Owner's Manual for Roland models including: Roland, ZENOLOGY, 100, Shine, Pad

ZENOLOGY - Roland

12 авг. 2021 г. —

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ROLAND ZENOLOGY PRO (01) PDF MANUAL

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ZENOLOGY
Owner's Manual
© 2020 Roland Corporation 06
Intellectual Property Right
The copyright of content in this product (the sound waveform data, style data, accompaniment patterns, phrase data, audio loops and image data) is reserved by Roland Corporation. Purchasers of this product are permitted to utilize said content (except song data such as Demo Songs) for the creating, performing, recording and distributing original musical works. Purchasers of this product are NOT permitted to extract said content in original or modified form, for the purpose of distributing recorded medium of said content or making them available on a computer network. VST is a trademark and software of Steinberg Media Technologies GmbH. Roland, BOSS, ZENOLOGY, SuperNATURAL are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

ZENOLOGY
Contents
Tone Screen / Drum Kit Screen (Common Items)
Tone Screen Tone VISUAL/PRO Screen If STEP is selected for LFO How to Apply the LFO
Drum Kit Screen Drum Kit VISUAL/PRO Screen
KEYBOARD Panel
MFX Panel
Tone/Drum Kit Browser Screen Tone/Drum Kit List
Tone/Drum Kit Manager Screen
Drum Inst Browser Screen
Model Screen (JUPITER-8) Detailed Settings Screen (JUPITER-8)
Model Screen (JUNO-106) Detailed Settings Screen (JUNO-106)
Model Screen (JX-8P) Detailed Settings Screen (JX-8P)
Model Screen (SH-101) Detailed Settings Screen (SH-101)
Model Screen (JD-800) Detailed Settings Screen (JD-800)
MFX Parameters MFX list NO ASSIGN FILTER PHASER FLANGER CHORUS
MODULATION DRIVE/AMP
COMP/LIMITER DELAY LOOPER LO-FI PITCH
COMBINATION Note

to Contents
Tone Screen / Drum Kit Screen (Common Items)

[EDIT] button Accesses the tone VISUAL/PRO screen or the drum kit VISUAL/PRO screen.
* This appears only in "Pro." It does not appear in "Lite" or in the unlabeled ZENOLOGY.
[MENU] button Accesses the following menu.

Zoom

Changes the size of the window with the mouse operation.

Clear MIDI Control Clears the assignments of control

Mapping

change numbers to parameters.

Voice Limit Off, Soft, Specifies the load when

Hard

generating notes.

Flip Scroll Direction
(Only on Mac)

Inverts the direction of rotation when using the mouse wheel to

edit a value.

Authentication

Performs user authentication for the ZENOLOGY.

Help

Shows the owner's manual (PDF).

About

Shows the About screen.

[KEYBOARD] button Shows/hides the keyboard panel.
[MFX EDIT] button Shows/hides the MFX panel.

LEVEL
Adjusts the overall volume of the tone or drum kit.

Rightclick

LEARN MIDI CC Assigns a control change to LEVEL.

[WRITE] button Accesses the Tone/Drum Kit Manager, allowing you to save a tone or drum kit. [OVERWRITE] button This is shown only when a USER BANK tone or drum kit is selected. It saves the tone or drum kit directly to the currently selected BANK/NUMBER without going through the Tone/Drum Kit Manager screen. [MASTER TUNE] button Adjusts the pitch of the tone or drum kit.

Tone / drum kit indication

Shows information about the currently selected tone (sound) or drum kit.

Preset/user

Bank name

Sound engine type

Categoly

Tone / drum kit number
(consecutive numbers within the
bank)

Tone / drum kit name

[ ] [ ] buttons Select the next or previous tone or drum kit.

* When you click this area, the Tone/Drum Kit Browser appears.

Tone Screen

to Contents

[MONO] button
Specifies whether the tone will play monophonically (ON) or polyphonically (OFF).
[UNISON] button
Layers multiple instances of a sound. If unison is ON, the number of notes specified by each tone are layered together.
[LEGATO] button
This is available when LEGATO is turned ON while MONO is ON. It makes the pitch change smoothly during legato performance (playing the next key before releasing the previous key).

[PORTAMENTO] button
Specifies whether the portamento effect is applied (ON) or not applied (OFF).

Right-click

LEARN MIDI CC Assigns a control change to each button.

[CUTOFF] knob Adjusts how far the filter is open. Higher values make the sound brighter, and lower values make the sound darker.
[RESO] knob Boosts the components of the sound that are near the cutoff frequency, adding a distinctive character to the sound. Raising this value excessively might cause oscillation, making the sound distorted. Higher values produce a stronger character, and lower values produce a weaker character.
[ATTACK] knob Specifies the time from when the key is pressed until the sound completes its attack. Higher values produce a softer attack, and lower values produce a sharper attack.
[RELEASE] knob Specifies the time from when the key is released until the sound disappears. Higher values produce a longer release, and lower values produce a crisper release.

[VIBRATO] knob Adjusts the depth of the vibrato effect (the depth of pitch modulation).
Higher values produce greater pitch modulation, and lower values produce less modulation.

How to operate the knobs

Right-click Drag

LEARN MIDI CC Assigns a control change to the parameter selected by [CUTOFF]­ [VIBRATO].
Tone edit Edits each parameter.

Tone VISUAL/PRO Screen

to Contents

Switching between VISUAL EDIT and PRO EDIT
Press the [VISUAL EDIT] button to switch to the VISUAL EDIT screen, or the [PRO EDIT] button to switch to PRO EDIT. VISUAL EDIT screen

[VISUAL EDIT] button Edit parameters in a graphical edit screen.

[PRO EDIT] button Edit all parameters as a list.

PRO EDIT screen
[VISUAL EDIT] button Edit parameters in a graphical edit screen.

[PRO EDIT] button Edit all parameters as a list.

Navigation buttons Jump to the first parameter of each module. [UTILITY] button Copy/paste parameters in entire units (Tone Partial 1­4, Drum Kit Key/ Inst, Drum Kit Comp 1­6, MFX).

Copy Paste

Copies the selected parameter from the currently selected tone or drum kit to the clipboard.
Pastes the selected parameter from the clipboard to the current tone or drum kit.

PARTIAL 1­4 [L] button Turns the partial on/off.

VISUAL EDIT (partial layout)
Within STRUCTURE, clicking a [PARTIAL 1­4] button selects a layout that shows the modules (OSC, FILTER, AMP/EQ, PITCH, LFO) of the corresponding partial.

1

2

3

4

5

6

7

8

VISUAL EDIT (module layout)
Within STRUCTURE, clicking an OSC causes every OSC to light, and selects a layout that shows the four partials side by side. The [PITCH] [OSC] [LFO] [FILTER] [AMP/EQ] buttons correspond to the module layout.

9

11

10

12

* In the case of module layout, you can use the PARTIAL 1­4 [L] buttons located at the upper right of each module to turn the partial on/off.

RANGE/CTRL
Within STRUCTURE, you can click one of the [RANGE CTRL] buttons to access a velocity range and matrix control edit screen for the corresponding partial.

KEYBOARD CONTROL

Specifies how partials are played according to your keyboard playing dynamics (velocity). Specify the key range for each partial.

Key Range Make these settings when you want different key ranges to play different tones.
Specify the lowest note (Lower) and highest note (Upper) of the key range that you want to specify.
If you specify Fade, the sound decreases as you move outside the range.

Velocity Control Make these settings when you want different partials to sound depending on keyboard playing dynamics.
Specify the softest (Lower) and strongest (Upper) velocities that will be sounded.
If you specify Fade, the sound decreases as you move outside the range.

MATRIX CONTROL

The function which allows you use MIDI messages to make these changes in realtime to the partial parameters is called the "Matrix Control." Up to four Matrix Controls (CTRL 1­4) can be used in a single tone. To use Matrix Control, you specify which MIDI message (Source) controls which parameter (Destination) and how deeply (Sens: sensitivity).

Source Sets the MIDI message used to change the partial parameter with the Matrix Control.
Destination 1­4 Selects the partial parameter that is to be controlled when using the Matrix Control. When not controlling parameters with the Matrix Control, set this to "OFF." Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.

Sens 1­4 Specify the effective depth of the matrix controls.
To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive (+) value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative (-) value.
For either positive or negative value, greater absolute values will allow greater amounts of change.
Set this to "0" if you don't want to apply the effect.

PRO EDIT parameters (KEYBOARD)

Velocity Control

Key Range Fade Lower

OFF ON RANDOM CYCLE

Specifies how partials are played according to your keyboard playing dynamics (velocity).
If this is "ON," different partials are sounded according to the playing velocity and the Velocity Range Lower/ Upper and Velocity Fade Lower/Upper settings.
5 If this is "RANDOM" or "CYCLE," each partial is sounded randomly or cyclically.
5 In the case of "RANDOM" or "CYCLE" when Structure 1-2 (3-4) has a setting other than OFF, partials 1 and 2 (3 and 4) are sounded as a pair, either randomly or in alternation.
5 In the case of "RANDOM" or "CYCLE," velocity has no effect, but you'll need to make settings for each partial so that the Velocity Range does not conflict.

0­127

Specifies the degree to which the partial is sounded by notes played below the Keyboard Range Lower. If you don't want the tone to sound at all, set this parameter to "0."

Key Range Fade Upper

0­127

Specifies the degree to which the partial is sounded by notes played above the Keyboard Range Upper. If you don't want the tone to sound at all, set this parameter to "0."

Level

Velocity

Fade Lower Range Lower

Fade Upper Range Upper

Velocity Range Lower/Velocity Range Upper

PMT Level Curve

EXP LINEAR

When using Velocity Control to switch between partials, the crossfade level changes in a non-linear curve.
When using Velocity Control to switch between partials, the crossfade level changes in a linear curve.

Level

Pitch

1­127

Specify the lower limit (Lower) and upper limit (Upper) of the velocities that will sound the partial.
Make these settings when you want different partials to sound depending on keyboard playing dynamics.

Velocity Fade Lower

0­127

Specifies the degree to which the partial is sounded by notes played more softly than Velocity Range Lower. If you don't want the tone to sound at all, set this parameter to "0."

Fade Lower Range Lower

Fade Upper Range Upper

Key Range Lower/Key Range Upper

C-­G9

Specify the key range for each partial.
Make these settings when you want different key ranges to play different tones.
Specify the lower limit (Lower) and upper limit (Upper) of the key range.

Velocity Fade Upper

0­127

Specifies the degree to which the partial is sounded by notes played more strongly than Velocity Range Upper. If you don't want the tone to sound at all, set this parameter to "0."

PRO EDIT parameters (CONTROL)

Envelope Mode

NO-SUS, SUSTAIN

If this is set to SUSTAIN, the Envelope Level 3 is held from when the envelope Time 3 has elapsed until note-off.
When note-off occurs, the envelope transitions from the current value to the Time 4 segment (release segment).
If this is set to NO-SUS, the envelope transitions to the release segment after passing Time 3 regardless of the noteoff timing, operating according to the times specified by the envelope.

Damper Free Note

OFF, 1­127

For notes above the specified note number, the Envelope Mode operates as NO-SUS.
Use this to simulate the undamped region of a piano sound.

DF Decay Offset

-100­+100

Specifies a fine adjustment to the time over which the sound decays when the Damper Free Note effect is applied.

Receive Bender

OFF, ON

Specifies for each partial whether MIDI pitch bend messages are received (ON) or not received (OFF).

Receive Expression

OFF, ON

Specifies for each partial whether MIDI expression messages are received (ON) or not received (OFF).

Receive Hold-1

OFF, ON

Specifies for each partial whether MIDI hold 1 messages are received (ON) or not received (OFF).

Redamper Switch

OFF, ON

If Redamper Switch is ON, you can perform the Half Damper operations used for piano sounds. However, the following conditions must be satisfied in order to use this operation.
5 Envelope Mode is NO-SUS
5 Amp Envelope's Level 1 and 2 are 1 or greater
5 Amp Envelope's Times are Time 3 > Time4

Soft EQ Sens 0­100

Increases the proportion by which the EQ's High-Gain is lowered by the amount of pedal.
With a setting of 0, this has no effect.

PRO EDIT parameters (MATRIX CONTROL)

A number of the more typical of the ZENOLOGY's partial parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way tones are played.
For example, you can use the Modulation Bar to change the LFO cycle rate, or use the keyboard's touch to open and close a filter.
The function which allows you use MIDI messages to make these changes in realtime to the partial parameters is called the "Matrix Control."
Up to four Matrix Controls can be used in a single tone.
To use Matrix Control, you specify which MIDI message (Source) controls which parameter (Destination) and how deeply (Sens: sensitivity).

Source 1­4 (Matrix Control 1­4) Sets the MIDI message used to change the partial parameter with the Matrix Control.

OFF CC01­31, CC33­95 BEND AFT
SYS-CTRL1­4
VELOCITY KEYFOLLOW TEMPO LFO1, LFO2 PIT-ENV FLT-ENV AMP-ENV

Matrix control will not be used.
Controller numbers 1­31, 33­95
Pitch bend
Aftertouch
The following MIDI messages control the parameters. SYS-CTRL1: CC01 SYS-CTRL2: Aftertouch SYS-CTRL3: CC02 SYS-CTRL4: CC04
5 If using the "Tone/Drum Kit Manager Screen" command [EXPORT] - For Hardware/Zenbeats (ZC1) to play the settings on a hardware product, the system settings of each hardware product are used.
Velocity (pressure you press a key with)
Keyfollow (keyboard position with C4 as 0)
Tempo specified by the DAW
LFO 1 LFO 2
Pitch envelope
Filter envelope
Amp Envelope

* Velocity and Keyfollow correspond to Note messages.
* Although there are no MIDI messages for LFO 1 through Amp Envelope, they can be used as Matrix Control. In this case, you can change the partial settings in realtime by playing tones.

NOTE
There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 5). When these settings are "ON," and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to "OFF."
Destination 1­4 (MATRIX CONTROL 1­4) Selects the partial parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to "OFF." Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.

OFF PCH CUT RES LEV PAN
CHO
REV
PIT-LFO1 PIT-LFO2 FLT-LFO1 FLT-LFO2 AMP-LFO1 AMP-LFO2 PAN-LFO1 PAN-LFO2 LFO1-RATE LFO2-RATE PIT-ATK PIT-DCY PIT-REL FLT-ATK FLT-DCY FLT-REL AMP-ATK AMP-DCY

Matrix control will not be used. Changes the pitch. Changes the cutoff frequency. Emphasizes the overtones in the region of the cutoff frequency, adding character to the sound. Changes the volume level. Changes the pan. Does not function on this product. If using the "Tone/Drum Kit Manager Screen" command [EXPORT]- For Hardware/Zenbeats (ZC1) to play the settings on another product, this changes the depth of that product's chorus. Does not function on this product. Does not function on this product. If using the "Tone/Drum Kit Manager Screen" command [EXPORT]- For Hardware/Zenbeats (ZC1) to play the settings on another product, this changes the depth of that product's reverb.
Changes the vibrato depth.
Changes the wah depth.
Changes the tremolo depth.
Changes the effect that the LFO will have on pan.
Changes the speed of the LFO cycles. The speed will not change if LFO Rate is set to "note." Changes the Time 1 of the pitch envelope. Changes the Time 2 and Env Time 3 of the pitch envelope. Changes the Time 4 of the pitch envelope. Changes the Time 1 of the FLT envelope. Changes the Time 2 and Env Time 3 of the FLT envelope. Changes the Time 4 of the FLT envelope. Changes the Time 1 of the Amp Envelope. Changes the Time 2 and Env Time 3 of the Amp Envelope.

AMP-REL

Changes the Time 4 of the Amp Envelope.

If the Matrix Control is used to split partials, set the PMT "Velocity Control" to "OFF."

5 If the Matrix Control is used to split

partials, we recommend setting

the "Sens 1­4" to "+63." Selecting a

lower value may prevent switching

PMT

of the partials. Furthermore, if you

want to reverse the effect, set the

value to "-63."

5 If you want to use matrix control to switch smoothly between partials, use the "Velocity Fade Lower" and "Velocity Fade Upper". The higher the values set, the smoother the switch is between the partials.

FXM

Changing the depth of frequency modulation produced by FXM

MFX-CTRL1 MFX-CTRL2 MFX-CTRL3 MFX-CTRL4

Applies a change to MFX CONTROL 1­4 Source. If this is specified for more than one partial, the result will be the summed values.

PW

Applies change to PW.

PWM

Applies change to PWM.

FAT

Applies change to FAT.

X-MOD

This setting is valid only for the carrier partial (Partial 1 or 3), and applies change to the CrossMod1-2Depth or CrossMod3-4Depth.

LFO1-STEP LFO2-STEP

This is valid if the LFO1/LFO2 Waveform is STEP; it specifies the step position. In this case, the Sens value is ignored.

SSAW-DETN

This is effective if OSC Type is SuperSAW; it applies change to SuperSAW Detune.

PIT-DEPTH

Changes the depth of the Pitch envelope.

FLT-DEPTH

Changes the depth of the Filter envelope.

AMP-DEPTH

Changes the depth of the Amp Envelope.

XMOD2

This is effective when Structure 1-2 (3-4) is XMOD2; it applies change to XMOD2 1-2 (3-4) Depth.

ATT

Changes the OSC's OSC ATTENUATOR.

RING-OSC1LEV

This is effective if Structure is RING. In the case of Partial 1 Changes the RING OSC 1 LEVEL of STRUCTURE. In the case of Partial 2 This setting has no effect. In the case of Partial 3 Changes the RING OSC 3 LEVEL of STRUCTURE. In the case of Partial 4 This setting has no effect.

RING-OSC2LEV

This is effective if Structure is RING. In the case of Partial 1 Changes the RING OSC 2 LEVEL of STRUCTURE. In the case of Partial 2 This setting has no effect. In the case of Partial 3 Changes the RING OSC 4 LEVEL of STRUCTURE. In the case of Partial 4 This setting has no effect.

XMOD-OSC1LEV

This is effective when Structure is XMOD or XMOD2. In the case of Partial 1 Changes the XMOD OSC 1 LEVEL of STRUCTURE. In the case of Partial 2 This setting has no effect. In the case of Partial 3 Changes the XMOD OSC 3 LEVEL of STRUCTURE. In the case of Partial 4 This setting has no effect.

XMOD-OSC2LEV

This is effective when Structure is XMOD or XMOD2. In the case of Partial 1 Changes the XMOD OSC 2 LEVEL of STRUCTURE. In the case of Partial 2 This setting has no effect. In the case of Partial 3 Changes the XMOD OSC 4 LEVEL of STRUCTURE. In the case of Partial 4 This setting has no effect.

Sens 1­4 (MATRIX CONTROL 1­4)

-63­+63

Specify the effective depth of the matrix controls.
To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive (+) value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative (-) value.
For either positive or negative value, greater absolute values will allow greater amounts of change.
Set this to "0" if you don't want to apply the effect.

MFX
In the tone screen, press the [MFX EDIT] button to access the MFX screen.
MFX Panel
&"MFX Panel"

MFX CONTROL

Source 1­4
Specifies the MIDI message that will control the corresponding MFX CONTROL parameter.
Destination 1­4
Specifies the multi-effect parameters that are controlled by MFX CONTROL. The multi-effects parameters available for control will depend on the multi-effects type.

Sens 1­4 Specifies the depth of MFX CONTROL.
Specify a positive (+) value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative (-) value if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

1 Tone screen
& "Tone Screen / Drum Kit Screen (Common Items)" & "Tone Screen"

2 Structure

to Contents

Structure lets you sound two partials as a set. You can create a wide range of sounds by using partial 2 or 4 (the modulator) to modulate partial 1 or 3 (the carrier). Since the Structure uses two partials as a pair, it provides parameters that are used in common by the carrier and modulator.

[L] button Turns the partial on/off.

[PARTIAL 1­4] button
Shows all modules of the selected partial in the tone VISUAL/PRO screen (partial layout).

[PITCH] [OSC] [LFO] [FILTER] [AMP/EQ] buttons
Shows the module selected in the tone VISUAL/PRO screen for all four partials (module layout).

[RANGE/CTRL] button
Shows a layout in which the tone VISUAL/PRO screen shows the velocity range and matrix control edit screen of each partial.

[OFF] button

[XMOD] [XMOD2] buttons XMOD

The two partials are used individually (not as a pair). [SYNC] button

XMOD2

Implements the oscillator sync function that is provided by an analog synthesizer. The partial 1 oscillator is reset at intervals of partial 2's pitch cycle. * This is effective only if OSC Type is VA or PCM-Sync.
[RING] button

Implements the cross modulation function that is provided by an analog synthesizer.
The output sound of partial 2 is applied as the pitch of partial 1.
* XMOD2 is available only when Partial 1 and 3 are OSC Type "VA."

Implements the ring modulator function that is provided by an analog synthesizer.
The output sound of partial 2 is multiplied with partial 1.

PRO EDIT parameter (STRUCTURE)
Structure lets you sound two partials as a set. You can create a wide range of sounds by using partial 2 or 4 (the modulator) to modulate partial 1 or 3 (the carrier). Since the Structure uses two partials as a pair, it provides parameters that are used in common by the carrier and modulator. For the following parameters, only the partial settings of the carrier are valid (the settings of the modulator are ignored).

KEYBOARD 5 Keyboard Range Lower 5 Keyboard Range Upper 5 Keyboard Fade Width Lower 5 Keyboard Fade Width Upper 5 Velocity Range Lower 5 Velocity Range Upper 5 Velocity Fade Width Lower 5 Velocity Fade Width Upper
SWITCH 5 Partial Switch

OSC 5 Delay Mode (note) 5 Delay Mode 5 Delay Time Sync 5 Delay Time (note) 5 Delay Time
CONTROL 5 Envelope Mode 5 Receive Hold-1 5 Redamper Switch 5 Damper Free Note 5 MATRIX CONTROL 5 Destination: PMT 5 Destination: CROSS-MOD

Structure1-2 The sound of partial 1 is modulated by partial 2.

OFF SYNC
RING
XMOD, XMOD2

OFF
Implements the oscillator sync function that is provided by an analog synthesizer. The partial 1 oscillator is reset at intervals of partial 2's pitch cycle. This is effective only if OSC Type is VA or PCMSync.
Implements the ring modulator function that is provided by an analog synthesizer. The output sound of partial 2 is multiplied with partial 1.
Implements the cross modulation function that is provided by an analog synthesizer. The output sound of partial 2 is applied as the pitch of partial 1. XMOD2 is available only when Partial 1 and 3 are OSC Type "VA."

RING OSC2 Level

0­127

Effective when Structure1-2 is RING. Sets the partial 2 OSC level.

RING OSC3 Level

0­127

Effective when Structure3-4 is RING. Sets the partial 3 OSC level.

RING OSC4 Level

0­127

Effective when Structure3-4 is RING. Sets the partial 4 OSC level.

XMOD 1-2 Depth

0­9600 [cent]

Cross Modulation Depth when Structure1-2 is XMOD.

XMOD 3-4 Depth

0­9600 [cent]

Cross Modulation Depth when Structure3-4 is XMOD.

Structure3-4 The sound of partial 3 is modulated by partial 4.

OFF SYNC
RING
XMOD, XMOD2

OFF
Implements the oscillator sync function that is provided by an analog synthesizer. The partial 3 oscillator is reset at intervals of partial 4's pitch cycle. This is effective only if OSC Type is VA or PCMSync.
Implements the ring modulator function that is provided by an analog synthesizer. The output sound of partial 4 is multiplied with partial 3.
Implements the cross modulation function that is provided by an analog synthesizer. The output sound of partial 4 is applied as the pitch of partial 3. XMOD2 is available only when Partial 1 and 3 are OSC Type "VA."

RING1-2 Level

0­127

RING level when Structure1-2 is RING.

XMOD2 1-2 Depth

0­127

Cross Modulation Depth when Structure1-2 is XMOD2.

XMOD2 3-4 Depth

0­127

Cross Modulation Depth when Structure3-4 is XMOD2.

CrossMod OSC1 Level

0­127

Effective when Structure1-2 is XMOD/ XMOD2. Sets the partial 1 OSC level.

CrossMod OSC2 Level

0­127

Effective when Structure1-2 is XMOD/ XMOD2. Sets the partial 2 OSC level.

CrossMod OSC3 Level

0­127

Effective when Structure3-4 is XMOD/ XMOD2. Sets the partial 3 OSC level.

CrossMod OSC4 Level

0­127

Effective when Structure3-4 is XMOD/ XMOD2. Sets the partial 4 OSC level.

RING3-4 Level

0­127

RING level when Structure3-4 is RING.

RING OSC1 Level

0­127

Effective when Structure1-2 is RING. Sets the partial 1 OSC level.

Partial Phase Lock

OFF, ON

This is available if OSC Type is "VA"; it locks the waveform phase between partials. It is effective to use this with XMOD2.

3 Overall settings (COMMON)

to Contents

PORTAMENTO TIME
When portamento is used, this specifies the time over which the pitch will change.
ANALOG FEEL
Applies time-varying change to the pitch and volume of the tone that is producing sound, adding a sense of variability.
COARSE TUNE
Shifts the pitch in units of a semitone.

FINE TUNE Finely adjusts the pitch in units of one cent. UNISON DETUNE Detunes each of the notes that are allocated by the Unison Size number, producing a detuned effect. UNISON SIZE If unison is on, this specifies the number of notes that are assigned to each key that is pressed.

PRO EDIT parameters (COMMON)

Category

Legato Retrigger Interval

0­49

Selects the tone's category.

Level 0­127

Adjusts the overall volume of the tone.
* This is a different parameter than the LEVEL and Common Level parameters in "Tone Screen / Drum Kit Screen (Common Items)." Common Level is also effective when using the "Tone/Drum Kit Manager Screen" command [EXPORT]- For Hardware/Zenbeats (ZC1) to play the settings on a hardware product. In contrast, the LEVEL parameter of the tone screen and drum kit screen is effective only on this product.

Pan L64­0­63R

Specifies the pan of the tone. "L64" is far left, "0" is center, and "63R" is far right.

Priority
This determines how notes will be managed when the maximum polyphony is exceeded.

LAST LOUDEST

The last-played voices will be given priority, and currently sounding notes will be turned off in order, beginning with the first-played note.
The voices with the loudest volume will be given priority, and currently sounding notes will be turned off, beginning with the lowestvolume voice.

Coarse Tune
-48­+48 [semitone]

Adjusts the pitch of the sound up or down in semitone steps (+/-4 octaves).

0­12, OFF

When Legato Switch is enabled and you play legato, this specifies whether retriggering occurs (0­12) or does not occur (OFF).
If this is off, only the pitch of the currently-sounding tones changes according to the pitch of the key.
If this is set to 1­12, retriggering occurs smoothly when the pitch difference during legato performance exceeds the specified value.
For example, if this is set to 4, and using C4 as the reference pitch, playing notes Db4­E4 legato will change only the pitch without retriggering, but playing the F4 note (which is five semitones away from C4) legato will retrigger F4.
When F4 is retriggered at this time, F4 now becomes the reference pitch.
If this is set to 0, each note is retriggered every time regardless of the pitch difference.
For acoustic-type sounds in particular, an unnatural impression can occur if only the pitch is changed, so you'll need to adjust the Legato Retrigger Interval.

Portamento Switch

OFF, ON

Specifies whether the portamento effect will be applied (ON) or not applied (OFF).
* Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when the MONO/POLY parameter is "MONO," you can simulate slide performance techniques on a violin or similar instrument.

Fine Tune

-50­+50 [cent]

Adjusts the pitch of the sound up or down in 1-cent steps (+/-50 cents).

Octave Shift -3­+3

Adjusts the pitch of the tone's sound up or down in units of an octave (+/-3 octaves).

Stretch Tune Depth

This setting allows you to apply "stretched tuning" to the tone. (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.) With a setting of "OFF," the tone's tuning will be equal temperament. A setting of "3" will produce the greatest difference in the pitch of the low and high ranges.

The diagram shows the pitch change

OFF,

relative to equal temperament that will

occur in the low and high ranges. This

1­3

setting will have a subtle effect on the

way in which chords resonate.

Pitch difference from equal temperament

Parameter value 3
2
1

OFF

OFF

1 2 3 Low note range

High note range

Analog Feel 0­127

Applies time-varying change to the pitch and volume of the tone that is producing sound, adding a sense of variability.
As you increase this value toward the maximum, the variability becomes greater, producing instability.

Mono/Poly
Specifies whether the tone will play polyphonically (POLY) or monophonically (MONO).

MONO POLY

Sound only the last-played key one at a time.
Two or more notes can be played simultaneously.

Unison Switch

OFF, ON

This layers a single sound. If the Unison Switch is on, the number of notes layered on one key will change according to the number of keys you play.
5 If the OSC Type is PCM, this is limited to mono playing.
5 If the Legato Switch is on, the Delay Time is ignored while playing legato.
5 Even if Legato Retrigger Interval is specified, it operates as OFF.

Unison Size 2­8

If unison is on, this specifies the number of notes that are assigned to each key that is pressed. Increasing the Unison Size increases the polyphony, making it more likely that notes will be cut off.

Unison Detune

0­100

Detunes each of the notes that are allocated by the Unison Size number, producing a detuned effect. As you increase this value, each note is detuned more greatly, producing a thicker sound.

Legato Switch

OFF, ON

This is effective when MONO/POLY is set to MONO and Legato Switch is turned ON. When you press the next key while still holding down the previous key (legato performance), the pitch changes smoothly.
The way in which the change occurs depends on the Legato Retrigger Interval.

Portamento Mode
Specifies the performance conditions for which portamento will be applied.

NORMAL LEGATO

Portamento will always be applied.
Applies portamento only when you play legato (i.e., when you press the next key before releasing the previous key).

Portamento Type Specifies the type of portamento effect.

RATE TIME

The time it takes will depend on the distance between the two pitches.
The time it takes will be constant.

Portamento Start When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting specifies the pitch at which the change will begin.
Starts a new portamento when another key is pressed while the pitch is changing.
Pitch

Pitch

C5

D4 C4

press C4 key

press D4 key press C5 key

Time

Portamento will begin from the pitch where the current change would end.

Pitch

NOTE

C5

D4 C4

press C4 key

press D4 key press C5 key

Time

Portamento Time

0­1023

When portamento is used, this specifies the time over which the pitch will change.
Higher settings will cause the pitch change to the next note to take more time.

Bend Range Up

0­48 [semitone]

Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way right. For example, if this parameter is set to "48," the pitch will rise four octave when the pitch bend lever is moved to the right-most position.

Bend Range Down

0­48 [semitone]

Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way left. For example if this is set to "48" and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves.

Bend Range Fine Up

0­100 [cent]

Finely adjusts the degree of pitch change in one-cent units when the Pitch Bend lever is moved to the right.

Bend Range Fine Down

0­100 [cent]

Finely adjusts the degree of pitch change in one-cent units when the Pitch Bend lever is moved to the left.

Bend Mode

NORMAL

The pitch bend lever works in the conventional way.

CATCH + LAST

The pitch bend effect applies only to the last-played note.
If a note-on occurs while pitch bend is already applied, the new note sounds at the center pitch.
The pitch starts changing only after the controller passes through the center position.

Soft Level Sens

0­100

Specifies the amount of volume change that occurs when you operate the soft pedal (CC#67).
This is effective when specified for piano sounds.

ADSR Envelope Switch

OFF, ON

This imitates the operation of the ADSR envelope that is provided on an analog synthesizer.
If ADSR Env Switch is ON, the "Time 2" parameters of Pitch/Filter/Amp Env Time respectively are ignored, and only the "Level 3" parameters of Pitch/Filter/ Amp Env Level are valid.

Partial Switch

OFF, ON

Use these switch to turn the partials on/off.

4 OSC

to Contents

OSC common

OSC Type Specifies the oscillator type.

[PCM]
[VA] [PCM SYNC] [SUPER SAW] [NOISE]

PCM is used. Click to open the Wave Browser. You can use bank and category to narrow the search results, or use keyword search to select a wave.
A numerically calculated analogmodeled wave is generated.
A PCM wave that allows an oscillator sync effect with STRUCTURE = SYNC is used.
SuperSAW is used.
White noise is used.

PARTIAL 1­4 [L] button
Turn each partial on/off. * These are shown only in the module layout.

[PCM]
PCM is used. Click to open the Wave Browser. You can use bank and category to narrow the search results, or use keyword search to select a wave.
WAVE GAIN
Specifies the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

[STEREO (L+1) ] button
Turn this on if you want to use the wave in stereo. Wave Number R is specified automatically (the wave that follows Wave Number L). This turns off if you select [MONO] or if you select a wave for R that is other than L+1.
[MONO] button
Selects monophonic performance (MONO). Sound only the last-played key one at a time.

[VA]
A numerically calculated analog-modeled wave is generated.

[ ] [U] [S] [R] [RAMP] [JUNO] [S2] [S3] [R2]

Sawtooth wave Square wave Triangle wave Sine wave Ramp wave Modulated sawtooth wave Triangle wave variation Triangle wave variation Sine wave variation

WAVE GAIN
Specifies the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

PULSE WIDTH
This effect is produced when the waveform is deformed by varying the duty cycle of the pulse width. It is also effective with waveforms other than SQR (square wave). * If the value is 64, the pulse width has a 50%:50% duty
cycle.
PWM DEPTH (LFO2)
Specifies the amount (depth) of LFO applied to PW (Pulse Width). PW is modulated according to the LFO2 setting.
FAT
Boosts the low-frequency region.
INVERT
If this is ON, the phase of the VA waveform is inverted.

[PCM SYNC]
Produces the wave of the specified waveform. PCM SYNC is effective if specified as Slave when the structure is SYNC (the sync-modulated partial is 1 or 3).

WAVE GAIN
Specifies the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

[SUPER SAW] SuperSAW is used. WAVE GAIN Specifies the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

SUPER SAW DETUNE Adjusts the Detune depth for SuperSAW. Higher values produce a deeper Detune effect.

[NOISE] White noise is used.

WAVE GAIN
Specifies the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

Wave Browser

WAVE information Shows the category, category thumbnail, sound number, and sound name of the selected WAVE.

Keyword search Lets you use keywords (multiple selections are allowed) to further narrow the focus of the displayed result.

WAVE list

Bank list Shows a list of the banks that you own. The contents of the bank selected here are shown in the wave list in the center. Multiple banks can be selected simultaneously.
5 Drag to select a region.
5 Click while holding down the Ctrl key (Windows).
5 Click while holding down the Command key (Mac). To de-select a currently selected bank, click it again. If no bank is selected, All (all banks) are shown.

Category filter Filters the WAVE list by category. Multiple filters can be selected simultaneously.
5 Drag to select a region.
5 Click while holding down the Ctrl key (Windows).
5 Click while holding down the Command key (Mac).

" i " symbol When you place the mouse cursor (mouse pointer) over this, a list of shortcuts appears.

PRO EDIT parameters (OSC)

OSC Type Specifies the oscillator type.

PCM

PCM is used.

VA

A numerically calculated analogmodeled wave is generated.

FXM Color 1­4

Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

PCM-Sync SuperSAW

A PCM wave that allows an oscillator sync effect with STRUCTURE = SYNC is used.
SuperSAW is used.

FXM Depth 0­16

Specifies the depth of the modulation produced by FXM.

Noise

White noise is used.

Wave Bank

INT_A, INT_B, This is the bank name of the wave that

INT_C, ...

is sounded when the OSC Type is PCM.

Wave L/R
Specifies the wave that is sounded when OSC Type is PCM. If using mono, specify only the left side (L). If using stereo, specify the right side (R) as well. If using mono, specify only Wave L and leave Wave R at 0: OFF. If you specify only Wave R, no sound is heard.
VA Waveform
Specifies the wave that is used when OSC Type is VA.

SAW

Sawtooth wave

Delay Mode
Partial Delay This produces a time delay between the moment a key is pressed (or released), and the moment the partial actually begins to sound. You can also make settings that shift the timing at which each partial is sounded. By modifying the tonal character of the partial that is sounded with a delay, or by modifying the pitch for each partial, you can produce arpeggio-like performances by pressing a single key. The partial delay time can also be synchronized to the tempo. If Legato Retrigger Interval is other than OFF, legato operation occurs only when Delay Mode is NORMAL. Also in this case, Legato Retrigger Interval operates as 0 (retriggers at each Delay Time).
The partial begins to play after the time specified in the Partial Delay Time parameter has elapsed.

SQR

Square wave

TRI

Triangle wave

NORMAL

No Partial Delay

SIN RAMP

sine wave Ramp wave

Delay time

JUNO TRI2 TRI3 SIN2

Modulated sawtooth wave Triangle wave variation Triangle wave variation Sine wave variation

VA Waveform Invert Sw

OFF, ON

If this is ON, the phase of the VA waveform is inverted.

HOLD

Note on Note off
Although the partial begins to play after the time specified in the Partial Delay Time parameter has elapsed, if the key is released before the time specified in the Partial Delay Time parameter has elapsed, the partial is not played.

PCM-Sync Wave Name
Specifies the wave that is used when OSC Type is PCM-Sync. The PCM-Sync oscillator is effective when specified as the Slave (the sync-modulated partial 1 or 3) when Structure is set to SYNC.
Gain

Delay time

No sound played

Note on Note off

-18­+12 [dB]

Specifies the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

Pulse Width 0­127

This effect is produced when the waveform is deformed by varying the duty cycle of the pulse width.
It is effective when OSC Type is VA, and is also effective with waveforms other than SQR (square wave).
* If the value is 64, the pulse width has a 50%:50% duty cycle.

KEY-OFFNORMAL

PWM Depth -63­+63

Specifies the amount (depth) of LFO applied to PW (Pulse Width).
PW is modulated according to the LFO2 setting.

SuperSAW Detune

KEY-OFFDECAY

Rather than being played while the key is pressed, the partial begins to play once the period of time specified in the Partial Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises from guitars and other instruments.
Delay time
Note on Note off
Rather than being played while the key is pressed, the partial begins to play once the period of time specified in the Partial Delay Time parameter has elapsed after release of the key. Here, however, changes in the Amp Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

0­127

Adjusts the Detune depth for SuperSAW. Higher values produce a deeper Detune effect.
* This is effective only when SuperSAW is selected as the OSC Type.

Delay time Note on Note off

Click Type SOFT HARD NATURAL OFF

Changes the sense of attack by varying the position at which the sound starts. This is available if OSC Type is VA. However, HARD is effective only when Waveform is TRI, TRI2, SIN, or SIN2.

Delay Time Sync

OFF, ON

Set this ON if you want the partial delay time to synchronize with the tempo.

Delay Time (note)

1/64T­2

This is available when Delay Time Sync is ON. It specifies the delay time in terms of a note value.

Fat 0­127

Boosts the low-frequency region. This is effective if OSC Type is VA.

Delay Time 0­1023

This is available when Delay Time Sync is OFF. It specifies the delay time without regard to the tempo.

OSC Attenuator

0­255

Specifies the OSC level.
255 is the reference value. If you want only the self-oscillation of the filter to be heard, set this to 0.

FXM Switch OFF, ON

This sets whether FXM will be used (ON) or not (OFF).
* FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects.

Wave Tempo Sync

OFF, ON

Adjust wave playback to the tempo.
Valid only when you select a Wave with BPM. When this feature is enabled, the parameters associated with pitch and FXM are disabled, and for the carrier side of the XMOD, the XMOD effect is disabled.

5 LFO1/2
[LFO 1] [LFO 2] buttons Select the LFO that is shown in the screen.

to Contents
PARTIAL 1­4 [L] button Turn each partial on/off.
* These are shown only in the module layout.

Waveform buttons Selects the waveform of the LFO.
Sine wave
Triangle wave
Sawtooth wave
Sawtooth wave (negative polarity)
Square wave
Random wave
Trapezoidal wave
Sample & Hold wave (one time per cycle, LFO value is changed)
Chaos wave
Modified sine wave. The amplitude of asine wave is randomly varied once eachcycle. A waveform generated by the data specified by LFO Step 1­16. This produces stepped change with a fixed pattern similar to a step modulator.

[TEMPO SYNC] button
Set this ON if you want the LFO rate to synchronize with the tempo.
[KEY TRIGGER] button
Specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).
RATE
If Rate Sync is OFF, this specifies the LFO rate independently of the tempo. Increasing this value shortens the cycle of the LFO. If Rate Sync is ON, this specifies the LFO rate as a note value.
DELAY TIME
Specifies the time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released). * After referring to "How to Apply the LFO", change the
setting until the desired effect is achieved.
FADE TIME
Specifies the time over which the LFO amplitude will reach the maximum (minimum). * After referring to "How to Apply the LFO", change the
setting until the desired effect is achieved.
OFFSET
Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency). Positive (+) value will move the waveform so that modulation will occur from the central value upward. Negative (-) value will move the waveform so that modulation will occur from the central value downward.

If STEP is selected for LFO

LENGTH (upper bar)
Specifies the number of steps. The active steps are highlighted.

Waveform display for each step
When you click the 9 (step number) below the waveform, a popup appears, allowing you to select the waveform of that step.

You can change the Step Level by dragging the waveform up/down.

[TEMPO SYNC] button
Set this ON if you want the LFO rate to synchronize with the tempo.
[KEY TRIGGER] button
Specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).
RATE
If Rate Sync is OFF, the LFO rate is specified independently of the tempo. Increasing this value shortens the cycle of the LFO. If Rate Sync is ON, this specifies the LFO rate as a note value.
DELAY TIME
Specifies the time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released). * After referring to "How to Apply the LFO", change the
setting until the desired effect is achieved.

FADE TIME
Specifies the time over which the LFO amplitude will reach the maximum (minimum). * After referring to "How to Apply the LFO", change the
setting until the desired effect is achieved.
OFFSET
Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency). Positive (+) value will move the waveform so that modulation will occur from the central value upward. Negative (-) value will move the waveform so that modulation will occur from the central value downward.

How to Apply the LFO

Apply the LFO gradually after the key is pressed Fade Mod (Fade Mode) : ON-IN

high (more)
Pitch Cutoff Frequency
Level Pan

Delay Time
Note on

low (less)

Fade Time

Depth

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

high (more)

Pitch Cutoff Frequency
Level Pan

Note on

low (less)

Delay Time

Fade Time Depth

Apply the LFO gradually after the key is released Fade Mod (Fade Mode) : OFF-IN

high (more)
Pitch Cutoff Frequency
Level Pan
Note on low (less)

Delay Time
Note off

Fade Time

Depth

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the effect when the key is released
Fade Mod (Fade Mode) : OFF-OUT

high (more)
Pitch Cutoff Frequency
Level Pan

Delay Time

Fade Time

Depth

low (less) Note on Note off

PRO EDIT parameters (LFO1/LFO2)

Waveform Selects the waveform of the LFO.

SIN TRI SAW-UP SAW-DW SQR RND TRP S&H
CHS
VSIN
STEP

Sine wave
Triangle wave
Sawtooth wave
Sawtooth wave (negative polarity)
Square wave
Random wave
Trapezoidal wave
Sample & Hold wave (one time per cycle, LFO value is changed)
Sample & Hold wave (one time per cycle, LFO value is changed)
Modified sine wave. The amplitude of a sine wave is randomly varied once each cycle.
A waveform generated by the data specified by LFO Step 1­16. This produces stepped change with a fixed pattern similar to a step modulator.

Delay Time Keyfollow

-100­+100

Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C).
To decrease the time that elapses before the LFO effect is applied (the effect is continuous) with each higher key that is pressed in the upper registers, select a positive (+) value; to increase the elapsed time, select a negative (-) value. Higher values will produce greater change. If you do not want the elapsed time before the LFO effect is applied (the effect is continuous) to change according to the key pressed, set this to "0."

Time -100

-50

0

+50

C1

C2 C3 C4

C5

C6

+100 C7

Key

Tempo Sync Sw

OFF, ON

Set this ON if you want the LFO rate to synchronize with the tempo.

Rate Note 1/64T­4

This is effective if Rate Sync is ON. Specifies the LFO rate in terms of a note value.

Fade Mode ON-IN ON-OUT OFF-IN OFF-OUT
Fade Time

Rate 0­1023

This is effective if Rate Sync is OFF.
Specifies the LFO rate without regard to the tempo. Higher values produce a faster LFO rate (a shorter cycle).

0­1023

Specifies how the LFO will be applied. * After referring to "How to Apply the
LFO", change the setting until the desired effect is achieved.
Specifies the time over which the LFO amplitude will reach the maximum (minimum). * After referring to "How to Apply the
LFO", change the setting until the desired effect is achieved.

Offset -100­+100 Rate Detune 0­127 Delay Time 0­1023

Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency). Positive (+) value will move the waveform so that modulation will occur from the central value upward. Negative (-) value will move the waveform so that modulation will occur from the central value downward.
Subtly changes the LFO cycle speed (Rate parameter) each time you press a key. Higher values produce greater change. This parameter is invalid if Tempo Sync is ON.
Specifies the time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released). * After referring to "How to Apply the
LFO", change the setting until the desired effect is achieved.

Key Trigger Sw

OFF, ON

Specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

Pitch Depth -100­+100

Specifies how deeply the LFO will affect pitch.
* If OSC Type is other than VA, the range is limited to -63­+63.

Filter Depth -100­+100

Specifies how deeply the LFO will affect the cutoff frequency.

Amp Depth -100­+100

Specifies how deeply the LFO will affect the volume.

Pan Depth -63­+63

Specifies how deeply the LFO will affect the pan.
MEMO
Positive (+) and negative (-) value for the Depth parameter result in differing kinds of change in pitch and volume. For example, if you set the Depth parameter to a positive (+) value for one partial, and set another partial to the same numerical value, but make it negative (-), the modulation phase for the two partials will be the reverse of each other.
This allows you to shift back and forth between two different partials, or combine it with the Pan setting to cyclically change the location of the sound image.

Phase Position
Specifies the LFO's starting phase value when Key Trigger is ON. * This has no effect if Waveform is RND, S&H, or CHS.

0

1 cycle

1

1/4 cycle

2

1/2 cycle

3

3/4 cycle

PRO EDIT parameters (STEP LFO1/STEP LFO2)

Step Length 1­16

This is effective if Waveform is STEP. Specifies the step size that is looped.

Curve Type 11­15 (variations of descending saw)

11

12

13

14

Step 1­16 -72­+72

This is effective if Waveform is STEP. Specify the Depth value of each step. If you want to specify this in pitch scale degrees (100 cents), the settings are as follows.

Pitch Depth: 51, Step: multiples of 6 ... up to

1

one octave of change

Pitch Depth: 74, Step: multiples of 3 ... up to

2

two octaves of change

Pitch Depth: 89, Step: multiples of 2 ... up to

3

three octaves of change

* If OSC Type is not VA, the Pitch Depth setting range is limited to -63­+63, so only "1" above is possible.

15

Curve Type 16­19 (variations of ascending exponential)

16

17

18

19

Curve Type 20­23 (variations of descending exponential)

20

21

22

23

Step Curve 1­16

0­36

Specifies the type of curve at each step. & "Step curve types"

Curve Type 24­27 (variations of ascending charging curve)

24

25

26

27

Step curve types Curve Type 0

Curve Type 28­31 (variations of descending charging curve)

28

29

30

31

Curve Type 1­6 (variations of square wave)

1

2

3

4

5

6

Curve Type 32­36 (other variations)

32

33

34

35

36

Curve Type 7­10 (variations of ascending saw)

7

8

9

10

6 Pitch

to Contents

Pitch Envelope

T1 T2

T3

T4

Pitch L0 L1
Note on

L3 L2

TTimeLLevel

Note off L4

Time

Specify the pitch envelope times (Time 1­Time 4).
Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.) * If ADSR Env Sw is ON, the Time 2 has no effect.

Specify the pitch envelope levels (Level 0­Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) value will cause the pitch to be higher than the standard pitch, and negative (-) value will cause it to be lower. * If ADSR Env Sw is ON, only Level 3 (Sustain) has an effect.
Also in this case, settings with a negative value are ignored.
PARTIAL 1­4 [L] button
Turn each partial on/off. * These are shown only in the module layout.

COARSE TUNE
Shifts the pitch in units of a semitone.
FINE TUNE
Finely adjusts the pitch in units of one cent.
RANDOM
This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to "0." * These values are in units of cents (1/100th of a semitone).

ENV DEPTH Adjusts the amount by which the pitch envelope modulates the OSC. LFO 1, LFO 2 Adjust the amount by which LFO 1/2 modulate the OSC.

PRO EDIT parameters (Pitch)

Coarse Tune
-48­+48 [semitone]

Adjusts the pitch of the sound up or down in semitone steps (+/-4 octaves).

Fine Tune

-50­+50 [cent]

Adjusts the pitch of the sound up or down in 1-cent steps (+/-50 cents).

Random Depth

0­1200 [cent]

This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to "0."
* These values are in units of cents (1/100th of a semitone).

Pitch Keyfollow

-200­+200

This specifies the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard).
If you want the pitch to rise one octave as on a conventional keyboard, set this to "+100." If you want the pitch to rise two octaves, set this to "+200." Conversely, set this to a negative (-) value if you want the pitch to fall.
With a setting of "0," all keys will produce the same pitch.

Pitch

+200

+100

+50

0

-50

C1

C2

C3

C4

C5

-200

-100

C6

C7

Key

Vibrato Pitch Sens

-100­+100

Specifies the amount of change in the LFO1's Pitch Depth according to the [VIBRATO] knob of the "Tone Screen".

Stereo Detune

-50­+ 50 [cent]

Specifies the detune between L#R when outputting in stereo.

PRO EDIT parameters (PITCH ENV)

Depth -100­+100

Velocity Curve

Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) value will invert the shape of the envelope. If OSC Type is other than VA, this is limited to ±63.

FIXED, 1­7

Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the pitch envelope.
Set this to "FIXED" if you don't want the pitch envelope be affected by the keyboard velocity.

Velocity Sens

1

2

3

4

5

6

7

-100­+100

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value.

LFO Trigger Switch

OFF, ON

If this is ON, the pitch envelope is cyclically retriggered by LFO1.
* This is effective when Envelope Mode is SUSTAIN.

T1/Attack, T2, T3/Decay, T4/Release

T1 Velocity Sens

-100­+100

This allows keyboard dynamics to affect the Time 1 of the Pitch envelope.
If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive "+" value. If you want it to be slowed down, set this to a negative "-" value.

0­1023

Specify the pitch envelope times (Time 1­Time 4).
Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)
* If ADSR Env Sw is ON, the Time 2 has no effect.

T4 Velocity Sens

T1 T2

T3

T4

-100­+100

Use this parameter when you want key release speed to affect the Time 4 value of the pitch envelope.
If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Time Keyfollow

-100­+100

Use this setting if you want the pitch envelope times (Time 2­Time 4) to be affected by the keyboard location.
Based on the pitch envelope times for the C4 key, positive (+) value will cause notes higher than C4 to have increasingly shorter times, and negative (-) value will cause them to have increasingly longer times.
Higher values will produce greater change.

Pitch L0 L1
Note on

L3 L2

TTimeLLevel

Note off L4

Time

L0, L1, L2, L3/Sustain, L4

-511­+511

Specify the pitch envelope levels (Level 0­Level 4).
It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point.
Positive (+) value will cause the pitch to be higher than the standard pitch, and negative (-) value will cause it to be lower.
* If ADSR Env Sw is ON, only Level 3 (Sustain) has an effect. Also in this case, settings with a negative value are ignored.

Time -100

-50

0

+50

C1

C2 C3 C4

C5

C6

+100 C7

Key

7 Filter

to Contents

FILTER

[FILTER] button Shows the filter edit screen. [ENVELOPE] button Shows the filter envelope edit screen. Filter Type Selects the type of filter.

OFF

No filter is used.

Low Pass Filter. This cuts the frequencies

in the region above the cutoff frequency

LPF

(Cutoff Frequency). Since this cuts the highfrequency region, the sound becomes more

mellow. This is the most common filter used

in synthesizers.

Band Pass Filter. This leaves only the

frequencies in the region of the cutoff

BPF

frequency (Cutoff Frequency), and cuts

the rest. This can be useful when creating

distinctive sounds.

High Pass Filter. This cuts the frequencies

in the region below the cutoff frequency

HPF

(Cutoff Frequency). This is suitable for

creating percussive sounds emphasizing

their higher tones.

Peaking Filter. This emphasizes the

frequencies in the region of the cutoff

PKG

frequency (Cutoff Frequency). You can use this to create wah-wah effects by

employing an LFO to change the cutoff

frequency cyclically.

LPF2
LPF3
VCF1 JP MG P5

Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano.
* If you set "LPF2," the setting for the Resonance parameter will be ignored.
Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same Filter Envelope settings.
* If you set "LPF3," the setting for the Resonance parameter will be ignored.
Each setting simulates the operation of an analog synthesizer's LPF. In particular, MG, JP, and P5 are types that are suitable for reproducing synthesizer sounds of the past.

PARTIAL 1­4 [L] button
Turn each partial on/off. * These are shown only in the module layout.

Filter Slope ([-12] [-18] [-24] buttons)
This button selects the slope (steepness) of the filter. For VCF, you can choose -12, -18, or -24. For TVF, only -12 or -24 can be selected.
CUTOFF
Selects the frequency at which the filter begins to have an effect on the waveform's frequency components.
RESONANCE
Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

ENV DEPTH Specifies the depth of the Filter envelope. Higher settings increase the change produced by the Filter envelope. Negative (-) value will invert the shape of the envelope.
LFO 1/LFO 2
Specifies how deeply the LFO 1/LFO 2 will affect the cutoff frequency.

ENVELOPE

[FILTER] button Shows the filter edit screen. [ENVELOPE] button Shows the filter envelope edit screen. Filter Envelope

T1 T2

T3

T4

Cutoff

Frequency L0

L1

L2

L3

L4

Note on

Note off

T: Time L: Level

Specify the filter envelope times (Time 1­Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.) * If ADSR Env Sw is ON, the Time 2 has no effect.
Specify the filter envelope levels (Level 0­Level 4). Specify the amount of cutoff frequency change at each point relative to the reference cutoff frequency (the cutoff frequency value specified in the Filter screen). * If ADSR Env Sw is ON, only Level 3 (Sustain) has an effect.
PARTIAL 1­4 [L] button
Time Turn each partial on/off. * These are shown only in the module layout.

Filter Slope ([-12] [-18] [-24] buttons)
This button selects the slope (steepness) of the filter. For VCF, you can choose -12, -18, or -24. For TVF, only -12 or -24 can be selected.
CUTOFF KEY FOLLOW
Use this parameter if you want the cutoff frequency to change according to the key that is pressed.
CUTOFF V SENS
Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity.

ENV DEPTH
Specifies the depth of the Filter envelope. Higher settings increase the change produced by the Filter envelope. Negative (-) value will invert the shape of the envelope.
LFO 1/LFO 2
Specifies how deeply the LFO 1/LFO 2 will affect the cutoff frequency.

PRO EDIT parameters (FILTER)

Filter Type

Cutoff

TVF, VCF

Selects the type of filter.
* TVF stands for Time Variant Filter, a filter that lets you specify in detail how the frequency components of the sound change over time. If you select VCF, the polyphony will be lower than if you select TVF.

TVF Filter Type
Selects the type of TVF filter. * If Filter Type is set to VCF, this will be LPF.

OFF LPF BPF HPF PKG LPF2
LPF3

No filter is used.
Low Pass Filter. This cuts the frequencies in the region above the cutoff frequency (Cutoff Frequency). Since this cuts the highfrequency region, the sound becomes more mellow. This is the most common filter used in synthesizers.
Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Frequency), and cuts the rest. This can be useful when creating distinctive sounds.
High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff Frequency). This is suitable for creating percussive sounds emphasizing their higher tones.
Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff Frequency). You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.
Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano.
* If you set "LPF2," the setting for the Resonance parameter will be ignored.
Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same Filter Envelope settings.
* If you set "LPF3," the setting for the Resonance parameter will be ignored.

VCF Type VCF1 JP MG P5

This parameter is effective when Filter Type is VCF.
Each setting simulates the operation of an analog synthesizer's LPF. In particular, MG, JP, and P5 are types that are suitable for reproducing synthesizer sounds of the past.

Filter Slope
-12, -18, -24 [dB/Oct]

This button selects the slope (steepness) of the filter.
For VCF, you can choose -12, -18, or -24.
For TVF, only -12 or -24 can be selected.
If Filter Type is TVF, the following limitations apply.
5 You can specify only -12 dB or -24 dB. If you specify -18 dB, the sound generator operates internally with the -12 dB setting.
5 If you specify -24 dB, the polyphony will be lower than if you specify -12 dB.

0­1023

Selects the frequency at which the filter begins to have an effect on the waveform's frequency components.
With "LPF/LPF2/LPF3" selected for the TVF Filter Type parameter, lower cutoff frequency settings reduce a tone's upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.
If "BPF" is selected for the Filter Type, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds.
With "HPF" selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.
With "PKG" selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.

Cutoff Keyfollow

-200­+200

Use this parameter if you want the cutoff frequency to change according to the key that is pressed. Relative to the cutoff frequency at the key specified by Cutoff Keyfollow Base Point, positive "+" values cause the cutoff frequency to become higher as you play above the reference key, and negative "-" values cause the cutoff frequency to become lower.
Higher values will produce greater change.

Cutoff frequency (Octave)
+2 +1

+200

+100

+50

o

0

-1 -50
-2

-2000

-100

C1

C2 C3 C4

C5

C6

C7 Key

Cutoff Velocity Curve

FIXED, 1­7

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to "FIXED" if you don't want the Cutoff frequency to be affected by the keyboard velocity.

1

2

3

4

5

6

7

Cutoff Velocity Sens

-100­+100

Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. Specify a positive "+" value if you want the cutoff frequency to raise when you play strongly, or a negative "-" value if you want it to lower.

Cutoff Keyfollow Base Point

0­127

Specifies the reference key when using Keyfollow to modify the cutoff frequency.
If this is 60, the C4 key (middle C) is the reference key.

Resonance 0­1023

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Level High

LPF

Frequency Cutoff Frequency

BPF

HPF

PKG

parameter value

HPF Cutoff 0­1023

Specifies the cutoff frequency of the -6 dB high-pass filter.
* This parameter is effective when Filter Type is VCF.

Low

Resonance Velocity Sens

-100­+100

Use this parameter when changing the resonance to be applied as a result of changes in playing velocity. Specify a positive "+" value if you want resonance to increase when you play strongly, or a negative "-" value if you want it to decrease.

Vibrato Cutoff Sens

-100­+100

Specifies the amount of change in the LFO1's Filter Depth according to the [VIBRATO] knob of the "Tone Screen".

PRO EDIT parameters (FILTER ENV)

Depth

Time Keyfollow

-63­+63
Fine Depth -63­+63

Specifies the depth of the Filter envelope. Higher settings increase the change produced by the Filter envelope. Negative (-) value will invert the shape of the envelope.

Finely adjusts the depth of the filter envelope.

-100­+100

Specify this if you want the filter envelope times (Time 2­Time 4) to vary depending on the keyboard position you play.
Relative to the filter envelope times at the C4 key (middle C), positive "+" values shorten the times for notes played in the region above C4, and negative "-" values lengthen the times. Higher values will produce greater change.

Velocity Curve

FIXED, 1­7

Selects one of the following seven types of curve by which keyboard playing dynamics affect the depth of the filter envelope.
If you don't want keyboard playing dynamics to affect the filter envelope depth, specify "FIXED."

Time -100

-50

0

+50

C1

C2 C3 C4

C5

C6

+100 C7

Key

1

2

3

4

5

6

7

Velocity Sens

-100­+100

Specify this if you want keyboard playing dynamics to affect the filter envelope depth. Specify a positive "+" value if you want the filter envelope to apply more deeply as you play more strongly, or a negative "-" value if you want it to apply less deeply.

T1 Velocity Sens

-100­+100

Specify this if you want keyboard playing dynamics to affect Time 1 of the filter envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive "+" value. If you want it to be slowed down, set this to a negative "-" value.

T4 Velocity Sens

-100­+100

Specify this if you want key release velocity to affect Time 4 of the filter envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

LFO Trigger Switch

OFF, ON

If this is ON, the filter envelope is cyclically retriggered by LFO1.
* This is effective only when Envelope Mode is SUSTAIN.

T1/Attack, T2, T3/Decay, T4/Release

0­1023

Specify the filter envelope times (Time 1­Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)
* If ADSR Env Sw is ON, the Time 2 has no effect.

L0, L1, L2, L3/Sustain, L4

0­1023

Specify the filter envelope levels (Level 0­Level 4). Specify the amount of cutoff frequency change at each point relative to the reference cutoff frequency (the cutoff frequency value specified in the Filter screen).
* If ADSR Env Sw is ON, only Level 3 (Sustain) has an effect.

8 Amp

AMP

[AMP] button Shows the amp edit screen. [L] switch Turns each partial's equalizer on/off. [EQ] button Shows the PARTIAL EQ edit screen. Amp Envelope

T1 T2

T3

T4

Level

L1 L2 Note on

L3 Note off

T: Time L: Level

to Contents
Specify the Amp Envelope times (Time 1­Time 4). Higher settings lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.) * If ADSR Env Sw is ON, the Time 2 has no effect. Specify the Amp Envelope levels (Level 1­Level 3). These specify the amount of change at each point relative to the reference volume (the partial level value specified in the Amp screen). * If ADSR Env Sw is ON, only Level 3 (Sustain) has an effect. PARTIAL 1­4 [L] button Turn each partial on/off. * These are shown only in the module layout.
Time

LEVEL Adjusts the volume of the tone. PAN Specifies the pan of the tone.
EQ (PARTIAL EQ)
[AMP] button Shows the amp edit screen. [L] switch Turns each partial's equalizer on/off. [EQ] button Shows the PARTIAL EQ edit screen. PARTIAL 1­4 [L] buttons Turn each partial on/off.
* These are shown only in the module layout.

VELOCITY SENS Specifies how keyboard playing dynamics affects the volume of the partial. LFO 1/LFO 2 Specify the amount by which LFO 1 and LFO 2 affect the amp.
PARTIAL EQ This is a three-band equalizer. You can specify the reference frequency and gain of each band (low, mid, and high). Information for the selected band is shown in the upper left of the screen.

MID Q Width of the middle range. Set a higher value to narrow the range to be affected.

PRO EDIT parameters (AMP)

Level 0­127

Sets the volume of the partial. This setting is useful primarily for adjusting the volume balance between partials.

Velocity Curve

FIXED, 1­7

Selects one of the following seven curves that determine how keyboard dynamics will affect the volume. Set this to "FIXED" if you don't want the volume of the partial to be affected by the keyboard velocity.

1

2

3

4

5

6

7

Velocity Sens

-100­+100

Set this when you want the volume of the partial to change depending on the force with which you press the keys.
Set this to a positive (+) value to have the changes in partial volume increase the more forcefully the keys are played; to make the partial play more softly as you play harder, set this to a negative (-) value.

Bias Level -100­+100

Adjusts the angle of the volume change that will occur in the selected Bias Direction.
Higher values will produce greater change. Negative (-) values will invert the change direction.

Bias Position

0­127

Specifies the key relative to which the volume will be modified. A setting of 64 is the C4 key (middle C).

Bias Direction Selects the direction in which change will occur starting from the Bias Position.

LOWER
UPPER
LOWER &UPPER
ALL

The volume will be modified for the keyboard area below the Bias Point.
The volume will be modified for the keyboard area above the Bias Point.
The volume will be modified symmetrically toward the left and right of the Bias Point.
The volume changes linearly with the bias point at the center.

Pan L64­63R

Sets the pan of the partial. "L64" is far left, "0" is center, and "63R" is far right.

Pan Keyfollow

-100­+100

Use this parameter if you want key position to affect panning. Positive (+) value will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) value will cause notes higher than C4 key (center C) to be panned toward the left. Higher values will produce greater change.

Pan

R

+100

+50

o

0

-50

L C1

C2 C3 C4

C5

C6

-100 C7

Key

Random Pan Depth

0­63

Use this parameter when you want the stereo location to change randomly each time you press a key.
Higher values will produce a greater amount of change.

Alternate Pan Depth

L63­63R

This setting causes panning to be alternated between left and right each time a key is pressed. Higher values will produce a greater amount of change. "L" or "R" settings will reverse the order in which the pan will alternate between left and right.
For example if two partials are set to "L" and "R" respectively, the panning of the two tones will alternate each time they are played.

Vibrato Level Sens

-100­+100

Specifies the amount of change in the LFO1's Amp Depth according to the [VIBRATO] knob of the "Tone Screen".

Stereo Width

0­100

Adjusts the amount of width when outputting in stereo. This has no effect when outputting in mono.

PRO EDIT parameters (AMP ENV)

T1 Velocity Sens

-100­+100

Specify this if you want keyboard dynamics to affect the Amp Envelope's Time 1. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

L1, L2, L3/Sustain

0­1023

Specify the Amp Envelope levels (Level 1­Level 3). These specify the amount of change at each point relative to the reference volume (the partial level value specified in the Amp screen).

T1 T2

T3

T4

T4 Velocity Sens

-100­+100

Specify this if you want key release velocity to affect the Amp Envelope's Time 4. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

LFO Trigger Switch

OFF, ON

If this is ON, the Amp Envelope is cyclically retriggered by LFO1.
* This is effective when Envelope Mode is SUSTAIN.

T1/Attack, T2, T3/Decay, T4/Release

0­1023

Specify the Amp Envelope times (Time 1­Time 4). Higher settings lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)
* If ADSR Env Sw is ON, the Time 2 has no effect.

Level L1 L2
Note on

Time L3
Note off

T: Time L: Level

* If ADSR Env Sw is ON, only Level 3 (Sustain) has an effect.

Time Keyfollow

-100­+100

Specify this if you want keyboard position to affect the Amp Envelope's times (Time 2­Time 4). Relative to the Amp Envelope times at the C4 key (middle C), positive (+) values cause the times to shorten as you play higher on the keyboard, and negative (-) values cause the times to lengthen. Higher values will produce greater change.
Time
-100

-50

0

+50

C1

C2 C3 C4

C5

C6

+100 C7

Key

PRO EDIT parameters (PARTIAL EQ)

Switch OFF, ON

Turns the equalizer on/off for each partial.

Low Gain
-24.0­+24.0 [dB]

Gain of the low range.

Mid Gain
-24.0­+24.0 [dB]

Gain of the middle range.

High Gain
-24.0­+24.0 [dB]

Gain of the high range.

Low Frequency 20­16000 [Hz] Frequency of the low range.

Mid Frequency 20­16000 [Hz] Frequency of the middle range.

High Frequency 20­16000 [Hz] Frequency of the high range.

Mid Q 0.5­16.0

Width of the middle range. Set a higher value to narrow the range to be affected.

PRO EDIT parameters (OUTPUT)

Output Assign

DRY, MFX

Specifies how the sound of each partial will be output.

Drum Kit Screen

to Contents

A different drum instrument is assigned to each of the 16 pads. You can click these pads to play the sound, or drag them to edit the instrument parameters. Instruments that are not assigned to a pad can also be played or selected from the keyboard.

Select a drum edit parameter.
[LEVEL] button Specifies the volume.
[PAN] button Specifies the stereo position.
[ATTACK] button Specifies the time from when the note begins until the sound completes its attack. Higher values produce a softer attack, and lower values produce a sharper attack.

[DECAY] button Specifies the time from when the sound completes its attack until the sound disappears. Higher values produce a longer decay, and lower values produce a shorter decay.
[RELEASE] button Specifies the time from when the note is released until the sound disappears. Higher values produce a longer release, and lower values produce a crisper release.

The pad corresponding to the selected drum instrument is highlighted.

Pads
A different drum instrument is assigned to each of the 16 pads.

Left-click Right-click Drug/wheel

Selects a drum instrument and plays it.
LEARN MIDI CC Assigns a control change to the parameter selected by [LEVEL]­ [RELEASE].
Edits the parameter selected by drum edit [LEVEL]­[RELEASE].

Drum Inst information
Shows information about the selected drum instrument. * Click this area to access the Drum Inst
Browser for the instrument that is shown.
[LOCK] button
* The displayed instrument will switch as you play the instruments. If you want to have the Drum Inst Browser continue showing a specific instrument while you play, turn on the [LOCK] button.

Drum Kit VISUAL/PRO Screen

to Contents

Switching between VISUAL EDIT and PRO EDIT

Press the [VISUAL EDIT] button to switch to the VISUAL EDIT screen, or the [PRO EDIT] button to switch to PRO EDIT.
VISUAL EDIT screen

[VISUAL EDIT] button Edit parameters in a graphical edit screen.

[PRO EDIT] button Edit all parameters as a list.

PRO EDIT screen
[VISUAL EDIT] button Edit parameters in a graphical edit screen.

[PRO EDIT] button Edit all parameters as a list.

Navigation buttons Jump to the first parameter of each module. [UTILITY] button Copy/paste parameters in entire units (Tone Partial 1­4, Drum Kit Key/ Inst, Drum Kit Comp 1­6, MFX).

Copy Paste

Copies the selected parameter from the currently selected tone or drum kit to the clipboard.
Pastes the selected parameter from the clipboard to the current tone or drum kit.

[C2]­[C3] buttons Specify the key.

VISUAL Edit (drum instrument layout)
Click the [ ] button to see the instruments laid out as a set of acoustic drums.

1

2

3

4

5

6 7

VISUAL Edit (drum pad layout)
Click the [ ] button to see the instruments laid out as drum pads.

1

2

3

4

5

6 7
MFX
From the tone screen, click the [MFX EDIT] button to access the MFX screen. MFX Panel
& "MFX Panel"

MFX CONTROL
Source 1­4 Specifies the MIDI message that will control the corresponding MFX CONTROL parameter.

Destination 1­4
Specifies the multi-effect parameters that are controlled by MFX CONTROL. The multi-effects parameters available for control will depend on the multi-effects type.

1 Tone screen
& "Tone Screen / Drum Kit Screen (Common Items)" & "Tone Screen"
2 Structure
This diagram shows the structure of the drum kit.

3 Edit area

to Contents

Drum Instrument Layout/Drum Instrument View

[LEVEL] button
Specifies the volume.
[PAN] button
Specifies the stereo position.
[ATTACK] button
Specifies the time from when the note begins until the sound completes its attack. Higher values produce a softer attack, and lower values produce a sharper attack.

[DECAY] button
Specifies the time from when the sound completes its attack until the sound disappears. Higher values produce a longer decay, and lower values produce a shorter decay.
[RELEASE] button
Specifies the time from when the note is released until the sound disappears. Higher values produce a longer release, and lower values produce a crisper release.

8 3
4

1

5

6

2

7

1

9 10

[ ] button Switches to Full Edit (drum instrument layout).
[ ] button Switches to Full Edit (drum pad layout).

Drum Instruments
Drum instruments are assigned as follows.
1 Bass Drum (kick pedal)
Bass drum
2 Snare Drum
Snare drum Interior: head shot Left rim: open rim shot Right rim: closed rim shot
3 Hi-hat
Hi-hat Upper side: open hi-hat Lower side: closed hi-hat
4 Hi-hat pedal
Pedal hi-hat
5 Tom1
Tom 1
Drum Pad Layout/Drum Pad View

6 Tom2
Tom 2
7 Tom3
Tom 3
8 Crash Cymbal 1
Crash cymbal 1
9 Crash Cymbal 2
Crash cymbal 2
10 Ride Cymbal
Ride cymbal Rim: edge Intermediate: bow Interior: bell

Drum Instrument Name Click this to access the Drum Inst Browser and select a drum instrument.
You can also use the [=] [?] buttons to select a drum instrument directly.

Pads
A different drum instrument is assigned to each of the 16 pads. The note name is shown in the upper left.

Left-click Right-click Drug/wheel

Selects a drum instrument and plays it.
LEARN MIDI CC Assigns a control change to the parameter selected by [LEVEL]­ [RELEASE].
Edits the parameter selected by drum edit [LEVEL]­[RELEASE].

4 DRUM INST information
Shows information about the selected drum instrument. * Click this area to access the Drum Inst Browser for the instrument that is shown.
DRUM INST information Shows information about the currently selected drum instrument.
* Click this area to access the Drum Inst Browser for the instrument that is shown. * You can select an instrument by using [ ] [ ] located at the left of the instrument name.

to Contents

[LOCK] button
* The displayed instrument will switch as you play the instruments. If you want to have the Drum Inst Browser continue showing a specific instrument while you play, turn on the [LOCK] button.

5 DRUM KEY/DRUM INST/EQ

to Contents

Shows the parameters of the currently selected drum instrument.

DRUM KEY

LEVEL
Adjusts the volume of the key.
PAN
Adjusts the stereo location of the key.
MUTE GRP (Mute Group)
On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group. The Mute Group function allows you to designate two or more keys that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. Keys that are not belong to any such group should be set to "OFF."
KEY OFST (Key Offset)
Shifts the pitch in units of a semitone.
FINE TUNE (Fine Tune Offset)
Finely adjusts the pitch in units of one cent.
CUTOFF (Cutoff Offset)
Adjusts how far the filter is open. Higher values make the sound brighter, and lower values make the sound darker.

RESO (Resonance Offset)
Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort. Increasing this value strengthens the character, and decreasing it weakens the character.
ATTACK (Attack Time Offset)
Adjusts the time over which the sound reaches its maximum volume after you press the key. Larger settings of this value make the attack gentler, and smaller settings make the attack sharper.
DECEY (Decay Time Offset)
Adjusts the time over which the volume decreases from its maximum value. Larger settings of this value make the decay longer, and smaller settings make the decay shorter.
RELEASE (Release Time Offset)
The time it takes after the key is released for a sound to become inaudible. If Envelope Mode is NO-SUS, this is the time until the sounded note becomes inaudible. Larger settings of this value make the sound linger, and smaller settings make the sound end more sharply.
OUT ASGN (Output Assign)
Specifies the output destination for each key.

DRUM INST

FINE TUNE Adjusts the pitch of the sound up or down in 1-cent steps (+/-50 cents).
RDM PITCH (Random Pitch Depth)
Specifies the width in which the pitch is randomly changed each time the note is sounded. If you do not want the pitch to change randomly, set this to "0."
RDM PAN (Random Pan Depth)
Use this parameter when you want the stereo location to change randomly each time you press a key. Higher values will produce a greater amount of change.
ALT PAN (Alternate Pan Depth)
This setting causes panning to be alternated between left and right each time a key is pressed.
ASGN TYPE (Assign Type)
Sets the way sounds are played when the same key is pressed a number of times.

MULTI: Layer the sound of the same keys. SINGLE: Only one sound can be played at a time when the same key is pressed.
ENV Mode (Envelope Mode)
When a loop waveform is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to "NO-SUS." * If a one-shot type Wave is selected, it
will not sustain even if this parameter is set to "SUSTAIN."
V. CONTROL
(WMT Velocity Control)
Determines whether a different wave is played (ON) or not (OFF) depending on the force with which the key is played. When set to "RANDOM," the tone's constituent wave will sound randomly, regardless of any velocity messages.

EQ (KEY EQ)
This is a three-band equalizer that can be individually specified for each instrument. You can specify the reference frequency and gain of each band (low, mid, high). Information for the selected band is shown in the upper left of the screen.

[EQ] button Turns KEY EQ on/off.
MID Q Width of the middle range. Set a higher value to narrow the range to be affected.

6 KIT COMP 1­6 (switch)
[L] button Turns the compressor on/off.

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[COMP1­6] button Selects the compressor that is shown in the edit area.

7 KIT COMP 1­6 (Edit area)

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Threshold
Specifies the level at which compression starts being applied.
INPUT meter
Provides a realtime indication of the input level.
Input/output graph
Shows the relationship between input level (horizontal axis) and output level (vertical axis). Drag horizontally on the graph to change the Threshold, or drag vertically to change the Post Gain.
OUTPUT meter
Provides a realtime indication of the output level.
POST GAIN
Specifies the level of the output sound.

Ratio
Compression ratio
KNEE
This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.
ATTACK (Attack Time)
Time from when the input exceeds the threshold until compression begins
RELEASE (Release Time)
Time from when the input falls below the threshold until compression is turned off

PRO EDIT parameters (COMMON)

Level 0­127

Adjusts the overall volume of the tone.
* This is a different parameter than the LEVEL and Common Level parameters in "Tone Screen / Drum Kit Screen (Common Items)." Common Level is also effective when using the "Tone/Drum Kit Manager Screen" command [EXPORT]- For Hardware/Zenbeats (ZC1) to play the settings on a hardware product. In contrast, the LEVEL parameter of the tone screen and drum kit screen is effective only on this product.

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PRO EDIT parameters (COMP1­6)

Switch OFF, ON

Compressor on/off

Knee

Attack Time 0.1­100ms

Time from when the input exceeds the threshold until compression begins

0­30 [dB]

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.

Release Time

10­1000ms

Time from when the input falls below the threshold until compression is turned off

Threshold -60­0 [dB]

Level at which compression is applied

Ratio 1: 1­inf: 1

Compression ratio

Output Gain -24­+24 [dB] Adjusts the output gain.

Output Assign

DRY, MFX, MAIN, SUB1, SUB2, AFX

Specifies the compressor output destination.

PRO EDIT parameters (KEY PARAM)

Inst Bank
(Inst bank name)

Name of the instrument's bank.

Inst
(Inst name)

Selects the Inst to be assigned to the key.

Level 0­127

Adjusts the volume of the key.

Pan L64­0­63R

Adjusts the stereo location of the key.

Mute Group OFF, 1­31

On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously.
To reproduce the reality of this situation, you can set up a Mute Group.
The Mute Group function allows you to designate two or more keys that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used.
Keys that are not belong to any such group should be set to "OFF."

Output Assign

DRY, MFX, COMP1­6

Specifies the output destination for each key.

Key Offset -24­+24

Shifts the pitch in units of a semitone.

Fine Tune Offset

-50­+50 [cent]

Finely adjusts the pitch in units of one cent.

Cutoff Offset

-100­+100

Adjusts how far the filter is open.
Increasing this value makes the sound brighter, and decreasing it makes the sound darker.

Resonance Offset

-100­+100

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.
Increasing this value strengthens the character, and decreasing it weakens the character.

Attack Time Offset

-100­+100

Adjusts the time over which the sound reaches its maximum volume after you press the key.
Larger settings of this value make the attack gentler, and smaller settings make the attack sharper.

Decay Time Offset

-100­+100

Adjusts the time over which the volume decreases from its maximum value.
Larger settings of this value make the decay longer, and smaller settings make the decay shorter.

Release Time Offset

-100­+100

The time it takes after the key is released for a sound to become inaudible.
If Envelope Mode is NO-SUS, this is the time until the sounded note becomes inaudible.
Larger settings of this value make the sound linger, and smaller settings make the sound end more sharply.

PRO EDIT parameters (KEY EQ)

Switch OFF, ON

Turns the equalizer on/off for each key.

Low Frequency 20­16000 [Hz] Frequency of the low range.

Low Gain
-24.0­+24.0 [dB]

Gain of the low range.

Mid Gain
-24.0­+24.0 [dB]

Gain of the middle range.

High Gain
-24.0­+24.0 [dB]

Gain of the high range

Mid Frequency 20­16000 [Hz] Frequency of the middle range.

High Frequency 20­16000 [Hz] Frequency of the high range.

Mid Q 0.5­16.0 (0.1step)

Width of the middle range. Set a higher value to narrow the range to be affected.

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PRO EDIT parameters (INST COMMON)

Category

Envelope Mode

0­21

Selects the Inst's category.

Level 0­127

Adjusts the volume of the Inst.

Source Key 0­127

Specifies the pitch in semitone steps relative to 60 (the original pitch of the instrument).

Fine Tune

-50­+50 [cent]

Adjusts the pitch of the sound up or down in 1-cent steps (+/-50 cents).

Random Pitch Depth

0­1200 [cent]

Specifies the width in which the pitch is randomly changed each time the note is sounded. If you do not want the pitch to change randomly, set this to "0."

Assign Type Sets the way sounds are played when the same key is pressed a number of times.

NO-SUS, SUSTAIN

When a loop waveform is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to "NO-SUS."
* If a one-shot type Wave is selected, it will not sustain even if this parameter is set to "SUSTAIN."

WMT Velocity Control

OFF, ON, RANDOM

Determines whether a different wave is played (ON) or not (OFF) depending on the force with which the key is played.
When set to "RANDOM," the tone's constituent wave will sound randomly, regardless of any velocity messages.

Tempo Sync OFF, ON

Matches the wave playback to the tempo. This is valid only if a wave with a specified BPM is selected. If this function is enabled, parameters related to pitch and FXM are ignored.

MULTI SINGLE

Layer the sound of the same keys.
Even with continuous sounds where the sound plays for an extended time, such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated.
Only one sound can be played at a time when the same key is pressed.
With continuous sounds where the sound plays for an extended time, the previous sound is stopped when the following sound is played.

PRO EDIT parameters (INST WAVE)

Each instrument consists of four waves (WAVE 1­4). You can edit the following parameters for each wave.

Switch

OFF, ON

Turns the corresponding wave on/off.

Coarse Tune

Wave L/R
(Wave number)

Specifies the wave number within the group specified by Wave Group.
Click this to open the Wave Browser.
You can use bank and category to narrow the search results, or use keyword search to select a wave.
If using mono, specify only the left side (L). If using stereo, specify the right side (R) as well.
If using mono, specify only Wave L and leave Wave R at 0: OFF.
If you specify only Wave R, no sound is heard.

-48­+48 Fine Tune -50­+50

Adjusts the pitch of each wave's sound up or down in semitone steps (+/-4 octaves).
MEMO The Coarse Tune of the entire drum partial is set by the "Source Key".
Adjusts the pitch of each Wave's sound up or down in 1-cent steps (+/-50 cents). * One cent is 1/100th of a semitone.
MEMO The Fine Tune of the entire drum partial is set by the "Fine Tune Offset".

Gain -18­+12 [dB] FXM Switch
OFF, ON
FXM Color 1­4 FXM Depth 0­16

Specifies the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.
This sets whether FXM will be used (ON) or not (OFF). * FXM (Frequency Cross Modulation)
uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects.
Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.
Specifies the depth of the modulation produced by FXM.

Level 0­127

Adjusts the level of each Wave.
MEMO
The volume level of each drum partial is set with the Partial Level; the volume levels of the entire drum kit is set with the "Level".

Pan L64­63R

This specifies the pan of the waveform. "L64" is far left, "0" is center, and "63R" is far right.

Random Pan Sw

OFF, ON

Use this setting to cause the waveform's panning to change randomly each time a key is pressed (ON) or not (OFF).
* The range of the panning change is set by the "Random Pan Depth".

Alternate Pan Sw

OFF, ON, REVS

This setting causes panning of the waveform to be alternated between left and right each time a key is pressed.
Set this to "ON" to pan the Wave according to the Alternate Pan Depth settings, or to "REVS" when you want the panning reversed.
If you do not want the panning to change each time a key is pressed, set this to "OFF."

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PRO EDIT parameters (INST WMT)
Each instrument consists of four waves (WAVE 1­4). You can edit the following parameters for each wave.
Wave Delay Mode Wave delay This produces a time delay between the moment a key is pressed (or released), and the moment the Wave actually begins to sound. You can also make settings that shift the timing at which each Wave is sounded. By modifying the tonal character of the wave that is sounded with a delay, or by modifying the pitch of each wave, you can produce arpeggio-like performances by pressing a single key. The wave delay time can also be synchronized to the tempo.
The Wave begins to play after the time specified in the Wave Delay Time parameter has elapsed.

Wave Delay Time Sync

OFF, ON

Set this ON if you want the Wave delay time to synchronize with the tempo.

Wave Delay Time (note)

1/64T­2

This is available when Wave Delay Time Sync is ON. It specifies the delay time in terms of a note value.

Wave Delay Time

0­1023

This is available when Wave Delay Time Sync is OFF. It specifies the delay time without regard to the tempo.

NORMAL

No Partial Delay Level

Delay time

Fade Lower Range Lower

Velocity
Fade Upper Range Upper

HOLD
KEY-OFFNORMAL

Note on Note off
Although the Wave begins to play after the time specified in the Wave Delay Time parameter has elapsed, if the key is released before the time specified in the Wave Delay Time parameter has elapsed, the Wave is not played.

Velocity Range Lower/Velocity Range Upper

1­127

Specifies the lower limit (Lower) and upper limit (Upper) of the velocities that will sound the Wave.
Make these settings when you want to play different Waves depending on your keyboard dynamics.

Delay time

No sound played

Note on Note off
Rather than being played while the key is pressed, the Wave begins to play once the period of time specified in the Wave Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises from guitars and other instruments.

Velocity Fade Lower

0­127

Specifies the degree to which the Wave is sounded by notes played more softly than Velocity Range Lower. If you don't want the tone to sound at all, set this parameter to "0."

Velocity Fade Upper

0­127

Specifies the degree to which the Wave is sounded by notes played more strongly than Velocity Range Upper. If you don't want the tone to sound at all, set this parameter to "0."

KEY-OFFDECAY

Delay time
Note on Note off
Rather than being played while the key is pressed, the Wave begins to play once the period of time specified in the Wave Delay Time parameter has elapsed after release of the key. Here, however, changes in the Amp Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.
Delay time

Note on Note off

PRO EDIT parameters (INST PITCH ENV)

Depth

Time 4 Velocity Sens

-100­+100

Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) value will invert the shape of the envelope.

-100­+100

Velocity Curve

FIXED, 1­7

Selects one of the following seven types of curve by which keyboard playing dynamics affect the depth of the pitch envelope.
If you don't want keyboard playing dynamics to affect the pitch envelope depth, specify "FIXED."

Time 1­4

1

2

3

4

5

6

7

Velocity Sens

0­1023

Use this parameter when you want key release speed to affect the Time 4 value of the pitch envelope.
If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Specify the pitch envelope times (Time 1­Time 4).
Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

T1 T2

T3

T4

-100­+100

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value.

Level 0­4

Time 1 Velocity Sens

-100­+100

This allows keyboard dynamics to affect the Time 1 of the Pitch envelope.
If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-511­+511

 L0

L1

L3

 L2

TTimeLLevel

 L4



Specify the pitch envelope levels (Level 0­Level 4).
It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point.
Positive (+) value will cause the pitch to be higher than the standard pitch, and negative (-) value will cause it to be lower.

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PRO EDIT parameters (INST FILTER)

Filter Type Selects the type of filter.

OFF LPF BPF HPF PKG LPF2
LPF3

No filter is used.
Low Pass Filter. This cuts the frequencies in the region above the cutoff frequency (Cutoff Frequency). Since this cuts the high-frequency region, the sound becomes more mellow. This is the most common filter used in synthesizers.
Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Frequency), and cuts the rest. This can be useful when creating distinctive sounds.
High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff Frequency). This is suitable for creating percussive sounds emphasizing their higher tones.
Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff Frequency). This can be used to portray the resonance peak of a drum.
Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano.
* If you set "LPF2," the setting for the "Resonance" parameter will be ignored.
Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.
* If you set "LPF3," the setting for the "Resonance" parameter will be ignored.

Cutoff Frequency

0­1023

Selects the frequency at which the filter begins to have an effect on the waveform's frequency components.
With "LPF/LPF2/LPF3" selected for the Filter Type parameter, lower cutoff frequency settings reduce a tone's upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.
If "BPF" is selected for the Filter Type, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds.
With "HPF" selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.
With "PKG" selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.

Cutoff Velocity Curve

FIXED, 1­7

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to "FIXED" if you don't want the Cutoff frequency to be affected by the keyboard velocity.

1

2

3

4

5

6

7

Cutoff Velocity Sens

-100­+100

Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity.
Specify a positive "+" value if you want the cutoff frequency to raise when you play strongly, or a negative "-" value if you want it to lower.

Resonance 0­1023

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Level High

LPF

Frequency Cutoff Frequency

BPF

HPF

PKG

parameter value

Low

Resonance Velocity Sens

-100­+100

Use this parameter when changing the resonance to be applied as a result of changes in playing velocity. Specify a positive "+" value if you want resonance to increase when you play strongly, or a negative "-" value if you want it to decrease.

PRO EDIT parameters (INST FILTER ENV)

Depth -63­+63

Specifies the depth of the Filter envelope.
Higher settings increase the change produced by the Filter envelope.
Negative (-) value will invert the shape of the envelope.

Velocity Curve

FIXED, 1­7

Selects one of the following seven types of curve by which keyboard playing dynamics affect the depth of the filter envelope.
If you don't want keyboard playing dynamics to affect the filter envelope depth, specify "FIXED."

Time 4 Velocity Sens

-100­+100

Specify this if you want key release velocity to affect Time 4 of the filter envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Time 1­4 0­1023

Specify the filter envelope times (Time 1­Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

T1 T2

T3

T4

1

2

3

4

5

6

7

Velocity Sens

-100­+100

Specify this if you want keyboard playing dynamics to affect the filter envelope depth. Specify a positive "+" value if you want the filter envelope to apply more deeply as you play more strongly, or a negative "-" value if you want it to apply less deeply.

Time 1 Velocity Sens

-100­+100

Specify this if you want keyboard playing dynamics to affect Time 1 of the filter envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Level 0­4 0­1023

Cutoff

Frequency L0

L1

L2

L3

Note on

T: Time L: Level

Note off

Time L4

Specify the filter envelope levels (Level 0­Level 4).
Specify the amount of cutoff frequency change at each point relative to the reference cutoff frequency (the cutoff frequency value specified in the Filter screen).

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PRO EDIT parameters (INST AMP)

Velocity Curve

Random Pan Depth

FIXED, 1­7

Selects one of the following seven curves that determine how keyboard dynamics will affect the volume. Set this to "FIXED" if you don't want the volume of the partial to be affected by the keyboard velocity.

1

2

3

4

5

6

7

Velocity Sens

-100­+100

Set this when you want the volume of the partial to change depending on the force with which you press the keys.
Set this to a positive (+) value to have the changes in partial volume increase the more forcefully the keys are played; to make the partial play more softly as you play harder, set this to a negative (-) value.

0­63

Use this parameter when you want the stereo location to change randomly each time you press a key.
Higher values will produce a greater amount of change.

Alternate Pan Depth

L64­63R

This setting causes panning to be alternated between left and right each time a key is pressed. Higher values will produce a greater amount of change. "L" or "R" settings will reverse the order in which the pan will alternate between left and right.
For example, if the INST WAVE setting Wave Alter Pan Sw is ON or REVS for the two waves, the pan will alternate each time the key is pressed.

PRO EDIT parameters (INST AMP ENV)

Time 1 Velocity Sens

-100­+100

Specify this if you want keyboard dynamics to affect the Amp Envelope's Time 1. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Time 4 Velocity Sens

-100­+100

Specify this if you want key release velocity to affect the Amp Envelope's Time 4. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Time 1­4 0­1023

Specify the Amp Envelope times (Time 1­Time 4). Higher settings lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

Level 1­3

Env Level 1­3

Specify the Amp Envelope levels (Level 1­Level 3).
These specify the amount of change at each point relative to the reference volume (the partial level value specified in the Amp screen).

T1 T2

T3

T4

Level L1 L2
Note on

Time L3
Note off

T: Time L: Level

KEYBOARD Panel
Playing and controlling dynamics Click the keyboard to play notes. The velocity increases as you click toward the front of the key. Clicking the very front of the key produces the maximum velocity.

to Contents Minimum velocity Maximum velocity

Octave Shift Use the mouse wheel to change the octave shift of the keyboard. When you change the octave shift, the setting is shown on the keyboard for a few seconds.

MFX Panel
[MFX] button Turns MFX on/off.

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[MFX TYPE] indication
Shows the currently selected MFX name. To change the MFX, click the MFX name and choose from the list that appears.

[MFX LEVEL] knob Adjusts the MFX output level.

MFX parameters
The edit screen is different for each MFX type. & For details, refer to "MFX Parameters."

Tone/Drum Kit Browser Screen

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[Recent] button
Shows recently selected tones and drum kits in chronological order (ON/OFF). You can also narrow the focus of the search result by bank and category.

Keyword search
Lets you use keywords (multiple selections are allowed) to further narrow the focus of the displayed result.

Tone/Drum Kit information
Shows the sound engine type, category, rating, bank name, bank thumbnail, sound number, and sound name of the selected tone or drum kit.

Tone/Drum Kit list

Bank list
Shows a list of the banks that you own. There are preset banks (recall-only) and user banks (recall or save). The contents of the bank selected here is shown in the tone/drum kit list located in the center of the screen. Multiple banks can be selected simultaneously. 5 Drag to select a region.
5 Click while holding down the Ctrl key (Windows).
5 Click while holding down the Command key (Mac).
To de-select a currently selected bank, click it again. If no bank is selected, All (all banks) are shown.
Model filter
Filters the Tone/Drum Kit list by model/category.

Category filter Filters the Tone/Drum Kit list by category.
Multiple filters can be selected simultaneously. 5 Drag to select a region.
5 Click while holding down the Ctrl key (Windows).
5 Click while holding down the Command key (Mac).

" i " symbol When you place the mouse cursor (mouse pointer) over this, a list of shortcuts appears.

Tone/Drum Kit List
Sorting the list By clicking a tab in the tone/drum kit list, you can sort the list using that tab as the key. By clicking again, you can switch between ascending and descending order.

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Rating To each tone or drum kit you can assign a four-step rating (number of s: 0-3).
You can use this rating to sort the tone/drum kit list.

Tone/Drum Kit Manager Screen

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User bank list Shows a list of the user banks. Select the save-destination bank.
* You can click the currently selected bank to rename it.
* Multiple banks cannot be selected.

[Write] button When you click this button, the tone or drum kit is saved to the specified location.

Tone/Drum Kit list Shows the contents of the bank that's selected in the user bank list. Select the save-destination number from this list.
* You can click the currently selected tone or drum kit to rename it.
* You can drag a tone or drum kit to move it.

[NEW] button Creates a new user bank. [DELETE] button Deletes the selected user bank. [IMPORT] button Imports a user bank file.
" i " symbol When you place the mouse cursor (mouse pointer) over this, a list of shortcuts appears.

[EXPORT] button Opens the following menu.
For Plug-in Save as a ZENOLOGY backup file.
For Hardware/Zenbeats (ZC1) Saves data compatible with hardware products that use the ZEN-Core Synthesis System such as the FANTOM, JUPITER-X and so on, as well as Zenbeats (ZC1).

Drum Inst Browser Screen

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Keyword search Lets you use keywords (multiple selections are allowed) to further narrow the focus of the displayed result.

Sorting the list By clicking a tab in the drum instrument list, you can sort the list using that tab as the key.
By clicking again, you can switch between ascending and descending order.

Drum Inst list

Bank list Shows a list of the banks that you own. The contents of the bank selected here are shown in the drum instrument list located in the center of the screen. Multiple banks can be selected simultaneously.
5 Drag to select a region.
5 Click while holding down the Ctrl key (Windows).
5 Click while holding down the Command key (Mac).
To de-select a currently selected bank, click it again. If no bank is selected, All (all banks) are shown.

Category Filters the drum instrument list by category. Multiple categories can be selected simultaneously. 5 Drag to select a region. 5 Click while holding down the Ctrl key (Windows). 5 Click while holding down the Command key (Mac).

" i " symbol When you place the mouse cursor (mouse pointer) over this, a list of shortcuts appears.

Model Screen (JUPITER-8)

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[EDIT] button
Switches between the small screen and detailed settings screen.

[WRITE] button
Accesses the Tone/Drum Kit Manager, allowing you to save a tone or drum kit.

[OVERWRITE] button Overwrite-saves the settings.

KEY MODE
[SOLO] button Sound is produced monophonically. [POLY] button Sound is produced polyphonically. [UNISON] button Sound is produced in unison.

[SL-UNISON] button Sound is produced in monophonic unison.

Right-click

LEARN MIDI CC Assigns a control change to each button.

[CUTOFF] knob Adjusts how far the filter is open. Higher values make the sound brighter, and lower values make the sound darker.
[RESO] knob Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort. Increasing this value strengthens the character, and decreasing it weakens the character.
[ATTACK] knob Specifies the time from when the key is pressed until the sound completes its attack. Higher values produce a softer attack, and lower values produce a sharper attack.
[RELEASE] knob Specifies the time from when the key is released until the sound disappears. Higher values produce a longer release, and lower values produce a crisper release.

[CROSS MOD] knob Uses the OSC2 waveform to change the frequency of OSC1. Higher values cause the sound of OSC1 to be more complex, allowing you to create metallic sounds or sound effects.

How to operate the knobs

Right-click Drag

LEARN MIDI CC Assigns a control change to the parameter selected by [CUTOFF]­ [CROSS MOD].
Tone edit Edits each parameter.

Detailed Settings Screen (JUPITER-8)
1

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2

4 5

6 7

3

8

9

10

11

12

1 System
CONDITION Simulates the changes that occur as a unit ages. PITCH DRIFT Adjusts the slight pitch drift that occurs when notes are played on an analog synthesizer.

KEY MODE
[SOLO] button Sound is produced monophonically. [POLY] button Sound is produced polyphonically. [UNISON] button Sound is produced in unison. [SL-UNISON] button Sound is produced in monophonic unison.

PORTAMENTO [OFF] [ON] button (PORTA MODE/PORTA TIME)
Selects whether portamento is applied to the performance. Use the bar below to specify the portamento time.

PORTA CRV
[ORIG] button Change according to the original curve of the model. [LIN] button Change in a linear curve.

[EXP-1] button
Change in a non-linear curve (gentle slope).
[EXP-2] button
Change in a non-linear curve (steep slope).

[PRM EXP] button
(PARAM EXPANSION)
If this is ON, the range of the LFO RATE, CUTOFF, RESONANCE, and FILTER ENV DEPTH parameters are extended beyond the range of the original model.

2 VCO-1

[CROSS MOD] knob
Uses the OSC2 waveform to change the frequency of OSC1. Higher values cause the sound of OSC1 to be more complex, allowing you to create metallic sounds or sound effects.

[RANGE] knob (OSC1 RANGE) Specifies the octave of OSC1. 16', 8', 4', 2'

[WAVE FORM] knob
(OSC1 WAVE FORM)
Selects the waveform that is the basis of the OSC1 sound. TRI, SAW, PW, SQR

3 VCO-2
[SYNC] button (SYNC SWITCH)
This is oscillator sync. It produces a complex waveform by forcibly resetting OSC1 to the beginning of its cycle in synchronization with the cycle of OSC2.

[FINE TUNE] knob
(OSC2 FINE TUNE)
Specifies a fine adjustment to the pitch of OSC2.

[WAVE FORM] knob
(OSC2 WAVE FORM)
Selects the waveform that is the basis of the OSC2 sound. SINE, SAW, PW, NOISE

OSC2 MODE [NORMAL] button
OSC2 operates as NORMAL (audible frequency range). Use the [RANGE] (OSC2 RANGE) knob to set the frequency. -12­+24
4 MIXER

[LOW FREQ] button
OSC2 operates as LFO (low frequency range). Use the [LOW FREQ] knob to set the frequency. 0­127

[VCO-1] knob (OSC1 LEVEL) Adjusts the volume balance of OSC1.

[VCO-2] knob (OSC2 LEVEL) Adjusts the volume balance of OSC2.

5 VCF
[HPF] knob Adjusts the cutoff frequency of the high-pass filter.

[FREQ] knob (CUTOFF)
Specifies the cutoff frequency of the low-pass filter. The frequency region above the cutoff frequency is cut, producing a more mellow tonal character.

[RES] knob (RESONANCE)
Boosts the region of the filter's cutoff frequency. Higher values produce a stronger result, giving the sound a distinctively synthesizer-like character.

[R] [M] [S] buttons
(VINTAGE FLT TYPE)
If a vintage type model is selected, these buttons change the type of filter.
[R] models a Roland filter, and [M] and [S] model vintage synthesizers made by other companies.

SLOPE (FILTER SLOPE)
Selects the type of slope for the low-pass filter. -12dB/OCT, -24dB/OCT
[ENV-1] [ENV-2] buttons (FLT ENV MODE)
Selects the envelope that is used to control the ENV-1/ ENV-2 cutoff frequency.
ENV MOD (FLT ENV DEPTH)
Adjusts the amount by which the cutoff frequency is controlled by the envelope.

FILTER MOD
Adjusts the amount by which the LFO modulates the cutoff frequency.
KEY FOLLOW (FLT KEY FOLLOW)
Adjusts the amount by which the keyboard pitch affects the cutoff frequency (key follow). With smaller values, the cutoff frequency becomes lower as you play higher notes.

6 VCA

[LEVEL] knob (AMP LEVEL) Adjusts the volume of the tone.

LFO MOD (AMP MOD STEP)
Uses the LFO to vary the AMP volume (tremolo effect). Higher values produce a greater effect.

7 LFO
RATE (LFO RATE) Specifies the rate of the LFO cycle.

DELAY TIME (LFO DELAY TIME)
Adjusts the time from when the key is pressed until the LFO starts to apply modulation.

WAVEFORM (LFO WAVEFORM) Selects the waveform of the LFO. SINE, SAW-DW, SQR, S&H

8 VCO MODULATOR
LFO MOD Adjusts the depth at which the LFO modulates the OSC.

ENV MOD (PIT ENV DEPTH)
Adjusts the depth at which the LFO modulates the ENV1.

FREQ MOD (DEST SELECT)
Selects the OSC that is modulated by LFO MOD.

Select buttons (PW MODE)
Specifies the pulse width mode. LFO : The pulse width is changed by the LFO. MANUAL: The pulse width is changed by the slider. ENV : The pulse width is changed by the ENV1.

Slider (PULSE WIDTH MOD)
Adjusts the amount of pulse width change.

9 ENV-1 (Envelope)

KEY FOLLOW
(ENV1 KEY FLW SW)
Specifies the ENV1 key follow. If key follow is on, ADR times become longer for lower notes and shorter for higher notes.

POLARITY Specifies the polarity of the envelope.

Envelope
You can directly drag the curve in the screen to edit the ADSR settings of the envelope in a visual way.

A

D

S

R

The values of the [A] [D] [S] [R] knobs also change in tandem.
To make fine adjustments, hold down the [shift] key while you drag.

[A] knob (ENV1 ATTACK) Adjusts the Attack time. [D] knob (ENV1 DECAY) Adjusts the Decay time. [S] knob (ENV1 SUSTAIN) Adjusts the Sustain level. [R] knob (ENV1 RELEASE) Adjusts the Release time.

10 ENV-2 (Envelope)

KEY FOLLOW (ENV2 KEY FLW SW)
Specifies the ENV2 key follow. If key follow is on, ADR times become longer for lower notes and shorter for higher notes.

Envelope
You can directly drag the curve in the screen to edit the ADSR settings of the envelope in a visual way.

A

D

S

R

The values of the [A] [D] [S] [R] knobs also change in tandem.
To make fine adjustments, hold down the [shift] key while you drag.

[A] knob (ENV2 ATTACK) Adjusts the Attack time. [D] knob (ENV2 DECAY) Adjusts the Decay time. [S] knob (ENV2 SUSTAIN) Adjusts the Sustain level. [R] knob (ENV2 RELEASE) Adjusts the Release time.

11 MFX
[MFX] button Turns MFX on/off.

[MFX TYPE] indication
Shows the currently selected MFX name. To change the MFX, click the MFX name and choose from the list that appears.

[MFX LEVEL] knob Adjusts the MFX output level.

MFX parameters
The edit screen is different for each MFX type. & For details, refer to "MFX Parameters."

12 Controller
BEND [PIT] knob (BEND PITCH) Specifies the range of pitch change produced by pitch bend. BEND [FILT] knob (BEND FILTER) Specifies the range of filter change produced by pitch bend.

MOD [LFO] knob (MODULATION LFO) Specifies the amount of LFO applied by modulation.

A.TOUCH [LEVEL] knob
Specifies how the volume of the tone is affected by aftertouch.
A.TOUCH [FREQ] knob
Specifies how the frequency of the low-pass filter is affected by aftertouch.

A.TOUCH [LFO] knob Specifies how the LFO depth is affected by aftertouch.

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[EDIT] button
Switches between the small screen and detailed settings screen.

[WRITE] button
Accesses the Tone/Drum Kit Manager, allowing you to save a tone or drum kit.

[OVERWRITE] button Overwrite-saves the settings.

KEY MODE
[SOLO] button Sound is produced monophonically. [POLY] button Sound is produced polyphonically. [UNISON] button Sound is produced in unison.

[SL-UNISON] button Sound is produced in monophonic unison.

Right-click

LEARN MIDI CC Assigns a control change to each button.

[CUTOFF] knob Adjusts how far the filter is open. Higher values make the sound brighter, and lower values make the sound darker.
[RESO] knob Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort. Increasing this value strengthens the character, and decreasing it weakens the character.
[ATTACK] knob Specifies the time from when the key is pressed until the sound completes its attack. Higher values produce a softer attack, and lower values produce a sharper attack.

[RELEASE] knob Specifies the time from when the key is released until the sound disappears. Higher values produce a longer release, and lower values produce a crisper release.
[SUB OSC] knob Adjusts the volume of the sub oscillator.

How to operate the knobs

Right-click Drag

LEARN MIDI CC Assigns a control change to the parameter selected by [CUTOFF]­ [SUB OSC].
Tone edit Edits each parameter.

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9

1 System
CONDITION Simulates the changes that occur as a unit ages. PITCH DRIFT Adjusts the slight pitch drift that occurs when notes are played on an analog synthesizer.

KEY MODE
[SOLO] button Sound is produced monophonically. [POLY] button Sound is produced polyphonically. [UNISON] button Sound is produced in unison. [SL-UNISON] button Sound is produced in monophonic unison.

PORTAMENTO [OFF] [ON] button (PORTA MODE/PORTA TIME)
Selects whether portamento is applied to the performance. Use the bar below to specify the portamento time.

PORTA CRV

[ORIG] button Change according to the original curve of the model. [LIN] button Change in a linear curve.

[EXP-1] button
Change in a non-linear curve (gentle slope).
[EXP-2] button
Change in a non-linear curve (steep slope).

[PRM EXP] button
(PARAM EXPANSION)
If this is ON, the range of the LFO RATE, CUTOFF, RESONANCE, and FILTER ENV DEPTH parameters are extended beyond the range of the original model.

2 LFO

[RATE] knob (LFO RATE) Specifies the rate of the LFO cycle.
3 DCO
[RANGE] knob (OSC RANGE) Specifies the octave of the oscillator. 16', 8', 4', 2' LFO (OSC LFO MOD) Uses the LFO to vary the pitch (vibrato).

[DELAY TIME] knob (FLO DELAY TIME) Adjusts the time from when the key is pressed until the LFO starts to apply modulation.
U SUB (SUB LEVEL) Adjusts the volume of the sub oscillator. NOISE (NOISE LEVEL) Adjusts the volume of the noise.

PWM
PM MODE = LFO: Adjusts the modulation depth. PM MODE = MANUAL: Adjusts the pulse width.
[LFO] [MAN] button (PW MODE)
Selects whether the pulse width is modulated by the LFO (LFO) or kept at the fixed value specified by PULSE WIDTH MOD (MANUAL).

[ (PWM wave)] button (PW SWITCH) Turns the PWM wave on/off. [ (Sawtooth wave)] button (SAW SWITCH) Turns the sawtooth wave on/off.

4 HPF

[FREQ] knob (HPF STEP) Sets the high-pass filter's cutoff frequency in four steps. 0, 1, 2, 3

5 VCF

[R] [M] [S] buttons (VINTAGE FLT TYPE)
If a vintage type model is selected, these buttons change the type of filter. [R] models a Roland filter, and [M] and [S] model vintage synthesizers made by other companies.

[FREQ] knob (CUTOFF)
Specifies the cutoff frequency of the low-pass filter. The frequency region above the cutoff frequency is cut, producing a more mellow tonal character.
[RES] knob (RESONANCE)
Boosts the region of the filter's cutoff frequency. Higher values produce a stronger result, giving the sound a distinctively synthesizer-like character.
Polarity buttons
Specify the polarity of the filter.

ENV (FLT ENV DEPTH)
Adjusts the amount by which the cutoff frequency is controlled by the envelope.
LFO (FILTER MOD)
Adjusts the amount by which the LFO modulates the cutoff frequency.
KYBD (FLT KEY FOLLOW)
Adjusts the amount by which the keyboard pitch affects the cutoff frequency (key follow). With smaller values, the cutoff frequency becomes lower as you play higher notes.

6 VCA

[LEVEL] knob (AMP LEVEL) Adjusts the volume of the tone. [ENV] [GATE] button (AMP ENV SEL) Specifies whether the volume is controlled by the ENV (ENV) or by the gate signal (GATE).

7 ENV

Envelope
You can directly drag the curve in the screen to edit the ADSR settings of the envelope in a visual way.

A

D

S

R

The values of the [A] [D] [S] [R] knobs also change in tandem.
To make fine adjustments, hold down the [shift] key while you drag.

[A] knob (ENV ATTACK) Adjusts the Attack time. [D] knob (ENV DECAY) Adjusts the Decay time. [S] knob (ENV SUSTAIN) Adjusts the Sustain level. [R] knob (ENV RELEASE) Adjusts the Release time.

8 MFX
[MFX] button Turns MFX on/off.

[MFX TYPE] indication
Shows the currently selected MFX name. To change the MFX, click the MFX name and choose from the list that appears.

[MFX LEVEL] knob Adjusts the MFX output level.

MFX parameters
The edit screen is different for each MFX type. & For details, refer to "MFX Parameters."

9 Controller
BEND [PIT] knob (BEND PITCH) Specifies the range of pitch change produced by pitch bend. BEND [FILT] knob (BEND FILTER) Specifies the range of filter change produced by pitch bend.

MOD [LFO] knob (MODULATION LFO) Specifies the amount of LFO applied by modulation.

A.TOUCH [LEVEL] knob
Specifies how the volume of the tone is affected by aftertouch.
A.TOUCH [FREQ] knob
Specifies how the frequency of the low-pass filter is affected by aftertouch.

A.TOUCH [LFO] knob Specifies how the LFO depth is affected by aftertouch.

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[EDIT] button
Switches between the small screen and detailed settings screen.

[WRITE] button
Accesses the Tone/Drum Kit Manager, allowing you to save a tone or drum kit.

[OVERWRITE] button Overwrite-saves the settings.

KEY MODE
[SOLO] button Sound is produced monophonically. [POLY] button Sound is produced polyphonically. [UNISON] button Sound is produced in unison.

[SL-UNISON] button Sound is produced in monophonic unison.

Right-click

LEARN MIDI CC Assigns a control change to each button.

[CUTOFF] knob Adjusts how far the filter is open. Higher values make the sound brighter, and lower values make the sound darker.
[RESO] knob Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort. Increasing this value strengthens the character, and decreasing it weakens the character.
[ATTACK] knob Specifies the time from when the key is pressed until the sound completes its attack. Higher values produce a softer attack, and lower values produce a sharper attack.

[RELEASE] knob Specifies the time from when the key is released until the sound disappears. Higher values produce a longer release, and lower values produce a crisper release.
[CROSS MOD] button (OSC2 MOD MODE)
Selects the MOD MODE type (OFF, SYNC, X-MOD).

How to operate the knobs

Right-click Drag

LEARN MIDI CC Assigns a control change to the parameter selected by [CUTOFF]­ [CROSS MOD].
Tone edit Edits each parameter.

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12

1 System
CONDITION Simulates the changes that occur as a unit ages. PITCH DRIFT Adjusts the slight pitch drift that occurs when notes are played on an analog synthesizer.

KEY MODE
[SOLO] button Sound is produced monophonically. [POLY] button Sound is produced polyphonically. [UNISON] button Sound is produced in unison. [SL-UNISON] button Sound is produced in monophonic unison.

PORTAMENTO [OFF] [ON] button (PORTA MODE/PORTA TIME)
Selects whether portamento is applied to the performance. Use the bar below to specify the portamento time.

PORTA CRV

[ORG] button

[EXP-1] button

Change according to the original curve Change in a non-linear curve (gentle

of the model.

slope).

[LINER] button

[EXP-2] button

Change in a linear curve.

Change in a non-linear curve (steep slope).

[PRM EXP] button
(PARAM EXPANSION)
If this is ON, the range of the LFO RATE, CUTOFF, RESONANCE, and FILTER ENV DEPTH parameters are extended beyond the range of the original model.

2 DCO-1

[TUNE] knob (OSC1 TUNE) Adjusts the OSC1 pitch.

[RANGE] button (OSC1 RANGE) Specifies the octave of OSC1. 16', 8', 4', 2'
3 DCO-2

LFO (OSC1 LFO MOD) Adjusts the depth to which LFO modulates OSC1. ENV (OSC1 PIT ENV) Adjusts the depth to which the ENV specified by OSC ENV MODE affects the OSC1 pitch envelope.
[WAVEFORM] button (OSC1WAVEFORM) Selects the waveform that is the basis of the OSC1 sound. SAW, PULSE, SQR, NOISE
[TUNE] knob (OSC2 TUNE) Adjusts the OSC2 pitch. [FINE TUNE] knob (OSC2 FINE TUNE) Finely adjusts the OSC2 pitch.
LFO (OSC2 LFO MOD) Adjusts the depth to which the LFO modulates OSC2. ENV (OSC2 PIT ENV) Adjusts the depth to which the ENV specified by OSC ENV MODE affects the OSC2 pitch envelope.

[RANGE] button (OSC2 RANGE) Specifies the octave of OSC2. 16', 8', 4', 2' [WAVEFORM] button (OSC2 WAVEFROM) Selects the waveform that is the basis of the OSC2 sound. SAW, PULSE, SQR, NOISE

[CROSS MOD] button (OSC2 MOD MODE) Selects the MOD MODE type (OFF, SYNC, X-MOD).

4 MIXER

[DCO-1] knob (OSC1 LEVEL) Adjusts the volume balance of OSC1. [DCO-2] knob (OSC2 LEVEL) Adjusts the volume balance of OSC2.

ENV (MIXER ENV DEPTH) Adjusts the depth to which the envelope specified by MIXER ENV MODE controls the OSC2 level. [DYNAMICS] button (MIXER DYNAMICS) Adjusts the sensitivity at which the velocity controls the depth of MIXER ENV. [MODE] button (MIXER ENV MODE) Selects the envelope that is used as MIXER ENV.

5 VCF

[R] [M] [S] buttons (VINTAGE FLT TYPE) If a vintage type model is selected, these buttons change the type of filter. [R] models a Roland filter, and [M] and [S] model vintage synthesizers made by other companies.
[CUTOFF FREQ] knob (CUTOFF) Specifies the cutoff frequency of the low-pass filter. The frequency region above the cutoff frequency is cut, producing a more mellow tonal character. [RES] knob (RESOANCE) Boosts the region of the filter's cutoff frequency. Higher values produce a stronger result, giving the sound a distinctively synthesizer-like character.

[HPF] button (HPF STEP) Sets the high-pass filter's cutoff frequency in four steps. LFO (FILTER MOD) Adjusts the amount by which the LFO modulates the cutoff frequency. ENV (FLT ENV DEPTH) Adjusts the amount by which the envelope selected by the [MODE] button modulates the cutoff frequency.

KEY F (FLT KEY FOLLOW)
Adjusts the amount by which the keyboard pitch affects the cutoff frequency (key follow). With smaller values, the cutoff frequency becomes lower as you play higher notes.
[DYNAMICS] button (FILTER DYNAMICS)
Adjusts the amount by which the envelope selected by the [MODE] button affects the velocity.
[MODE] button (FLT ENV MODE)
Select the envelope and polarity used to control the filter.

6 VCA

[LEVEL] knob (AMP LEVEL) Adjusts the volume of the tone.

[MODE] button (AMP ENV MODE)
Selects whether the volume is controlled by ENVELOPE-2 (ENV2) or stays at a fixed volume as long as the key is held down (GATE).
[DYNAMICS] button (AMP DYNAMICS)
Adjusts the sensitivity at which velocity controls the AMP ENV depth.

7 LFO

[RATE] knob (LFO RATE) Specifies the rate of the LFO cycle.
[WAVEFORM] button (LFO WAVEFORM) Selects the waveform of the LFO. SINE, SQR, S&H DELAY TIME (LFO DELAY TIME) Adjusts the time from when the key is pressed until the LFO starts to apply modulation.

8 DYNAMICS

[DYNAMICS] button (PITCH DYNAMICS)
Adjusts the sensitivity at which the velocity controls the depth of the pitch envelope.

[MODE] button (OSC ENV MODE) Selects the envelope and polarity used to control OSC.

9 ENVELOPE-1
KEY [FOLLOW] button (ENV1 KEY FOLLOW-S) Specifies the ENV1 key follow in four levels. With higher values, ADR times become longer as you play lower on the keyboard, and shorter as you play higher.
[A] knob (ENV1 ATTACK) Adjusts the Attack time. [D] knob (ENV1 DECAY) Adjusts the Decay time. [S] knob (ENV1 SUSTAIN) Adjusts the Sustain level. [R] knob (ENV1 RELEASE) Adjusts the Release time.

Envelope You can directly drag the curve in the screen to edit the ADSR settings of the envelope in a visual way.
The values of the [A] [D] [S] [R] knobs also change in tandem. To make fine adjustments, hold down the [shift] key while you drag.

A

D

S

R

10 ENVELOPE-2
KEY [FOLLOW] button (ENV2 KEY FOLLOW-S) Specifies the ENV2 key follow in four levels. With higher values, ADR times become longer as you play lower on the keyboard, and shorter as you play higher.

[A] knob (ENV2 ATTACK) Adjusts the Attack time. [D] knob (ENV2 DECAY) Adjusts the Decay time. [S] knob (ENV2 SUSTAIN) Adjusts the Sustain level. [R] knob (ENV2 RELEASE) Adjusts the Release time.

Envelope You can directly drag the curve in the screen to edit the ADSR settings of the envelope in a visual way.
The values of the [A] [D] [S] [R] knobs also change in tandem. To make fine adjustments, hold down the [shift] key while you drag.

A

D

S

R

11 MFX
[MFX] button Turns MFX on/off.

[MFX TYPE] indication
Shows the currently selected MFX name. To change the MFX, click the MFX name and choose from the list that appears.

[MFX LEVEL] knob Adjusts the MFX output level.

MFX parameters
The edit screen is different for each MFX type. & For details, refer to "MFX Parameters."

12 Controller
BEND [2] [3] [4] [7] buttons (BEND PITCH-STEP) Specifies the range of pitch change produced by pitch bend in four levels: 2, 3, 4, or 7 semitones.

MOD [LFO] knob (MODULATION LFO) Specifies the amount of LFO applied by modulation.

A.TOUCH [LEVEL] knob
Specifies how the volume of the tone is affected by aftertouch.
A.TOUCH [FREQ] knob
Specifies how the frequency of the low-pass filter is affected by aftertouch.

A.TOUCH [LFO] knob Specifies how the LFO depth is affected by aftertouch.

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[EDIT] button
Switches between the small screen and detailed settings screen.

[WRITE] button
Accesses the Tone/Drum Kit Manager, allowing you to save a tone or drum kit.

[OVERWRITE] button Overwrite-saves the settings.

KEY MODE
[SOLO] button Sound is produced monophonically. [POLY] button Sound is produced polyphonically. [UNISON] button Sound is produced in unison.

[SL-UNISON] button Sound is produced in monophonic unison.

Right-click

LEARN MIDI CC Assigns a control change to each button.

[CUTOFF] knob Adjusts how far the filter is open. Higher values make the sound brighter, and lower values make the sound darker.
[RESO] knob Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort. Increasing this value strengthens the character, and decreasing it weakens the character.
[ATTACK] knob Specifies the time from when the key is pressed until the sound completes its attack. Higher values produce a softer attack, and lower values produce a sharper attack.

[RELEASE] knob Specifies the time from when the key is released until the sound disappears. Higher values produce a longer release, and lower values produce a crisper release.
[SUB OSC] knob Adjusts the volume of the sub oscillator.

How to operate the knobs

Right-click Drag

LEARN MIDI CC Assigns a control change to the parameter selected by [CUTOFF]­ [SUB OSC].
Tone edit Edits each parameter.

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9

1 System
CONDITION Simulates the changes that occur as a unit ages. PITCH DRIFT Adjusts the slight pitch drift that occurs when notes are played on an analog synthesizer.

KEY MODE
[SOLO] button Sound is produced monophonically. [POLY] button Sound is produced polyphonically. [UNISON] button Sound is produced in unison. [SL-UNISON] button Sound is produced in monophonic unison.

PORTAMENTO [OFF] [ON] [AUTO] buttons (PORTA MODE)
Turns portamento on/off. If this is on, the pitch will change smoothly from one note to the next-played note.
OFF: Regardless of the portamento time setting, portamento is not applied.
ON: Portamento is always applied.
AUTO: Portamento is applied only when you play legato (pressing the next key before completely releasing the previously-played key). This lets you use your playing technique to control portamento on/off.

[ORIG] button
Change according to the original curve of the model.
[LIN] button
Change in a linear curve.
[EXP-1] button
Change in a non-linear curve (gentle slope). [EXP-2] button Change in a non-linear curve (steep slope).

[PRM EXP] button
(PARAM EXPANSION)
If this is ON, the range of the LFO RATE, CUTOFF, RESONANCE, and FILTER ENV DEPTH parameters are extended beyond the range of the original model.

2 MODULATOR

3 VCO
[RANGE] knob (OSC RANGE) Specifies the octave of the oscillator. 16', 8', 4', 2'

[WAVEFORM] knob (LFO WAVEFORM) Selects the waveform of the LFO. TRI, SQR, S&H
RATE (LFO RATE) Specifies the rate of the LFO cycle.
MOD (OSC LFO MOD) Adjusts the depth at which the LFO modulates the OSC. PULSE WIDTH (PULSE WIDTH MOD) PW MODE = MAN: Adjusts the pulse width. PW MODE = LFO/ENV: Adjusts the modulation depth. V (PW MODE) Specifies the pulse width mode. LFO: The pulse width is changed by the LFO. MAN: The pulse width is changed by PULSE WIDTH MOD. ENV: The pulse width is changed by the ENV1.

4 SOURCE MIXER
SUB OSC (SUB OSC LEVEL) Adjusts the volume of the sub oscillator. [1OCT DOWN] [2OCT DOWN] [2OCT DOWN (small pulse width)] buttons (SUB OSC) Specifies the SUB OSC type.

(PWM wave) (PW LEVEL) Adjusts the volume of the PWM wave.
(Sawtooth wave) (SAW LEVEL) Adjusts the volume of the sawtooth wave.
5 VCF

NOISE (NOISE LEVEL) Adjusts the volume of the noise.
[R] [M] [S] buttons
(VINTAGE FLT TYPE) If a vintage type model is selected, these buttons change the type of filter. [R] models a Roland filter, and [M] and [S] model vintage synthesizers made by other companies.

[CUTOFF] knob
Specifies the cutoff frequency of the low-pass filter. The frequency region above the cutoff frequency is cut, producing a more mellow tonal character.
[RES] knob (RESONANCE)
Boosts the region of the filter's cutoff frequency. Higher values produce a stronger result, giving the sound a distinctively synthesizer-like character.

ENV (FLT ENV DEPTH)
Adjusts the amount by which the cutoff frequency is controlled by the envelope.
MOD (FILTER MOD)
Adjusts the amount by which the LFO modulates the cutoff frequency.
KYBD (FLT KEY FOLLOW)
Varies the filter's cutoff frequency according to the note played on the keyboard.

6 VCA

[LEVEL] knob (AMP LEVEL) Adjusts the volume of the tone.

[ENV] [GATE] button
(AMP ENV SEL)
Specifies whether the volume is controlled by the ENV (ENV) or stays at a fixed volume as long as the key is held down (GATE).

7 ENV

[GATE+TRIG] [GATE] [LFO] buttons (ENV MODE) Specifies what causes the envelope to attack.

Button

Explanation

GATE+TRIG GATE

Attack each time a key is pressed.
Attack when a key is pressed anew. No attack when playing legato.

Button LFO

Explanation
Attack repeatedly at each cycle of the LFO as long as the key is held.

[A] knob (ENV ATTACK) Adjusts the Attack time. [D] knob (ENV DECAY) Adjusts the Decay time. [S] knob (ENV SUSTAIN) Adjusts the Sustain level. [R] knob (ENV RELEASE) Adjusts the Release time.
8 MFX
[MFX] button Turns MFX on/off.

Envelope
You can directly drag the curve in the screen to edit the ADSR settings of the envelope in a visual way.

A

D

S

R

The values of the [A] [D] [S] [R] knobs also change in tandem.
To make fine adjustments, hold down the [shift] key while you drag.

[MFX TYPE] indication
Shows the currently selected MFX name. To change the MFX, click the MFX name and choose from the list that appears.

[MFX LEVEL] knob Adjusts the MFX output level.

MFX parameters
The edit screen is different for each MFX type. & For details, refer to "MFX Parameters."

9 Controller
BEND [PIT] knob (BEND PITCH) Specifies the range of pitch change produced by pitch bend. BEND [FILT] knob (BEND FILTER) Specifies the range of filter change produced by pitch bend.

MOD [LFO] knob (MODULATION LFO) Specifies the amount of LFO applied by modulation.

A.TOUCH [LEVEL] knob
Specifies how the volume of the tone is affected by aftertouch.
A.TOUCH [FREQ] knob
Specifies how the frequency of the low-pass filter is affected by aftertouch.

A.TOUCH [LFO] knob Specifies how the LFO depth is affected by aftertouch.

Model Screen (JD-800)

to Contents

[EDIT] button
Switches between the small screen and detailed settings screen.

[WRITE] button
Accesses the Tone/Drum Kit Manager, allowing you to save a tone or drum kit.

[OVERWRITE] button Overwrite-saves the settings.

PALETTE

Select the parameter to operate using the [PARTIAL 1]­[PARTIAL 4] knobs.

[LEVEL] button

[RELEASE] button

Adjust the level of each partial using the [PARTIAL 1]­ [PARTIAL 4] knobs.

Adjust the TVA-T4 of each partial using the [PARTIAL 1]­ [PARTIAL 4] knobs.

[ATTACK] button

[RESONANCE] button

Adjust the TVA-T1 of each partial using the [PARTIAL 1]­ [PARTIAL 4] knobs.

Adjust the resonance of each partial using the [PARTIAL 1]­ [PARTIAL 4] knobs.

[CUTOFF] button

Assignable button

Adjust the cutoff frequency of each partial using the [PARTIAL 1]­[PARTIAL 4] knobs.
[FINE TUNE] button
Adjust the pitch of each partial using the [PARTIAL 1]­ [PARTIAL 4] knobs.

The parameters operated by the sliders and knobs you last used are registered in the assignable button. The button names change to the respective parameter names.
When the assignable button is selected, the registered parameters can be adjusted using the [PARTIAL 1]­ [PARTIAL 4] knobs.

Assignable button
[PARTIAL 1] [PARTIAL 2] [PARTIAL 3] [PARTIAL 4] knobs Set the parameters selected with the PALETTE button for each partial.

How to operate the knobs

Right-click Drag

LEARN MIDI CC Assigns a control change message to a parameter.
Tone edit Edits each parameter.

Detailed Settings Screen (JD-800)

1

2

4

5

6

3

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10

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7

9

11

12

13

14

15 1 TONE COMMON

[LEV] knob
Adjusts the overall volume for all tones. [SOLO] button Sets whether the tones play as single notes (monophonic) or as chords (polyphonic) when you play multiple keys. [SOLO LEGT] button
This effect is applied when SOLO is on. When this is on and you hold down a key and then play another key, the sound of the second note played smoothly transitions from the first note without an attack. [UNISON] button Sound is produced in unison.

PORTAMENTO buttons
Turns the portamento on/off. When this is on, the pitch of the second note you play glides continuously from the first note. OFF: Portamento is not applied, regardless of the portamento time setting. ON: Portamento is always applied.
TIME
When portamento is used, this sets the time taken for the pitch to change. Higher settings cause the pitch to take longer when gliding to the next note.

MODE buttons
NORMAL: Portamento is always applied. LEGATO: Portamento is only applied when you play in legato style (playing one key and then playing the next while holding down the first one).

2 STRUCTURE

[L LAYER] button (PARTIAL1­4)
These buttons turn the partials on/off, and select which partials are to be stacked when played.

[ACTIVE] button (PARTIAL1­4)
Selects the partials to display and edit.
To select multiple partials ,hold down the [shift] key while clicking. All partials selected can be edited. For instance, when you select multiple partials and then operate the TVA-LEVEL, the TVA-LEVEL for all affected partials is changed.

3 KEY RANGE

KEY RANGE (PARTIAL 1­4)
Sets the key range for each partial. Use this when you want to play different partials over different zones on the keyboard. Specify the lower and upper limits for the ranges to set.

4 PARTIAL COMMON

VELOCITY CURVE buttons
You can select from one of four curves, which affect how much each type of envelope is applied according to how hard you play the keys. The envelopes that are affected include the PITCH ENV, TVF ENV and TVA ENV.

HOLD CONTROL buttons
Sets whether the sound of the partial is sustained (held) when you operate the hold pedal.

[UTILITY] button
This copies and pastes all the parameters for a partial. COPY: The parameters for the selected partial are copied to the clipboard. PASTE: The parameters copied to the clipboard are pasted to the partial you selected.

5 LFO1/LFO2

[SYNC] button
Turn this on to sync the LFO cycle with the tempo.
RATE
When the [SYNC] button is off, the LFO cycle is set irrespective of the tempo. The larger the value, the shorter the LFO cycle. When the [SYNC] button is on, the LFO cycle is set to a note length.

DELAY
Sets the time it takes before the LFO effect begins after you press a key. The larger the value, the longer it takes for the LFO effect to start after you play the keyboard. The setting above 100 is "REL."The "REL" setting makes the LFO start right after you release the key.
FADE
Sets the time-based change of the LFO as it takes effect. Set this to "+" to make the LFO amplitude gradually ramp up to maximum. Set this to "-" to make the LFO amplitude gradually ramp down to zero. No time-based change occurs when this is set to "0". The larger the absolute value, the more time required for change.

LFO2 works the same as LFO1.
WAVEFORM buttons These buttons set the LFO waveform. OFFSET buttons Moves the center value for the LFO waveform (the pitch or cutoff frequency) up or down. [KEY TRIG] button Sets whether to synchronize the start of the LFO cycle with the timing you use to play the keys ("ON" to synchronize, "OFF" to disable).

6 PITCH ENV

VELO
Use this to set how much the pitch envelope changes in response to how hard you play the keys. Set this to a "+" value to make the pitch envelope respond more when you play harder, and set this to a "-" value to make it respond less when you play harder.

TIME VELO
Use this to set how much the Time1 (time) value of the pitch envelope changes in response to how hard you play the keys. Set this to a "+" value to make the Time1 value longer when you play harder, and set this to a "-" value to make the value shorter when you play harder.

TIME KEY FOLLOW
Use this to set how much the Time2­ Time4 values (pitch envelope time) change according to the keys you play. When you set this to a "+" value, playing higher notes makes the time shorter (with the pitch envelope time at C4 or middle C as the base value); and when you set this to a "-" value, playing higher notes makes the time longer. Larger values produce greater change.

Envelope
You can directly drag the curve in the screen to edit the T1­T3/ L0­L2settings of the envelope in a visual way.
T1 L1
T2

T3

L0

L2

The values of the knobs also change in tandem.
To make fine adjustments, hold down the [shift] key while you drag.

[L0] [L1] [L2] knobs
These knobs set the pitch envelope levels. Use these knobs to determine how much the pitch changes at each point in relation to the base pitch (the pitch you set on the WG screen). Use "+" values for pitches higher than the base pitch, and use "-" values for pitches lower than the base pitch.

[T1] [T2] [T3] knobs
These knobs set the pitch envelope times. Larger values make the time to reach the next pitch longer (for example, Time2 sets the time it takes to go from Level1 to Level2).

7 WG

WAVEFORM
Sets the wave that sounds.
[A-TOUCH BEND] button
Sets whether MIDI aftertouch bend messages are received (ON) or not (OFF) for each partial.

[BENDER] button
Sets whether MIDI pitch bend messages are received (ON) or not (OFF) for each partial.

A-TOUCH MOD
This sets the depth of vibrato that is controlled by aftertouch. Set the value to the maximum vibrato depth you want when applying maximum aftertouch.
LFO1/LFO2
Adjusts the intensity at which LFO1/ LFO2 modulates OSC.
LEVER
Sets the depth of vibrato that is controlled by the modulation lever. When this is set for LFO1, the LFO1 waveform is used for vibrato; and when this is set for LFO2, the LFO2 waveform is used for vibrato. Set this to "0" to turn vibrato off.

PITCH
[CRS] knob Shifts the pitch in units of a semitone. [FINE] knob Finely adjusts the pitch in units of one cent. [RND] knob Sets the width of change at which the pitch randomly changes with each key press. To disable this random change, set this to "0".

[K.F] knob
Sets the width of pitch change when the key is shifted one octave (12 keys) up. To make the pitch change over one octave like regular keyboards, set this to "+100". To make the pitch change two octaves over the range of one octave, set this to "+200". Set this to a negative value to make the pitch go down as you play higher notes. To play the same pitch no matter which key you press, set this to "0".
WAVE GAIN Specifies the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

8 TVF ENV

VELO
Use this to set how much the TVF envelope changes in response to how hard you play the keys. Set this to a "+" value to make the filter envelope respond more when you play harder, and set this to a "-" value to make it respond less when you play harder.

TIME VELO
Use this to set how much the Time1 (time) value of the TVF envelope changes in response to how hard you play the keys. Set this to a "+" value to make the Time1 value shorter when you play harder, and set this to a "-" value to make the value longer when you play harder.

TIME KEY FOLLOW
Use this to set how much the Time2­Time4 values (TVF envelope time) change according to the key you play. When you set this to a "+" value, playing higher notes makes the time shorter (with the filter envelope time at C4 or middle C as the base value); and when you set this to a "-" value, playing higher notes makes the time longer. Larger values produce greater change.

Envelope

You can directly drag the curve in the screen to edit the T1­T4/ L1­L4settings of the envelope in a visual way.

T1 L1 T2 L2

T3 SUS

T4 L4

The values of the knobs also change in tandem.
To make fine adjustments, hold down the [shift] key while you drag.

[L1] [L2] [SUS] [L4] knobs
These knobs set the TVF envelope levels. Use these knobs to determine how much the cutoff frequency changes at each point in relation to the base cutoff frequency (the CUTOFF FREQ you set on the TVF screen).

[T1] [T2] [T3] [T4] knobs
These knobs set the TVF envelope times. Larger values make the time to reach the next cutoff frequency longer (for example, Time2 sets the time it takes to go from Level1 to Level2).

9 TVF

MODE buttons
These buttons select the TVF filter type. HPF: High-pass filter. This cuts off frequencies below the cutoff frequency. This filter type is useful for creating percussion sounds and the like that have a distinctive high end. BPF: Band-pass filter. This cuts off frequencies except for those around the cutoff frequency. This filter type is useful for making sounds with a unique character. LPF: Low-pass filter. This cuts off frequencies above the cutoff frequency. Cutting off the high frequencies makes the sound more mellow. This is the most frequently-used type.
CUTOFF FREQ
Sets the frequency at which the filter that is applied to the frequency components of the waveform begins to take effect (the cutoff frequency).

RESO
Emphasizes the portion of the sound around the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.
ENV
This sets the intensity of the TVF envelope. Larger values produce a greater change in the filter envelope. Setting this to a negative value inverts the envelope's shape.
KEY FOLLOW
Set this to make the cutoff frequency change according to the keys you play. When you set this to a "+" value, playing higher notes raises the cutoff frequency (with the cutoff frequency of the key you specified in CUTOFF FREQ as the base value); and when you set this to a "-" value, playing higher notes lowers the cutoff frequency.

LFO SELECT buttons Selects whether to apply either LFO1 or LFO2 to the cutoff frequency. LFO Sets how much LFO1 and LFO2 affect the cutoff frequency.

A-TOUCH
Set this to make the cutoff frequency change according to how much aftertouch you use.

10 TVA ENV

VELO
Set this to change the partial volume according to how hard you play the keys. Set this to a "+" value to make the partial louder when you play harder, and set this to a "-" value to make the partial softer when you play harder.

TIME VELO
Use this to set how much the Time1 (time) value of the TVA envelope changes in response to how hard you play the keys. Set this to a "+" value to make the Time1 value shorter when you play harder, and set this to a "-" value to make the value longer when you play harder.

TIME KEY FOLLOW
Set this to change the TVA envelope time (Time2­Time4) according to the keys you play. When you set this to a "+" value, playing higher notes makes the time shorter (with the AMP envelope time at C4 or middle C as the base value); and when you set this to a "-" value, playing higher notes makes the time longer. Larger values produce greater change.

Envelope

You can directly drag the curve in the screen to edit the T1­T4/L1­L3 (SUS) settings of the envelope in a visual way.

T1 L1 T2 L2

SUS T3 SUS
T4

The values of the knobs also change in tandem.
To make fine adjustments, hold down the [shift] key while you drag.

[L1] [L2] [SUS] knobs
These knobs set the TVA envelope levels. Use these knobs to determine how much the volume changes at each point in relation to the base pitch (the partial level value you set on the Amp screen).

[T1] [T2] [T3] [T4] knobs
These knobs set the TVA envelope times. Larger values make the time to reach the next volume level longer (for example, Time2 sets the time it takes to go from Level1 to Level2).

11 TVA

LEVEL
Adjusts the volume of the partial.
BIAS DIRECTION buttons
UPPER: Changes the volume of the high end from the bias point. LOWER: Changes the volume of the low end from the bias point. U&L: Symmetrically changes the volume of the high and low end, centered around the bias point.
BIAS POINT
Sets the base key from which the volume is changed. A value of 64 equals C4 (middle C).

BIAS LEVEL
Sets the slope of volume change respective to the bias direction. Larger values produce greater change. The change is inverted when this is set to a "-" value.
A-TOUCH
Sets the degree to which the partial volume changes in response to aftertouch.

12 EQ

LFO SELECT buttons Selects whether to apply either LFO1 or LFO2 to the partial volume. LFO Sets how much LFO1 and LFO2 affect the partial volume.
[L EQ] button Turns the equalizer on/off. EQ curve (3 band EQ) You can visually edit the curve on screen by directly dragging it. MID Q Sets the width of the mid-frequency range. Higher values make the width more narrow.

13 MFX GROUP A
[MFX] button Turns MFX on/off.

[MFX TYPE] indication
Shows the currently selected MFX name. To change the MFX, click the MFX name and choose from the list that appears.

[MFX LEVEL] knob Adjusts the MFX output level.

MFX parameters
The edit screen is different for each MFX type. & For details, refer to "MFX Parameters."

14 MFX GROUP B

Effect order
You can position the cursor over the gray ring surrounding an effect button and drag with the mouse to change the effect order.

WET­DRY
Sets the balance between the sound after it passes through MFX GROUP A (Dry) and the sound that passes through MFX GROUP B (Wet).
[LEV] knob
Sets the output volume.

CHORUS

DELAY

REVERB

[CHORUS] button
Turns the chorus on/off.
[RATE] knob
Sets the rate of modulation for the chorus. Higher values produce a faster rate.
[DELAY] knob
Sets the delay time for the chorus. This sets the time it takes from the start of the original sound to when the chorus effect begins. Larger values produce longer delays, creating a wider sound.
[DEPTH] knob
Sets the depth of modulation for the chorus. Higher values produce a greater modulation depth.
[FB] knob
Sets the feedback value, meaning how much of the chorus output signal is sent back to the effect input. Set what percentage of the normal phase/reversed phase (+/-) of the output signal goes back to the input. When this is set to "0," no feedback is applied.
[LEV] knob
Sets the volume for the chorus sound.

[DELAY] button
Turns the delay on/off.
[TAP] knob
When each [SYNC] button is off, the delay times of the left, center and right delay sounds can be set irrespective of tempo. * This is shown when the
[SYNC] button is off.
[NOTE] knob
When each [SYNC] button is on, the delay times of the left, center and right delay sounds can be set to a note length. * This is shown when the
[SYNC] button is on.
[SYNC] button
Turn this on to synchronize the delay times of the left, center and right delay sounds with the tempo.
[LEV] knob
These knobs set the left, center and right delay sound levels.
FEEDBACK
Sets the feedback value, meaning how much of the center delay output signal is sent back to the effect input. Set what percentage of the normal phase/reversed phase (+/-) of the output signal goes back to the input. When this is set to "0," no feedback is applied. When the center delay sound feeds back, a delay sound with feedback is input to the left and right as well.

[REVERB] button
Turns reverb on/off.
TYPE
This selects the reverb type. Use this to select the reverberation characteristics, which occur owing to the hall size, wall materials and so on. ROOM1/2: A reverb that simulates a room. ROOM2 has a more reflective and brighter sound than ROOM1. HALL1/2/3/4: A reverb that simulates a concert hall. The types 1­4 differ in room size, reflections and so on. GATE: A reverb to which a gate is applied. This mutes the reverberations at a fixed time. REVERSE: Makes the reverberations grow louder and then mute at a fixed time. FLYING1/2: Pans the reverberations from left to right (FLYING1) or right to left (FLYING2).
HF DAMP
Sets the frequencies to cut in the highfrequency portion of the reverberation. The high-frequency portion of reverb sounds decays differently depending on the wall material. This parameter simulates this kind of high-frequency decay.
EARLY REFLECTION
Sets the sound level of the direct reflections from the walls and the early reflections after the original sound is produced. This is an expression of the distance from the sound source (the original sound) to the walls. Larger values indicate a shorter distance to the walls. - This parameter is disabled if the "GATE," REVERSE," or "FLYING1/2" early reflection types are selected. - The early reflection level and reverb level work separately. For this reason, the early reflection can still be heard even when the reverb level is "0".
PRE DELAY
This sets the pre-delay time, meaning the time it takes for the reverberations to sound after the original sound is heard. Larger values give an impression of being in a larger room.
[TIME] knob
Sets the reverberation time. Higher values produce longer reverberations.
[LEV] knob
Sets the reverberation volume.

15 KEYBOARD

BENDER RANGE U
Sets the amount of change (in semitones) made when the pitch bend lever is pushed all the way up or to the right. For example, when this is set to "12" and you push the pitch bend lever all the way up or to the right, the pitch goes up one octave. The maximum setting is 12.
BENDER RANGE D
Sets the amount of change (in semitones) made when the pitch bend lever is pushed all the way down or to the left. For example, if you set this to "48" and push the pitch bend lever all the way down or to the left, the pitch goes down four octaves. The maximum setting is 48.
A-TOUCH BEND
Sets the amount that the pitch changes in response to aftertouch, in semitones. This changes the pitch of all four partials at the same time.

MFX Parameters
MFX list
NO ASSIGN
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FILTER
Equalizer Mid-Side EQ Spectrum Isolator Low Boost Super Filter Multi Mode Filter Step Filter Enhancer Exciter Auto Wah Humanizer
PHASER
Phaser Small Phaser Script 90 Script 100 Step Phaser Multi Stage Phaser Infinite Phaser
FLANGER
Flanger SBF-325 (Flanger) Step Flanger
CHORUS
Chorus Hexa-Chorus Tremolo Chorus Space-D CE-1 (Chorus) SDD-320 (DIMENSION D) JUNO-106 Chorus
MODULATION
Ring Modulator Tremolo Auto Pan Slicer Rotary VK Rotary
DRIVE/AMP
Overdrive Distortion T-Scream Fuzz Tone Fattener HMS Distortion Saturator Warm Saturator Guitar Amp Simulator RD EPAmpSim Speaker Simulator

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COMP/LIMITER
Compressor Mid-Side Compressor Limiter Sustainer Transient Gate
DELAY
Delay Modulation Delay 2Tap Pan Delay 3Tap Pan Delay 4Tap Pan Delay Multi Tap Delay Reverse Delay Time Ctrl Delay Tape Echo Mid-Side Delay
LOOPER
DJFX Looper BPM Looper
LO-FI
LOFI Compress Bit Crusher Phonograph
PITCH
Pitch Shifter 2Voice Pitch Shifter
COMBINATION
Overdrive 0 Chorus Overdrive 0 Flanger Overdrive 0 Delay Distortion 0 Chorus Distortion 0 Flanger Distortion 0 Delay OD/DS 0 TouchWah OD/DS 0 AutoWah GtAmpSim 0 Chorus GtAmpSim 0 Flanger GtAmpSim 0 Phaser GtAmpSim 0 Delay EPAmpSim 0 Tremolo EPAmpSim 0 Chorus EPAmpSim 0 Flanger EPAmpSim 0 Phaser EPAmpSim 0 Delay Enhancer 0 Chorus Enhancer 0 Flanger Enhancer 0 Delay Chorus 0 Delay Flanger 0 Delay Chorus 0 Flanger JD-Multi

NO ASSIGN
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L in R in

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L out R out

FILTER
Equalizer
This is a four-band stereo equalizer (low, mid x 2, high).

L in

4-Band EQ

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L out

R in

4-Band EQ

R out

Parameter Low Freq (Low Frequency) Low Gain
Mid1 Freq (Mid1 Frequency)
Mid1 Gain Mid1 Q
Mid2 Freq (Mid2 Frequency)
Mid2 Gain Mid2 Q
HighFreq (High Frequency)
High Gain Level

Value

Explanation

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, Frequency of the low range 315, 400 [Hz]

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 1

-15­+15 [dB]

Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 1 Set a higher value for Q to narrow the range to be affected.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 2

-15­+15 [dB]

Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 2 Set a higher value for Q to narrow the range to be affected.

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000
[Hz]

Frequency of the high range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

0­127

Output Level

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Mid-Side EQ
This effect allows the left/right signals that have similar phase to be tonally adjusted in a different way than the left/right signals that have different phase.

L in

Mid

L out

R in Side

R out

Parameter M EQ Switch M Input Gain M Low Frequency M Low Gain
M Mid1 Frequency
M Mid1 Gain M Mid1 Q
M Mid2 Frequency
M Mid2 Gain M Mid2 Q
M Mid3 Frequency
M Mid3 Gain M Mid3 Q M High Frequency M High Gain S EQ Switch S Input Gain S Low Frequency S Low Gain
S Mid1 Frequency
S Mid1 Gain S Mid1 Q
S Mid2 Frequency
S Mid2 Gain S Mid2 Q
S Mid3 Frequency
S Mid3 Gain S Mid3 Q S High Frequency S High Gain Level

Value

Explanation

OFF, ON

Switches whether to apply tonal adjustment to left/right input signals whose phase is similar (in phase).

-12.00­+12.00 [dB]

Volume of left/right input signals whose phase is similar (in phase)

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, Frequency of the low range 315, 400 [Hz]

-12.00­+12.00 [dB]

Amount of boost/cut for the low-frequency range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 1

-12.00­+12.00 [dB]

Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 1 Set a higher value for Q to narrow the range to be affected.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 2

-12.00­+12.00 [dB]

Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 2 Set a higher value for Q to narrow the range to be affected.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 3

-12.00­+12.00 [dB]

Gain of the middle range 3

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 3 Set a higher value for Q to narrow the range to be affected.

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, Frequency of the high range 12500, 16000 [Hz]

-12.00­+12.00 [dB]

Amount of boost/cut for the high-frequency range

OFF, ON

Switches whether to apply tonal adjustment to left/right input signals whose phase is distant (opposite phase).

-12.00­+12.00 [dB]

Volume of left/right signals whose phase is distant (opposite phase)

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, Frequency of the low range 315, 400 [Hz]

-12.00­+12.00 [dB]

Amount of boost/cut for the low-frequency range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 1

-12.00­+12.00 [dB]

Gain of the middle range 1

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 1 Set a higher value for Q to narrow the range to be affected.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 2

-12.00­+12.00 [dB]

Gain of the middle range 2

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 2 Set a higher value for Q to narrow the range to be affected.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 3

-12.00­+12.00 [dB]

Gain of the middle range 3

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 3 Set a higher value for Q to narrow the range to be affected.

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, Frequency of the high range 12500, 16000 [Hz]

-12.00­+12.00 [dB]

Amount of boost/cut for the high-frequency range

0­127

Output Level

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

L in

Spectrum

L out

R in

Spectrum

R out

Parameter Band1 (250 Hz) Band2 (500 Hz) Band3 (1000 Hz) Band4 (1250 Hz) Band5 (2000 Hz) Band6 (3150 Hz) Band7 (4000 Hz) Band8 (8000 Hz)
Q
Level

Value

Explanation

-15­+15 [dB]

Gain of each frequency band

0.5, 1.0, 2.0, 4.0, 8.0 0­127

Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.
Output Level

Isolator
This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges.

L in

Isolator

Low Boost

L out

R in

Isolator

Low Boost

R out

Parameter Boost/Cut Low Boost/Cut Mid Boost/Cut High
Anti Phase Low Sw

Value -60­+4 [dB] -60­+4 [dB] -60­+4 [dB]
OFF, ON

Anti Phase Low Level 0­127

Anti Phase Mid Sw Anti Phase Mid Level

OFF, ON 0­127

Low Boost Sw

OFF, ON

Low Boost Level Level

0­127 0­127

Explanation
These boost and cut each of the High, Middle, and Low frequency ranges. At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.
Turns the Anti-Phase function on and off for the Low frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal.
Adjusts the level settings for the Low frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to specific parts (This is effective only for stereo source.).
Settings of the Anti-Phase function for the Middle frequency ranges. The parameters are the same as for the Low frequency ranges.
Turns Low Booster on/off. This emphasizes the bottom to create a heavy bass sound.
Increasing this value gives you a heavier low end. Depending on the Isolator and filter settings this effect may be hard to distinguish.
Output Level

Low Boost
Boosts the volume of the lower range, creating powerful lows.

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L in

Low Boost

2-Band EQ

L out

R in

Low Boost

2-Band EQ

R out

Parameter Boost Frequency
Boost Gain Boost Width Low Gain High Gain Level

Value 50, 56, 63, 71, 80, 90, 100, 112, 125 [Hz] 0­+12 [dB] WIDE, MID, NARROW -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Center frequency at which the lower range will be boosted Center frequency at which the lower range will be boosted Width of the lower range that will be boosted Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

Super Filter
This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.

L in

Super Filter

L out

R in

Super Filter

R out

Parameter Filter Type
Filter Slope Filter Cutoff Filter Resonance Filter Gain Modulation Sw
Modulation Wave

Value
LPF, BPF, HPF, NOTCH
-12, -24, -36 [dB] 0­127 0­100 0­+12 [dB] OFF, ON
TRI, SQR, SIN, SAW1, SAW2
SAW1

Explanation
Type of filter Frequency range that will pass through each filter LPF: Frequencies below the cutoff BPF: Frequencies in the region of the cutoff HPF: Frequencies above the cutoff NOTCH: Frequencies other than the region of the cutoff
Amount of attenuation per octave -12 dB: Gentle, -24 dB: Steep, -36 dB: Extremely steep
Cutoff frequency of the filter Increasing this value will raise the cutoff frequency.
Filter resonance level Increasing this value will emphasize the region near the cutoff frequency.
Amount of boost for the filter output
On/off switch for cyclic change
How the cutoff frequency will be modulated TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1: Sawtooth wave (upward) SAW2: Sawtooth wave (downward)
SAW2

Rate (sync sw) Rate (Hz) Rate (note) Depth Attack Level

OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127
0­127
0­127

Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Speed at which the cutoff frequency will change This is effective if Modulation Wave is SQR, SAW1, or SAW2. Output Level

Multi Mode Filter
This is a filter that is adjusted for effective use in a DJ performance.

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L in

Multimode Filter

L out

R in

Multimode Filter

R out

Parameter Filter Type Filter Tone Filter Color
Filter Slope Filter Gain Level

Value LPF/HPF, LPF, HPF, BPF 0­255 0­255
-12, -24, -36 [dB] 0­+12 [dB] 0­127

Explanation
Type of filter LPF/HPF: The filter type is automatically switched according to the Filter Tone parameter value.
Frequency at which the filter operates
Filter resonance level Higher values more strongly emphasize the region of the operating frequency. Amount of attenuation per octave -12 dB: Gentle, -24 dB: Steep, -36 dB: Extremely steep
Amount of boost for the filter output
Output Level

Step Filter
This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change.

L in

Step Filter

L out

R in

Step Filter

R out

Parameter Step 01­16 Rate (sync sw) Rate (Hz) Rate (note) Attack
Filter Type
Filter Slope Filter Resonance Filter Gain Level

Value 0­127 OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127
LPF, BPF, HPF, NOTCH
-12, -24, -36 [dB]
0­127 0­+12 [dB] 0­127

Explanation
Cutoff frequency at each step
Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Speed at which the cutoff frequency changes between steps Type of filter Frequency range that will pass through each filter LPF: Frequencies below the cutoff BPF: Frequencies in the region of the cutoff HPF: Frequencies above the cutoff NOTCH: Frequencies other than the region of the cutoff Amount of attenuation per octave -12 dB: Gentle, -24 dB: Steep, -36 dB: Extremely steep Filter resonance level Increasing this value will emphasize the region near the cutoff frequency. Amount of boost for the filter output
Output Level

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Enhancer
Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

L in
R in
Parameter Sens Mix Low Gain High Gain Level

Enhancer Mix
Enhancer Mix

2-Band EQ L out 2-Band EQ R out

Value 0­127 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Sensitivity of the enhancer Level of the overtones generated by the enhancer Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

Exciter

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L in

Band 3 Compressor

Channel Divider

Band 2

Compressor

R in

Band 1

L out R out

Parameter Split1 Frequency
(BAND2 (MID) FLT)
Band2 Thereshold
Band2 Max Gain Split2 Frequency
(BAND3 (HIGH) FLT)
Band3 Threshold
Band3 Max Gain Level

Value 200­500 -800­0 0­24 300­1000 -800­0 0­24 0­127

Explanation
Sets the frequency at which the low and middle frequency ranges are split.
Sets the threshold value for the middle frequency range. A gain effect is applied when the middle frequency range volume falls below the threshold.
Sets the level to which the sound is raised when the middle frequency range volume falls below the threshold.
Sets the frequency at which the middle and high frequency ranges are split.
Sets the threshold of the high frequency range. A gain effect is applied when the high frequency range volume falls below the threshold.
Sets the level to which the sound is raised when the high frequency range volume falls below the threshold.
Sets the output volume.

Auto Wah
Cyclically controls a filter to create cyclic change in timbre.

L in

Auto Wah

2-Band EQ

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L out

R in

Auto Wah

2-Band EQ

R out

Parameter
Filter Type
Manual
Peak
Sens Polarity Rate (sync sw) Rate (Hz) Rate (note) Depth Phase Low Gain High Gain Level

Value
LPF, BPF
0­127
0­127
0­127
UP, DOWN
OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127 0­180 [deg] -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Type of filter LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range. Center frequency at which the wah effect is applied Width of the frequency region at which the wah effect is applied Increasing this value will make the frequency region narrower. Sensitivity with which the filter is modified Direction in which the filter will move UP: The filter will change toward a higher frequency. DOWN: The filter will change toward a lower frequency. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth at which the wah effect is modulated Adjusts the degree of phase shift of the left and right sounds when the wah effect is applied. Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Output Level

Humanizer
Adds a vowel character to the sound, making it similar to a human voice.

L in

L out

Pan L

Overdrive Formant 2-Band EQ

Pan R

R in

R out

Parameter Drive Sw Drive Vowel1 Vowel2 Rate (sync sw) Rate (Hz) Rate (note) Depth

Value OFF, ON
0­127
a, e, i, o, u a, e, i, o, u OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127

Input Sync Sw

OFF, ON

Input Sync Threshold 0­127

Manual

0­100

Low Gain High Gain Pan Level

-15­+15 [dB] -15­+15 [dB] L64­63R 0­127

Explanation Overdrive on/off Degree of distortion Also changes the volume.
Selects the vowel.
Synchronize to the tempo of the DAW if this is ON.
Frequency at which the two vowels switch
Effect depth LFO reset on/off Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF). Volume level at which reset is applied Point at which Vowel 1/2 switch 0­49: Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of equal duration. 51­100: Vowel 2 will have a longer duration. Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Stereo location of the output sound Output Level

PHASER
Phaser
A phase-shifted sound is added to the original sound and modulated.

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L in

Phaser

2-Band EQ

L out

Mix

R in

Phaser

2-Band EQ

R out

Mix

Parameter Mode Manual Rate (sync sw) Rate (Hz) Rate (note) Depth
Polarity
Resonance Cross Feedback Mix Low Gain High Gain Level

Value 4-STAGE, 8-STAGE, 12-STAGE 0­127 OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127
INVERSE, SYNCHRO
0­127
-98­+98 [%]
0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation
Number of stages in the phaser
Adjusts the basic frequency from which the sound will be modulated. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Selects whether the left and right phase of the modulation will be the same or the opposite. INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source. Amount of feedback Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase. Level of the phase-shifted sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

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

L in

Phaser

2-Band EQ

L out

R in

Phaser

2-Band EQ

R out

Parameter Rate Color Low Gain High Gain Level

Value 0­100 1, 2 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Frequency of modulation Modulation character Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

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Script 90
This simulates a different analog phaser than Small Phaser. It is particularly suitable for electric piano.

L in

Phaser

2-Band EQ

L out

R in

Phaser

2-Band EQ

R out

Parameter Speed Depth Low Gain High Gain Level

Value 0­100 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Speed of modulation Depth of modulation Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

Script 100
This simulates an analog phaser of the past.

L in

Phaser

L out

Parameter Rate (sync sw) Rate (Hz)
Rate (note)
Duty Min Max Manual Sw Manual Resonance Mix Level

R in

Phaser

R out

Value OFF, ON 0.05­10.00 [Hz] Note & "This simulates a different analog phaser than Small Phaser. It is particularly suitable for electric piano."
-50­50
0­100 0­100
OFF, ON
0­100 0­66 0­127 0­127

Explanation Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Adjusts the ratio of speeds at which the modulation rises or falls. Lower limit reached by modulation Upper limit reached by modulation Turn this OFF if you want to apply modulation, or ON if you want to stop modulation. Tonal character when Manual Sw is OFF Amount of feedback Level of the phase-shifted sound Output Level

Step Phaser
The phaser effect will be varied gradually.

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L in

Step Phaser

2-Band EQ

L out

Mix

R in

Step Phaser

2-Band EQ

R out

Mix

Parameter Mode Manual Rate (sync sw) Rate (Hz)
Rate (note)
Depth
Polarity
Resonance Cross Feedback Step Rate (sync sw) Step Rate (Hz)
Step Rate (note)
Mix Low Gain High Gain Level

Value 4-STAGE, 8-STAGE, 12-STAGE
0­127
OFF, ON 0.05­10.00 [Hz] Note & "This simulates a different analog phaser than Small Phaser. It is particularly suitable for electric piano." 0­127
INVERSE, SYNCHRO
0­127
-98­+98 [%]
OFF, ON 0.10­20.00 [Hz] Note & "This simulates a different analog phaser than Small Phaser. It is particularly suitable for electric piano." 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Number of stages in the phaser Adjusts the basic frequency from which the sound will be modulated. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Selects whether the left and right phase of the modulation will be the same or the opposite. INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source. Amount of feedback Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase. Synchronize to the tempo of the DAW if this is ON.
Rate of the step-wise change in the phaser effect
Level of the phase-shifted sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

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

L in

L out

Multi

Pan L

Stage

2-Band EQ

Phaser

Mix

Pan R

R in

R out

Parameter Mode
Manual Rate (sync sw) Rate (Hz)
Rate (note)
Depth Resonance Mix Pan Low Gain High Gain Level

Value 4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE
0­127
OFF, ON
0.05­10.00 [Hz] Note & "This simulates a different analog phaser than Small Phaser. It is particularly suitable for electric piano." 0­127
0­127
0­127
L64­63R
-15­+15 [dB]
-15­+15 [dB]
0­127

Explanation Number of stages in the phaser Adjusts the basic frequency from which the sound will be modulated. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Amount of feedback Level of the phase-shifted sound Stereo location of the output sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

Infinite Phaser
A phaser that continues raising/lowering the frequency at which the sound is modulated.

L in

L out

Infinite Phaser

2-Band EQ

Pan L Pan R

R in

R out

Parameter Mode
Speed
Resonance Mix Pan Low Gain High Gain Level

Value 1, 2, 3, 4
-100­+100
0­127 0­127 L64­63R -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Higher values will produce a deeper phaser effect. Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward) Amount of feedback Level of the phase-shifted sound Stereo location of the output sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

FLANGER

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Flanger
This is a stereo flanger (The LFO has the same phase for left and right.). It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.

Balance D

L in

2-Band EQ L out

Flanger

Balance W

Feedback Feedback

R in
Parameter Filter Type
Cutoff Freq
Pre Delay Rate (sync sw) Rate (Hz) Rate (note) Depth Phase Feedback Low Gain High Gain Balance Level

Flanger Balance D

Balance W 2-Band EQ

R out

Value

Explanation

OFF, LPF, HPF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]
0.0­100 [msec]

Type of filter OFF: No filter is used LPF: Cuts the frequency range above the Cutoff Freq HPF: Cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz]
Note & "Note"

Frequency of modulation

0­127

Depth of modulation

0­180 [deg]

Spatial spread of the sound

-98­+98 [%]

Adjusts the proportion of the flanger sound that is fed back into the effect.
Negative (-) settings will invert the phase.

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100: 0W­D0: 100W

Volume balance between the direct sound (D) and the flanger sound (W)

0­127

Output Level

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SBF-325 (Flanger)
This effect reproduces Roland's SBF-325 analog flanger. It provides three types of flanging effect (which adds a metallic resonance to the original sound) and a chorus-type effect.

L in

L out

SBF-325

R in

R out

Parameter
Mode
Rate (sync sw) Rate (Hz) Rate (note) Depth Manual Feedback
CH-R Mod Phase CH-L Phase CH-R Phase Level

Value
FL1 FL2 FL3 CHO OFF, ON 0.02­5.00 [Hz] Note & "Note" 0­127 0­127 0­127
NORM, INV
0­127

Explanation Types of flanging effect A typical mono flanger A stereo flanger that preserves the stereo positioning of the original sound A cross-mix flanger that produces a more intense effect A chorus effect Synchronize to the tempo of the DAW if this is ON.
Modulation frequency of the flanger effect
Modulation depth of the flanger effect
Center frequency at which the flanger effect is applied Amount by which the flanging effect is boosted If Mode is CHO, this setting is ignored. Phase of the right channel modulation: Normally, you will leave this at Normal (NORM). If you specify Inverted (INV), the modulation (upward/ downward movement) of the right channel is inverted. Phase when mixing the flanging sound with the original sound NORM: normal phase INV: inverse phase
Output Level

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Step Flanger
This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo.

Balance D

L in

2-Band EQ L out

Step Flanger

Balance W

Feedback Feedback

Step Flanger

Balance W

R in

2-Band EQ R out

Balance D

Parameter
Filter Type
Cutoff Freq
Pre Delay Rate (sync sw) Rate (Hz) Rate (note) Depth Phase Feedback Step Rate (sync sw) Step Rate (Hz) Step Rate (note) Low Gain High Gain Balance Level

Value

Explanation

OFF, LPF, HPF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]
0.0­100.0 [msec]

Type of filter OFF: No filter is used LPF: Cuts the frequency range above the Cutoff Freq HPF: Cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz]
Note & "Note"

Frequency of modulation

0­127

Depth of modulation

0­180 [deg]

Spatial spread of the sound

-98­+98 [%]

Adjusts the proportion of the flanger sound that is fed back into the effect.
Negative (-) settings will invert the phase.

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

0.10­20.00 [Hz]
Note & "Note"

Rate (period) of pitch change

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100: 0W­D0: 100W

Volume balance between the direct sound (D) and the flanger sound (W)

0­127

Output Level

CHORUS

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Chorus
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.

L in
R in
Parameter Filter Type
Cutoff Freq
Pre Delay Rate (sync sw) Rate (Hz) Rate (note) Depth Phase Low Gain High Gain Balance Level

Balance D

2-Band EQ

Chorus

Balance W

Chorus

Balance W

Balance D

2-Band EQ

L out R out

Value

Explanation

OFF, LPF, HPF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]
0.0­100 [msec]

Type of filter OFF: No filter is used LPF: Cuts the frequency range above the Cutoff Freq HPF: Cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from the direct sound until the chorus sound is heard.

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz]
Note & "Note"

Frequency of modulation

0­127

Depth of modulation

0­180 [deg]

Spatial spread of the sound

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100: 0W­D0: 100W

Volume balance between the direct sound (D) and the chorus sound (W)

0­127

Output Level

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Hexa-Chorus
Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

Balance D

L in

L out

Hexa Chorus

Balance W Balance W

R in

R out

Balance D

Parameter Pre Delay Rate (sync sw) Rate (Hz) Rate (note) Depth Pre Delay Deviation Depth Deviation
Pan Deviation
Balance Level

Value 0.0­100 [msec] OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127 0­20 -20­+20
0­20
D100: 0W­D0: 100W 0­127

Explanation Adjusts the delay time from the direct sound until the chorus sound is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Adjusts the differences in Pre Delay between each chorus sound. Adjusts the difference in modulation depth between each chorus sound. Adjusts the difference in stereo location between each chorus sound. 0: All chorus sounds will be in the center. 20: Each chorus sound will be spaced at 60 degree intervals relative to the center. Volume balance between the direct sound (D) and the chorus sound (W) Output Level

Tremolo Chorus
This is a chorus effect with added Tremolo (cyclic modulation of volume).

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Balance D

L in

L out

Tremolo Chorus

Balance W Balance W

R in

R out

Balance D

Parameter

Value

Pre Delay

0.0­100 [msec]

Chorus Rate (sync sw) OFF, ON

Chorus Rate (Hz)

0.05­10.00 [Hz]

Cho Note (Chorus Rate (note)) Note & "Note"

Chorus Depth

0­127

Tremolo Rate (sync sw) OFF, ON

Tremolo Rate (Hz)

0.05­10.00 [Hz]

Tremolo Rate (note)

Note & "Note"

Tremolo Separation

0­127

Tremolo Phase

0­180 [deg]

Balance

D100: 0W­D0: 100W

Level

0­127

Explanation Adjusts the delay time from the direct sound until the chorus sound is heard. Synchronize to the tempo of the DAW if this is ON.
Modulation frequency of the chorus effect
Modulation depth of the chorus effect Synchronize to the tempo of the DAW if this is ON.
Modulation frequency of the tremolo effect
Depth of the tremolo effect Spread of the tremolo effect Volume balance between the direct sound (D) and the tremolo chorus sound (W) Output Level

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Space-D
This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.

Balance D

L in

2-Band EQ L out

Space D

Balance W

Space D

Balance W

R in

2-Band EQ R out

Balance D

Parameter Pre Delay Rate (sync sw) Rate (Hz) Rate (note) Depth Phase Low Gain High Gain Balance Level

Value
0.0­100 [msec]
OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127 0­180 [deg] -15­+15 [dB] -15­+15 [dB]
D100: 0W­D0: 100W
0­127

Explanation Adjusts the delay time from the direct sound until the chorus sound is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Spatial spread of the sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the chorus sound (W) Output Level

CE-1 (Chorus)
This models the classic BOSS CE-1 chorus effect unit. It provides a chorus sound with a distinctively analog warmth.

L in

2-Band EQ

L out

CE-1

R in

2-Band EQ

R out

Parameter Intensity Low Gain High Gain Level

Value 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Chorus depth Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

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

L in

2-Band EQ

L out

SDD-320

R in

2-Band EQ

R out

Parameter Mode Low Gain High Gain Level

Value 1, 2, 3, 4, 1+4, 2+4, 3+4 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Switches the mode. Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

JUNO-106 Chorus
This models the chorus effects of the Roland JUNO-106.

L in
R in
Parameter Mode Noise Level Balance Level

Choorruuss

Noiissee Genneerraattoorr

L out R out

Value I, II, I+II, JX I, JX II 0­127 D100: 0W­D0: 100W 0­127

Explanation
Type of Chorus I+II: The state in which two buttons are pressed simultaneously.
Volume of the noise produced by chorus
Volume balance between the dry sound (D) and effect sound (W)
Output Level

MODULATION

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Ring Modulator
This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect.

L in

Ring Mod

2-Band EQ

L out

R in

Ring Mod

2-Band EQ

R out

Parameter Frequency Sens
Polarity
Low Gain High Gain Balance Level

Value 0­127 0­127
UP, DOWN
-15­+15 [dB] -15­+15 [dB] D100: 0W­D0: 100W 0­127

Explanation
Adjusts the frequency at which modulation is applied.
Adjusts the amount of frequency modulation applied. Determines whether the frequency modulation moves towards higher frequencies or lower frequencies. UP: The filter will change toward a higher frequency. DOWN: The filter will change toward a lower frequency. Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the effect sound (W) Output Level

Tremolo
Cyclically changes the volume.

L in

Tremolo

2-Band EQ

L out

R in

Tremolo

2-Band EQ

Parameter Mod Wave

Value
TRI, SQR, SIN, SAW1, SAW2, TRP
SAW1

Explanation
Modulation Wave TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1/2: Sawtooth wave TRP: Trapezoidal wave
SAW2

R out

Rate (sync sw) Rate (Hz)
Rate (note)
Depth Low Gain High Gain Level

OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Synchronize to the tempo of the DAW if this is ON.
Frequency of the change
Depth to which the effect is applied Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

Auto Pan
Cyclically modulates the stereo location of the sound.

L in

Auto Pan

2-Band EQ

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L out

R in

Auto Pan

2-Band EQ

Parameter Mod Wave

Value
TRI, SQR, SIN, SAW1, SAW2, TRP
SAW1 R

Explanation
Modulation Wave TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1/2: Sawtooth wave TRP: Trapezoidal wave
SAW2
R

R out

Rate (sync sw) Rate (Hz)
Rate (note)
Depth Low Gain High Gain Level

L
OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

L Synchronize to the tempo of the DAW if this is ON.
Frequency of the change
Depth to which the effect is applied Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

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Slicer
By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain-type sounds.

L in

Slicer

L out

R in

Slicer

R out

Parameter Step 01­16 Rate (sync sw) Rate (Hz) Rate (note) Attack Input Sync Sw Input Sync Threshold

Value 0­127 OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127
OFF, ON
0­127

Mode

LEGATO, SLASH

Shuffle Level

0­127 0­127

Explanation
Level at each step
Synchronize to the tempo of the DAW if this is ON.
Rate at which the 16-step sequence will cycle
Speed at which the level changes between steps Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF) Volume at which an input note will be detected Sets the manner in which the volume changes as one step progresses to the next. LEGATO: The change in volume from one step's level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume. SLASH: The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step. Timing of volume changes in levels for even-numbered steps (step 2, step 4, step 6...). The higher the value, the later the beat progresses. Output Level

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Rotary
This simulates a classic rotary speaker of the past. Since the operation of the high-frequency and low-frequency rotors can be specified independently, the distinctive modulation can be reproduced realistically. This is most effective on organ patches.

L in

R in

Parameter

Value

Speed

SLOW, FAST

Woofer Slow Speed Woofer Fast Speed

0.05­10.00 [Hz] 0.05­10.00 [Hz]

Woofer Acceleration 0­15

Woofer Level Tweeter Slow Speed Tweeter Fast Speed Tweeter Acceleration Tweeter Level Separation Level

0­127 0.05­10.00 [Hz] 0.05­10.00 [Hz] 0­15 0­127 0­127 0­127

Rotary

L out R out

Explanation
Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor. SLOW: Slows down the rotation to the Slow Rate. FAST: Speeds up the rotation to the Fast Rate.
Slow speed (SLOW) of the low frequency rotor
Fast speed (FAST) of the low frequency rotor
Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.
Volume of the low frequency rotor

Settings of the high frequency rotor The parameters are the same as for the low frequency rotor

Spatial dispersion of the sound Output Level

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VK Rotary
This type provides modified response for the rotary speaker, with the low end boosted further. This effect features the same specifications as the VK-7's built-in rotary speaker.

L in

2-Band EQ

L out

Rotary

R in

2-Band EQ

R out

Parameter Speed

Value SLOW, FAST

Brake

OFF, ON

Woofer Slow Speed Woofer Fast Speed Woofer Trans Up
Woofer Trans Down Woofer Level Tweeter Slow Speed Tweeter Fast Speed Tweeter Trans Up Tweeter Trans Down Tweeter Level Spread Low Gain High Gain Level OD Switch OD Gain OD Drive OD Level

0.05­10.00 [Hz] 0.05­10.00 [Hz] 0­127
0­127 0­127 0.05­10.00 [Hz] 0.05­10.00 [Hz] 0­127 0­127 0­127 0­10 -15­+15 [dB] -15­+15 [dB] 0­127 OFF, ON 0­127 0­127 0­127

Explanation Rotational speed of the rotating speaker SLOW: Slow FAST: Fast Switches the rotation of the rotary speaker. When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume. Low-speed rotation speed of the woofer High-speed rotation speed of the woofer Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast. Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow. Volume of the woofer
Settings of the tweeter The parameters are the same as for the woofer.
Sets the rotary speaker stereo image. ?The higher the value set, the wider the sound is spread out. Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level Overdrive on/off Overdrive input level Higher values will increase the distortion. Degree of distortion Volume of the overdrive

DRIVE/AMP
Overdrive
This is an overdrive that provides heavy distortion.

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L in

L out

Overdrive

Amp Smlator

2-Band EQ

Pan L Pan R

R in

R out

Parameter Drive Tone Amp Sw
Amp Type
Low Gain High Gain Pan Level

Value 0­127 0­127 OFF, ON
SMALL, BUILT-IN, 2-STACK, 3-STACK
-15­+15 [dB] -15­+15 [dB] L64­63R 0­127

Explanation Degree of distortion Also changes the volume. Sound quality of the Overdrive effect
Turns the Amp Simulator on/off. Type of guitar amp SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Stereo location of the output sound
Output Level

Distortion
Produces a more intense distortion than Overdrive.

L in
R in
Parameter Drive Tone Amp Sw
Amp Type
Low Gain High Gain Pan Level

Distortion

Amp Smlator

2-Band EQ

L out
Pan L
Pan R
R out

Value 0­127 0­127 OFF, ON
SMALL, BUILT-IN, 2-STACK, 3-STACK
-15­+15 [dB] -15­+15 [dB] L64­63R 0­127

Explanation Degree of distortion Also changes the volume. Sound quality of the Overdrive effect
Turns the Amp Simulator on/off. Type of guitar amp SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Stereo location of the output sound
Output Level

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T-Scream
This models a classic analog overdrive. It is distinctive in adding an appropriate amount of overtones without muddying the sound.

L in

Overdrive

Tone

L out

R in

Overdrive

Tone

R out

Parameter Distortion Tone Level

Value 0­127 0­127 0­127

Explanation Degree of distortion Also changes the volume. Tonal character of the overdrive
Output Level

Fuzz
Adds overtones and intensely distorts the sound.

L in

Pre Filter Overdrive Post Filter

Tone Control

L out

R in

Pre Filter Overdrive Post Filter

Tone Control

R out

Parameter Drive Tone Level

Value 0­127 0­100 0­127

Explanation Adjusts the depth of distortion. This also changes the volume. Sound quality of the Overdrive effect
Output Level

Tone Fattener
This effect applies distinctive distortion, adding overtones to give more depth to the sound.

L in
R in
Parameter Odd Level Even Level Level

Odd Overtone Generator
Even Overtone Generator
Even Overtone Generator
Odd Overtone Generator

L out R in

Value 0­400 [%] 0­400 [%] 0­127

Explanation Raising the value adds odd-order overtones. Raising the value adds even-order overtones. Output Level

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HMS Distortion
This is a distortion-type effect that models the vacuum tube amp section of a rotary speaker of the past.

L in

R in

Parameter Distortion Level

Value 0­127 0­127

Tube Model Distortion
Explanation Strength of distortion Output Level

L out R out

Saturator
This effect combines overdrive and filter.

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Balance D

L in

Pre Filter

Overdrive

Post Filter1-3

L out

Balance W

R in

Pre Filter

Overdrive

Post Filter1-3

R out

Balance D

Parameter
DrvPre1 Type
DrvPre1 Frequency DrvPre1 Gain Drive DrvPost1 Type DrvPost1 Frequency DrvPost1 Gain DrvPost2 Type DrvPost2 Frequency DrvPost2 Gain
DrvPost3 Type
DrvPost3 Frequency DrvPost3 Gain DrvPost3 Q Makeup Sense DrvPost Gain Drive Balance Level

Value

Explanation

THRU, LPF, HPF, LSV, HSV

Type of filter that precedes the distortion processing
THRU: No filter is applied
LPF: A filter that passes the sound below the specified frequency
HPF: A filter that passes the sound above the specified frequency
LSV: A filter that boosts/cuts the sound below the specified frequency
HSV: A filter that boosts/cuts the sound above the specified frequency

20­16000 [Hz]

Frequency at which the pre-distortion filter operates

-24.0­+24.0 [dB]

For the LSV/HSV types, the amount of boost/cut

0.0­+48.0 [dB]

Strength of distortion

THRU, LPF, HPF, LSV, HSV Type of filter 1 which follows the distortion processing

20­16000 [Hz]

Frequency at which post-distortion filter 1 operates

-24.0­+24.0 [dB]

For the LSV/HSV types, the amount of boost/cut

THRU, LPF, HPF, LSV, HSV Type of filter 2 which follows the distortion processing

20­16000 [Hz]

Frequency at which post-distortion filter 2 operates

-24.0­+24.0 [dB]

For the LSV/HSV types, the amount of boost/cut

THRU, LPF, HPF, BPF, PKG

Type of filter 3 which follows the distortion processing THRU: No filter is applied LPF: A filter that passes the sound below the specified frequency HPF: A filter that passes the sound above the specified frequency BPF: A filter that passes only the specified frequency PKG: A filter that boosts/cuts the specified frequency

20­16000 [Hz]

Frequency at which post-distortion filter 3 operates

-24.0­+24.0 [dB]

For the PKG type, the amount of boost/cut

0.5­16.0 -60.0­0.0 [dB] -48.0­+12.0 [dB] D100: 0W­D0: 100W 0­127

Width of the frequency range affected by the filter
Adjust this value so that the sound is not made louder when distortion is applied.
Gain following distortion processing
Volume balance between the dry sound (D) and effect sound (W)
Output Level

Warm Saturator
This is a variety of saturator, and is distinctive for its warmer sound.

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Balance D

L in Low/High R in Low/High

Pre Filter Pre Filter

Overdrive Overdrive

Post Filter1-3
Balance W
Post Filter1-3

L out R out

Balance D

Parameter EQ Low Frequency EQ Low Gain EQ High Slope EQ High Frequency
DrvPre1 Type
DrvPre1 Frequency DrvPre1 Gain Drive DrvPost1 Type DrvPost1 Frequency DrvPost1 Gain DrvPost2 Type DrvPost2 Frequency DrvPost2 Gain
DrvPost3 Type
DrvPost3 Frequency DrvPost3 Gain DrvPost3 Q Makeup Sense DrvPost Gain Drive Balance Level

Value

Explanation

20­16000 [Hz]

Input filter (low range) Boosts/cuts the sound below the specified frequency.

-24­+24 [dB]

Amount of boost/cut

THRU, -12dB, -24dB

Input filter (high range) Boosts/cuts the sound above the specified frequency.

20­16000 [Hz]

Amount of boost/cut

THRU, LPF, HPF, LSV, HSV

Type of filter that precedes the distortion processing
THRU: No filter is applied
LPF: A filter that passes the sound below the specified frequency
HPF: A filter that passes the sound above the specified frequency
LSV: A filter that boosts/cuts the sound below the specified frequency
HSV: A filter that boosts/cuts the sound above the specified frequency

20­16000 [Hz]

Frequency at which the pre-distortion filter operates

-24.0­+24.0 [dB]

For the LSV/HSV types, the amount of boost/cut

0.0­+48.0 [dB]

Strength of distortion

THRU, LPF, HPF, LSV, HSV Type of filter 1 which follows the distortion processing

20­16000 [Hz]

Frequency at which post-distortion filter 1 operates

-24.0­+24.0 [dB]

For the LSV/HSV types, the amount of boost/cut

THRU, LPF, HPF, LSV, HSV Type of filter 2 which follows the distortion processing

20­16000 [Hz]

Frequency at which post-distortion filter 2 operates

-24.0­+24.0 [dB]

For the LSV/HSV types, the amount of boost/cut

THRU, LPF, HPF, BPF, PKG

Type of filter 3 which follows the distortion processing THRU: No filter is applied LPF: A filter that passes the sound below the specified frequency HPF: A filter that passes the sound above the specified frequency BPF: A filter that passes only the specified frequency PKG: A filter that boosts/cuts the specified frequency

20­16000 [Hz]

Frequency at which post-distortion filter 3 operates

-24.0­+24.0 [dB]

For the PKG type, the amount of boost/cut

0.5­16.0 -60.0­0.0 [dB] -48.0­+12.0 [dB] D100: 0W­D0: 100W 0­127

Width of the frequency range affected by the filter
Adjust this value so that the sound is not made louder when distortion is applied.
Gain following distortion processing
Volume balance between the dry sound (D) and effect sound (W)
Output Level

Guitar Amp Simulator
This is an effect that simulates the sound of a guitar amplifier.

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L in

L out

Pan L

Pre Amp

Speaker

Pan R

R in

R out

Parameter Pre Amp Sw
Pre Amp Type
Pre Amp Drive Pre Amp Master Pre Amp Gain Pre Amp Bass Pre Amp Middle Pre Amp Treble Pre Amp Presence Pre Amp Bright Speaker Sw
Speaker Type
Mic Setting Mic Level Direct Level Pan Level

Value OFF, ON
JC-120 CLEAN TWIN
MATCH DRIVE
BG LEAD
MS1959I MS1959II MS1959I+II SLDN LEAD METAL 5150 METAL LEAD OD-1 OD-2 TURBO DISTORTION FUZZ 0­127 0­127 LOW, MIDDLE, HIGH

Explanation
Turns the amp switch on/off.
Type of guitar amp
This models the sound of the Roland JC-120. This models a Fender Twin Reverb.
This models the sound input to left input on a Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock. This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late `70s to `80s. This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. This models the sound input to Input II on a Marshall 1959. The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I. This models a Soldano SLO-100. This is the typical sound of the eighties. This models the lead channel of a Peavey EVH 5150. This is distortion sound that is ideal for performances of heavy riffs. This models the sound of the BOSS OD-1. This produces sweet, mild distortion. This is the high-gain overdrive sound of the BOSS OD-2. This gives a basic, traditional distortion sound. A fuzz sound with rich harmonic content.
Volume and amount of distortion of the amp
Volume of the entire pre-amp
Amount of pre-amp distortion

0­127

Tone of the bass/mid/treble frequency range

0­127 OFF, ON
OFF, ON
SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN 1 BUILT-IN 2 BUILT-IN 3 BUILT-IN 4 BUILT-IN 5 BG STACK1 BG STACK2 MS STACK1 MS STACK2 MTL STACK 2-STACK 3-STACK
1, 2, 3
0­127 0­127 L64­63R 0­127

Tone for the ultra-high frequency range

Turning this "On" produces a sharper and brighter sound.
* This parameter applies to the "JC-120,""CLEAN TWIN," "MATCH DRIVE," and "BG LEAD" Pre Amp Types.

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Cabinet

Diameter (in inches) and number of the
speaker

Microphone

small open-back enclosure

10

dynamic

small open-back enclosure

10

dynamic

open back enclosure

12 x 1

dynamic

open back enclosure

12 x 2

dynamic

open back enclosure

12 x 2

dynamic

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

sealed enclosure

12 x 2

condenser

large sealed enclosure

12 x 2

condenser

large sealed enclosure

12 x 4

condenser

large sealed enclosure

12 x 4

condenser

large double stack

12 x 4

condenser

large double stack

12 x 4

condenser

large triple stack

12 x 4

condenser

Adjusts the location of the mic that is recording the sound of the speaker.
This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.

Volume of the microphone

Volume of the direct sound

Stereo location of the output sound

Output Level

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RD EPAmpSim
This is an effect that was developed for the RD series SuperNatural E.Piano.

L in

Bass/ Treble

Overdrive Speaker

Tremolo

R in

L out R out

Parameter Bass Treble Tremolo Switch
Tremolo Type
Tremolo Speed (sync sw) Tremolo Speed (Hz) Tremolo Speed (note) Tremolo Depth Tremolo Shape AMP Switch Speaker Type OD Drive Level

Value

Explanation

-50­+50

Amount of low-frequency boost/cut

-50­+50

Amount of high-frequency boost/cut

OFF, ON
OLDCASE MONO OLDCASE STEREO NEWCASE DYNO WURLY OFF, ON

Tremolo on/off Type of tremolo effect A standard electric piano sound of the early 70s (mono) A standard electric piano sound of the early 70s (stereo) A standard electric piano sound of the late 70s and early 80s A classic modified electric piano A classic electric piano of the `60s Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz] Note & "Note" 0­127

Rate of the tremolo effect Depth of the tremolo effect

0­20

Adjusts the waveform of the tremolo.

OFF, ON

Turns the speaker and distortion on/off

LINE, OLD, NEW, WURLY, Type of speaker If LINE is selected, the sound will not be

TWIN

sent through the speaker simulation.

0­127

Degree of distortion Also changes the volume.

0­127

Output Level

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Speaker Simulator
Simulates the speaker type and mic settings used to record the speaker sound.

L in

Speaker

L out

R in

Speaker

R out

Parameter
Speaker Type
Mic Setting Mic Level Direct Level Level

Value
SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN 1 BUILT-IN 2 BUILT-IN 3 BUILT-IN 4 BUILT-IN 5 BG STACK 1 BG STACK 2 MS STACK 1 MS STACK 2 METAL STACK 2-STACK 3-STACK
1, 2, 3
0­127 0­127 0­127

Explanation

Cabinet

Speaker

Microphone

small open-back enclosure

10

dynamic

small open-back enclosure

10

dynamic

open back enclosure

12 x 1

dynamic

open back enclosure

12 x 2

dynamic

open back enclosure

12 x 2

dynamic

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

sealed enclosure 12 x 2

condenser

large sealed enclosure

12 x 2

condenser

large sealed enclosure

12 x 4

condenser

large sealed enclosure

12 x 4

condenser

large double stack 12 x 4

condenser

large double stack 12 x 4

condenser

large triple stack 12 x 4

condenser

Adjusts the location of the mic that is recording the sound of the speaker.
This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.

Volume of the microphone

Volume of the direct sound

Output Level

COMP/LIMITER

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Compressor
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.

L in

Compressor 2-Band EQ

L out

R in

Compressor 2-Band EQ

R out

Parameter Attack Release Threshold
Knee
Ratio Post Gain Level

Value 0­124 0­124 -60­0 [dB]
0­30 [dB]
1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1 0­+18 [dB] 0­127

Explanation
Sets the speed at which compression starts Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied. Adjusts the volume at which compression begins This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.
Compression ratio
Level of the output sound
Output Level

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Mid-Side Compressor
This effect allows the left/right signals that have similar phase to be adjusted to a different sense of volume than the left/right signals that have different phase.

L in R in

Mid

Compressor

LR

MS

/

/

MS

LR

Compressor

Side

L out R out

Parameter M Comp Switch M Attack M Release M Threshold
M Knee
M Ratio M Post Gain S Comp Switch S Attack S Release S Threshold
S Knee
S Ratio S Post Gain Level

Value OFF, ON 0­124 0­124 -60­0 [dB]
0­30 [dB]
1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1 0­+18 [dB] OFF, ON 0­124 0­124 -60­0 [dB]
0­30 [dB]
1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1 0­+18 [dB] 0­127

Explanation Switches whether to adjust the sense of volume for left/ right input signals whose phase is similar (in phase). Sets the speed at which compression starts Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied. Adjusts the volume at which compression begins This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.
Compression ratio
Level of the output sound Switches whether to adjust the sense of volume for left/ right input signals whose phase is distant (opposite phase). Sets the speed at which compression starts Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied. Adjusts the volume at which compression begins This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.
Compression ratio
Level of the output sound
Output Level

Limiter
Compresses signals that exceed a specified volume level, preventing distortion from occurring.

L in

Limiter

2-Band EQ

L out

R in

Limiter

2-Band EQ

R out

Parameter Release
Threshold Ratio Post Gain Low Gain High Gain Level

Value 0­127 0­127 1.5: 1, 2: 1, 4: 1, 100: 1 0­+18 [dB] -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied. Adjusts the volume at which compression begins Compression ratio Level of the output sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

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Sustainer
By compressing loud input and boosting low input, this effect keeps the volume consistent to produce a sustain effect without distortion.

L in

Sustainer

2-Band EQ

L out

R in

Sustainer

2-Band EQ

R out

Parameter
Sustain
Attack Release Post Gain Low Gain High Gain Level

Value
0­127
0­127 0­127 -15­+15 [dB] -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Adjusts the range in which a low input signal is boosted to a consistent volume. Higher values produce longer sustain. Time until the volume is compressed Time until compression is removed Level of the output sound Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

Transient
This effect lets you control the way in which the sound attacks and decays.

L in

L out

Envelope Controller

R in

R out

Parameter Attack
Release Output Gain Sense Level

Value -50­+50
-50­+50 -24­+12 [dB] LOW, MID, HIGH 0­127

Explanation
Character of the attack. Higher values make the attack more aggressive; lower values make the attack milder. Character of the decay. Higher values make the sound linger; lower values make the sound cut off quickly.
Output gain
Quickness with which the attack is detected
Output Level

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Gate
Cuts the reverb's delay according to the volume of the sound sent into the effect. Use this when you want to create an artificial-sounding decrease in the reverb's decay.

L in

Gate

L out

R in

Gate

R out

Parameter Threshold
Mode
Attack Hold Release Balance Level

Value 0­127
GATE, DUCK
0­127 0­127 0­127 D100: 0W­D0: 100W 0­127

Explanation
Volume level at which the gate begins to close
Type of gate GATE: The gate will close when the volume of the original sound decreases, cutting the original sound. DUCK (Duking): The gate will close when the volume of the original sound increases, cutting the original sound.
Adjusts the time it takes for the gate to fully open after being triggered.
Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.
Adjusts the time it takes the gate to fully close after the hold time.
Volume balance between the direct sound (D) and the effect sound (W)
Output Level

DELAY
Delay
This is a stereo delay.

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When Feedback Mode is NORMAL:

Balance D

L in

2-Band EQ

Delay

Balance W

Feedback Feedback

Delay

Balance W

R in

2-Band EQ

Balance D

L out R out

When Feedback Mode is CROSS:

Balance D

L in

2-Band EQ L out

Delay

Balance W

Feedback Feedback

Delay

Balance W

R in

2-Band EQ R out

Balance D

Parameter Delay Left (sync sw) Delay Left (msec) Delay Left (note) Delay Right (sync sw) Delay Right (msec) Delay Right (note) Phase Left Phase Right Feedback Mode
Feedback
HF Damp
Low Gain High Gain Balance Level

Value

Explanation

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­1300 [msec] Note & "Note" OFF, ON

Adjusts the time until the left delay sound is heard. Synchronize to the tempo of the DAW if this is ON.

1­1300 [msec]
Note & "Note"

Adjusts the time until the right delay sound is heard.

NORMAL, INVERSE

Phase of left and right delay sound NORMAL: Non-inverted INVERT: Inverted

NORMAL, CROSS
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz] -15­+15 [dB]

Selects the way in which delay sound is fed back into the effect. (See the figures above.) Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.
Amount of boost/cut for the low-frequency range

-15­+15 [dB] D100: 0W­D0: 100W 0­127

Amount of boost/cut for the high-frequency range
Volume balance between the direct sound (D) and the delay sound (W)
Output Level

Modulation Delay
Adds modulation to the delayed sound.

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When Feedback Mode is NORMAL:

Balance D
L in

Delay

Modulation

Feedback Feedback

Delay

Modulation

R in

Balance D

2-Band EQ Balance W

L out

Balance W 2-Band EQ

R out

When Feedback Mode is CROSS:

Balance D

L in

2-Band EQ L out

Delay

Modulation

Balance W

Feedback Feedback
Delay

Modulation

Balance W

R in

2-Band EQ R out

Balance D

Parameter Delay Left (sync sw) Delay Left (msec) Delay Left (note) Delay Right (sync sw) Delay Right (msec) Delay Right (note) Feedback Mode
Feedback
HF Damp
Rate (sync sw) Rate (Hz) Rate (note) Depth Phase Low Gain High Gain Balance Level

Value

Explanation

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­1300 [msec] Note & "Note" OFF, ON

Adjusts the time until the left delay sound is heard. Synchronize to the tempo of the DAW if this is ON.

1­1300 [msec] Note & "Note"
NORMAL, CROSS
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz] OFF, ON

Adjusts the time until the right delay sound is heard.
Selects the way in which delay sound is fed back into the effect. (See the figures above.) Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.
Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz] Note & "Note" 0­127

Frequency of modulation Depth of modulation

0­180 [deg]

Spatial spread of the sound

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB] D100: 0W­D0: 100W 0­127

Amount of boost/cut for the high-frequency range
Volume balance between the direct sound (D) and the delay sound (W)
Output Level

2Tap Pan Delay
L in
Delay 1

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Balance D

L out
Balance W

Double Tap Delay

R in

Feedback

Delay 2

Balance D

Balance W
R out

Parameter Delay Time (sync sw) Delay Time (msec) Delay Time (note)
Delay Feedback
Delay HF Damp
Delay 1 Pan Delay 2 Pan Delay 1 Level Delay 2 Level Low Gain High Gain Balance Level

Value

Explanation

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz] L64­63R

Adjusts the time until the second delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.
Stereo location of Delay 1

L64­63R

Stereo location of Delay 2

0­127

Volume of delay 1

0­127

Volume of delay 2

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB] D100: 0W­D0: 100W 0­127

Amount of boost/cut for the high-frequency range
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level

3Tap Pan Delay
Produces three delay sounds; center, left and right.

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Balance D

L in

2-Band EQ L out

Left Tap

Balance W

R in

Triple Tap Delay

Center Tap

Feedback

Right Tap

Balance D

Balance W 2-Band EQ

R out

Parameter Delay Left (sync sw) Delay Left (msec) Delay Left (note) Delay Right (sync sw) Delay Right (msec) Delay Right (note) Delay Center (sync sw) Delay Center (msec) Delay Center (note)
Center Feedback
HF Damp
Left Level Right Level Center Level Low Gain High Gain Balance Level

Value OFF, ON 1­2600 [msec] Note & "Note" OFF, ON 1­2600 [msec] Note & "Note" OFF, ON 1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz] 0­127 0­127 0­127 -15­+15 [dB] -15­+15 [dB]
D100: 0W­D0: 100W
0­127

Explanation Synchronize to the tempo of the DAW if this is ON.
Adjusts the time until the left delay sound is heard.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time until the right delay sound is heard.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time until the center delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.
Volume of each delay sound
Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the delay sound (W) Output Level

4Tap Pan Delay
This effect has four delays.

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L in

Feedback

Delay 1

Quadruple Tap Delay

Delay 2 Delay 3

Delay 4
R in

2 1
L

3 4
R

Balance D

L out
Balance W

Balance D

Balance W
R out

Parameter Delay 1 Time (sync sw) Delay 1 Time (msec) Delay 1 Time (note) Delay 2 Time (sync sw) Delay 2 Time (msec) Delay 2 Time (note) Delay 3 Time (sync sw) Delay 3 Time (msec) Delay 3 Time (note) Delay 4 Time (sync sw) Delay 4 Time (msec) Delay 4 Time (note)
Delay 1 Feedback
HF Damp
Delay 1 Level Delay 2 Level Delay 3 Level Delay 4 Level Low Gain High Gain Balance Level

Value OFF, ON 1­2600 [msec] Note & "Note" OFF, ON 1­2600 [msec] Note & "Note" OFF, ON 1­2600 [msec] Note & "Note" OFF, ON 1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]
0­127
-15­+15 [dB] -15­+15 [dB]
D100: 0W­D0: 100W
0­127

Explanation Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay 1 sounds is heard.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay 2 sounds is heard.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay 3 sounds is heard.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay 4 sounds is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.
Volume of each delay
Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the delay sound (W) Output Level

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Multi Tap Delay
This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.

L in R in

Feedback

Delay 1 Delay 2

Multi Tap Delay

Delay 3

Delay 4

Balance D Balance D

2-Band EQ Balance W

L out

Balance W 2-Band EQ

R out

Parameter Delay 1 Time (sync sw) Delay 1 Time (msec) Delay 1 Time (note) Delay 2 Time (sync sw) Delay 2 Time (msec) Delay 2 Time (note) Delay 3 Time (sync sw) Delay 3 Time (msec) Delay 3 Time (note) Delay 4 Time (sync sw) Delay 4 Time (msec) Delay 4 Time (note)
Delay 1 Feedback
HF Damp
Delay 1 Pan

Value
OFF, ON
1­2600 [msec] Note & "Note" OFF, ON
1­2600 [msec] Note & "Note" OFF, ON
1­2600 [msec] Note & "Note" OFF, ON
1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Explanation Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay 1 sounds is heard.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay 2 sounds is heard.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay 3 sounds is heard.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay 4 sounds is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.

Delay 2 Pan Delay 3 Pan

L64­63R

Stereo location of Delays 1­4

Delay 4 Pan

Delay 1 Level

Delay 2 Level Delay 3 Level

0­127

Volume of each delay

Delay 4 Level

Low Gain High Gain Balance Level

-15­+15 [dB] -15­+15 [dB] D100: 0W­D0: 100W 0­127

Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the effect sound (W) Output Level

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Reverse Delay
This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.

L in

Rev. Delay Feedback

Rev D1
Delay

D3

D2

R in

2-Band EQ

L out

2-Band EQ

R out

Parameter Threshold Rev Delay Time (sync sw) Rev Delay Time (msec) Rev Delay Time (note)
Rev Delay Feedback
Rev Delay HF Damp
Rev Delay Pan Rev Delay Level Delay 1 Time (sync sw) Delay 1 Time (msec) Delay 1 Time (note) Delay 2 Time (sync sw) Delay 2 Time (msec) Delay 2 Time (note) Delay 3 Time (sync sw) Delay 3 Time (msec) Delay 3 Time (note) Delay 3 Feedback
Delay HF Damp
Delay 1 Pan Delay 2 Pan Delay 1 Level Delay 2 Level Low Gain High Gain Balance Level

Value 0­127
OFF, ON
1­1300 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz] L64­63R 0­127 OFF, ON 1­1300 [msec] Note & "Note" OFF, ON 1­1300 [msec] Note & "Note" OFF, ON 1­1300 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz] L64­63R L64­63R 0­127 0­127 -15­+15 [dB] -15­+15 [dB]
D100: 0W­D0: 100W
0­127

Explanation Volume at which the reverse delay will begin to be applied Synchronize to the tempo of the DAW if this is ON.
Delay time from when sound is input into the reverse delay until the delay sound is heard
Proportion of the delay sound that is to be returned to the input of the reverse delay (negative (-) values invert the phase)
Frequency at which the high-frequency content of the reverse-delayed sound will be cut (BYPASS: no cut)
Panning of the reverse delay sound Volume of the reverse delay sound Synchronize to the tempo of the DAW if this is ON.
Delay time from when sound is input into the tap delay until the delay sound is heard
Synchronize to the tempo of the DAW if this is ON.
Delay time from when sound is input into the tap delay until the delay sound is heard
Synchronize to the tempo of the DAW if this is ON.
Delay time from when sound is input into the tap delay until the delay sound is heard
Proportion of the delay sound that is to be returned to the input of the tap delay (negative (-) values invert the phase)
Frequency at which the hi-frequency content of the tap delay sound will be cut (BYPASS: no cut)
Panning of the tap delay sounds
Volume of the tap delay sounds
Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the delay sound (W) Output Level

Time Ctrl Delay
A stereo delay in which the delay time can be varied smoothly.

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Balance D

L in

2-Band EQ L out

Time Ctrl Delay

Balance W

Feedback Feedback

Time Ctrl Delay

Balance W

R in

2-Band EQ R out

Balance D

Parameter Delay Time (sync sw) Delay Time (msec) Delay Time (note)
Acceleration
Feedback
HF Damp
Low Gain High Gain Balance Level

Value

Explanation

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­1300 [msec] Note & "Note"
0­15
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the speed which the Delay Time changes from the current setting to a specified new setting. The rate of change for the Delay Time directly affects the rate of pitch change. Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100: 0W­D0: 100W

Volume balance between the direct sound (D) and the delay sound (W)

0­127

Output Level

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Tape Echo
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

Direct Level

L in

L out

Tape Echo

Echo Level Echo Level

R in

R out

Direct Level

Parameter
Mode
Repeat Rate Intensity Bass Treble Head S Pan Head M Pan Head L Pan
Tape Distortion
W/F Rate W/F Depth Echo Level Direct Level Level

Value
S, M, L, S+M, S+L, M+L, S+M+L
0­127
0­127 -15­+15 [dB] -15­+15 [dB] L64­63R L64­63R L64­63R
0­5
0­127 0­127 0­127 0­127 0­127

Explanation Combination of playback heads to use Select from three different heads with different delay times. S: short M: middle L: long Tape speed Increasing this value will shorten the spacing of the delayed sounds. Amount of delay repeats
Boost/cut for the lower range of the echo sound
Boost/cut for the upper range of the echo sound
Independent panning for the short, middle, and long playback heads
Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion. Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity) Depth of wow/flutter
Volume of the echo sound
Volume of the original sound
Output Level

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Mid-Side Delay
This effect applies different amounts of delay to left/right signals of similar phase and differing phase.

L in

Mid

Multi-Tap

LR

Delay

MS

L out

/

/

R in

MS

Multi-Tap

Side

Delay

LR

R out

Parameter M Delay Level M Delay Mode M Delay Time (sync sw) M Delay Time (msec) M Delay Time (note)
M Delay 1 Feedback
M HF Damp
M Delay 1 Pan M Delay 2 Pan M Delay 3 Pan M Delay 4 Pan S Delay Level S Delay Mode S Delay Time (sync sw) S Delay Time (msec) S Delay Time (note)
S Delay 1 Feedback
S HF Damp
S Delay 1 Pan S Delay 2 Pan S Delay 3 Pan S Delay 4 Pan Level

Value 0­127 2Tap, 3Tap, 4Tap OFF, ON

Explanation
Delay volume of left/right input signals whose phase is similar (in phase) Delay divisions for the input signals whose left/right phase is similar (identical phase)
Synchronize to the tempo of the DAW if this is ON.

1­1300 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.
Panning of the first delay sound

L64­63R

Panning of the second delay sound Panning of the third delay sound

0­127 2Tap, 3Tap, 4Tap OFF, ON

Panning of the fourth delay sound
Delay volume of left/right input signals whose phase is distant (opposite phase) Delay divisions for the input signals whose left/right phase is distant (reverse phase)
Synchronize to the tempo of the DAW if this is ON.

1­1300 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don't want to filter out any high frequencies, set this parameter to BYPASS.
Panning of the first delay sound

L64­63R

Panning of the second delay sound Panning of the third delay sound

Panning of the fourth delay sound

0­127

Output Level

LOOPER

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DJFX Looper
Loops a short portion of the input sound. You can vary the playback direction and playback speed of the input sound to add turntable-type effects.

Loop Sw

L in

Delay

Loop Sw
L out

Loop Sw

Speed

Control

Loop Sw

R in

Delay

R out

Parameter Length Speed
Loop Sw Level

Value 0­127 -1.00­+1.00
OFF, ON 0­127

Explanation
Specifies the length of the loop.
Specifies the playback direction and playback speed. - direction: Reverse playback + direction: Normal playback 0: Stop playback As the value moves away from 0, the playback speed becomes faster.
If you turn this on while the sound is heard, the sound at that point will be looped. Turn this off to cancel the loop. * If the effect is recalled with this ON, this parameter must be
turned OFF and then turned ON again in order to make the loop operate.
Output Level

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BPM Looper
Loops a short portion of the input sound. This can automatically turn the loop on/off in synchronization with the rhythm.

L in

Delay

L out

Loop Sw Control

R in
Parameter Length Rate (sync sw) Rate Hz Rate Note On Timing On Length
Loop Mode Level

Delay

R out

Value 0­127 OFF, ON 0.05­10.00 [Hz] Note & "Note" 1­8
1­8
OFF, AUTO, ON
0­127

Explanation
Specifies the length of the loop.
Synchronize to the tempo of the DAW if this is ON.
Cycle at which the loop automatically turns on/off
Specifies the timing within the cycle at which the loop automatically starts (which step of the eight timing divisions at which the sound is heard) Specifies the length at which the loop automatically ends within the cycle (the number of times that the 1/8-length of sound is heard) If this is AUTO, the loop automatically turns on/off in synchronization with the rhythm. * If the effect is recalled with this ON, this parameter must
first be set to something other than ON in order to make the loop operate.
Output Level

LO-FI
LOFI Compress
Degrades the sound quality.
L in Compressor

Lo-Fi

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2-Band EQ L out

R in Compressor

Lo-Fi

2-Band EQ R out

Parameter Pre Filter Type LoFi Type Post Filter Type
Post Filter Cutoff Low Gain High Gain Balance Level

Value

Explanation

1, 2, 3, 4, 5, 6
1, 2, 3, 4, 5, 6, 7, 8, 9
OFF, LPF, HPF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Selects the type of filter applied to the sound before it passes through the Lo-Fi effect. 1: Compressor off 2­6: Compressor on Degrades the sound quality. The sound quality grows poorer as this value is increased. Type of filter OFF: No filter is used LPF: Cuts the frequency range above the Cutoff Freq HPF: Cuts the frequency range below the Cutoff Freq
Basic frequency of the Post Filter

-15­+15 [dB]

Amount of boost/cut for the low-frequency range

-15­+15 [dB]

Amount of boost/cut for the high-frequency range

D100: 0W­D0: 100W

Volume balance between the direct sound (D) and the effect sound (W)

0­127

Output Level

Bit Crusher
Produces an extreme lo-fi effect.

L in

Bit Crusher

2-Band EQ

L out

R in

Bit Crusher

2-Band EQ

R out

Parameter Sample Rate Bit Down Filter Low Gain High Gain Level

Value 0­127 0­20 0­127 -15­+15 [dB] -15­+15 [dB] 0­127

Explanation Adjusts the sample rate. Adjusts the bit depth. Adjusts the filter depth. Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Output Level

Phonograph

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Recreates the sound of an analog record being played on a record player. This lets you simulate the unique noises produced when a record is played, as well as the variations that occur when the record spins.

Balance D

L in

L out

Phonograph

Balance W

Phonograph

Balance W

R in

R out

Balance D

Parameter Signal Distortion
Frequency Range
Disc Type Scratch Noise Dust Noise Level Hiss Noise Level Total Noise Level Wow Flutter Random Total Wow/Flutter Balance Level

Value 0­127
0­127
LP, EP, SP
0­127 0­127 0­127 0­127 0­127 0­127 0­127 0­127 D100: 0W ­D0: 100W 0­127

Explanation Sets the amount of distortion. Sets the frequency characteristics of the playback system. Smaller values create the feeling of an older system with narrow frequency bands. Sets the turntable rotation speed. This has an effect on the scratch noise cycle. Sets the volume of noise created by scratches in the record. Sets the volume of noise created by dust on the record. Sets the volume of continuous hiss noise. Sets the volume of noise overall. Sets the amount of variation in record spin (long cycle). Sets the amount of variation in record spin (short cycle). Sets the amount of non-cyclical variation in record spin. Sets the volume of variation in record spin overall. Sets the volume balance between the original sound (D) and the effect sound (W). Sets the output volume.

PITCH
Pitch Shifter
A stereo pitch shifter.

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L in Pitch Shifter
Pitch Shifter R in

2-Band EQ L out 2-Band EQ R out

Parameter Coarse Fine Delay Time (sync sw) Delay Time (msec) Delay Time (note)

Value
-24­+12 [semi]
-100­+100 [cent] OFF, ON 1­1300 [msec] Note & "Note"

Feedback

-98­+98 [%]

Low Gain High Gain Balance Level

-15­+15 [dB] -15­+15 [dB] D100: 0W­D0: 100W 0­127

Explanation Adjusts the pitch of the pitch shifted sound in semitone steps. Adjusts the pitch of the pitch shifted sound in 2-cent steps.
Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until pitch shifted sounds is heard.
Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase. Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the pitch shifted sound (W) Output Level

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2Voice Pitch Shifter
Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

L in R in

Balance D

Level 1

Pan 1 L

Pan 1 R 2 Voice Pitch Shifter
Pan 2 L

Level 2

Pan 2 R

Balance D

2-Band EQ Balance W

L out

Balance W 2-Band EQ

R out

Parameter Pitch1 Coarse Pitch1 Fine Pitch1 Delay (sync sw) Pitch1 Delay (msec)
Pitch1 Delay (note)

Value -24­+12 [semi] -100­+100 [cent] OFF, ON 1­1300 [msec] Note & "Note"

Pitch1 Feedback

-98­+98 [%]

Pitch1 Pan Pitch1 Level Pitch2 Coarse Pitch2 Fine Pitch2 Delay (sync sw) Pitch2 Delay (msec)
Pitch2 Delay (note)
Pitch2 Feedback Pitch2 Pan Pitch2 Level Low Gain High Gain

L64­63R 0­127 -24­+12 [semi] -100­+100 [cent] OFF, ON 1­1300 [msec] Note & "Note" -98­+98 [%] L64­63R 0­127 -15­+15 [dB] -15­+15 [dB]

Balance

D100: 0W­D0: 100W

Level

0­127

Explanation Adjusts the pitch of Pitch Shift 1 in semitone steps. Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps. Synchronize to the tempo of the DAW if this is ON. Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard. Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase. Stereo location of the Pitch Shift 1 sound Volume of the Pitch Shift 1 sound
Settings of the Pitch Shift 2 sound. The parameters are the same as for the Pitch Shift 1 sound.
Amount of boost/cut for the low-frequency range Amount of boost/cut for the high-frequency range Volume balance between the direct sound (D) and the pitch shifted sound (W) Output Level

COMBINATION
Overdrive 0 Chorus

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Balance D

L in

L out

Overdrive

Chorus

Balance W Balance W

R in

R out

Balance D

Parameter

Value

Overdrive Drive

0­127

Overdrive Pan

L64­63R

Chorus Pre Delay

0.0­100 [msec]

Chorus Rate (sync sw) Chorus Rate (Hz) Chorus Rate (note) Chorus Depth

OFF, ON
0.05­10.00 [Hz] Note & "Note" 0­127

Chorus Balance

D100: 0W­D0: 100W

Level

0­127

Explanation Degree of distortion Also changes the volume. Stereo location of the overdrive sound Adjusts the time from the original sound until chorus sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D). Output Level

Overdrive 0 Flanger

L in Overdrive
R in

Balance D Feedback
Flanger
Balance D

L out
Balance W
Balance W
R out

Parameter

Value

Overdrive Drive

0­127

Overdrive Pan

L64­63R

Flanger Pre Delay

0.0­100 [msec]

Flanger Rate (sync sw) Flanger Rate (Hz) Flanger Rate (note) Flanger Depth

OFF, ON
0.05­10.00 [Hz] Note & "Note" 0­127

Flanger Feedback

-98­+98 [%]

Flanger Balance Level

D100: 0W­D0: 100W 0­127

Explanation Degree of distortion Also changes the volume. Stereo location of the overdrive sound Adjusts the time from the original sound until flanger sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D). Output Level

Overdrive 0 Delay

to Contents

L in Overdrive
R in

Balance D
Delay Feedback
Balance D

L out
Balance W
Balance W
R out

Parameter Overdrive Drive Overdrive Pan Delay Time (sync sw) Delay Time (msec) Delay Time (note) Delay Feedback
Delay HF Damp
Delay Balance Level

Value

Explanation

0­127

Degree of distortion Also changes the volume.

L64­63R

Stereo location of the overdrive sound

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]
D100: 0W­D0: 100W

Adjusts the time from the original sound until delay sounds is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

0­127

Output Level

Distortion 0 Chorus

Balance D

L in

L out

Distortion

Chorus

Balance W Balance W

R in

R out

Balance D

Parameter

Value

Distortion Drive

0­127

Distortion Pan

L64­63R

Chorus Pre Delay

0.0­100 [msec]

Chorus Rate (sync sw) Chorus Rate (Hz) Chorus Rate (note) Chorus Depth

OFF, ON
0.05­10.00 [Hz] Note & "Note" 0­127

Chorus Balance

D100: 0W­D0: 100W

Level

0­127

Explanation Degree of distortion Also changes the volume. Stereo location of the overdrive sound Adjusts the time from the original sound until chorus sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D). Output Level

Distortion 0 Flanger

to Contents

L in Distortion
R in

Balance D Feedback
Flanger
Balance D

L out
Balance W
Balance W
R out

Parameter

Value

Distortion Drive

0­127

Distortion Pan

L64­63R

Flanger Pre Delay

0.0­100 [msec]

Flanger Rate (sync sw) Flanger Rate (Hz) Flanger Rate (note) Flanger Depth

OFF, ON
0.05­10.00 [Hz] Note & "Note" 0­127

Flanger Feedback

-98­+98 [%]

Flanger Balance Level

D100: 0W­D0: 100W 0­127

Explanation Degree of distortion Also changes the volume. Stereo location of the overdrive sound Adjusts the time from the original sound until flanger sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D). Output Level

Distortion 0 Delay

L in Distortion
R in

Balance D
Delay Feedback
Balance D

L out
Balance W
Balance W
R out

Parameter Distortion Drive Distortion Pan Delay Time (sync sw) Delay Time (msec) Delay Time (note) Delay Feedback
Delay HF Damp
Delay Balance Level

Value 0­127 L64­63R

Explanation Degree of distortion Also changes the volume. Stereo location of the overdrive sound

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]
D100: 0W­D0: 100W
0­127

Adjusts the time from the original sound until delay sounds is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Output Level

OD/DS 0 TouchWah

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L in

Overdrive/ Amp

Touch

Distortion Simulator Wah

2-Band EQ

R in

L out
Pan L
Pan R
R out

Parameter Drive Switch Drive Type Drive Tone Amp Switch
Amp Type
TWah Switch
TWah Mode
TWah Polarity TWah Sens TWah Manual TWah Peak
TWah Balance Low Gain High Gain Level

Value OFF, ON OVERDRIVE, DISTORTION 0­127 0­127 OFF, ON
SMALL, BUILT-IN, 2-STACK, 3-STACK
OFF, ON
LPF, BPF
DOWN, UP 0­127 0­127
0­127
D100: 0W­D0: 100W -15­+15 [dB] -15­+15 [dB] 0­127

Explanation
Turns overdrive/distortion on/off
Type of distortion
Degree of distortion Also changes the volume.
Sound quality of the Overdrive effect
Turns the Amp Simulator on/off.
Type of guitar amp SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp
Wah on/off
Filter type LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range. Direction in which the filter will move UP: The filter will change toward a higher frequency. DOWN: The filter will change toward a lower frequency.
Sensitivity with which the filter is modified
Center frequency at which the wah effect is applied
Width of the frequency region at which the wah effect is applied Increasing this value will make the frequency region narrower. Adjusts the volume balance between the sound that is sent through the wah (W) and the sound that is not sent through the wah (D).
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Output Level

OD/DS 0 AutoWah

to Contents

L in

Overdrive/ Distortion

Amp Simulator

Auto Wah

2-Band EQ

R in

L out
Pan L
Pan R
R out

Parameter Drive Switch Drive Type Drive Tone Amp Switch
Amp Type
AutoWah Switch

Value OFF, ON OVERDRIVE, DISTORTION 0­127 0­127 OFF, ON
SMALL, BUILT-IN, 2-STACK, 3-STACK
OFF, ON

AutoWah Mode

LPF, BPF

AutoWah Manual

0­127

AutoWah Peak

0­127

AutoWah Rate (sync sw) OFF, ON

AutoWah Rate (Hz)

0.05­10.00 [Hz]

AutoWah Rate (note)

Note & "Note"

AutoWah Depth

0­127

AutoWah Balance

D100: 0W­D0: 100W

Low Gain High Gain Level

-15­+15 [dB] -15­+15 [dB] 0­127

Explanation
Turns overdrive/distortion on/off
Type of distortion
Degree of distortion Also changes the volume. Sound quality of the Overdrive effect
Turns the Amp Simulator on/off. Type of guitar amp SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp Wah on/off Filter type LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range. Center frequency at which the wah effect is applied Width of the frequency region at which the wah effect is applied Increasing this value will make the frequency region narrower. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth at which the wah effect is modulated Adjusts the volume balance between the sound that is sent through the wah (W) and the sound that is not sent through the wah (D). Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Output Level

GtAmpSim 0 Chorus

to Contents

Balance D

L in

L out

Pre Amp Speaker

Chorus

Balance W Balance W

R in

R out

Balance D

Parameter Pre Amp Sw
Pre Amp Type
Pre Amp Drive Pre Amp Master Pre Amp Gain Pre Amp Bass Pre Amp Middle Pre Amp Treble Speaker Sw
Speaker Type
Chorus Switch Chorus Pre Delay Chorus Rate (Hz) Chorus Depth Chorus Balance Level

Value OFF, ON
JC-120 CLEAN TWIN
MATCH DRIVE
BG LEAD
MS1959I MS1959II MS1959I+II SLDN LEAD METAL 5150 METAL LEAD OD-1 OD-2 TURBO DISTORTION FUZZ 0­127 0­127 LOW, MIDDLE, HIGH 0­127 0­127 0­127 OFF, ON
SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN1 BUILT-IN2 BUILT-IN3 BUILT-IN4 BUILT-IN5 BG STACK1 BG STACK2 MS STACK1 MS STACK2 MTL STACK 2-STACK 3-STACK OFF, ON 0.0­100 [msec] 0.05­10.00 [Hz] 0­127 D100: 0W­D0: 100W 0­127

Explanation
Turns the amp switch on/off.
Type of guitar amp
This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This models the sound input to left input on a Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock. This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late `70s to `80s. This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. This models the sound input to Input II on a Marshall 1959. The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I. This models a Soldano SLO-100. This is the typical sound of the eighties. This models the lead channel of a Peavey EVH 5150. This is distortion sound that is ideal for performances of heavy riffs. This models the sound of the BOSS OD-1. This produces sweet, mild distortion. This is the high-gain overdrive sound of the BOSS OD-2. This gives a basic, traditional distortion sound. A fuzz sound with rich harmonic content.
Volume and amount of distortion of the amp
Volume of the entire pre-amp
Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Cabinet

Diameter (in inches) and number of the
speaker

Microphone

small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack

10 10 12 x 1 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 4 12 x 4 12 x 4 12 x 4 12 x 4

dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser

Chorus on/off

Adjusts the time from the original sound until chorus sounds is heard.

Frequency of modulation

Depth of modulation

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

Output Level

GtAmpSim 0 Flanger

to Contents

L in Pre Amp Speaker
R in

Balance D Feedback Flanger
Balance D

L out
Balance W
Balance W
R out

Parameter Pre Amp Sw
Pre Amp Type
Pre Amp Drive Pre Amp Master Pre Amp Gain Pre Amp Bass Pre Amp Middle Pre Amp Treble Speaker Sw
Speaker Type
Flanger Switch Flanger Pre Delay Flanger Rate (Hz) Flanger Depth Flanger Feedback Flanger Balance Level

Value OFF, ON
JC-120 CLEAN TWIN
MATCH DRIVE
BG LEAD
MS1959I MS1959II MS1959I+II SLDN LEAD METAL 5150 METAL LEAD OD-1 OD-2 TURBO DISTORTION FUZZ 0­127 0­127 LOW, MIDDLE, HIGH 0­127 0­127 0­127 OFF, ON
SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN1 BUILT-IN2 BUILT-IN3 BUILT-IN4 BUILT-IN5 BG STACK1 BG STACK2 MS STACK1 MS STACK2 MTL STACK 2-STACK 3-STACK OFF, ON 0.0­100 [msec] 0.05­10.00 [Hz] 0­127
-98­+98 [%]
D100: 0W­D0: 100W 0­127

Explanation
Turns the amp switch on/off.
Type of guitar amp
This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This models the sound input to left input on a Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock. This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late `70s to `80s. This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. This models the sound input to Input II on a Marshall 1959. The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I. This models a Soldano SLO-100. This is the typical sound of the eighties. This models the lead channel of a Peavey EVH 5150. This is distortion sound that is ideal for performances of heavy riffs. This models the sound of the BOSS OD-1. This produces sweet, mild distortion. This is the high-gain overdrive sound of the BOSS OD-2. This gives a basic, traditional distortion sound. A fuzz sound with rich harmonic content.
Volume and amount of distortion of the amp
Volume of the entire pre-amp
Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Cabinet

Diameter (in inches) and number of the
speaker

Microphone

small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack

10 10 12 x 1 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 4 12 x 4 12 x 4 12 x 4 12 x 4

dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser

Flanger on/off

Adjusts the time from the original sound until flanger sounds is heard.

Frequency of modulation

Depth of modulation

Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).

Output Level

GtAmpSim 0 Phaser

to Contents

L in

L out

Pre Amp Speaker

Phaser

R in

Mix Resonance

R out

Parameter Pre Amp Sw
Pre Amp Type
Pre Amp Drive Pre Amp Master Pre Amp Gain Pre Amp Bass Pre Amp Middle Pre Amp Treble Speaker Sw
Speaker Type
Phaser Switch Phaser Rate (Hz) Phaser Manual Phaser Depth Phaser Resonance Phaser Mix Level

Value OFF, ON
JC-120 CLEAN TWIN
MATCH DRIVE
BG LEAD
MS1959I MS1959II MS1959I+II SLDN LEAD METAL 5150 METAL LEAD OD-1 OD-2 TURBO DISTORTION FUZZ 0­127 0­127 LOW, MIDDLE, HIGH 0­127 0­127 0­127 OFF, ON
SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN1 BUILT-IN2 BUILT-IN3 BUILT-IN4 BUILT-IN5 BG STACK1 BG STACK2 MS STACK1 MS STACK2 MTL STACK 2-STACK 3-STACK OFF, ON 0.05­10.00 [Hz] 0­127 0­127 0­127 0­127 0­127

Explanation
Turns the amp switch on/off.
Type of guitar amp
This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This models the sound input to left input on a Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock. This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late `70s to `80s. This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. This models the sound input to Input II on a Marshall 1959. The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I. This models a Soldano SLO-100. This is the typical sound of the eighties. This models the lead channel of a Peavey EVH 5150. This is distortion sound that is ideal for performances of heavy riffs. This models the sound of the BOSS OD-1. This produces sweet, mild distortion. This is the high-gain overdrive sound of the BOSS OD-2. This gives a basic, traditional distortion sound. A fuzz sound with rich harmonic content.
Volume and amount of distortion of the amp
Volume of the entire pre-amp
Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Cabinet

Diameter (in inches) and number of the
speaker

Microphone

small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack

10 10 12 x 1 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 2 12 x 4 12 x 4 12 x 4 12 x 4 12 x 4

dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser

Phaser on/off

Frequency of modulation

Adjusts the basic frequency from which the sound will be modulated.

Depth of modulation

Amount of feedback

Level of the phase-shifted sound

Output Level

GtAmpSim 0 Delay

to Contents

L in Pre Amp Speaker
R in

Balance D
Delay Feedback
Balance D

L out
Balance W
Balance W
R out

Parameter Pre Amp Sw
Pre Amp Type
Pre Amp Drive Pre Amp Master Pre Amp Gain Pre Amp Bass Pre Amp Middle Pre Amp Treble Speaker Sw
Speaker Type
Delay Switch Delay Time Delay Feedback Delay HF Damp Delay Balance Level

Value

Explanation

OFF, ON
JC-120 CLEAN TWIN
MATCH DRIVE
BG LEAD
MS1959I MS1959II MS1959I+II SLDN LEAD METAL 5150 METAL LEAD OD-1 OD-2 TURBO DISTORTION FUZZ 0­127

Turns the amp switch on/off.
Type of guitar amp
This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This models the sound input to left input on a Matchless D/C-30. A simulation of the latest tube amp widely used in styles from blues and rock. This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late `70s to `80s. This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. This models the sound input to Input II on a Marshall 1959. The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I. This models a Soldano SLO-100. This is the typical sound of the eighties. This models the lead channel of a Peavey EVH 5150. This is distortion sound that is ideal for performances of heavy riffs. This models the sound of the BOSS OD-1. This produces sweet, mild distortion. This is the high-gain overdrive sound of the BOSS OD-2. This gives a basic, traditional distortion sound. A fuzz sound with rich harmonic content.
Volume and amount of distortion of the amp

0­127

Volume of the entire pre-amp

LOW, MIDDLE, HIGH

Amount of pre-amp distortion

0­127

0­127

Tone of the bass/mid/treble frequency range

0­127 OFF, ON
SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN1 BUILT-IN2 BUILT-IN3 BUILT-IN4 BUILT-IN5 BG STACK1 BG STACK2 MS STACK1 MS STACK2 MTL STACK 2-STACK 3-STACK OFF, ON 1­1300 [msec]
-98­+98 [%] 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz] D100: 0W­D0: 100W 0­127

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Cabinet

Diameter (in inches) and number of the
speaker

Microphone

small open-back enclosure

10

dynamic

small open-back enclosure

10

dynamic

open back enclosure

12 x 1

dynamic

open back enclosure

12 x 2

dynamic

open back enclosure

12 x 2

dynamic

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

open back enclosure

12 x 2

condenser

sealed enclosure

12 x 2

condenser

large sealed enclosure

12 x 2

condenser

large sealed enclosure

12 x 4

condenser

large sealed enclosure

12 x 4

condenser

large double stack

12 x 4

condenser

large double stack

12 x 4

condenser

large triple stack

12 x 4

condenser

Delay on/off

Adjusts the time from the original sound until delay sounds is heard.

Adjusts the proportion of the delay sound that is fed back into the effect.
Negative (-) settings will invert the phase.

Frequency at which the high-frequency portion of the delay sound will be cut (BYPASS: no cut)

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level

EPAmpSim 0 Tremolo

to Contents

L in

L out

EP Amp

Speaker

Tremolo

R in

R out

Parameter
Type
Bass Treble Tremolo Switch Tremolo Speed (sync sw) Tremolo Speed (Hz) Tremolo Speed (note) Tremolo Depth Tremolo Duty
Speaker Type
OD Switch OD Gain OD Drive Level

Value
OLDCASE NEWCASE WURLY -50­+50 -50­+50 OFF, ON

Explanation Type of amp A standard electric piano sound of the early 70s A standard electric piano sound of the late 70s and early 80s A standard electric piano sound of the 60s Amount of low-frequency boost/cut Amount of high-frequency boost/cut Tremolo on/off

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz]
Note & "Note"

Rate of the tremolo effect

0­127

Depth of the tremolo effect

-10­+10
LINE, OLD, NEW, WURLY, TWIN

Adjusts the duty cycle of the LFO waveform used to apply tremolo.
Type of speaker If LINE is selected, the sound will not be sent through the speaker simulation.

OFF, ON

Overdrive on/off

0­127

Overdrive input level

0­127

Degree of distortion Also changes the volume.

0­127

Output Level

EPAmpSim 0 Chorus

to Contents

Balance D

L in

L out

EP Amp Speaker

Chorus

Balance W Balance W

R in

R out

Balance D

Parameter
Type
Bass Treble Chorus Switch Chorus Pre Delay Chorus Rate (sync sw) Chorus Rate (Hz) Chorus Rate (note) Chorus Depth Chorus Balance
Speaker Type
OD Switch OD Gain OD Drive Level

Value
OLDCASE NEWCASE -50­+50

Explanation Type of amp A standard electric piano sound of the early 70s A standard electric piano sound of the late 70s and early 80s Amount of low-frequency boost/cut

-50­+50

Amount of high-frequency boost/cut

OFF, ON 0.0­100 [msec] OFF, ON

Chorus on/off
Adjusts the time from the original sound until chorus sounds is heard.
Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz]
Note & "Note"

Frequency of modulation

0­127

Depth of modulation

D100: 0W­D0: 100W

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

Type of speaker

LINE, OLD, NEW, WURLY,

TWIN

If LINE is selected, the sound will not be sent through the

speaker simulation.

OFF, ON

Overdrive on/off

0­127 0­127 0­127

Overdrive input level Degree of distortion Also changes the volume. Output Level

EPAmpSim 0 Flanger

to Contents

Balance D

L in

L out

Feedback

Balance W

EP Amp Speaker

Flanger

Balance W

R in

R out

Balance D

Parameter
Type
Bass Treble Flanger Switch Flanger Pre Delay Flanger Rate (sync sw) Flanger Rate (Hz) Flanger Rate (note) Flanger Depth Flanger Feedback
Flanger Balance
Speaker Type OD Switch OD Gain OD Drive Level

Value
OLDCASE NEWCASE -50­+50

Explanation Type of amp A standard electric piano sound of the early 70s A standard electric piano sound of the late 70s and early 80s Amount of low-frequency boost/cut

-50­+50

Amount of high-frequency boost/cut

OFF, ON 0.0­100 [msec] OFF, ON

Flanger on/off
Adjusts the time from the original sound until flanger sounds is heard.
Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz]
Note & "Note"

Frequency of modulation

0­127

Depth of modulation

-98­+98 [%]

Adjusts the proportion of the flanger sound that is fed back into the effect.
Negative (-) settings will invert the phase.

D100: 0W­D0: 100W

Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).

Type of speaker

LINE, OLD, NEW, WURLY,

TWIN

If LINE is selected, the sound will not be sent through the

speaker simulation.

OFF, ON

Overdrive on/off

0­127 0­127 0­127

Overdrive input level Degree of distortion Also changes the volume. Output Level

EPAmpSim 0 Phaser

to Contents

L in

L out

EP Amp Speaker

Phaser

R in

Mix Resonance

R out

Parameter
Type
Bass Treble Phaser Switch Phaser Rate (sync sw) Phaser Rate (Hz) Phaser Rate (note)
Phaser Manual Phaser Depth Phaser Resonance Phaser Mix
Speaker Type
OD Switch OD Gain OD Drive Level

Value
OLDCASE NEWCASE -50­+50

Explanation Type of amp A standard electric piano sound of the early 70s A standard electric piano sound of the late 70s and early 80s Amount of low-frequency boost/cut

-50­+50

Amount of high-frequency boost/cut

OFF, ON

Phaser on/off

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz] Note & "Note"
0­127
0­127

Frequency of modulation
Adjusts the basic frequency from which the sound will be modulated. Depth of modulation

0­127

Amount of feedback

0­127

Level of the phase-shifted sound

Type of speaker

LINE, OLD, NEW, WURLY, TWIN

If LINE is selected, the sound will not be sent through the speaker simulation.

OFF, ON

Overdrive on/off

0­127 0­127 0­127

Overdrive input level Degree of distortion Also changes the volume. Output Level

EPAmpSim 0 Delay

to Contents

Balance D

L in

L out

R in

EP Amp Speaker

Time Ctrl Delay
Feedback
Balance D

Balance W
Balance W
R out

Parameter Type Bass Treble Delay Switch Delay Time (sync sw) Delay Time (msec) Delay Time (note)
Delay Accel
Delay Feedback
Delay HF Damp
Delay Balance
Speaker Type OD Switch OD Gain OD Drive Level

Value
OLDCASE NEWCASE -50­+50

Explanation Type of amp A standard electric piano sound of the early 70s A standard electric piano sound of the late 70s and early 80s Amount of low-frequency boost/cut

-50­+50

Amount of high-frequency boost/cut

OFF, ON

Delay on/off

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­1300 [msec]
Note & "Note"

Adjusts the time from the original sound until delay sounds is heard.

0­15

Speed at which the current delay time changes to the specified delay time when you change the delay time.
The speed of the pitch change will change simultaneously with the delay time.

-98­+98 [%]

Adjusts the proportion of the delay sound that is fed back into the effect.
Negative (-) settings will invert the phase.

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Frequency at which the high-frequency portion of the delay sound will be cut (BYPASS: no cut)

D100: 0W­D0: 100W

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Type of speaker

LINE, OLD, NEW, WURLY,

TWIN

If LINE is selected, the sound will not be sent through the

speaker simulation.

OFF, ON

Overdrive on/off

0­127 0­127 0­127

Overdrive input level Degree of distortion Also changes the volume. Output Level

Enhancer 0 Chorus

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L in

Enhancer

Mix

R in

Enhancer

Mix

Balance D Chorus
Balance D

L out
Balance W
Balance W
R out

Parameter Enhancer Sens Enhancer Mix Chorus Pre Delay Chorus Rate (sync sw) Chorus Rate (Hz) Chorus Rate (note) Chorus Depth

Value 0­127 0­127
0.0­100 [msec]
OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127

Chorus Balance

D100: 0W­D0: 100W

Level

0­127

Explanation Sensitivity of the enhancer Level of the overtones generated by the enhancer Adjusts the time from the original sound until chorus sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D). Output Level

Enhancer 0 Flanger

L in

Enhancer

Mix

R in

Enhancer

Mix

Balance D Feedback
Flanger
Balance D

L out
Balance W
Balance WW
R out

Parameter Enhancer Sens Enhancer Mix

Value 0­127 0­127

Flanger Pre Delay

0.0­100 [msec]

Flanger Rate (sync sw) Flanger Rate (Hz) Flanger Rate (note) Flanger Depth

OFF, ON
0.05­10.00 [Hz] Note & "Note" 0­127

Flanger Feedback

-98­+98 [%]

Flanger Balance Level

D100: 0W­D0: 100W 0­127

Explanation Sensitivity of the enhancer Level of the overtones generated by the enhancer Adjusts the time from the original sound until flanger sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D). Output Level

Enhancer 0 Delay

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L in

Enhancer

Mix

R in

Enhancer

Mix

Balance D
Delay Feedback
Balance D

L out
Balance W
Balance W
R out

Parameter Enhancer Sens Enhancer Mix Delay Time (sync sw) Delay Time (msec) Delay Time (note)
Delay Feedback
Delay HF Damp
Delay Balance Level

Value

Explanation

0­127

Sensitivity of the enhancer

0­127

Level of the overtones generated by the enhancer

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]
D100: 0W­D0: 100W
0­127

Adjusts the time from the original sound until delay sounds is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Output Level

Chorus 0 Delay

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L in R in

Balance D
Balance W Chorus
Balance W
Balance D

Balance D
Delay Feedback
Balance D

L out
Balance W
Balance W
R out

Parameter Chorus Pre Delay Chorus Rate (sync sw) Chorus Rate (Hz) Chorus Rate (note) Chorus Depth Chorus Balance Delay Time (sync sw) Delay Time (msec) Delay Time (note)
Delay Feedback
Delay HF Damp
Delay Balance Level

Value

Explanation

0.0­100 [msec]

Adjusts the time from the original sound until chorus sounds is heard.

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

0.05­10.00 [Hz]
Note & "Note"

Frequency of modulation

0­127

Depth of modulation

D100: 0W­D0: 100W

Volume balance between the direct sound (D) and the chorus sound (W)

OFF, ON

Synchronize to the tempo of the DAW if this is ON.

1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]
D100: 0W­D0: 100W

Adjusts the time from the original sound until delay sounds is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

0­127

Output Level

Flanger 0 Delay

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L in R in

Balance D

Feedback Flanger

Balance W Balance W

Balance D

Balance D
Delay Feedback
Balance D

L out
Balance
Balance
R out

Parameter Flanger Pre Delay Flanger Rate (sync sw) Flanger Rate (Hz) Flanger Rate (note) Flanger Depth Flanger Feedback Flanger Balance Delay Time (sync sw) Delay Time (msec) Delay Time (note)
Delay Feedback
Delay HF Damp
Delay Balance Level

Value 0.0­100 [msec] OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127
-98­+98 [%]
D100: 0W­D0: 100W OFF, ON 1­2600 [msec] Note & "Note"
-98­+98 [%]
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]
D100: 0W­D0: 100W
0­127

Explanation Adjusts the time from the original sound until flanger sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Frequency of modulation
Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Volume balance between the direct sound (D) and the flanger sound (W) Synchronize to the tempo of the DAW if this is ON.
Adjusts the time from the original sound until delay sounds is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Output Level

Chorus 0 Flanger

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L in R in

Balance D
Balance W Chorus
Balance W
Balance D

Balance D Feedback Flanger
Balance D

L out
Balance W
Balance W
R out

Parameter Chorus Pre Delay Chorus Rate (sync sw) Chorus Rate (Hz) Chorus Rate (note) Chorus Depth Chorus Balance

Value
0.0­100 [msec]
OFF, ON 0.05­10.00 [Hz] Note & "Note" 0­127
D100: 0W­D0: 100W

Flanger Pre Delay

0.0­100 [msec]

Flanger Rate (sync sw) Flanger Rate (Hz) Flanger Rate (note) Flanger Depth

OFF, ON
0.05­10.00 [Hz] Note & "Note" 0­127

Flanger Feedback

-98­+98 [%]

Flanger Balance Level

D100: 0W­D0: 100W 0­127

Explanation Adjusts the time from the original sound until chorus sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Modulation frequency of the chorus effect
Modulation depth of the chorus effect Volume balance between the direct sound (D) and the chorus sound (W) Adjusts the time from the original sound until flanger sounds is heard. Synchronize to the tempo of the DAW if this is ON.
Modulation frequency of the flanger effect
Modulation depth of the flanger effect Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D). Output Level

JD-Multi

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Recreates the effects included in group A of the JD-800.
L in
Distortion Phaser Spectrum Enhancer
R in

L out R out

Parameter

Value

Structure
DISTORTION PHASER SPECTRUM ENHANCER
Distortion Type
Distortion Drive Distortion Level Phaser Manual Phaser Rate Phaser Depth Phaser Reso Phaser Mix Spectrum Band1 Spectrum Band2 Spectrum Band3 Spectrum Band4 Spectrum Band5 Spectrum Band6 Spectrum Width Enhancer Sens Enhancer Mix Level

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 OFF, ON OFF, ON OFF, ON OFF, ON
MELLOW DRIVE OVERDRIVE CRY DRIVE MELLOW DIST LIGHT DIST FAT DIST FUZZ DIST 0­100 0­100 50Hz­15kHz
0.1Hz­10.0Hz 0­100 0­100
0­100
-15dB­+15dB
1­5 0­100 0­100
0­127

Explanation Selects the connection order of the effects. DS: Distortion, PH: Phaser, SP: Spectrum, EN: Enhancer DS - PH - SP - EN DS - PH - EN - SP DS - SP - PH - EN DS - SP - EN - PH DS - EN - PH - SP
DS - EN - SP - PH
PH - DS - SP - EN PH - DS - EN - SP PH - SP - DS - EN PH - SP - EN - DS PH - EN - DS - SP PH - EN - SP - DS SP - DS - PH - EN SP - DS - EN - PH SP - PH - DS - EN SP - PH - EN - DS SP - EN - DS - PH SP - EN - PH - DS EN - DS - PH - SP EN - DS - SP - PH EN - PH - DS - SP EN - PH - SP - DS EN - SP - DS - PH EN - SP - PH - DS Turns the distortion on/off. Turns the phaser on/off. Turns the spectrum on/off. Turns the enhancer on/off. Sets the type of distortion. Softer distortion with a slightly darker sound. Distortion that resembles a vacuum tube amp being driven. Distortion that emphasizes the high end. Gives the feeling of distortion playing through a large amp. Strong distortion with a bright sound. Thick distortion that emphasizes the low and high ends. Distortion that's even more powerful that FAT DIST. Sets the amount of distortion. Sets the distortion output level. Sets the basic frequency from which the sound is modulated with the phaser effect. Sets the cycle of the phaser modulation. Sets the depth of the phaser modulation. Sets the amount of feedback for the phaser. Increasing the value creates a more unusual sound. Sets the level of the phase-shifted sound. Sets the gain (amount of boost/cut) in the 250 Hz range. Sets the gain (amount of boost/cut) in the 500 Hz range. Sets the gain (amount of boost/cut) in the 1000 Hz range. Sets the gain (amount of boost/cut) in the 2000 Hz range. Sets the gain (amount of boost/cut) in the 4000 Hz range. Sets the gain (amount of boost/cut) in the 8000 Hz range. Sets the bandwidth for changing the levels, common to all bands. Sets how easily the enhancer effect is applied. Sets the ratio at which the harmonics generated by the enhancer are mixed with the original sound. Sets the output volume.

Note
1/64T Sixty-fourth-note triplet 1/16T Sixteenth-note triplet 1/16D Dotted sixteenth note 1/4 Quarter note 1/1T Whole-note triplet 1/1D Dotted whole note

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1/64 Sixty-fourth note
1/32D Dotted thirty-second note
1/8 Eighth note
1/2T Half-note triplet
1/2D Dotted half note
2/1 Double note

1/32T Thirty-second-note triplet
1/16 Sixteenth note
1/4T Quarter-note triplet
1/4D Dotted quarter note
1/1 Whole note

1/32 Thirty-second note
1/8T Eighth-note triplet
1/8D Dotted eighth note
1/2 Half note
2/1T Double-note triplet



References

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