Owner's Manual for Roland models including: Roland, ZENOLOGY, 100, Shine, Pad
12 авг. 2021 г. —
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. to Contents [COMP16] button Selects the compressor that is shown in the edit area. 7 KIT COMP 16 (Edit area) to Contents 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. to Contents 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. to Contents 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." to Contents 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. to Contents 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). to Contents 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. to Contents [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 to Contents [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. to Contents 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 to Contents 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 to Contents 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) 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. 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 to Contents 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. Model Screen (JUNO-106) 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. 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. Detailed Settings Screen (JUNO-106) 1 2 3 4 5 6 7 8 to Contents 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. Model Screen (JX-8P) 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. 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. Detailed Settings Screen (JX-8P) 1 2 3 4 5 6 to Contents 7 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 [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. Model Screen (SH-101) 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. 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. Detailed Settings Screen (SH-101) 1 2 3 4 5 7 8 to Contents 6 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 8 10 to Contents 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 Thru 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 to Contents 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 Thru L in R in to Contents L out R out FILTER Equalizer This is a four-band stereo equalizer (low, mid x 2, high). L in 4-Band EQ to Contents 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 to Contents 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 to Contents 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. to Contents 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. to Contents 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 to Contents 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 to Contents 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 to Contents 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. to Contents 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 to Contents 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. to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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). to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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. to Contents 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 to Contents 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 to Contents 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. to Contents 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. to Contents 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. to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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. to Contents 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. to Contents 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 to Contents 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. to Contents 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. to Contents 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 to Contents 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 to Contents 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. to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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. to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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 to Contents 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