo manually g 300.00 for this individual effect Selects the modulation source d Src Off...Tempo for the input level Displays an error message when Time Over? ---, OVER! the delay time exceeds the Amount of FX added to the upper limit FX Amount 0...100 direct signal Delay Base Selects the type of notes to h Table , “Dynamic Modulation Note ... specify the delay time Src Off...Tempo sources,” on page 46 e Sets the number of notes to Amt –100...+100 Amount of modulation source Times x1...x32 specify the delay time

f Feedback Pre, Post Switches the feedback a: Mode Position connection Feedback –100...+100 Sets the feedback amount This parameter switches the pitch shifter operating mode. With g Slow, tonal quality will not be changed too much. With Fast, the High Damp Sets the damping amount in the [%] 0...100 high range effect becomes a Pitch Shifter that has a quick response, but may Input Level Sets the modulation amount of change the tone. Medium is in-between these two. If you do not Dmod [%] –100...+100 the input level h need to set too much pitch shift amount, set this parameter to Selects the modulation source Src Off...Tempo for the input level Slow. If you wish to change the pitch signiﬁcantly, use Fast. Amount of FX added to the FX Amount 0...100 direct signal b: Pitch Shift [1/2tone] i Src Off...Tempo Table , “Dynamic Modulation b: Src sources,” on page 46 b: Amt Amt –100...+100 Amount of modulation source c: Fine [cents] d: BPM c: Amt e: Delay Base Note The amount of pitch shift will use the value of the Pitch Shift e: Times plus the Fine value. The amount of modulation will use the b: The delay time is the duration of “Times” number of “Delay Base Amt value plus the c: Amt. Note” note values at the “BPM” tempo (or if “BPM” is set to The same Modulation Source is used for both Pitch Shift and MIDI, the tempo determined by MIDI Clock). Fine. d: Time Over? e: Feedback Position You can set the delay time up to 5,290msec. If the delay time f: Feedback exceeds this limit, the error message “OVER!” appears on the When Feedback Position is set to Pre, the pitch shifter output is display. Set the delay time parameters so that this message will again input to the pitch shifter. Therefore, if you specify a higher not appear. “Time Over?” is only a display parameter. Effects 79 Modulation and Pitch Shift (Mod./P.Shift)

052: Pitch Shift Mod. sound is panned right. With a FX Amount = 100 setting, the (Pitch Shift Modulation) effect and dry sound will be output in a proportion of 1:1. This effect modulates the detuned pitch shift amount using an 053: Organ Vib/Chorus LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right. This is espe- (Organ Vibrato/Chorus) cially effective when the effect sound and dry sound output from This effect simulates the chorus and vibrato circuitry of a vintage stereo speakers are mixed. organ. The modulation speed and depth can be customized.

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

+ Pitch Shifter + Vibrato/Chorus

Preset Setting Pan Custom Parameters Mode Right FX Amt Right FX Amt LFO: Tri / Sqr

a Input Trim 0...100 Sets the input level Pitch Shift Sets the pitch difference from a [cents] –100...+100 the input signal Control Preset, Selects either preset or custom b Mode Custom settings LFO Triangle, b Waveform Square Selects the LFO Waveform Selects the effect type when Mode=Preset LFO Preset Type V1, C1, V2, V1/V2/V3 are variations of Frequency 0.02...20.00 Sets the speed of the LFO C2, V3, C3 vibrato, and C1/C2/C3 are varia- [Hz] tions of chorus c c Src Off...Tempo Selects a modulation source for Selects the modulation source LFO speed Src Off...Tempo that will change the effect type Amt –20.00... Sets the modulation amount of Sets the modulation amount for +20.00 LFO speed Amt –5...+5 changing the effect type When this is on, the LFO speed Vibrato, MIDI Sync Off, On is set by BPM, Base Note, and Custom Mix 1:99...99:1, Sets the mix level of the direct Times, instead of Frequency Chorus sound when Mode=Preset MIDI, MIDI syncs to the system tempo; Selects the modulation source BPM 40.00... 40–300 sets the tempo manually d d Src Off...Tempo that will control the mix level of 300.00 for this individual effect the direct sound Base Note ... Selects the type of notes that Sets the modulation amount for specify the LFO speed Amt –100...+100 controlling the mix level of the direct sound Times x1...x32 Sets the number of notes that specify the LFO speed Custom Depth 0...100 Sets the vibrato depth Depth –100...+100 Sets the LFO modulation depth for pitch shift amount Selects the modulation source e Src Off...Tempo that will control vibrato depth e Src Off...Tempo Selects the modulation source of the depth of modulation Sets the modulation amount for Amt –100...+100 controlling the vibrato depth Amt –100...+100 Sets the modulation amount of the depth of modulation Custom Speed [Hz] 0.02...20.00 Sets the vibrato speed f Pan L, 1 : 99...99 : Sets the panning effect sound 1, R and dry sound separately Selects the modulation source Amount of FX added to the f Src Off...Tempo for controlling the vibrato FX Amount 0...100 direct signal speed g Table , “Dynamic Modulation Amt –20.00... Sets the modulation amount for Src Off...Tempo sources,” on page 46 +20.00 controlling the vibrato speed Amt –100...+100 Amount of modulation source Amount of FX added to the FX Amount 0...100 direct signal g Table , “Dynamic Modulation a: Pitch Shift [cents] Src Off...Tempo sources,” on page 46 e: Depth Amt –100...+100 Amount of modulation source These parameters set the amount of pitch shift and amount of b: Control Mode modulation by means of the LFO. c: Preset Type Pitch Shift Mod - Pitch Shift / Depth d: Custom Mix Pitch e: Custom Depth LFO Waveform=Triangle Depth (+value) f: Custom Speed [Hz] Higher Pitch Shift (+ value) If Control Mode=Preset, you can use c: Preset Type to select the Original Pitch LFO Waveform=Square effect. In this case, the Custom Mix/Depth/Speed settings are Depth (–value)

Lower ignored. If Control Mode=Custom, the Custom Mix/Depth/ Speed settings are valid, and the c: Preset Type setting is ignored. g: Pan c: Amt h: FX Amount If Preset Type=V1 and Src=JS+Y, you can set this to +5 and move JS +Y to control the effect in the order of The Pan parameter pans the effect sound and dry sound to the V1➝C1➝V2➝C2➝V3➝C3. left and right. With L, the effect sound is panned left, and the dry 80 Effects Modulation and Pitch Shift (Mod./P.Shift)

054: Rotary Speaker b: Speed Switch This effect simulates a rotary speaker, and obtains a more realis- This parameter controls how the rotation speed (slow and fast) tic sound by simulating the rotor in the low range and the horn is switched via the modulation source. in the high range separately. The effect also simulates the stereo When Mode = Toggle, the speed will switch between slow and microphone settings. fast each time you press the pedal or move the joystick. Via MIDI, the speed will switch each time the modulation amount FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left exceeds 64. FX Amt Horn When Mode = Moment, the speed is usually slow. It becomes fast only when you press the pedal or move the joystick. Via + Rotary Speaker Horn/Rotor Mic Distance Balance Mic Spread MIDI, modulation values above 64 set the speed to Fast, and val- Rotor ues below 64 set it to Slow. Speaker Simulation Right FX Amt -mod c: Manual Speed Ctrl D Mode Switch: Rotate/Stop D-mod Speed Switch: Slow/Fast If you wish to control the rotation speed manually, instead of D-mod Manual Speed Control switching between Slow and Fast, select a modulation source in the Manual Speed Ctrl parameter. If you don’t want to use man- Switches between speaker Mode Switch Rotate, Stop rotation and stop ual control, set this to Off. Selects a modulation source for a Src Off...Tempo Rotate/Stop d: Horn Acceleration Toggle, Sets the switch mode for Rotate/ e: Rotor Acceleration Mode Moment Stop modulation On a real rotary speaker, the rotation speed accelerates or decel- Switches the speaker rotation Speed Switch Slow, Fast speed between slow and fast erates gradually after you switch the speed. The Horn and Rotor Acceleration parameters set the transition times between fast Src Off...Tempo Selects a modulation source for b Slow/Fast and slow speeds. Sets the switch mode for Slow/ Mode Toggle, Fast modulation Moment g: Mic Distance Manual Sets a modulation source for g: Mic Spread c Speed Ctrl Off...Tempo direct control of rotation speed This is a simulation of stereo microphone settings. Hore How quickly the horn rotation Acceleration 0...100 speed in the high range is switched Rotary Speaker - Mic Placement d Adjusts the (high-range side) Mic Spread Stop, horn rotation speed. Standard Microphone Microphone Hore Ratio 0.50...2.00 value is 1.00. Selecting “Stop” will stop the rotation Determines how quickly the Mic Distance Mic Distance Rotor 0...100 rotor rotation speed in the low Acceleration range is switched e Adjusts the (low-frequency) Stop, rotor speed. Standard value is Rotor Ratio 0.50...2.00 1.00. Selecting “Stop” will stop the rotation

Horn/Rotor Rotor, 1...99, Sets the level balance between f Balance Horn the high-frequency horn and low-frequency rotor Rotary Speaker (Top View) Sets the distance between the Mic Distance 0...100 microphone and rotary speaker g Sets the angle of left and right Mic Spread 0...100 microphones Amount of FX added to the FX Amount 0...100 direct signal h Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source a: Mode This parameter sets how the modulation source switches between rotation and stop. When Mode = Toggle, the speaker rotates or stops alternately each time you press the pedal or move the joystick. Via MIDI, rotation will switch between start and stop each time the modulation amount exceeds 64. When Mode = Moment, the speaker rotates by default, and stops only when you press the pedal or move the joystick. Via MIDI, modulation values above 64 make the speaker rotate, and values below 64 make it stop. Effects 81 Delay

Delay

055: L/C/R Delay 056: Stereo/CrossDelay This multitap delay outputs three Tap signals to the left, right, This is a stereo delay, and can by used as a cross-feedback delay and center respectively. You can also adjust the left and right effect in which the delay sounds cross over between the left and spread of the delay sound. right by changing the feedback routing.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Stereo In - Stereo Out Left Left FX Amt FX Amt High Damp Low Damp Input Level D-mod L Delay Level Delay Input Level D-mod

+ C Delay Spread Stereo/Cross Feedback Spread High Damp Low Damp Level Input Level D-mod High Damp Low Damp Feedback Delay Input Level D-mod R Delay Stereo/Cross Level Right Right FX Amt FX Amt

Switches between stereo delay L Delay Time 0...2730 Sets the delay time of TapL a Stereo/Cross Stereo, Cross a [msec] and cross-feedback delay Level 0...50 Sets the output level of TapL L Delay Time Sets the delay time for the left b [msec] 0.0...1360.0 channel C Delay Time 0...2730 Sets the delay time of TapC b [msec] R Delay Time Sets the delay time for the right c [msec] 0.0...1360.0 channel Level 0...50 Sets the output level of TapC L Feedback –100...+100 Sets the feedback amount for R Delay Time 0...2730 Sets the delay time of TapR the left channel c [msec] Selects the modulation source Level 0...50 Sets the output level of TapR d Src Off...Tempo of feedback amount Feedback –100...+100 Sets the feedback amount of Sets the modulation amount of (C Delay) TapC Amt L –100...+100 the left channel feedback d Src Off...Tempo Selects the modulation source of Sets the feedback amount for the TapC feedback amount R Feedback –100...+100 the right channel e Amt –100...+100 Sets the modulation amount of Sets the modulation amount of the TapC feedback amount Amt R –100...+100 the right channel feedback High Damp Sets the damping amount in the High Damp Sets the damping amount in the [%] 0...100 high range f 0...100 e [%] high range Low Damp 0...100 Sets the damping amount in the Low Damp Sets the damping amount in the [%] low range g [%] 0...100 low range Input Level –100...+100 Sets the modulation amount of Input Level Sets the modulation amount of Dmod [%] the input level Dmod [%] –100...+100 the input level f h Src Off...Tempo Selects the modulation source Selects the modulation source for the input level Src Off...Tempo for the input level Sets the width of the stereo Sets the width of the stereo g Spread 0...50 image of the effect sound i Spread –50...+50 image of the effect sound

FX Amount 0...100 Amount of FX added to the Amount of FX added to the direct signal FX Amount 0...100 direct signal h Src Off...Tempo Table , “Dynamic Modulation j Table , “Dynamic Modulation sources,” on page 46 Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Amt –100...+100 Amount of modulation source e: High Damp [%] e: Low Damp [%] These parameters set the damping amount of high range and low range. The tone of the delayed sound becomes darker and lighter as it feeds back. g: Spread This parameter sets the pan width of the effect sound. The stereo image is widest with a value of 50, and the effect sound of both channels is output from the center with a value of 0. 82 Effects Delay

057: St. Multitap Delay 058: St. Mod Delay (Stereo Multitap Delay) (Stereo Modulation Delay) The left and right Multitap Delays have two taps respectively. This stereo delay uses an LFO to sweep the delay time. The pitch Changing the routing of feedback and tap output allows you to also varies, creating a delay sound which swells and shimmers. create various patterns of complex effect sounds. You can also control the delay time using a modulation source.

Stereo In - Stereo Out Stereo In - Stereo Out Left Left FX Amt FX Amt Feedback Delay Delay (2) Input Level D-mod High Damp Low Damp (1) Mode Tap1 Level Mode Spread Tap1=(1) Feedback Tap2=(2) Input Level D-mod High Damp Low Damp (1) (2) Delay Delay

Feedback Right Right FX Amt FX Amt D-mod D-mod Response L/R: +/+ +/–

LFO Sync LFO: Tri / Sine LFO Shape Normal, LFO Cross LFO Phase Modulation Mode a Mode Feedback, Switches the left and right delay Cross Pan1, routing Cross Pan2 Modulation Switches between LFO Tap1 Time a Mode LFO, D-mod modulation control and b [msec] 0.0...1360.0 Sets the Tap1 delay time modulation source control Tap2 Time D-mod L/R:+/+, Reversed L/R control by c [msec] 0.0...1360.0 Sets the Tap2 delay time Modulation L/R:+/– modulation source Sets the Tap1 output level Selects the modulation source d Tap1 Level 0...100 b Src Off...Tempo that controls delay time

Feedback Response 0...30 Sets the rate of response to the (Tap2) –100...+100 Sets the Tap2 feedback amount modulation source Selects the modulation source LFO Triangle, Sine Selects the LFO Waveform e Src Off...Tempo of the Tap2 feedback amount Waveform c Sets the modulation amount of LFO Shape –100...+100 Changes the curvature of the Amt –100...+100 the Tap2 feedback amount LFO Waveform High Damp Sets the damping amount in the LFO Sync Off, On Switches LFO reset off/on f [%] 0...100 high range d Low Damp Sets the damping amount in the Src Off...Tempo Selects the modulation source g [%] 0...100 low range that resets the LFO Input Level Sets the modulation amount of LFO Dmod [%] –100...+100 the input level e Frequency 0.02...20.00 Sets the speed of the LFO h [Hz] Selects the modulation source Src Off...Tempo for the input level When this is on, the LFO speed MIDI Sync Off, On is set by BPM, Base Note, and Sets the width of the stereo Times, instead of Frequency Spread –100...+100 image of the effect sound MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually Selects the modulation source f 300.00 for this individual effect i Src Off...Tempo of the effect sound’s stereo image width Selects the type of notes that Base Note ... specify the LFO speed Sets the modulation amount of Amt –100...+100 the effect sound’s stereo image Times x1...x32 Sets the number of notes that width specify the LFO speed Amount of FX added to the L LFO Phase –180...+180 Sets the phase obtained when FX Amount 0...100 direct signal [deg] the left LFO is reset g j Table , “Dynamic Modulation L Depth 0...200 Sets the depth of the left LFO Src Off...Tempo sources,” on page 46 modulation Amt –100...+100 Amount of modulation source R LFO Phase Sets the phase obtained when [deg] –180...+180 the right LFO is reset h R Depth 0...200 Sets the depth of the right LFO Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2 modulation L Delay Time Sets the delay time for the left [msec] 0.0...1000.0 channel i L Feedback –100...+100 Sets the feedback amount of a: Mode left delay R Delay Time Sets the delay time for the right [msec] 0.0...1000.0 channel You can change how the left and right delay signals are panned j Sets the feedback amount of by modifying the routing of the left and right delay as shown in R Feedback –100...+100 right delay the figure above. You need to input different sounds to each FX Amount -100...0...100 Amount of FX added to the channel in order for this parameter to be effective. direct signal k Src Off...Tempo Table , “Dynamic Modulation d: Tap1 Level sources,” on page 46 Amt –100...+100 Amount of modulation source This parameter sets the output level of Tap1. Setting a different level from Tap2 will add a unique touch to a monotonous delay b: D-mod Modulation and feedback. When the modulation source is used for control, this parameter reverses the left and right modulation direction. Effects 83 Delay d: LFO Sync a: Control Target d: Src This parameter selects no level control, delay output control g: L LFO Phase [deg] (effect balance), or feedback amount control. h: R LFO Phase [deg] a: Polarity If “LFO Sync” is On, the LFO will be reset by the modulation b: Threshold source that is received. b: Offset The “Src” parameter sets the modulation source that resets the c: Attack LFO. For example, you can assign Gate as a modulation source d: Release so that the sweep always starts from the specified point. The “Offset” parameter specifies the value for the “Control Tar- “L LFO Phase” and “R LFO Phase” set the phase obtained when get” parameter (that is set to None), expressed as the ratio rela- the left and right LFOs are reset. In this way, you can create tive to the parameter value (the “FX Amount” value with changes in pitch sweep for the left and right channels individu- “Control Target”=Output level, or the “Feedback” value with ally. “Control Target”=Feedback). The effect is off when a value of the modulation source specified in the “Src” parameter is 63 or smaller, and the effect is on when the When “Polarity” is positive, the “Control Target” value is value is 64 or higher. The LFO is triggered and reset to the “L LFO obtained by multiplying the parameter value by the “Offset” Phase” and “R LFO Phase” settings when the value changes from 63 value (if the input level is below the threshold), or equals the or smaller to 64 or higher. parameter value if the input level exceeds the threshold. When “Polarity” is negative, Control Target value equals the 059: St. Dynamic Delay parameter value if the input level is below the threshold, or is (Stereo Dynamic Delay) obtained by multiplying the parameter value by the “Offset” value if the level exceeds the threshold. This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies The “Attack” and “Release” parameters specify attack time and delay to the sound only when you play keys at a high velocity or release time of delay level control. only when the volume level is low. Dynamic Delay Level

Stereo In - Stereo Out Left Dry FX Amt Threshold High Damp Low Damp Delay Release Envelope Feedback Spread Attack High Damp Low Damp Delay

Right Wet (Ducking Delay) FB Out FX Amt + Envelope Attack, Release Control Target Target=Output Level Threshold Polarity= (–) Delay Time

Control None, Out, Selects from no control, output, Wet Target FB and feedback a Target=Output Level Polarity +, – Reverses level control Polarity= (+) Time Threshold 0...100 Sets the level to which the b effect is applied Offset 0...100 Sets the offset of level control Sets the attack time of level c Attack 1...100 control Sets the release time of level d Release 1...100 control L Delay Time Sets the delay time for the left e [msec] 0.0...1360.0 channel R Delay Time Sets the delay time for the right f [msec] 0.0...1360.0 channel g Feedback –100...+100 Sets the feedback amount High Damp Sets the damping amount in the [%] 0...100 high range h Low Damp Sets the damping amount in the [%] 0...100 low range Sets the width of the stereo i Spread –100...+100 image of the effect sound

Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 84 Effects Delay

060: St. AutoPanningDly 061: Tape Echo (Stereo Auto Panning Delay) This effect simulates a tape echo unit with three playback heads. This stereo delay effect pans the delay sound left and right using The distortion and tonal change typical of magnetic tape are also the LFO. reproduced.

Stereo In - Stereo Out FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Left FX Amt FX Amt High Damp Low Damp Delay Pan Feedback (3) (2) Feedback Depth Feedback Amt (1) Level Pan

Tape Delay Delay Pan + Saturation Trim Pre Tone High / Low Damp High Damp Low Damp Tap2/3 Right Wah Flatter Position FX Amt Right FX Amt LFO Phase D-mod Delay Time LFO: Tri / Sin LFO Shape

Delay (Tap1) Sets the delay time (tap1) L Delay Time Sets the delay time for the left [msec] 0...2700 [msec] 0.0...1360.0 channel a Selects the modulation source of Sets the feedback amount for a Src Off...Tempo the delay time L Feedback –100...+100 the left channel –2700... Sets the modulation amount of R Delay Time Sets the delay time for the right Amt +2700 delay time [msec] 0.0...1360.0 channel b Tap2 Position Sets the position of Tap 2 R Feedback –100...+100 Sets the feedback amount for b 0...100 relative to the Tap 1 delay time the right channel [%] the depth of pitch variation High Damp 0...100 Sets the damping amount in the Sets the position of Tap 3 [%] high range c Tap3 Position 0...100 relative to the Tap 1 delay time c [%] the depth of pitch variation Low Damp 0...100 Sets the damping amount in the [%] low range Tap1 Level 0...100 Sets the Tap1 output level LFO d Pan L, 1...99, R Sets the stereo image of tap1 Waveform Triangle, Sine Selects the LFO Waveform d FB Amt –100...+100 Sets the Tap1 feedback amount Changes the curvature of the LFO Shape –100...+100 LFO Waveform Tap2 Level 0...100 Sets the Tap2 output level e Pan L, 1...99, R Sets the stereo image of tap2 e Phase –180...+180 Sets the LFO phase difference [degree] between the left and right FB Amt –100...+100 Sets the Tap2 feedback amount Panning Freq Tap3 Level 0...100 Sets the Tap3 output level f [Hz] 0.02...20.00 Sets the panning speed f Pan L, 1...99, R Sets the stereo image of tap3 Switches between using the MIDI Sync Off, On frequency of the panning speed FB Amt –100...+100 Sets the Tap3 feedback amount and using the tempo and notes Feedback 0...100 Sets the amount of feedback for MIDI, MIDI syncs to the system tempo; Taps 1, 2, and 3 BPM 40.00... 40–300 sets the tempo manually g Selects the modulation source of 300.00 for this individual effect Src Off...Tempo g feedback amount Selects the type of notes to Amt –100...+100 Sets the feedback amount Base Note ... specify the delay time for the panning speed High Damp Sets the damping amount in the [%] 0...100 high range Sets the number of notes to h Times x1...x32 specify the delay time for the Low Damp 0...100 Sets the damping amount in the panning speed [%] low range i Saturation 0...100 Sets the distortion amount Panning 0...100 Sets the panning width Depth Input Trim 0...100 Sets the input gain j Selects the modulation source Pre Tone 0...100 Sets the tone of the input h Src Off...Tempo for the panning width Wow Flutter 0.02...1.00 Sets the frequency at which Amt –100...+100 Set the modulation amount of [Hz] pitch variation will occur the panning width k Wow Flutter Amount of FX added to the depth 0...100 Sets the depth of pitch variation FX Amount 0...100 direct signal Amount of FX added to the i Table , “Dynamic Modulation FX Amount 0...100 direct signal Src Off...Tempo sources,” on page 46 l Table , “Dynamic Modulation Amt –100...+100 Amount of modulation source Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

a: Delay (Tap1) [msec] a: Src a: Amt b: Tap2 Position [%] b: Tap3 Position [%] The delay time for Tap 2 and 3 is speciﬁed as a proportion (%) relative to “Delay (Tap1).” Even if you use dynamic modulation to control “Delay (Tap1),” Tap 2 and 3 will change at the same proportion. Effects 85 Delay

d: FB Amt Mode/Reverse Time e: FB Amt Rec Reverse Rec Reverse Envelope Select = Input f: FB Amt g: Feedback Input

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

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

Reverse Time Reverse Time FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt c: Envelope Select c: Src Direct + Auto Reverse Mix d: Threshold Rec/Reverse Play Control These parameters select the source to control the start and end Right FX Amt of recording. -mod D-mod D Envelope Control Input Envelope Select When “Envelope Select” is set to D-mod, the input signal will be recorded only when the value of the modulation source selected by the Src parameter is 64 or higher. a Rec Mode Single, Multi Sets the recording mode When “Envelope Select” is set to Input, the input signal will be b Reverse Time 20...2640 Sets the maximum duration of [msec] the reverse playback recorded only when its level exceeds the Threshold level. Selects whether the start and Envelope end of recording is controlled When recording is completed, reverse playback starts immedi- Select D-mod, Input via the modulation source or c the input signal level ately. Selects the modulation source Src Off...Tempo that controls recording when Envelope Select is set to D-mod Sets the recording start level d Threshold 0...100 when Envelope Select is set to Input Sets the speed of the response e Response 0...100 to the end of recording Always On, f Direct Mix Always Off, Selects how a dry sound is mixed Cross Fade Amount of FX added to the FX Amount 0...100 direct signal g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source a: Rec Mode b: Reverse Time [msec] When “Rec Mode” is set to Single, you can set up to 2,640msec for “Reverse Time.” If recording starts during the reverse playback, the playback will be interrupted. When “Rec Mode” is set to Multi, you can make another recording during the reverse playback. However, the maximum Reverse Time is limited to 1,320msec. If you wish to record a phrase or rhythm pattern, set “Rec Mode” to Single. If you record only one note, set “Rec Mode” to Multi. The “Reverse Time” parameter speciﬁes the maximum duration of the reverse playback. The part in excess of this limit will not be played in reverse. If you wish to add short pieces of the reverse playback of single notes, make the “Reverse Time” shorter. 86 Effects Delay

063: Sequence BPM Dly 064: L/C/R BPM Delay (Sequence BPM Delay) The L/C/R delay enables you to match the delay time with the This four-tap delay enables you to select a tempo and rhythm song tempo. You can also synchronize the delay time with the pattern to set up each tap. arpeggiator or sequencer. If you program the tempo before performance, you can achieve a delay effect that synchronizes with FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out the song in real-time. Delay time is set by notes. Left FX Amt Pan FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod Left FX Amt

Input Level D-mod L Delay + Delay Level

High Damp Low Damp + High Damp Low Damp C Delay Spread Level Feedback Feedback Input Level D-mod Input Level D-mod R Delay Level Right FX Amt Right Tempo FX Amt BPM Tempo BPM BPM BPM Base Note x Times Rythm Pattern Base Note x Times Base Note x Times

MIDI, MIDI syncs to the system tempo; MIDI, MIDI syncs to the system tempo; a BPM 40.00... 40–300 sets the tempo manually BPM 40.00... 40–300 sets the tempo manually 300.00 for this individual effect 300.00 for this individual effect a 3 Selects a rhythm pattern b Rhythm ... Displays an error message when Pattern Time Over? ---, OVER! the delay time exceeds the Tap1 Pan L, 1...99, R Sets the panning of Tap1 upper limit Tap2 Pan L, 1...99, R Sets the panning of Tap2 L Delay Base ... Selects the type of notes to c Note specify the delay time for TapL Tap3 Pan L, 1...99, R Sets the panning of Tap3 b Sets the number of notes to Tap4 Pan L, 1...99, R Sets the panning of Tap4 Times x1...x32 specify the delay time for TapL Feedback –100...+100 Sets the feedback amount Level 0...50 Sets the output level of TapL d Src Off...Tempo Selects the modulation source C Delay Base elects the type of notes to of feedback amount Note ... specify the delay time for TapC Amt –100...+100 Sets the feedback amount c Sets the number of notes to Times x1...x32 specify the delay time for TapC High Damp 0...100 Sets the damping amount in the [%] high range Level 0...50 Sets the output level of TapC e Low Damp 0...100 Sets the damping amount in the R Delay Base Selects the type of notes to [%] low range Note ... specify the delay time for TapR Input Level –100...+100 Sets the modulation amount of d Sets the number of notes to Dmod [%] the input level Times x1...x32 specify the delay time for TapR f Selects the modulation source Level 0...50 Sets the output level of TapR Src Off...Tempo for the input level Feedback Sets the feedback amount of Amount of FX added to the (C Delay) –100...+100 TapC FX Amount 0...100 direct signal Selects the modulation source g Table , “Dynamic Modulation e Src Off...Tempo for the TapC feedback Src Off...Tempo sources,” on page 46 Sets the modulation amount of Amt –100...+100 Amount of modulation source Amt –100...+100 the TapC feedback High Damp Sets the damping amount in the [%] 0...100 high range a: BPM f Low Damp Sets the damping amount in the b: Rhythm Pattern [%] 0...100 low range With the tempo speciﬁed by the “BPM” parameter (or the MIDI Input Level Sets the modulation amount of Dmod [%] –100...+100 the input level g Clock tempo if “BPM” is set to MIDI), the length of one beat Selects the modulation source equals the feedback delay time, and the interval between taps Src Off...Tempo for the input level becomes equal. Selecting a rhythm pattern will automatically Sets the width of the stereo h Spread 0...50 image of the effect sound turn the tap outputs on and off. When “BPM” is set to MIDI, the lower limit of the “BPM” is 44. Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

a: Time Over? You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. Effects 87 Delay

065: Stereo BPM Delay 066: St.BPM Mtap Delay This stereo delay enables you to set the delay time to match the (Stereo BPM Multi tap Delay) song tempo. This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap. Stereo In - Stereo Out Left FX Amt High Damp Low Damp Stereo In - Stereo Out Delay Left Input Level D-mod FX Amt Feedback Feedback Delay (2) Input Level D-mod High Damp Low Damp Input Level D-mod High Damp Low Damp (1) Mode Tap1 Level Mode Spread Tap1=(1) Delay Tap2=(2) Input Level D-mod High Damp Low Damp (1) (2) Right Delay FX Amt

Tempo Feedback BPM Right BPM Base Note x Times Adjust [%] FX Amt Base Note x Times Adjust [%] Tempo BPM BPM Base Note x Times Base Note x Times MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually 300.00 for this individual effect Normal, Cross Display the error message if the a Mode Feedback, Switches the left and right delay a Time Over? L ---, OVER! left channel delay time exceeds Cross Pan1, routing the upper limit Cross Pan2 Display the error message if the MIDI, MIDI syncs to the system tempo; R ---, OVER! right channel delay time BPM 40.00... 40–300 sets the tempo manually exceeds the upper limit 300.00 for this individual effect Selects the type of notes to L Delay Base Displays an error message when Note ... specify the left channel delay b Time Over? 1 ---, OVER! the delay time for Tap1 exceeds time the upper limit b Sets the number of notes to Displays an error message when Times x1...x32 specify the left channel delay 2 ---, OVER! the delay time for Tap2 exceeds time the upper limit Fine-adjust the left channel Adjust [%] –2.50...+2.50 Tap 1 Base Selects the type of notes to delay time Note ... specify the delay time for Tap1 Selects the type of notes to c R Delay Base Sets the number of notes to ... specify the right channel delay Times x1...x32 specify the delay time for Tap1 Note time Tap 2 Base ... Selects the type of notes to c Sets the number of notes to Note specify the delay time for Tap2 Times x1...x32 specify the right channel delay d time Sets the number of notes to Times x1...x32 specify the delay time for Tap2 Adjust [%] –2.50...+2.50 Fine-adjust the right channel delay time e Tap1 Level 0...100 Sets the Tap1 output level Sets the feedback amount for L Feedback –100...+100 the left channel Feedback (Tap2) –100...+100 Sets the Tap2 feedback amount Selects the modulation source d Src Off...Tempo of feedback amount Selects the modulation source f Src Off...Tempo of the Tap2 feedback amount Sets the modulation amount of Amt L –100...+100 the left channel feedback Sets the modulation amount of Amt –100...+100 the Tap2 feedback amount Sets the feedback amount for R Feedback –100...+100 the right channel High Damp Sets the damping amount in the e [%] 0...100 high range Sets the modulation amount of g Amt R –100...+100 the right channel feedback Low Damp Sets the damping amount in the [%] 0...100 low range High Damp Sets the damping amount in the f [%] 0...100 high range Input Level Sets the modulation amount of Dmod [%] –100...+100 the input level Low Damp Sets the damping amount in the h g [%] 0...100 low range Selects the modulation source Src Off...Tempo for the input level Input Level Sets the modulation amount of Dmod [%] –100...+100 the input level Sets the width of the stereo h Spread –100...+100 image of the effect sound Selects the modulation source Src Off...Tempo for the input level Selects the modulation source Src Off...Tempo of the effect sound’s stereo Amount of FX added to the i image width FX Amount 0...100 direct signal Sets the modulation amount of i Src Off...Tempo Table , “Dynamic Modulation Amt –100...+100 the effect sound’s stereo image sources,” on page 46 width Amt –100...+100 Amount of modulation source Amount of FX added to the FX Amount 0...100 direct signal a: Time Over? L, R j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 You can set the delay time up to 2,730msec. If the delay time Amt –100...+100 Amount of modulation source exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. 88 Effects Delay

067: St.BPM Mod. Delay Selects the type of notes to R Delay Base ... specify the right channel delay (Stereo BPM Modulation Delay) Note time Sets the number of notes to This is a stereo modulation delay that lets you synchronize the k Times x1...x32 specify the right channel delay delay time to the tempo of the song. time Sets the feedback amount of Feedback –100...+100 right delay Stereo In - Stereo Out Amount of FX added to the Left FX Amount -100...0...100 FX Amt direct signal

Delay l Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Feedback Amt –100...+100 Amount of modulation source

Delay i: Time Over? L, R

Right FX Amt Tempo You can set the delay time up to 2,550msec. If the delay time BPM BPM Base Note x Times exceeds this limit, the error message “OVER!” appears in the dis- Base Note x Times play. Set the delay time parameters so that this message will not D-mod D-mod Response L/R: +/+ +/– appear. “Time Over?” is only a display parameter. LFO Sync LFO: Tri / Sine LFO Shape LFO LFO Phase Modulation Mode

Modulation Switches between LFO a Mode LFO, D-mod modulation control and modulation source control D-mod L/R:+/+, Reversed L/R control by Modulation L/R:+/– modulation source Selects the modulation source b Src Off...Tempo that controls delay time Sets the rate of response to the Response 0...30 modulation source LFO Waveform Triangle, Sine Selects the LFO Waveform c Changes the curvature of the LFO Shape –100...+100 LFO Waveform

LFO Sync Off, On Switches LFO reset off/on d Selects the modulation source Src Off...Tempo that resets the LFO LFO e Frequency 0.02...20.00 Sets the speed of the LFO [Hz] When this is on, the LFO speed MIDI Sync Off, On is set by BPM, Base Note, and Times, instead of Frequency MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually f 300.00 for this individual effect Selects the type of notes that Base Note ... specify the LFO speed Sets the number of notes that Times x1...x32 specify the LFO speed L LFO Phase Sets the phase obtained when [deg] –180...+180 the left LFO is reset g Sets the depth of the left LFO Depth 0...200 modulation R LFO Phase Sets the phase obtained when [deg] –180...+180 the right LFO is reset h Sets the depth of the right LFO Depth 0...200 modulation MIDI, MIDI syncs to the system tempo; BPM(Delay) 40.00... 40–300 sets the tempo manually 300.00 for this individual effect Display the error message if the i Time Over? L ---, OVER! left channel delay time exceeds the upper limit Display the error message if the R ---, OVER! right channel delay time exceeds the upper limit Selects the type of notes to L Delay Base ... specify the left channel delay Note time Sets the number of notes to j Times x1...x32 specify the left channel delay time Sets the feedback amount of Feedback –100...+100 left delay Effects 89 Delay

068: St.BPMAutoPanDly 069: Tape Echo BPM (Stereo BPM Auto Panning Delay) This is a tape echo that lets you synchronize the delay time to the This stereo auto panning delay enables you to set the delay time tempo of the song. to match the song tempo. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Stereo In - Stereo Out FX Amt Left FX Amt High Damp Low Damp Feedback (3) Delay Pan (2)

Feedback Amt (1) Level Pan Feedback Depth Tape Delay + Saturation Delay Pan Trim Pre Tone High / Low Damp High Damp Low Damp Wah Flatter Tap2/3 Position Right FX Amt Right BPM FX Amt Tempo Tempo Base Note x Times Delay Time BPM BPM Base Note x Times BPM Base Note x Times LFO Phase -mod LFO: Tri / Sin LFO Shape D

MIDI, MIDI syncs to the system tempo; MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually BPM (Delay) 40.00... 40–300 sets the tempo manually 300.00 for this individual effect a 300.00 for this individual effect Display the error message if the Tap1 Dmod Selects the modulation source a Time Over? L ---, OVER! left channel delay time exceeds Src Off...Tempo of the delay time the upper limit Tap1 Delay Selects the type of notes to Display the error message if the Note ... specify the delay time (tap1) R ---, OVER! right channel delay time exceeds the upper limit Sets the number of notes to b Times x1...x32 specify the delay time (tap1) Selects the type of notes to L Delay Base ... specify the left channel delay Displays an error message when Note time Time Over? ---, OVER! the delay time exceeds the upper limit Sets the number of notes to b Selects the note value used to Times x1...x32 specify the left channel delay Tap1 Dmod time ... specify the delay time when the Note modulation is at maximum Sets the feedback amount for c Feedback –100...+100 the left channel Specifies the number of notes Times x1...x32 used to specify the delay time R Delay Base Selects the type of notes to when the modulation is at ... specify the right channel delay maximum Note time Tap2 Position Sets the position of Tap 2 c Sets the number of notes to d 0...100 relative to the Tap 1 delay time Times x1...x32 specify the right channel delay [%] the depth of pitch variation time Tap3 Position Sets the position of Tap 3 Feedback –100...+100 Sets the feedback amount for e 0...100 relative to the Tap 1 delay time the right channel [%] the depth of pitch variation High Damp Sets the damping amount in the Tap1 Level 0...100 Sets the Tap1 output level [%] 0...100 high range d f Pan L, 1...99, R Sets the stereo image of tap1 Low Damp Sets the damping amount in the [%] 0...100 low range FB Amt –100...+100 Sets the Tap1 feedback amount Tap2 Level 0...100 Sets the Tap2 output level LFO Triangle, Sine Selects the LFO Waveform Waveform g Pan L, 1...99, R Sets the stereo image of tap2 Changes the curvature of the FB Amt –100...+100 Sets the Tap2 feedback amount e Shape –100...+100 LFO Waveform Tap3 Level 0...100 Sets the Tap3 output level Sets the LFO phase difference LFO Phase –180...+180 between the left and right h Pan L, 1...99, R Sets the stereo image of tap3 Panning Freq FB Amt –100...+100 Sets the Tap3 feedback amount f [Hz] 0.02...20.00 Sets the panning speed Feedback 0...100 Sets the amount of feedback for When this is on, the pan LFO Taps 1, 2, and 3 MIDI Sync Off, On speed is set by BPM, Base Note, Selects the modulation source and Times, instead of Frequency i Src Off...Tempo of feedback amount MIDI, MIDI syncs to the system tempo; Sets the depth by which BPM 40.00... 40–300 sets the tempo manually Amt –100...+100 feedback amount will be 300.00 for this individual effect modulated g Selects the type of notes to High Damp Sets the damping amount in the Base Note ... specify the delay time for the [%] 0...100 high range panning speed j Low Damp Sets the damping amount in the Sets the number of notes to [%] 0...100 low range Times x1...x32 specify the delay time for the panning speed k Saturation 0...100 Sets the distortion amount Input Trim 0...100 Sets the input gain Panning 0...100 Sets the panning width l Depth Pre Tone 0...100 Sets the tone of the input h Src Off...Tempo Selects the modulation source Wow Flutter Sets the frequency at which for the panning width [Hz] 0.02...1.00 pitch variation will occur m Amt –100...+100 Set the modulation amount of Wow Flutter the panning width depth 0...100 Sets the depth of pitch variation FX Amount 0...100 Amount of FX added to the Amount of FX added to the direct signal FX Amount 0...100 direct signal i Src Off...Tempo Table , “Dynamic Modulation n Table , “Dynamic Modulation sources,” on page 46 Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Amt –100...+100 Amount of modulation source 90 Effects Delay a: Tap1 Dmod Src b: Tap1 Delay Note b: Times c: Tap1 Dmod Note c: Times If “Tap1 Dmod Src” is Off or the selected modulation is at 0, the delay time will be the length specified by “Tap1 Delay Note” and “Times.” If “Tap1 Dmod Src” is other than Off, the delay time will change so that it will be as specified by “Tap1 Dmod Note” and “Times” when the maximum modulation is reached. b: Time Over? You can set the delay time up to 5,400msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. Effects 91 Reverb and Early Reflections (Reverb ER)

Reverb and Early Reﬂections (Reverb ER)

070: Reverb Hall b: Pre Delay [msec] b: Pre Delay Thru [%] This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls. The “Pre Delay” sets the delay time to the reverb input, allowing you to control spaciousness. 071: Reverb SmoothHall Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound. This hall-type reverb simulates the reverberation of larger halls and stadiums, and creates a smooth release. Reverb - Hall / Plate Type Level Dry 072: Reverb Wet Plate This plate reverb simulates warm (dense) reverberation. Reverb Pre Delay Thru Louder Time 073: Reverb Dry Plate This plate reverb simulates dry (light) reverberation. Pre Delay Reverb Time

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left 074: Reverb Room FX Amt

Pre Delay Thru EQ Trim This room-type reverb emphasizes the early reﬂections that LEQ HEQ make the sound tighter. Changing the balance between the early + Pre Delay Reverb reﬂections and reverb sound allows you to simulate nuances, EQ Trim such as the type of walls of a room.

Right FX Amt

Reverb Time [sec] 0.1...10.0 Sets the reverberation time a High Damp Sets the damping amount in the [%] 0...100 high range Pre Delay Sets the delay time from the dry [msec] 0...200 sound b Pre Delay Sets the mix ratio of non-delay Thru [%] 0...100 sound c EQ Trim 0...100 Sets the EQ input level Selects the cutoff frequency Pre LEQ Fc Low, (low or mid-low) of the low- Mid-Low range equalizer d Selects the cutoff frequency Pre HEQ Fc High, (high or mid-high) of the high- Mid-High range equalizer Pre LEQ Gain [dB] –15.0...+15.0 Sets the gain of Low EQ e Pre HEQ Gain [dB] –15.0...+15.0 Sets the gain of High EQ Amount of FX added to the FX Amount 0...100 direct signal f Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 92 Effects Reverb and Early Reflections (Reverb ER)

075: Reverb BrightRoom 076: Early Reflections This room-type reverb emphasizes the early reflections that This effect is only the early reflection part of a reverberation make the sound brighter. sound, and adds presence to the sound. You can select one of the four decay curves.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out ER Level Left ERs FX Amt EQ Trim Pre Delay Thru LEQ HEQ + Pre Delay Reverb Reverb Level EQ Trim LEQ HEQ + Pre Delay Early Reflections ERs EQ Trim ER Level

Right EQ Trim FX Amt Right FX Amt Reverb Time [sec] 0.1...3.0 Sets the reverberation time a Sharp, Loose, Selects the decay curve for the High Damp 0...100 Sets the damping amount in the a Type Modulated, [%] high range Reverse early reflection Pre Delay 0...200 Sets the delay time from the dry ER Time Sets the time length of early [msec] sound b [msec] 10...800 reflection b Pre Delay Sets the mix ratio of non-delay Sets the time taken from the Thru [%] 0...100 sound Pre Delay c [msec] 0...200 original sound to the first early c ER Level 0...100 Sets the level of early reflections reflection Sets the reverberation level Sets the input level of EQ d Reverb Level 0...100 d EQ Trim 0...100 applied to the effect sound e EQ Trim 0...100 Sets the EQ input level Selects the cutoff frequency Pre LEQ Fc Low, (low or mid-low) of the low- Selects the cutoff frequency Mid-Low range equalizer Low, e Pre LEQ Fc Mid-Low (low or mid-low) of the low- range equalizer High, Selects the cutoff frequency f Pre HEQ Fc (high or mid-high) of the high- Selects the cutoff frequency Mid-High range equalizer Pre HEQ Fc High, (high or mid-high) of the high- Mid-High range equalizer Pre LEQ Gain [dB] –15.0...+15.0 Gain of the Low EQ f Pre LEQ Gain –15.0...+15.0 Sets the gain of Low EQ [dB] Pre HEQ Gain –15.0...+15.0 Gain of the High EQ g [dB] Pre HEQ Gain [dB] –15.0...+15.0 Sets the gain of High EQ Amount of FX added to the FX Amount 0...100 direct signal Amount of FX added to the FX Amount 0...100 direct signal g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 h Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Amt –100...+100 Amount of modulation source a: Type c: ER Level This parameter selects the decay curve for the early reflection. d: Reverb Level Early Reflections - Type These parameters set the early reflection level and reverb level. Changing these parameter values allows you to simulate the type of walls in the room. That is, a larger “ER Level” simulates a hard Sharp wall, and a larger “Reverb Level” simulates a soft wall.

Reverb - Room Type Loose Level Dry ER (Early Reflections)

Reverb Modulated Louder Time

Pre Delay Thru Pre Delay Reverb Time Reverse

Dry Pre Delay ER Time Effects 93 Mono-Mono Serial (Mono-Mono)

Mono-Mono Serial (Mono-Mono)

077: P4EQ - Exciter 078: P4EQ - Wah (Parametric 4-Band EQ - Exciter) (Parametric 4-Band EQ - This effect combines a mono four-band parametric equalizer Wah/Auto Wah) and an exciter. This effect combines a mono four-band parametric equalizer and a wah. You can change the order of the connection. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Parametric 4Band EQ Exciter Left FX Amt Routing Parametric 4Band EQ Wah/Auto Wah + Exciter Trim + Wah Trim

Right FX Amt

Right Sweep Mode FX Amt Envelope Auto P4EQ -mod D-mod D LFO Sets the parametric EQ input LFO a [E]Trim 0...100 level

[E]B1 Cutoff 20...1.00k Sets the center frequency of [Hz] Band 1 P4EQ b Q 0.5...10.0 Sets the bandwidth of Band 1 [E]Trim 0...100 Sets the parametric EQ input Gain [dB] –18...+18 Sets the gain of Band 1 level a [E]B2 Cutoff Sets the center frequency of P4EQ ➝ Wah, Changes the order of the [Hz] 50...5.00k Band 2 Routing ➝ parametric equalizer and wah Wah P4EQ connection c Q 0.5...10.0 Sets the bandwidth of Band 2 [E]B1 Cutoff Sets the center frequency of Gain [dB] –18...+18 Sets the gain of Band 2 [Hz] 20...1.00k Band 1 [E]B3 Cutoff Sets the center frequency of b Q 0.5...10.0 Sets the bandwidth of Band 1 [Hz] 300...10.00k Band 3 Gain [dB] –18...+18 Sets the gain of Band 1 d Q 0.5...10.0 Sets the bandwidth of Band 3 [E]B2 Cutoff Sets the center frequency of Gain [dB] –18...+18 Sets the gain of Band 3 [Hz] 50...5.00k Band 2 [E]B4 Cutoff Sets the center frequency of c Q 0.5...10.0 Sets the bandwidth of Band 2 [Hz] 500...20.00k Band 4 Gain [dB] –18...+18 Sets the gain of Band 2 e Q 0.5...10.0 Sets the bandwidth of Band 4 [E]B3 Cutoff Sets the center frequency of Gain [dB] –18...+18 Sets the gain of Band 4 [Hz] 300...10.00k Band 3 EXCITER d Q 0.5...10.0 Sets the bandwidth of Band 3 [X]Exciter Sets the intensity (depth) of the Gain [dB] –18...+18 Sets the gain of Band 3 f Blend –100...+100 Exciter effect [E]B4 Cutoff Sets the center frequency of [X]Emphasis Sets the frequency range to be [Hz] 500...20.00k Band 4 g Freq 0...70 emphasized e Q 0.5...10.0 Sets the bandwidth of Band 4 Amount of FX added to the FX Amount 0...100 direct signal Gain [dB] –18...+18 Sets the gain of Band 4 WAH h Src Off...Tempo Table , “Dynamic Modulation sources,” on page 46 [W]Frequency Sets the lower limit of the wah Bottom 0...100 center frequency Amt –100...+100 Amount of modulation source f Frequency Sets the upper limit of the wah Top 0...100 center frequency Auto, Selects the control from auto- [W]Sweep D-mod, wah, modulation source, and Mode LFO LFO g Selects the modulation source Src Off...Tempo for the wah when Sweep Mode=D-mod [W]LFO Frequency 0.02...20.00 Sets the speed of the LFO [Hz] h Resonance 0...100 Sets the resonance amount Switches the wah low pass ﬁlter LPF Off, On on and off Dry,1 : 99... [W] Wet/Dry 99 : 1, Wet Sets the wah effect balance Selects the Wet/Dry modulation i Src Off...Tempo source for the wah Sets the Wet/Dry modulation Amt –100...+100 amount for the wah Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 94 Effects Mono-Mono Serial (Mono-Mono)

079: P4EQ - Cho/Flng 080: P4EQ - Phaser (Parametric 4-Band EQ - Chorus/Flanger) (Parametric 4-Band EQ - Phaser) This effect combines a mono four-band parametric equalizer This effect combines a mono four-band parametric equalizer and a chorus/ﬂanger. and a phaser.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Left FX Amt FX Amt Parametric 4Band EQ Chorus/Flanger Parametric 4Band EQ Phaser

+ Chorus/Flanger + Phaser Trim Normal Trim Normal + Output Mode + Output Mode – – Feedback Wet Invert Resonance Wet Invert Cho/Flng FX Amt Phaser FX Amt

Right Right FX Amt FX Amt LFO: Tri / Sine LFO: Tri / Sine

P4EQ P4EQ Sets the parametric EQ input Sets the parametric EQ input a [E]Trim 0...100 level a [E]Trim 0...100 level [E]B1 Cutoff Sets the center frequency of [E]B1 Cutoff Sets the center frequency of [Hz] 20...1.00k Band 1 [Hz] 20...1.00k Band 1 b Q 0.5...10.0 Sets the bandwidth of Band 1 b Q 0.5...10.0 Sets the bandwidth of Band 1 Gain [dB] –18...+18 Sets the gain of Band 1 Gain [dB] –18...+18 Sets the gain of Band 1 [E]B2 Cutoff Sets the center frequency of [E]B2 Cutoff Sets the center frequency of [Hz] 50...5.00k Band 2 [Hz] 50...5.00k Band 2 c Q 0.5...10.0 Sets the bandwidth of Band 2 c Q 0.5...10.0 Sets the bandwidth of Band 2 Gain [dB] –18...+18 Sets the gain of Band 2 Gain [dB] –18...+18 Sets the gain of Band 2 [E]B3 Cutoff Sets the center frequency of [E]B3 Cutoff Sets the center frequency of [Hz] 300...10.00k Band 3 [Hz] 300...10.00k Band 3 d d Q 0.5...10.0 Sets the bandwidth of Band 3 Q 0.5...10.0 Sets the bandwidth of Band 3 Gain [dB] –18...+18 Sets the gain of Band 3 Gain [dB] –18...+18 Sets the gain of Band 3 [E]B4 Cutoff Sets the center frequency of [E]B4 Cutoff Sets the center frequency of [Hz] 500...20.00k Band 4 [Hz] 500...20.00k Band 4 e Q 0.5...10.0 Sets the bandwidth of Band 4 e Q 0.5...10.0 Sets the bandwidth of Band 4 Gain [dB] –18...+18 Sets the gain of Band 4 Gain [dB] –18...+18 Sets the gain of Band 4 CHORUS/FLANGER PHASER [F]LFO [P]LFO Frequency 0.02...20.00 Sets the speed of the LFO Frequency 0.02...20.00 Sets the speed of the LFO f [Hz] f [Hz] LFO LFO Waveform Triangle, Sine Selects the LFO Waveform Waveform Triangle, Sine Selects the LFO Waveform [F]Delay Time Sets the frequency to which the [msec] 0.0...1350.0 Sets the delay time [P]Manual 0...100 effect is applied Sets the depth of LFO Sets the depth of LFO g Depth 0...100 modulation g Depth 0...100 modulation

Feedback –100...+100 Sets the feedback amount Resonance –100...+100 Sets the resonance amount

[F]Cho/Flng Sets the effect balance of the [P]Phaser Wet/Dry -100...0...100 chorus/flanger Wet/Dry -100...0...100 Sets the phaser effect balance Selects the Wet/Dry modulation Selects the Wet/Dry modulation h Src Off...Tempo source for the chorus/flanger h Src Off...Tempo source for the phaser Sets the Wet/Dry modulation Sets the Wet/Dry modulation Amt –100...+100 amount for the chorus/flanger Amt –100...+100 amount for the phaser [F]Output Normal, Selects the output mode for the [P]Output Normal, i Mode Wet Invert chorus/flanger i Mode Wet Invert Selects the phaser output mode Amount of FX added to the Amount of FX added to the FX Amount 0...100 direct signal FX Amount 0...100 direct signal j Table , “Dynamic Modulation j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Amt –100...+100 Amount of modulation source i: Output Mode When Wet Invert is selected, the right channel phase of the chorus/flanger effect sound is inverted. This creates pseudo-stereo effects and adds spread. However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminat- ing the chorus/flanger effects. Effects 95 Mono-Mono Serial (Mono-Mono)

081: P4EQ - Mt. Delay 082: Comp - Wah (Parametric 4-Band EQ - (Compressor - Wah/Auto Wah) Multitap Delay) This effect combines a mono compressor and a wah. You can This effect combines a mono four-band parametric equalizer change the order of the connection. and a multitap delay. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Routing Compressor Wah/Auto Wah Left FX Amt Parametric 4Band EQ Multitap Delay EQ Trim LEQ HEQ + Comp Wah FX Amt Feedback Output Level + Delay (2) Trim High Damp (1) Mt.Dly FX Amt Right Sweep Mode FX Amt Envelope - Control Envelope Auto Right -mod D-mod FX Amt D LFO LFO

P4EQ COMPRESSOR a [E]Trim 0...100 Sets the parametric EQ input level [C] a Sensitivity 1...100 Sets the sensitivity [E]B1 20...1.00k Sets the center frequency of Cutoff [Hz] Band 1 [C]Attack 1...100 Sets the attack level b b Sets the bandwidth of Band Output Level 0...100 Sets the compressor output level Q 0.5...10.0 1 c [C]EQ Trim 0...100 Sets the EQ input level Gain [dB] –18...+18 Sets the gain of Band 1 [C]Pre LEQ [E]B2 Sets the center frequency of Gain [dB] –15...+15 Sets the gain of Low EQ Cutoff [Hz] 50...5.00k Band 2 d Pre HEQ Gain c Sets the bandwidth of Band [dB] –15...+15 Sets the gain of High EQ Q 0.5...10.0 2 WAH Gain [dB] –18...+18 Sets the gain of Band 2 [W]Frequency Sets the lower limit of the wah [E]B3 300...10.00 Sets the center frequency of Bottom 0...100 center frequency Cutoff [Hz] k Band 3 e Frequency Sets the upper limit of the wah d Sets the bandwidth of Band Top 0...100 center frequency Q 0.5...10.0 3 Auto, Selects the control from auto- Gain [dB] –18...+18 Sets the gain of Band 3 [w]Sweep D-mod, wah, modulation source, and Mode LFO LFO [E]B4 500...20.00 Sets the center frequency of f Cutoff [Hz] k Band 4 Selects the modulation source e Sets the bandwidth of Band Src Off...Tempo for the wah when Sweep Q 0.5...10.0 4 Mode=D-mod Gain [dB] –18...+18 Sets the gain of Band 4 [W]LFO Frequency 0.02...20.00 Sets the speed of the LFO MULTITAP DELAY [Hz] [D]Tap1 g Resonance 0...100 Sets the resonance amount Time [msec] 0.0...1360.0 Sets the Tap1 delay time f LPF Off, On Switches the wah low pass ﬁlter Tap1 Level 0...100 Sets the Tap1 output level on and off Dry, [D]Tap2 0.0...1360.0 Sets the Tap2 delay time [W]Wet/Dry 1 : 99...99 : 1, Sets the wah effect balance Time [msec] Wet g Feedback –100...+100 Sets the Tap2 feedback h Selects the Wet/Dry modulation (Tap2) amount Src Off...Tempo source for the wah h [D]High 0...100 Sets the damping amount in Sets the Wet/Dry modulation Damp [%] the high range Amt –100...+100 amount for the wah ➝ [D]Mt.Dela 0...100 Sets the multitap delay Comp y Wet/Dry effect balance i Routing Wah, Wah ➝ Switches the order of the Comp compressor and wah Off...Temp Selects the Wet/Dry i Src o modulation source for the Amount of FX added to the multitap delay FX Amount 0...100 direct signal Sets the Wet/Dry j Table , “Dynamic Modulation Amt –100...+100 modulation amount for the Src Off...Tempo sources,” on page 46 multitap delay Amt –100...+100 Amount of modulation source Amount of FX added to the FX Amount 0...100 direct signal Table , “Dynamic j Src Off...Temp Modulation sources,” on o page 46 Amount of modulation Amt –100...+100 source 96 Effects Mono-Mono Serial (Mono-Mono)

083: Comp - Amp Sim 084: Comp - OD/HiGain (Compressor - Amp Simulation) (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an amp simula- This effect combines a mono compressor and an overdrive/high- tion. You can change the order of the effects. gain distortion. You can change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Left FX Amt FX Amt Routing Routing Compressor Amp Simulation Compressor Overdrive / Hi-Gain

EQ Trim LEQ HEQ 3 Band PEQ + Comp Amp Simulation Filter + Comp Driver Output Level Output Level Output Level FX Amt

Mode: Overdrive / Hi-Gain Drive

Right Right FX Amt FX Amt Envelope - Control Envelope - Control

COMPRESSOR COMPRESSOR [C] [C] a Sensitivity 1...100 Sets the sensitivity a Sensitivity 1...100 Sets the sensitivity [C]Attack 1...100 Sets the attack level [C]Attack 1...100 Sets the attack level b b Output Level 0...100 Sets the compressor output level Output Level 0...100 Sets the compressor output level c [C]EQ Trim 0...100 Sets the EQ input level OD/HI-GAIN [C]Pre LEQ [O] Overdrive, Switches between overdrive and Gain [dB] –15...+15 Sets the gain of Low EQ Drive Mode Hi-Gain high-gain distortion d c Pre HEQ Gain Sets the degree of distortion [dB] –15...+15 Sets the gain of High EQ Drive 1...100 AMP SIM [O]Output Level 0...50 Sets the overdrive output level [A]Ampliﬁer Selects the type of guitar e Type SS, EL84, 6L6 ampliﬁer Selects the modulation source d Src Off...Tempo for the overdrive output level Comp ➝ Amp, Switches the order of the Amt –50...+50 Sets the modulation amount of f Routing Amp ➝ compressor and amp simulation the overdrive output level Comp [O]Low 20...1.00k Sets the center frequency for Amount of FX added to the e Cutoff [Hz] Low EQ (shelving type) FX Amount 0...100 direct signal Gain [dB] –18...+18 Sets the gain of Low EQ g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 [O]Mid1 Sets the center frequency for Cutoff [Hz] 300...10.00k Mid/High EQ 1 (peaking type) Amt –100...+100 Amount of modulation source f Sets the band width of Mid/ Q 0.5...10.0 High EQ 1 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 [O]Mid2 Sets the center frequency for Cutoff [Hz] 500...20.00k Mid/High EQ 2 (peaking type) g Sets the band width of Mid/ Q 0.5...10.0 High EQ 2 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 Dry, [O]Wet/Dry 1 : 99...99 : 1, Sets the overdrive effect Wet balance h Selects the Wet/Dry modulation Src Off...Tempo source for the overdrive Sets the Wet/Dry modulation Amt –100...+100 amount for the overdrive Comp ➝ OD/ i Routing HG, OD/HG Switches the order of the ➝ Comp compressor and overdrive Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 97 Mono-Mono Serial (Mono-Mono)

085: Comp - P4EQ 086: Comp - Cho/Flng (Compressor - Parametric 4-Band EQ) (Compressor - Chorus/Flanger) This effect combines a mono compressor and a four-band para- This effect combines a mono compressor and a chorus/ﬂanger. metric equalizer. You can change the order of the effects. You can change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left Left FX Amt Routing FX Amt Routing Compressor Parametric 4Band EQ Compressor Chorus/Flanger

EQ Trim LEQ HEQ + Comp + Comp Chorus/Flanger Normal Trim Output Level Output Level + Output Mode – Feedback Wet Invert Cho/Flng FX Amt

Right Right FX Amt FX Amt Envelope - Control Envelope - Control LFO: Tri / Sine

COMPRESSOR COMPRESSOR [C] a [C] 1...100 Sets the sensitivity a Sensitivity 1...100 Sets the sensitivity Sensitivity [C]Attack 1...100 Sets the attack level [C]Attack 1...100 Sets the attack level b Output Level 0...100 Sets the compressor output level b Sets the compressor output Output Level 0...100 level P4EQ c [C]EQ Trim 0...100 Sets the EQ input level Sets the parametric EQ input c [E]Trim 0...100 level [C]Pre LEQ Gain [dB] –15...+15 Sets the gain of Low EQ [E]B1 Cutoff Sets the center frequency of d [Hz] 20...1.00k Band 1 Pre HEQ Gain [dB] –15...+15 Sets the gain of High EQ d Q 0.5...10.0 Sets the bandwidth of Band 1 CHORUS/FLANGER Gain [dB] –18...+18 Sets the gain of Band 1 [F]LFO [E]B2 Cutoff Sets the center frequency of Frequency 0.02...20.00 Sets the speed of the LFO [Hz] 50...5.00k Band 2 e [Hz] e Q 0.5...10.0 Sets the bandwidth of Band 2 LFO Triangle, Sine Selects the LFO Waveform Gain [dB] –18...+18 Sets the gain of Band 2 Waveform [E]B3 Cutoff Sets the center frequency of [F]Delay Time 0.0...1350.0 Sets the delay time [Hz] 300...10.00k Band 3 [msec] f Q 0.5...10.0 Sets the bandwidth of Band 3 Sets the depth of LFO f Depth 0...100 modulation Gain [dB] –18...+18 Sets the gain of Band 3 Sets the feedback amount [E]B4 Cutoff Sets the center frequency of Feedback –100...+100 [Hz] 500...20.00k Band 4 Sets the effect balance of the g Q 0.5...10.0 Sets the bandwidth of Band 4 [F]Cho/Flng Wet/Dry -100...0...100 chorus/flanger Gain [dB] –18...+18 Sets the gain of Band 4 , ➝ Comp g Src Off...Tempo Selects the Wet/Dry modulation h Routing P4EQ, P4EQ Switches the order of the source for the chorus/flanger ➝ compressor and parametric EQ Comp Sets the Wet/Dry modulation Amt –100...+100 amount for the chorus/flanger FX Amount 0...100 Amount of FX added to the direct signal [F]Output Normal, Selects the output mode for the h Mode Wet Invert chorus/flanger i Src Off...Tempo Table , “Dynamic Modulation sources,” on page 46 Comp ➝ Amt –100...+100 Amount of modulation source Flanger, Switches the order of the i Routing Flanger ➝ compressor and chorus/flanger Comp Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

h: [F]Output Mode i: Routing When Wet Invert is selected, the right channel phase of the chorus/ﬂanger effect sound is inverted. This creates pseudo-stereo effects and adds spread. However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminat- ing the chorus/ﬂanger effects. When “Routing” is set to Flanger→Comp, “[F]Output Mode” will be set to Normal. 98 Effects Mono-Mono Serial (Mono-Mono)

087: Comp - Phaser 088: Comp - Mt. Delay (Compressor - Phaser) (Compressor - Multitap Delay) This effect combines a mono compressor and a phaser. You can This effect combines a mono compressor and a multitap delay. change the order of the effects. You can change the order of the effects.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Left Routing FX Amt Routing FX Amt Compressor Phaser Compressor Multitap Delay

EQ Trim LEQ HEQ EQ Trim LEQ HEQ Feedback + Comp Phaser + Comp Delay Normal (2) High Damp (1) Output Level + Output Mode – Output Level Mt.Dly FX Amt Resonance Wet Invert Phaser FX Amt

Right Right FX Amt FX Amt Envelope - Control LFO: Tri / Sine Envelope - Control

COMPRESSOR COMPRESSOR a [C] 1...100 Sets the sensitivity [C] Sensitivity a Sensitivity 1...100 Sets the sensitivity [C]Attack 1...100 Sets the attack level [C]Attack 1...100 Sets the attack level b b Output Level 0...100 Sets the compressor output level Output Level 0...100 Sets the compressor output level c [C]EQ Trim 0...100 Sets the EQ input level c [C]EQ Trim 0...100 Sets the EQ input level [C]Pre LEQ –15...+15 Sets the gain of Low EQ [C]Pre LEQ Gain [dB] Gain [dB] –15...+15 Sets the gain of Low EQ d d Pre HEQ Gain –15...+15 Sets the gain of High EQ Pre HEQ Gain [dB] [dB] –15...+15 Sets the gain of High EQ PHASER MULTITAP DELAY [P]LFO [D]Tap1 Time Frequency 0.02...20.00 Sets the speed of the LFO [msec] 0.0...1360.0 Sets the Tap1 delay time [Hz] e e Sets the Tap1 output level LFO Tap1 Level 0...100 Waveform Triangle, Sine Selects the LFO Waveform [D]Tap2 Time Sets the frequency to which the [msec] 0.0...1360.0 Sets the Tap2 delay time [P]Manual 0...100 effect is applied f Feedback Sets the depth of LFO (Tap2) –100...+100 Sets the Tap2 feedback amount f Depth 0...100 modulation g [D]High 0...100 Sets the damping amount in the Resonance –100...+100 Sets the resonance amount Damp [%] high range [D]Mt.Delay Dry, Sets the multitap delay effect [P]Phaser -100...0...100 Sets the phaser effect balance 1 : 99...99 : 1, Wet/Dry Wet/Dry Wet balance g Src Off...Tempo Selects the Wet/Dry modulation h Selects the Wet/Dry modulation source for the phaser Src Off...Tempo source for the multitap delay Amt –100...+100 Sets the Wet/Dry modulation Sets the Wet/Dry modulation amount for the phaser Amt –100...+100 amount for the multitap delay ➝ h [F]Output Normal, Selects the phaser output mode Comp Mode Wet Invert Mt.Delay, Switches the order of the i Routing ➝ Comp ➝ Mt.Delay compressor and multitap delay Switches the order of the Comp i Routing Phaser, compressor and phaser Phaser ➝ Amount of FX added to the Comp FX Amount 0...100 direct signal FX Amount 0...100 Amount of FX added to the j Table , “Dynamic Modulation direct signal Src Off...Tempo sources,” on page 46 j Table , “Dynamic Modulation Amt –100...+100 Amount of modulation source Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 99 Mono-Mono Serial (Mono-Mono)

089: Limiter - P4EQ a: [L]Ratio (Limiter - Parametric 4-Band EQ) a: Threshold [dB] c: [L]Gain Adjust [dB] This effect combines a mono limiter and a four-band parametric equalizer. You can change the order of the effects. This parameter sets the signal compression “[L]Ratio”. Com- pression is applied only when the signal level exceeds the “Threshold” value. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Routing FX Amt Adjust the output level using the “Gain Adjust” parameter, since Limiter Parametric 4Band EQ compression causes the entire level to be reduced.

+ Limiter Limiter - Threshold / Ratio Trim Gain Adjust Ratio=1.0 : 1 Output Level Right FX Amt Ratio=2.0 : 1 Envelope - Control Threshold Ratio=4.0 : 1 Ration=Inf : 1 LIMITER

1.0 : 1... Sets the signal compression

[L]Ratio 50.0 : 1, Inf : Louder 1 ratio a Louder Threshold Sets the level above which the Input Level [dB] –40...0 compressor is applied Ratio=1.0 : 1 [L]Attack 1...100 Sets the attack time Level Dry b Ratio=2.0 : 1 Release 1...100 Sets the release time Ratio=4.0 : 1 [L]Gain –Inf, Sets the limiter output gain Threshold c Adjust [dB] –38...+24

P4EQ Ratio=Inf : 1 d [E]Trim 0...100 Sets the parametric EQ input level Time [E]B1 Cutoff Sets the center frequency of [Hz] 20...1.00k Band 1 e Q 0.5...10.0 Sets the bandwidth of Band 1 Gain [dB] –18...+18 Sets the gain of Band 1 [E]B2 Cutoff Sets the center frequency of [Hz] 50...5.00k Band 2 f Q 0.5...10.0 Sets the bandwidth of Band 2 Gain [dB] –18...+18 Sets the gain of Band 2 [E]B3 Cutoff Sets the center frequency of [Hz] 300...10.00k Band 3 g Q 0.5...10.0 Sets the bandwidth of Band 3 Gain [dB] –18...+18 Sets the gain of Band 3 [E]B4 Cutoff Sets the center frequency of [Hz] 500...20.00k Band 4 h Q 0.5...10.0 Sets the bandwidth of Band 4 Gain [dB] –18...+18 Sets the gain of Band 4 Limiter ➝ i Routing P4EQ, P4EQ Switches the order of the limiter ➝ Limiter and parametric EQ Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 100 Effects Mono-Mono Serial (Mono-Mono)

090: Limiter - Cho/Flng 091: Limiter - Phaser (Limiter - Chorus/Flanger) This effect combines a mono limiter and a phaser. You can This effect combines a mono limiter and a chorus/ﬂanger. You change the order of the effects. can change the order of the effects. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Routing Limiter Phaser Left Routing FX Amt Limiter Chorus/Flanger + Limiter Phaser Normal Gain Adjust + Output Mode – + Limiter Chorus/Flanger Wet Invert Normal Resonance EQ Trim LEQ HEQ Phaser FX Amt + Output Mode Gain Adjust – Feedback Wet Invert Right Cho/Flng FX Amt FX Amt Envelope - Control LFO: Tri / Sine Right FX Amt Envelope - Control LFO: Tri / Sine LIMITER

LIMITER 1.0 : 1... Sets the signal compression [L]Ratio 50.0 : 1, Inf : ratio 1.0 : 1... a 1 [L]Ratio 50.0 : 1, Inf : Sets the signal compression 1 ratio Threshold Sets the level above which the a [dB] –40...0 compressor is applied Threshold Sets the level above which the –40...0 [L]Attack 1...100 Sets the attack time [dB] compressor is applied b [L]Attack 1...100 Sets the attack time Release 1...100 Sets the release time b Release 1...100 Sets the release time [L]Gain –Inf, Sets the limiter output gain c Adjust [dB] –38...+24 [L]Gain –Inf, Sets the limiter output gain c Adjust [dB] –38...+24 PHASER CHORUS/FLANGER [P]LFO Frequency 0.02...20.00 Sets the speed of the LFO [F]LFO d [Hz] Frequency 0.02...20.00 Sets the speed of the LFO [Hz] LFO d Waveform Triangle, Sine Selects the LFO Waveform LFO Waveform Triangle, Sine Selects the LFO Waveform Sets the frequency to which the [P]Manual 0...100 effect is applied [F]Delay Time [msec] 0.0...1350.0 Sets the delay time Sets the depth of LFO e Depth 0...100 modulation e Depth 0...100 Sets the depth of LFO modulation Resonance –100...+100 Sets the resonance amount Sets the feedback amount Feedback –100...+100 [P]Phaser Wet/Dry -100...0...100 Sets the phaser effect balance f [F]EQ Trim 0...100 Sets the EQ input level Selects the phaser’s Wet/Dry [F]Pre LEQ f Src Off...Tempo modulation source Gain [dB] –15...+15 Sets the gain of Low EQ g Sets the phaser’s Wet/Dry Pre HEQ Gain Amt –100...+100 modulation amount [dB] –15...+15 Sets the gain of High EQ [P]Output Normal, [F]Cho/Flng Sets the effect balance of the g Mode Wet Invert Selects the phaser output mode Wet/Dry -100...0...100 chorus/flanger Limiter ➝ h Src Off...Tempo Selects the Wet/Dry modulation Phaser, Switches the order of the limiter source for the chorus/flanger h Routing Phaser ➝ and phaser Limiter Amt –100...+100 Sets the Wet/Dry modulation amount for the chorus/flanger Amount of FX added to the FX Amount 0...100 direct signal [F]Output Normal, Selects the output mode for the Mode Wet Invert chorus/flanger i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 i Limiter ➝ Flanger, Switches the order of the limiter Amt –100...+100 Amount of modulation source Routing Flanger ➝ and chorus/flanger Limiter Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 101 Mono-Mono Serial (Mono-Mono)

092: Limiter - Mt.Delay 093: Exciter - Comp (Limiter - Multitap Delay) (Exciter -Compressor) This effect combines a mono limiter and a multitap delay. You This effect combines a mono exciter and a compressor. You can can change the order of the effects. change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Left Routing FX Amt FX Amt Limiter Multitap Delay Routing Exciter Compressor

Feedback EQ Trim LEQ HEQ + Limiter Delay (2) + Exciter Comp Gain Adjust High Damp(1) Mt.Dly FX Amt Output Level

Right Right FX Amt FX Amt Envelope - Control Envelope - Control

LIMITER EXCITER 1.0 : 1... Sets the signal compression [X]Exciter Sets the intensity (depth) of the [L]Ratio 50.0 : 1, Inf : a Blend –100...+100 Exciter effect 1 ratio a [X]Emphasis Sets the frequency range to be Threshold Sets the level above which the b Frequency 0...70 emphasized [dB] –40...0 compressor is applied c [X]EQ Trim 0...100 Sets the EQ input level [L]Attack 1...100 Sets the attack time b [X]Pre LEQ Release 1...100 Sets the release time Gain [dB] –15...+15 Sets the gain of Low EQ d c [L]Gain –Inf, Sets the limiter output gain Pre HEQ Gain Adjust [dB] –38...+24 [dB] –15...+15 Sets the gain of High EQ MULTITAP DELAY COMPRESSOR [D]Tap1 Time 0.0...1360.0 Sets the Tap1 delay time e [C] 1...100 Sets the sensitivity d [msec] Sensitivity Tap1 Level 0...100 Sets the Tap1 output level [C]Attack 1...100 Sets the attack level f [D]Tap2 Time Output Level 0...100 Sets the compressor output level [msec] 0.0...1360.0 Sets the Tap2 delay time e Exciter ➝ Feedback –100...+100 Sets the Tap2 feedback amount g Routing Comp, Comp Switches the order of the exciter ➝ Exciter and compressor f [D]High 0...100 Sets the damping amount in the Damp [%] high range Amount of FX added to the FX Amount 0...100 direct signal [D]Mt.Delay 0...100 Sets the multitap delay effect Wet/Dry balance h Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 g Src Off...Tempo Selects the multitap delay’s Wet/ Dry modulation source Amt –100...+100 Amount of modulation source Sets the multitap delay’s Wet/ Amt –100...+100 Dry modulation amount Limiter ➝ Mt.Delay, Switches the order of the limiter h Routing Mt.Delay ➝ and multitap delay Limiter Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 102 Effects Mono-Mono Serial (Mono-Mono)

094: Exciter - Limiter 095: Exciter - Cho/Flng This effect combines a mono exciter and a limiter. You can (Exciter - Chorus/Flanger) change the order of the effects. This effect combines a mono limiter and a chorus/ﬂanger.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Left Routing FX Amt Limiter Exciter Exciter Chorus/Flanger

EQ Trim LEQ HEQ EQ Trim LEQ HEQ + Exciter Limiter + Exciter Chorus/Flanger Normal Gain Adjust + Output Mode – Feedback Wet Invert Cho/Flng FX Amt Right FX Amt Right FX Amt Envelope - Control LFO: Tri / Sine

EXCITER EXCITER a [X]Exciter –100...+100 Sets the intensity (depth) of the [X]Exciter Sets the intensity (depth) of the Blend Exciter effect a Blend –100...+100 Exciter effect b [X]Emphasis 0...70 Sets the frequency range to be [X]Emphasis Sets the frequency range to be Frequency emphasized b Frequency 0...70 emphasized c [X]Trim 0...100 Sets the EQ input level c [X]Trim 0...100 Sets the EQ input level [X]Pre LEQ –15...+15 Sets the gain of Low EQ [X]Pre LEQ Gain [dB] Gain [dB] –15...+15 Sets the gain of Low EQ d d Pre HEQ Gain –15...+15 Sets the gain of High EQ Pre HEQ Gain [dB] [dB] –15...+15 Sets the gain of High EQ LIMITER CHORUS/FLANGER 1.0 : 1... Sets the signal compression [F]LFO e [L]Ratio 50.0 : 1, Inf : Frequency 0.02...20.00 Sets the speed of the LFO 1 ratio e [Hz] f [L]Threshold –40...0 Sets the level above which the LFO [dB] compressor is applied Waveform Triangle, Sine Selects the LFO Waveform g [L]Attack 1...100 Sets the attack time [F]Delay Time 0.0...1350.0 Sets the delay time Release 1...100 Sets the release time [msec] [L]Gain –Inf, Sets the limiter output gain f Depth 0...100 Sets the depth of LFO h Adjust [dB] –38...+24 modulation Exciter ➝ Feedback –100...+100 Sets the feedback amount i Routing Limiter, Switches the order of the Limiter ➝ exciter and limiter [F]Cho/Flng Sets the effect balance of the Exciter Wet/Dry -100...0...100 chorus/flanger FX Amount 0...100 Amount of FX added to the Selects the Wet/Dry modulation direct signal g Src Off...Tempo source for the chorus/flanger j Src Off...Tempo Table , “Dynamic Modulation Sets the Wet/Dry modulation sources,” on page 46 Amt –100...+100 amount for the chorus/flanger Amt –100...+100 Amount of modulation source [F]Output Normal, Selects the output mode for the h Mode Wet Invert chorus/flanger Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 103 Mono-Mono Serial (Mono-Mono)

096: Exciter - Phaser 097: Exciter - Mt.Delay This effect combines a mono limiter and a phaser. (Exciter - Multitap Delay) This effect combines a mono exciter and a multitap delay. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Exciter Phaser Left FX Amt EQ Trim LEQ HEQ Exciter Multitap Delay + Exciter Phaser Normal EQ Trim LEQ HEQ Feedback + Output Mode – + Exciter Delay Resonance Wet Invert (2) High Damp (1) Phaser FX Amt Mt.Dly FX Amt Right FX Amt LFO: Tri / Sine Right FX Amt

EXCITER EXCITER [X]Exciter Sets the intensity (depth) of the a Blend –100...+100 Exciter effect [X]Exciter Sets the intensity (depth) of the a Blend –100...+100 Exciter effect [X]Emphasis Sets the frequency range to be b Frequency 0...70 emphasized [X]Emphasis Sets the frequency range to be b Frequency 0...70 emphasized c [X]Trim 0...100 Sets the EQ input level c [X]Trim 0...100 Sets the EQ input level [X]Pre LEQ Gain [dB] –15...+15 Sets the gain of Low EQ [X]Pre LEQ d Gain [dB] –15...+15 Sets the gain of Low EQ Pre HEQ Gain d [dB] –15...+15 Sets the gain of High EQ Pre HEQ Gain [dB] –15...+15 Sets the gain of High EQ PHASER MULTITAP DELAY [P]LFO Frequency 0.02...20.00 Sets the speed of the LFO [D]Tap1 Time 0.0...1360.0 Sets the Tap1 delay time e [Hz] e [msec] LFO Tap1 Level 0...100 Sets the Tap1 output level Waveform Triangle, Sine Selects the LFO Waveform [D]Tap2 Time 0.0...1360.0 Sets the Tap2 delay time Sets the frequency to which the [msec] [P]Manual 0...100 f effect is applied Feedback (Tap2) –100...+100 Sets the Tap2 feedback amount f Depth 0...100 Sets the depth of LFO modulation [D]High Sets the damping amount in the g Damp [%] 0...100 high range Resonance –100...+100 Sets the resonance amount [D]Mt.Delay Sets the multitap delay effect Wet/Dry 0...100 balance [P]Phaser -100...0...100 Sets the phaser effect balance Wet/Dry Selects the Wet/Dry modulation h Src Off...Tempo source for the multitap delay g Src Off...Tempo Selects the Wet/Dry modulation source for the phaser Sets the Wet/Dry modulation Amt –100...+100 amount for the multitap delay Amt –100...+100 Sets the Wet/Dry modulation amount for the phaser Amount of FX added to the FX Amount 0...100 direct signal h [P]Output Normal, Selects the phaser output mode Mode Wet Invert i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 FX Amount 0...100 Amount of FX added to the direct signal Amt –100...+100 Amount of modulation source i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 104 Effects Mono-Mono Serial (Mono-Mono)

098: OD/HG - Amp Sim 099: OD/HG - Cho/Flng (Overdrive/Hi.Gain - (Overdrive/Hi.Gain - Chorus/Flanger) Amp Simulation) This effect combines a mono overdrive/high-gain distortion and This effect combines a mono overdrive/high-gain distortion and a chorus/ﬂanger. You can change the order of the effects. an amp simulation. You can change the order of the effects. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Routing FX Amt Left Overdrive / Hi-Gain Chorus/Flanger Routing FX Amt Overdrive / Hi-Gain Amp Simulation 3 Band PEQ + Driver Chorus/Flanger 3 Band PEQ Normal Output Level + Output Mode + Driver Amp Simulation Filter – Feedback Wet Invert Output Level Mode: Overdrive / Hi-Gain Drive Cho/Flng FX Amt Mode: Overdrive / Hi-Gain Right Drive FX Amt LFO: Tri / Sine Right FX Amt

[O]Output 0...50 Sets the overdrive output level [O]Output Level Level 0...50 Sets the overdrive output level b Src Off...Tempo Selects the modulation source Selects the modulation source for the overdrive output level b Src Off...Tempo for the overdrive output level Amt –50...+50 Sets the modulation amount of Sets the modulation amount of the overdrive output level Amt –50...+50 the overdrive output level [O]Low Sets the center frequency for 20...1.00k [O]Low 20...1.00k Sets the center frequency for e Cutoff [Hz] Low EQ (shelving type) e Cutoff [Hz] Low EQ (shelving type) Gain [dB] –18...+18 Sets the gain of Low EQ Gain [dB] –18...+18 Sets the gain of Low EQ [O]Mid1 300...10.00k Sets the center frequency for [O]Mid1 Sets the center frequency for Cutoff [Hz] Mid/High EQ 1 (peaking type) Cutoff [Hz] 300...10.00k Mid/High EQ 1 (peaking type) f Q 0.5...10.0 Sets the band width of Mid/ f Sets the band width of Mid/ High EQ 1 Q 0.5...10.0 High EQ 1 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 [O]Mid2 500...20.00k Sets the center frequency for [O]Mid2 Sets the center frequency for Cutoff [Hz] Mid/High EQ 2 (peaking type) Cutoff [Hz] 500...20.00k Mid/High EQ 2 (peaking type) g Q 0.5...10.0 Sets the band width of Mid/ g Sets the band width of Mid/ High EQ 2 Q 0.5...10.0 High EQ 2 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 AMP SIM CHORUS/FLANGER h [A]Ampliﬁer SS, EL84, 6L6 Selects the type of guitar [F]LFO Type ampliﬁe Frequency 0.02...20.00 Sets the speed of the LFO OD/HG ➝ h [Hz] ➝ Switches the order of the i Routing Amp, Amp overdrive and amp LFO OD/HG Waveform Triangle, Sine Selects the LFO Waveform FX Amount 0...100 Amount of FX added to the [F]Delay Time direct signal [msec] 0.0...1350.0 Sets the delay time j Src Off...Tempo Table , “Dynamic Modulation Sets the depth of LFO sources,” on page 46 i Depth 0...100 modulation Amt –100...+100 Amount of modulation source Feedback –100...+100 Sets the feedback amount

[F]Cho/Flng Sets the effect balance of the Wet/Dry -100...0...100 chorus/flanger Selects the Wet/Dry modulation j Src Off...Tempo source for the chorus/flanger Sets the Wet/Dry modulation Amt –100...+100 amount for the chorus/flanger [F]Output Normal, Wet Selects the output mode for the Mode Invert chorus/flanger k OD/HG ➝ Flanger, Switches the order of the Routing Flanger ➝ overdrive and chorus / flanger OD/HG Amount of FX added to the FX Amount 0...100 direct signal l Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 105 Mono-Mono Serial (Mono-Mono)

100: OD/HG - Phaser 101: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Phaser) (Overdrive/Hi.Gain - Multitap Delay) This effect combines a mono overdrive/high-gain distortion and This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects. a multitap delay.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Left FX Amt FX Amt Routing Overdrive / Hi-Gain Multitap Delay Overdrive / Hi-Gain Phaser

3 Band PEQ 3 Band PEQ Feedback + Driver Delay + Driver Phaser (2) Normal Output Level High Damp (1) Output Level + Output Mode Mt.Dly FX Amt – Wet Invert Mode: Overdrive / Hi-Gain Resonance Mode: Overdrive / Hi-Gain Drive Phaser FX Amt Drive Right Right FX Amt FX Amt LFO: Tri / Sine

OD/HI-GAIN OD/HI-GAIN [O]Drive Overdrive, Switches between overdrive and [O]Drive Overdrive, Switches between overdrive and Mode Hi-Gain high-gain distortion Mode Hi-Gain high-gain distortion a a Drive 1...100 Sets the degree of distortion Drive 1...100 Sets the degree of distortion [O]Output Level 0...50 Sets the overdrive output level [O]Output 0...50 Sets the overdrive output level Level Selects the modulation source b Src Off...Tempo for the overdrive output level b Src Off...Tempo Selects the modulation source for the overdrive output level Sets the modulation amount of Amt –50...+50 the overdrive output level Amt –50...+50 Sets the modulation amount of the overdrive output level [O]Low Sets the center frequency for Cutoff [Hz] 20...1.00k Low EQ (shelving type) [O]Low 20...1.00k Sets the center frequency for e e Cutoff [Hz] Low EQ (shelving type) Gain [dB] –18...+18 Sets the gain of Low EQ Gain [dB] –18...+18 Sets the gain of Low EQ [O]Mid1 Sets the center frequency for Cutoff [Hz] 300...10.00k Mid/High EQ 1 (peaking type) [O]Mid1 300...10.00k Sets the center frequency for Cutoff [Hz] Mid/High EQ 1 (peaking type) f Sets the band width of Mid/ Q 0.5...10.0 High EQ 1 f Q 0.5...10.0 Sets the band width of Mid/ High EQ 1 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 [O]Mid2 Sets the center frequency for Cutoff [Hz] 500...20.00k Mid/High EQ 2 (peaking type) [O]Mid2 500...20.00k Sets the center frequency for Cutoff [Hz] Mid/High EQ 2 (peaking type) g Sets the band width of Mid/ Q 0.5...10.0 High EQ 2 g Q 0.5...10.0 Sets the band width of Mid/ High EQ 2 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 MULTITAP DELAY PHASER [D]Tap1 Time 0.0...1360.0 Sets the Tap1 delay time [P]LFO [msec] h Frequency 0.02...20.00 Sets the speed of the LFO Sets the Tap1 output level h [Hz] Tap1 Level 0...100 LFO [D]Tap2 Time Waveform Triangle, Sine Selects the LFO Waveform 0.0...1360.0 Sets the Tap2 delay time i [msec] Sets the frequency to which the Feedback –100...+100 Sets the Tap2 feedback amount [P]Manual 0...100 effect is applied [D]High Sets the damping amount in the Sets the depth of LFO j Damp [%] 0...100 high range i Depth 0...100 modulation [D]Mt.Delay 0...100 Sets the multitap delay effect Resonance –100...+100 Sets the resonance amount Wet/Dry balance Selects the Wet/Dry modulation [P]Phaser k Src Off...Tempo source for the multitap delay Wet/Dry -100...0...100 Sets the phaser effect balance Sets the Wet/Dry modulation Selects the Wet/Dry modulation Amt –100...+100 amount for the multitap delay j Src Off...Tempo source for the phaser Amount of FX added to the Sets the Wet/Dry modulation FX Amount 0...100 direct signal Amt –100...+100 amount for the phaser l Table , “Dynamic Modulation [P]Output Normal, Src Off...Tempo sources,” on page 46 Mode Wet Invert Selects the phaser output mode Amt –100...+100 Amount of modulation source k OD/HG ➝ Phaser, Switches the order of the Routing Phaser ➝ OD/ overdrive and phaser HG Amount of FX added to the FX Amount 0...100 direct signal l Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 106 Effects Mono-Mono Serial (Mono-Mono)

102: Wah - Amp Sim 103: Decimator - Amp (Wah - Amp Simulation) (Decimator - Amp Simulation) This effect combines a mono wah and an amp simulation. You This effect combines a mono decimator and an amp simulation. can change the order of the effects. You can change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt Left Routing FX Amt Wah/Auto Wah Amp Simulation Routing Decimator Amp Simulation

Resolution Output Level + Wah Amp Simulation Filter + Decimator Amp Simulation Filter FX Amt Pre LPF High Damp

Right Sweep Mode FX Amt Right Envelope FX Amt Auto -mod D-mod D LFO LFO DECIMATOR Turn the harmonic noise [D]Pre LPF Off, On caused by lowered sampling WAH a on and off [W] Sets the lower limit of the wah High Damp 0...100 Sets the ratio of high-range Frequency 0...100 center frequency [%] damping a Bottom [D]Samplin 1.00k...48.0 Sets the sampling frequency Frequency Sets the upper limit of the wah g Freq [Hz] 0k Top 0...100 center frequency b Resolution 4...24 Sets the data bit length [W]Sweep Auto, Selects the control from auto- D-mod, wah, modulation source, and c [D]Output 0...100 Sets the decimator output Mode LFO LFO Level level b Selects the modulation source AMP SIM Src Off...Tempo for the wah when Sweep [A]Amplifie SS, EL84, Selects the type of guitar Mode=D-mod d r Type 6L6 amplifier [W]LFO Decimator Frequency 0.02...20.00 Sets the speed of the LFO ➝ Amp, Switches the order of the [Hz] e Routing ➝ decimator and amp Amp simulation c Resonance 0...100 Sets the resonance amount Decimator Switches the wah low pass filter FX Amount 0...100 Amount of FX added to the LPF Off, On on and off direct signal [W]Wet/Dry 0...100 Sets the wah effect balance Table , “Dynamic f Src Off...Temp Modulation sources,” on Selects the Wet/Dry modulation o page 46 d Src Off...Tempo source for the wah Amount of modulation Sets the Wet/Dry modulation Amt –100...+100 source Amt –100...+100 amount for the wah AMP SIM [A]Amplifier Selects the type of guitar e Type SS, EL84, 6L6 amplifier Wah ➝ Amp, Switches the order of the wah f Routing Amp ➝ Wah and amp simulation Amount of FX added to the FX Amount 0...100 direct signal g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 107 Mono-Mono Serial (Mono-Mono)

104: Decimator - Comp 105: AmpSim - Tremolo (Decimator - Compressor) (Amp Simulation- Tremolo) This effect combines a mono decimator and a compressor. You This effect combines a mono amp simulation and a tremolo. can change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt Left Amp Simulation Tremolo FX Amt Routing Decimator Compressor + Amp Simulation Filter Tremolo Resolution Output Level + Decimator Comp Pre LPF High Damp Output Level

Right FX Amt LFO: Tri/Sin/Vintage/Up/Down LFO Shape Right FX Amt Envelope - Control

AMP SIM DECIMATOR [A]Ampliﬁer Selects the type of guitar a Type SS, EL84, 6L6 ampliﬁer Turn the harmonic noise caused [D]Pre LPF Off, On by lowered sampling on and off TREMOLO a High Damp Sets the ratio of high-range Triangle, [%] 0...100 damping [T]LFO Sine, Waveform Vintage, Up, Selects the LFO Waveform [D]Sampling 1.00k...48.00k Sets the sampling frequency b Down b Freq [Hz] Changes the curvature of the Resolution 4...24 Sets the data bit length LFO Shape –100...+100 LFO Waveform c [D]Output 0...100 Sets the decimator output level [T]LFO Level c Frequency 0.02...20.00 Sets the speed of the LFO COMPRESSOR [Hz] [C] d [T]Depth 0...100 Sets the depth of LFO d Sensitivity 1...100 Sets the sensitivity modulation [C]Attack 1...100 Sets the attack level Amount of FX added to the e FX Amount 0...100 direct signal Output Level 0...100 Sets the compressor output level ➝ e Table , “Dynamic Modulation Decimator Src Off...Tempo sources,” on page 46 Comp, Switches the order of the f Routing Comp ➝ decimator and compressor Amt –100...+100 Amount of modulation source Decimator Amount of FX added to the FX Amount 0...100 direct signal g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 108 Effects Mono-Mono Serial (Mono-Mono)

106: Cho/Flng - Mt.Dly 107: Phaser - Cho/Flng (Chorus/Flanger - Multitap Delay) (Phaser - Chorus/Flanger) This effect combines a mono chorus/ﬂanger and a multitap This effect combines a mono phaser and a chorus/ﬂanger. delay.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt Left Phaser Chorus/Flanger FX Amt Chorus/Flanger Multitap Delay + Phaser Chorus/Flanger Feedback EQ LEQHEQ Normal Trim + Output Mode + Chorus/Flanger Delay Phaser – (2) Resonance Feedback Wet Invert EQ LEQ HEQ Cho/Flng (1) Mt.Dly FX Amt Trim FX Amt High Damp FX Amt Cho/Flng Feedback FX Amt Right FX Amt LFO: Tri / Sine LFO: Tri / Sine Right FX Amt LFO: Tri / Sine

PHASER CHORUS/FLANGER [P]LFO Frequency 0.02...20.00 Sets the speed of the LFO [F]LFO [Hz] Frequency 0.02...20.00 Sets the speed of the LFO a a [Hz] LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Waveform Triangle, Sine Selects the LFO Waveform Sets the frequency to which the [P]Manual 0...100 effect is applied [F]Delay Time [msec] 0.0...1350.0 Sets the delay time Sets the depth of LFO b Depth 0...100 modulation b Depth 0...100 Sets the depth of LFO modulation Resonance –100...+100 Sets the resonance amount Sets the feedback amount Feedback –100...+100 [P]Phaser c Wet/Dry -100...0...100 Sets the phaser effect balance c [F]EQ Trim 0...100 Sets the EQ input level CHORUS/FLANGER [F]PreLEQ Gain [dB] –15...+15 Sets the gain of Low EQ [F]LFO d Frequency 0.02...20.00 Sets the speed of the LFO PreHEQ Gain [Hz] [dB] –15...+15 Sets the gain of High EQ d LFO Triangle, Sine Selects the LFO Waveform –Wet...–1 : 99, Sets the effect balance of the Waveform e [F]Cho/Flng Dry, Wet/Dry 1 : 99...Wet chorus/flanger [F]Delay Time [msec] 0.0...1350.0 Sets the delay time MULTITAP DELAY Sets the depth of LFO [D]Tap1 Time e Depth 0...100 modulation [msec] 0.0...1360.0 Sets the Tap1 delay time a Feedback –100...+100 Sets the feedback amount Tap1 Level 0...100 Sets the Tap1 output level f [F]EQ Trim 0...100 Sets the EQ input level [D]Tap2 Time 0.0...1360.0 Sets the Tap2 delay time b [msec] [F]PreLEQ Gain [dB] –15...+15 Sets the gain of Low EQ Feedback –100...+100 Sets the Tap2 feedback amount g PreHEQ Gain [D]High Sets the damping amount in the [dB] –15...+15 Sets the gain of High EQ c Damp [%] 0...100 high range [F]Cho/Flng Sets the effect balance of the [D]Mt.Delay Sets the multitap delay effect Wet/Dry -100...0...100 chorus/flanger Wet/Dry 0...100 balance Selects the Wet/Dry modulation Selects the Wet/Dry modulation h Src Off...Tempo source for the chorus/flanger d Src Off...Tempo source for the multitap delay Sets the Wet/Dry modulation Sets the Wet/Dry modulation Amt –100...+100 amount for the chorus/flanger Amt –100...+100 amount for the multitap delay [F]Output Normal, Selects the output mode for the Amount of FX added to the i Mode Wet Invert chorus/flanger FX Amount 0...100 direct signal Amount of FX added to the e Table , “Dynamic Modulation FX Amount 0...100 direct signal Src Off...Tempo sources,” on page 46 j Table , “Dynamic Modulation Amt –100...+100 Amount of modulation source Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 109 Mono-Mono Serial (Mono-Mono)

108: Reverb - Gate f: [G]Envelope Select f: Src This effect combines a mono reverb and a gate. g: [G]Input Reverb Mix g: Threshold FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left Reverb FX Amt The “[G]Envelope Select” parameter enables you to select whether turning the gate on and off is triggered by the input sig- EQ Trim + Pre Delay Reverb Gate nal level or controlled directly by the modulation source. You LEQ HEQ Reverb Balance can select from Off to Tempo for the Src parameter to specify the modulation source. Right FX Amt

Input Reverb Mix When “[G]Envelope Select” is set to Input, the gate is controlled Input Envelope - Control by the level of signals that are the combination of the dry sound Gate+Dmpr D-mod Envelope Select Gate and the reverb sound. When the signal level exceeds the threshold, the gate opens and the reverb sound is output. REVERB [R]Reverb Normally, set “[G]Input Reverb Mix” to Dry (the gate is con- Time [sec] 0.1...10.0 Sets the reverberation time trolled only by the dry sound). If you wish to extend the gate a High Damp Sets the damping amount in the time, set the “[G]Input Reverb Mix” value higher and adjust the [%] 0...100 high range [R]Pre Delay Sets the delay time of the reverb “Threshold” value. b [msec] 0...200 sound and gate control signal [R]EQ Trim 0...100 Sets the EQ input level c Reverb Balance 0...100 Sets the reverb effect balance Selects the cutoff frequency [R]PreLEQ Fc Low, (low or mid-low) of the low- Mid-Low range equalizer d Selects the cutoff frequency Pre HEQ Fc High, (high or mid-high) of the high- Mid-High range equalizer [R]PreLEQ Gain [dB] –15.0...+15.0 Sets the gain of Low EQ e Pre HEQ Gain [dB] –15.0...+15.0 Sets the gain of High EQ GATE Switches between modulation [G]Envelope D-mod, Input source control and input signal Select control f Selects the modulation source Src Off...Tempo that controls the gate when Envelope Select is set to D-mod

[G]Input Sets the balance between the Reverb Mix 0...100 dry and reverb sounds of the g gate control signal Threshold 0...100 Sets the gate threshold level

Switches between non-invert h [G]Polarity +, – and invert of the gate on/off state [G]Attack 1...100 Sets the attack time i Release 1...100 Sets the release time Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 110 Effects Double Size

Double Size

Double-size effects can be used only with FX processors B and D. 110: PianoBody/Damper (PianoBody/Damper Simulation) 109: St. Mltband Limiter This effect simulates the resonance of the piano sound board (Stereo Mltband Limiter) caused by the string vibration, and also simulates the resonance This is a stereo multiband limiter. of other strings that are not being played when you press the damper pedal. It will create a very realistic sound when applied Stereo In - Stereo Out to acoustic piano sounds. Band-Pass Filters Left Low FX Amt Limiter Envelope - Control Mid FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Limiter Envelope - Control Left High Gain Adjust Limiter FX Amt Envelope - Control Envelope - Control Limiter Low Gain Adjust Envelope - Control Limiter + Mid Piano Envelope - Control Limiter Body/Damper High Right Simulation FX Amt Offset Right FX Amt

1.0 : 1... -mod a Ratio 50.0 : 1, Inf : Sets the signal compression D Damper 1 ratio

b Threshold –40...0 Sets the level above which the Sound Board Sets the intensity of resonance [dB] compressor is applied a Depth 0...100 of the sound board c Attack 1...100 Sets the attack time Damper Sets the intensity of the string d Release 1...100 Sets the release time 0...100 resonance created when the Depth damper pedal is pressed Low Offset Sets the low range gain of b e [dB] –40...0 trigger signal Selects the modulation source of Src Off...Tempo damper effect Mid Offset Sets the mid range gain of f [dB] –40...0 trigger signal Sets tonal quality of effect c Tone 1...100 sound High Offset Sets the high range gain of g [dB] –40...0 trigger signal Sets the mid range of tonal d Mid Shape 0...36 quality Gain Adjust –Inf, [dB] –38...+24 Sets the output gain e Tune –50...+50 Fine tuning Selects the modulation source FX Amount 0...100 Amount of FX added to the h Src Off...Tempo for the output gain direct signal Sets the modulation amount of f Src Off...Tempo Table , “Dynamic Modulation Amt –63...+63 the output gain sources,” on page 46 Amount of FX added to the Amt –100...+100 Amount of modulation source FX Amount 0...100 direct signal i Table , “Dynamic Modulation a: Sound Board Depth Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source This parameter sets the intensity of resonance of the piano sound board.

b: Damper Depth b: Src This parameter sets the resonance intensity of the other strings created when the damper pedal is pressed. The “Src” parameter selects the modulation source from which the damper effect is applied. Usually, select Damper #64 Pdl (Damper pedal). The effect is off when a value for the modulation source speciﬁed for the “Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

c: Tone d: Mid Shape These parameters control the tonal quality of the effect sound.

e: Tune Since this effect simulates the resonance of the strings, the sound varies depending on the pitch. If you have changed tuning using the “Master Tuning” (Global > General Controls > Basic), adjust this parameter value. Effects 111 Double Size

111: OD/HyperGain Wah 112: GuitarAmp + P4EQ (Overdrive/Hyper Gain Wah) (Guitar Amp Model + This distortion effect has two modes: overdrive and hyper-gain Parametric 4-Band EQ) that produces a strong distortion. A higher high-gain setting is This combines a guitar amp simulation (which even faithfully required for this effect relative to a normal-size effect. replicates the distortion and tone control circuitry) with a four- band equalizer. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left FX Amt By using this in conjunction with “019: St. Guitar Cabinet (Ste- Mode: Overdrive / Hyper-Gain Drive reo Guitar Cabinet)” on page 60, you can obtain an even more Pre Low-cut 3 Band EQ realistic guitar sound that simulates a guitar amp + speaker cabi- + Wah Driver Amp Simulation Output Level net.

Direct Mix Right FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt Left FX Amt D-mod

Volume Wah Off, On Switches Wah on/off + Guitar Amp Model Selects the modulation source Parametric 4Band EQ Src Off...Tempo that switches the Wah on and a off Right FX Amt Toggle, Selects the switching mode for Sw the modulation source that D-mod Moment switches the Wah on and off

Wah Sweep –10...+10 Sets the range of Wah Range VOX AC15, b Selects the modulation source VOX AC15TB, Wah Sweep Off...Tempo that controls the Wah VOX AC30, Src VOX AC30TB, UK BLUES, c Drive Mode Overdrive, Switches between overdrive and UK 70'S, Hyper-Gain hi-gain distortion UK 80'S, Sets the degree of distortion UK 90'S, Drive 1...120 UK MODERN, d Amp Type US MODERN, Selects the type of the ampliﬁer Pre Low-cut 0...10 Sets the low range cut amount a US HIGAIN, of the distortion input BOUTIQUE Output Level 0...50 Sets the output level OD, BOUTIQUE Src Off...Tempo Selects the modulation source CL, e for the output level BLACK 2x12, Sets the modulation amount of TWEED - Amt –50...+50 the output level 1x12, TWEED - Low Cutoff Sets the center frequency for 4x10 [Hz] 20...1.00k Low EQ (shelving type) f Drive Gain 0...100 Sets the input gain Gain [dB] –18...+18 Sets the gain of Low EQ Volume 0...100 Sets the output level Mid1 Cutoff Sets the center frequency for [Hz] 300...10.00k Mid/High EQ 1 (peaking type) Selects the modulation source b Src Off...Tempo for the output level g Sets the band width of Mid/ Q 0.5...10.0 High EQ 1 Sets the modulation amount of Amt –100...+100 the output level Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 Bass 0...100 Sets the bass (low range) level Mid2 Cutoff Sets the center frequency for c [Hz] 500...20.00k Mid/High EQ 2 (peaking type) Sets the middle (mid range) Middle 0...100 level h Sets the band width of Mid/ Q 0.5...10.0 High EQ 2 Sets the treble (high range) Treble 0...100 level Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 d Sets the presence (high- Sets the amount of the dry Presence 0...100 frequency tone) Direct Mix 0...50 sound mixed to the distortion i Selects through or on for the Speaker Switches the speaker simulation e Post P4EQ Thru, On equalizer Simulation Off, On on/off Band1 Cutoff Sets the center frequency of Amount of FX added to the [Hz] 20...1.00k Band 1 FX Amount 0...100 direct signal e Q 0.5...10.0 Sets Band 1’s bandwidth j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Gain [dB] –18...+18 Sets the gain of Band 1 Amt –100...+100 Amount of modulation source Band2 Cutoff Sets the center frequency of [Hz] 50...5.00k Band 2 f Q 0.5...10.0 Sets Band 2’s bandwidth Gain [dB] –18...+18 Sets the gain of Band 2 Band3 Cutoff Sets the center frequency of [Hz] 300...10.00k Band 3 g Q 0.5...10.0 Sets Band 3’s bandwidth Gain [dB] –18...+18 Sets the gain of Band 3 Band4 Cutoff Sets the center frequency of [Hz] 500...20.00k Band 4 h Q 0.5...10.0 Sets Band 4’s bandwidth Gain [dB] –18...+18 Sets the gain of Band 4 Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 112 Effects Double Size a: Amp Type 113: BassTubeAmp+Cab. d: Presence (Bass Tube Amp Model + Cabinet) If the Amp Type is VOX AC15...VOX AC30TB, this sets the atten- This simulates a bass amp (with gain and drive) and speaker uation of the high-frequency range. For other types, this sets the cabinet. boost of the high-frequency range.

This corresponds to the Cut knob control of amps made by the FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Left VOX Corporation. FX Amt e: Post P4EQ Volume + Bass Amp Model2 Cabinet Simulator By chaining this with 19: St.Guitar Cabinet you can simulate the combination of a guitar amp and speaker cabinet. In this case, Drive Right we recommend that you set Post P4EQ to “Thru,” but if neces- FX Amt sary you can turn it “On” and adjust the tone. D-mod

Recommended Combinations of Guitar Amp Models and Selects the type of the ampliﬁer Cabinet Simulators: STUDIO A tube combo ideal for the COMBO Motown sound a Amp Type A 100W tube amp AC100 made Amp Type Cabinet Type VOX AC100 by Vox VOX AC15 VOX AC15 - 1x12 A 200W tube amp made in the UK MAJOR UK VOX AC15TB VOX AC15 - 1x12 b Drive Gain 0...100 Sets the input gain VOX AC30 VOX AC30 - 2x12 Volume 0...100 Sets the output level VOX AC30TB VOX AC30 - 2x12 Selects the modulation source c Src Off...Tempo for the output level UK BLUES UK H30 - 4x12 Sets the modulation amount of Amt –100...+100 the output level UK 70'S UK H30 - 4x12 d Bass 0...100 Sets the bass (low range) level UK 80'S UK T75 - 4x12 Sets the middle (mid range) e Middle 0...100 level UK 90'S UK T75 - 4x12 f Treble 0...100 Sets the treble (high range) level UK MODERN UK T75 - 4x12, US V30 - 4x12 g Presence 0...100 Sets the presence (high- US MODERN US V30 - 4x12 frequency tone) Cabinet Switches the cabinet simulator US HIGAIN US V30 - 4x12, UK T75 - 4x12 h Simulator Off, On on/off BOUTIQUE OD UK H30 - 4x12 LA - 4x10, MODERN - BOUTIQUE CL UK H30 - 4x12 4x10, METAL - 4x10, BLACK 2x12 BLACK - 2x12 CLASSIC -8x10, UK - 4x12, TWEED - 1x12 TWEED - 1x12 STUDIO - 1x15, i Cabinet Type JAZZ - 1x15, Selects the cabinet type TWEED - 4x10 TWEED - 4x10 VOX AC100 - 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 & 1x18 Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

a: Amp Type i: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabinets:

Amp Type Cabinet Type

STUDIO COMBO STUDIO - 1x15 AC100 VOX AC100 - 2x15 UK MAJOR UK - 4x15, UK - 4x12 Effects 113 Double Size

114: St. Mic + PreAmp Tap5 (120) Sets the Tap5 (LFO phase=120 [msec] 0...2000 degrees) delay time (Stereo Mic Modeling + PreAmp) Depth 0...30 Sets the Tap5 chorus depth f Always On, This is a stereo mic and preamp simulator (See “025: Mic Always Off, Selects on, off, or modulation Model+PreAmp (Mic Modeling + PreAmp)” on page 63.). For On➝Off source for the control of Tap5 Status (Dm), output example you might use this to simulate micing of a stereo source Off➝On such as a rotary speaker. (Dm) Tap6 (300) Sets the Tap1 (LFO phase=300 [msec] 0...2000 degrees) delay time Stereo In - Stereo Out Depth 0...30 Sets the Tap6 chorus depth Left FX Amt g Always On, Always Off, Selects on, off, or modulation Mic Simulation Tube Pre Amp On➝Off source for the control of Tap6 Status (Dm), output Output Level Off➝On Mic Simulation Tube Pre Amp (Dm) 1 : L 1 2 3 4 5 6 R, Selects the stereo panning Panning 2 : L 135 246 R, Right h pattern for each tap FX Amt Preset 3 : L 1 3 5 2 4 6 R, 4 : L 1 4 5 6 3 2 R

Tap1 –100...+100 Sets the Tap1 feedback amount 115: Multitap Cho/Delay Feedback Selects the modulation source (Multitap Chorus/Delay) for the Tap output level, i Src Off...Tempo feedback amount, and effect balance This effect has six chorus blocks with different LFO phases. You Sets the modulation amount of can produce a complex stereo image by setting a different delay Amt –100...+100 Tap1 feedback amount time and depth for each block. You can control the delay output FX Amount 0...100 Amount of FX added to the level via a modulation source. direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Amt –100...+100 Amount of modulation source Left Feedback FX Amt Tap1 Delay b, c, d, e, f, g: Status Tap2 Delay + Tap3 Delay These parameters set the output status of each Tap. Tap4 Delay Tap5 Delay Always On: Output is always on. (No modulation) Tap6 Delay Right 0 [degree] FX Amt Always Off: Output is always off. (No modulation) 180 [degree] Panning Preset 60 [degree] 240 [degree] → 120 [degree] On Off (dm): Output level is switched from on to off depend- 300 [degree] LFO: Triangle ing on the modulation source.

-mod D On/Off Control Off→On (dm): Output level is switched from off to on depending on the modulation source. LFO a Frequency 0.02...13.00 Sets the speed of the LFO Combining these parameters, you can change from 4-phase cho- [Hz] Tap1 (000) Sets the Tap1 (LFO phase=0 rus to two-tap delay by crossfading them gradually via the mod- [msec] 0...2000 degrees) delay time ulation source during a performance. Depth 0...30 Sets the Tap1 chorus depth h: Panning Preset b Always On, Always Off, Selects on, off, or modulation On➝Off source for the control of Tap1 This parameter selects combinations of stereo images of the tap Status (Dm), output Off➝On outputs. (Dm) Tap2 (180) Sets the Tap2 (LFO phase=180 [msec] 0...2000 degrees) delay time Depth 0...30 Sets the Tap2 chorus depth c Always On, Selects on, off, or modulation Always Off, source for the control of Tap2 Status On➝Off (Dm), output Off➝On (Dm) Tap3 (060) Sets the Tap3 (LFO phase=60 [msec] 0...2000 degrees) delay time Depth 0...30 Sets the Tap3 chorus depth d Always On, Always Off, Selects on, off, or modulation On➝Off source for the control of Tap3 Status (Dm), output Off➝On (Dm) Tap4 (240) Sets the Tap4 (LFO phase=240 [msec] 0...2000 degrees) delay time Depth 0...30 Sets the Tap4 chorus depth e Always On, Always Off, Selects on, off, or modulation On➝Off source for the control of Tap4 Status (Dm), output Off➝On (Dm) 114 Effects Double Size

116: St. Pitch Shifter 117: St. PitchShift BPM (Stereo Pitch Shifter) (Stereo Pitch Shifter BPM) This is a stereo pitch shifter. The pitch shift amount for the left This stereo pitch shifter enables you to set the delay time to and right channels can be reversed from each other. match the song tempo.

Stereo In - Stereo Out Stereo In - Stereo Out Left Left FX Amt FX Amt High Damp High Damp Pitch Shifter Delay Pitch Shifter Delay Input Level Input Level Pre Post Pre Post Feedback Position Feedback Spread Feedback Position Feedback Spread Pre Input Level Post Input Level Pre Post Pitch Shifter Delay Pitch Shifter Delay High Damp High Damp

Right Right FX Amt FX Amt Tempo BPM BPM Base Note x Times Slow, Switches Pitch Shifter mode Base Note x Times Mode Medium, Fast a Normal, Determines whether or not the Slow, Switches Pitch Shifter mode L/R Pitch L/R pitch shift amount is Mode Medium, Fast Up/Down inverted a Normal, Determines whether or not the Pitch Shift [1/ –24...+24 Sets the pitch shift amount in L/R Pitch L/R pitch shift amount is 2tone] steps of a semitone Up/Down inverted b Src Off...Tempo Selects the modulation source Pitch Shift [1/ Sets the pitch shift amount in of pitch shift amount 2tone] –24...+24 steps of a semitone Amt –24...+24 Sets the modulation amount of Selects the modulation source pitch shift amount b Src Off...Tempo of pitch shift amount Sets the pitch shift amount in Sets the modulation amount of Fine [cents] –100...+100 steps of one cent Amt –24...+24 c pitch shift amount Amt –100...+100 Sets the modulation amount of Sets the pitch shift amount in pitch shift amount Fine [cents] –100...+100 steps of one cent L Delay Sets the delay time for the left Sets the modulation amount of d [msec] 0...2000 channel c Amt –100...+100 pitch shift amount Sets the R Delay Sets the delay time for the right modulation amount of pitch e [msec] 0...2000 channel shift amount Sets the feedback amount MIDI, MIDI syncs to the system tempo; Feedback –100...+100 BPM 40.00... 40–300 sets the tempo manually f 300.00 for this individual effect High Damp Sets the damping amount in the [%] 0...100 high range Display the error message if the d Time Over? L ---, OVER! left channel delay time exceeds Feedback Switches the feedback the upper limit Position Pre, Post connection g Display the error message if the Sets the width of the stereo R ---, OVER! right channel delay time Spread –100...+100 image of the effect sound exceeds the upper limit

L Delay Base Selects the type of notes to Input Level –100...+100 Sets the modulation amount of ... specify the left channel delay Dmod [%] the input level Note time h e Src Off...Tempo Selects the modulation source Sets the number of notes to for the input level Times x1...x32 specify the left channel delay time FX Amount 0...100 Amount of FX added to the direct signal Selects the type of notes to R Delay Base i Table , “Dynamic Modulation Note ... specify the right channel delay Src Off...Tempo sources,” on page 46 time f Amt –100...+100 Amount of modulation source Sets the number of notes to Times x1...x32 specify the right channel delay time a: L/R Pitch Feedback Switches the feedback Position Pre, Post connection g When you select Up/Down for this parameter, the pitch shift Sets the width of the stereo amount for the right channel will be reversed. If the pitch shift Spread –100...+100 image of the effect sound amount is positive, the pitch of the left channel is raised, and the Feedback –100...+100 Sets the feedback amount pitch of the right channel is lowered. h High Damp Sets the damping amount in the [%] 0...100 high range Input Level Sets the modulation amount of Dmod [%] –100...+100 the input level i Selects the modulation source Src Off...Tempo for the input level Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source Effects 115 Double Size

118: Rotary SpeakerOD a: Sw (Rotary Speaker Overdrive) This parameter determines how to switch on/off the overdrive via a modulation source. This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recreating the amp distor- When “Sw” = Toggle, overdrive is turned on/off each time the tion) and characteristics of the rotary speaker, producing a very pedal or joystick is operated. realistic rotary speaker sound. Overdrive will be switched on/off each time the value of the modulation source exceeds 64.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out Left When “Sw” = Moment, overdrive is applied only when you press FX Amt

Horn the pedal or operate the joystick. Only when the value for the modulation source is 64 or higher, the Mic Distance + Overdrive Rotary Speaker Horn/Rotor Balance Mic Spread overdrive effect is applied. Rotor

Speaker Simulation Right FX Amt 119: L/C/R Long Delay D-mod On/Off D-mod Mode Switch: Rotate/Stop This multitap delay outputs three Tap signals to left, right and D-mod Speed Switch: Slow/Fast -mod center respectively. You can set a maximum of 5,460msec for the D Manual Speed Control delay time.

Overdrive Off, On Switches overdrive on/off FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Selects a modulation source to Left Src Off...Tempo FX Amt a switch overdrive on/off Input Level D-mod L Delay Toggle, Sets the switch mode for Level Sw Moment overdrive on/off modulation + C Delay Spread High Damp Low Damp Level Overdrive Determines the degree of 0...100 Feedback Gain distortion Input Level D-mod R Delay b Level Overdrive 0...100 Sets the overdrive output level Right Level FX Amt Overdrive Sets the tonal quality of the Tone 0...15 overdrive C L Delay Time 0...5460 Sets the delay time of TapL Speaker Switches the speaker simulation a [msec] Simulator Off, On on/off Level 0...50 Sets the output level of TapL Mode Switch Rotate, Stop Switches between speaker rotation and stop C Delay Time 0...5460 Sets the delay time of TapC b [msec] Selects a modulation source for d Src Off...Tempo Rotate/Stop Level 0...50 Sets the output level of TapC Sets the switch mode for R Delay Time 0...5460 Sets the delay time of TapR Toggle, c [msec] Sw Moment Rotate/Stop modulation Level 0...50 Sets the output level of TapR Speed Switch Slow, Fast Switches the speaker rotation Feedback Sets the feedback amount of speed between slow and fast (C Delay) –100...+100 TapC e Src Off...Tempo Selects a modulation source for Selects the modulation source Slow/Fast d Src Off...Tempo for the TapC feedback Sw Toggle, Sets the switch mode for Slow/ Sets the modulation amount of Moment Fast modulation Amt –100...+100 the TapC feedback Sets the volume balance Horn/Rotor Rotor, 1...99, High Damp 0...100 Sets the damping amount in the Balance Horn between the high-range horn [%] high range f and low-range rotor e Low Damp Sets the damping amount in the Manual Sets a modulation source for [%] 0...100 low range SpeedCtrl Off...Tempo direct control of rotation speed Input Level –100...+100 Sets the modulation amount of Horn Sets how quickly the horn Dmod [%] the input level 0...100 rotation speed changes f Acceleration Selects the modulation source Src Off...Tempo for the input level g Adjusts the (high-frequency) Stop, horn rotation speed. Standard Sets the width of the stereo Horn Ratio 0.50...2.00 value is 1.00. “Stop” stops the g Spread 0...50 image of the effect sound rotation Rotor Sets how quickly the rotor FX Amount 0...100 Amount of FX added to the Acceleration 0...100 speed changes direct signal h Adjusts the (low-frequency) h Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Rotor Ratio Stop, rotor rotation speed. Standard 0.50...2.00 value is 1.0. “Stop” stops the Amt –100...+100 Amount of modulation source rotation Distance between the micro- Mic Distance 0...100 phone and rotary speaker i Angle of left and right micro- Mic Spread 0...100 phones Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source 116 Effects Double Size

120: St/Cross Long Delay 121: Hold Delay (Stereo/Cross Long Delay) This effect records the input signal and plays it back repeatedly. This is a stereo delay, and can by used as a cross-feedback delay You can control the start of recording and reset via a modulation effect in which the delay sounds cross over between left and right source. Easy to use for real-time performances. by changing the feedback routing. You can set a maximum of FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out 2,730msec for the delay time. Left FX Amt

Stereo In - Stereo Out Left FX Amt + Delay High Damp Low Damp Pan Delay Input Level D-mod Loop Time: Auto/ ...5400ms Stereo/Cross Stereo/Cross Spread Feedback Right FX Amt Input Level D-mod High Damp Low Damp Delay D-mod REC Control Tempo BPM Right -mod RST Control BPM Base Note x Times FX Amt D

Switches between stereo delay a Loop Time Auto, Sets Automatic loop time setup a Stereo/Cross Stereo, Cross and cross-feedback delay [msec] 1...10800 mode or speciﬁes loop time L Delay Time Sets the delay time for the left Loop BPM Speciﬁes whether delay time is b [msec] 0.0...2730.0 channel b Off, On set in milliseconds, or as a note Sync value relative to tempo R Delay Time Sets the delay time for the right c [msec] 0.0...2730.0 channel MIDI, MIDI syncs to the system tempo; BPM 40.00... 40–300 sets the tempo manually Sets the feedback amount for 300.00 for this individual effect L Feedback –100...+100 the left channel c An error indication that appears d Src Off...Tempo Selects the modulation source of if delay time exceeds the upper feedback amount Time Over? ---, OVER! limit when MIDI/Tempo Sync=On Amt –100...+100 Sets the modulation amount of the left channel feedback Loop Base Selects the type of notes to Note ... specify the delay time R Feedback –100...+100 Sets the feedback amount for d the right channel Sets the number of notes to e Times x1...x32 specify the delay time Amt –100...+100 Sets the modulation amount of the right channel feedback REC Control Selects control source for e Src Off...Tempo recording f High Damp 0...100 Sets the damping amount in the [%] high range RST Control f Src Off...Tempo Selects control source for reset g Low Damp 0...100 Sets the damping amount in the [%] low range Manual REC REC Off, Sets the recording switch g Control REC On Input Level –100...+100 Sets the modulation amount of Dmod [%] the input level Manual RST h h Off, RESET Sets the reset switch Selects the modulation source Control Src Off...Tempo for the input level Pan L100...L1, C, Sets the stereo image of the Sets the width of the stereo R1...R100 effect i Spread –50...+50 image of the effect sound Selects the modulation source i Src Off...Tempo of stereo image of the effect FX Amount 0...100 Amount of FX added to the Sets the modulation amount of direct signal Amt –100...+100 stereo image of the effect j Src Off...Tempo Table , “Dynamic Modulation Amount of FX added to the sources,” on page 46 FX Amount 0...100 direct signal Amt –100...+100 Amount of modulation source j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

a: Loop Time [msec] With Auto, the loop time is automatically set. Otherwise, you can specify the loop time. When Auto is selected, the Loop Time is automatically set to the time it takes for a performance recorded while the Modulation Source or “Manual REC Control” is on. However, if the time length exceeds 10,800msec, the loop time will be automatically set to 10,800msec.

c: Time Over? You can set the delay time up to 10,800msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. Effects 117 Double Size b: Loop BPM Sync The effect is off when a value for the modulation source speciﬁed for c: BPM the “RST Control Src” parameter is 63 or smaller, and the effect is on d: Loop Base Note when the value is 64 or higher. d: Times 122: LCR BPM Long Dly If “Loop BPM Sync” is on, the “Times” setting is ignored; the loop time is determined by “BPM,” “Loop Base Note,” and The L/C/R delay enables you to match the delay time with the “Times.” Even in this case, the delay time cannot exceed 10,800 song tempo. msec. FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out Left “Hold” procedure (when Loop Time = Auto) FX Amt

Input Level D-mod L Delay 1. “Rec Src”JS +Y: #01 Level

+ High Damp Low Damp C Delay Spread “Reset Src”JS –Y: #02 Level Feedback “Manual REC Control”REC Off Input Level D-mod R Delay Level

“Manual RST Control”RESET Right FX Amt Tempo “Loop Time [msec]”Auto BPM BPM Base Note x Times “MIDI/Tempo Sync”Off Base Note x Times It should be noted that all recordings will be deleted while Base Note x Times Reset is On. MIDI, MIDI syncs to the system tempo; 2. “Manual RST Control”Off BPM 40.00... 40–300 sets the tempo manually 300.00 for this individual effect a Reset is cancelled and the unit enters Rec ready mode. Displays an error message when Time Over? ---, OVER! the delay time exceeds the 3. Push the joystick in the +Y direction (forward) and play a upper limit phrase you wish to hold. When you pull the joystick to its L Delay Base ... Selects the type of notes to original position, the recording will be finished and the Note specify the delay time for TapL b Sets the number of notes to phrase you just played will be held. Times x1...x32 specify the delay time for TapL Loop Time is automatically set only for the first recording Level 0...50 Sets the output level of TapL C Delay Base elects the type of notes to after resetting. If the time length exceeds 10,800msec, Loop Note ... specify the delay time for TapC Time will be automatically set to 10,800msec. (If you have c Times x1...x32 Sets the number of notes to set “Times” to 1–10,800msec, the specified loop time will specify the delay time for TapC be used regardless of the time taken from pushing the joy- Level 0...50 Sets the output level of TapC R Delay Base Selects the type of notes to stick forward until it is pulled back. However, the recording Note ... specify the delay time for TapR method remains the same. The phrase being played while d Times x1...x32 Sets the number of notes to the joystick is pushed forward will be held.) specify the delay time for TapR Level 0...50 Sets the output level of TapR 4. If you made a mistake during recording, pull the joystick in Feedback –100...+100 Sets the feedback amount of the –Y direction (back) to reset. In this way, the recording (C Delay) TapC Selects the modulation source will be erased. Repeat step 4. again. e Src Off...Tempo for the TapC feedback 5. The recorded phrase will be repeated again and again. You Sets the modulation amount of Amt –100...+100 the TapC feedback can use this to create an accompaniment. High Damp Sets the damping amount in the [%] 0...100 high range 6. By pushing the joystick in the +Y direction (forward), you f Low Damp Sets the damping amount in the can also overdub performances over the phrase that is [%] 0...100 low range being held. Input Level Sets the modulation amount of Dmod [%] –100...+100 the input level g e: REC Control Src Selects the modulation source Src Off...Tempo for the input level g: Manual REC Control Sets the width of the stereo h Spread 0...50 image of the effect sound “REC Control Src” selects the modulation source that controls recording. Amount of FX added to the FX Amount 0...100 direct signal If this modulation is on, or if “Manual REC Control” is set to i Src Off...Tempo Table , “Dynamic Modulation On, you can record the input signal. If a recording has already sources,” on page 46 been carried out, additional signals will be overdubbed. Amt –100...+100 Amount of modulation source The effect is off when a value for the modulation source specified for a: Time Over? the “REC Control Src” parameter is 63 or smaller, and the effect is on when the value is 64 or higher. You can set the delay time up to 10,920msec. If the delay time exceeds this limit, the error message “OVER!” appears in the dis- f: RST Control Src play. Set the delay time parameters so that this message will not h: Manual RST Control appear. “Time Over?” is only a display parameter. The “RST Control Src” parameter specifies the modulation source that controls the reset operation. When you set this modulation source to On, or “Manual RST Control” to RESET, you can erase what you recorded. If the Loop Time parameter has been set to Auto, the loop time is also reset. 118 Effects Double Size

123: St. BPM Long Dly 124: Early Reflections (Stereo BPM Long Delay) This early reflection effect has more precise early reflections with The stereo delay enables you to match the delay time with the twice the maximum length of a normal-size effect (See “076: song tempo. Early Reflections” on page 92.). You can create a very smooth and dense sound.

Stereo In - Stereo Out Left FX Amt FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out High Damp Low Damp Left Delay FX Amt Input Level D-mod

Feedback EQ Trim LEQ HEQ Input Level D-mod High Damp Low Damp + Pre Delay Early Reflections Delay

Right EQ Trim FX Amt Tempo Right BPM FX Amt BPM Base Note x Times Adjust [%] Base Note x Times Adjust [%]

Sharp, Loose, Selects the decay curve for the MIDI, MIDI syncs to the system tempo; a Type Modulated, early reflection BPM 40.00... 40–300 sets the tempo manually Reverse 300.00 for this individual effect b ER Time 10...1600 Sets the time length of early Display the error message if the [msec] reflection a Time Over? L ---, OVER! left channel delay time exceeds Sets the time taken from the the upper limit Pre Delay c [msec] 0...200 original sound to the first early Display the error message if the reflection R ---, OVER! right channel delay time Sets the input level of EQ exceeds the upper limit d EQ Trim 0...100 applied to the effect sound Selects the type of notes to L Delay Base Low, Selects the cutoff frequency Note ... specify the left channel delay Pre LEQ Fc (low or mid-low) of the low- time Mid-Low range equalizer e b Sets the number of notes to Selects the cutoff frequency Times x1...x32 specify the left channel delay Pre HEQ Fc High, (high or mid-high) of the high- time Mid-High range equalizer Adjust [%] –2.50...+2.50 Fine-adjust the left channel Pre LEQ Gain delay time [dB] –15.0...+15.0 Sets the gain of Low EQ Selects the type of notes to f R Delay Base Pre HEQ Gain ... specify the right channel delay [dB] –15.0...+15.0 Sets the gain of High EQ Note time Amount of FX added to the Sets the number of notes to FX Amount 0...100 direct signal c Times x1...x32 specify the right channel delay time g Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Fine-adjust the right channel Adjust [%] –2.50...+2.50 delay time Amt –100...+100 Amount of modulation source Sets the feedback amount for L Feedback –100...+100 the left channel Selects the modulation source d Src Off...Tempo of feedback amount Sets the modulation amount of L Amt –100...+100 the left channel feedback Sets the feedback amount for R Feedback –100...+100 the right channel e Sets the modulation amount of R Amt –100...+100 the right channel feedback High Damp Sets the damping amount in the f [%] 0...100 high range Low Damp Sets the damping amount in the g [%] 0...100 low range Input Level Sets the modulation amount of Dmod [%] –100...+100 the input level h Selects the modulation source Src Off...Tempo for the input level Amount of FX added to the FX Amount 0...100 direct signal i Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source a: Time Over? L, R You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message “OVER!” appears in the display. Set the delay time parameters so that this message will not appear. “Time Over?” is only a display parameter. Effects 119 Vocoder

Vocoder

The Vocoder can only be assigned to the D FX processor (usu- e: Formant Shift ally, the modulating effect for the keyboard tracks). When this By offsetting the Carrier ﬁlter, you can adjust the height of the effect is selected, the microphone input no longer goes to the frequency range to which the vocoder effect is applied. The tonal Voice Processor, but is routed to the D FX processor. quality will change signiﬁcantly. 125: Vocoder g: Noise Level This effect applies the timbral character of a different signal (the This parameter enables you to mix white noise with the Carrier. modulator) to the input signal (the carrier). h: Modulator High Mix A common use of this effect is to produce the sound of various instruments by inputting a voice to the Modulator via a micro- This parameter sets the high-range output level of the modula- phone. A special effect is also achieved by using rhythm or effect tor sound. If the modulator is a human voice, it will make the sounds. Strings or distortion guitar sounds with a lot of har- words more clear. monics are suitable as Carrier signals. Using the vocoder with microphone input

FX Amt = 100: Stereo In - Mono Out / FX Amt = 0: Stereo In - Stereo Out When programming the Vocoder, you can start from one of the

Left FX Amt specially programmed “Vocoder” Performances (in the SFX Carrier Trim + + + bank) as templates.

Envelope + Modulator Trim Band Pass Filter To use a voice from a microphone as a modulator: Modulator Select 1. Connect a miccrophone to either the Audio Input 1 or Modulator Source Modulator High Mix Audio Input 2. Right FX Amt FX Control BUS 1 Noise Level Noise 2. Set “Modulator Source” to Audio In 1 or Audio In 2, FX Control BUS 2 Generator depending on the physical inpuit you connected the microphone to. a Carrier Trim 0...100 Sets the Carrier input level 3. Speak into the microphone while you use the GAIN knob Modulator b Trim 0...100 Sets the Modulator input level to adjust the level as high as possible without allowing dis- Input, tortion to occur. c Modulator Audio In 1, Selects the modulator input Source Audio In 2 With these settings, the sound from the microphone will be used L/R Mix, Selects whether to use the left/ as the modulator. While you play, speak into the mic; it will d Modulater L Only, right mix, only left, or only right Select R Only of the modulator input sound as though the instrument is talking. Formant Sets the height of the frequency e Shift –2...+2 for the vocoder effect If the effect sound is distorted, adjust the “Carrier Trim” and Sets the speed of the response “Modulator Trim.” f Response 0...100 to the modulator input Note: Please remember to set the Carrier track’s Pan value to Off, Noise Level 0...100 Sets the noise mix level to the Carrier and the Send value to 127. g Src Off...Tempo Selects the modulation source for the noise mix level You can add reverb to the Vocoder, by way of the “D to C” parame- Sets the modulation amount for ter. Amt –100...+100 the noise mix level Modulator Sets the high-range output level Hint: To create a new Song making use of the Vocoder, enter the h High Mix 0...100 of the modulator Sequencer-Backing Sequence mode with a Performance that Low Gain Sets the low-range output level [dB] –12...+12 of the vocoder includes the Vocoder effect. i High Gain Sets the high-range output level [dB] –12...+12 of the vocoder Amount of FX added to the FX Amount 0...100 direct signal j Table , “Dynamic Modulation Src Off...Tempo sources,” on page 46 Amt –100...+100 Amount of modulation source

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