Millennium Enterprises Stereo150 Users Manual Millenium 18 2195 B

Stereo150 to the manual 5aca9756-9686-4cac-891d-df1424f12d74

2015-02-09

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Integrated Modeling Amplifier

User’s Guide
Please visit Johnson Amplification on the World Wide Web at http://www.digitech.com

WARNING

CAUTION

FOR YOUR PROTECTION, PLEASE READ THE FOLLOWING:

RISK OF ELECTRIC SHOCK
DO NOT OPEN

A T T E N T I O N : RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR
W A R N I N G : TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
The symbols shown above are internationally accepted symbols that warn of potential
hazards with electrical products.The lightning flash with arrowpoint in an equilateral
triangle means that there are dangerous voltages present within the unit.The
exclamation point in an equilateral triangle indicates that it is necessary for the user to
refer to the owner’s manual.
These symbols warn that there are no user serviceable parts inside the unit. Do not
open the unit. Do not attempt to service the unit yourself. Refer all servicing to
qualified personnel. Opening the chassis for any reason will void the manufacturer’s
warranty. Do not get the unit wet. If liquid is spilled on the unit, shut it off immediately
and take it to a dealer for service. Disconnect the unit during storms to prevent
damage.

WATER AND MOISTURE: Appliance should not be used near water (e.g. near a bathtub,
washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc). Care
should be taken so that objects do not fall and liquids are not spilled into the enclosure
through openings.
POWER SOURCES: The appliance should be connected to a power supply only of the
type described in the operating instructions or as marked on the appliance.
GROUNDING OR POLARIZATION: Precautions should be taken so that the grounding
or polarization means of an appliance is not defeated.
POWER CORD PROTECTION: Power supply cords should be routed so that they are
not likely to be walked on or pinched by items placed upon or against them, paying particular
attention to cords at plugs, convenience receptacles, and the point where they exit from the
appliance.
SERVICING: To reduce the risk of fire or electric shock, the user should not attempt to
service the appliance beyond that described in the operating instructions. All other servicing
should be referred to qualified service personnel.
FOR UNITS EQUIPPED WITH EXTERNALLY ACCESSIBLE FUSE
RECEPTACLE: Replace fuse with same type and rating only.

U.K. MAINS PLUG WARNING

ELECTROMAGNETIC COMPATIBILITY

A moulded mains plug that has been cut off from the cord is unsafe. Discard the mains
plug at a suitable disposal facility. NEVER UNDER ANY CIRCUMSTANCES
SHOULD YOU INSERT A DAMAGED OR CUT MAINS PLUG INTO A 13
AMP POWER SOCKET. Do not use the mains plug without the fuse cover in place.
Replacement fuse covers can be obtained from your local retailer. Replacement fuses
are 13 amps and MUST be ASTA approved to BS1362.

This unit conforms to the Product Specifications noted on the Declaration of
Conformity. Operation is subject to the following two conditions:
• this device may not cause harmful interference, and
• this device must accept any interference received, including interference that
may cause undesired operation. Operation of this unit within significant electromagnetic fields should be avoided.
• use only shielded interconnecting cables.

SAFETY INSTRUCTIONS

LITHIUM BATTERY WARNING

NOTICE FOR CUSTOMERS IF YOUR UNIT IS EQUIPPED WITH A
POWER CORD.

CAUTION!
This product may contain a lithium battery.There is danger of explosion if the battery is
incorrectly replaced. Replace only with an Eveready CR 2032 or equivalent. Make sure
the battery is installed with the correct polarity. Discard used batteries according to
manufacturer’s instructions.
ADVARSEL!
Lithiumbatteri - Eksplosjonsfare.Ved utskifting benyttes kun batteri som anbefalt av
apparatfabrikanten. Brukt batteri returneres apparatleverandøren.
ADVARSEL!
Lithiumbatteri - Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med
batteri av samme fabrikat og type. Levér det brugte batteri tilbage til leverandøren.
VAROITUS!
Paristo voi räjähtää, jos se on virheellisesti asennettu.Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppin. Hävitä käytetty paristo valmistajan ohjeiden
mukaisesti.
VARNING!
Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ
som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens
instruktion.

WARNING: THIS APPLIANCE MUST BE EARTHED.
The cores in the mains lead are coloured in accordance with the following code:
GREEN and YELLOW - Earth

BLUE - Neutral

BROWN - Live

As colours of the cores in the mains lead of this appliance may not correspond with
the coloured markings identifying the terminals in your plug, proceed as follows:
• The core which is coloured green and yellow must be connected to the
terminal in the plug marked with the letter E, or with the earth symbol, or
coloured green, or green and yellow.
• The core which is coloured blue must be connected to the terminal marked N
or coloured black.
• The core which is coloured brown must be connected to the terminal marked
L or coloured red.
This equipment may require the use of a different line cord, attachment plug, or both,
depending on the available power source at installation. If the attachment plug needs
to be changed, refer servicing to qualified service personnel who should refer to the
table below. The green/yellow wire shall be connected directly to the unit's chassis.

CONDUCTOR

WIRE COLOR

Line

Brown

Black

Neutral

Blue

White

Earth Grnd.

Green/Yel.

Green

WARNING: If the ground is defeated, certain fault conditions in the unit or in the
system to which it is connected can result in full line voltage between chassis and
earth ground. Severe injury or death can then result if the chassis and earth ground are
touched simultaneously.

Johnson Millennium

DECLARATION OF CONFORMITY
Manufacturer’s Name:
Manufacturer’s Address:

declares that the product:
Product Name:
Product Options:

Johnson Amplification
8760 S. Sandy Parkway
Sandy, Utah 84070, USA

Johnson Millennium Stereo 150
All

conforms to the following Product Specifications:
Safety:

EN 60065 (1993)
IEC 65 (1985) with Amendments 1, 2 & 3

EMC:

EN 55013 (1990)
EN 55020 (1991)

Supplementary Information:
The product herewith complies with the requirements of the Low Voltage Directive 73/23/EEC and EMC
Directive 89/336/EEC as amended by Directive 93/68/EEC.
.
Johnson Amplification
President of Johnson Amplification
8760 S. Sandy Parkway
Sandy, Utah 84070, USA
Tel: 801.566.8800
Fax: 801.566.7005
Effective June 15, 1997
European Contact: Your Local Johnson Amplification Sales and Service Office or
International Sales Office
3 Overlook Drive #4
Amherst, New Hampshire 03031, USA
Tel: 603.672.4244
Fax: 603.672.4246

User Guide

Johnson Millennium

Quick Start
For those of you who prefer to burn now and read later, we've included this Quick Start section to get you up and running.

Connect Cables:
Connect guitar into the Bright or Normal input jacks. If an extension cabinet is to be used, connect an un-shielded speaker cable to the
extension speaker cabinet output (located on the rear panel of the Millennium) and run into the desired extension speaker cabinet (such as the
Johnson Amplification 2-12 HB) with a 4ohm minimum requirement per channel .

Connect J-3 Multi-Function Footswitch:
Connect the included J-3 Footswitch to the J-3 insert on the rear panel of the Millennium. The three footswitches can be programmed to
perform several functions. From the factory, the footswitches will A-B Channel Switch and change presets Up and Down.

Connect Johnson Amplification J-12 Foot Controller (if applicable)
Connect the output of the optional Johnson Amplification J-12 to the Foot Controller jack found on the rear of the Millennium. Make sure that
connection is made before applying power to the Millennium.
WARNING: DO NOT CONNECT ANYTHING BUT THE OPTIONAL JOHNSON AMPLIFICATION J-12 FOOT CONTROLLER TO THE FOOT
CONTROLLER JACK ON THE REAR PANEL! DOING SO MAY DAMAGE THE DEVICE.

MIDI control of the Millennium can be done by connecting MIDI controller devices to the MIDI In jack on the rear panel.

Apply Power:
Note: When applying power to the Millennium, it is recommended that the and be turned down prior to
powering up the unit.

Adjust Input and Output:
Use the level knob on the front panel to adjust the Input level, so that the loudest guitar signal occasionally lights the clip LED
indicator. Now adjust the level knob on the front panel of the Millennium to the desired output level .

Select Preset:
Begin playing your guitar, and choose any preset using the wheel. User Presets 1-100 are duplicates of the Factory Presets.
They are user-programmable. You can modify and store them as you want. Factory Presets 1-100 are not user-programmable and cannot be
overwritten.

User Guide

Johnson Millennium

Table of Contents
Safety Information
Declaration of Conformity................................................................i
Quick Start........................................................................................ii
Table of Contents ............................................................................iii

Section 1 - Introduction
Congratulations ................................................................................1
Included Items..................................................................................1
Product Features ..............................................................................1
Warranty ..........................................................................................2
A Quick Tour of the Millennium..................................................3
The Front Panel............................................................................3
The Rear Panel..............................................................................7
Integrated Amplifier Modeling ....................................................8
A-B channel switching ................................................................8
The Digital Effects Section ..........................................................9
Digital Effects ..........................................................................9
Real-Time Modifiers ................................................................9
Basic Specs................................................................................10
Programmable FX Loop ............................................................10
Signal Flow................................................................................10
Foot Controller Compatibility......................................................11
Module Types ..............................................................................12
Module Sizes ................................................................................12

User Guide

Section 2 - Setting Up
Making Connections ......................................................................13
Millennium into Extension Speaker Cabinets ............................13
Millennium direct with the XLR Programmable Speaker Cabinet
Emulator ......................................................................................14
Getting Around the Operating System........................................15
Preset Mode..................................................................................15
FX Edit Mode................................................................................15
Utility Mode..................................................................................15
Assign Mode ................................................................................15
Getting Sounds ..............................................................................16
Selecting A Preset ..........................................................................19
Using the Tuner..............................................................................19

Section 3 - Editing Presets
Naming/Storing Presets ................................................................21
Editing a Preset ..............................................................................23
Editing Integrated Amplifier Modules ........................................23
Editing the Analog Wah Module ..................................................25
Editing the Noise Gate module....................................................26
Selecting FX Configurations ........................................................27
Editing Digital FX ........................................................................27
Changing Effect Modules ............................................................28
Selecting Effect Defaults ..............................................................28
Adjusting FX Module Parameters ................................................28
Custom Defaults ..........................................................................28
Comparing Changes ....................................................................29

III

Johnson Millennium

Section 4 - Editing Modules

Section 5 - Advanced Topics

Storing/Naming Defaults ..................................................................30
Editing a Module ..............................................................................31
Output Module Functions................................................................32
Effect Module Size and Type List ....................................................33
Effect Default List ............................................................................34

Assigning Modifiers ..........................................................................56
MIDI CC........................................................................................56
LFO ..............................................................................................56
Dynamic........................................................................................56
External Expression Pedals ..........................................................57
Linking a Parameter to a Modifier ..............................................57
Setting up an LFO and a Dynamic Modifier ................................58
Morphing Pedal Assignments ......................................................59
Volume Pedal Assignment............................................................60
MIDI Functions
MIDI Channels ............................................................................62
MIDI Merging ..............................................................................62
MIDI Receive Map ........................................................................62
MIDI Transmit Map......................................................................62
SysEx Device Channels ................................................................63
SysEx Dumps................................................................................64
Preset Dump ................................................................................64
Bulk Dump ..................................................................................65
System Dump ..............................................................................65
Other Utility Functions
Resetting to Factory Settings........................................................66
Global-Local Cabinet Emulator....................................................66
Output Mode................................................................................67
J-3 Footswitch Set-Up ..................................................................67

Effect Library ................................................................................35
Amplifier Section
Analog Wah ..................................................................................35
Amplifier Models ..........................................................................35
Noise Gate ....................................................................................36
Digital Effects Section
Reverbs ........................................................................................37
Chorus & Flangers........................................................................40
Phasers ........................................................................................44
Rotary Speaker Simulator ............................................................45
Tremolo & Auto Panner ..............................................................46
Pitch Shifters ................................................................................47
Detuners ......................................................................................48
Delays ........................................................................................50
Equalizers ....................................................................................51
Multi Effect Modules ....................................................................53
Whammy Effects ..........................................................................54
Auto Wah ......................................................................................55

User Guide

Johnson Millennium

Section 6 - Using the Johnson Amplification J-12
Foot Controller
Configuring the Pedalboard ............................................................68
Connecting the J-12 ....................................................................68
Expression Pedal Names ..............................................................68
Assigning Functions ....................................................................69
Preset to Footswitches ................................................................69
Parameters to Footswitches/Expression Pedal ............................70
Other Footswitch Functions ........................................................71
Assigning MIDI Control to the Exp. Pedal ..................................71
Toggle MIDI CC ..........................................................................71
Assigning CC Numbers to Expression Pedals ..............................72
CC Transmit Channel ..................................................................73
Other Pedalboard Tidbits ............................................................75
Bank Up/Tuner & Bank Down/Bypass Footswitches..................75
Using the Tuner ..........................................................................75
Naming Banks ..............................................................................75
Un-Linking or Viewing Assignments ..........................................76

Section 7 - Appendix
Factory Preset List ........................................................................77
Preset Descriptions ......................................................................79
Effect Configuration Chart ..........................................................85
Harmony Interval Charts..............................................................86
Specifications................................................................................87
MIDI Implementation Chart ........................................................88

User Guide

SysEx Implementation Guide ......................................................89
MIDI Basics ..........................................................................89
General Format ....................................................................90
Procedures ............................................................................90
Request One Preset - 01(h) ..................................................91
Receive One Preset - 42(h) ..................................................91
Request Bulk Dump - 49(h) ................................................91
Receive Bulk Dump - 57(h) ..................................................91
Request Utility Settings - 11(h) ............................................91
Receive Utility Settings - 12(h) ............................................92
Request Parameter Value - 17(h)..........................................92
Receive Parameter Value - 18(h) ..........................................92
Request All Current Parameter Values - 23(h) ....................92
Receive All Current Parameter Values for current preset ....93
Request Module Configuration-25(h) ..................................93
Respond Module Configuration-26(h) ................................93
Receive Key Scan Code - 54(h) ............................................94
Receive Key Accepted - 56(h) ..............................................94
Select One Preset - 1F(h)......................................................94
Reset Preset - 20(h) ..............................................................95
Reset Device - 21(h)..............................................................95
Reset Factory Settings - 22(h) ..............................................95
Request User Defaults - 13(h) ..............................................95
Receive User Defaults - 14(h) ..............................................95
Key Scan Codes ....................................................................96
SysEx Preset Dump Example ................................................97
FX Modules and Parameter Codes ......................................98

Johnson Millennium

User Guide

Johnson Millennium

Section -1 Introduction

Section-1 Introduction
Congratulations...
... you are now the proud owner of a Johnson Millennium Stereo 150 Amplifier, the most powerful, flexible, and easy-to-use Integrated Modeling
Amplifier ever produced. Your Millennium has set the new standard for all other Amplifiers/Multi-effect processors to follow.
This owner's manual is your key to understanding the powerful world of the Millennium. Read it carefully. After you've had time to familiarize yourself
with the unit, try experimenting with unusual effect combinations. You are certain to achieve sounds never thought possible before. Good luck, and
thank you for choosing Johnson Amplification.
Your Millennium was carefully assembled and packaged at the factory. Before you proceed any further, make sure the following items are included:

• (1) Owner’s Manual
• (1) Johnson Amplification Millennium Stereo 150 Amplifier
• (1) J-3 Multi-Function Footswitch
• (1) Johnson Amplification warranty card
Please save all packing materials. They were designed to protect the unit from damage during shipping. In the unlikely event that the unit requires
service, use only the factory supplied carton to return the unit.

Millennium Features:
• 150 Watts (75 per side) power- amp section

• Instant module access

• 2 - Vintage 30 Celestion speakers

• Exclusive Dynamic Parameter Control

• Exclusive Johnson Amplification Integrated Amplifier Modeling

• Programmable Speaker Cabinet Emulator XLR outputs

which instantly lets you access the some of most popular Vintage

• Chromatic tuner

and Modern Amplifier types available

• Full MIDI Implementation

• Dual Tube Preamp (12AX7)

• All effects and parameters available for MIDI continuous control

• Full bandwidth effects (20-20kHz)

• 2 Expression Pedal insertion jacks to add external CC pedals for

• 24-bit signal path, 48-bit internal data path

additional assigning options

• Up to 4 digital effects at once

• A-B Channel switching

• S-DISC II ® Processing

• J-3 Multi-function footswitch (included)

• Flexible, easy-to-use effect routing

• Upgradable System Software (via the MIDI In port)

• Effects can be repeated in a chain,

• Optional Johnson Amplification J-12 foot controller with 2 built-in

(e.g. EQ + flange + EQ + pitch shift)

User Guide

Expression Pedals for ultimate programmability and control.

Section -1 Introduction
We at Johnson

Johnson Millennium

Amplification are very proud of our products and back-up each one we sell with the following warranty:

1. The warranty registration card must be mailed within ten days after purchase date to validate this warranty.
2. Johnson Amplification warrants this product, when used solely within the U.S., to be free from defects in materials and workmanship
under normal use and service.
3. Johnson Amplification liability under this warranty is limited to repairing or replacing defective materials that show evidence of defect,
provided the product is returned to Johnson Amplification WITH RETURN AUTHORIZATION, where all parts and labor will be covered
up to a period of one year. A Return Authorization number may be obtained from Johnson Amplification by telephone. The company
shall not be liable for any consequential damage as a result of the product's use in any circuit or assembly.
4. Proof-of-purchase is considered to be the burden of the consumer.
5. Johnson Amplification reserves the right to make changes in design, or make additions to, or improvements upon this product without
incurring any obligation to install the same on products previously manufactured.
6. The consumer forfeits the benefits of this warranty if the product's main assembly is opened and tampered with by anyone other than a
certified Johnson Amplification technician or, if the product is used with AC voltages outside of the range suggested by the
manufacturer.
7. The foregoing is in lieu of all other warranties, expressed or implied, and Johnson Amplification neither assumes nor authorizes any
person to assume any obligation or liability in connection with the sale of this product. In no event shall Johnson Amplification or its
dealers be liable for special or consequential damages or from any delay in the performance of this warranty due to causes beyond
their control.
Johnson Amplification™, S-DISCII™, Whammy™, and Silencer II™ are registered trademarks of the Harman Music Group Incorporated.

NOTE: The information contained in this manual is subject to change at any time without notification. Some information contained in this
manual may also be inaccurate due to undocumented changes in the product or operating system since this version of the manual was
completed. The information contained in this version of the owner's manual supersedes all previous versions.

User Guide

Johnson Millennium

Section -1 Introduction

A Quick Tour of the Millennium
The Front Panel
1

2 3

4 a-e

5 a-f

6 7

11 a-f

17-a-f

1) Bright and Normal Inputs - The 1/4” inputs of the Millennium allow you to select between Bright (top) and Normal (bottom). The Bright
produces a slightly brighter sound, where as the Normal input provides a normal input color.
2) Input level Control - This knob controls the overall input level of the Millennium. A recommended setting for this knob would be to turn
the level up enough so that the Millennium clip LED occasionally lights.
3) Clip LED- This Clip LED tells you that the input level is set too high and there is internal input level clipping.

4) Amp Controls- These 5 knobs control all of the Amplifier EQs and levels. These controls are as follows:
4a) Gain - This knob controls the overall distortion gain level of the Amplifier models that use distortions, and controls the volume of
Amplifier Models that have clean tones. Values range from 0.0 to 10.
4b) Treble - This knob is used to control the Treble frequency of the selected preset. Values range from 0.0 to 10.
4c) Mid - This knob is used to control the Mid frequency of the selected preset. Values range from 0.0 to 10.
4d) Bass - This knob is used to control the Bass frequency of the selected preset. Values range 0.0 to 10.
Amplifier EQ Note: Due to the special Integrated Amplifier Modeling features of the Millennium, every time a different
Integrated Amplifier model is called up, the EQs take on the characteristics of the selected Amplifier Models. Some the
Amplifier Models that use do not certain tones controls, have a dash in the display, indicating that the frequency is not used.
4e) Level - This knob is used to control the overall output level of the preset. Values range from 0.0 to 10.

User Guide

Johnson Millennium

Section 1 Introdcution

5) Amplifier Model Buttons- These buttons let you instantly select (and move through the menu of the d Amplifier model with successive
presses) one of the many Modeled Amplifiers and switch channels within the selected Amplifier setting. The buttons are as follows:
5a) American Stack - This button is used to instantly call up the American Stack Amplifier modules.
5b) British Stack - This button is used to instantly call up the British Stack Amplifier modules.
5c) Johnson - This button is used to instantly call up the Johnson Amplifier Custom amplifier modules.
5d) American Combo - This button is used to instantly call up the American Combo amplifier modules.
5e) British Combo - This is used to call up the British Combo Amp modules.
5f) A-B Channel switcher - This button allows you to channel switch within the selected Amplifier modules.
6) A-B Channel LED indicators - These two LEDs indicate which channel of the selected Amplifier Model is being used.
7) Contour Control - This knob is used to control the tone contour within the Power Amp section of the Millennium.
8) Master Output - This knob is used to control the overall output of the Millennium.
9) Display - This large custom display is where you receive most of the information you need to optimize performance of the Millennium. This
display has several functions and they are as follows:

9-a

9-b

100
USER

BANK
PAGE

10 OF1 1

9-c

9-e

9-d

Sweet Combo
1

%kHz
msdB

LINK CHANGED

%kHz
msdB

LINK CHANGED
WAH

TUBE

LINK CHANGED

GATE

9-f

3 70

%kHz
msdB

4 100 %kHz
msdB
LINK CHANGED

L/R OUTS

9-h
CLIP

9-g

9a) Preset Number - The three large digits located in the upper left corner of the display indicate which Preset is currently selected. This
indicator will also display the currently selected note while the Millennium is in Tuner Mode.
9b) Factory / User indicators - Located directly below the Preset number, the Factory and User preset icons indicate whether the current
preset resides in the Factory or User Bank. To toggle between the Factory and User Presets simply press the button.
9c) Bank / Page Indicators - Located in the bottom left hand corner of the display, the Bank/Page indicators display:
• The J-12 Bank number in which the current program resides in Preset Mode (Note: This is only displayed when the Johnson
Amplification J -12 foot controller is connected).
• The page which is currently selected in various editing modes.

User Guide

Johnson Millennium

Section -1 Introduction

9d) Information Line - The row of 24 characters in the top line of the display indicates more detailed information about specific
functions and items such as: Preset names, Parameter names and Utility information.
9e) Parameter Data Sections - Immediately below the information line, are four parameter data sections. They correspond with knobs
<1> through <4> on the front panel. Each section displays the current value of the indicated parameter.
A LINK icon in each group tells whether the indicated Parameter is linked for expression control. When a parameter has been
modified, the CHANGED icon will appear under the parameter that has been modified and the button will light to
indicate a change has been made to the preset, but not stored.
9f) Input Level / Clip Meters / Tune Indicator- An Input Level and Clip meter is located in the bottom center of the display. This meter
shows the guitar signal level, and uses a peak detector action to display the highest levels at the input. The CLIP icon at the end of
the meter, indicates if the the input signal is being clipped at the Analog input section (pre-digital). The DIGITAL CLIP icon
indicates that there is clipping in the digital effects domain. This meter is also used to show note activity while the Millennium is in
Tuner Mode
9g) Effect Routing Matrix - The Effect Routing Matrix shows the signal flow of the currently selected preset through the amp and effect
sections. This matrix includes boxes that represent each effect module along with lines that indicate how those effects are connected to
inputs, outputs and each other. If an effect module is bypassed, a line appears through that module's box in the Matrix.
*When in FX Edit mode, the box that represents the currently selected effect module will flash.
9h) Speaker Cabinet Emulator Icon - When the SPEAKER icon appears in the display, this indicates that the Speaker Cabinet
Simulator is engaged in the XLR outputs located on the rear panel.
10) Preset/Effect Wheel - Changes Presets (in Preset Mode) or selects effect modules (in FX Edit Mode).

11 a-f) Function Buttons - These 6 buttons are used for primary function and edits of the Millennium. Their functions are as follows:.
11a) Preset Button - This button always puts the Millennium in Preset mode with a single press. Pressing the Preset button while in Preset
mode twice toggles between User and Factory presets.
11b) FX Bypass - This button bypasses all digital effects in the Millennium.
11c) Utility - This button enters the Utility mode of the Millennium.
11d) FX Edit - When pressed, the Millennium enters the Wah module or the last edited module.
11e) Assign - This button is used to assign parameters to the J-12 footswitches, MIDI control and dynamic modifiers.
11f) Store - This button is used to copy and/or store and name modified presets.
12) Mix/Page Knob - This button controls the effect mix level of the Millennium when it is in Preset mode. When the Millennium is in Edit
or Utility mode, this button takes you to the next or previous page of the selected menu.

User Guide

Section -1 Introduction

Johnson Millennium

13) Speed/1 Knob - This knob controls the Speed of modulation effects when the unit is in Preset mode. In Edit or Utility mode, it controls
the number 1 parameter that appears in the display.
14) Depth/2 Knob - This knob controls the Depth of modulation effects when the unit is in Preset mode. In Edit or Utility mode, it controls
the number 2 parameter that appears in the display.
15) Delay/4 Knob - This knob controls the overall level of Delay when delay is used in the selected Preset. In Edit or Utility mode, it controls
the number 3 parameter that appears in the display.
16) Reverb Knob - This knob controls the overall level of Reverb when a Reverb Module is used in the selected Preset. In Edit or Utility mode,
it controls the number 4 parameter that appears in the display.
17 a-f) FX Library Buttons:
17a) [Config] - Enters Edit mode at the configuration screen. You can use the knob to select any one the 15 different effect configurations.
17b) [Mod] - Enters Edit mode and selects the first available Modulation module in the Preset. Successive presses move to the next available
Modulation module. Pressing and Holding the button while editing an effect will load the first Modulation effect in the effect list.
Modulation effects available: Dual Chorus, Quad Chorus, Octal Chorus, Dual Flange, Dual Phaser, Rotary Speaker Simulator, Stereo
Tremolo, Auto Panner, Chorus/Delay and Flange/Delay.
17c) [Delay] - Enters Edit mode and selects the first available Delay module in the Preset. Successive presses move to the next available Delay
Module. Pressing and Holding the button while editing an effect will load the first Modulation effect in the effect list. Delay Effects
available: Delay, Dual Delay, Quad Delay, Stereo Delay, Stereo Dual Delay, Stereo Quad Delay, Long Delay, Analog Delay, Stereo Analog
Delay, Chorus/Delay and Flange/ Delay.
17d) [Reverb] - Enters Edit mode and selects the first available Reverb module in the Preset. Successive presses move to the next available
Reverb module. Pressing and Holding the button while editing an effect will load the first Modulation effect in the effect list. Reverb
Effects available: Pre Delay, Reverb, Dual Reverb, Stereo Dual Reverb, Stereo Reverb, Gated Reverb, Spring Tank and Room Echo.
17e) [Other] - Enters FX Edit mode and selects the first available Digital Effect Modules not included in above selections. Successive presses
move to the next available Digital Effect Module until finally reaching the Master Mix Module. Pressing and Holding the button while
editing an effect will load the first Modulation effect in the effect list. Modules available in the Other section: Dual Detune, Quad
Detune, Octal Detune, Smooth Pitch Shift, Dual Pitch Shift, Quad Pitch Shift, Octal Pitch Shift, Stereo Pitch Shift, Stereo Dual Pitch Shift,
Whammy, Harmony, Compressor, Auto Wah, GEQ 8, GEQ 15, GEQ 31, St GEQ 8, PEQ 3, PEQ 6 and St PEQ 6.
17f) [TapIt] -The TapIt button is used to set the delay time of repeats. To use the TapIt button, simply press the TapIt button twice at the
desired tempo and the delay module will automatically recalibrate the delay time. A great option with the TapIt delay time function is
that the TapIt function can be assigned to be controlled by a footswitch on the J-3 or J-12 foot controller.
18) Power Switch - Turns the unit on and off. It is always a good idea to turn the Master Volume Output down when applying power or
shutting the Millennium down

User Guide

Johnson Millennium

Section -1 Introduction

The Rear Panel
1

Expression Pedal
1
2

3 4

FX Return

FX Send

MIDI
In

J3
Out/Thru Footswitch

Right Speaker

Left Speaker

Speaker Output (4 Ohms Minimium)

J12

Right

Left

Direct/Record
Output

1) Fuse- 100, 120 VAC 6 Amp fuse is inserted here.
2) Expression Pedal 1 and 2 jacks - This is the insert point for an external expression pedal. Standard volume or voltage controller pedals
can be used in these inserts. Once inserted, this expression pedal can be linked to control any parameter of the Millennium. For more
about assigning expression pedals, see pg. 57.
Notice: When using the Millennium with the Johnson Amplification J-12 foot controller, the 1/4 Expression Pedal inputs on the rear of the
unit are referred to as EXP 3 and EXP4. When the Millennium is used alone, the Expression Pedal Inputs are referred to as EXP 1 and EXP 2.
3) MIDI IN - The MIDI IN port allows the Millennium to respond to incoming MIDI information.
4) MIDI OUT/THRU - This port allows the Millennium to send out or pass MIDI data to other devices.
5) J-3 Footswitch jack - This is the insert point for the J-3 Multi-function footswitch.
6) Johnson Amplification J-12 Foot Controller Input - This is a 5-pin DIN plug for connecting the optional Johnson Amplification J-12 foot
controller. Connection of the J-12 should be made before the Millennium is turned on.
IMPORTANT: CONNECTING A DEVICE OTHER THAN THE J-12 OR CONTROL ONE CAN DAMAGE THE UNIT.
7) Left and Right Extension Speaker outputs - These 4 outputs are used to connect additional speaker cabinets. Up to 4 extension speaker
cabinets can be connected to the Millennium. Make sure that the extension cabinet being connected has at least a 4 ohm load resistance
per channel. The ohm load resistance effects how much power the extension cabinet receives from the Millennium.
8) Direct XLR outputs - These XLR outputs are used for recording direct or for sending the output signal to a live mixing console. When
using the XLR outputs, the speakers within the amplifier can be disconnected.
9) Loop Return Jack - This is the effects loop mono return jack. Connect the output of an external effect device here.
10) Loop Send Jack - This is the effects loop send jack.

User Guide

Johnson Millennium

Section -1 Introduction

Integrated Amplifier Modeling
Vintage and Modern Amp Models: There is really no need to have numerous vintage or modern amplifiers in storage or cluttering up space.
The Millennium's unique Integrated Amplifier modeling puts almost every amplifiers tone under the hood. This feature gives you re-creations
of many great Amplifiers including: Vintage Vox™ AC-30 top boosts, mid 70s’ Marshalls™ Master lead, Mesa Boogie™ Dual Rectifier stack and
combos and Mark II stack and combo, Matchless™ DC-30s and Fender™ Twins and Soldano™ SLOs. To call up any of these Amplifier
modelings, simply press any one of the 5 Amplifier Model buttons on the front panel and the selected Amplifier model is instantly called up.
Johnson Amplifier Models: The Johnson Amplifier Models offer amplifier tones that you never thought possible out of stock (un-modified)
amplifiers. We at Johnson Amplification have basically taken the best of all Amplifiers and performed the custom mods on them. This means
that you can now have the custom Marshall™ with the higher gain stages, or that Soldano™ with more low end, yet remains ultra quiet. And, if
having these custom amp modifications were not enough, the Johnson Amplifier custom modules give you the ability to combine two Amplifier
paths on the right and the left at the same time to produce “mammoth” guitar tones when a Morphing Expression pedal is assigned.
A-B channel switching: To give each modeled Amplifier in the Millennium even more flexibility, we have included A-B channel switching in
each of the Amp models. This is a great function to use for adding distortion or boosting for solos. The A-B channel selector is conveniently
located on the front panel of the Millennium and can be given expression pedal assignment for quick switching on the floor or via a MIDI
device.

Amplifier Model Types
The following describes the Amplifier Model selections when any one of the six Amplifier model and Channel buttons (shown below) are
pressed. Successive presses of each button will take you through the menu of available Amp types for each Amplifier model.
Amer Stk

Brit Stk

Johnson

Amer Cmbo

Brit Cmbo

Channel

American Stack: Dual Rectifier, Boogie MK II, Soldano SLO
American Combo: ‘65 Blk Face Twin, Twin Reverb Brite, Matchless DC-30 -1, Matchless DC-30 -2, Boogie MK II Combo, Rectif Combo
British Stack: Marshall Master 1, Marshall Master 2, Marshall JCM 800, Hot Rod Marshall MSTR
British Combo: ‘63 AC 30 Top boost, ‘63 TBoost Dirty, A/C TB Cln/Drty, Marsh JCM 800 Cmbo
Johnson: JohnsonCln/Dirty, JohnsonDrt/HiGain, JohnsonCln/HiGain, Fender/Soldano, Fender/HotMarshal, Fender/MatchDrt, Fender/Rectifier,
Matchless/Soldano, Matchless/HotMarshall, Match/Rectifier, Vox/Marshall, Vox/Matchless, Vox/Rectifier, Overdrive, Fuzz, Heavy Sustain,
Clean/Fuzz, Low Gain/Fuzz, High Gain/Fuzz
Channel: Pressing this button will toggle between the 2 channels within every amplifier model.

Fender™, Marshall™, Mesa Boogie™, Matchless™, Soldano™ and Vox™ are all registered trademarks and are in no way associated with
Johnson Amplification.

User Guide

Johnson Millennium

Section - 1 Introduction

Digital Effects
Not only is the MIllennium a great stand-alone Guitar Amplifier, but it also has a world class digital multi-effect section that includes almost
every Studio-quality effect imaginable.
Effects include:
• Reverbs (Natural & Spring)
• Choruses
• Tremolos
• Rotary Speaker Simulation
• Phasers
• Flangers
• Digital Compressor

• Auto panners
• Analog/Digital Delays
• Whammy Effects
• Chromatic Pitch Shifters
• Intelligent Pitch Shifter
• Detuners

Real Time Parameter Modifiers: Modifiers are unique tools that can be used to dramatically alter your sound based on information
from signal amplitude, the settings of a Low Frequency Oscillator (LFO) or MIDI Continuous Controller information.
Every Preset in the Millennium has a set of modifiers. Up to 16 Modifier links can be assigned to control parameters. There are 5 types of
Modifiers that can be linked to a parameter: Foot Switch, Expression Pedal, MIDI CCs, LFOs, and Dynamic (signal level dependent).
MIDI CCs: When you use MIDI CCs, your Millennium responds to CC numbers 0-127 and CHP (channel pressure or aftertouch).
For example, you can have a synth's modulation wheel (usually MIDI CC#1) control the Input level of a reverb and chorus in one Preset,
while the delay feedback may be controlled in another. For more information on MIDI CCs, please see pg. 56.
LFOs: When you use LFOs, parameter values can be controlled automatically between a defined minimum and maximum setting at a userdefinable rate. Your Millennium has 2 user definable LFOs in each preset that can use unique speeds and waveforms, and can be assigned to
any Parameter.
For example, you can create an auto panner without using an auto panner module. Simply link an effect's output pan parameter to the LFO
modifier and the LFO will move that parameter back and forth. This modifier can be a very useful weapon in the ongoing battle of new sound
creation. For more information on LFOs, please see pg. 56.
Dynamic Modifiers: When you use Dynamic Modifiers, the parameter values are controlled in relation to the dynamics of the input signal.
The possibilities are nearly endless. For more information on Dynamic Modifiers, please see pg. 56.
For example, you could link the Dynamic Modifier of a Preset to control a chorus level. It doesn't sound like much on paper, but imagine the
expressiveness of this type of effect on a lead. As you play the guitar harder, the chorus becomes less apparent. Play softly and the chorus
increases. ALL IN REAL TIME!
For more information on using modifiers see the “Assigning Modifiers” section. on page 56

User Guide

Section - 1 Introduction

Johnson Millennium

Basic Specifications
2 Inputs, Up to 4 Extension Speaker Outputs and XLR Cabinet Emulation Outputs
With the Millennium, the input section offers both a Bright and Normal input, and up to 4 extension speaker cabinets can be connected to the
Millennium. The Bright and Normal Inputs give you the best of both worlds. Using the Bright Input produces a hotter and louder tone, where
the Normal Input will produce a more natural coloring of the tone. The Millennium’s four Extension speaker cabinet outputs give you the
ability to drive up to 4 extension speaker cabinets with the Millennium, producing a wall of sound. And if that weren’t enough, the Millennium
also offers separate XLR Cabinet Emulation outputs for recording or running direct.

Programmable Mono FX Loop
For those of you that feel the need to add additional effects to the already extensive menu of sounds, the Millennium provides a line level programmable FX loop. The signal leaves the Millennium after the Wah section and returns just before the Amplifier Modeling paths.

User Guide

Johnson Millennium

Section - 1 Introduction

Foot Controller Compatibility
Although the Millennium has incredible flexibility on its own, we at Johnson Amplification have made the Millennium compatible to use with
the Johnson Amplification J-12 foot controller, or the Digitech Control One. The optional J-12 can help you maximize the potential of your
Millennium. Since the J-12 “talks” to the Millennium using a proprietary communication protocol, it offers better response time and capabilities not available with conventional MIDI pedalboard controllers.

The Johnson Amplification J-12 foot controller
The Johnson Amplification J-12 foot controller offers continuous control in real time over the all aspects of your tone when used in
conjunction with the Millennium 150. The J -12 offers 12 heavy duty metal footswitches and two built in expression pedals which can be
assigned to control any parameter of the Millennium in a heavy duty steel chassis. For more on the J-12 foot controller, please see pg. 69.

The J-3 foot switch
The Johnson Amplification J -3 footswitch offers three footswitches that can be assigned to perform several different functions. Out of the box,
the J -3 will change presets Up and Down and will A-B channel switch. Changing these footswitch functions is done on Pages 14 and 15 of the
Utility menu. For more information on J-3 foot switch assignments, please see pg. 67.

The Digitech Control One foot controller (Not Shown)
The Digitech Control One foot controller offers 12 footswitches for preset and parameter control. It also features a built-in Expression pedal.
The Control One also gives you the option of adding another expression control (via the external expression pedal jack which is located on
the rear of the Control One foot controller).

User Guide

Johnson Millennium

Section - 1 Introduction

Module Types
Each effect in the digital FX section is contained in separate effect blocks referred to as “Modules”. There are three basic types of FX Modules
used by the Digital FX section of the Millennium
• Mono FX module
• Dual FX module
• Stereo FX module
The figure below illustrates how signals are routed through each type of FX Module. Although all three Modules are shown with stereo
inputs, they can still be used with a mono source. The mono source would just be routed to both sides of the module’s inputs. Notice how
the Dual FX Module maintains a stereo image, while the mono FX Module always sums the signal

Mono FX Module

Dual FX Module

Effect
Processing

Stereo FX Module

Effect
Processing

Module Sizes
These modules vary in size ranging from 1/4 size to Full. In order to achieve the nearly endless combinations of effects and routings, we've
supplied you with four different module sizes and they are as follows:
• Full (module type = FUL)
• 3/4 (module type = 3-4)
• Half (module type = HLF)
• Quarter (module type = 4th)
Dividing the S-DISC II’s processing power allows your Millennium to produce up to 4 digital effects at one time. The figure below represents
how the S-DISC II can be divided to accommodate a wide variety of effect routing.

FULL

3/4

HALF

QUARTER

S-DISC II

A Full module type offers effects with more flexibility and power than the Half modules, and so on, but all four sizes of FX Modules feature
high quality effects, so you don’t have to worry if you need to divide the S-DISC II pie four ways. For a complete list of these FX Types please
see the Editing Modules section. For a complete list of effect configurations please see Appendix on page 85

User Guide

Johnson Millennium

Section - 2 Setting Up

Section-2 Setting Up
Making Connections
Your Millennium can be connected in several different ways to meet the requirements of specific applications. The following diagrams offer
some different ways your Millennium can be connected.
NOTE: In the following diagrams, we have shown use of the external FX loop.

Input

Loop Send

Output

Loop Return

Input

Millennium into Two 2x12 Extension Speaker Cabinets
For those of you out there that feel that “bigger is better”, this set-up should work quite nicely for you. First plug into either the Normal or
Bright input. Using the Bright input will produce a slightly brighter tone. From the left and right extension cabinet outputs (located on the
rear of the Millennium), use an un-shielded speaker cable and run into the input jacks of the Johnson 2X12 extension cabinets. Using a set-up
such as this will let you produce that classic Stack Sound. This is also a great set-up to produce lush and thick stereo effects.
Always make sure that the extension speaker cabinet being used has minimum input load resistance of 4 ohms.

User Guide

Johnson Millennium

Section - 2 Setting Up

Output

Input

Loop Return

Loop Send
Input

Left Direct XLR Output
4

Right Direct XLR Output

8 2
0

-2

Pan

Mute

Pan

Mute
L/R

-5

-10

-20

-30
-∞

-20

-30
-∞

-20

-30
-∞

-20

-30
-∞

-20

-30
-∞

-20

-30
-∞

Pan

+10

-10

+2
+3

-5

-30
-∞

+4
-5

-10

-20

-2

+3 -3

L/R

8
10

Aux 2
-1

+1
+2

+10

+4 -4
-5

Mute

L/R

Aux 2
-1

-2

+3 -3

+10

+1
+2

Mute

L/R

Aux 1
4

+4 -4
-5

6
8

6
8 2

Aux 2
-1

-2

+3 -3

+10

+1
+2

Mute

L/R

Aux 1
4

+4 -4
-5

6
8 2

Aux 2
-1

-2

+3 -3

+10

+1
+2

Mute

L/R

Aux 1
4

+4 -4
-5

6
8 2

Aux 2
-1

-2

+3 -3

+10

+1
+2

Aux 1
4

+4 -4
-5

Mute

L/R

+10

-2

+3 -3
+5

6
8 2

Aux 2
-1

+4 -4
-5

Mute

L/R

+10

+3 -3
+5

Aux 1
4

8 2

Aux 2
-1

+4 -4
-5

8 2

Aux 2
-1

-2

-4

6
8 2

Aux 1
4

8 2

-3

4
8 2

Aux 1
4

8 2
0

Aux 1
4

-30
-∞

Running Direct with the Programmable Cabinet Emulator XLR Direct Outs
The Millennium offers you two ways to record guitar tracks. With the first, you can do classic recordings by placing a microphone in front of the
speakers of the Millennium. Or, you can use the XLR direct output to record direct to a mixing console. When running direct, the Millenniums’
speakers can be disconnected so the only signal being heard is that being run to the board.
Now you can run out of the Millennium to the mixing board using the following XLR cabinet functions:
XLR Cabinet Emulation functions
Engaging the XLR cabinet Emulator is done in Page 2 of the Utilities menu. To get there, press the button. Now use the
knob and turn to page 2. Once there, you can globally enable (global on) or disable (global off) the Emulator or enable local settings (local on)
by turning the <4> knob. To set up local (Presets dependent) emulation on page 2 of the Output/Master mix module in edit mode
To Exit this mode, simply press the button.
At this point, you will want to run from either Left or Right XLR outputs (or both for a stereo mix), into the selected inputs of the Mixer. You
can set the Output mode to either Stereo (splitting the signal into a stereo soundfield) or Mono (summing the stereo signal) on page 1 of the
Utilities menu by using the <2> knob to select the mode.
As usual, it is a good idea to check all of the cables being used when making connections to ensure that good contact is being made.
Notice that once the XLR Speaker Cabinet Emulator is turned On, the SPEAKER icon will appear in the display.

User Guide

Johnson Millennium

Section - 2 Setting Up

Getting Around In the Operating System
The menu structure of your Millennium has been specially designed to be easy to use. The display shows the information you need, but to
make things even easier for you, illumination of the front panel buttons offers additional operating information.
The front panel buttons give you information in one of two ways:
1 - If the button is dim, its function is inactive. Pressing a dim button causes it to light brightly and its function becomes the active item in
the display. If the dim button doesn’t light after you press it, the button is unavailable.
2 - If the button is bright, its function is active.

Preset Mode
Preset mode allows you to scroll through the Factory and User presets using the wheel. When your Millennium is turned on,
it sets itself to Preset mode. Preset mode is active when the button is lit and a Preset name is present on the information line (top
line) of the display.

FX Edit Mode
This mode allows you to edit:
1. Digitally controlled Analog Wah
2. FX loop
3. Amp Models
4. Noise Gate
5. Selecting Effect Configurations
6. FX Modules
7. Output Mode of your Presets
Use the button to enter the FX Edit mode.
A helpful hint: If you look at the Effect Routing Matrix while you press the FX button, the currently selected module will flash.
Your Millennium uses “Pages” to navigate within an effect. A “Page” is a group of up to four effect parameters that appear on the screen at one
time. Use the knob to move through the pages in the menu. Note that as you scroll through the pages, the page indicator in the
lower left corner of the display changes to show the currently displayed page number.

Utility Mode
From the initial power-up of the unit, access to all of the menu pages of the utility mode can be made by simply pressing the
button located on the front panel of the unit. From this point, the display will tell you that you are in the Utility mode and you can scroll
through the options by turning the knob.

Assign Mode
Once the Millennium is in assign mode, all modifier assignments can be made. This assign mode gives you the ability to assign dynamic
modifiers, foot switches and expression pedals to almost any parameter in the Millennium. Access to this function is located on the front panel
or in the utilities pages within the Millennium. For more information on assignments, please see pg.56.

User Guide

Johnson Millennium

Section - 2 Setting Up

Getting Sounds
It never fails, there always seems to be a sound man at the back of the room, or an engineer in the control room that wants “more of this, or
less of that” (bottom line: your ear is king). But, to accommodate these situations, you may need to make some minor adjusting here and there
along the way. So here are some helpful guidelines for getting great sounds, while keeping everyone happy.

Input and Master Output Adjustments
The best setting for the input control is to use the knob so you’re occasionally lighting the clip LED. As far as setting the Master
Output level, let your ears be the judge. But, if you can’t hear the rest of the band, chances are that you need to back off on the Master Volume
level of the Millennium.

Amplifier settings
Gain Adjustments
To adjust the gain in the Amplifier Modeling section, either turn the knob on the front panel or press the button to put
you in edit mode. Now use the wheel to scroll to the amplifier model. From this point, turn the knob to
move to Page 2 of the amplifier module. The number of different Amp tones are almost unlimited when making gain adjustments. Your gain
settings range from 0.0 to 10, so this gives you plenty of room for great tones in between. Note that the gain parameter will add distortion
gain when a distorted amplifier module is used and will add volume when a clean tone Amplifier module is used. Always remember to save
any changes.

EQ and Preset Level
Adjusting the EQ is as easy as grabbing the knob and turning. The knob controls the level of the High frequencies. The
knob controls the level of the mid range frequencies, and the knob controls the bass frequencies. In Preset mode, the level of each
frequency band is displayed in the 7 segment displays located above each knob. EQ settings range from 0.0 to 10. The Millennium also gives
you the ability to adjust individual preset levels by simply turning the knob to the desired setting. Always remember to save any
changes.
Note: Changes to the Gain, EQ and Level settings can be done using either the tone Controls (located on the left side of the front panel) or
the <1,2,3 and 4> knobs located directly below the display. Using either editing method will correspond in the display. A sample setting is
shown below with Channel B being the active channel.

Gain

Treble

Mid

Bass

Level

This example setting has been set from Preset mode using Channel B. Once the Millennium is in Edit mode the display will correspond.

User Guide

Johnson Millennium

Section - 2 Setting Up

•When the Tone controls are used, the display will appear as follows on page 2 of the Amplifier module when the Millennium is in Edit
mode:

a:gain lvl
1

40
.

LINK CHANGED

USER

BANK
PAGE

2 OF 5

B:GAIN LVL

50
.

3.
70

LINK CHANGED
WAH

TUBE

LINK CHANGED

70
.

LINK CHANGED

GATE

L/R OUTS

DIGITAL

•Using the knob turn to page 4 and the display will appear like this:

CHN B:TREB
LINK CHANGED

USER

BANK
PAGE

4 OF 5

25
.

LINK CHANGED
WAH

TUBE

MID

BASS

25
.

LINK CHANGED
EQ

GATE

25
.

LINK CHANGED

L/R OUTS

DIGITAL

Amplifier Model and Channel Selection
Selecting Amplifier types in the Millennium is as easy as pushing a button. To call up any one of the Amplifier model types, simply press one
of the six buttons in the button array, or turn the <2> when the Millennium is in edit mode on page 1 of the
Amplifier module. Subsequent presses of any one of the Amplifier model buttons will move you through the selected Amplifier model
menu. A-B channel switching can be achieved within the Amp model by pressing the button, or turning the <4> button while
the Millennium is on page 1 of the Amplifier module in edit mode. Always remember to save any changes.

Amplifier Contour Control
Using the knob will give you the ability to control the tonal qualities of the Power Amp section of the Millennium. When the
knob is turned all of the way down, the power amp tone is flat. Turning up the knob brightens up the signal in the Power Amp
section.

Digital Effects
Wet/Dry Mix Adjustments Global or Local
To change the mix of dry and wet signal of the overall effect level, use the knob. Mix settings range from 0 (all dry) to 100%
(all wet) when the Millennium Wet/Dry mix is set to Local. When the Wet/Dry mix is set to Global (setting the Wet/Dry mix either Local or
Global is done on page 2 of the Utility menu), the mix control effects the percentage of Wet/Dry mix in every preset. As the acoustics of any
room change, you can easily adjust the mix of your effects accordingly with the turn of a knob. The Master Mix of each preset can be
modified in the Master Mix menu while in edit mode by pressing the button then scrolling through the Preset pages until the the
L/R Out and speaker icons blink.

User Guide

Section - 2 Setting Up

Johnson Millennium

Digital FX Quick Adjust Knobs
Many digital effects available in the MIllennium have a simple quick adjustment knob located on the front panel. These knobs are great to
use when you need to bring in or bring down the level of a selected effect. To use these knobs, when the Millennium is in preset mode,
simply turn the appropriate quick adjust knob and adjust. Always remember to store the settings once they are dialed-in.
The following list gives a brief explanation of each FX level control knob.
Speed: The knob controls the speed of the first modulation effect in the configuration when a modulation type effect, such as a
Tremolo is used in the selected preset. The range for the speed is from 0.06 to 16.0.Hz.
Depth: The knob controls the depth of the first modulation effect in the configuration when a modulation type effect, such as a
Tremolo is used in the selected preset. The range for the depth is from 0 to 100%.
Delay: The knob controls the delay level of the first delay in a configuration, when a delay module is used in the selected preset.
The range of the delay level is from Off to 100%.
Reverb: The knob controls the reverb level of the first reverb module in the configuration, when a reverb module is used in a
selected preset. The range of the reverb level is from Off to 100%.

User Guide

Johnson Millennium

Section - 2 Setting Up

Selecting A Preset
When you first turn on your Millennium, you are in Preset Mode, and the display will appear something like:

2
USER

PAGE

Clean Comp Delay

%kHz

0 msdB 2

LINK CHANGED

WAH

%kHz

0msdB 3

LINK CHANGED
TUBE

GATE

0 msdB 4 100

LINK CHANGED

L/R OUTS

CLIP

To select a preset, do the following:
1. Make sure preset mode is selected (the button will be brightly lit). If the button is dim, press it once to return to
preset mode.
2. Use the button to select the preset bank (factory or user). successive presses of the button toggle between the
factory and user bank of presets.
3. Using the wheel, scroll to the Preset you want to use.

Using the Tuner
The Tuner of the Millennium can be accessed one of two ways. Either in page l of the Utility menu or by using the optional Johnson
Amplification J-12 foot controller. The following explains both modes of operation.

Utility Menu Tuner Mode
1. Press the button once. The display reads:

2
127

Output:Stereo
2 2
WAH

FACTORY
USER
BANK
PAGE
OF

Tuner

%kHz
msdB

LINK CHANGED

TUBE

DIST

4 Off

LINK CHANGED

GATE

L/R OUTS

MIDI
DIGITAL
CLIP

SOLO
L/R OUTS

2. Now turn the <4> knob to turn the Tuner on. The display will now appear something like this:

127
FACTORY

User Guide

USER

TUNER A=440
%kHz
msdB
LINK CHANGED
WAH

3
LINK CHANGED

TUBE

DIST

Output
4 100

LINK CHANGED

GATE

L/R OUTS

MIDI
DIGITAL
CLIP

SOLO
L/R OUTS

Johnson Millennium

Section - 2 Setting Up
Instant Tuner Access

To instantly access the Tuner Mode of the Millennium, press and hold the button. This will take you directly to the tuner
function.

3. As you play a note on the guitar, the large number display will tell you which note you are playing, while the meter will show you if you are
flat or sharp. If the meter is moving right, the note you are playing is sharp. If the meter moves left, you are flat. The goal is to tune your
guitar so that the meter stops moving, and the display will lock-in, indicating that you are in tune. Once you start playing the selected note,
the display will read as follows:

A
127
FACTORY
USER
BANK
PAGE
OF

19 1 8

A Tuner A=440

1 888%kHz
msdB
LINK CHANGED

%kHz

888msdB

LINK CHANGED

WAH
FX LOOP

TUBE

DIST

3
LINK CHANGED

Output
4 100
%

LINK CHANGED

GATE

L/R OUTS

MIDI
DIGITAL
CLIP

SOLO
L/R OUTS

4.Press the any button to exit the Tuner mode.

Reference and Output
The Millennium gives you the option of changing the Tuning reference from as low as F# or A=427 to A=453, by simply turning the <3>
knob while the Millennium is in Tuner mode. Another feature available in the Millennium Tuner mode, is the ability to set the amount of signal
that is passed to the output while tuning. This has a range from 0 (mute) to 100%. The output can be changed by turning the <4> knob to the
desired level while the Millennium is in Tuner mode.

Johnson Amplification J-12 Tuner Mode
To access the Tuner mode using the optional J-12 foot controller, press and hold the footswitch to engage tuner mode.
1. As you play a note on the guitar, the indicator in the display of the J-12 will move either to the right, or the left. If the indicator is moving
right, the note you are playing is sharp. If the indicator moves left, you are flat. The goal is to tune your guitar so that the indicator stops
in the middle and the display locks-in, indicating you are in tune.
2. In both methods of tuning, the tuner is referenced to A=440Hz. If you prefer tuning sharp or flat according to the A reference, use the
<3> knob to select a new reference. This can be set as high as A=453Hz or as low as A=427Hz. The tuner can also be used for alternate
tuning references where A=Ab (meaning you play an A note, but you hear an Ab note). It is possible to tune as low as A=Gb.
3. At this point, press any footswitch on the J-12 to exit the Tuner mode.

User Guide

Johnson Millennium

Section - 3 Editing Presets

Section-3 Editing Presets
Naming and Storing Presets
Before we get into editing presets and creating your own, let’s learn how to store changes so you won’t lose any modifications you’ll want to
keep. The Store procedure allows you to rename, relocate and save any modifications you have made to presets so that they can be accessed
easily later.

Naming the Preset
1. Press the button once. The display shows the current preset name (which may look something like this):

Name: Clean Comp Delay
1 CAP

2 nbr 3 InS 4 COp
%kHz
msdB

%kHz
msdB

LINK CHANGED

USER

BANK
PAGE

1 OF 1

LINK CHANGED

WAH

TUBE

LINK CHANGED

GATE

%kHz
msdB

LINK CHANGED

L/R OUTS

DIGITAL

A cursor appears under the first character of the preset name.
2. Using the wheel, change the character to the one you want in the selected position.
3. When the correct character is displayed in that position, use the knob to scroll the cursor to the next character you want to
change.
4. Use the <1> knob to change the letter’s case. The <2> knob is used to select numbers, The <3> knob is used to insert spaces. The
<4> knob is used to copy and paste characters.
5. To copy a character, position the cursor under the character you want to copy (using the knob), then turn the <4> knob
clockwise. To paste the copied character, position the cursor where you want to paste the character, then turn the <4> knob counterclockwise.
6. To abort the procedure, press any button.

User Guide

Johnson Millennium

Section - 3 Editing Presets

Storing the Preset
1. When you have the name how you want it, press the button again. The top line of the display appears something like this:

Store Pst to: Matchless
LINK CHANGED

USER

BANK
PAGE

1 OF 1

2 3

LINK CHANGED

WAH

TUBE

LINK CHANGED
EQ

LINK CHANGED

GATE

L/R OUTS

DIGITAL

This screen allows you to select the location of the new Preset. Note that when the Preset is stored, it is stored in the User bank of presets
because factory presets cannot be overwritten.
2. Use the <2> knob or the wheel to select the preset number where you want to store the new preset.
3. Press the button again. The top line of the display briefly reads:

Storing Preset
LINK CHANGED

USER

BANK
PAGE

1 OF 1

2 3

LINK CHANGED

WAH

TUBE

LINK CHANGED
EQ

GATE

LINK CHANGED
L/R OUTS

DIGITAL

after which you are taken to the preset you have just stored.
The newly created preset is now loaded, and can now be recalled at any time.
4. To abort the procedure, push either the button to take you to preset Mode, the button to take you to FX Edit Mode, or
the button to take you to Utility Mode, depending upon which mode you want to enter.

User Guide

Johnson Millennium

Section - 3 Editing Presets

Editing a Preset
The Millennium is capable of producing almost any sound ever thought conceivable. Whether it be amplifier tone or an effect configuration
that utilizes the most sophisticated digital effects available. Great sounds aren’t just a crazy concept, but a very achievable possibility, and in
these next few pages, we will give you some pointers in editing presets, to help achieve your own unique tones.

Preset Editing Sections
1. Integrated Amplifier Model Editing
2. Digitally controlled Analog Wah Editing
3. Noise Reduction Editing
4. Digital Effects Editing

Integrated Amplifier Model Editing
From any preset within the Millennium you can select and edit any amplifier model by performing the following procedures:

Integrated Amplifier Model Selection
To call up any Integrated Amplifier Model in the Millennium while in preset Mode, all you have to do is press any one of the Amplifier Models
buttons and the selected amplifier model type is called up. Successive presses of the selected amplifier model button will call up any other
amplifier type within that model. The illustration below shows the selection of the British Combo Amplifier Integrated Model:

Brit Stk

Johnson

Brit Cmbo

Channel

Amer Stk

Amer Cmbo

Editing Integrated Amplifier Models
1. From preset mode press the button once and the display will appear something like this:

Wah

Pedal

LINK CHANGED

1 byp

USER

BANK
PAGE

User Guide

1 OF 1

Toe Heavy

2 1

WAH

TUBE

LINK CHANGED
EQ

GATE

LINK CHANGED
L/R OUTS

DIGITAL

Johnson Millennium

Section - 3 Editing Presets

2. Now use the wheel and scroll to the Amplifier type Module. Once you are there, the display will appear something like
this:

'65 Blk Face Twin Chan
LINK CHANGED

LINK CHANGED
TUBE

LINK CHANGED
EQ

1 OF 5

LINK CHANGED

GATE

USER

BANK
PAGE

2 AC1

WAH

L/R OUTS

DIGITAL

3. Using the <2> knob will allow you to select any one of the amplifier models within the Millennium and the <4> knob will select either
the A or B channel. This will make the selected channel active for editing
4. Once the amplifier model and channel have been selected, use the knob to move to page 2 of the amplifier model edit menu.
Page 2 lets you adjust the gain and preset levels of channel A or B. The active channel (A or B) appears in upper case letters and will
appear something like this :

a:gain lvl
1

LINK CHANGED

USER

BANK
PAGE

2 OF 5

B:GAIN LVL

3 100

LINK CHANGED
WAH

TUBE

LINK CHANGED

GATE

93%

LINK CHANGED

L/R OUTS

DIGITAL

Note: To toggle between the active A or B channel, simply press the button. This is essential for editing because when the A or
B channel is active you can make all EQ, gain and preset level modifications using either the <1>, <2>, <3> and <4> buttons, or
you can use the , , or knobs to make any adjustments.
5. Once the adjustments are made to the gain and levels of amplifier models and channels, use the knob and turn to page 3
(Channel A) and 4 (Channel B) of the amplifier model editing section to make any EQ adjustments. The display will appear like this:

USER

BANK
PAGE

3 OF 5

chn a: treb mid

bass

LINK CHANGED

2 5.4

3 5.4

LINK CHANGED

WAH

TUBE

LINK CHANGED

GATE

4 5.4

L/R OUTS

DIGITAL

User Guide

Johnson Millennium

Section - 3 Editing Presets

6. Now use the knob to move to page 5 of the amplifier model editing section and the display will appear like this:

A:DIG LVL
1 100%
LINK CHANGED

USER

BANK
PAGE

5 OF 5

b:dig lvl
3 100 %

2
LINK CHANGED
WAH

TUBE

LINK CHANGED

4
LINK CHANGED

GATE

L/R OUTS

DIGITAL

7. Using the <1> knob will let you adjust the digital level of Channel A. The <3> knob adjusts the digital level of Channel B.
Note: Digital Level sets the amount of digital effect level that is heard within the selected preset.
Always note that the channel (A or B) that appears in upper case letters is the currently active channel and can be toggled any time using
the button to select either channel
8. Once all of the modifications have been made to the Amplifier model in the currently selected preset, press the button to save
your changes. To exit the amplifier model editing section, press the button.

Analog Wah Editing
Analog Wah editing can be done by performing the following procedures:
1. From Preset mode press the button and the display will appear like this:

Wah

Pedal

LINK CHANGED

1 byp

USER

BANK
PAGE

1 OF 1

Toe Heavy

2 1

WAH

TUBE

4
LINK CHANGED
EQ

GATE

LINK CHANGED
L/R OUTS

DIGITAL

2. Using the <1> knob will either turn the Wah On or Off. The <2> is used to activate the Wah pedal range and the <4> knob is used to
select the Wah type.

User Guide

Johnson Millennium

Section - 3 Editing Presets

3. The <2> (pedal> parameter can be assigned to a footswitch to bypass or turn the module On. This is parameter can be selected by
turning the <2> knob and a Changed icon will appear directly beneath the parameter. At this point press the button and
the display will appear as follows:

Avail Link for: Pedal
1 OFF
LINK CHANGED

USER

BANK
PAGE

1 OF 19

LINK CHANGED
WAH

TUBE

LINK CHANGED
EQ

GATE

LINK CHANGED
L/R OUTS

DIGITAL

4. Now press the footswitch to be assigned. You can use either the a standard volume or voltage controller Expression pedal
connected to the Expression Pedal I and 2 pedal inserts on the rear panel of the Millennium or you can use either one of the
Expression pedal on the optional J-12 Foot Controller to act as the Wah pedal. If the selected footswitch is already assigned to
control another parameter, the display of the Millennium will ask you if you want to re-assign. If you wish to re-assign turn the <1> knob
for yes or the <2> knob to abort the assign function.
Note: Any time an assignment to turn a parameter On/Off is made you must decide if you want the parameter On when you enter the
selected preset. If you want it on, make the assignment to the parameter when the parameter is set to On. Otherwise, have the
parameter set to Off or Bypass and the parameter will not be active within the Preset until the footswitch is used to activate the
parameter
5. To Exit the Analog Wah edit mode, simply press the button.

Noise Gate Editing
The procedure for editing the Noise Gate module within the amplifier section is as follows:
1. From preset mode, press the button and use the wheel and turn until the display appears something like this:

Noise Gate
1 On

LINK CHANGED

USER

BANK
PAGE

1 OF 3

S1Pre Gate

2
LINK CHANGED
WAH

TUBE

LINK CHANGED
EQ

GATE

4F 1
LINK CHANGED

L/R OUTS

DIGITAL

2. At this point, you can use the <1> knob to turn the Noise gate On or Off and the <4> knob is used to select the Noise gate default.

3. Now use the knob and turn to page 2 of the Noise Reduction module. Turning the <1> knob lets you select the Noise gate type
and its position in the signal flow.

User Guide

Johnson Millennium

Section - 3 Editing Presets

4. Once the Noise gate type and position are selected use the knob and turn to page 3 of the Noise gate edit module. This page is
used to set the Threshold, Attenuation, Attack and Release parameters. Higher Threshold settings will close the gate sooner. Lower Release
settings allow the gate to open up faster
5. To exit Noisegate edit mode, press the button.

Selecting Effect Configuration Routes
Within every Preset of the Millennium, you have the option of selecting any 1 of the 15 Effect Configuration routes available in the Millennium.
This can be very helpful when you have a preset that uses an Amplifier model that you prefer, but the currently selected effect configuration is
not ideal for the digital effects that you wish to use in the Preset. You can easily change these Effect configurations by using the following
procedure as a guide:
1. Accessing the effect configurations can be done one of two ways. From Preset mode, simply press the button, or press the
button and use the and turn until the display appears something like this:

Config: Series 4,4,4,4
1

LINK CHANGED

USER

BANK
PAGE

1 OF 2

LINK CHANGED
WAH

TUBE

LINK CHANGED
EQ

LINK CHANGED

GATE

L/R OUTS

DIGITAL

Note that the effect configuration is flashing
2. Now use the <1> to select any one of the 15 different configurations available.
3. Once the configuration has been selected, press the button to save any changes.
4. To Exit the configuration menu, just press the button to return to preset mode.
A Complete listing of the effect configurations of the MIllennium can be found on page 85.

FX Edit Mode
1. From Preset mode, press the button. The display looks something like this:

Wah

1 byp
LINK CHANGED

USER

BANK
PAGE

User Guide

1 OF 1

Pedal
2

Toe Heavy

LINK CHANGED
WAH

TUBE

LINK CHANGED
EQ

GATE

LINK CHANGED

L/R OUTS

DIGITAL

Section - 3 Editing Presets

Johnson Millennium

When you enter FX Edit mode, the first page of every FX Module allows you to:
1) Bypass that effect module (by turning it on or off) using the <1> knob.
2) Select an Effect Module (Only in the Digital Effect section), using the <2> knob.
3) Store the Default using the <3> knob (for more info on storing Defaults, see pg. 30.
4) Select a Default for the selected Effect Module using the <4> knob.

Changing Effect Modules
Each preset can be comprised of up to 4 digital effects (in addition to the Amplifier section). You can scroll through the modules in each preset
two different ways:
1. By pressing the button to enter FX Edit mode and using the wheel to scroll through the different modules, or
2. By using the FX Library buttons. Pressing the button takes you directly to the first module in the Amplifier section. Likewise,
pushing the button takes you directly to the first module in the digital FX section and displays which effect is in it. Subsequent
pushes of the button scrolls you through subsequent modules that are in the effect configuration.
Once you reach a module you want to change (ie: you want to swap a delay for a reverb), use the <2> knob to select a new effect.

Selecting a Default
Once you have selected the effect you want in the preset (ie: Dual Chorus), you can quickly scroll through several different Dual Chorus
defaults stored in your Millennium's library. Defaults are modified effect modules which have custom settings that can be called up to use in a
preset anytime that particular sound is required.

Example:
There are 10 Dual Chorus defaults to choose from. Some Factory Presets use these default settings. So, if you like the Dual Chorus that is
being used in Factory Preset #45, and would like to use it in Preset #98, simply scroll to the modulation module, then use the <4> knob
to recall the default (which happens to be F4-MediumWell) in Preset #45. This eliminates the need to copy all those parameters from one
location to the other.
For a list of all the FX Modules and their Defaults, see page 34.

Adjusting the Module’s Parameters
Once in Edit Mode, the parameters of every default module can be accessed through a series of pages. You adjust the level of a particular
module from Edit page 2. If you’re not already in Edit Mode, press the button. You can then use the wheel to scroll
to the module you want to change (ie: Dual Chorus). Using the knob, scroll to page 2. You can now change the individual module’s
level using the <1> knob. Settings range from 0 (off) to 100%.

Custom Defaults
Once you have tweaked the parameters of an effect Module, you can store it off as part of the preset. Once it is stored off, it becomes a custom
default for that preset, but is not added to the User default library. To save the settings as User Defaults, please see pg. 31

User Guide

Johnson Millennium

Section - 3 Editing Presets

Comparing Changes
During the course of editing presets, you may find that you want to compare the edited version of the preset to the original, stored version.
Fortunately, your Millennium provides you with a compare function.
To compare an edited preset with the original stored version, do the following:
1. While in FX Edit mode, press the button once. The top line of the display reads:

FACTORY
USER
BANK
PAGE
OF

*Comparing Original Pst*
1
LINK CHANGED

%kHz
msdB

2
LINK CHANGED

WAH

TUBE

%kHz
msdB

LINK
EQ

%kHz
msdB

LINK CHANGED

GATE

L/R OUTS

DIGITAL
CLIP

L/R OUTS

When this message is displayed, the stored preset is temporarily loaded and active.
2. To return to the edited version, press the button to get back to FX Edit Mode.

User Guide

Johnson Millennium

Section - 4 Editing Modules

Section-4 Editing Modules
Storing/Naming Defaults
Before we get into editing modules and creating your defaults, let’s learn how to store changes so you won’t lose any modifications you’ll want
to keep. The Store procedure allows you to rename, relocate and save any modifications you have made to defaults so that they can be accessed
easily later.
1. When you have satisfactorily altered an effect default (or created a new one), scroll back to Page 1 of the effect module you are editing (if
you’re not already there). The display looks something like this:

FACTORY
USER
BANK
PAGE
OF

FX:[Name]
1 On

LINK CHANGED

%kHz
msdB

2 1

%kHz
msdB

LINK CHANGED

WAH

TUBE

Custom

3 Sto%kHz
msdB 4
LINK

%kHz
--msdB

LINK CHANGED

GATE

L/R OUTS

DIGITAL
CLIP

L/R OUTS

2. From Page 1 of the FX Edit menu, turn the <3> knob clockwise. You will then be able to name your new default.

Naming the Default
1. Using the wheel, change the character to the one you want in the selected position.
2. When the correct character is displayed in that position, use the knob to scroll the cursor to the next character you want to
change.
3. Use the <1> to change the letter’s case. Use the <2> knob to select numbers. The <3> knob is used to insert spaces. The <4> knob is
used to copy and paste characters.
4. To copy a character, position the cursor under the character you want to copy (using the knob), then turn the <4> knob
clockwise. To paste the copied character, position the cursor where you want to paste the character, then turn the <4> knob counterclockwise.
5. To abort the procedure, push either the button to take you to preset mode, the button to take you to FX Edit mode, or
the button to take you to Utility mode, depending upon which mode you want to enter.

User Guide

Johnson Millennium

Section - 4 Editing Modules

Storing the Default
1. When you have the name as you want it to read, press the button. The top line of the display reads:
Store To: [Name]
This screen allows you to select the location of the new default. Note that when the default is stored, it is stored in the User bank of defaults
because factory defaults cannot be overwritten.
2. Use the <2> knob to select the default number where you want to store the new default.
3. Press the button again. The default is saved off and you are taken to page 1 of the FX Edit menu.
The newly created default is now loaded, and can now be recalled at any time.
4. To abort the procedure, push either the button to take you to Preset Mode, the button to take you to FX Edit Mode,
or the button to take you into Utility Mode, depending upon which mode you want to enter.

Editing a Module
Each of the Millennium’s effects has several usable factory defaults, however, you may need to tweak the parameters of the module in order to
the right sound you’re looking for. The parameters of each effect module are reached through a series of pages.
1. Press the button. The display looks something like this:

FACTORY
USER
BANK
PAGE
OF

Wah

1 byp
LINK CHANGED

Pedal
2

WAH

TUBE

Toe Heavy

%kHz
msdB

LINK CHANGED

%kHz
msdB

LINK
EQ

GATE

4
LINK

%kHz
msdB

L/R OUTS

DIGITAL
CLIP

When you first enter FX Edit mode (by pressing the button), you are taken to the Analog Wah section. Turn the
wheel to scroll through the modules until you reach a digital Effect module. Notice that as you scroll through the different modules, the
currently selected module will flash in the Effect Routing matrix of the display. Once you have reached a module in the digital Effects section
that you want to edit, use the knob to scroll to the particular parameters.
Notice: Anytime a change is made to either an effect module or Default, the Changed icon will appear directly below the effected
parameter within the module or default and the button will light.

User Guide

Johnson Millennium

Section - 4 Editing Modules

Scrolling through a Module’s Pages
Notice in the bottom left corner of the display (just under the preset number) the display indicates which page you
are on and the total number of pages within the module. Each page allows you to access up to four parameters using the <1> - <4> knobs.

Example:
To scroll through the parameter pages of the Dual Chorus module, from the Preset mode either press the button on the front panel
until the Dual Chorus module comes up in the display. or, press the button and once this button is lit, use the
wheel to scroll to the Dual Chorus module. At this point use the button to scroll through the parameters of the Dual Chorus
module.
For a description of all the FX Modules and their parameters, see pages 35-55.

Output Module Functions
The last module in the audio chain within any preset of the MIllennium gives you control over crucial output functions of the Amp such as:
Master Mix, Master Volume and On and Bypass of the XLR cabinet emulator for each preset.
1. To access the Output module, press the button and turn the wheel counter-clockwise once until the display
appears like this:

Master Vol
1 100 %
LINK CHANGED

USER

BANK
PAGE

2 OF 2

XLR Cab Emul
3

LINK CHANGED
WAH

TUBE

byp

LINK CHANGED
EQ

LINK CHANGED

GATE

L/R OUTS

DIGITAL

2. Using the <3> and <4> knobs will let you set the Master Dry and Wet levels in the selected preset.
3. By turning the knob, you will now be taken to page 2 of the Output module and the display will appear like this:

Master Vol
1 100 %
LINK CHANGED

USER

BANK
PAGE

2 OF 2

XLR Cab Emul
3

LINK CHANGED
WAH

TUBE

byp

LINK CHANGED
EQ

GATE

LINK CHANGED
L/R OUTS

DIGITAL

4. The <1> knob is used to set the Master Volume level and the <3> knob is used to set the XLR Cabinet emulator to On or Bypass in the
currently selected preset. To Exit the Output module, either turn the wheel, or press the button.

User Guide

Johnson Millennium

Section - 4 Editing Modules

Digital Effect Module Size and Type
With all of the work that these digital effect modules do for your sound, they have a tendency to work up an appetite. So, they consume their
food from the FX pies chart referred to on page 12.
Since some of these effect modules have a larger appetite than the others, they require more pie. To help divide up the pie, we have provided
you with a chart below that tells you what size of effect block that each will fit in. This helpful chart will also let you know if the selected
module is either a Mono, Stereo, or Dual type effect module.

User Guide

Dual
Dual
Dual
Dual
Dual
Stereo
Stereo
Stereo
Dual
Dual
Dual
Stereo
Dual
Dual
Dual
Stereo
Stereo
Stereo
Stereo
Dual

du
Mo le Ty
pe
du
Mo le Ty - 4th
du
pe
Mo le Ty - HLF
pe
du
le
Typ 3/4
eEff
FU
ect
L
Typ
e

Dual Cho
Quad Cho
Octal Cho
Dual Fla
Dual Pha
RotarySpkr
St Tremolo
Auto Pan
Dual Dtn
Quad Dtn
Octal Dtn
Smooth Pch
Dual Pitch
Quad Pitch
Octal Pch
St Pitch
StDual Pch
Whammy
Harmony
Delay
Dual Delay
Quad Delay
Stereo Delay
StDual Dly
StQuad Dly
Long Dly
Analog Dly
StAlog Dly

✓ ✓ ✓ ✓
✓ ✓ ✓
✓
✓ ✓ ✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓
✓
✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓
✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓
✓ ✓
✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓
✓ ✓ ✓
✓
✓ ✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓ ✓
✓ ✓ ✓

Effect Name

Mo
du
Mo le Ty
du
pe
Mo le Ty - 4th
du
pe
Mo le Ty - HL
F
du
p
le e - 3
Typ
/4
eEff
FU
ect
L
Typ
e

Note: The Effect Module size will always be displayed in Page 1 of the selected effect module next to the number 2 icon located in the
display.

Chorus/Dly
Flange/Dly
Pre Delay
Reverb
DualReverb
St Reverb
Gated Rvrb
St Dual Reverb
Room Echo
Spring Tank
Auto Wah
Compressor
GEQ8
GEQ15
GEQ31
St GEQ8
St PEQ3
PEQ6
St PEQ6
Thru Module

✓
✓
✓
✓
✓

✓
✓
✓

✓
✓
✓
✓
✓

✓
✓
✓
✓
✓
✓
✓ ✓
✓
✓
✓
✓
✓ ✓
✓ ✓
✓ ✓
✓ ✓

✓ ✓
✓ ✓ ✓
✓ ✓ ✓
✓ ✓
✓ ✓ ✓

✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓

Dual
Dual
Dual
Dual
Dual
Stereo
Dual
Stereo
Stereo
Dual
Stereo
Stereo
Mono
Mono
Mono
Stereo
Stereo
Mono
Stereo
St/Mono

Dual
Dual
Stereo
Stereo
Stereo
Dual
Stereo
Stereo

Johnson Millennium

Section - 4 Editing Modules

Default List
The Following list contains the names of all of the Effect Defaults in the Millennium

Noise Gate
•S1 Pre Gate
•S2 Post NR
•Post Tub
•S2 PostDst
•Fast Swell
•Slow Swell

Choruses
Dual Chorus
•Medium
•Shallow
•MildNWide
•MediumWell
•DeepDepth
•Deep
•Max Depth
•Shimmery
•SloVibrato
•FstVibrato

Quad Chorus
•Medium
•MildNWide
•Medium Well
•Thick
•DeepDepth
•Deep
•Max Depth
•Shimmery
•SloVibrato
•FstVibrato
•ChorusLeft

Octal Chorus
•Medium
•Shallow
•DeepDepth
•MaxDepth
•Deep
•Shimmery
•SpcScrmblr

Flangers
Dual Flange
•HiSweep30%
•HiSweeep70%
•LoSweep30%
•LoSweep70%
•Throaty
•Nasally
•Gonzo
•IntenseL
•Intense R
•FlaChorus1
•FlaChorus2

Stereo Flange
•HiSweep30%
•HiSweeep70%
•LoSweep30%
•LoSweep70%
•Throaty

•Nasally
•Gonzo
•IntenseL
•Intense R
•FlaChorus1
•FlaChorus2

Dual Phaser
•ShallowSlo
•ShallowFst
•MIld Slow
•MIld Fast
•Medium
•Deep
•Shimmery
•PhaChorus1
•Phas Chorus2
•Psychelic

Detuners
Dual Detuner
•-5 Cents
•-12 Cents
•+/-5 Cents
•+/-10 Cents
•Single Vox

Quad Detuner
•Shallow
•Medium
•Wide
•Deep

Octal Detuner
•Shallow
•Medium
•Wide
•Deep

Pitch Shifters
Whammy
•Octave Up
•Octave Down
•2ndMin3rd
•2ndMaj3rd

Smooth Pitch
•ShftDn-12
•ShftDn-5
•ShftDn-24
•ShftUp+5
•ShftUp+7
•ShftUp+12

Dual Pitch
•5th/OctUp
•5thUpOctDn
•Min3/5thUp
•4thOctDn
•OctUp/Dn
•OctDown/Dtn
•5ths Down
•1&2OctsUp

Quad Pitch

Quad Delay

•MajChord
•MinChord
•Oct/Dtn
•5th/OctDtn
•5Octaves

•RoundNRnd
•SynchroTap
•RtoLPanTap
•TripleSlow
•Ping Pong
•400ms Thick
•On the Rise
•Shav&Hrcut
•Horse Trot

Octal Pitch
•Chord/Det1
•MinChord2
•Oct/Dtn
•5th/OctDtn
•5thsOcts

Stereo Pitch
•5th Up
•Min3rdUp
•Maj3rdUp
•OctaveUp
•4thDown
•Octave Down
•2 OctsDown

Stereo Dual Pitch
•5th/OctUp
•Min3rdUp
•3rd/5th Up
•Min 3rd/5th Up
•4th/OctDn
•OctUp/Down
•OctDownDtn
•1&2OctsUp

Harmony
•Cmaj3rdUp
•Cmaj6thUp
•Emin3rdUp
•Cmaj6thDn
•Cmaj3rdDn
•Emix3rdUp
•Cmaj5thUp
•1&2OctsUp

Stereo Delay
•700ms/20%
•Combfilter
•Doubling
•SlapRight
•400ms/50%
•500ms/30%
•600ms/15%
•MaxRepeats
•350ms/0%
•700ms/0%

Stereo Dual Delay
•Skip
•SwingPong
•PingPong1
•PingPong2
•DoubleSlap
•RoundNRnd
•Hard2Tap
•ThickEcho

Stereo Quad Delay

Delays

•RoundNRnd
•SynchroTap
•Ping Pong
•400msThick
•HorseTrot
•Shav&Hrcut
•Ratatat
•Random

Delay

Long Delay

•1400ms/15%
•CombFilter
•Doubling
•Slapback
•300msEcho
•400ms/30%
•500ms/25%
•800ms/20%
•1SecEcho
•MaxRepeats
•1400ms/0%

Dual Delay
•PingPong
•1SecTicToc
•Doubling
•Slapback
•DoubleSlap
•RoundNRound
•Hard2Tap
•Thick Tap

•2.8sec/15%
•CombFilter
•Slapback
•300msEcho
•400ms/30%
•500ms//25%
•800ms/20%
•1 SecEcho
•MaxRepeats
•2.8sec/0%

Analog Delay
•1400ms/25%
•SoftEcho
•Eternity

Stereo Analog Delay
•700ms/25%
•SoftEcho
•Eternity
•DlyCho300m

Multi-FX Mods
Chorus/Delay
•MedCHoEcho
•LitChoEcho
•MedChoSlap
•DeepChoDly
•ShimryEcho
•ModDly300ms
•DeepModDly

Flange/Delay
•FlatLitD300
•FlatMedD300
•HeavyFlDly
•LoSweepDly
•ThroatyDly
•DoublGonzo
•Flangbelly

Reverbs
Reverb
•SmoothHall
•Bar'nGrill
•OakFloorRm
•Vocal Reverb
•FoilPlate
•GoldPlate
•Smphny Hall
•RichChmber
•Sanctuary
•Salt Palace
•CmntGarage
•PlutoVerb

Dual Reverb
•BrightHall
•LngDrkHall
•ConcrtHall
•MiniHall
•FlatChambr
•WarmChambr
•Smphny Hall
•BigCathedrl
•SmlCatherl
•GoldPlate
•Thinplate
•VocalPlate
•PercPlate
•StudiAmb
•StudioRoom
•WoodRoom
•FlutterRvb
•Very thin
•CementRoom
•HugeArena

Stereo Reverb
•SmoothHall
•Bar'nGrill
•OakFloorRm
•VocalReverb
•FoilPlate
•GoldPlate
•SmphnyHall
•RichChamber
•Sanctuary
•SaltPalace
•CmntGarage
•PlutoVerb

Gated Reverb

Auto Wah

•100msGated
•200msDcyEx
•200msDecay
•200msGated
•300msDcyEx
•300msGated
•SmphnyHall
•RichChamber
•Sanctuary
•SaltPalace
•CmntGarage

•Low Sens
•High Sens

Compressor
•Light
•Medium
•Heavy

Equalizers
8-Band Mono GEQ
•Flat
•Low Pump
•Sizzle
•InvrtPhase
•Smiley
•InvrtPhase

Spring Tank Reverb
•Short Decay
•Long Decay
•Wet Spring
•SurfSplash
•Ratl&Boing
Room Echo
•WideSlap
•LiveSlap
•Springy
•Stage
•Voxy
•Drum 1
•Drum 2

15-Band Mono GEQ
•Flat
•Low Pump
•Sizzle
•Smiley
•InvrtPhase

31- Band Mono GEQ

Other Modules
Pre Delay
•0ms
•30ms
•60ms
•90ms
•120ms
•Warm0ms
•Warm60ms
•Warm120ms
•0msHPass1
•0msHPass2
•0msHPass3
•0msHPass4
•0msLPass1
•0msLPass2
•0msLPass3
•0msLPass4

Rotary Speaker
•SloLeslie
•MedLeslie
•FastLeslie

Stereo Tremolo
•DeepSlow
•DeepMedium
•DeepFast
•MildSlow
•MildMedium
•MildFast

Auto Pan
•WideSlow
•WideMedium
•Wide Fast
•Narrow Slow
•Narrow Med
•Narrow fast

•Flat
•Low Pump
•Sizzle
•Smiley

8-Band Stereo GEQ
•Flat
•Low Pump
•Sizzle
•Smiley
•InvrtPhase

3-Band Stereo PEQ
•Flat
•Low Boost
•Smiley
•PhaseInvrtL
•PhaseInvrtR
•SmlBoost
•LowNudge
•60HzNotch

6-Band Mono PEQ
•Flat
•Low Boost
•Smiley
•60HzNotch
•InvrtPhase

6-Band Stereo PEQ
•Flat
•Low Boost
•Smiley
•60HzNotch
•PhasInvrtL

Thru Module
•Stereo Thru
•Mute
•Left Thru
•Right Thru

User Guide

Johnson Millennium

Section - 4 Editing Modules

Effects Library
The following pages offer the complete low-down on all of the effects offered in the Johnson Millennium Stereo 150 .

Analog Wah
With the Analog Wah, you get the best of both worlds. This Analog Wah is digitally controlled. What exactly does that mean? This means that
you get an dead-on accurate Wah emulation (you may have heard a certain Left-handed guitarist at Woodstock with this same tone), which is
controlled via the Millennium's powerful processing. And the best thing is, you no longer have to change batteries every 3 to 4 hours.
The Analog Wah module also gives you the ability to assign a Dynamic Modifier to the Pedal parameter to create Auto-Wah effects within the
Wah module.

Analog Wah Parameters
ON/Bypass

This parameter turns the Analog Wah On or Bypasses the effect module.

Wah Position

Controls the pedal position of the Analog Wah effect module. Ranges from 1 to 128. *An Expression pedal such as
the Expression Pedals on the J-12 or a standard volume or voltage control pedal must be assigned to this
parameter in order for module to operate.

Wah Type

Selects which Wah type is to be used. Selections are: Toe heavy, Linear, and Heel Heavy.

Amplifier Types
All of the great Amplifier tones of today and the past are present under the hood of the Johnson Amplification Millennium. You can access any
of these tones by pressing any one of five Amplifier Modeling buttons located on the front panel. Successive presses of each button moves you
through a variation of the selected Amplifier Model type. They’re all there, but if you want to modify these tones, this can easily be done in
the Edit mode.

Amplifier Type Parameters
Amp Selector

This parameter is used to select the different Amplifier types available.

Channel Selector

Selects which channel of the Amplifier is being used or modified. Selections are Channel A or Channel B.

Channel A Gain

This parameter controls the amount of gain used in channel A. Range is from 0.0 to 10.

Channel A level

This parameter controls the overall level of Channel A. Range is from Off to 100%.

Channel B Gain

This parameter controls the amount of gain used in channel B. Range is from 0.0 to 10.

Channel B level

This parameter controls the overall level of Channel B. Range is from Off to 100%.

User Guide

Section - 4 Editing Modules

Johnson Millennium

Channel A Treble

This parameter controls the high EQ frequency used in Channel A . Range is from 0.0 to 10.

Channel A Mid

This parameter controls the mid EQ frequency used in Channel A . Range is from 0.0 to 10.

Channel A Bass

This parameter controls the low EQ frequency used in Channel A . Range is from 0.0 to 10.

Channel B Treble

This parameter controls the high EQ frequency used in Channel B . Range is from 0.0 to 10.

Channel B Mid

This parameter controls the mid EQ frequency used in Channel B . Range is from 0.0 to 10.

Channel B Bass

This parameter controls the low EQ frequency used in Channel B . Range is from 0.0 to 10.

Ch A dlvl

This parameter controls the overall digital effects level in channel A . Range is from Off to 100%.

Ch B dlvl

This parameter controls the overall digital effects level in channel B . Range is from Off to 100%.

Ch A mlvl

This parameter controls the overall master volume level in channel A . Range is from Off to 100%.

Ch B mlvl

This parameter controls the overall master volume level in channel B . Range is from Off to 100%.

Noise Gate
The Silencer noise reduction system is definitely going to become your best friend in any recording session or live performance for keeping
signals quiet.

Noise Gate Parameters

Type

Selects the type and placement of the noise reduction to be used. Types include: 1. Silencer 1, 2. Silencer II

Threshold

Set the minimum input level at which the compressor will engage. Ranges from -90 to 0.

Attenuation

Adjusts how far the signal is lowered when the gate is closed. Ranges from 1 to 5.

Attack

Controls how quickly the gate opens after the signal level reaches Thresh. Range: 1 to 10.

Release

Determines how quickly the the gate closes after the signal falls below the Threshold. Ranges from: 1 to 10.

User Guide

Johnson Millennium

Section - 4 Editing Modules

Digital Effects
Reverbs
Reverberation is probably the most widely used effect because it allows you to simulate the sound reflection characteristics of almost any kind
of room. In a real room, reverb is a result of sound reflecting off room surfaces such as the walls, floor, ceiling, and objects in the room. The
materials, size, and shape of the room determine how long these reflections echo and decay before dying out completely. These factors also
help determine the audio characteristics of the room, such as how long the high-frequency reverberations ring when compared to the low
frequencies, or how much initial "slapback" the room wall produces when a sound hits.

Today’s technology allows the Millennium to offer a complete palette of flexible, easy to use reverbs. There are five basic reverbs to choose
from:
1) Reverb - Simple, straight ahead reverb with only the most basic parameters.
2) Dual Reverb - Multi-dimensional reverb with flexible frequency band-splitting capabilities. The reverb can be
divided into primary and secondary stages using selectable High or Low Pass cross-overs.
3) Stereo Reverb - A true stereo version of the Reverb Module.
4) Spring Reverb - A recreation of the old Spring Tank Reverb found in Vintage and Modern combo Amps.
5) Gated Reverbs - A very linear, high energy reverb that can be set to decay, stay flat, or ramp up the reverb decay,
creating many unique ambient effects.
6) Room Echo - A true stereo, multi-tap delay for creating small ambient spaces. The delays are divided into four
sections of early reflections. These reflections can be placed anywhere in the stereo field and can be as dense or
sparse as necessary. The Room Delay also includes a feedback loop for delay regeneration.

Reverb
Real life reverberation is the result of sound reflecting off surfaces in a room or hall. It can best be described as millions of small echoes that
decay over a period of time. The size of the room, the surface type of the walls, or the carpet on the floor all contribute to the way real reverberation behaves and sounds.

When do I use Reverb? When recording in the studio, nearly always. Many guitar tracks, for example, are recorded in a very sterile
environment (i.e. very dry), but adding reverb can add lush depth to any guitar track and you can get those great sounds in the Studio or
Live.
Why should I use stereo reverb? Digital Effects such as Chorus and Delay produce stereo imaging type effects. Stereo reverb helps
maintain that original stereo image. But don't forget that millions of hit recordings were made using mono input reverbs that created a
stereo output image. The theory is that sound generally originates from one point in a room, so mono often works just fine. The rule? Don’t
get caught using too much reverb on your guitar in live situations. Even if the room is small, it still produces some reverb. Too much makes
the guitar go away. Let it compliment the room.

User Guide

Section - 4 Editing Modules

Johnson Millennium

Gated Reverb
Gated reverb doesn't behave as naturally as the standard varieties of reverb. Originally, it was created by taking a long, dense reverb and
chopping it short with a noise gate. This made for a burst of reverberation energy that could help thicken up a variety of sounds.
Digital signal processing techniques improved and soon allowed ways to create similar gated reverb sounds that were far more usable and
flexible. Today's gated reverb doesn't get gated at all, it just sounds like it does. It is actually a large burst of delay taps that create the gated
reverb sound. This allows you to chose the length of the effect along with different slope shapes.

When do I use Gated Reverb? Using a Gated Reverb in a multi effect guitar application is ideal for producing unusual special effects.
Using the Gated reverb can produce a very rich and intense and ambience which can thicken up a guitar tone in many ways . This type of
reverb is also ideal for producing an effect that is similar to backward masking.

Reverb Parameters:
Note: Not all of the parameters listed below are available in all Reverb modules.

FX: Lvl

Controls the signal input level fed to the Module. Ranges from Off to 100%.

Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from Off to 100%.

Balance

Controls the left/right positioning of the dry signal in the stereo soundfield. Ranges from -99 (all left) to 99 (all right).

Type

Selects the reverb type. Each room type has a different decay range (just as real rooms do), so changing TYPE also
changes the decay time of the room. Types are: Studio Room, Wood Room, Vocal Plate, Concert Hall, Plate Reverb,
Chamber, Cathedral, Arena, Cement Shelter, and Infinite Spring (for Reverbs), and: Flat, Shelf, Decaying Linear,
Decaying Logarithmic, Decaying Exponential, Decaying Sine, Reverse Linear, Reverse Logarithmic, Reverse
Exponential, Reverse Sine, Peaking Linear, and Peaking Exponential (for Gated Reverbs).

Density

Controls the number of discrete room wall reflections during the early portions of DECAY. Higher settings produce
more reflections while low settings yield fewer initial wall echoes. Use this control in conjunction with DISPERSION
to build or reduce the thickness of early reflection clusters heard near the beginning of the reverberation. Ranges
from 0% to 99%.

Dispersion

Controls the distance (time) between the echoes set by DENSITY. If DENSITY is set low and DISPERSION is set high,
the initial room echoes. Dispersion can be heard as discrete echoes followed by smoother room reverberations. Set
DISPERSION low for a dense cluster of reflections during the early portions of DECAY. Ranges from 1 to 5.

Diffusion

Simulates the presence of different room materials by controlling the smoothness of reverberations through the
course of DECAY. Low DIFFUSION settings are great for simulating hard, flat surfaces while higher DIFFUSION
settings can be used to simulate the presence of irregular surfaces in the room such as natural rock masonry or manmade diffusers. Unlike flat surfaces, these materials reflect (diffuse) the sound in many directions because of the irregularity of the surfaces themselves. This builds smoothness over the reverb progression. Ranges from 0% to 99%.

User Guide

Johnson Millennium

Section - 4 Editing Modules

Selects which crossover type will be used for the Primary Secondary reverb stages. The two crossover types are High
Pass (HP) and Low Pass (LP).
Selects the Frequency where the crossover begins to function. Ranges from 25Hz to 20kHz.

X-Over Type
X-Over Freq.
Prim & Secd X-Over

These two Parameters allow the crossover to be turned On or Off for each reverb stage. When Off, that particular
stage will be full bandwidth, otherwise its frequency response is limited by the X-Over Type and Frequency
Parameters.

Prim & Secd Damp

Adjusts how quickly the room absorbs the high-frequency reverberations. In a real room, absorptive materials can be
used to dampen the natural high-frequency reverberations of the room. High settings of DAMP cause the reverberations to darken tonally and become less defined over the course of DECAY. Low settings cause less dramatic room
effects on the tone of the reverberations. Ranges from 1 to 7.

Low Pass

Selects the frequency above which all frequencies are rolled off. This control can be used to darken the response of
bright-sounding gated reverbs. Ranges from 100 Hz to 8 kHz in the Gated Reverb and from 100 Hz to 20 kHz in the
Stereo Gated Reverb.

Time

Controls the length of the gated reverb in milliseconds (much like the DECAY control of a normal reverb). Ranges
from 25 milliseconds to 300 milliseconds in the Gated Reverb and from 500 milliseconds in the Stereo Gated
Reverb.

Blend

Cross-mixes reverberations from the left side into the right side and vice-versa. This can be used to increase the
realism of the simulated room by adding reverberations from different parts of the room to each channel. Ranges
from 0% to 99%.

Prim & Secd Blend

Adjusts the amount of BLEND for the Primary and Secondary reverb stages. See BLEND above for a complete
parameter description.

Decay

Controls the length (RT60) of the room reverberations. This one control could have been divided among Size and
Reflection controls but has been simplified here for easier use. To simulate a large room, use longer DECAY settings.
For small rooms, use shorter DECAY settings. For more natural sounding reverbs, you may also want to decrease the
DENSITY setting as DECAY is shortened. Ranges from .5 to 23 seconds depending on the Reverb Type currently
selected.

Prim & Secd Decay

Controls the length (RT60) for the Primary and Secondary reverberation stages. This Parameter interacts with the
SIZE and REFLCT Parameters. Larger SIZE and REFLCT settings will allow longer reverb decay times while smaller
settings reduce the length of the reverb decays but produce better small environment emulations. Ranges from .26
to 11 seconds.

Prim & Secd Size

Changes the relative room size of the Primary and Secondary reverb stages. Ranges from 1 to 5.

Prim & Secd Reflct

Controls the simulation of energy loss of sound each time it is reflected. Hard, smooth materials like glass and wood
have more reflectivity that softer, more porous materials. This control can be thought of as determining the
“liveness” of the room. Ranges from 1 to 10.

User Guide

Section - 4 Editing Modules

Johnson Millennium

Note: The following Delay Parameters that are utilized within the Reverb section are to be used in the Room Echo reverb module.
Delay A

Sets the length of time before hearing Delay Group A. Ranges from 0 to 120 milliseconds.

Delay B

Sets the length of time before hearing Delay Group A and Delay Group B. Ranges from 0 to 120 milliseconds.

Delay C

Sets the length of time before hearing Delay Group B and Delay Group C. Ranges from 0 to 120 milliseconds.

Delay D

Sets the length of time before hearing Delay Group C and Delay Group D. Ranges from 0 to 120 milliseconds.

Out A - D

Controls the output level of the Delay Groups. Ranges from Off to 100%.

Bal A - D

Controls the left/right balance of the Delay Groups. Ranges from -99 to 99.

Shape

Selects the shape of the output levels for the delay group taps. Shape selections are: Flat, Peak, Decreasing,
Increasing, Shelf, and Reverse Shelf.

Spread

Controls the width of the effect’s stereo imaging. Ranges from 1 to 10.

FB: Dly

Sets the amount of time before the delay is fedback in. Ranges from 0 to 170 ms.

Amount

Sets how much delay is fedback into the signal. Ranges from Off to 50%.

Out L - R

Adjusts the overall level of the left/right side of the reverb. Ranges from Off to 100%.

Prim Out L

Adjusts the overall level of the left side of the Primary reverb. Ranges from Off to 100%.

Prim Out R

Adjusts the overall level of the right side of the Primary reverb. Ranges from Off to 100%.

Secd Out L

Adjusts the overall level of left side of the Secondary reverb. Ranges from Off to 100%.

Secd Out R

Adjusts the overall level of the right side of the Secondary reverb. Ranges from Off to 100%.

Choruses and Flangers
Both choruses and flangers use a Low Frequency Oscillator (LFO) to produce their rich, swirling effects. When you change the speed and depth
Parameters of modulation effects, you're actually controlling the frequency and amplitude of the LFO. These settings determine the rate and
intensity of the modulation effect.
In general, here's how a chorus works: after entering the Module, the source signal is split into two paths. One is allowed to pass through
the Module unaltered, while the other is delayed and pitch modulated with an LFO. The modified sound is then sent to the output, along
with the original. In Fig. 4-1 below, a sine wave is used to modulate the pitch of the split sound source.

User Guide

Johnson Millennium

Section - 4 Editing Modules

-5 cents

5 cents

P I T C H

The Dual Chorus creates two different pitch “voices”, while the Octal Chorus creates eight voices for extremely full, rich sounds .

1 sec

2 sec

3 sec
Modulated Sound
Original Sound

T I M E
Figure 4-1 Modulation Example

The only difference between choruses and flangers is that flangers use less delay and have a feedback Parameter that sends a portion of the
effected signal back to the input of the Module. When the effected signal reaches the input, it is sent through the Module again, building
thickness and depth. If you increase the feedback enough, the source begins to lose its own original pitch to the dramatic pitch modulation of
the feedback loop.

SINE LFO

SP1 LFO

FREQUENCY (SPEED)

SP2 LFO

AMPLITUDE (DEPTH)

FREQUENCY (SPEED)

AMPLITUDE (DEPTH)

FREQUENCY (SPEED)

TRIANGLE LFO

AMPLITUDE (DEPTH)

FREQUENCY (SPEED)

AMPLITUDE (DEPTH)

LFO Waveforms: There are four LFO waveforms available for Choruses, Flangers, Phasers, Tremolos, Auto Panners. They include SINe,
TRIangle, SPecial-1, SPecial-2, and SPecial-3. See figure 4-2 for examples of what these waveforms look like.

FREQUENCY (SPEED)

SP3 LFO
(Modifiers only)

Figure 4-2 LFO Types

Chorus
Chorus is probably the most basic modulation effect. It is really just a very small delay whose time is always changing. As the time is varied, the
delayed signal's pitch changes (just like a tape recording's pitch raises when you play it faster). By moving the time back and forth, you hear a
sound that goes in and out of tune. When combined with the original sound, it almost sounds like more than one instrument is playing. The
Millennium uses several choruses at once to make huge rich sounds. For example, the octal chorus uses eight chorus voices at once to create
an incredible ensemble of sound. Aside from the more obvious speed and depth parameters (which adjust respectively how fast and far the
sound goes out of tune), the Millennium allows you to use different waveforms. The waveform defines how it will move in and out of tune.
The triangle waveform is very popular for slow, shallow chorus settings, while the sine waveform works nicely for faster, deeper settings.

User Guide

Section - 4 Editing Modules

Johnson Millennium

When do I use Chorus? The Chorus effect is so vast in applications, an easier question would probably be “When can’t I use a Chorus.
When playing the Blues, turn the Speed and Depth parameters up to produce an almost Leslie-Type effect When trying to obtain “Big” rock
guitar tone, use the Chorus to thicken-up and add depth to your sound.And, any time your using a clean tone program, guitar always sounds
so lush when chorus is added.

Chorus Parameters:
Note: not all of the parameters listed below are available in all Chorus modules.

FX: Lvl

Controls the signal input level fed to the Module. Ranges from Off to 100%.

Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from Off to 100%.

Balance

Controls the left/right positioning of the dry signal in the stereo soundfield. Ranges from -99 (all left) to 99 (all right).

Speed

Controls the Low Frequency Oscillator (LFO) speed of the chorus. Ranges from 0.06 to 16.0 Hz.

Depth

Adjusts the intensity of the chorus effect. High settings produce dramatic modulation, while lower settings can be
used to produce a more subtle, ambient swirling. Ranges from 0 to 30 milliseconds.

Depth 1 - 2

DEPTH1 adjusts the intensity of chorus voices 1-4. DEPTH2 adjusts the intensity of chorus voices 5-8. Ranges from 0
to 30 milliseconds.

Wander Speed

Controls the secondary LFO speed of chorus voices 5-8. This is a secondary oscillator for voices 5-8 that causes
deviations from the oscillation path set by DEPTH2. This control can produce radical new textures when used
creatively. Try setting it slightly faster or slower than SPEED. Ranges from 0.06 to 2.0 Hz.

Wander Depth

Adjusts the intensity of the oscillation deviations produced by WANDER SPEED. WANDER DEPTH produces dramatic
psycho-acoustic swirling effects when set higher than DEPTH2. Ranges from 0 to 10 milliseconds.

WvFrm

Selects which waveform the LFO follows. Options: sine, triangle, SP1 (special 1), and SP2 (special 2). See figure 3-4

Dly A - B

Controls the delay time of chorus voices A and B. Higher delay time settings produce a more dramatic sweeping
sound. Ranges from 0 to 60 milliseconds.

Dly C - D

Controls the delay time of chorus voices C and D. Higher delay time settings produce a more dramatic sweeping
sound. Ranges from 0 to 60 milliseconds

Dly E - H

Controls the delay time of chorus voices E through H. Higher delay time settings produce a more dramatic sweeping
sound. Ranges from 0 to 60 milliseconds

Out A - B

Adjusts the overall level of chorus voice A or B. Ranges from Off to 100%.

Pan A - B

Controls the placement of chorus voice A or B. Ranges from -99 to 99.

User Guide

Johnson Millennium

Section - 4 Editing Modules

Out C - D

Adjusts the overall level of chorus voice C or D. Ranges from Off to 100%.

Pan C - D

Controls the placement of chorus voice C or D in the stereo image. Ranges from -99 to 99.

Out LA - LB

Adjusts the left-side level of chorus voice A or B. Ranges from Off to 100%.

Out RA - RB

Adjusts the right-side level of chorus voice A or B. Ranges from Off to 100%.

Spread

Controls the width of the effect’s stereo imaging. The higher the setting, the wider the image. The lower the setting,
the more monophonic the effect becomes. Ranges from 1 to 10.

Flanger
A flanger is just a chorus that loops back into itself, causing what can be described as a tubular sound (since it sounds much like the
reflections heard inside a large cement or metal pipe). It is still a modulating effect, so you hear a lot of sweeping movement. This makes the
flanger a very colorful effect that can be easily overused if you're not careful. The more you feed the flanger back to itself, the more intense the
sound becomes.

When do I use Flanger? An electric guitar is the first sound that begs for the flanger effect. It works very well with both clean and
distorted guitar sounds. By setting the Speed and Depth parameters to higher settings, this will add more depth and body to the overall
guitar signal.

Flanger Parameters
Note: Not all of of the parameter listed below are available in all of the Flanger modules.

FX: Lvl

Controls the signal input level fed to the Module. Ranges from Off to 100%.

Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from Off to 100%.

Balance

Controls the positioning of the dry signal in the stereo soundfield. Ranges from -99 (all left) to 99 (all right).

Speed

Controls the Low Frequency Oscillator (LFO) speed of the flanger. Ranges from 0.06 to 16.0 Hz.

Depth

Controls the intensity of the flange effect. High settings of DEPTH combined with high settings of FDBCK produce
dramatic, synth-like textures. Ranges from 0 to 30 milliseconds.

FdBck

Controls how much of the flanged signal is fed back to the input of the Module. The FDBACK Parameter is what
gives flangers their distinctive voice. Flangers are capable of both positive and negative feedback loops, so
experiment to find the sound you like best. Ranges from -99% to 99%.
Selects which waveform the LFO follows. Options for this control include sine, triangle, SP1 (Special 1), and SP2
(Special 2). The sine wave setting is probably the most easily recognized, but the smooth response of the triangle

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wave or the intensity of SP1 or SP2 typically produce better results. See figure 4-2.
Dly A - B

Controls the delay time of flange voice A or B. Shorter delay times produce a more dramatic, deeper sweeping sound.
Ranges from 0 to 60 milliseconds.

Out A - B

Adjusts the overall level of flange voice A or B. Ranges from Off to 100%.

Pan A - B

Controls the stereo soundfield placement of flange voice A or B. Ranges from -99 to 99.

Out L - R

Controls the output level of the left or right side of the flanger. Ranges from Off to 100%.

Phasers
The Phaser or “Phase Shifter” as it is sometimes called, is a classic effect from the 70's that uses phase cancellation to create a warm sweeping
effect. The effect is created by making a copy of a signal and moving it in and out of phase while mixing it with the original signal. As it moves,
different frequencies are cancelled out creating a smooth curling sound. There is also a feedback control that sends the shifting signal back into
the phaser's input. This intensifies the sound even more.

When do I use a Phaser? A great example of this can be heard most when you listen to music of the 70’s. Guitarist of the day loved their
Phasers. A Phaser is a great effect to use when playing clean and funky rhythms.

Phaser Parameters:

Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from Off to 100%.

Balance

Controls the positioning of the dry signal in the stereo soundfield. Ranges from -99 (all left) to 99 (all right).

Speed

Controls the Low Frequency Oscillator (LFO) speed of the phaser. Ranges from 0.06 to 16.0 Hz.

Depth

Controls the intensity of the phaser effect. High settings of DEPTH combined with high settings of FDBCK produce
dramatic, synth-like textures. Ranges from 0 to 30 milliseconds.

FdBck

Controls how much of the flanged signal is fed back to the input of the Module. The FDBACK Parameter is what gives
phasers their distinctive resonating sound. Ranges from -99% to 99%.

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Selects which waveform the LFO follows. Options for this control include sine, triangle, SP1 (Special 1), and SP2
(Special 2). The sine wave setting is probably the most easily recognized, but the smooth response of the triangle
wave or the intensity of SP1 or SP2 typically produce better results. See figure 4-2.

Out A - B

Adjusts the overall level of phaser voice A or B. Ranges from Off to 100%.

Pan A - B

Controls the stereo soundfield placement of phaser voice A or B. Ranges from -99 to 99.

Out L - R

Controls the output level of the left or right side of the flanger. Ranges from Off to 100%.

User Guide

Johnson Millennium

Section - 4 Editing Modules

Rotary Speaker Simulator
The Rotary Speaker Simulator allows you to emulate the classic rotating speaker sound, without the chiropractic problems that come with
moving bulky speaker cabinets. The Rotary speaker is directly responsible for some of the most unique sounds in music. The applications for
this effect are so diverse, it can be used to achieve sounds ranging from the Allman Brothers Band to the legendary Stevie Ray Vaughan.
A unique parameter in the Rotating Speaker simulation is the Acceleration parameter. This parameter is used emulate the the time that it takes
to get the Speaker up and spinning at full speed. The parameter can be assigned to a footswitch on the J-12 or an External external expression
pedal so you can control the acceleration speed.

Rotary Speaker Simulator Parameters:
FX: Lvl

Controls the signal input level fed to the Module. Ranges from Off to 100%.

Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from Off to 100%.

Balance

Controls the positioning of the dry signal in the stereo soundfield. Ranges from -99 (all left) to 99 (all right)

Mode

Selects which speed mode the Rotor and Horn are in. Settings are fast or slow.

Spread

Sets the horn stereo microphone spread. Ranges from 0 to 100%.

H - R: Level

Sets the overall level of the Rotor or Horn. Ranges from Off to 100%.

Slo - Fast Hrn Speed

Controls the Low Frequency Oscillator (LFO) speed of the Horn. Ranges from 0.06 to 16.0 Hz.

Slo - Fast Hrn Depth

Controls the intensity of the rotating effect. Ranges from 0 to 30 milliseconds.

Slo - Fast Hrn Doppler Sets the amount of shifted pitch heard in the Horn. Ranges from 0 to 50 milliseconds.
Slo - Fast Rtr Speed

Controls the Low Frequency Oscillator (LFO) speed of the Rotor. Ranges from 0.06 to 16.0 Hz.

Slo - Fast Rtr Depth

Controls the intensity of the rotating effect. Ranges from 0 to 30 milliseconds.

X-Over

Selects the frequency where the signal is split between the Horn and Rotor. Ranges from 25Hz to 20kHz.

Acceleration: H - R

Sets the amount of time that the Rotor and Horn take to come up to their full rotating speed. Ranges from 0 to 10
seconds.

User Guide

Section - 4 Editing Modules

Johnson Millennium

Tremolo and Auto-Panner
Look out, because the popular Tremolo and Auto panner effects of the 50’s and 60’s are back with a vengeance. These effects that revolutionized “Surf-Style” music can be heard all over the air waves in the 90’s. Tremolos and auto panners are similar to one another in that they both
use an LFO to modulate input levels to produce vibrato effects.

Tremolo
The word tremolo actually has several definitions in the music world. It basically means that a sound is being modulated in amplitude (the
volume is beating or pulsing). It could be emulated by turning a volume knob up and down. But you probably have better things to do than
turn a volume control up and down throughout a whole song, so let the Millennium do it for you.
Aside from speed and depth parameters, the tremolo also has an LFO waveform that determines the way a signal's volume is increased and
decreased. While the Sine wave is probably the most common to the ear, the Triangle and Special 2 waveforms are progressively more intense.

When do I use Tremolo? Tremolo is truly a vintage sound for the guitar, electric piano and organ. Most pronounced on the guitar, you
can hear it used on everything from sweet ballads to blues rock 'n roll.

Auto Panner
The auto panner is really just a dual version of a tremolo. It changes the amplitude of the left signal just as a tremolo does, but the amplitude
of the right signal is inverse to that of the left signal. This gives the illusion that the signal is moving back and forth between the left and right
speakers.
The Auto Panner's Speed typically doesn't get set as fast as the Tremolo since you usually want a sound to move smoothly back and forth in the
stereo image. The Millennium auto panner is especially flexible since it can be used for either mono or stereo input sources. When used with a
mono source, the signal pans back and forth as described earlier. When a stereo sound source is used, the original stereo image is maintained
by moving the volume of the left signal exactly opposite of the right signal. The stereo image fades back and forth between the stereo extremes.

When do I use an auto panner? The auto panner can be a very creative tool. When running your guitar rig in a stereo set-up with the
right amount of cabinet separation, the Auto-Panner creates a stereo panning effect that is right out of this world.
Auto panners can also add life to delays or choruses by moving them around instead of just sitting in one place in the mix. Simply place an
auto panner module after a delay or chorus module. You don't need to set the auto panner's depth parameter too deep since you just want
some gentle movement.

Tremolo & Auto Panner Parameters:

FX: Lvl

Controls the signal input level fed to the Module. Ranges from Off to 100%.

Speed

Controls the Low Frequency Oscillator (LFO) speed of the effect. Ranges from 0.06 to 16.0 Hz.

Depth

Controls the intensity of the effect. As DEPTH increases, volume changes become more dramatic. Ranges from 0 to 30
milliseconds.

User Guide

Johnson Millennium

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Section - 4 Editing Modules

Pitch Shifters and Harmony
The pitch shifter allows you to move sound from one pitch to another. It accomplishes this by recording a small part of the original sound and
then playing it back either faster (to raise the pitch) or slower (to lower the pitch). It does this over and over again to create a new pitch.
The Harmony modules give you almost unlimited possibilities. you can use different harmony intervals to produce slide guitar effects. or Major
or Minor 3rd intervals to create dual soling lines reminiscent of the Eagles’ “Hotel California”.

When do I use pitch shifting? Guitarists are probably the most well known users of pitch shifters. They commonly pitch shift their
sound down by an octave to get a deep rumble out of their distortion, or shift it an octave up to emulate a 12 string guitar.
Both guitar and synth players have created some amazing textures by pitch shifting their sound up a fifth (7 semitones). This creates more
complex chords out of simple ones (e.g. a basic Cmaj chord sounds like a Cmaj9 chord, or Cmin7 becomes a Cmin11 chord). Lead lines
sound amazing when using major 5th intervals up.

Pitch Shifters Parameters
Note: not all of the parameters listed below are available in all Pitch Shifter modules.

FX: Lvl

Controls the signal input level fed to the Module. Ranges from Off to 100%.

Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from Off to 100%.

Balance

Controls the positioning of the dry signal in the stereo soundfield. Ranges from -99 (all left) to 99 (all right)

Shft A - B

SHFTA and SHFTB control the pitch intervals between the original note and voices A and B of the pitch shifter. Pitch
shifters can be used for a wide variety of effects, including doubling, octave division, and chromatic harmonies. Each
Pitch Shifter has a 4-octave range, stepped in semitones from -24 to +24.

Dtn A - B

Controls the detuning amount for pitch-shifted voices A and B. As DTN moves away from zero, dissonance becomes
more pronounced. Low DTN settings can be useful for thickening or enhancing the imaging of the source material.
Ranges from -50% to 50%.

Shft C - D

See Shift A - B.

Dtn C - D

See Dtn A - B.

User Guide

Section - 4 Editing Modules

Johnson Millennium

Shft E - H

See Shift A - B.

Dtn E - H

See Dtn A - B.

Key

Sets the diatonic key for the harmonies. If the song you are playing is in the key of G Major, you would select G for
the scale.

Scale

Sets the scale type for the Harmony you want to hear. Scale types include: Major, Minor, Harmonic Minor, Melodic
Minor. Dorian, Mixolydian, Lydian, Lydian Augmented, Major Pentatonic, Minor Pentatonic, Blues, Whole Tone, HalfWhole,and Whole-Half.

Interval

Sets the basic interval of the Harmony. You can choose from one of several Harmony intervals. See the Harmony
Interval Charts for reference.

Out A - B

Adjusts the overall level of pitch-shifted voice A or B. Ranges from Off to 100%.

Pan A - B

Controls the placement of pitch-shifted voice A or B in the stereo image. Ranges from -99 (all left) to 99 (all right).

Out C - D

Adjusts the overall level of pitch-shifted voice C or D. Ranges from Off to 100%.

Pan C - D

Controls the placement of pitch-shifted voice C or D in the stereo image. Ranges from -99 (all left) to 99 (all right).

Out E - H

Adjusts the overall level of pitch-shifted voice E through H. Ranges from Off to 100%.

Pan E - H

Controls the placement of pitch-shifted voice E through H in the stereo image. Ranges from -99 (all left) to 99 (all
right).

Out L - R

Adjusts the left or right output level of the pitch-shifted voice. Ranges from Off to 100%.

Out LA - LA

Adjusts the left-side level of pitch-shifted voice A or B. Ranges from Off to 100%.

Out RA - RB

Adjusts the right-side level of pitch-shifted voice A or B. Ranges from Off to 100%.

Spread

Controls the width of the effect’s stereo imaging. The higher the setting, the wider the image The lower the setting,
the more monophonic the effect becomes. Ranges from 1 to 10.

Detuners
The detuner effect does exactly what its name implies; it detunes a sound (moves it out of tune) and allows you to add it to the original sound.
The result can be almost chorus-like, but it doesn't move like the chorus effect does. This actually makes the detuner more transparent and not
quite as thick as the chorus effect, which in many applications is a good thing (since effects can quickly pile up and clog up great sounding
audio).

User Guide

Johnson Millennium

Section - 4 Editing Modules

When do I use a detuner? The detuner falls into the same guidelines as the chorus effect. It works with just about everything; It is ideal
for thickening up a rhythm guitar track. Remember to experiment with the delay parameters if you are looking for a wider detuning sound.
Adding 30-60 ms of delay to the detuner's voices that are panned hard to one side (while not delaying the other side) will change the
detuner's stereo imaging greatly.

Detuner Parameters
FX: Lvl

Controls the signal input level fed to the Module. Ranges from Off to 100%.

Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from Off to 100%.

Balance

Controls the positioning of the dry signal in the stereo soundfield. Ranges from -99 (all left) to 99 (all right).

Dtn A - B
Dtn C - D

Controls the detuning amount for detuner voices A and B. Higher detune settings produce a more dissonant sound.
Ranges from -50% to 50%.
Controls the detuning amount for detuner voices C and D. Ranges from -50% to 50%.

Dtn E -H

Controls the detuning amount for detuner voices E through H. Ranges from -50% to 50%.

Dly A - B

Controls the amount of time before detuner voices A and B are heard. Higher delay time settings produce a short
slapback delay effect. Ranges from 0 to 60 milliseconds.

Dly C - D

Controls the amount of time before detuner voices C and D are heard. Ranges from 0 to 60 milliseconds.

Dly E - H

Controls the amount of time before detuner voices E through H are heard. Ranges from 0 to 60 milliseconds.

Out A - B

Adjusts the overall level of detuner voice A or B. Ranges from Off to 100%.

Pan A - B

Controls the stereo soundfield placement of detuner voice A or B. Ranges from -99 (all left) to 99 (all right).

Out C - D

Adjusts the overall level of detuner voice C or D. Ranges from Off to 100%.

Pan C - D

Controls the stereo soundfield placement of detuner voice C or D. Ranges from -99 (all left) to 99 (all right).

Out LA - LB

Adjusts the left side level of detuner voice A or B. Ranges from Off to 100%.

Out RA - RB

Adjusts the right side level of detuner voice A or B. Ranges from Off to 100%.

Spread

Controls the width of the effect’s stereo imaging. The higher the setting, the wider the image. The lower the setting,
the more monophonic the effect becomes. Ranges from 1 to 10.

Delays
A delay produces discrete, repeating echoes of the source material at a specified interval. In digital delays, the input signal is "sampled" or
recorded into memory, where it is held for the amount of time you specify with the delay time setting, after which the sample is replayed at

User Guide

Section - 4 Editing Modules

Johnson Millennium

the output. The Millennium delays have a feedback meter that is used to send a portion of the delayed signal back to the input to be rerecorded along with new source material. The feedback setting determines how long the delay repeats take to decay to inaudibility.

When do I use delay? When you’re the lone guitarist in a band, the Delay can be your best friend. The Delay repeats can create the
illusion that there is more than one guitar being played. One trick to using delays effectively is setting the delays to fall in time with the
music. This used to mean grabbing a calculator, dividing 60 by the tempo (beats per minute), then dividing that answer by the desired subbeats . . . Sound like a hassle? Yeah, we thought so too. So the Millennium takes care of all the calculations for you! All you have to do is tap
the TapIt

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Title                           : Millenium Manual 18-2195-B

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Millennium Enterprises Stereo150 Users Manual Millenium 18 2195 B

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