Digitech Ipb 10 Programmable Pedalboard Owner S Manual Manual/Help

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OWNER’S MANUAL

Introduction ............................................................ 3

Features/Included Items ........................................ 4

Hardware/Software Requirements .................... 5

iTunes® & iPad® Requirements ........................... 5

Mac® Requirements .............................................. 5

Windows® Requirements ................................... 5

Disable iPad® Notifications & Alerts ................. 6

Disable Auto-Brightness ....................................... 7

iPB-Nexus Icons ..................................................... 8

Pedalboard Icon .................................................... 8

My Tones Icon ........................................................ 8

Help Icon ................................................................ 8

Tuner Icon .............................................................. 8

Volume Icon ........................................................... 8

Settings Icon ........................................................... 8

Pedalboard Window .............................................. 9

Quick Save Button ................................................ 9

Save New Button .................................................. 9

Edit Button ............................................................. 9

Loaded Tone ........................................................... 10

Banks ....................................................................... 10

Tone Buttons ......................................................... 10

Amplifier ................................................................. 11

Cabinet .................................................................... 11

Assigned Footswitches ........................................ 12

Expansion Bar ........................................................ 12

My Tones Window .................................................. 13

Assigned Tab ........................................................... 13

Factory Tones Tab ................................................. 13

My Library Tab ....................................................... 13

Name/Genre Buttons .......................................... 13

Tone Info & Assignments ..................................... 13

Trash Can Icon ...................................................... 13

Tuner Window ........................................................ 14

Tuner ....................................................................... 14

Accessing the Tuner from the iPB-10 ............... 14

Volume Window ..................................................... 15

Tone Volume ........................................................... 15

Settings Window .................................................... 16

App Version ............................................................ 16

Firmware Version .................................................. 16

Tuner Reference .................................................... 16

Record Out Level ................................................ 16

XLR Mix .................................................................. 16

1/4” Mix .................................................................. 16

Calibrate Expression Pedal ................................ 16

About....................................................................... 16

iPB-10 Top Panel ..................................................... 17

LED Display ............................................................ 17

Bank UP/DOWN Footswitches ........................ 17

1-5 Footswitches .................................................. 17

Stomp Loop ........................................................... 18

A-E Footswitches .................................................. 18

Amp Loop .............................................................. 18

Expression Pedal ................................................... 18

iPB-10 Rear Panel ................................................... 19

Input ......................................................................... 19

Headphone Output .............................................. 19

Power Input............................................................ 19

Power Switch ......................................................... 19

Amp Loop Ground Lift Switch .......................... 20

Amp Loop .............................................................. 20

Stomp Loop ........................................................... 20

Amp/Mixer Switch ................................................ 21

XLR Ground Lift Switch ...................................... 21

1/4” Line Outputs ................................................. 21

XLR Mixer Outputs ............................................. 21

Output Level .......................................................... 21

USB Port ................................................................. 22

Connection Diagrams ........................................... 23

Amp with Stomp Loop ........................................ 23

Amp Loop & Stomp Loop .................................. 24

Mixer ....................................................................... 25

Loading Tones .......................................................... 26

Loading Tones from the iPB-Nexus App .......... 26

Loading Tones from the iPB-10 .......................... 26

Working With Pedals ............................................ 27

Changing Pedal Settings ....................................... 27

Changing Pedals – Performance Mode ............ 28

Changing Pedals – Edit Mode ............................. 29

Adding Pedals ......................................................... 30

Deleting Pedals ..................................................... 31

Reordering Pedals ................................................. 32

Working With Amps .............................................. 33

Adding an Amp to the iPB-10 Signal Path ....... 33

Changing the Amp ................................................ 34

Changing the Cabinet .......................................... 35

Deleting an Amp from the Signal Path ............. 36

Assigning Footswitches ......................................... 37

Assigning Pedals to the A-E Footswitches ....... 37

Configuring the Amp Loop ................................. 38

Configuring the Stomp Loop ............................. 39

Expression Pedal & LFOs ..................................... 40

Assigning the Expression Pedal .......................... 40

Assigning Parameters to an LFO ....................... 41

Saving & Assigning Tones ....................................... 42

Saving Tones with the Quick Save Button ....... 42

Saving Tones with the Save New Button ......... 43

Assigning Tones to the iPB-10 Pedalboard ...... 44

Bypassing Tones ...................................................... 45

How to Bypass Tones ........................................... 45

Amps & Pedals ........................................................ 46

About Amps & Pedals .......................................... 46

Amps/Preamps....................................................... 47

Cabinets .................................................................. 52

Compressors ......................................................... 54

Chorus .................................................................... 55

Delays ...................................................................... 56

Distortions ............................................................. 57

EQ ............................................................................ 60

Flangers ................................................................... 61

Noise Gates ........................................................... 62

Phasers .................................................................... 63

Pitch ......................................................................... 64

Tremolo/Panner .................................................... 65

Envelope/Special .................................................... 66

Reverbs ................................................................... 67

Vibrato/Rotary ...................................................... 68

Wah ......................................................................... 69

Preset List ................................................................ 70

Factory Hard Reset ............................................... 71

Specifications ........................................................... 72

Compliance Information ....................................... 73

Table of ContentsTable of Contents

3

The iPB-10 Programmable Pedalboard sets a new standard for guitar signal processing. By harnessing the power of the iPad®,

it combines the simplicity of a pedalboard with the exibility of a mul-eects system. The iPB-10 unleashes the ability to

create and control guitar eects like never before.

Pedalboard Simplicity

The iPB-10 allows you to create your ulmate pedalboard, all on your iPad. Design a pedalboard by simply dragging and

dropping up to 10 dierent pedals, in any order, to each pedalboard. You can even add an amp and cabinet to each setup.

With 87 dierent pedals, 54 amps, and 26 cabinets to choose from, your opons are virtually unlimited. Simply swipe your

nger across the iPad to rearrange your pedals, turn them on and o, or to adjust their knobs.

Multi-Effects Flexibility

Tradional mul-eect devices have given you the exibility to change the enre conguraon of your signal chain with

a single footswitch. The iPB-10 brings the concept of presets to a pedalboard. This allows you to save 100 of your favorite

pedalboards with the touch of your nger, and instantly recall them with the stomp of your foot. You can have a dierent

pedalboard for each gig, set, song, or even switch pedalboards within a song.

Once you experience the exibility of the iPB-10 Programmable Pedalboard, with its drag and drop design, you will change

the way you think about guitar eects forever.

IntroductionIntroduction

4

Features/Included ItemsFeatures/Included Items

Features

•Intuitive iPB-Nexus User Interface for iPad

(iPad sold separately)

•Up to 10 Pedals per Pedalboard Setup

•Internal Storage for up to 100 User Pedalboard Setups

(additional setups can be stored in the iPB-Nexus library)

•Includes 87 Stompbox Pedals, 54 Amplifiers, and 26 Cabinets

•Dual 7-Segment Display

(for easy visibility of bank selection)

•Stompbox Loop and Footswitch

(for easy integration & bypassing of external effects)

•Amp/Preamp Loop and Footswitch

(for easy integration & bypassing of external amplifiers or preamps)

•Audio Streaming to and from the iPad

•USB Port

(for recording straight to a computer)

•Balanced Stereo XLR Outputs w/Ground Lift Switch and

Amplifier Emulation

•Stereo 1/4” Outputs with Amp/Mixer Switch

•Rugged Footswitches

(for hands-free operation)

•Assignable Expression Pedal

Included Items

Before you get started, please make sure that these items are

in the box:

•iPB-10 Footswitch Pedalboard

•Power Supply

•2 iPad Mounting Inserts

•Safety Information & Quick Start Insert Card

We took a lot of care when we put this product together.

Everything should be included and in perfect working

order. If anything’s missing, contact the factory at once @

(801) 566-8800. Help us get to know you by registering online

at www.digitech.com.

5

iTunes® & iPad® Requirements

•iTunes 10.2 or later recommended

(free download from www.itunes.com/download)

•iTunes Store account

•200MB of available disk space

•512MB of RAM

•USB 2.0 Port

•iPad® or iPad2®

Mac® Requirements

•Mac computer with an Intel, PowerPC G5 or G4 processor

•Mac OS X v10.5.8 or later

•QuickTime 7.6 or later

•Safari 4.0.3 or later

Windows® Requirements

•PC with a 1GHz Intel or AMD processor

•Windows XP Service Pack 3 or later, Windows Vista, or

Windows 7

•QuickTime 7.6.6 or later is required with compatible audio

card

Hardware/Software RequirementsHardware/Software Requirements

6

To disable applicaon nocaons on your iPad:

1. Go to Sengs.

2. Go to Nocaons.

3. Set Nocaons to “OFF”.

4. Return to the iPB-Nexus applicaon.

To disable system alerts on your iPad:

1. Go to Sengs.

2. Go to General >> Sounds.

3. Slide the volume level to the lowest seng.

4. Set all switches to “OFF”.

Disable iPad® Notifications & Alerts

Ensure nocaons and alerts from other applicaons do not

disrupt your playing by disabling them in your iPad General Sengs.

Disable iPad® Notifications & Alerts

Ensure nocaons and alerts from other applicaons do not

disrupt your playing by disabling them in your iPad General Sengs.

4.

3.

1.

2.

1.

2.

3.

4.

7

To disable Auto-Brightness on your iPad:

1. Go to Sengs.

2. Go to Brightness & Wallpaper.

3. Set the Auto-Brightness switch to “OFF”.

4. Return to the iPB-Nexus applicaon.

Disable Auto-Brightness

It may be desirable to disable the iPad’s Auto-Brightness feature

for use with the iPB-Nexus applicaon.

Disable Auto-Brightness

It may be desirable to disable the iPad’s Auto-Brightness feature

for use with the iPB-Nexus applicaon.

3.

1.

2.

4.

8

Opens the My Tones library, where

all factory and user tones reside.

My Tones Icon

Tuner Icon

Volume Icon

Settings Icon

Help Icon

iPB-Nexus IconsiPB-Nexus Icons

Pedalboard Icon

Opens the help le within

the iPB-Nexus app.

This is the home screen, where most

programming and operaon is performed.

Set all of the iPB’s global parameters here.

Use this to set the volume for

each tone independently.

Tune your guitar here.

9

Touching this buon allows you to save a new

user tone or make a copy of an exisng tone. Use

this opon when you don’t want to overwrite

the currently loaded tone.

Save New Button

Quick Save Button

Touching this buon saves the currently loaded

tone. Use this opon for quickly overwring a

tone aer making edits.

Edit Button

Touching this buon toggles between Edit mode

and Performance mode. In Edit mode, the enre

pedalboard chain can be viewed. Pedals can be

added, deleted, and rearranged in any order.

Pedalboard WindowPedalboard Window

10

Banks

Use this slider to select one of the 20 banks, each

containing 5 custom tones, providing 100 tones in all.

Loaded Tone

This display shows the currently loaded tone along

with the bank and footswitch it is assigned to.

Tone Buttons

These buons display the tones in each bank.

If the tone is acve, the red LED will be lit.

11

Amplifier

This secon displays the currently selected amplier

and allows you to edit the amp’s controls.

Cabinet

This secon displays the

currently selected cabinet.

HINT: Tap once on either the amp or cabinet image to select from

over 50 amps and cabinets to create your own custom sound!

12

Assigned Footswitches

This secon displays the pedals which are

currently assigned to the A-E footswitches.

Expansion Bar

Touching this bar expands the view, displaying

all eect pedals in the signal chain.

HINT: Double tapping on a pedal will zoom in on the controls to make eding quick and easy. Tap the footswitch to turn

the pedal on and o. A single tap on the pedal will open My Gear allowing you to swap out the pedal for another.

13

Assigned Tab

Touching this tab displays

all tones assigned to the

iPB-10 Pedalboard.

My Library Tab

Touching this tab displays all

your custom user tones.

My Tones WindowMy Tones Window

Factory Tones Tab

Touching this tab displays all

factory tones.

Trash Can Icon

Touch this icon to delete a selected

user tone from My Library.

Tone Info & Assignments

This window displays each

tone’s informaon such

as tone name, where the

tone is assigned, Genre,

etc.. Tap in these elds to

add or to change the tone

informaon. Tapping the

‘+’ buon will assign tones

to the iPB-10 pedalboard.

Name/Genre Buttons

Touching these buons sorts

the tones by Name or by Genre.

14

Tuner WindowTuner Window

Accessing the Tuner from the iPB-10

To access the tuner from the iPB-10

footswitches, simply press and hold the

currently acve preset’s footswitch. The

iPB-10 will enter Bypass mode briey

then enter the Tuner. To exit the Tuner,

press any footswitch.

Tuner

Tap the Tuner icon to enable the

built-in tuner. Simply play a string

and the note will be displayed. The

LEDs will indicate whether or not

the note is in tune, allowing you to

make the proper adjustments.

15

Volume WindowVolume Window

Tone Volume

Tap the Volume icon and use the slider

to increase or decrease the level for the

current tone. Volume can be saved with

each tone individually.

16

Settings WindowSettings Window

App Version

This eld displays the current installed version of the iPB-Nexus applicaon.

Firmware Version

When connected to the iPB-10 Pedalboard, this eld displays the current installed

version of the iPB-10 rmware.

Tuner Reference

This opon allows you to set the tuner’s reference point.

Record Out Level

When recording to the iPad or via USB to a computer DAW, this opon changes

the

digital signal level sent from the iPB-10 up to the iPad or computer DAW (the

range is -12 dB - +24 dB).

XLR Mix

When recording to the iPad or via USB to a computer DAW and monitoring the mix

from the iPB-10 XLR outputs, this opon allows you to set the mix between the

track your recording (iPB-10) and playback from the iPad or DAW (USB/iPad).

1/4” Mix

When recording to the iPad or via USB to a computer DAW and monitoring the mix

from the iPB-10 1/4” line outputs, this opon allows you to set the mix between

the track your recording (iPB-10) and playback from the iPad or DAW (USB/iPad).

Calibrate Expression Pedal

This opon guides you through the iPB-10 Expression Pedal calibraon procedure.

About

This opon provides addional details about the iPB-Nexus soware app.

17

iPB-10 Top PaneliPB-10 Top Panel

LED Display

Displays the currently selected bank in the

iPB-10 Pedalboard (1-20).

Bank UP/DOWN Footswitches

Use these footswitches to select a tone bank.

1-5 Footswitches

Once a bank is selected, use these footswitches

to select one of 5 dierent tones within the

selected bank. When the tone is acve, it’s

footswitch LED will light.

18

A-E Footswitches

Use these footswitches to turn the assigned eect pedals on

and o. When a pedal is acve, it’s footswitch LED will light.

Stomp Loop

This footswitch enables and disables the

mono stompbox eects loop. The LED

lights when the stomp loop is enabled.

Amp Loop

This footswitch enables and disables the

amp loop. The LED lights when the amp

loop is enabled.

Expression Pedal

This pedal provides

real-me control of

Volume, Wah, or any

other assigned eect

parameter. Rock the

pedal forward and

press rmly to toggle

between controlling

the Wah and the other

assigned parameter.

iPB-10 Top PaneliPB-10 Top Panel

NOTE: Status messages will be displayed if the AMP or STOMP footswitches are pressed and the Amp or Stomp Loop

modules are not used in the current preset Tone (unavailable), or if nothing is connected to these jacks (not connected).

NOTE: When using the

Expression Pedal, the Wah

will only be controlled if it

exists in the eects chain.

19

Headphone Output

Connect headphones here. This output is

opmized for use with headphones having

an impedance of 50 Ohms or greater.

Power Switch

Used to turn the

iPB-10 power

on and o.

Power Input

Connect the included

power adapter here.

Input

This input is a high impedance 1/4”

instrument input for connecng

your guitar.

iPB-10 Rear PaneliPB-10 Rear Panel

20

Amp Loop

These 1/4” send and return jacks allow you to connect an

external preamp or amplier and use the tone from these

components instead of the internal ampliers of the iPB-10.

iPB-10 Rear PaneliPB-10 Rear Panel

Stomp Loop

These 1/4” send and return jacks

allow you to insert an external

stompbox eect pedal (or chain

of eects) into the iPB-10 signal

path.

Amp Loop Ground Lift Switch

This switch can be enabled to help prevent unwanted

hum or buzz caused by ground loops between the iPB-10

and an externally connected amplier or preamp.

NOTE: Status messages will be displayed if the AMP or STOMP footswitches are pressed and the Amp or Stomp Loop

modules are not used in the current preset Tone (unavailable), or if nothing is connected to these jacks (not connected).

21

iPB-10 Rear PaneliPB-10 Rear Panel

1/4” Line Outputs

These 1/4” outputs can be plugged

into a guitar amplier or to the inputs

of a mixer or recording device.

Output Level

This knob controls the output

level of the 1/4” outputs.

Amp/Mixer Switch

This switch opmizes the 1/4”

line outputs for connecng to

either a guitar amp or directly

into the inputs of a mixer.

XLR Ground Lift Switch

This switch lis pin 1 – of the

XLR mixer outputs – from

all ground references. This

may be necessary to help

solve troublesome ground

loops that can cause hum in

the system, especially when

both XLR and 1/4” outputs

are used together.

XLR Mixer Outputs

The XLR outputs are designed for

connecng to a recording device or

mixing console. These outputs always

have speaker compensaon acve as

they are intended to be connected to

a full range audio system.

22

USB Port

The USB port connects the

iPB-10 to a computer for

recording to your favorite

DAW soware. This port

streams four channels of

audio (2 up/2 back).

iPB-10 Rear PaneliPB-10 Rear Panel

23

Amp with Stomp Loop

Connection DiagramsConnection Diagrams

Connect your guitar to

the iPB-10 Input.

Connect the iPB-10 Le

(mono) Line Output to

the amp Input.

Connect the stompbox Output to

the iPB-10 Stomp Loop Return.

Connect the iPB-10 Stomp Loop

Send to the stompbox Input.

Set the Amp/Mixer

switch to ‘AMP’.

24

Amp Loop & Stomp Loop

Connection DiagramsConnection Diagrams

Connect your guitar to

the iPB-10 Input.

Set the Amp/Mixer

switch to ‘AMP’.

Connect the stompbox Output to

the iPB-10 Stomp Loop Return.

Connect the iPB-10 Stomp Loop

Send to the stompbox Input.

Connect the iPB-10 Le

(Mono) Line Out to the

amp Loop Return.

Connect the iPB-10

Amp Loop Send to

the amp Input.

Connect the amp Loop

Send to the iPB-10 Amp

Loop Return.

25

Mixer

Connection DiagramsConnection Diagrams

Connect your guitar to

the iPB-10 Input.

Connect either the iPB-10

Line Outputs or XLR Outputs

to the inputs of the mixer.

To retain the stereo image,

make sure to pan the mixer

channels accordingly.

Set the Amp/Mixer

switch to ‘MIXER’.

26

Loading Tones from the iPB-Nexus App

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Drag the Bank selector to the desired Bank (you may

not need to perform this step if the desired bank has

already been selected).

3. Tap on pads 1-5 to select the desired Tone.

Loading TonesLoading Tones

Loading Tones from the iPB-10

1. Use the BANK UP or BANK DOWN footswitches to

select a bank (you may not need to perform this step if

the desired bank has already been selected).

2. Press one of the 1-5 footswitches to select the desired

tone.

1.

2.

3.

1.

2.

27

Changing Pedal Settings

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Expansion bar to expand the view and show

all pedals.

3. Place your nger on the knob you want to modify and

drag it up to increase the value or down to decrease

the value. A pop over display will appear providing

instant feedback as the seng is changed. Once the

desired value is reached, li your nger from the

window. The seng will remain changed at this point.

HINT: Tapping twice on any eect pedal will zoom in on the

pedal, making it even easier to adjust the eect parameters.

Tap anywhere, other than on a knob or switch, to exit zoom

view.

HINT: Tapping on the footswitch for each pedal allows you

to bypass and engage the pedal (the LED will light when

the pedal is engaged).

Working With PedalsWorking With Pedals

1.

2.

3.

28

Changing Pedals – Performance Mode

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Expansion bar to show all pedals.

3. Touch the eect pedal you would like to swap out for

another pedal.

4. A window will appear showing all available pedals for

the selected eect type. Simply touch the eect pedal

you would like to select and it will replace the old

eect pedal.

5. Once the desired selecon has been made, touch the

Done buon.

1.

2.

4.

5.

3.

Working With PedalsWorking With Pedals

29

Changing Pedals – Edit Mode

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. Touch the eect pedal you would like to swap out for

another pedal.

4. A window will appear showing all available pedals for

the selected eect type. Simply touch the eect pedal

you would like to select and it will replace the old

eect pedal.

5. Once the desired selecon has been made, touch the

Done buon.

1.

2.

4.

3.

5.

Working With PedalsWorking With Pedals

30

Adding Pedals

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. Touch the icon in the empty pedal slot.

4. A window will appear, displaying all available eect

types (i.e. Delay, Mod, Chorus, etc.). Select the desired

eect type then select the desired pedal from the list.

5. Once the desired selecon has been made, touch the

Done buon.

6. Repeat steps 3-5 to add addional pedals to the pedal

board.

1.

2.

4.

5.

3.

Working With PedalsWorking With Pedals

31

Deleting Pedals

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. If you would like to see the pedals in the order they

are connected, touch the Edit buon (oponal).

3. Touch the eect pedal you would like to delete.

4. A window will appear. Simply touch the Delete buon

to delete the eect pedal from the signal eects chain.

5. Once all edits have been made, touch the Performance

buon to get back to Performance mode (only if step2

was performed).

1.

2. & 5.

4.

3.

HINT: Pedals can be deleted from either Performance mode or Edit mode.

Working With PedalsWorking With Pedals

32

Reordering Pedals

1. If the Pedalboard window is not already acve, touch

the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. Place your nger on the eect pedal you would like to

move and drag it to the posion in the signal chain you

would like to move it to.

4. Repeat step 3 for any other pedals you would like to

reorder.

5. Once complete, touch the Performance buon to get

back to Performance mode.

1.

2.

5.

3.

Working With PedalsWorking With Pedals

33

Adding an Amp to the iPB-10 Signal Path

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. Touch the icon located in the amp eld. A window

will appear displaying all the available internal amps.

4. Select the desired amplier from the list. The matching

cabinet will be loaded with the amp.

5. Touch the Done buon.

6. To posion where the amp is located in the signal

path, touch the Amp icon and drag it to the desired

posion (this will also set the signal path locaon of

the Amp Loop, if used).

7. Once complete, touch the Performance buon to get

back to Performance mode.

1.

3.

5.

7.

6.

4.

2.

Working With AmpsWorking With Amps

34

Changing the Amp

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. From either Performance mode or Edit mode, touch

the amplier.

3. A window will appear displaying all available internal

amps. Select the desired amplier from the list. The

matching cabinet will be loaded with the amp.

4. Touch the Done buon.

5. If you want to change the locaon of the amplier in

the signal chain, touch the Edit buon to display the

Edit screen.

6. Touch the Amp icon and drag it to the desired locaon

within the signal chain.

7. Once complete, touch the Performance buon to get

back to Performance mode.

1.

2.

3.

4.

Working With AmpsWorking With Amps

6.

5. & 7.

35

Changing the Cabinet

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. From either Performance mode or Edit mode, touch

the Cabinet.

3. A window will appear displaying all available cabinets.

Select the desired cabinet from the list.

4. Touch the Done buon.

2.

1.

3.

2.

4.

Working With AmpsWorking With Amps

36

Deleting an Amp from the Signal Path

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the amp.

3. A window will appear. Touch the Delete buon to

delete the amplier.

1.

2.

3.

Working With AmpsWorking With Amps

37

Assigning Pedals to the A-E Footswitches

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. Touch the eect pedal you would like to assign to the

footswitch and drag it into the desired footswitch slot.

You will noce that the pedal is now visible in the

assigned slot and an icon has appeared over the pedal

indicang which footswitch the pedal is assigned to.

4. Once all pedal assignments have been made, touch

the Performance buon to get back to Performance

mode.

5. From Performance mode you can easily see which

pedals are assigned to each of the A-E footswitches

(see adjacent picture). Pressing any footswitch

will turn it’s assigned pedal on and o and the A-E

footswitch LEDs will provide status for each pedal.

Assigning FootswitchesAssigning Footswitches

NOTE: To remove a footswitch assignment, simply drag the pedal up out of the assigned slot.

5.

1.

2. & 4.

3.

38

Configuring the Amp Loop

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. If there is no amplier assigned, touch the icon

located in the amp eld. If there is already an amp

assigned, jump to step 6.

4. Select an amplier from the list. The matching cabinet

will be loaded with the amp.

5. Touch the Done buon.

6. To posion where the amp is located in the signal

path, touch the Amp icon and drag it to the desired

posion (this will also set the signal path locaon of

the Amp Loop).

7. Once complete, touch the Performance buon to get

back to Performance mode.

8. Press the AMP LOOP footswitch to engage and

disengage the Amp Loop. When this footswitch LED is

on, the Amp Loop is enabled and the connected device

is inserted into the iPB-10 signal path replacing the

internal amp.

NOTE: If enabled, the Amp Loop connecon remains acve when a tone is bypassed.

1.

2.

5.

3.

4.

8.

7.

6.

Assigning FootswitchesAssigning Footswitches

39

Configuring the Stomp Loop

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. Touch the icon located in the empty pedal slot.

4. Select the OTHER category.

5. Select Stomp Loop.

6. Touch the Done buon.

7. To posion where the Stomp Loop is located in the

signal path, touch the Stomp Loop icon and drag it to

the desired posion.

8. Once complete, touch the Performance buon to get

back to Performance mode.

9. Press the STOMP LOOP footswitch to engage and

disengage the Stomp Loop. When this footswitch’s LED

is on, the Stomp Loop is enabled and the connected

device is inserted into the iPB-10 signal path.

NOTE: If enabled, the Stomp Loop connecon remains acve when a tone is bypassed.

9.

Assigning FootswitchesAssigning Footswitches

1.

2.

8.

7.

4.

5.

3.

6.

40

Assigning the Expression Pedal

1. If the Pedalboard window is not already acve, select it

by touching the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. Touch the Expression Assignments icon.

4. In the Expression Assignments window, touch the Pedal

buon.

5. Touch the Assigned Parameter selecon.

6. A window will appear displaying all controls available for

assignment. Make your desired selecon.

7. Once your selecon is made, touch the Expression

Assignments buon.

8. Set the Min and Max values for the Expression Pedal. This

allows you to set the permissible range for the assigned

parameter’s value – the minimum parameter value

allowed (Expression Pedal toe up) and the maximum

parameter value allowed (Expression Pedal toe down).

9. Once all edits have been made, touch the display

anywhere outside of the Expression Assignments window.

10. Touch the Quick Save buon to save your edits to the

current tone.

1.

2.

10.

3.

4.

5.

8.

9.

6.

7.

Expression Pedal & LFOsExpression Pedal & LFOs

41

Assigning Parameters to an LFO

1. If the Pedalboard window is not already acve, select it by

touching the Pedalboard icon.

2. Touch the Edit buon to display the Edit screen.

3. Touch the Expression Assignments icon.

4. In the Expression Assignments window, select either LFO 1 or

LFO 2.

5. Touch the Assigned Parameter selecon.

6. A window will appear displaying all parameters and funcons

available for assignment. Make your desired selecon.

7. Once your selecon is made, touch the Expression

Assignments buon.

8. Set the Min and Max values for the parameter controlled via

the LFO. This allows you to set the permissible range for the

assigned parameter’s value – the minimum parameter value

allowed (when the boom of the assigned LFO waveform is

reached) and the maximum parameter value allowed (when

the top of the assigned LFO waveform is reached). You can

also set the Wave Form (type) and Speed.

9. Once all edits have been made, touch the display anywhere

outside of the Expression Assignments window.

10. Touch the Quick Save buon to save your edits to the current

tone.

HINT: Both LFO 1 and LFO 2 can be assigned and used at the same me.

1.

2.

10.

3.

4.

5.

8.

9.

6.

7.

Expression Pedal & LFOsExpression Pedal & LFOs

42

Saving Tones with the Quick Save Button

At any me aer a User tone has been edited, you can quickly

save changes to memory by touching the Quick Save buon.

Quick Save is a fast method for storing your edits back to the

My Tones library without prompng you to to edit the name,

descripon, or selecng a new memory locaon.

Quick Save is only available when eding User tones that are

in the My Library tab of the My Tones screen.

Saving & Assigning TonesSaving & Assigning Tones

43

Saving Tones with the Save New Button

If you have modied a tone and want to change the name,

descripon, or the memory locaon where the tone resides,

you can do so with the Save New buon.

1. If the Pedalboard window is not already acve, select

it by touching the Pedalboard icon.

2. Touch the Save New buon.

3. When prompted, enter the tone name and descripon

(oponal) then select desired tone locaon.

4. Touch the Save buon to complete the saving process

(touch anywhere outside of the Preset Summary

window to cancel).

3.

4.

1.

2.

Saving & Assigning TonesSaving & Assigning Tones

44

Assigning Tones to the iPB-10 Pedalboard

1. Select the My Tones icon.

2. Sort through the library using the Category buons or

by typing a keyword into the Search box.

3. Select the tone you would like to audion or assign.

4. Touch the icon.

5. Select the bank that you would like to assign the tone

to.

6. Select the footswitch that you would like to assign the

tone to.

7. If you receive a prompt, ensure that you want to

overwrite the assignment and then select ‘Assign’.

8. The footswitch assignment will now appear under the

Assignments secon when the tone is selected in the

library.

1.

2.

3.

5.

6.

4.

7.

8.

Saving & Assigning TonesSaving & Assigning Tones

45

How to Bypass Tones

You can bypass a tone by simply stepping on the currently acve tone’s footswitch.

When bypass is enabled, the internal pedals and amp will be bypassed, leaving just your guitar’s clean tone.

If you’re using the Amp Loop and/or Stomp Loop when you go into bypass, any devices connected to the Amp Loop and Stomp

Loop are sll acve. So you can use bypass to kill all the eects in the iPB-10 without bypassing any externally connected

eects or an externally connected amplier or preamp.

To exit bypass and get back to the tone you were in, just step on the same footswitch again. To exit bypass and acvate another

tone, step on one of the other 1-5 footswitches; or you can change the bank using the Bank footswitches, and then select a

tone within a dierent bank!

Bypassing TonesBypassing Tones

46

About Amps & Pedals

The iPB-10 oers a dream collecon of vintage and modern pedals, ampliers, and cabinets – all in a single, programmable,

portable package. With pedals, the order in which they are connected aects the overall sound. The iPB-Nexus app allows

you to quickly reorder the pedals, so you have complete control over shaping your sound. Each amp and pedal within the iPB-

10 can be programmed to suit your personal taste and applicaon. The following secon lists the iPB-10 amps, cabinets, and

pedals and provides a descripon of each.

This screenshot shows an example custom pedalboard.

Amps & PedalsAmps & Pedals

47

Amps/Preamps

The amplies in the iPB-10 are an assortment of popular vintage and modern amp tones. The ampliers also include two

acousc guitar simulators. The available amps and preamps are:

•45 JTM

(Modeled after ‘65 Marshall® JTM-45)

Perhaps the turning point for blues and rock and roll, this amp set

the course for the future of Marshall® amps. It started the “crunch”

revoluon, turning up on classic songs from AC/DC and most notably

the Bluesbreakers “Beano” album featuring Eric Clapton.

•68 Plexi

(Modeled after ‘68 Marshall 100 Watt Super Lead (plexi))

This is undoubtedly the amp that changed rock and roll. It is a

benchmark for many of the greatest guitar sounds ever heard. From

Hendrix to Van Halen, this amp is the real deal.

•800 JCM

(Modeled after ‘83 Marshall JCM800)

The amp that dened many of the metal sounds of the 80’s is sll one

of the most highly respected Marshall® amps ever made.

•900 JCM

(Modeled after ‘93 Marshall JCM900)

Incorporang a diode clipping stage, this amp gives you more gain

than you can shake a sck at.

•2000 JCM

(Modeled after ‘01 Marshall JCM2000 (Solo Channel))

The TSL100 is a superb tone with tons of sustain for grinding ris or

singing solos.

•Bass Man

(Modeled after ‘59 Fender® Tweed Bassman®)

This classic really roars with lots of boom end. Great for blues ris

but equally great for driving rock and roll rhythm guitar parts.

•Brown Bass Man

(Modeled after ‘62 Fender Brownface Bassman®)

From the era of the rst tolex covered Fender® amps, this parcular

amp was used on the classic Hendrix song “Voodoo Child”.

•British 15

(Modeled after ‘62 Vox® AC15)

The rst great Vox® amp. A single 12” version of its more famous 30

Wa big brother, this amp has much of the same character to oer.

•British 30

(Modeled after ‘63 Vox AC30 Top Boost)

The quintessenal amp that dened both Brian May’s and Edge’s

sound. Just crank this amp up and get some of the most awesome

growl you will ever hear from an amp.

•Caliber 22

(Modeled after ’86 Mesa Boogie® .22 Caliber)

A monster lile combo with the classic Boogie Mark tone.

Amps/PreampsAmps/Preamps

48

•Champion

(Modeled after ‘57 Fender Tweed Champ®)

The Tweed Champ is a straight ahead, growly amp which is best suited

for blues and garage music. The tone is nasely, distorts easy due to the

low waage, but cuts through!

•Chief

(Modeled after ’95 MatchlessTM Chieftain)

A beaufully full amp tone with plenty of character. The Chief is a really

great amp to use for pung a slightly dierent color in your musical

palee.

•Citrus 120

(Modeled after ’74 OrangeTM OR 120)

This oen overlooked amp from a great Brish amp company was used

by greats like Jimmy and Frank Zappa. No wonder the great Orange is

making a comeback.

•DigiTech® Black

(Modeled after ’65 Blackface preamp w/Bassman poweramp)

What happens when you combine the cleaner input stage of Blackface

and connect it to the griy poweramp of a Bassman? You get an

experimental amp that works perfect for blues, rock-a-billy, country

and rock. You’ll want to drive this hard.

•DigiTech Blues

A perfect combinaon of clarity and grit. The Blues amp cuts through

but doesn’t get too muddy as the gain is turned up.

•DigiTech Bright

A perfect clean combo amp structure, the amp is bright yet cleaner

than most. Great for jazz, surf, country, clean rock and metal.

•DigiTech Brown

(Modeled after hot-rodded 80’s stack tone)

The Brownsound is a hot-rodded Marshall® tone of the early ‘80s made

famous by a wild, nger-tapping guitarist.

•DigiTech Chunk

Thicker than a Marshall®, the Chuck gives you lots of gain with plenty

of low end that doesn’t get in your way.

•DigiTech Clean

The Clean amp provides a very clean tube combo tone with just the

right amount of 2nd harmonics.

•DigiTech Crunch

The Crunch is just that, a tube head that crunches more than the rest.

The Crunch has extra gain and cuts through. Perfect for both rhythms

and solos.

•DigiTech Dark

Producing a ght, focused tone, the Dark amp has high gain, yet does

not muddy up your guitars tone – perfect if you play intricate metal.

•DigiTech Fuzz

The DigiTech Fuzz tone is based o of the fuzz tone of the late 60’s

English bands with our own twist with zz. Thus making the DigiTech

Fuzz ideal for 90’s grunge to today’s mix of music.

•DigiTech GSP2101TM Clean

The GSP2101 has become an iconic preamp processor for many

players over the years. Aer years of requests from players, we have

brought the sounds back from their glory days. The GSP2101 Clean

Tube captures the warmth and brightness while being able to drive it

hard to produce a nice warm clean sound with grit.

Amps/PreampsAmps/Preamps

49

•DigiTech GSP2101 Saturated

The sound of the GSP2101 preamp provides a mild to over the top gain

without geng a muddy sound. A perfect tone seng for all types of

music.

•DigiTech High Gain

For the rock or hard rock player who requires a lot of distoron as a

starng point, this eect provides a very punchy tone for both rhythm

and lead work reminiscent of a well polished producon album.

•DigiTech Metal

A true metal tone for both classic or modern style metal with a chunky

boom end. This eect is able to achieve a variety of metal tones with

the use of the EQ and gain controls.

•DigiTech Monster

The DigiTech Monster was created on an operang table in a European

castle with one thing in mind – full-on, dimed out, molten metal gain.

This is the perfect seng for death metal or the Norwegian Sound.

•DigiTech Mosh

This sound was created aer the mid 80’s NYC and Bay Area tones.

You will feel like you’re in the pit while taken a “thrashing.” Big metal

sound with a bit of sizzle

•DigiTech Solo

Dialed in tone ideal for laying down solos for country, rock, jazz, blues

and even metal. Add a bit of delay and reverb and you have the perfect

sound for any lick you can come up with.

•DigiTech Spank

A bright and punchy clean sound that can be driven for a bit of edge.

At home with funk or any tone that needs some spanking.

•DigiTech Stone Rock

The Stone Rock amp produces tones made famous by So-Cal and

dessert bands. The Stone Rock’s huge, ubby low end and warm high

end make you want to use your bridge pickup, turn your guitar’s tone

knob down and play Godzilla all night…….

•DigiTech Transistor

The Transistor eect emulates the grainy, narrow EQ band sound of a

solid state transistor lo- amplier. Great for use as an eect or to set

the mood.

•DigiTech Tweed

(Modeled after Tweed preamp w/Blackface poweramp)

Imagine combining two of the greatest Fender® amps into a single

beast. That’s what we have done with the Tweedface. Take the preamp

of the classic Tweed DeluxeTM and combine it with the output stage of

the Blackface Twin Reverb® and here is the monster you get.

•Dreadnaught Acoustic

Awesome dreadnaught acousc simulaon with an arculate top end.

Best suited for middle and neck pickups.

•D-Luxe

(Modeled after ‘57 Fender Tweed DeluxeTM)

One of the most sought aer amps ever made, this is a tone you can’t

get enough of. This baby shows o its glory when pushed to the limits.

•Dual Rectified

(Modeled after ‘01 Mesa Boogie Dual Rectifier)

The new benchmark for metal guitar, this Recer series unleashed a

new era of high gain amp mayhem.

•Fraternal Verb

(Modeled after ‘65 Fender Blackface Twin Reverb®)

The benchmark for twin speaker combos. This great amp is one of the

most recognizable clean tones on recordings from the last 4 decades.

Amps/PreampsAmps/Preamps

50

•Heritage

(Modeled after ‘99 Carvin® Legacy VL-100)

Steve Vai’s signature amp that he has been using since 1999. Custom

tweaked tone to Steve’s specicaons featuring an EL-34 tube output

stage. Very smooth for soloing.

•Hi Wattage

(Modeled after ‘69 Hiwatt® Custom 100 DR103)

This superb rock and roll amp was the staple of Pete Townshend’s tone

in the early ‘70s. A monster that has loads of headroom, this is at its

best when cranked up all the way and paired with the Fane 4x12 cab.

•Jazz 120

(Modeled after ’84 Roland® JC-120)

This solid state combo was synonymous with the sparkling clean

sounds of the 80’s.

•Jumbo Acoustic

When compared to the dreadnaught acousc eect, this eect

provides a warmer acousc model with more midrange.

•Jump Panel

(Modeled after ‘68 Marshall Jump Panel)

This eect is based on the method used to get the most saturaon

from the classic plexi – by jumping channel 1 into channel 2, you get a

bit more push over the top.

•Les 40

(Modeled after ’59 Gibson® GA-40)

A very cool blues/rock amp in the ranks with the Deluxes but with a

personality all its own.

•Lux Verb

(Modeled after ‘65 Fender Blackface Deluxe Reverb®)

The single speaker version of its bigger brother, this amp is equally at

home for blues, country and rock players.

•Master Volume

(Modeled after ‘77 Marshall Master Volume)

This amp was king of rock and roll in the 70’s and one of our favorites.

This JMP 100W amp featured four 6550 output tube making it hot and

punchy for rock and punk music alike.

•Match 30

(Modeled after ‘96 Matchless HC30)

The perfect Class A crunch tone with ght responsive low end. This is

right at home with country, blues, and rock.

•MK 4

(Modeled after ‘94 Mesa Boogie Mark IV)

If high gain is your bag, this is up your alley. This amp is sll as inuenal

today as it was when introduced over a decade ago.

•MK 2B

(Modeled after ‘81 Mesa Boogie® Mark II C)

Originally based o of hot-rodded Fender® amps, this classic has some

of the best rhythm and lead tones ever. This amp was the peak for

Mesa Boogie during their custom built-to-order days.

•PV 120

(Modeled after ’99 Peavey® 5150® II)

Designed in conjuncon with Eddie Van Halen by Peavey®, this amp

oers gain for days.

Amps/PreampsAmps/Preamps

51

•RG 100

(Modeled after ’88 Randall® RG-100)

A vintage solid state amp that ushered in a new metal generaon. This

was the amp Dimebag used in the earlier Pantera days.

•Solar 100

(Modeled after ’67 Sunn® 100S)

Used by Pete Townshend in the late ‘60s US tour, these amps oered

tons of headroom which certainly delivered the SPLs The Who loved.

•Solo 100

(Modeled after ‘88 Soldano® SLO-100)

Considered one of the rst “bouque” amp companies, the SLO 100 is

a pure gain head’s dream. Smooth distoron with incredible sustain,

this amp is amazing.

•Super Group

(Modeled after ’69 LaneyTM Supergroup)

The Supergroup was used most notably by Tony Iommi and was key to

the sound of early Black Sabbath records.

•Tri Rectified

(Modeled after ‘04 Mesa Boogie Triple Rectifier)

The latest from the guys in Petaluma, this bigger brother of the dual

recer packs an addional 50 Was of power.

Amps/PreampsAmps/Preamps

52

Cabinets

The cabinets in the iPB-10 are an assortment of popular vintage and modern cabinet tones. Note that when you select an amp,

the default cabinet is automacally loaded. You can, however, change the cabinet aer selecng an amp to achieve dierent

tones. The available cabinets are:

•American 1x12

(Modeled after 1x12 ‘59 Gibson GA-40)

Similar to the Deluxe cabs with emphasized top end for more bite.

•Blonde 2x12

(Modeled after 2x12 ‘57 Fender Blonde Bassman®)

Warm dual speaker combo. Great for driving rhythm playing or clean

chord comps.

•Boutique 4x12

(Modeled after 4x12 ‘96 VHT® Slant w/Celestion® Vintage 30’s)

A rare matchup from the guys at VHT. Great bite that really cuts

through.

•British 1x12

(Modeled after 1x12 ‘62 Vox AC15)

A great lile cab perfect for rock and blues.

•British 2x12

(Modeled after 2x12 ‘63 Vox AC30 Top Boost w/Jensen® Blue Backs)

Amazing low end. These were our favorite speakers of the early Vox/

Jensen era.

•Classic 4x12

(Modeled after 4x12 Marshall® 1969 Straight w/Celestion® G12-T70)

Great power handling speakers give you the classic Marshall® bite and

chunk. It takes a lot of power to break these up.

•DigiTech 2101 Speaker Filter

This speaker compensaon is from the GSP2101, which has become a

standard in direct micing for music of all types.

•DigiTech Alternative 4x12

The DigiTech Alternave cabinet model is a direr cabinet with more

sizzle than a standard 4x12 cabinet. Use if you want to drive your tone

over the edge.

•DigiTech Bright 2x12

A parcularly bright but full sounding combo cabinet. Great for clean.

•DigiTech Chunk 4x12

The Chunk is a thicker cabinet that lends itself to hard rock and solos.

This will help any amp cut through the mix.

•DigiTech Metal 4x12

The Metal cabinet provides a deeper but ght low end response. Great

with any amp that needs a lile focus.

•DigiTech Rock 4x12

Take a standard 4x12 and add just a lile more 600Hz to cut through

the mix, the Rock cabinet not only sounds good for rock but excels at

hard rock and gives distorted combos new life.

•DigiTech Solo 4x12

Solos need to cut through the mix without squashing the sound.

The Solo cabinet is phrased to provide a clear tone with maximum

distoron to help the guitar cut through.

CabinetsCabinets

53

•DigiTech Spank 4x12

Need a jangley, funk high end? The Spank is perfect for funk.

•DigiTech Vintage 4x12

A vintage speaker cabinet with that “broken in” warm tone.

•D-Luxe 1x12

(Modeled after 1x12 ‘65 Fender Blackface Deluxe Reverb®)

Provides solid tone which can be combined with any amp for a great

rhythm tone.

•Fane 4x12

(Modeled after 4x12 Hiwatt Custom w/Fane Speakers)

Unique warm tone was the perfect balance for the head it is originally

paired with.

•Green 4x12

(Modeled after 4x12 Marshall 1969 Slant w/Celestion® 25W Green backs)

This super speaker design provides a voice that is as disncve as it’s

name. Great match for the Plexi.

•Jazz 2x12

(Modeled after 2x12 ‘84 Roland JC-120)

Awesome for spankin’ clean tones with emphasized top end.

•JBL 2x15

(Modeled after 2x15 ’68 Sunn 200S w/JBL®-Lansings)

Powerful boom end from a landmark speaker designer. Classic tones

from the late ‘60s.

•Rectified 4x12

(Modeled after 4x12 ‘07 Mesa/Boogie Rectifier w/Celestion Vintage 30’s)

The ulmate 4x12 for the heaviest tone. Massive boom end and

punchy midrange.

•Twin 2x12

(Modeled after 2x12 ‘65 Fender Blackface Twin Reverb®)

The benchmark that many others have tried to imitate. The classic

clean tone at its best.

•Tweed 1x8

(Modeled after 1x8 ‘57 Fender Tweed Champ®)

A small speaker but a great way to cut through the mix.

•Tweed 1x12

(Modeled after 1x12 ‘57 Fender Tweed Deluxe®)

A bluesman’s delight. Wonderful response with a classic tone when

matched with its namesake amp model.

•Tweed 4x10

(Modeled after 4x10 ‘59 Fender Tweed Bassman®)

Powerful, throaty, and just plain cool. This cabinet mixed with its

matching amp gives you tones as cool as they come.

•Vintage 4x12

(Modeled after 4x12 Johnson® Straight w/Celestion Vintage 30’s)

This tone is great when used for rock, hard rock and metal. The low

end compresses just the right amount due to the combinaon of the

Celeson Vintage 30’s and cabinet volume.

CabinetsCabinets

54

Compressors

A compressor is used to increase sustain, ghten up guitars, and prevent the signal from clipping the input of other eects. It

sets a maximum boundary for the strength of a signal. The available compressor pedals are:

•Blue Compressor

(Modeled after Boss® CS-2 Compressor/Sustainer)

The CS-2 compresses high-input signals while boosng low-input

signals, giving you smooth and long sustain without degrading the

quality of the original sound.

•DigiTech Compressor

The DigiTech Compressor compresses high-input signals while boosng

low-input signals, giving you smooth and long sustain without degrading

the quality of the original sound and also allows you to adjust the tone

of the compression.

•Red Compressor

(Modeled after MXR® Dyna CompTM)

The MXR® Dyna CompTM will compress the high-input signals and boost

the low-input signals while adding its unique voicing that has become

popular with many players for leads, clean chicken picking, and simple

boosts.

Pedals – CompressorsPedals – Compressors

55

Chorus

Chorus adds a short delay to your signal. The delayed signal is modulated in and out of tune and then mixed back with the

original signal to create a thicker sound. The available chorus pedals are:

•Clone Chorus

(Modeled after Electro Harmonix® Small Clone)

A very lush, watery chorus which can be heard on hits by bands including

Nirvana. This chorus has a very “earthy” tone to it and denitely takes

your chorus tone to a dierent place.

•Dutch Chorus

(Modeled after TC Electronics® Chorus)

A chorus pedal that was made for guitar but also used by bass and

keyboard players as well. Many keyboardists use it to enhance their

electric piano “Rhoads” sound. The speed knob controls the speed

of the chorus or anger sweeps. The width knob controls how much

frequency change the eect spans. The intensity controls how much

of the eect is used.

•DigiTech Dual Chorus:

A warm dual voice chorus that allows you to adjust the speed, depth,

level, and wave form.

•DigiTech Glisten Chorus:

A more simplisc chorus giving you a warm chorus tone like the CE-2 ,

but adding a 3rd knob allowing you to adjust the overall level as well.

•DigiTech Multi Chorus

DigiTech’s famous mul-chorus allows you to get an incredibly warm

chorus tone using 16 voices that interact with each other in Stereo

mode, giving you the most incredible and unique chorus tone you can

imagine.

•Lite Chorus

(Modeled after Boss® CE-2 Chorus)

A very simple but popular chorus pedal. Its simplisc two knob design

makes it easy to use.

•Who Do Chorus

(Modeled after Voodoo Lab® Analog Chorus)

A strikingly vocal chorus pedal with disnct organic tone. It is capable

of a wide range of sounds from a thick analog doubling, to an ultra-

lush chorus, and even a Leslie rotang speaker.

Pedals – ChorusPedals – Chorus

56

Delays

Delay is an eect that records a poron of the incoming signal, and then plays it back a short me later. The recording can

repeat just once or several mes. The available delay pedals are:

•Delay

(Modeled after Boss® DM-2 Analog Delay)

The DM-2 is a classic and standard BBD analog delay that used 4,096

stages of delay. The frequency response and noise depended upon

the delay me. The signal increasingly deteriorates with each repeat,

so as the repeats are turned up, the signal becomes less and less

recognizable and actually becomes more of an “eect” than a delay.

•DigiTech 2-Tap Delay

While most delays are derived from a signal delay with one end tap,

the 2-Tap Delay uses a single delay line, but with two endpoints that

are spaced about at dierent raos. Use this eect to add more of a

rhythmic quality to your delays.

•DigiTech Analog Delay

The analog delay produces delays that were derived from ”BBD” analog

delay chips. The BBD chips were the rst ways to produce delay aside

from the costly tape delays. The delay sound was not HiFi but was

reminiscent of the original signal and quickly became a cornerstone to

modern guitar sounds due to their warm qualies.

•DigiTech Digital Delay

A digital delay can be called a perfect representaon of your guitar’s

signal. Desired for their brilliant qualies, digital delays have virtually

no noise and a full frequency response.

•DigiTech Lo Fi Delay

The Lo Fi delay is an analog delay with a severely limited frequency

response, producing an even grungier delay eect.

•DigiTech Modulated Delay

A modulated delay is a digital delay with chorus added to the delays to

produce a wider sounding stereo delay.

•DigiTech Pong Delay

A pong delay’s repeats jump from side to side and requires a stereo

setup to fully hear the eect.

•DigiTech Reverse Delay

The Reverse Delay samples the guitar’s signal then plays the delayed

signal backwards. Reverse delay used to be a studio trick, but now

with modern technology it exists in a stompbox!

•DigiTech Tape Delay

The tape delay eect produces a warm tone by liming the frequency

response and adding the distoron that exists in a tape delay.

•Echo Flex

(Modeled after Maestro EP-2 Tube Echoplex)

The Echoplex is the standard to which all analog delays are judged.

The Echoplex was the rst widely used tape delay and had a tone all

it’s own. The Echoplex can be heard on many rockabilly, surf, country

and rock tracks.

Pedals – DelaysPedals – Delays

57

Distortions

Distoron and overdrive pedals were designed to give your guitar tone gain before it reaches your amp. Many heavily distorted

pedals such as the DigiTech GrungeTM were designed to provide most or all of the gain and run through a cleaner amp. Overdrives

are great for boosng the gain of your guitar sound and driving an already distorted amp, giving your total tone more gain and

a heavier feel. Overdrives on their own and ran into clean amps provide a bluesy tone. The available distoron pedals are:

•8tavia

(Modeled after Roger Mayer OctaviaTM)

Designed in 1967, the Octavia was featured on “Purple Haze” and

“Fire” by Jimi.

•Anxiety Disorder

(Modeled after Fulltone® OCD Overdrive)

Straddling the border of overdrive and distoron, the OCD produces

amazing harmonics and drives any amp into oblivion. The overdrive is

thicker than most, yet clear, leng every string and note come through.

•Big Pi

(Modeled after Electro-Harmonix® Big Muff Pi®)

A requirement for any alternave player, the Big Mu Pi’s thick fuzz is

unmistakable in grunge, new wave and many punk hits.

•DigiTech® Amp Driver

The Amp Driver distoron is designed to turn a regular distorted amp

into a monster. The Amp Driver not only distorts the guitar’s signal, but

also boosts frequencies around 600Hz. By emphasizing the frequencies

around 600Hz, amps can be driven harder and take on more of a metal

tone. A ‘mean sound’ is not only determined by how much gain you

put in front of your amp, but also by how hard you drive the amp and

with what frequencies the amp is driven with.

•DigiTech Death MetalTM

Designed in 1992 to provide death metal musicians with a wall of

sound, the Death MetalTM pedal does just that. Whether you play early

‘90s grindcore or modern death metal, the Death Metal’s tone controls

give you a multude of sonic opons.

•DigiTech Grunge®

In late 1991 as Grunge hit the radio, this pedal was designed as the

DOD FX69 Grunge. The pedal was designed by a young engineer who

played “punk” and was released as an experiment to see what this

“new type” of music was all about. Now a decade later, the Grunge is

sll a top-seller. The Grunge produces tones from early famous Seale

sounds to borderline metal. Don’t forget your annel….

•DigiTech Redline Modified Overdrive

Not your standard overdrive, the Redline takes overdrive to a place

that never existed. The Redline’s circuit overdrives the guitar’s signal

in a way that is not evenly clipped – like the way a tube amp distorts.

Add extra gain and a thicker low end and the Redline was born.

•Distortion

(Modeled after MXR® Distortion +)

A classic pedal due to it’s simplicity – just plug in and go. The Distoron

+ produces good honest distoron, perfect for driving a distorted amp.

Pedals – DistortionsPedals – Distortions

58

•DOD 250 Overdrive/Preamp

The DOD®250 is another classic overdrive. With no tone control to get

in the way, the 250’s beauty is just it’s pure overdrive.

•DOD Classic Fuzz

A part of the original DOD FX family, the Classic Fuzz gained a following

for its clearer voicing as compared to many fuzz pedals.

•DOD Gonkulator Ring Modulator

Engineered to meet the needs of many experimental guitarists, the

Gonkulator was a silent hit. The Gonkulator is a combinaon of a

Grunge pedal and a ring modulator that produces distoron and mixes

in a bell-like ringing. The rst pedal with a “suck” knob.

•Driven Over

(Modeled after Guyatone® Overdrive OD-2)

The OD-2 is yet a dierent avor of overdrive. The OD-2 is transparent

and does not get in the way when playing single notes or chords.

•Eight Oh Eight

(Modeled after Ibanez® TS-808 Tube ScreamerTM)

The predecessor to the famed TS-9, the TS-808 has spawned a whole

bouque market around modicaons to this classis design. If you

want one of the standards in overdrive, this is it.

•Face Fuzz

(Modeled after Arbiter® Fuzz FaceTM)

The Dallas Arbiter Fuzz Face surfaced in 1966 and used germanium

transistors to get it’s unique fuzzy sound and inspired many other fuzz

pedals to follow. The Fuzz Face produces a thick wall of edgy distoron

and a very full low end. Perfect for creang ‘60s or modern stonerrock

tones.

•Heavy Metal

(Modeled after Boss® MT-2 Metal Zone®)

The Metal Zone will produce nearly any metal tone needed from ght,

percussive, Bay area thrash to deep, detuned grind core.

•Later Fuzz

(Modeled after DemeterTM Fuzzulator)

Enhancing the proper frequencies with a pre-emphasis tone circuit,

the Fuzzulator produces distoron that is unique and does not get

muddy when the Fuzz is turned up.

•Mod Screamer

(Modeled after Ibanez® TS-9 Tube ScreamerTM Modified)

Take a TS-9, add more gain and modify the low end to produce a thicker,

bluesier overdrive.

•Orange Distortion

(Modeled after Boss® DS-1TM Distortion)

A truly classic distoron. A nice, common distoron that ranges in tone

from rock to mild metal. Use it to drive a distorted amp!

•Over Overdrive

(Modeled after Boss® OD-1 Overdrive)

The OD-1 is perfect for just adding a lile gain to your tone no maer

what type of amp you use. To produce a bluesy tone, use it with a

clean combo. To drive your stack, crank the gain and level.

•Rodent

(Modeled after Pro Co® R AT TM)

Want gain? Want more gain? The Rat was one of the rst pedals to

take the gain to another dimension. The lter control gives the Rat it’s

unique tones and exibility. It is rumored that early Bay area thrash

bands used it in conjuncon with a Marshall® JCM800 to achieve their

heavy tones.

Pedals – DistortionsPedals – Distortions

59

•Screamer

(Modeled after Ibanez® TS-9 Tube ScreamerTM)

One of the most famous pedals ever created, the TS-9 has stood the

test of me and can be found on nearly every pedal board.

•Supreme Overdrive

(Modeled after Boss® SD-1 Overdrive)

With a lile more gain than the OD-1, the SD-1 will drive any amp into

another realm. If you’re just looking for a good classic rock tone, this

is it.

•Who Do Drive

(Modeled after Voodoo LabTM Sparkle DriveTM)

The Sparkle Drive mixes an 808 tone with a boosted clean tone to

form a perfect device to drive amps.

Pedals – DistortionsPedals – Distortions

60

EQ

The iPB-10 is equipped with a 3 band semi-parametric EQ which helps shape your tone with Low, Mid, and High controls.

•3 Band Semi-Parametric EQ

This EQ provides Low, Mid, and high tone shaping with adjustable

frequency and lter width. Use this EQ to ne tune your tone.

Pedals – EQPedals – EQ

61

Flangers

A anger uses the same principle as a chorus but uses a shorter delay me and adds regeneraon (or repeats) to the modulang

delay. This results in an exaggerated up and down sweeping moon to the eect. The available anger pedals are:

•AD Flanger

(Modeled after A/DATM Flanger)

A super quiet anger with plenty of headroom. Made popular by its

ability to get thick and juicy tones from using not only the standard

knobs, found on most angers, but also the Harmonic knob which oers

the user a slightly dierent mbre going from even to odd harmonics.

•DigiTech® Filter Flanger

The DigiTech team expanded on the tradional anger by adding a

band pass lter in the feedback path of the eect. Because of this lter,

the Filter Flanger’s feedback aects only a set amount of frequencies,

thereby generang a dierent sounding anger eect.

•DigiTech Flanger

DigiTech’s own anger model! This pedal gives you the anger eect

and allows you to control the standard Speed, Depth, Regeneraon,

and Level of the anger eect.

•DigiTech Triggered Flanger

By seng the threshold sensivity, you control when the anger starts

sweeping, and by seng the LFO Start knob, you control WHERE in

the sweep it starts! Next you can adjust the speed that it sweeps and

the overall level of the anger eect!

•Flanger

(Modeled after MXRTM M-117 Flanger)

A big, rich and organic anger tone made popular by such people as

Eddie Van Halen. The MXR® anger creates a variety of wild sounds,

from a dynamic jet plane or cool space eects, to short delay, chorus

and vibrato.

•Flanger Affair

(Modeled after Electro Harmonix® Electric MistressTM)

This anger has a unique tone, giving it a sort of chorus/anger mixed

tone, making it not as dry as some of the other angers (but with a

more pronounced sweep). Its easy to use with only 3 knobs (Color,

Range, and Rate), which also makes it a lile easier to dial in your tone.

Pedals – FlangersPedals – Flangers

62

Noise Gates

A noise gate is used to control the volume of an audio signal. In its most simple form, a noise gate allows a signal to pass

through only when it is above a set threshold. When this happens, the gate is ‘open’. If the signal falls below the threshold no

signal is allowed to pass (or the signal is substanally aenuated) and the gate is ‘closed’. The available noise gate pedals are:

•DigiTech Auto Swell Gate

This noise gate will also let you set the threshold of the noise oor,

but instead of a strict feel of “opening and closing” the gate, you get

more of an auto volume swell eect making it a smoother transion

between the open and closed posions.

•DigiTech Silencer Noise Gate

This noise gate allows you to reduce line noise when the signal level

falls below the set threshold.

Pedals – Noise GatesPedals – Noise Gates

63

Phasers

A phaser splits the incoming signal, and then changes the phasing of the signal. This signal is then taken in and out of phase

and mixed back in with the original signal. As the phasing changes, dierent frequencies get canceled resulng in a warm sort

of twisng sound. The available phaser pedals are:

•A Phase

(Modeled after MXR® Phase 100)

Another industry standard in phase pedals with it’s own unique tones.

It has a simplisc 2 knob control panel (Intensity and Speed). Along

with the speed control that controls the speed of the Phase sweep,

the Intensity knob selects four dierent intensies, dened as preset

waveform paerns. Between the intensity and speed sengs, you’ll

nd quite a supply of excellent sounds!

•DigiTech Phaser

This phaser will give you the standard phaser tone and opons for

controlling it via the Speed, Depth, Regeneraon, and Level sengs.

•DigiTech Triggered Phaser

Like the Triggered Chorus, you can set the threshold of the sensivity

knob to dictate how loud the guitar signal must be before the phaser

will be triggered. Then using the LFO Start knob, you can set where in

the range of the phaser you would like it to start from.

•Stone Phase

(Modeled after Electro-Harmonix® Small StoneTM)

The Small Stone’s full-bodied, 3-dimensional phasing adds a special

swirl to every musical style. Blues players dig its rapidly rotang speaker

eect while Country players use it to add seasoning to their chicken’

pickin’. Metal-heads and Industrialists dig the Stone’s jet plane woosh.

Its simplisc 2 knob control panel (Rate and Color) make it easier to

dial in a quick phaser tone that will be just right for you!

Pedals – PhasersPedals – Phasers

64

Pitch

The iPB-10 comes equipped with eects to manipulate your pitch and do incredible things with it like harmonize both intelligently

and by using standard semitones, detune, and do cool eects by raising and/or lowering your original notes from 2 octaves

down to 2 octaves up! The available pitch eect pedals are:

•DigiTech Detune

A Detuner makes a copy of your incoming signal, makes the copied

signal slightly out of tune from the original, then mixes the two signals

together. The result is a doubling type of eect as if two guitars were

playing the same part together.

•DigiTech Harmony

Harmony Pitch Shiing makes a copy of the incoming signal, and then

changes the pitch of the copied note to a diatonically correct interval

specied by the Amount parameter. A Harmony Pitch Shier sharpens

or aens the shied pitch in order to keep the specied interval

within the selected key and scale creang a true harmony.

•DigiTech Pitch Shift

A pitch shier copies the incoming signal, then shis the pitch of the

copy to a dierent note. The shied note is then mixed back with the

original signal, sounding as if two guitars were playing dierent notes.

•DigiTech WhammyTM

The DigiTech Whammy is an eect that uses an Expression Pedal to

bend the pitch of the incoming signal, or add a bendable harmony

with the original signal. As the Pedal is moved, the note bends either

up or down.

•Octave

(Modeled after Boss® OC-2 Octaver)

Based on the Boss® OC-2 Octaver, this pedal adds two signals to your

original guitar signal. The rst is one octave below your guitar, and the

second is two octaves below your guitar. Each addional signal has its

own volume control.

Pedals – PitchPedals – Pitch

65

Tremolo/Panner

A tremolo eect modulates the volume of the signal at an even rate. The available tremolo pedals are:

•Bias Tremolo

(Modeled after Vox® Bias Tremolo)

Another way to achieve a tremolo eect is to alter the bias of the

poweramp tubes. This Vox® Bias Tremolo produces the volume and

tone eects to create a tone heard on many famous Brish tunes.

•DigiTech Panner

This pedal pans the sound from side to side. The speed controls how

fast the panning occurs and the depth controls how much of the signal

is panned.

•DigiTech Scatter Tremolo

The Scaer Tremolo combines two tremolos that are “out of sync”,

producing an unpredictably scaered tremolo sound.

•DigiTech Tremolo

This tremolo is a volume changing eect that can be heard on surf and

country classics.

•Opto Tremolo

(Modeled after Fender® Opto Tremolo)

The sound of the Fender® Opto Tremolo is as classic as their amps.

Both tone shi and volume eects are produced to create this unique

tone.

Pedals – Tremolo/PannerPedals – Tremolo/Panner

66

Envelope/Special

The DigiTech® Envelope Filter is a dynamic wah eect that alters your sound based upon how hard you play. The available

envelope/special eect pedals are:

•DigiTech Auto YahTM

An Auto YaTM combines the characteriscs of a wah and a anger,

creang an almost human vowel characterisc as if the guitar were

saying “Yah.” The Auto Ya automacally provides this animaon to the

sound at an even rate.

•DigiTech Envelope Filter

An envelope lter is also called an “auto-wah” for its wah eect. The

amount of wah is dependent upon the output volume of your guitar

– the harder you play, the more wah you get. A denite B-Movie

soundtrack tone.

•DigiTech Sample/Hold

Using a changing lter, the Sample/Hold produces skipping tones

that can be heard in experimental and alternave music (it creates

an “electronic” or “roboc” type sound). Best used with distoron in

front of the eect.

•DigiTech Step Filter

The Step Filter changes frequency in related paerns much like a

sample and hold eect. It’s like an automac “random wah” with a

square waveform.

•DigiTech Synth TalkTM

Another DigiTech rst, the Synth TalkTM makes your guitar appear to

speak (creang vowel like qualies) based upon the dynamics of your

playing style.

•DigiTech Ya YaTM

The Ya YaTM is another eect exclusive to DigiTech products. Like the

Auto Ya, it combines the characteriscs of a wah and a anger, providing

a unique talk box type of eect, but is controlled by the Expression

Pedal.

•DOD® FX25 Envelope Filter

The DOD® FX25 is a classic analog envelope lter that can be found

on many funk and alternave tracks. Used by both guitar and bass

players. Try this one clean for a really funky sound.

Pedals – Envelope/SpecialPedals – Envelope/Special

67

Reverbs

Using reverb in recorded program material gives the listener a sense that the material is being performed in an actual room or

hall. It is this similarity to actual acousc spaces that makes reverberaon a useful tool in recorded music. The iPB-10 features

genuine Lexicon® reverbs, whose rich, lush eects have been heard in countless songs, soundtracks, and live performances for

decades. The available reverb pedals are:

•240 Plate

(Modeled after EMTTM 240 Plate Reverb)

The EMT Plate Reverb is the reference reverb to which all studio reverbs

are compared. Using a large sheet of metal, one end of the “plate”

was excited by a transducer and the sound would then travel through

the plate to the other side where the delayed tone was received. The

frequency response and dynamics of the signal would change when

traveling through the plate, creang a reverb eect.

•Lexicon® Ambience

The Lexicon Ambience reverb is full, bright and produces ambience

around or behind your guitar signal.

•Lexicon Hall

The largest of the Lexicon reverbs, the Hall produces lush reverbs with

a swirling decay unlike any other reverbs today.

•Lexicon Room

A great eect for simulang a small room, the Lexicon Room simulates

small isolaon rooms which are found in many recording studios today.

•Lexicon Studio

Larger than the Room reverb, the Studio reverb is the Lexicon studio

standard reverb algorithm.

•Spring

(Modeled on a Fender® Twin ReverbTM)

The tone and reacon of the Spring reverb is captured! Surf’s up, the

best seng is at maximum - Cowabunga.

Pedals – ReverbsPedals – Reverbs

68

Vibrato/Rotary

The DigiTech Vibrato eect modulates the pitch of the incoming signal at an even rate. The Rotary emulates a device that

included a spinning horn and woofer. The rotaon of these two speakers produced an interesng combinaon of the sound

panning from side to side. This produced a slight pitch change due to the speed of the sound coming towards, and then going

away from the listener. The available vibrato/rotary eect pedals are:

•DigiTech Rotary

Rotary is an eect that simulates the Doppler eect and volume

uctuaons of a rotary speaker. The sound is lush and full.

•DigiTech Vibrato

Vibrato produces volume and tone change characteriscs that can be

found on surf and country classics.

•DigiTech Vibro Pan

The Vibro Pan not only changes volume but shis it side to side. This

eect is great for stereo setups.

•Uno-Vibe

(Modeled after UnicordTM Uni-VibeTM)

The Uno-Vibe creates a chorus type eect in tandem with vibrato,

producing a lush swirling eect.

Pedals – Vibrato/RotaryPedals – Vibrato/Rotary

69

Wah

Wah is an eect controlled by an Expression Pedal making the guitar sound as if it’s saying “Wah.” The available wah pedals

are:

•DigiTech® Full Range Wah

DigiTech’s Full Range Wah sweeps the enre spectrum of audible

frequencies, giving you the most range of tone from the wah pedal.

•Clyde Wah

(Modeled after Vox® Clyde McCoyTM Wah)

This wah pedal was the “original” and was designed to try to emulate

the sound of a muted trumpet. Clyde McCoy was a trumpet player

that had asked Vox for a device that could make an instrument sound

like his muted trumpet. This wah has a “thinner” tone and sweeps

more of the upper end of the audible frequency spectrum.

•Cry Wah

(Modeled after Dunlop® CrybabyTM Wah)

This wah pedal is the more “tradional” sounding wah pedal that you

have heard in the 60’s to the 80’s guitar solos. This wah sweeps the

lower to mid range frequencies.

Pedals – WahPedals – Wah

70

1. Recto

2. Cool Chorus

3. Solo Delay

4. Boogie Man

5. Smooth Jazz

6. Plexi-Drive

7. Super Clyde

8. Vox Delay

9. Whammy Lead

10. Acousc

11. PdlBrd1 Overdrive

12. PdlBrd1 ODChorus

13. PdlBrd1 ODPhsDly

14. PdlBrd1 OD Delay

15. PdlBrd1 OD Reverb

16. PdlBrd2 Whammy

17. PdlBrd2 EQ Boost

18. PdlBrd2 Dirty Flanger

19. PdlBrd2 Tape Delay

20. PdlBrd2 Spring

21. Big N Bad

22. Metal Head

23. Metal Clean

24. Moshmellow

25. L O G

26. Solo Dude

27. Black Label

28. Angel Of Death

29. Into The Void

30. Killer

31. Backwards

32. Punkish

33. Funky Clean

34. Rumble

35. Hazy

36. Wahs Up

37. Fazed Out

38. Echo Head

39. Fuzz King

40. Jump Panel

41. Blues

42. Stevie Ray

43. Blues

44. Big ‘n Blue

45. Blues

46. Hair Day

47. Ballad

48. Rock Stack

49. Big Strum

50. Greaser Solo

51. Hot Rod

52. Cool Clean

53. Hot Rhythm

54. Undone

55. Big Room

56. Reced

57. Strange Ways

58. Twang

59. Heavy

60. Rock Lead

61. Rhapsody

62. Gilmour

63. Hendrix

64. Satch

65. DC/AC

66. Sand Man

67. Woman Tone

68. Rockabilly

69. U2 Delay

70. Cli Notes

71. Drivin’

72. Chickn’ Pickn’

73. Crunchy

74. Spankin

75. Cowboy

76. Citrus

77. Legacy

78. Bass Man

79. Brish 45

80. Twin Reverb

81. Smoothy

82. Mr Clean

83. Swell

84. Octaved

85. 5THS

86. Arch Top

87. Fused

88. Chimey

89. Comp Clean

90. Lively

91. Steppin

92. Guitar 2 Bass

93. Der Ya

94. Flangtasc

95. Spacelter

96. Stellar

97. Reversal

98. Analog Boy

99. Stuer

100. Dive Bomb

Preset ListPreset List

71

If you experience a problem with the iPB-10 hardware, you can try performing the factory hard reset procedure listed below.

iPad Connected

1. Turn o the power to the iPB-10 processor by pressing the Power Switch on the back panel.

2. Press and hold Footswitch A then power on the iPB-10 – keep Footswitch A held down unl you see ‘Fr’ in the LED

display, then release.

3. Press and hold Footswitch A again unl the display reads ‘rS’, then release.

4. Wait for the processor to go through its sequence. When the reset is complete, the iPad will resync all presets with the

iPB-10 hardware.

5. Once preset sync is complete, the iPB-10 Expression Pedal will need calibraon. Follow the On-Screen Instrucons

to calibrate the Expression Pedal.

iPad Disconnected

1. Turn o the power to the iPB-10 processor by pressing the Power Switch on the back panel.

2. Press and hold Footswitch A then power on the iPB-10 – keep Footswitch A held down unl you see ‘Fr’ in the LED

display, then release.

3. Press and hold Footswitch A again unl the display reads ‘rS’, then release.

4. Aer a few moments, ‘Td’ will appear in the display and the Footswitch 5 LED will begin ashing. Rock the

Expression Pedal completely forward (toe down) then press Footswitch 5.

5. When ‘tU’ appears in the display, rock the Expression Pedal completely back (toe up) and press Footswitch 5.

6. A numeric value will now appear in the LED display indicang the Expression Pedal V-Switch sensivity. Press rmly on

the Expression Pedal Toe. Use the Bank Up and Bank Down Footswitches to ne tune the V-Switch sensivity.

7. Press Footswitch 5 to complete the procedure.

8. Once the iPad is reconnected, it will sync and reassign all factory tones back to the iPB-10 footswitches.

Factory Hard ResetFactory Hard Reset

WARNING! Performing the factory hard reset procedure will restore the iPB-10 tones to their

factory state. Aer performing a factory hard reset, you can connect the iPad and launch the

iPB-Nexus app to restore your previous sengs.

72

SpecificationsSpecifications

Analog Input Connections

Guitar Input

Impedance: 1M Ohms

Maximum Input Level: +8 dBu

Stompbox Loop Input

Impedance: 475K Ohms

Maximum Input Level: +8 dBu

Amp Loop Input

Impedance: 16K Ohms

Maximum Input Level: +8 dBu

Analog Output Connections

Line Outputs

Impedance: 1K Ohms unbalanced/2K Ohms balanced

Maximum Output Level: +8 dBu

XLR Mixer Outputs

Impedance: 2k Ohms balanced

Maximum Output Level: +14 dBu

Stompbox Loop Output

Impedance: 600 Ohms unbalanced/1.2K Ohms balanced

Maximum Output Level: +8 dBu

Amp Loop Output

Impedance: 600 Ohms unbalanced/1.2K Ohms balanced

Maximum Output Level: +8 dBu

Headphone Output

Minimum Headphone

Impedance: 50 Ohms

USB

Standard: 2.0 compliant

Audio Streaming: 2 channels to computer, 2 channels from

computer

Sample Rate: 44.1 kHz

Word Length: 24-bit

General

Simultaneous Pedals: 10

Preset Memory: 100 Tones

Dimensions: 19.5˝ Length x 10.75˝ Width x 3.75˝ Height

Unit Weight: 11.5 lbs

Power

Voltage Rails: +/-15V

Power Requirements: 9 V DC 2.0 A

Power Adapter: PS0920DC-01 (100-240 V AC, 50/60 Hz)

DECLARATIONOFCONFORMITY

Manufacturer’s Name: DigiTech

Manufacturer’s Address: 8760 S. Sandy Parkway

Sandy, Utah 84070, USA

declares that the product:

Product name: iPB - 10

Product opon: all (requires Class II power adapter that conforms to the

requirements of EN60065, EN60742, or equivalent.)

conforms to the following Product Specicaons:

Safety: IEC 60065 -01+Amd 1

EMC: EN 55022:2006

EN 55024:1998

FCC Part 15

Supplementary Informaon:

The product herewith complies with the requirements of the:

Low Voltage Direcve 2006/95/EC

EMC Direcve 2004/108/EC.

RoHS Direcve 2002/95/EC

WEEE Direcve 2002/96/EC

EC Regulaon 278/2009

With regard to Direcve 2005/32/EC and EC Regulaon 1275/2008 of 17 December

2008, this product is designed, produced, and classied as Professional Audio

Equipment and thus is exempt from this Direcve.

Roger Johnsen

Director, Engineering

Signal Processing

8760 S. Sandy Parkway

Sandy, Utah 84070, USA

Date: June 30, 2011

European Contact: Your local DigiTech Sales and Service Oce or

Harman Signal Processing

8760 South Sandy Parkway

Sandy, Utah

84070 USA

Ph: (801) 566-8800

Fax: (801) 568-7583

ELECTROMAGNETICCOMPATIBILITY

This device complies with part 15 of the FCC Rules and the

Product Specicaons noted on the DeclaraonofConformity.

Operaon is subject to the following two condions:

• this device may not cause harmful

interference, and

• this device must accept any interference

received, including interference that may

cause undesired operaon.

Operaon of this unit within signicant

electromagnec elds should be avoided.

• use only shielded interconnecng cables.

If you want to dispose this product, do not mix it with general household waste. There is a

separate collection system for used electronic products in accordance with legislation that

requires proper treatment, recovery and recycling.

Private household in the 25 member states of the EU, in Switzerland and Norway may return their used

electronic products free of charge to designated collection facilities or to a retailer (if you purchase a similar

new one).

For Countries not mentioned above, please contact your local authorities for a correct method of disposal.

By doing so you will ensure that your disposed product undergoes the necessary treatment, recovery and

recycling and thus prevent potential negative effects on the environment and human health.

Compliance InformationCompliance Information

Disclaimer: DigiTech, Production Modeling, Grunge, Death Metal, Jimi HendrixTM Artist Series Pedal, DOD, Gonkulator, DigiTech Whammy, Multi Chorus, Auto Ya, YaYa, Synth

Talk, Lexicon, Johnson Amplification and AudioDNA are trademarks of Harman. *Other product names modeled in this product are trademarks of their respective companies

that do not endorse and are not associated or affiliated with DigiTech or Harman. ADA Flanger, Arbiter Fuzz Face, Boss CE-2 Chorus, Boss CS-2, Boss DM-2, Boss DS-1,

Boss Metal Zone, Boss OC-2 Octaver, Boss OD-1, Boss SD-1, Celestion, Carvin Legacy, Demeter Fuzzulator, Dunlop Cry Baby, EH Big Muff ?, EH Electric Mistress, EH Small

Clone, EH SmallStone, EMT 240 Plate, Fender Blackface Deluxe Reverb, Fender Blackface Twin Reverb, Fender Blonde Bassman, Fender Brownface Bassman, Fender Opto

Tremolo, Fender Tweed Bassman, Fender Tweed Champ, Fender Tweed Deluxe, Fender Twin Reverb, Fulltone OCD Overdrive, Gibson GA-40, Guyatone Overdrive, Hiwatt,

Ibanez Tube Screamer, Jensen Blue Backs, Laney Supergroup, Maestro EP-2, Marshall, Marshall JTM-45, Marshall JumpPanel, Marshall Master Volume, Marshall SuperLead,

Matchless, Matchless Chieftain, Mesa/Boogie, .22 Caliber, Mark II, Mark IV, Dual Rectifier, Triple Rectifier, MXR, MXR Distortion +, MXR DynaComp, MXR Flanger, MXR

Phase 100, Orange OR120, Peavey 5150, ProCo Rat, Randall HT-100, Roger Mayer Octavia, Roland JC-120, Soldano, Sunn 100S, TC Electronic Chorus, Unicord Uni-Vibe,

VHT Amplification, Voodoo Labs Analog Chorus, Voodoo Labs Sparkle Drive, Vox, Vox Bias Tremolo, Vox Clyde McCoy Wah, and Vox Top Boost are trademarks or trade

names of other manufacturers and were used merely to identify products whose sounds were reviewed in the creation of this product. All other trademarks are the

property of their respective holders. Copyright - Harman. All rights reserved.

8760 South Sandy Parkway

Sandy, Utah 84070

PH (801) 566-8800

FAX (801) 566-7005

http://www.digitech.com

DigiTech® is a registered trademark

of Harman

Copyright - Harman

iPB-10 Owner’s Manual v0.5

iPad is a trademark of Apple Inc., registered in the

U.S. and other countries.