Korg Musical Instrument Trinity User Manual
E
1
Download from Www.Somanuals.com. All Manuals Search And Download.  
Table of Contents  
Table of Contents  
Overview ......................................................................................................... 1  
Insert Effects.............................................................................................. 1  
Effect Size ........................................................................................... 2  
Effect Input/ Output ......................................................................... 2  
Grouping ............................................................................................ 3  
Master Effects ........................................................................................... 3  
Program ..................................................................................................... 4  
Program - Single/ Double OSC mode ............................................ 4  
Program - Drums OSC mode .......................................................... 5  
Combination ............................................................................................. 6  
Sequencer .................................................................................................. 8  
Dynamic Modulation ................................................................................... 10  
Insert Effect size1  
00: Amp Simulation...................................................................................... 13  
01: Compressor ............................................................................................. 14  
02: Limiter...................................................................................................... 15  
03: Gate........................................................................................................... 17  
04: Overdrive/ Hi-Gain ................................................................................ 19  
05: Parametric 4EQ (Parametric 4-Band EQ)............................................ 20  
06: Graphic 7Band EQ.................................................................................. 22  
07: Wah/ Auto Wah ...................................................................................... 23  
08: Random Filter ......................................................................................... 25  
09: Dyna Exciter ............................................................................................ 26  
10: Sub Oscillator .......................................................................................... 27  
11: Decimator ................................................................................................ 28  
12: Chorus...................................................................................................... 29  
13: Harmonic Chorus ................................................................................... 30  
14: Ensemble.................................................................................................. 31  
15: Flanger ..................................................................................................... 32  
16: Tempo Flanger ........................................................................................ 33  
17: Envelope Flanger .................................................................................... 34  
18: Phaser ....................................................................................................... 35  
19: Tempo Phaser ......................................................................................... 36  
20: Envelope Phaser ..................................................................................... 37  
21: Vibrato...................................................................................................... 38  
22: Resonator ................................................................................................. 39  
23: Ring Modulator ...................................................................................... 40  
24: Tremolo.................................................................................................... 42  
25: Rotary Speaker........................................................................................ 43  
26: Delay......................................................................................................... 44  
27: Multitap Delay ........................................................................................ 45  
28: Early Reflections ..................................................................................... 46  
i
Download from Www.Somanuals.com. All Manuals Search And Download.  
Table of Contents  
Insert Effect size2  
00: St. Amp Simulation (Stereo Amp Simulation)................................... 47  
01: Stereo Compressor ................................................................................. 48  
02: Stereo Limiter.......................................................................................... 49  
03: Multiband Limiter.................................................................................. 50  
04: Stereo Gate .............................................................................................. 51  
05: OD/ Hi-Gain Wah (Overdrive/ Hi-Gain Wah) .................................. 53  
06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ) .......................... 55  
07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ) .................................... 56  
08: Graphic 13Band EQ................................................................................ 57  
09: St. Random Filter (Stereo Random Filter)........................................... 58  
10: Stereo Enhancer ...................................................................................... 60  
11: Talking Modulator ................................................................................. 61  
12: Stereo Decimator .................................................................................... 63  
13: Stereo Chorus.......................................................................................... 64  
14: St. Harmonic Chorus (Stereo Harmonic Chorus).............................. 66  
15: Multitap Chorus/ Dly (Multitap Chorus/ Delay).............................. 67  
16: Ensemble ................................................................................................. 68  
17: Stereo Flanger ......................................................................................... 69  
18: St. Random Flanger (Stereo Random Flanger) .................................. 70  
19: St. Tempo Flanger (Stereo Tempo Flanger)........................................ 72  
20: Stereo Phaser........................................................................................... 73  
21: St. Random Phaser (Stereo Random Phaser) ..................................... 74  
22: St. Tempo Phaser (Stereo Tempo Phaser)........................................... 75  
23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)............................... 76  
24: Stereo Vibrato ......................................................................................... 78  
25: 2-Voice Resonator .................................................................................. 80  
26: Doppler .................................................................................................... 82  
27: Stereo Tremolo........................................................................................ 84  
28: Stereo Auto Pan ...................................................................................... 85  
29: St. Envelope Pan (Stereo Envelope Pan)............................................. 87  
30: Stereo Dyna Pan ..................................................................................... 89  
31: Phaser+Tremolo ..................................................................................... 91  
32: Shimmer .................................................................................................. 93  
33: Detune...................................................................................................... 95  
34: Pitch Shifter ............................................................................................. 96  
35: Pitch Shift Mod. (Pitch Shift Modulation) .......................................... 98  
36: Rotary Speaker...................................................................................... 100  
37: Dual Delay............................................................................................. 102  
38: Stereo Delay .......................................................................................... 103  
39: St. Multitap Delay (Stereo Multitap Delay)...................................... 104  
40: L/ C/ R Delay ........................................................................................ 105  
41: Tempo Delay......................................................................................... 106  
42: St. Modulation Delay........................................................................... 108  
43: St. Dynamic Delay (Stereo Dynamic Delay)..................................... 110  
44: Random Panning Dly (Random Panning Delay) ............................ 112  
45: Early Reflections .................................................................................. 113  
46: Reverb-Hall .......................................................................................... 114  
47: Reverb-SmoothHall ............................................................................ 114  
48: Reverb-Room ........................................................................................ 116  
49: Reverb-BrightRoom ............................................................................ 116  
50: Reverb-Wet Plate ................................................................................. 118  
51: Reverb-Dry Plate ................................................................................. 118  
ii  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Table of Contents  
Insert Effect size4  
00: Piano Body/ Damper (Piano Body/ Damper Simulation) .............. 119  
01: St. Mlt.band Limiter (Stereo Multiband Limiter)............................. 120  
02: OD/ Hyper-Gain Wah (Overdrive/ Hyper-Gain Wah)................... 121  
03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)............................... 122  
04: Vocoder .................................................................................................. 123  
05: St. Harmonic Chorus (Stereo Harmonic Chorus)............................ 124  
06: Multitap Chorus/ Dly (Multitap Chorus/ Delay) ............................ 126  
07: Stereo Ensemble.................................................................................... 128  
08: St. Tempo Flanger (Stereo Tempo Flanger)...................................... 129  
09: St. Tempo Phaser (Stereo Tempo Phaser)......................................... 130  
10: St. Pitch Shifter (Stereo Pitch Shifter) ................................................ 131  
11: 2Band Pitch Shifter ............................................................................... 132  
12: Rotary Speaker OD (Rotary Speaker Overdrive)............................. 133  
13: Early Reflections ................................................................................... 135  
14: L/ C/ R Long Delay............................................................................... 136  
15: Stereo Long Delay ................................................................................ 137  
16: Dual Long Delay................................................................................... 138  
17: St. Tempo Delay (Stereo Tempo Delay)............................................ 139  
18: Hold Delay ............................................................................................ 140  
Master Effects  
Modulation  
00: Flanger ................................................................................................... 142  
01: Phaser ..................................................................................................... 143  
02: Multitap Chorus/ Dly (Multitap Chorus/ Delay) ............................ 144  
03: Ensemble................................................................................................ 145  
04: Chorus.................................................................................................... 146  
05: L/ C/ R Delay......................................................................................... 147  
Reverb/ Delay  
00: L/ C/ R Long Delay............................................................................... 148  
01: Delay/ Reverb........................................................................................ 149  
02: Reverb-Room ........................................................................................ 151  
03: Reverb-Bright Room ............................................................................ 151  
04: Reverb-Hall ........................................................................................... 153  
05: Reverb-Smooth Hall............................................................................. 153  
06: Reverb-Wet Plate .................................................................................. 153  
07: Reverb-Dry Plate .................................................................................. 153  
Index............................................................................................................. 154  
iii  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
Overview  
The TRINITY series has two types of effects: Insert Effects and Master Effects.  
As shown in the figure below, you can use the Insert Effects in the process of sound creation after the  
Oscillator, Filter, and Amp. Then, reverberation and other effects are applied through the Master Effects.  
One hundred Insert Effects and fourteen Master Effects enable highly flexible sound production.  
Send  
Insert Effect  
Return  
Master Effect  
Amp  
EQ  
Oscillator  
Filter  
+
The TRINITY series does not have an input level meter to recognize the effect input level. Please  
note that if the input level is not high enough, the S/ N ratio may be reduced, and if the input level  
is excessive, clipping may occur.  
To obtain the optimum degree of effects, first set the input level of the Insert Effect and Master  
Effect to the maximum possible without clipping, then adjust the effect output level using the Wet/  
Dry parameter of the Insert Effects, and the Output Level parameter and/ or Return 1 and 2 of the  
Master Effects.  
The following table shows the parameters that can be used to adjust the input/ output levels:  
Program Edit mode  
Combination Edit mode  
Volume (P1)  
Send1/2 (P1)  
Trim Parameter (P7, P8)*  
Sequencer mode  
Volume (P1)  
OSC1/2 High, Low Level (P1)  
Filter1/2 A/B Gain (P3)  
Amp1/2 Level (P5)  
Send1/2 (P1)  
Input  
Send1/2 (P5 or P7)  
Trim Parameter (P7, P8)*  
Wet/Dry (P7)  
Output Level (P8)  
Retrurn1, 2 (P8)  
Wet/Dry (P7)  
OutPut Level (P8)  
Return1, 2 (P8)  
Output Level (P8)  
Return1, 2 (P8)  
Output  
* Certain effects may not utilize some of these parameters.  
Insert Effects  
Insert Effects are used as part of the sound creation process.  
You can select any effects from the effect library, which contains 100 effects, ranging from effects that  
change tone and dynamics, such as the equalizer, limiter, exciter, etc.; to effects that simulate particular  
characteristics of certain musical instruments, such as amp simulation, rotary speaker, and piano body/  
damper simulation; effects that create conventional effect sounds, such as ring modulator, talking modu-  
lator, vocoder, and pitch shifter; completely new types of effects, such as decimator and resonator; and  
classic effects, such as reverberation, chorus, delay, and overdrive.  
Insert Effects employ the concept of “size”, which allows for more flexible effect routing appropriate for  
your own application.  
In Program mode, you can use up to three effects in series (or up to four effects in series/parallel for a  
Drum mode Program).  
In the Combination and Sequencer modes, you can use up to three effects in series for each Timbre or  
Track (or up to four effects in series/parallel for each Timbre or Track that uses a Drum mode Program).  
In total, you can use up to eight effects for all Timbres/ Tracks.  
For more detailed information, refer to the block diagrams and explanations below for each mode.  
1
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
Effect Size  
Insert Effects utilize effect sizes of 1, 2, and 4.  
Program (Single or Double mode Program):  
Up to three effects with a total effect size of four or less can be inserted in series.  
Size  
1
Size  
1
Size  
2
Program (Drum mode Program):  
Up to four effects with a total effect size of four or less can be inserted in series/ parallel.  
Use P5 (DrumKit) in Global mode to assign the DrumKit sounds to Insts 1–4 for each key.  
Size  
1
Size  
2
Size  
4
Size  
1
Size  
1
Inst1  
Inst2  
Inst3  
Inst4  
Inst1  
Inst1  
Inst2  
Inst1  
Size  
1
Size  
2
Size  
1
Inst3  
Inst4  
Size  
1
Size  
1
Size  
1
Combination:  
Up to eight effects with a total effect size of eight or less can be inserted.  
Size  
4
Size  
4
Size  
2
Size  
2
Timbre1  
Timbre2  
Timbre1  
Size  
1
Size  
1
Size  
2
Sequencer:  
Up to eight effects with a total effect size of eight or less can be inserted.  
Size  
4
Size  
4
Size  
2
Size  
2
Track1  
Track2  
Track1  
Size  
1
Size  
1
Size  
2
Effect Input/ Output  
The following table shows the input/ output of the Dry sound (the sound without any effect applied) and  
the Wet sound (the sound with an effect applied) for each size.  
Dry  
Wet  
Dry  
Wet  
Mono In - Mono Out  
Mono In - Mono Out  
Stereo In - Stereo Out  
Mono In - Mono Out  
Stereo In - Stereo Out  
Mono In - Stereo Out  
Stereo In - Stereo Out  
Stereo In - Stereo Out  
size1  
Effect  
Effect  
+
+
size2 Dry  
Effect  
size4  
Wet  
Dry  
Wet  
Effect  
Effect  
Shown on the upper left corner of the effect block diagrams.  
The Size 1 effects are all monaural in/ monaural out for both dry and wet sounds. Therefore, Size 1 effects  
have monaural input as shown in the figure on the next page. If the Effect On/ Off parameter is turned  
Off, the effect is bypassed. When a size 1 effect is selected, the bypass sound becomes monaural.  
Regardless of the Effect On/ Off setting, you can turn all Insert Effects Off by sending the Effect 2  
Control message (Controller #92). When the Controller value is 0, all effects turn Off. They turn On  
with a value of 1–127.  
2
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
When you want to preserve the stereo image of a Double mode Program, use Insert Effects of size 2 or 4.  
Stereo In  
Size  
4
Stereo In  
Size  
2
Size  
2
Mono In  
Size  
1
Size  
1
Size  
2
Grouping  
You can use the grouping function in the Combination and Sequencer modes to use the Insert Effects effi-  
ciently. The effect grouping function places the Timbres/ Tracks into one group so that the same Insert  
Effects will be applied to all of them.  
Note the following when you are trying to place Timbres/ Tracks that use Single or Double mode Pro-  
grams, and Timbres/ Tracks that use Drum mode Programs into a group:  
•
When you are adding Timbres/ Tracks that use Single or Double mode Programs to a group of Tim-  
bres/ Tracks that use Drum mode Programs:  
The Timbres/ Tracks will be grouped (input) to Insert Effect inst1 of the Timbres/ Tracks that use Drum  
mode Programs.  
•
When you are adding Timbres/ Tracks that use Drum mode Programs to a group of Timbres/ Tracks  
that use Single or Double mode Programs:  
Only DrumKit sounds that have been assigned to inst1 in P5 of Global mode will be grouped (input) to  
the Insert Effects of the Timbres/ Tracks that use Single or Double mode Programs.  
Master Effects  
Master Effects use a send and return routing regardless of the modes, and consist of two types of effects:  
modulation and reverberation/ delay, both mono-in/stereo-out. These fourteen effects can be used to pro-  
vide overall ambience. It is possible to route the modulation effects and reverb/ delay effects in series.  
Send levels are set for each oscillator, or after the Insert Effects are applied. In the Combination and  
Sequencer modes, you can set the send levels for each Timbre/ Track, allowing you to use the unit as a  
mixer to create a spacious effect for entire Programs, Combinations, or Songs.  
A Low/ High-type shelving EQ is located before the output connectors 1/ L/ MONO and 2/ R, and allows  
you to “fine-tune” the tone of your sound.  
The Master Effect parameters are set for each Program, Combination, and Song. (Use P8 in each mode.)  
The Effect 4 Control message (Controller #94) will turn the modulation effects on/ off, and the  
Effect 5 control message (Controller #95) will turn the reverb/ delay effects on/ off. Both control  
messages are sent on the Global MIDI Channel. With a control value of 0, the effect is turned off,  
and with a value of 1–127, the effect is turned on.  
The Effect 3 Level message (Controller #93) will adjust the send level of the modulation effects, and  
the Effect 1 Level message (Controller #91) will adjust the send level of the reverb/ delay effects.  
The control messages for Programs are sent on the Global MIDI Channel, and control messages for  
Combinations and Sequences are sent on the MIDI Channels specified for each Timbre and Track.  
3
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
Program  
You can use the Insert Effects as long as the total of the effect size is four or less in Program mode.  
The configuration of the Insert Effects is different when using a Single or Double mode Program than  
when using a Drum mode Program.  
Program - Single/ Double OSC mode  
Amp1/2 Mod  
Master Effects  
Insert Effects  
(Program Edit P5)  
(Program Edit P8)  
(Program Edit P7)  
in the case of  
Insert Effect =Off *  
Master Effects  
Modulation  
Pan1  
OUT3  
OUT4  
+
+
+
Send1  
Send2  
Reverb/Delay  
+
Pan2  
Send1  
Send2  
Filter1 Amp1  
OSC1  
OSC2  
Pan  
Return2  
Return1  
Send1  
Send2  
+
+
LEQ  
HEQ  
Insert Effects  
E1 E2 E3  
+
+
+
+
OUT1  
OUT2  
+
Filter2  
Amp2  
+
+
+
+
Pan  
+
Pan Width  
in the case of  
Insert Effect =On  
Low Gain High Gain  
Insert Effect =Off *  
* Insert Effect =Off: size =0  
Program - Single / Double OSC Mode  
Insert Effects  
You can insert up to three effects in series as long as the total of the effect sizes is four or less when you  
are using a Program with the Oscillator Mode parameter (1–1c) set to single or double (shown as E1, E2,  
and E3 in the center of the figure above).  
If you insert a size 1 effect, the input/ output becomes monaural. In this case, the oscillator’s Pan parame-  
ter (P5 in Program Edit mode) becomes ineffective, and the pan setting will be in the center. Adjust the  
stereo pan position using the Pan parameter that comes after the Insert Effects (P7 in Program Edit mode).  
If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever-  
beration) using the Width parameter (P7 in Program Edit mode). If you wish to make the oscillator’s Pan  
setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064  
and set the Width to 127.  
Insert Effect - Pan, Width  
Pan=L000  
Pan=L000  
Pan=L000  
Pan=R127  
Pan=R127  
Pan=R127  
Pan=C064, Width=127  
Pan=C064, Width=64  
Pan=C064, Width=32  
Pan=C064, Width=0  
Pan=C064, Width=127  
Pan=L048, Width=127  
Pan=L032, Width=127  
Pan=L016, Width=127  
Pan=R096, Width=127  
Pan=R096, Width=64  
Pan=L048, Width=127  
Pan=L048, Width=64  
Left  
Center  
Right  
Left  
Center  
Right  
Left  
Center  
Right  
Master Effects  
The input level of the Master Effects is set by Send 1 and 2.  
Since the destination of the send routing changes depending on whether the Insert Effects have been  
inserted or not, the parameters will change accordingly.  
If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Program Edit mode will become  
effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters  
of P5 in Program Edit mode will become effective.  
The Send 1 and 2 parameters are also used to set the level of the signal appearing at output connectors 3  
and 4.  
Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound  
(without the Master Effects applied), set the Master Effect parameters of P8 in Program Edit mode to  
“Off.” In this case, however, the Master Effects will not be applied to the signal at outputs 1 and 2.  
4
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2  
using the Pan 3 and 4 parameters (P8 in Program Edit mode).  
To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Program Edit mode).  
If you check the check box located between Send 1 and Send 2 in the upper left corner of the LCD, the  
serial routing of Modulation → Reverb/ Delay will be added. That is, the Right modulation output will be  
added to the Reverb/ Delay input. In this case, you can still set the Return 1 and 2 parameters indepen-  
dently.  
Program - Drums OSC mode  
Master Effects  
(Program Edit P8)  
Insert Effects  
(Program Edit P7)  
DrumKit  
(Global P5)  
Amp1/2 Mod  
(Program Edit P5)  
Insert Effect=Off  
Master Effects  
Modulation  
Pan1  
Send1  
Send2  
OUT3  
OUT4  
+
+
+
+
Send1  
Send2  
Reverb/Delay  
+
+
Pan2  
Kick  
Pan  
Send1  
Insert  
Effects  
+
+
Return2  
Return1  
Send1  
Send2  
Send2  
LEQ  
HEQ  
+
+
+
+
+
+
+
+
OUT1  
OUT2  
E1  
+
Snare  
+
+
+
+
+
+
Pan  
Send1  
+
+
Pan Width  
Pan Width  
Pan Width  
Pan Width  
Insert Effect=inst1  
Insert Effect=inst2  
+
+
Send2  
Low Gain High Gain  
+
+
+
+
E2  
Send1  
Send2  
Send1  
+
+
+
+
+
Send2  
Tom  
+
+
Pan  
+
+
E3  
E4  
Send1  
Send2  
Send1  
Send2  
+
+
H.Hat  
Pan  
Insert Effect=inst3  
Send1  
Send2  
+
Conga  
Pan  
+
Insert Effect=inst4  
Insert Effect=Off  
Program - Drums OSC Mode  
Insert Effects  
You can insert up to four effects in series or parallel as long as the total of the effect sizes is four or less  
when you are using a Drum mode Program (shown as E1, E2, E3, and E4 in the center of the figure  
above).  
You can select Insert On/ Off, and inst 1–4 (using E1–E4 input), and set the Pan and Send 1/ 2 parameters  
for each Drum sound in P5 of Global mode for each key. The final send setting will use the value set here  
multiplied by the Send setting set in P5 of Program Edit mode.  
If you insert a size 1 effect, the input/ output becomes monaural. In this case, the DrumKit’s Pan parame-  
ter (P5 in Global mode) becomes ineffective, and the sound will be panned in the center. Adjust the stereo  
position using the Pan parameter (P5 of Program Edit mode) that comes after the Insert Effects (P7 in Pro-  
gram Edit mode).  
If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever-  
beration) using the Width parameter (P7 in Program Edit mode). If you wish to make the DrumKit’s Pan  
setting (P5 in Global mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set  
the Width to 127.  
Master Effects  
The input level of the Master Effects is set by Send 1 and 2.  
Since the destination of the send routing changes depending on whether the Insert Effects have been  
inserted or not, the parameters will change accordingly.  
5
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Program Edit mode will become  
effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters  
of P5 in Global mode and P5 in Program Edit mode will become effective.  
The Send 1 and 2 parameters are also used to set the level of signal appearing at output connectors 3 and  
4.  
Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound  
(without the Master Effects applied), set the Master Effect parameters of P8 in Program Edit mode to  
“Off.” In this case, however, the Master Effect will not be applied to the signal at outputs 1 and 2.  
If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2  
using the Pan 3 and 4 parameters (P8 in Program Edit mode).  
To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Program Edit mode).  
If you check the check box located between Send 1 and Send 2 in the upper left corner of the LCD, the  
serial routing of Modulation → Reverb/ Delay will be added. That is, the Right modulation output will be  
added to the Reverb/ Delay input. In this case, you can also set the Return 1 and 2 parameters indepen-  
dently.  
Combination  
Mixer  
Insert Effect Grouping  
(Combination Edit P7)  
Master Effects  
(Combination Edit P8)  
(Combination Edit P1)  
Timbre1  
in the case of  
Master Effects  
Modulation  
Insert Effect =Off  
Pan1  
OUT3  
OUT4  
+
+
+
Send1  
Send2  
Insert Effect=Off  
Reverb/Delay  
+
Pan2  
Send1  
Send2  
Filter1 Amp1  
OSC1  
OSC2  
+
Pan  
Return2  
Return1  
+
Send1  
Send2  
+
+
LEQ  
HEQ  
Insert Effects  
E1 E2 E3  
+
+
+
+
OUT1  
OUT2  
+
Filter2  
Amp2  
+
+
+
+
Pan  
+
Pan Width  
in the case of  
Insert Effect =On  
Low Gain High Gain  
in the case of  
Insert Effect =Off  
Timbre2  
+
Send1  
Send2  
+
+
+
Send1  
Send2  
Filter1 Amp1  
OSC1  
OSC2  
Pan  
+
+
Send1  
Send2  
+
+
Insert Effects  
E1 E2 E3  
+
+
Filter2  
Amp2  
+
+
Pan  
Pan Width  
in the case of  
Insert Effect =On  
up to  
Timbre8  
Insert Effect=Off  
Combination  
Insert Effects  
The Insert Effects selected in Program Edit mode are not used in Combination Edit mode. Instead, you  
can set Insert Effects for up to eight Timbres in a Combination.  
Go to P7 in Combination Edit mode, and set the Insert Effect’s Off, size (1, 2, 4, 8), and grouping parame-  
ters for each of Timbres 1–8.  
If you wish to use a Program’s Insert Effect settings by using the Copy function, first select a size for the  
corresponding Timbre equal to or greater than the size of the effects used in the Program.  
You can route up to three Insert Effects for each Timbre in series. (If the Program is using a DrumKit, you  
can use up to four effects in series or parallel.)  
The total effect size for all the Timbres must be eight or less.  
6
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
You can also set the total effect size for a single Timbre to eight. However, if you are routing three Insert  
Effects in series, you cannot place an effect of size 4 on the second position. For a Timbre that uses a Drum  
mode Program, you can set the total effect size to eight. However, if you are routing three Insert Effects in  
series, you cannot place the effect of size 4 on the second position. If you are routing four effects in series,  
you cannot place an effect of size 4 on the second or third position.  
If you insert a size 1 effect, the input/ output becomes monaural. In this case, the Timbre’s Pan parameter  
(P1 Timb Param1 in Combination Edit mode) becomes ineffective, and the pan setting will be in the cen-  
ter. Adjust the stereo pan position using the Pan parameter (P7 in Combination Edit mode) that comes  
after the Insert Effects.  
If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever-  
beration) using the Width parameter (P7 in Combination Edit mode). If you wish to make the oscillator’s  
Pan setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to  
C064 and set the Width to 127.  
Refer to the “Program - Drums OSC mode” section for information regarding the setting of Programs that  
use a DrumKit.  
When you are adding Timbres/ Tracks that use Single or Double mode Programs to a group of Tim-  
bres/ Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect inst1 of  
the Timbres/ Tracks that use Drum mode Programs.  
When you are adding Timbres/ Tracks that use Drum mode Programs to a group of Timbres/  
Tracks that use Single or Double mode Programs, only DrumKit sounds that have been assigned to  
inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/ Tracks  
that use Single or Double mode Programs.  
Master Effects  
You need to set the Master Effects in the Combination, since the Master Effects set in Program Edit mode  
are ineffective here.  
The input levels of the Master Effects are set by Send 1 and 2.  
Since the destination of the send routing changes depending on whether Insert Effects have been inserted  
or not, the parameters will change accordingly.  
If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Combination Edit mode will  
become effective (those of P1 Timb Param1 will be ignored). If you have not inserted Insert Effects, the  
Send 1 and 2 parameters of P1 Timb Param1 in Combination Edit mode will become effective.  
The Send 1 and 2 parameters are also used to set the level of signal appearing at output connectors 3 and  
4.  
Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound  
(without the Master Effects applied), set the Master Effect parameters of P8 in Combination Edit mode to  
“Off.” In this case, however, the Master Effects will not be applied either to the output 1 or 2 signal.  
If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2  
using the Pan 3 and 4 parameters (P8 in Combination Edit mode).  
To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Combination Edit mode).  
If you check the check box located between Send 1 and 2 in the upper left corner on the LCD, the serial  
routing of Modulation → Reverb/ Delay will be added. That is, the Right modulation output will be  
added to the Reverb/ Delay input. In this case, you can still set the Return 1 and 2 parameters indepen-  
dently.  
7
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
Sequencer  
Track Play / Rec  
(Sequencer P1)  
Insert Effect Grouping  
(Sequencer P7)  
Master Effects  
(Sequencer P8)  
Track1  
in the case of  
Insert Effect =Off  
Master Effects  
Modulation  
Pan1  
Pan2  
OUT3  
OUT4  
+
+
+
Send1  
Send2  
Insert Effect=Off  
Reverb/Delay  
+
Send1  
Send2  
Filter1 Amp1  
OSC1  
+
Pan  
Return2  
Return1  
LEQ  
+
Send1  
Send2  
+
+
HEQ  
Insert Effects  
E1 E2 E3  
+
+
+
+
OUT1  
OUT2  
+
Filter2  
OSC2  
Amp2  
+
+
+
+
Pan  
+
Pan Width  
in the case of  
Insert Effect =On  
Low Gain High Gain  
in the case of  
Insert Effect =Off  
Track2  
+
Send1  
Send2  
+
+
+
Send1  
Send2  
Filter1 Amp1  
OSC1  
OSC2  
Pan  
+
+
Send1  
Send2  
+
+
Insert Effects  
E1 E2 E3  
+
+
Filter2  
Amp2  
+
+
Pan  
Pan Width  
in the case of  
Insert Effect =On  
up to  
Track16  
Insert Effect=Off  
Sequencer  
Insert Effects  
The Insert Effects selected in Program Edit mode are not used in Sequencer mode. Instead, you can set  
Insert Effects for up to eight Tracks in the Sequencer.  
Go to P7 in Sequencer mode, and set the Insert Effect’s Off, size (1, 2, 4, 8), and grouping parameters for  
each of Tracks 1–16.  
If you wish to use a Program’s Insert Effect settings by using the Copy function, first select a size for the  
corresponding Track equal to or greater than the size of the effects used in the Program.  
You can route up to three Insert Effects for each Track in series. (If the Program is using a DrumKit, you  
can use up to four effects in series or parallel.)  
The total effect size for all the Tracks must be eight or less.  
You can also set the total effect size for a single Track to eight. However, if you are routing three Insert  
Effects in series, you cannot place an effect of size 4 on the second position. For a Track that uses a Drum  
mode Program, you can set the total effect size to eight. However, if you are routing three Insert Effects in  
series, you cannot place an effect of size 4 on the second position. If you are routing four effects in series,  
you cannot place an effect of size 4 on the second or third position.  
If you insert a size 1 effect, the input/ output becomes monaural. In this case, the Track’s Pan parameter  
(P1 Track Play/ Rec in Sequencer mode) becomes ineffective, and the pan setting will be in the center.  
Adjust the stereo pan position using the Pan parameter (P7 in Sequencer mode) that comes after the  
Insert Effects.  
If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever-  
beration) using the Width parameter (P7 in Sequencer mode). If you wish to make the oscillator’s Pan set-  
ting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064  
and set the Width to 127.  
Refer to the “Program - Drums OSC mode” section for information regarding the setting of Programs that  
use a DrumKit.  
8
Download from Www.Somanuals.com. All Manuals Search And Download.  
Overview  
When you are adding Timbres/ Tracks that use Single or Double mode Programs to a group of Tim-  
bres/ Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect Inst1 of  
the Timbres/ Tracks that use Drum mode Programs.  
When you are adding Timbres/ Tracks that use Drum mode Programs to a group of Timbres/  
Tracks that use Single or Double mode Programs, only DrumKit sounds that have been assigned to  
Inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/ Tracks  
that use Single or Double mode Programs.  
Master Effects  
You need to set the Master Effects for each song in the Sequencer mode, since the Master Effects set in  
Program Edit mode are ignored here.  
The input levels of the Master Effects are set by Send 1 and 2.  
Since the destination of the send routing changes depending on whether Insert Effects have been inserted  
or not, the parameters will change accordingly.  
If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Sequencer mode will become  
effective (those of P1–3 Mix 1–8 and P1–4 Mix 9–16 will be ignored). If you have not inserted Insert  
Effects, the Send 1 and 2 parameters of P1–3 Mix 1–8 and P1–4 Mix 9–16 in Sequencer mode will be used  
instead.  
The Send 1 and 2 parameters are also used to set the level of the signal appearing at output connectors 3  
and 4.  
Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound  
(without the Master Effects applied), set the Master Effect parameters in P8 of Sequencer mode to “Off.”  
In this case, however, you cannot apply the Master Effects to output connectors 1 and 2.  
If the output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2  
using the Pan 3 and 4 parameters (P8 of Sequencer mode).  
To set the Master Effect return level, use the Return 1 and 2 parameters (P8 of Sequencer mode).  
If you check the check box between Send 1 and 2 located in the upper left corner of the LCD, the serial  
routing of Modulation → Reverb/ Delay will be added. That is, the Right modulation output will be  
added to the Reverb/ Delay input. In this case, you can still set the Return 1 and 2 parameters indepen-  
dently.  
9
Download from Www.Somanuals.com. All Manuals Search And Download.  
Dynamic Modulation  
Dynamic Modulation  
You can control certain effect parameters using the joystick, ribbon controller, etc. “on the fly.” For exam-  
ple, you can use the After Touch effect to speed up the LFO of the chorus and flanger, or you can use the  
ribbon controller to activate the wah effect. In this way, you will be able to make the most out of the  
expression created by the effects as part of your instrument.  
Most of the parameters with dynamic modulation consist of the parameter value, Src (source), and Amt  
(amount). The Src field selects the modulation source, and Amt sets the amount of dynamic modulation  
effect. When the modulation source is set to the maximum value, the actual degree of the effect will be the  
parameter value plus the Amt value.  
Dynamic modulation of the Program’s Insert Effects and Master Effects is controlled via the Global  
MIDI Channel. Dynamic modulation of the Insert Effects for Combinations and Sequences is con-  
trolled via the MIDI Channels specified for each Timbre and Track. Dynamic modulation of the  
Master Effects is controlled via the Global MIDI Channel.  
e.x.  
Wet/ Dry=10:90  
Src=Aftr Touch  
Amt=+50  
In this case, the effect balance is 10:90. As you apply After Touch, the percentage of the effect sound will  
increase. When After Touch is at its maximum, the effect balance will be 60:40.  
Dynamic Modulation (Example)  
Wet / Dry  
Wet / Dry=10:90  
Wet  
Amt= +50  
Wet / Dry=60:40  
Amt= –50  
60:40  
-mod  
D
10:90  
Dry  
Zero  
Higher  
Max  
If you are controlling the effect parameters using any source other than AUTOFADE, the dynamic  
modulation effect will not be affected if you modify the Amt value while the dynamic modulation  
is being applied. The modification will become effective when you operate the dynamic modula-  
tion source again.  
Refer to the corresponding effect section for an explanation of other dynamic modulation parameters.  
is marked on the right of the effect parameter table to indicate that the parameter has dynamic  
modulation.  
Source  
None  
Dynamic modulation is not used.  
Note On/Off  
Gate1  
 P.11  
 P.11  
 P.11  
 P.11  
Gate1+Sus  
Gate2  
Note On + Sustain pedal On/Off  
Note On/Off (retrigger)  
Note On + Sustain pedal On/Off (retrigger)  
Note number.  
Gate2+Sus  
Note No.  
Velocity  
AftrTouch  
JS(+Y)  
Velocity  
Channel After Touch  
Joystick - upward  
10  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Dynamic Modulation  
Source  
JS(–Y)  
Joystick - downward  
JS(X)  
Joystick - horizontal direction  
Ribbon controller - horizontal direction  
How strongly you press the ribbon controller  
Assignable Panel Switch 1 (CC#80)  
Assignable Panel Switch 2 (CC#81)  
Assignable Foot Switch (CC#82)  
Assignable Foot Pedal (CC#04)  
Sustain Pedal  
Ribbon(X)  
Ribbon(Z)  
SW1  
 P.12  
 P.12  
 P.12  
 P.12  
SW2  
Foot SW  
Foot Pedal  
SustainPdl  
MIDI Vol  
MIDI Pan  
MIDI Exp  
MIDI Cnt1  
MIDI Cnt2  
Slider  
MIDI Volume (CC#07)  
MIDI Pan (CC#10)  
MIDI Expression Control (CC#11)  
MIDI Effect Control 1(CC#12)  
MIDI Effect Control 2(CC#13)  
Value Slider (CC#18)  
MIDI CC#19  
Tempo  
MIDI Control Change (CC#19)  
Tempo information specified by the sequencer or MIDI clock  
Auto Fade (only for some effects)  
 P.12  
AUTOFADE  
 P.12  
Gate1  
Gate1+Sus  
The effect amount is at maximum during Note-on. When you release all the  
keys, the effect will stop. For Gate 1+Sus, the maximum effect level will be main-  
tained as long as you press the sustain pedal, even after you release the keys.  
Gate1,Gate1+Sus  
Gate+Sus  
1
2
2
1
3
3
Note  
Sustain Pedal  
On  
Off  
Gate1  
Gate1+Sus  
Time  
Gate2  
Gate2+Sus  
These are almost the same as Gate 1, and Gate 1+Sus. However, if you are using  
this as a source for, say, the EG of size 1, 17: Envelope Flanger, or the AUTO-  
FADE of size 2, 13: Stereo Chorus, every Note On message will trigger the effect.  
(With Gate 1, and Gate 1+Sus, only the first Note On data will trigger the effect.)  
Gate2,Gate2+Sus  
Gate+Sus  
1
2
2
1
3
3
Note  
Sustain Pedal  
On  
Off  
Gate2  
Gate2+Sus  
Time  
11  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Dynamic Modulation  
SW1  
SW2  
If the switches on the panel are assigned as a dynamic modulation source, set  
SW1 to Modulation (CC#80) and SW2 to (CC#81) in P1 of Program Edit mode, or  
P4 of Combination Edit mode.  
Foot SW  
If the assignable foot switch is assigned as a dynamic modulation, set Foot  
Switch to Modulation (CC#82) in P1 of Global mode.  
Then, you can control the effect from a footswitch connected to the SWITCH ter-  
minal.  
Foot Pedal  
AUTOFADE  
If the assignable pedal is assigned as a dynamic modulation, set Foot Pedal to  
Foot Controller (CC#04) in P1 of Global mode.  
Then, you can control the effect from a foot pedal connected to the PEDAL ter-  
minal.  
You can use AUTOFADE only for some effects such as size 2, 13: Stereo Chorus.  
The effect is triggered by Note On data or the assignable switch. AUTOFADE  
allows the modulation effect amount to fade in automatically. You cannot select  
AUTOFADE as a modulation source for the effects/ parameters that do not have  
the AutoFade function.  
In the parameter table, the  
mark appears to the right of the effect  
parameters that have the AutoFade function.  
The effect is off when a value for the dynamic modulation source speci-  
fied for the AUTOFADE Src parameter is smaller than 64, and the effect is  
on when the value is 64 or higher. The AutoFade function is triggered  
when the value changes from 63 or smaller to 64 or higher.  
AUTOFADE AutoFade  
D-mod  
Off  
On  
Fade-In Rate  
AUTOFADE  
Tempo  
The modulation sources ranging from “Note number” to “MIDI CC#19” listed  
on the table on pages 10 and 11 can be controlled via MIDI Control messages 0  
through ±127. On the other hand, Tempo information specified on the sequencer  
or from the MIDI clock is used as a BPM value for the Tempo. Therefore, a  
Tempo value of 127 (BPM) will create the same effect as created by the maximum  
value (+127) of MIDI Control message.  
12  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
00: Amp Simulation  
00: Amp Simulation  
This effect simulates the frequency response characteristics of guitar amplifiers. You can obtain a realistic  
guitar amplifier sound. It is also effective for organ sounds.  
Mono In - Mono Out  
In  
Wet / Dry  
Amp Simulation Filter  
a
b
Amplifier Type  
Wet/Dry  
Src  
SS, EL84, 6L6  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Selects the type of guitar amplifier.  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
13  
Download from Www.Somanuals.com. All Manuals Search And Download.  
01: Compressor  
01: Compressor  
This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for gui-  
tar, piano, and drum sounds.  
Mono In - Mono Out  
In  
Wet / Dry  
EQ Trim  
LEQ  
HEQ  
Compressor  
Output Level  
Envelope - Control  
a
b
c
d
e
f
Sensitivity  
Attack  
1…100  
Sets sensitivity.  P.14  
1…100  
Sets attack amount.  P.14  
Equalizer input level  
EQ Trim  
0…100  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Ouput Level  
Wet/Dry  
–15.0…+15.0dB  
–15.0…+15.0dB  
0…100  
Low EQ gain  
High EQ gain  
Compressor output level. P.14  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
g
Src  
Amt  
a: Sensitivity  
f: Output Level  
The “Sensitivity” parameter sets the sensitivity of the compressor. If this param-  
eter is set to a higher value, lower level sounds will be boosted. With a higher  
Sensitivity, the overall volume level is higher. To adjust the final volume level,  
use the “Output Level” parameter.  
Compressor - Sensitivity  
Level  
Wet  
Sensitivity=100  
Sensitivity=40  
Dry  
Time  
b: Attack  
This parameter controls the attack level.  
Compressor - Attack  
Level  
Attack=80  
Attack=20  
Wet  
Dry  
Time  
14  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
02: Limiter  
02: Limiter  
The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter com-  
presses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies  
a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to  
set any band width to be covered.  
Mono In - Mono Out  
In  
Wet / Dry  
Gain Adjust  
Limiter  
Side PEQ  
Envelope - Control  
Trigger Monitor  
a
b
Ratio  
1.0:1…50.0:1, Inf:1  
Sets the signal compression ratio.  P.15  
Sets the signal level above which compression is applied.  
 P.15  
Threshold [dB]  
–40…0dB  
c
d
e
f
Attack  
1…100  
Sets attack time.  P.16  
Release  
1…100  
Sets release time.  P.16  
Gain Adjust [dB]  
Side PEQ Insert  
Side PEQ Cutoff [Hz]  
Q
–16…+24dB  
Off, On  
Sets output gain.  P.15  
Switches the trigger signal EQ on/off.  P.16  
Center frequency of the trigger signal EQ  P.16  
Band width of the trigger signal EQ  
Gain of the trigger signal EQ  
20…12.00kHz  
0.5…10.0  
–18.0…+18.0dB  
g
h
i
Gain [dB]  
Switches effect output/trigger signal monitor on/off.  
 P.16  
Trigger Monitor  
Off, On  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
a: Ratio  
b: Threshold [dB]  
This parameter sets the signal compression ratio. Compression is applied only  
when the signal level exceeds the Threshold value.  
e: Gain Adjust [dB]  
Adjust the output level using the Gain Adjust parameter, since compression  
causes the entire level to be reduced.  
15  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
02: Limiter  
Limiter - Threshold / Ratio  
Ratio=1.0 : 1  
Output Level  
Ratio=2.0 : 1  
Ratio=4.0 : 1  
Threshold  
Ration=Inf : 1  
Louder  
Input Level  
Level  
Ratio=1.0 : 1  
Dry  
Ratio=2.0 : 1  
Ratio=4.0 : 1  
Threshold  
Ratio=Inf : 1  
Time  
c: Attack  
d: Release  
These parameters set the attack time and release time. A higher attack time will  
cause the compression to be applied more slowly.  
Limiter - Attack / Release  
Threshold  
Dry  
Ratio=Inf : 1  
Attack=1  
Wet  
Release=1  
Ratio=Inf : 1  
Attack=100  
Release=100  
Wet  
Release  
Attack  
f: Side PEQ Insert  
g: Side PEQ Cutoff [Hz]  
g: Q  
These parameters are used to set the EQ applied to the trigger signal.  
The Limiter determines whether the compression is applied or not, based on the  
sound post-EQ. Setting the equalizer allows you to set the Limiter to respond to  
any frequency band.  
g: Gain [dB]  
h: Trigger Monitor  
Setting this parameter On will cause the trigger signal to be output, instead of the  
Limiter signal. Use this parameter to check the trigger signal with EQ applied.  
Usually, set this to Off.  
16  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
03: Gate  
03: Gate  
The Gate effect mutes signals with a level lower than the specified threshold. You can also use this effect  
to create Gated Reverb by routing it after the Reverb effect. The Gate can be turned on/ off directly by  
Note On/ Off.  
Mono In - Mono Out  
In  
Wet / Dry  
Delay  
Gate  
Envelope - Control  
Envelope Select  
Gate+Sus  
Toggles between control by Modulation Source and con-  
trol by input signal. P.17  
Envelope Select  
Src  
D-mod, Input  
None…Gate2+Sus  
0…100  
a
b
Modulation Source that controls Gate when Envelope  
Select is set to D-mod.  
Sets the signal level below which Gate is applied.  
 P.17  
Threshold  
c
d
e
Attack  
1…100  
Sets attack time.  P.17  
Release  
Delay Time [msec]  
Wet/Dry  
Src  
1…100  
Sets release time. P.17  
0…100msec  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Delay time for gate input  P.18  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
f
Amt  
a: Envelope Select  
a: Src  
The Envelope Select parameter determines whether the Gate is on/ off based on  
the level of input signal or by using a modulation source. The Src parameter is  
available only when you have selected D-mod for the Envelope Select parame-  
ter. Selection ranges from None to Gate2+Sus.  
b: Threshold  
c: Attack  
This parameter sets the signal level below which Gate is applied when Envelope  
Select is set to Input.  
d: Release  
The Attack and Release parameters set the Gate attack time and release time.  
17  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
03: Gate  
Gate - Threshold  
Output Level  
Threshold  
Louder  
Input Level  
Gate - Attack / Release  
Threshold  
Dry  
Wet  
Attack=1  
Release=1  
Wet  
Attack=100  
Release=100  
Release  
Attack  
e: Delay Time  
This parameter sets the delay time of the Gate input. If the sound has a very fast  
attack, increase the delay time so that the signal will be input after the Gate is  
opened. This will preserve the attack part of the sound.  
18  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
04: Overdrive/Hi-Gain  
04: Overdrive/ Hi-Gain  
This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the 4-band EQ will  
allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.  
Mono In - Mono Out  
In  
Wet / Dry  
Pre Low-cut  
4 Band PEQ  
Driver  
Output Level  
Mode: Overdrive / Hi-Gain  
Drive  
Direct Mix  
a
b
c
Mode  
Overdrive, Hi-Gain  
0…100  
Switches between overdrive and hi-gain distortions.  
Sets the degree of distortion.  P.19  
Sets the output level. P.19  
Drive  
Output Level  
0…50  
Amount of cut in low range at the distortion input.  
 P.19  
d
Pre Low-cut  
0…10  
Band1 Cutoff [Hz]  
20…1.0kHz  
0.5…10.0  
Center frequency of EQ band 1  
Band 1 bandwidth  P.19  
Band 1 gain  
e
Q
Gain [dB]  
Band2 Cutoff [Hz]  
Q
–18…+18dB  
50…5.00kHz  
0.5…10.0  
Band 2 center frequency  
Band 2 bandwidth  P.19  
Band 2 gain  
f
Gain [dB]  
Band3 Cutoff [Hz]  
Q
–18…+18dB  
300…10.00kHz  
0.5…10.0  
Band 3 center frequency  
Band 3 bandwidth  P.19  
Band 3 gain  
g
Gain [dB]  
Band4 Cutoff [Hz]  
Q
–18…+18dB  
500…20.00kHz  
0.5…10.0  
Band 4 center frequency  
Band 4 bandwidth  P.19  
Band 4 gain  
h
i
Gain [dB]  
Direct Mix  
Wet/Dry  
Src  
–18…+18dB  
0…50  
Mix amount of dry sound routed to Distortion  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
j
Amt  
b: Drive  
The degree of distortion is determined by the level of input signal and the set-  
ting of Drive. Raising the Drive setting will cause the entire volume level to  
increase. Use the Output Level parameter to adjust the volume level. The Out-  
put Level parameter uses the signal level input to the 4-Band EQ. If clipping  
occurs at the 4-Band EQ, adjust the Output Level parameter.  
c: Output Level  
d: Pre Low-cut  
Cutting the signal in the low range before it is input to the Distortion will create  
a sharp distortion.  
e: Q  
f: Q  
These parameters set the bandwidth of each band filter. The higher the value,  
the narrower the band becomes.  
g: Q  
h: Q  
19  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
05: Parametric 4EQ (Parametric 4-Band EQ)  
05: Parametric 4EQ (Parametric 4-Band EQ)  
This effect is a four-band parametric equalizer. You can select either a peaking type or a shelving type for  
Band 1 and 4. Band 2 allows for gain control via dynamic modulation.  
Mono In - Mono Out  
In  
Wet / Dry  
Band1 Band2 Band3  
Band4  
PEQ  
PEQ  
PEQ  
PEQ  
Trim  
HEQ  
LEQ  
-mod  
D
a
b
c
Trim  
0…100  
Sets the input level.  
Band1 Type  
Band4 Type  
Band2 Dynamic Gain Src  
Amt [dB]  
Peaking, Shelving-Low  
Peaking, Shelving-High  
None…Tempo  
–18.0…+18.0dB  
20…1.0kHz  
Selects Band 1 type.  P.20  
Selects Band 4 type.  P.20  
Modulation source for Band 2 gain  P.21  
Amount of Band 2 gain modulation  
Sets the Band 1 center frequency.  
Sets the Band 1 bandwidth.  P.19  
Sets the Band 1 gain.  
d
Band1 Cutoff [Hz]  
Q
e
0.5…10.0  
Gain [dB]  
–18.0…+18.0dB  
50…10.00kHz  
0.5…10.0  
Band2 Cutoff [Hz]  
Q
Sets the Band 2 center frequency.  
Sets the Band 2 bandwidth.  P.19  
Sets the Band 2 gain.  P.21  
Sets the Band 3 center frequency.  
Sets the Band 3 bandwidth.  P.19  
Sets the Band 3 gain.  
f
Gain [dB]  
–18.0…+18.0dB  
300…10.00kHz  
0.5…10.0  
Band3 Cutoff [Hz]  
Q
g
Gain [dB]  
–18.0…+18.0dB  
500…20.00kHz  
0.5…10.0  
Band4 Cutoff [Hz]  
Q
Sets the Band 4 center frequency.  
Sets the Band 4 bandwidth.  P.19  
Sets the Band 4 gain.  
h
i
Gain [dB]  
–18.0…+18.0dB  
Dry, 1:99…99:1, Wet  
Wet/Dry  
Balance between the effect sound and dry sound.  
b: Band1 Type  
c: Band4 Type  
Selects a filter type for Band 1 and 4.  
Parametric 4EQ - Band1, Band4 Type  
3dB  
+Gain  
0dB  
Band4 Type=Shelving High  
Band4 Type=Peaking  
Band1 Type=Shelving Low  
Band1 Type=Peaking  
–Gain  
3dB  
Band1 Cutoff  
Band4 Cutoff  
20  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
05: Parametric 4EQ (Parametric 4-Band EQ)  
d: Band2 Dynamic Gain You can control the gain of Band 2 using the modulation source.  
Src  
d: Amt [dB]  
f: Gain [dB]  
Parametric 4EQ - Band2 Dynamic Gain Control  
-mod  
+15dB  
D
Band2 Cutoff  
+6dB  
0dB  
+6dB  
0dB  
Band2 Cutoff  
–9dB  
-mod  
D
Band2 Gain[dB]= +6.0  
Band2 Dynamic Gain Amt[dB]= +9.0  
Band2 Gain[dB]= +6.0  
Band2 Dynamic Gain Amt[dB]= –15.0  
21  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
06: Graphic 7Band EQ  
06: Graphic 7Band EQ  
This effect is a seven-band graphic equalizer. The bar graph of the gain setting for each band gives you a  
clear, visual idea of frequency responses. You can select a center frequency setting for each band from  
twelve types, according to the sound.  
Mono In - Mono Out  
In  
Wet / Dry  
Trim  
Band1 Band2 Band3 Band4 Band5 Band6 Band7  
1:Wide 1  
2:Wide 2  
3:Wide 3  
4:Half Wide 1  
5:Half Wide 2  
6:Half Wide 3  
7:Low  
8:Wide Low  
9:Mid  
Selects a combination of center frequencies for each band.  
 P.22  
a
Type  
10:Wide Mid  
11:High  
12:Wide High  
b
c
d
e
f
Trim  
0…100  
Sets the input level.  
Band1 [dB]  
Band2 [dB]  
Band3 [dB]  
Band4 [dB]  
Band5 [dB]  
Band6 [dB]  
Band7 [dB]  
Wet/Dry  
Src  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets Band 1 gain.  
Sets Band 2 gain.  
Sets Band 3 gain.  
Sets Band 4 gain.  
g
h
i
Sets Band 5 gain.  
Sets Band 6 gain.  
Sets Band 7 gain.  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
j
Amt  
a: Type  
This parameter selects a combination of center frequencies for each band. Each  
center frequency is shown on the right edge of the LCD.  
You can configure a 21-Band Graphic EQ ranging from 80Hz to 18kHz if you  
route three Graphic 7Band EQ effects in series, with a setting of 7:Low, 9:Mid,  
and 11:High for each EQ.  
22  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
07: Wah/Auto Wah  
07: Wah/ Auto Wah  
This wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation,  
and much broader range settings. You can select Band Pass or Low Pass for the wah filter.  
Mono In - Mono Out  
In  
Wet / Dry  
Wah  
Envelope Sens  
Auto  
Envelope Shape  
-mod  
D
D-mod  
Sweep Mode  
Response  
a
b
Frequency Bottom  
Frequency Top  
0…100  
Sets the lower limit of the wah center frequency.  P.24  
0…100  
Sets the upper limit of the wah center frequency.  P.24  
Switches between auto-wah control and modulation  
source.  P.24  
Sweep Mode  
Src  
Auto, D-mod  
None…Tempo  
0…10  
Modulation source used to control wah when Sweep  
Mode is set to D-mod.  
c
How quickly the wah effect responds to dynamic modula-  
tion.  
Response  
d
e
f
Envelope Sens  
Envelope Shape  
Resonance  
Filter Mode  
Wet/Dry  
0…100  
Sets the sensitivity of auto-wah.  P.24  
Sets the sweep curve of auto-wah.  P.24  
Sets the resonance amount.  
–100…+100  
0…100  
g
Band Pass, Low Pass  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Selects the wah filter type.  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
h
Src  
Amt  
23  
Download from Www.Somanuals.com. All Manuals Search And Download.  
07: Wah/Auto Wah  
a: Frequency Bottom  
b: Frequency Top  
The sweep width and direction of the wah filter are determined by the Fre-  
quency Top and Frequency Bottom settings.  
Sweep Mode=D-mod  
Frequency  
Top=75  
Frequency  
Wah  
Bottom=60  
Wah  
Woo  
Top=30  
Woo  
Bottom=25  
-mod  
-mod  
D
D
Higher  
Higher  
Zero  
Max  
Zero  
Max  
Sweep Mode=Auto  
Wah  
Frequency  
Top=75  
Frequency  
Wah  
Wah  
Bottom=75  
Envelope  
Woo  
Woo  
Bottom=25  
Top=25  
Woo  
Envelope  
Envelope  
Time  
Time  
c: Sweep Mode  
This parameter changes the wah control mode. Setting Sweep Mode to Auto  
will select an auto-wah that sweeps according to envelope changes in the input  
signal level. Auto-wah is frequently used for funk guitar parts and clav sounds.  
When Sweep Mode is set to D-mod, you can control the filter directly via the  
modulation source in the same way as a wah pedal.  
d: Envelope Sens  
e: Envelope Shape  
This parameter sets the sensitivity of auto-wah. Increase the value if the input  
signal is too low to sweep. Reduce the value if the input signal is so high that the  
filter is stopped temporarily.  
This parameter determines the sweep curve for auto-wah.  
Envelope Shape  
Level  
Envelope  
value = 0...+100  
value = 0...–100  
Time  
24  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
08: Random Filter  
08: Random Filter  
The filter frequency changes randomly. You can create a special effect from filter oscillation.  
Mono In - Mono Out  
In  
Wet / Dry  
Filter  
Random LFO  
LFO Frequency [Hz]  
0.05…50.00Hz  
None…Tempo  
–50.00…+50.00Hz  
0…100  
Speed of LFO that modulates the filter  
a
b
c
d
Src  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Filter center frequency  
Amt  
Cutoff  
Depth  
Src  
0…100  
Modulation depth of filter center frequency  
Modulation source of filter modulation  
Modulation amount of filter modulation  
Sets the resonance amount.  
None…Tempo  
–100…+100  
0…100  
Amt  
Resonance  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25  
Wet/Dry  
e
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
e: Wet/ Dry  
The effect sound’s phase will be reversed when you set this parameter in the  
range of values from –Wet to –1:99.  
25  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
09: Dyna Exciter  
09: Dyna Exciter  
This effect gives a frame to a sound and emphasizes the outline. You can control the intensity of the effect  
using dynamic modulation.  
Mono In - Mono Out  
In  
Wet / Dry  
LEQ  
HEQ  
Exciter  
EQ Trim  
-mod  
D
Blend  
Src  
–100…+100  
None…Tempo  
–100…+100  
0…140  
Sets the intensity (depth) of the Exciter effect.  P.26  
Modulation source of the Exciter intensity  
Modulation amount of the Exciter intensity  
Sets the frequency to be emphasized.  P.26  
Modulation source of the frequency to be emphasized  
Modulation amount of the frequency to be emphasized  
2-band EQ input level  
a
b
Amt  
Emphatic Point  
Src  
None…Tempo  
–100…+100  
0…100  
Amt  
c
d
e
EQ Trim  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Wet/Dry  
–15.0…+15.0dB  
–15.0…+15.0dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
Low EQ gain  
High EQ gain  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
f
Src  
Amt  
–100…+100  
a: Blend  
This parameter sets the depth (intensity) of the Exciter effect. Positive values  
give a frequency pattern (to be emphasized) different from negative values.  
b: Emphatic Point  
This parameter sets the frequency to be emphasized. Higher values will empha-  
size lower frequencies.  
26  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
10: Sub Oscillator  
10: Sub Oscillator  
This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring  
drum sound or emphasizing powerful low range harmonics. You can also adjust the oscillator frequency  
to match a particular note number, for use as an octaver.  
Mono In - Mono Out  
In  
Wet / Dry  
Pre LPF  
Envelope  
Fixed  
Shape  
Sine Oscillator  
Fixed Frequency  
Note No.  
Note Interval, Fine  
Pitch  
OSC Mode  
Note (Key Follow)  
Determines whether the oscillator frequency follows the  
note number or whether it is fixed.  P.27  
a
OSC Mode  
Note (Key Follow), Fixed  
When OSC Mode = Note (Key Follow), this parameter  
sets the pitch difference from the note number.  P.27  
Note Interval  
–48…0  
b
c
Src (fixed)  
Note No.  
Note number information source (fixed to Note #).  
Note Fine  
–100…+100  
Fine adjustment of the oscillator frequency. P.27  
When OSC Mode = Fixed, this parameter sets the oscilla-  
tor frequency.  P.27  
Fixed Frequency [Hz]  
Src  
10.0…80.0Hz  
None…Tempo  
–80…+80Hz  
1…100  
Oscillator frequency modulation source when OSC Mode  
= Fixed.  
d
e
Oscillator frequency modulation amount when OSC Mode  
= Fixed.  
Amt  
The upper limit of the frequency range for which very low  
harmonics are added.  P.27  
Envelope Pre LPF  
Envelope Sens  
Sets the sensitivity with which very low harmonics are  
added.  
f
0…100  
g
Envelope Shape  
–100…+100  
Sets the oscillator’s volume envelope curve.  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
h
Amt  
Modulation amount of effect balance  
a: OSC Mode  
b: Note Interval  
b: Src  
The OSC Mode parameter selects the oscillator operation mode. When Note  
(Key Follow) is selected, the oscillator’s frequency is determined based on the  
note number, allowing you to use it as an octaver. The Note Interval parameter  
sets the pitch offset from the original note number by semitone steps. The Note  
Fine parameter allows you to fine-tune in steps of cents.  
c: Note Fine  
The Src parameter is fixed to the Note #, and you cannot select another source.  
d: Fixed Frequency [Hz] The Fixed Frequency parameter sets the frequency when you select “Fixed” for  
the OSC Mode parameter.  
e: Envelope Pre LPF  
This parameter sets the upper limit of the frequency range to which very low  
harmonics are added. Adjust this parameter if you do not want to add lower  
harmonics to the higher range. For example, you can create a nice effect by add-  
ing very low harmonics only to the bass drum sound, not to the snare sound.  
27  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
11: Decimator  
11: Decimator  
This effect creates a rough sound like a cheap sampler by lowering the sampling frequency. You can also  
simulate noise unique to a sampler (aliasing).  
Mono In - Mono Out  
In  
Wet / Dry  
High Damp  
Pre LPF  
Decimator  
Sampling Frequency  
Selects whether the harmonic noise caused by decrease  
in sampling frequency is generated or not.  P.28  
a
b
Pre LPF  
Off, On  
Sampling Freq [Hz]  
(Sampling Frequency)  
1.00k…24.00kHz  
None…Tempo  
Sets the sampling frequency.  
Src  
Sets the modulation source of the sampling frequency.  
Sets the modulation amount of the sampling frequency.  
Ratio of cut of the high range  
Amt  
–24.00k…+24.00kHz  
0…100%  
c
High Damp [%]  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
d
Amt  
Modulation amount of effect balance  
a: Pre LPF  
If you input a sound containing high frequencies (that cannot be sampled) to a  
sampler with a low sampling frequency, a noise with a pitch unrelated to the  
original sound will be generated. When Pre LPF = ON, this type of noise will  
not be generated.  
You can create a sound similar to a ring modulator if you set Pre LPF to OFF,  
with a Sampling Freq of 3kHz.  
28  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
12: Chorus  
12: Chorus  
This effect adds thickness and warmth to the sound by modulating the delay time of the input signal.  
Mono In - Mono Out  
In  
Wet / Dry  
LEQ  
HEQ  
Chorus  
EQ Trim  
LFO: Tri / Sine  
a
b
c
d
LFO Waveform  
Triangle, Sine  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
0.0…50.0msec  
0…100  
Selects LFO Waveform.  
LFO Frequency [Hz]  
LFO speed  
Src  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Delay from the original sound  
Depth of LFO modulation  
Modulation source of the LFO modulation depth  
Modulation amount of the LFO modulation depth  
EQ input level  
Amt  
Pre Delay [msec]  
Depth  
Src  
None…Tempo  
–100…+100  
Amt  
e
f
EQ Trim  
0…100  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
–15.0…+15.0dB  
–15.0…+15.0dB  
Low-EQ gain  
g
High-EQ gain  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25  
Wet/Dry  
h
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
29  
Download from Www.Somanuals.com. All Manuals Search And Download.  
13: Harmonic Chorus  
13: Harmonic Chorus  
This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass  
sound without making the sound thinner. You can also use this chorus block with feedback as a flanger.  
Mono In - Mono Out  
In  
Wet / Dry  
Low Level  
Chorus/Flanger  
High Level  
High Damp  
High/Low Split Point  
Feedback  
LFO: Triangle  
LFO frequency [Hz]  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
0.0…50.0msec  
0…100  
LFO speed  
a
b
c
Src  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Delay from the original sound  
Amt  
Pre delay [msec]  
Depth  
Src  
Depth of LFO modulation  
None…Tempo  
–100…+100  
Modulation source of the LFO modulation depth  
Modulation amount of the LFO modulation depth  
Amt  
Frequency split point between the low and high range  
 P.30  
d
High/Low Split Point  
1…100  
e
f
Feedback  
High Damp [%]  
Low Level  
High Level  
Wet/Dry  
Src  
–100…+100  
0…100%  
Feedback amount of the chorus block  P.30  
Chorus block damping amount in the high range  
Output level in the low range  
g
h
0…100  
0…100  
Output level in the high range (chorus)  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
i
Amt  
Modulation amount of effect balance  
d: High/ Low Split Point This parameter sets the frequency that splits the low and high range. Only the  
high range will be sent to the chorus block.  
e: Feedback  
Sets the feedback amount of the chorus block. Increasing the feedback will allow  
you to use the effect as a flanger.  
30  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
14: Ensemble  
14: Ensemble  
This chorus effect is created by a subtle shimmering LFO, and adds richness and thickness to the sound.  
It is most effective on the string sounds.  
Mono In - Mono Out  
In  
Wet / Dry  
Ensemble  
Shimmer  
LFO  
Speed  
Src  
1…100  
LFO speed  
a
b
c
None…Tempo  
–100…+100  
0…100  
Modulation source of LFO speed  
Amt  
Modulation amount of LFO speed  
Shimmer  
Depth  
Src  
Amount of shimmering of the LFO waveform  P.31  
Depth of LFO modulation  
0…100  
None…Tempo  
–100…+100  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Modulation source of the LFO modulation depth  
Modulation amount of the LFO modulation depth  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
Wet/Dry  
Src  
d
Amt  
b: Shimmer  
This parameter sets the amount of shimmering of the LFO waveform. Increasing  
this value makes more shimmering, making the chorus effect more complex and  
richer.  
Ensemble LFO  
Level  
Shimmer  
Time  
31  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
15: Flanger  
15: Flanger  
This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied  
to a sound with a lot of harmonics, such as cymbals or electric guitar sounds.  
Mono In - Mono Out  
In  
Wet / Dry  
Flanger  
Feedback  
High Damp  
LFO Shape  
LFO: Tri / Sine  
a
b
Delay Time [msec]  
0.0…50.0msec  
Delay from the original sound  
Selects the LFO Waveform.  
LFO Waveform  
LFO Shape  
Triangle, Sine  
Determines how much the LFO waveform is changed.  
 P.32  
c
–100…+100  
LFO Frequency [Hz]  
Src  
0.02…20.00Hz  
LFO speed  
d
None…Tempo  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Depth of LFO modulation  
Amt  
–20.00…+20.00Hz  
0…100  
e
f
Depth  
Feedback  
High Damp [%]  
–100…+100  
0…100%  
Feedback amount P.32  
g
Feedback damping amount in the high range  P.32  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 32  
Wet/Dry  
h
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
c: LFO Shape  
Changing the LFO waveform shape controls the peak sweep of flanging effects.  
LFO Shape  
LFO Shape = 0...–100  
LFO Shape = 0...+100  
LFO Waveform=Sine  
f: Feedback  
h: Wet/ Dry  
The peak shape of the positive and negative Feedback value is different. The  
harmonics will be emphasized when the effect sound is mixed with the dry  
sound if you set a positive value for both Feedback and Wet/ Dry, and if you set  
a negative value for both Feedback and Wet/ Dry.  
g: High Damp [%]  
This parameter sets the amount of damping of the feedback in the high range.  
Increasing the value will cut high-range harmonics.  
32  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
16: Tempo Flanger  
16: Tempo Flanger  
This Flanger allows you to match the LFO cycle with a song’s tempo. For example, you can apply the  
Flanger synchronizing to a sequencer rhythm pattern, or you can input a tempo before a live performance  
so that the flanging effect will match the song tempo. The LFO cycle can be set in steps of one note.  
Mono In - Mono Out  
In  
Wet / Dry  
Flanger  
Feedback  
High Damp  
D-mod  
Manual  
Tempo  
LFO Mode  
Length: 1/4  
LFO Shape  
LFO: Tri / Sine  
120 [beat/min]  
a
b
Delay Time [msec]  
LFO Waveform  
0.0…50.0msec  
Delay from the original sound  
Selects the LFO waveform.  
Triangle, Sine  
Determines how much the LFO waveform is changed.  
 P.32  
c
LFO Shape  
LFO Mode  
–100…+100  
Switches between the specified tempo and clock sync.  
 P.33  
Manual, D-mod  
d
Src (fixed)  
Tempo  
Source when LFO Mode = D-mod (fixed to Tempo)  
e
f
Tempo [beat/min]  
30…250 beat/min  
Tempo when LFO Mode = Manual P.33  
Sets the LFO cycle. LFO Cycle = Length x Whole Note.  
 P.33  
Length  
1…16/1…16  
g
h
i
Depth  
0…100  
Depth of LFO modulation  
Feedback  
High Damp [%]  
–100…+100  
0…100%  
Feedback amount P.32  
Feedback damping amount in the high range  P.32  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 32  
Wet/Dry  
j
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
d: LFO Mode  
d: Src (fixed)  
This parameter selects the LFO operation mode. When Manual is selected, the  
LFO refers to the value set in e: Tempo. When D-mod is selected, the LFO will  
synchronize to the internal MIDI clock. This is useful for performance using a  
sequencer.  
When D-mod is selected for the LFO mode, the source is fixed to Tempo and  
cannot be changed.  
e: Tempo [beat/ min]  
f: Length  
This parameter sets the tempo when Manual is selected for the LFO Mode.  
This parameter sets the LFO cycle. The cycle is calculated by multiplying the  
length of a whole note by the value of Length.  
For example, when Length is set to 1/ 4, the Flanger will sweep at an interval of  
one quarter note.  
33  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
17: Envelope Flanger  
17: Envelope Flanger  
This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging  
each time you play. You can also control the Flanger directly using the modulation source.  
Mono In - Mono Out  
In  
Wet / Dry  
Flanger  
Feedback  
High Damp  
-mod  
D
D-mod  
EG  
Sweep Mode  
EG Decay  
a
b
Delay Bottom [msec]  
Delay Top [msec]  
0.0…50.0msec  
Sets the lower limit of Delay Time.  P.24  
0.0…50.0msec  
Sets the higher limit of Delay Time.  P.24  
Determines whether the flanger is controled by the enve-  
lope generator or by the modulation source.  P.34  
Sweep Mode  
EG, D-mod  
Modulation source that triggers the EG (when EG is  
selected for Sweep Mode), or modulation source that  
causes the flanger to sweep (when D-mod is selected for  
Sweep Mode).  
c
Src  
None…Tempo  
d
e
f
EG Decay  
1…100  
Sets the EG decay speed.  P.34  
Feedback  
–100…+100  
0…100%  
Feedback amount  P.32  
High Damp [%]  
Feedback damping amount in the high range  P.32  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 32  
Wet/Dry  
g
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
c: Sweep Mode  
c: Src  
This parameter switches the flanger control mode. With Sweep Mode = EG, the  
flanger will sweep using the envelope generator. This envelope generator is  
included in the envelope flanger, and not related to the Oscillator EG, Filter EG,  
or Amp EG.  
The Src parameter selects the source that starts the envelope generator. If you  
select, for example, Gate, the envelope generator will start when the note-on  
message is received.  
When Sweep Mode = D-mod, the modulation source can control the flanger  
directly. Select the modulation source using the Src parameter.  
d: EG Decay  
Decay speed is the only adjustable parameter on this EG.  
The effect is off when a value for the modulation source specified for the  
Src parameter is smaller than 64, and the effect is on when the value is 64  
or higher. The Envelope Generator is triggered when the value changes  
from 63 or smaller to 64 or higher.  
34  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
18: Phaser  
18: Phaser  
This effect creates a swell by shifting the phase. It is very effective on electric piano sounds.  
Mono In - Mono Out  
In  
Wet / Dry  
Phaser  
Resonance  
High Damp  
LFO Shape  
LFO: Tri / Sine  
a
b
LFO Waveform  
Triangle, Sine  
Selects the LFO Waveform.  
Determines how much the LFO waveform shape is  
changed. P.32  
LFO Shape  
–100…+100  
LFO Frequency [Hz]  
Src  
0.02…20.00Hz  
LFO speed  
c
None…Tempo  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Sets the frequency to which the effect is applied.  
Depth of LFO modulation  
Amt  
–20.00…+20.00Hz  
0…100  
d
e
f
Manual  
Depth  
0…100  
Resonance  
High Damp [%]  
–100…+100  
0…100%  
Sets the resonance amount.  P.35  
Resonance damping amount in the high range  P.35  
g
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 35  
Wet/Dry  
h
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
f: Resonance  
h: Wet/ Dry  
The peak shape of the positive and negative Feedback value is different. The  
harmonics will be emphasized when the effect sound is mixed with the dry  
sound, if you set a positive value for both Resonance and Wet/ Dry, and if you  
set a negative value for both Resonance and Wet/ Dry.  
g: High Damp [%]  
This parameter sets the amount of damping of the resonance in the high range.  
Increasing the value will cut high-range harmonics.  
35  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
19: Tempo Phaser  
19: Tempo Phaser  
This Phaser allows you to match the LFO cycle with the song tempo. For example, you can synchronize  
the Phaser to a sequencer rhythm pattern, or you can input a tempo before a live performance so that the  
phasing effect will match the song tempo.  
Mono In - Mono Out  
In  
Wet / Dry  
Phaser  
Resonance  
High Damp  
D-mod  
Manual  
Tempo  
LFO Mode  
Length: 1/4  
LFO Shape  
LFO: Tri / Sine  
120 [beat/min]  
a
b
LFO Waveform  
Triangle, Sine  
Selects the LFO waveform.  
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
LFO Mode  
–100…+100  
Switches between the specified tempo and clock sync.  
 P.33  
Manual, D-mod  
c
Src (fixed)  
Tempo [beat/min]  
Length  
Tempo  
Source when LFO Mode = D-mod (fixed to Tempo)  
Tempo when LFO Mode = Manual P.33  
Sets the LFO cycle. LFO Cycle = Length x Whole Note.  
Sets the frequency to which the effect is applied.  
Depth of LFO modulation  
d
e
f
30…250 beat/min  
1…16/1…16  
0…100  
Manual  
g
h
Depth  
0…100  
Resonance  
–100…+100  
Sets the resonance amount.  P.35  
Sets the resonance damping amount in the high range.  
 P.35  
i
High Damp [%]  
Wet/Dry  
0…100%  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 35  
j
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
36  
Download from Www.Somanuals.com. All Manuals Search And Download.  
20: Envelope Phaser  
20: Envelope Phaser  
This Phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each  
time you play. You can also control the Phaser directly using the modulation source.  
Mono In - Mono Out  
In  
Wet / Dry  
Phaser  
Resonance  
High Damp  
-mod  
D
D-mod  
EG  
Sweep Mode  
EG Decay  
Manu Bottom  
(Manual Bottom)  
Sets the lower limit of the frequency range to which the  
effect is applied.  P.24  
a
b
0…100  
Manu Top  
(Manual Top)  
Sets the higher limit of the frequency range to which the  
effect is applied.  P.24  
0…100  
Determines whether the phaser is controlled by the enve-  
lope generator or by the modulation source.  P.34  
Sweep Mode  
Src  
EG, D-mod  
Modulation source that triggers the EG (when EG is  
selected for Sweep Mode), or modulation source that  
causes the phaser to sweep (when D-mod is selected for  
Sweep Mode).  
c
None…Tempo  
d
e
EG Decay  
1…100  
Sets the EG decay speed.  P.34  
Resonance  
–100…+100  
Sets the resonance amount.  P.35  
Sets the resonance damping amount in the high range.  
 P.35  
f
High Damp [%]  
Wet/Dry  
0…100%  
–Wet, –99…–1, Dry,  
1…99, Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 35  
g
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
37  
Download from Www.Somanuals.com. All Manuals Search And Download.  
21: Vibrato  
21: Vibrato  
This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or  
decrease the shimmering speed.  
Mono In - Mono Out  
In  
Wet / Dry  
Vibrato  
LFO Shape  
LFO: Tri / Sine  
AutoFade  
LFO Frequency  
Sets the modulation source that starts AutoFade.  
 P.78  
AUTOFADE Src  
None…Tempo  
a
Fade-In Rate  
1…100  
Sets the rate of fade-in.  
b
c
LFO Waveform  
Triangle, Sine  
Selects the LFO Waveform.  
Determines how much the LFO waveform shape is  
changed.  P.32  
LFO Shape  
–100…+100  
LFO Frequency [Hz]  
0.02…20.00Hz  
None…AUTOFADE  
–20.00…+20.00Hz  
0…100  
LFO speed  
d
e
f
Src  
Modulation source of LFO speed. AutoFade is available.  
Modulation amount of LFO speed  
Amt  
Depth  
Src  
Depth of LFO modulation  
None…Tempo  
–100…+100  
Modulation source of the LFO modulation depth  
Modulation depth of the LFO modulation depth  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Amt  
38  
Download from Www.Somanuals.com. All Manuals Search And Download.  
22: Resonator  
22: Resonator  
This effect resonates the input signal at a specified pitch. For example, the Resonator will add a unique  
character to a string sound by emphasizing certain harmonics, or give a “pitch” to a drum sound. You can  
control the resonance intensity via an LFO.  
Mono In - Mono Out  
In  
Wet / Dry  
High Damp  
Resonator  
Trim  
Resonance  
Manual  
Pitch, Fine [cent]  
LFO  
Control Mode  
a
b
c
d
e
f
Contol Mode  
LFO Frequency [Hz]  
LFO Depth  
Trim  
Manual, LFO  
0.02…20.00Hz  
–100…100  
0…100  
Switches the control of resonance intensity.  P.39  
LFO speed  
Amount of resonance intensity control via LFO  
Input level to the Resonator  
Pitch  
C0…B8  
Pitch for resonance  P.39  
Fine [cent]  
–50…+50cent  
Fine adjustment of pitch for resonance  P.39  
Sets the intensity of resonance when Control Mode =  
Manual.  P.39  
g
h
Resonance  
–100…+100  
Damping amount of resonant sound in the high range  
 P.39  
High Damp [%]  
0…100%  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
i
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
a: Contol Mode  
g: Resonance  
This parameter determines whether the resonance intensity is controlled by an  
LFO or not.  
With Control Mode = Manual, the Resonance parameter sets the intensity of res-  
onance. If the Resonance parameter has a negative value, harmonics will be  
changed, and resonance will occur at a pitch one octave below.  
With Control Mode = LFO, the intensity of resonance varies according to the  
LFO. The LFO sways between positive and negative values, causing resonance  
to occur between specified pitches an octave apart in turn.  
e: Pitch  
The Pitch parameter specifies the pitch of resonance by note name. The Fine  
f: Fine [cent]  
parameter allows for fine adjustment in steps of cents.  
h: High Damp [%]  
This parameter sets the damping amount of resonant sound in the high range.  
Lower values will make a metallic sound with a higher range of harmonics.  
39  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
23: Ring Modulator  
23: Ring Modulator  
This effect creates a metallic sound by routing the input signal to an Oscillator. You will obtain a very rad-  
ical modulation by modulating or operating the Oscillator using an LFO or dynamic modulation. Since  
the Oscillator frequency can match the note number, you can create a ring modulation effect that follows  
the scale.  
Mono In - Mono Out  
In  
Wet / Dry  
Pre LPF  
Ring Modulator  
Sine Oscillator  
Pitch  
Fixed  
Fixed Frequency  
Note No.  
Note Offset, Fine  
OSC Mode  
Note (Key Follow)  
LFO  
Sets the damping amount of the sound input to the Ring  
Modulator in the high range.  P.40  
a
b
Pre LPF  
0…100  
Determines whether the Oscillator frequency is specified  
or the note number is followed.  P.40  
OSC Mode  
Fixed, Note (Key Follow)  
0…12.00kHz  
Fixed Frequency [Hz]  
Src  
Oscillator frequency when OSC Mode = Fixed  P.41  
Modulation Source of the Oscillator frequency when OSC  
Mode = Fixed  
None…Tempo  
c
Modulation Amount of the Oscillator frequency when OSC  
Mode = Fixed  
Amt  
–12.00…+12.00kHz  
–48…+48  
Pitch difference from the note number when OSC Mode =  
Note (Key Follow)  P.41  
Note Offset  
Src (fixed)  
d
Note number information source (Fixed to Note #)  
 P.41  
Note No.  
e
f
Note Fine  
–100…+100  
Fine adjustment of the Oscillator frequency  P.41  
Speed of LFO that modulates the Oscillator frequency  
Modulation source of LFO speed  
LFO Frequency [Hz]  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
Src  
Amt  
Modulation amount of LFO speed  
Depth of LFO modulation applied to the Oscillator fre-  
quency  
Depth  
0…100  
g
h
Src  
None…Tempo  
–100…+100  
Modulation source of modulation depth  
Modulation amount of modulation depth  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Amt  
Modulation amount of effect balance  
a: Pre LPF  
This parameter sets the damping amount of the sound input to the Ring Modu-  
lator. If the input signal contains a lot of harmonics, the effect sound tends to be  
dirty. In this case, cut a certain amount of the high range.  
b: OSC Mode  
This parameter determines whether the Oscillator frequency follows the note  
number.  
40  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
23: Ring Modulator  
d: Note Offset  
e: Note Fine  
These are used to set the oscillator when OSC Mode is set to Note (Key Follow).  
The Note Offset parameter specifies the pitch difference from the original note  
number in steps of semitones. The Note Fine parameter is used to “fine-tune”  
this setting in steps of cents. When the oscillator frequency follows the note  
number, you will obtain a ring modulation effect in the correct scale.  
d: Src  
The Note Number information source is fixed to Note #, and you cannot select  
other sources.  
c: Fixed Frequency [Hz] This parameter sets the oscillator frequency when OSC Mode is set to Fixed.  
41  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
24: Tremolo  
24: Tremolo  
This effect modulates the volume level of the input signal.  
Mono In - Mono Out  
In  
Wet / Dry  
Tremolo  
LFO Shape  
LFO: Tri/Sin/Sqr/Up/Down  
Triangle, Sine, Square, Up,  
Down  
a
b
LFO Waveform  
Selects LFO Waveform.  P.42  
Determines how much the shape of LFO waveform is  
changed.  P.32  
LFO Shape  
–100…+100  
LFO Frequency [Hz]  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
0…100  
LFO speed  
c
d
e
Src  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Depth of LFO modulation  
Amt  
Depth  
Src  
None…Tempo  
–100…+100  
Modulation source of the depth of modulation  
Modulation amount of the depth of modulation  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Amt  
a: LFO Waveform  
This parameter selects the LFO waveform.  
Square wave simulates the characteristics of the tremolo created on a guitar  
amplifier. Combining this effect with the Amp Simulation will make a realistic,  
vintage tremolo amplifier sound.  
Tremolo - LFO Waveform  
Triangle  
Square  
Down  
Sine  
Up  
42  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
25: Rotary Speaker  
25: Rotary Speaker  
This effect simulates a rotary speaker which is essential to organ sounds. This size 1 Rotary Speaker effect  
is monaural. You can change the speed of speaker rotation via dynamic modulation. The effect also simu-  
lates the microphone settings.  
Mono In - Mono Out  
In  
Wet / Dry  
Horn  
Mic Distance  
Rotary Speaker  
Rotor/Horn  
Balance  
Rotor  
-mod  
D
Speed Switch: Slow/Fast  
Switches the speaker rotation speed between slow and  
fast.  
Speed Switch  
Slow, Fast  
a
Src  
Sw  
None…Tempo  
Momentary, Toggle  
Modulation source that toggles between slow and fast  
Selects switching mode of the modulation source that tog-  
gles between slow and fast. P.43  
How quickly the horn rotation speed in the high range is  
switched  P.43  
b
c
d
e
Horn Acceleration  
Horn Ratio  
0…100  
Adjusts the (high-range side) horn rotation speed. Stan-  
dard value is 1.0. Selecting “Stop” will stop the rotation.  
Stop, 0.5…2.0  
0…100  
Distance between the microphone and rotary speaker.  
 P.43  
Mic Distance  
Sets the volume level balance between the low-range  
rotor and high-range horn.  
Rotor/Horn Balance  
Rotor, 1…99, Horn  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
f
Amt  
Modulation amount of effect balance  
a: Sw  
This parameter sets how the rotation speed (slow and fast) is switched via the  
modulation source.  
When Sw = Momentary, the speed is usually slow. It becomes fast only when  
you keep the pedal depressed or hold the joystick in position.  
When a value for the modulation source is less than 64, “slow” speed is  
selected, and when the value is 64 or higher, “fast” is selected.  
When Sw = Toggle, the speed is switched between slow and fast each time you  
press the pedal or operate the joystick.  
Each time the value of the modulation source exceeds 64, the speed is  
switched between slow and fast.  
b: Horn Acceleration  
d: Mic Distance  
On a real rotary speaker, the rotation speed is accelerated or decelerated gradu-  
ally after you switch the speed. The Horn Acceleration parameter sets the speed  
at which the rotation is accelerated or decelerated.  
This simulates microphone settings, specifying the distance between the micro-  
phone and rotary speaker.  
43  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
26: Delay  
26: Delay  
This delay effect delays the input signal over time. You can change the character of the delay sound by  
setting the feedback damping amount separately for the low range and high range.  
Mono In - Mono Out  
In  
Wet / Dry  
High Damp Low Damp  
Delay  
Input Level D-mod  
Feedback  
a
b
Delay Time [msec]  
0.0…680.0msec  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the delay time.  
Feedback  
Sets the feedback amount.  
Src  
Modulation source of the feedback amount  
Modulation amount of the feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
c
High Damp [%]  
d
Low Damp [%]  
0…100%  
Input Level D-mod: Src  
None…Tempo  
–100…+100  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
e
Amt  
Wet/Dry  
Src  
f
Amt  
c: High Damp [%]  
d: Low Damp [%]  
These parameters set the damping amount for the high range and low range  
respectively. Each time feedback is input, the tone of the delay sound becomes  
darker, or lighter.  
e: Input Level D-mod: Src:These parameters set dynamic modulation of the input level.  
e: Amt  
Input Level D-mod  
Input Level  
Input Level  
x1.0  
x1.0  
Amt= –50  
Amt= –100  
Amt= +100  
Amt= +50  
x0.5  
x0.5  
-mod  
D
-mod  
D
Higher  
Higher  
Zero  
Max  
Zero  
Max  
44  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
27: Multitap Delay  
27: Multitap Delay  
This Multitap Delay has two taps for delay. With various delay time settings, you can create complex  
delay sounds.  
Mono In - Mono Out  
In  
Wet / Dry  
Feedback  
Delay  
Tap1=(1)  
(2)  
Input Level D-mod  
Tap2=(2)  
(1)  
High Damp Low Damp  
Tap1 Level  
a
b
c
Tap1 Time [msec]  
0.0…680.0msec  
0.0…680.0msec  
+0…+100  
Sets the Tap1 delay time.  
Sets the Tap2 delay time.  
Tap1 output level  P.45  
Sets the Tap2 feedback amount.  
Tap2 Time [msec]  
Tap1 Level  
Feedback  
Src  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
d
Modulation source of the Tap2 feedback amount  
Modulation amount of the Tap2 feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Amt  
e
f
High Damp [%]  
Low Damp [%]  
Input Level D-mod: Src  
Amt  
0…100%  
None…Tempo  
–100…+100  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
g
Wet/Dry  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
h
Src  
Amt  
Modulation amount of effect balance  
c: Tap1 Level  
This parameter sets the output level of Tap1. Creating a difference in the volume  
level from Tap2 will add a groove feeling to a somewhat monotonous delay and  
feedback.  
45  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
28: Early Reflections  
28: Early Reflections  
This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You  
can also create sounds such as gated reverb and reversed effects by selecting the decay curve of the early  
reflection.  
Mono In - Mono Out  
In  
Wet / Dry  
LEQ  
HEQ  
Pre Delay  
Early Reflections  
EQ Trim  
Sharp, Loose, Modulated,  
Reverse  
a
b
c
Type  
Selects the decay curve for the early reflection.  P.46  
ER Time [msec]  
Pre Delay [msec]  
10…400msec  
Time length of early reflection  
Time taken from the original sound to the first early reflec-  
tion  
0…200msec  
d
e
f
EQ Trim  
0…100  
Input level of EQ applied to the effect sound  
Low range EQ gain  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Wet/Dry  
–15.0…+15.0dB  
–15.0…+15.0dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
High range EQ gain  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
g
Src  
Amt  
a: Type  
This parameter selects the decay curve for the early reflection.  
Early Reflections - Type  
Sharp  
Loose  
Modulated  
Reverse  
Pre Delay  
ER Time  
Dry  
46  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
00: St. Amp Simulation (Stereo Amp Simulation)  
00: St. Amp Simulation (Stereo Amp Simulation)  
This is a stereo amp simulator.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Amp Simulation Filter  
Amp Simulation Filter  
Right  
Wet / Dry  
a
b
Amplifier Type  
Wet/Dry  
Src  
SS, EL84, 6L6  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Selects the type of guitar amplifier  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
47  
Download from Www.Somanuals.com. All Manuals Search And Download.  
01: Stereo Compressor  
01: Stereo Compressor  
This is a stereo compressor. You can link left and right channels, or use each channel separately.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
EQ Trim  
LEQ  
HEQ  
Compressor  
Compressor  
Output Level  
Envelope - Control  
Envelope - Control  
Envelope Select  
+
Output Level  
EQ Trim  
LEQ  
HEQ  
Right  
Wet / Dry  
Determines whether the left and right channels are linked  
or used separately.  P.48  
a
Envelope Select  
L/R Mix, L/R Individually  
b
c
d
e
f
Sensitivity  
Attack  
1…100  
Sets the sensitivity.  P.14  
Attack level P.14  
1…100  
EQ Trim  
0…100  
Input level to EQ  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Output Level  
Wet/Dry  
–15.0…+15.0dB  
–15.0…+15.0dB  
0…100  
Low EQ gain  
High EQ gain  
g
Output level from the compressor  P.14  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
h
Src  
Amt  
a: Envelope Select  
This parameter selects whether the left and right channels are linked to control  
both signals simultaneously, or whether each channel is controlled indepen-  
dently.  
48  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
02: Stereo Limiter  
02: Stereo Limiter  
This effect is a stereo limiter. You can link left and right channels, or use each channel individually.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Gain Adjust  
Limiter  
Side PEQ  
Envelope - Control  
Trigger Monitor  
+
Envelope - Control  
Envelope Select  
Limiter  
Gain Adjust  
Right  
Wet / Dry  
Selects from linking both channels, controlling only from  
L/R Mix, L Only, R Only, L/R  
a
Envelope Select  
left channel, only from the right channel, or controlling  
Individually  
each channel individually.  P.49  
b
c
Ratio  
1.0:1…50.0:1, Inf:1  
–40…0dB  
Sets the signal compression ratio.  P.15  
Sets the level above which the compressor is applied.  
 P.15  
Threshold [dB]  
d
e
f
Attack  
1…100  
Sets the attack time.  P.16  
Release  
1…100  
Sets the release time. P.16  
Gain Adjust [dB]  
Side PEQ Insert  
Side PEQ Cutoff [Hz]  
Q
–16…+24dB  
Off, On  
Sets the output gain. P.15  
g
Toggles between trigger signal’s EQ on/off P.16  
Trigger signal’s EQ center frequency  P.16  
Trigger signal’s EQ bandwidth  
20…12.00kHz  
0.5…10.0  
–18.0…+18.0dB  
h
i
Gain [dB]  
Trigger signal’s EQ gain  
Switches between effect output monitor and trigger signal  
monitor. P.16  
Trigger Monitor  
Off, On  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
j
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
a: Envelope Select  
When L/ R Mix is selected for this parameter, the left and right channels are  
linked to control the Limiter using the mixed signal. If L Only (or R Only) is  
selected, the left and right channels are linked, and the Limiter is controlled via  
only the left (or right) channel.  
With L/ R individually, the left and right channels control the Limiter individu-  
ally.  
49  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
03: Multiband Limiter  
03: Multiband Limiter  
This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can  
control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range  
in a different way from the EQ.  
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Band-Pass Filters  
Low  
Limiter  
Envelope - Control  
Low Offset  
Mid  
+
Limiter  
Gain Adjust  
Envelope - Control  
Mid Offset  
High  
Limiter  
Envelope - Control  
High Offset  
Right  
Wet / Dry  
a
b
Ratio  
1.0:1…50.0:1, Inf:1  
Sets the signal compression ratio.  P.15  
Sets the level above which the compression is applied.  
 P.15  
Threshold [dB]  
–40…0dB  
c
d
e
f
Attack  
1…100  
Sets the attack time.  P.16  
Release  
1…100  
Sets the release time.  P.16  
Low Offset [dB]  
Mid Offset [dB]  
High Offset [dB]  
Gain Adjust [dB]  
Wet/Dry  
–40…0dB  
Gain of the low-range trigger signal  P.50  
Gain of the mid-range trigger signal  P.50  
Gain of the high-range trigger signal  P.50  
Sets the output gain.  P.15  
–40…0dB  
g
h
–40…0dB  
–16…+24dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
i
Src  
Amt  
e: Low Offset [dB]  
f: Mid Offset [dB]  
g: High Offset [dB]  
These parameters set the input gain of the trigger signal.  
For example, if you do not want to apply compression to the high range, reduce  
the High Offset value down below the Threshold level. In this way, the high  
range limiter will not respond, and compression will not be applied.  
50  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
04: Stereo Gate  
04: Stereo Gate  
This is a stereo gate effect. Three types are available to turn the gate on/ off. This effect features a Hold  
function that keeps the gate open for a specified period of time.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Delay  
Gate  
Gate  
Envelope - Control  
Envelope - Control  
+
Delay  
Envelope Select  
Right  
Wet / Dry  
Gate+Sus  
Level(Hold time is not avail-  
able), Trigger Attack, Trigger  
Release  
Selects from No hold, Hold from attack, and hold from  
release.  P.51  
a
Type Select  
D-mod, L/R Mix, L Only, R  
Only  
Selects from Control via the modulation source, mixing  
the left and right signals, Only left, and Only right. P.52  
Envelope Select  
Src  
b
c
Modulation source that controls the gate when Envelope  
Select = D-mod  
None…Gate2+Sus  
Switches between non-reversed and reversed Gate on/  
off. P.52  
Polarity  
+, –  
d
e
f
Threshold  
Hold Time [msec]  
Attack  
0…100  
Sets the level to which the Gate is applied.  P.17  
Gate hold time  P.51  
0…3000msec  
1…100  
Sets attack time.  P.17  
g
h
Release  
1…100  
Sets release time.  P.17  
Delay Time [msec]  
Wet/Dry  
0…100msec  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Delay time of gate input  P.18  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
i
Src  
Amt  
a: Type Select  
This parameter selects the gate type.  
e: Hold Time [msec]  
With Type Select = Level, the gate is opened when the input signal level exceeds  
the specified Threshold value, and the gate is closed when the level is below the  
Threshold. Hold Time is not effective.  
With Type Select = Trigger Attack, the gate is open only during the period speci-  
fied in the Hold Time field, after the input signal level exceeds the Threshold  
value. Once the gate is closed, it remains closed until the input level exceeds the  
Threshold value again.  
With Type Select = Trigger Release, the gate is open when the input signal level  
exceeds the Threshold value. The gate is closed for a period specified in the Hold  
Time field after the level falls below the Threshold.  
51  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
04: Stereo Gate  
Stereo Gate - Type Select  
Threshold  
Dry  
Wet  
Level  
Attack  
Release  
Wet  
Trigger Attack  
Release  
Attack  
Hold Time  
Trigger  
Wet  
Trigger Release  
Release  
Attack  
Hold Time  
Trigger  
b: Envelope Select  
b: Src  
The Envelope Select parameter selects whether the gate on/ off is triggered by  
the level of the input signal, or controlled directly by the modulation source. The  
Src parameter specifies the modulation source, selected from None to Gate2+Sus.  
With Envelope Select = L/ R Mix, the left and right channel signal mixture will  
trigger the gate on/ off. When L Only or R Only is selected, the gate is controlled  
by either of the channel signals.  
c: Polarity  
This parameter reverses the Gate on/ off operation. With a negative value, the  
gate is closed when the input signal level exceeds the Threshold. The gate opera-  
tion controlled by the modulation source is also reversed.  
52  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
05: OD/Hi-Gain Wah (Overdrive/ Hi-Gain Wah)  
05: OD/ Hi-Gain Wah (Overdrive/ Hi-Gain Wah)  
This effect is a distortion with wah, 4-band EQ and amp simulator.  
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Mode: Overdrive / Hi-Gain  
Drive  
Pre Low-cut  
Wah  
4 Band PEQ  
Driver  
Amp Simulation  
+
Output Level  
Direct Mix  
Right  
Wet / Dry  
-mod  
D
Wah  
Src  
Off, On  
Switches Wah on/off.  P.54  
a
b
c
None…Tempo  
Modulation source that controls the Wah.  
Sets the range of Wah.  P.54  
Switches between overdrive and hi-gain distortion.  
Low range cut amount of the distortion input  P.19  
Sets the degree of distortion.  P.19  
Sets the output level.  
Wah Sweep Range  
Drive Mode  
Pre Low-cut  
Drive  
–10…+10  
Overdrive, Hi-Gain  
0…10  
1…100  
d
e
Output Level  
Band1 Cutoff [Hz]  
Q
0…50  
20…1.0kHz  
0.5…10.0  
Equalizer - Band 1 center frequency  
Band 1 bandwidth  P.19  
Gain [dB]  
Band2 Cutoff [Hz]  
Q
–18…+18dB  
50…5.00kHz  
0.5…10.0  
Band 1 gain  
Band 2 center frequency  
f
Band 2 bandwidth  P.19  
Gain [dB]  
Band3 Cutoff [Hz]  
Q
–18…+18dB  
300…10.00kHz  
0.5…10.0  
Band 2 gain  
Band 3 center frequency  
g
Band 3 bandwidth  P.19  
Gain [dB]  
Band4 Cutoff [Hz]  
Q
–18…+18dB  
500…20.00kHz  
0.5…10.0  
Band 3 gain  
Band 4 center frequency  
h
i
Band 4 bandwidth  P.19  
Gain [dB]  
Direct Mix  
Speaker Simulation  
Wet/Dry  
–18…+18dB  
0…50  
Band 4 gain  
Amount of the dry sound mixed to the distortion  
Speaker simulation on/off  
Off, On  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
j
Src  
Amt  
53  
Download from Www.Somanuals.com. All Manuals Search And Download.  
05: OD/Hi-Gain Wah (Overdrive/ Hi-Gain Wah)  
a: Wah  
a: Src  
The Wah parameter switches the wah effect on/ off. The wah center frequency  
can be controlled by the modulation source specified in the Src parameter.  
b: Wah Sweep Range  
This parameter sets the sweep range of the wah center frequency. A negative  
value will reverse the direction of sweep.  
54  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ)  
06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ)  
This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and  
4. The gain of Band 2 can be controlled by dynamic modulation.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Band1 Band2 Band3  
Band4  
PEQ  
PEQ  
PEQ  
PEQ  
Trim  
Trim  
HEQ  
LEQ  
HEQ  
PEQ  
LEQ  
PEQ  
PEQ  
PEQ  
Right  
Wet / Dry  
-mod  
D
a
b
c
Trim  
0…100  
Sets the input level.  
Band1 Type  
Band4 Type  
Band2 Dynamic Gain Src  
Amt [dB]  
Peaking, Shelving-Low  
Peaking, Shelving-High  
None…Tempo  
–18.0…+18.0dB  
20…1.0kHz  
Selects the type for Band 1. P.20  
Selects the type for Band 4. P.20  
Modulation source of the Band 2 gain P.21  
Modulation amount of Band 2 gain  
Sets the center frequency for Band 1.  
Band 1 bandwidth P.19  
d
Band1 Cutoff [Hz]  
Q
e
0.5…10.0  
Gain [dB]  
–18.0…+18.0dB  
50…10.00kHz  
0.5…10.0  
Sets the gain of Band 1.  
Band2 Cutoff [Hz]  
Q
Sets the center frequency for Band 2.  
Band 2 bandwidth P.19  
f
Gain [dB]  
–18.0…+18.0dB  
300…10.00kHz  
0.5…10.0  
Sets the gain of Band 2. P.21  
Sets the center frequency for Band 3.  
Band 3 bandwidth P.19  
Band3 Cutoff [Hz]  
Q
g
Gain [dB]  
–18.0…+18.0dB  
500…20.00kHz  
0.5…10.0  
Sets the gain of Band 3.  
Band4 Cutoff [Hz]  
Q
Sets the center frequency for Band 4.  
Band 4 bandwidth P.19  
h
i
Gain [dB]  
–18.0…+18.0dB  
Dry, 1:99…99:1, Wet  
Sets the gain of Band 4.  
Wet/Dry  
Sets the balance between the effect and dry sounds.  
55  
Download from Www.Somanuals.com. All Manuals Search And Download.  
07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ)  
07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ)  
This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear,  
visual idea of frequency responses. You can select a center frequency setting for each band from twelve  
types, according to the sound.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Trim  
Band1 Band2 Band3 Band4 Band5 Band6 Band7  
Trim  
Band1 Band2 Band3 Band4 Band5 Band6 Band7  
Right  
Wet / Dry  
1:Wide 1  
2:Wide 2  
3:Wide 3  
4:Half Wide 1  
5:Half Wide 2  
6:Half Wide 3  
7:Low  
8:Wide Low  
9:Mid  
Selects a combination of center frequencies for each band.  
 P.22  
a
Type  
10:Wide Mid  
11:High  
12:Wide High  
b
c
d
e
f
Trim  
0…100  
Sets the input level.  
Band1 [dB]  
Band2 [dB]  
Band3 [dB]  
Band4 [dB]  
Band5 [dB]  
Band6 [dB]  
Band7 [dB]  
Wet/Dry  
Src  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets Band 1 gain.  
Sets Band 2 gain.  
Sets Band 3 gain.  
Sets Band 4 gain.  
g
h
i
Sets Band 5 gain.  
Sets Band 6 gain.  
Sets Band 7 gain.  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
j
Amt  
56  
Download from Www.Somanuals.com. All Manuals Search And Download.  
08: Graphic 13Band EQ  
08: Graphic 13Band EQ  
This effect is a 13-band graphic equalizer that allows for finer equalization. Two types of settings are  
available for the center frequency of each band.  
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Trim  
+
Band1  
Band2  
Band3  
Band4  
Band5  
Band6  
Band7  
Band9  
Band10 Band12  
Band11 Band13  
Band8  
Trim  
Right  
Wet / Dry  
Selects a combination of center frequencies for each band.  
 P.57  
a
Type  
A, B  
0…100  
b
c
d
e
f
Trim  
Sets the input level.  
Band1 [dB]  
Band2 [dB]  
Band3 [dB]  
Band4 [dB]  
Band5 [dB]  
Band6 [dB]  
Band7 [dB]  
Band8 [dB]  
Band9 [dB]  
Band10 [dB]  
Band11 [dB]  
Band12 [dB]  
Band13 [dB]  
Wet/Dry  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
Sets Band 1 gain.  
Sets Band 2 gain.  
Sets Band 3 gain.  
Sets Band 4 gain.  
g
h
i
Sets Band 5 gain.  
Sets Band 6 gain.  
Sets Band 7 gain.  
j
Sets Band 8 gain.  
k
l
Sets Band 9 gain.  
Sets Band 10 gain.  
m
n
o
Sets Band 11 gain.  
Sets Band 12 gain.  
Sets Band 13 gain.  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
p
Src  
Amt  
–100…+100  
a: Type  
This parameter selects a combination of center frequencies for each band. Each  
center frequency is shown on the right edge of the LCD.  
57  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
09: St. Random Filter (Stereo Random Filter)  
09: St. Random Filter (Stereo Random Filter)  
This effect is a stereo random filter. You can also fade in the effect sound using Auto-Fade, or change the  
LFO speed.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Filter  
Spread  
Filter  
Right  
Wet / Dry  
Random LFO  
Random LFO  
AutoFade  
LFO Frequency  
Depth  
Wet / Dry  
Selects the modulation source that triggers AutoFade.  
 P.59  
AUTOFADE Src  
None…Tempo  
a
Fade-In Rate  
1…100  
Sets the rate of fade-in.  
LFO Frequency [Hz]  
0.05…50.00Hz  
None…AUTOFADE  
–50.00…+50.00Hz  
0…100  
Speed of LFO that modulates the filter  
Modulation source of LFO speed. AutoFade is available  
Modulation amount of LFO speed  
Filter center frequency  
b
c
Src  
Amt  
Cutoff  
Depth  
0…100  
Modulation depth of filter center frequency  
Modulation source of filter modulation. AutoFade is avail-  
able  
d
e
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of filter modulation  
Resonance  
0…100  
Sets the resonance amount.  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25  
Wet/Dry  
f
Modulation source of effect balance. AutoFade is avail-  
able  
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of effect balance  
58  
Download from Www.Somanuals.com. All Manuals Search And Download.  
09: St. Random Filter (Stereo Random Filter)  
a: AUTOFADE Src  
a: Fade-In Rate  
If AutoFade is selected for the LFO speed, depth of modulation, and Effect Bal-  
ance, you can use the AutoFade function to apply modulation.  
The AUTOFADE Src parameter selects the modulation source that triggers Auto-  
Fade. The Fade-in Rate parameter specifies the rate of fade-in.  
The following is an example of fade-in where the effect balance is increased  
from “Dry” to “50” when a note-on message is received.  
a: AUTOFADE Src = Gate1  
f: Wet/ Dry = Dry  
f: Src = AUTOFADE  
f: Amt = +50  
The effect is off when a value for the dynamic modulation source speci-  
fied for the AUTOFADE Src parameter is smaller than 64, and the effect is  
on when the value is 64 or higher. The AutoFade function is triggered  
when the value changes from 63 or smaller to 64 or higher.  
AUTOFADE AutoFade  
AUTOFADE Src=Gate1  
Wet/Dry=Dry  
Src=AUTOFADE  
Amt=+50  
Gate1 Signal  
All Note Off  
Note On  
Wet/Dry=50:50  
Wet/Dry=Dry  
Fade-In Rate  
AUTOFADE  
59  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
10: Stereo Enhancer  
10: Stereo Enhancer  
This effect spreads and adds presence to the sound, and also functions as a stereo exciter. It is useful when  
you wish to emphasize a stereo image of the input signal or create a stereo image from a monaural  
source.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
LEQ  
HEQ  
Exciter  
Exciter  
EQ Trim  
EQ Trim  
Delay  
Ambience  
Width  
Delay  
Enhancer  
Right  
Wet / Dry  
-mod  
D
Exciter Blend  
–100…+100  
Sets the intensity (depth) of the Exciter effect. P.26  
Modulation source of the Exciter intensity  
a
b
Src  
None…Tempo  
–100…+100  
0…140  
Amt  
Modulation amount of the Exciter intensity  
Emphatic Point  
Sets the frequency to be emphasized.  P.26  
Modulation source of the frequency to be emphasized  
Amount of modulation of the frequency to be emphasized  
Delay time for the Enhancer left channel P.60  
Delay time for the Enhancer right channel P.60  
Determines to what degree the Enhancer effect is applied  
Modulation source of the Enhancer width  
Src  
None…Tempo  
–100…+100  
0…50.0msec  
0…50.0msec  
–100…+100  
None…Tempo  
0…+100  
Amt  
c
Enhancer Dly L [msec]  
Enhancer Dly R [msec]  
Enhancer Width  
Src  
d
e
Amt  
Modulation amount of the Enhancer width  
Determines to what degree the Enhancer ambience effect  
is applied.  P.60  
f
Enhancer Ambience  
0…100  
g
h
i
EQ Trim  
0…100  
2-band EQ input level  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Wet/Dry  
–15.0…+15.0dB  
–15.0…+15.0dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Low EQ gain  
High EQ gain  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
j
Src  
Amt  
c: Enhancer Dly L [msec] These parameters set the delay time for the Enhancer left and right channel.  
d: Enhancer Dly R [msec] Specifying a slightly different delay time for the left and right channel will add a  
stereo image, depth, and width to the sound.  
f: Enhancer Ambience  
This parameter determines to what degree the Enhancer ambience effect is  
applied. The ambience effect will create a wider stereo image. However, if e:  
Enhancer Width is set to 0 or the input source is monaural, this effect is not cre-  
ated.  
60  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
11: Talking Modulator  
11: Talking Modulator  
This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via  
dynamic modulation, you can create an interesting effect that sounds as if the instrument is talking.  
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Talking Modulator  
+
A-I-U-E-O  
Right  
Wet / Dry  
Voice Top: A  
Voice Center: I  
Voice Bottom: U  
-mod  
D
Bottom, 1…49, Center,  
Manual Voice Control  
Voice pattern control  
51…99, Top  
None…Tempo  
A, I, U, E, O  
A, I, U, E, O  
a
Src  
Modulation source that controls the voice pattern  
Selects a vowel sound at the top end of control. P.61  
Selects a vowel sound in the center of control. P.61  
b
c
Voice Top  
Voice Center  
Selects a vowel sound at the bottom end of control.  
 P.61  
d
Voice Bottom  
Formant Shift  
A, I, U, E, O  
Adjusts the frequency to which the effect is applied.  
 P.62  
e
f
–100…+100  
Resonance  
Wet/Dry  
Src  
0…100  
Level of resonance of the voice pattern  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
g
Amt  
Modulation amount of effect balance  
b: Voice Top  
c: Voice Center  
d: Voice Bottom  
These parameters assign vowel sounds to the top, center, and bottom of the con-  
troller.  
For example, if Ribbon (X) is selected as the modulation source:  
With Voice Top = A, Voice Center = I, and Voice Bottom = U, moving the finger  
on the ribbon controller from the right edge to the left edge will produce the  
vowel sounds “a”, “i”, then “u.”  
61  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
11: Talking Modulator  
Talking Modulator Control  
Voice Bottom  
Voice Center  
Voice Top  
A
A
I
U
E
O
JS(X)  
Ribbon(X)  
-mod  
D
+ Max  
+ Max  
Zero  
– Max  
Zero  
JS(+Y)  
JS(–Y)  
etc…  
e: Formant Shift  
f: Resonance  
This parameter adjusts the frequency level to which the effect is applied. If you  
wish to apply the effect to a higher-range sound, set this parameter to a higher  
value; to apply the effect to a lower-range sound, set this to a lower value.  
This parameter sets the intensity of resonance for the voice pattern. A larger  
value will add more character to the sound.  
62  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
12: Stereo Decimator  
12: Stereo Decimator  
This is a stereo decimator.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp  
Pre LPF  
Decimator  
Decimator  
Sampling Frequency  
Pre LPF  
High Damp  
Right  
Wet / Dry  
Selects whether the harmonic noise caused by a  
decrease in sampling frequency is generated or not.  
 P.28  
a
b
Pre LPF  
Off, On  
Sampling Freq [Hz]  
(Sampling Frequency)  
1.00k…24.00kHz  
None…Tempo  
Sets the sampling frequency.  
Src  
Sets the modulation source of the sampling frequency.  
Sets the modulation amount of the sampling frequency.  
Ratio of cut of the high range  
Amt  
–24.00k…+24.00kHz  
0…100%  
c
High Damp [%]  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
d
Amt  
Modulation amount of effect balance  
63  
Download from Www.Somanuals.com. All Manuals Search And Download.  
13: Stereo Chorus  
13: Stereo Chorus  
This is a stereo chorus. You can add spread to the sound by offsetting the phase of the left and right LFOs  
from each other. The chorus effect can fade-in by means of the AutoFade function.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
LEQ  
HEQ  
HEQ  
Chorus  
EQ Trim  
Spread  
LEQ  
Chorus  
EQ Trim  
Right  
Wet / Dry  
LFO Phase  
LFO: Tri / Sine  
AutoFade  
LFO Frequency  
Depth  
Wet / Dry  
Selects the modulation source that triggers AutoFade.  
 P.59  
AUTOFADE Src  
None…Tempo  
a
b
Fade-In Rate  
LFO Waveform  
LFO Phase [degree]  
LFO Frequency [Hz]  
Src  
1…100  
Sets the rate of fade-in.  
Triangle, Sine  
–180…+180  
Selects LFO Waveform.  
LFO phase difference between the left and right P.65  
LFO speed  
0.02…20.00Hz  
None…AUTOFADE  
–20.00…+20.00Hz  
0.0…50.0msec  
0.0…50.0msec  
0…100  
c
Modulation source of LFO speed. AutoFade is available  
Modulation amount of LFO speed  
Delay time for the left channel  P.65  
Delay time for the right channel  P.65  
Depth of LFO modulation  
Amt  
d
e
L Pre Delay [msec]  
R Pre Delay [msec]  
Depth  
Modulation source of the LFO modulation depth. Auto-  
Fade is available  
f
Src  
None…AUTOFADE  
Amt  
–100…+100  
0…100  
Modulation amount of the LFO modulation depth  
g
h
EQ Trim  
EQ input level  
Low-EQ gain  
High-EQ gain  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
–15.0…+15.0dB  
–15.0…+15.0dB  
Sets the spread of stereo image of the effect sound.  
 P.65  
i
j
Spread  
–100…+100  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25  
Wet/Dry  
Modulation source of effect balance. AutoFade is avail-  
able  
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of effect balance  
64  
Download from Www.Somanuals.com. All Manuals Search And Download.  
13: Stereo Chorus  
b: LFO Phase [degree] Shifting the left and right LFOs’ phase will cause modulation to be applied dif-  
ferently for the right and left, spreading and swelling the effect sound between  
the left and right.  
LFO Phase  
0
+90  
+180 [degree]  
–180  
0 [degree]  
–90  
d: L Pre Delay [msec]  
e: R Pre Delay [msec]  
Setting the left and right delay time individually allows you to control the stereo  
image.  
i: Spread  
This parameter sets the width of stereo image of the effect sound. A value of  
+100 gives the widest spread, and a value of 0 causes the effect sound of both  
channels to be output from the center. A negative value will reverse the left and  
right channels of the effect sound.  
65  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
14: St. Harmonic Chorus (Stereo Harmonic Chorus)  
14: St. Harmonic Chorus (Stereo Harmonic Chorus)  
This is a stereo harmonic chorus. Shifting the left and right LFO phases from each other will add spread  
to the sound.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Low Level  
Chorus/Flanger  
High Level  
High Damp  
High/Low Split Point  
Feedback  
High Damp  
High Level  
Chorus/Flanger  
Low Level  
Right  
Wet / Dry  
LFO Phase  
LFO: Tri / Sine  
a
b
LFO Waveform  
Triangle, Sine  
–180…+180  
Selects LFO Waveform.  
LFO Phase [degree]  
LFO phase difference between the left and right  P.65  
LFO speed  
LFO Frequency [Hz]  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
0.0…50.0msec  
0…100  
c
d
e
Src  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Delay from the original sound  
Amt  
Pre Delay [msec]  
Depth  
Src  
Depth of LFO modulation  
None…Tempo  
–100…+100  
Modulation source of the LFO modulation depth  
Modulation amount of the LFO modulation depth  
Amt  
Frequency split point between the low and high range  
 P.30  
f
High/Low Split Point  
1…100  
g
h
i
Feedback  
High Damp [%]  
Low Level  
High Level  
Wet/Dry  
Src  
–100…+100  
0…100%  
0…100  
Feedback amount of the chorus block P.30  
Chorus block damping amount in the high range  
Output level in the low range  
h
0…100  
Output level in the high range (chorus)  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
j
Amt  
Modulation amount of effect balance  
66  
Download from Www.Somanuals.com. All Manuals Search And Download.  
15: Multitap Chorus/Dly (Multitap Chorus/ Delay)  
15: Multitap Chorus/ Dly (Multitap Chorus/ Delay)  
This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by  
setting each block’s delay time, depth, output level, and pan individually. You can also fix some of the  
chorus blocks to combine the chorus and delay effects.  
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out  
Left  
Wet / Dry  
Feedback  
Tap1 Delay  
Level  
Pan  
Tap2 Delay  
Level  
Pan  
+
Tap3 Delay  
Level  
Pan  
Tap4 Delay  
Level  
Pan  
Right  
Wet / Dry  
0 [degree]  
180 [degree]  
90 [degree]  
270 [degree]  
LFO: Triangle  
a
b
LFO Frequency [Hz]  
Tap1(000) [msec]  
Depth  
0.02…13.00Hz  
0…570msec  
0…30  
LFO speed  
Tap1 (LFO phase=0 degrees) delay time  
Tap1 chorus depth  
Level  
0…30  
Tap1 output level  
Pan  
L6…L1, C, R1…R6  
0…570msec  
0…30  
Tap1 stereo image  
Tap2(180) [msec]  
Depth  
Tap2 (LFO phase=180 degrees) delay time  
Tap2 chorus depth  
c
d
e
Level  
0…30  
Tap2 output level  
Pan  
L6…L1, C, R1…R6  
0…570msec  
0…30  
Tap2 stereo image  
Tap3(090) [msec]  
Depth  
Tap3 (LFO phase=90 degrees) delay time  
Tap3 chorus depth  
Level  
0…30  
Tap3 output level  
Pan  
L6…L1, C, R1…R6  
0…570msec  
0…30  
Tap3 stereo image  
Tap4(270) [msec]  
Depth  
Tap4 (LFO phase=270 degrees) delay time  
Tap4 chorus depth  
Level  
0…30  
Tap4 output level  
Pan  
L6…L1, C, R1…R6  
–100…+100  
Tap4 stereo image  
Tap1 Feedback  
Tap1 feedback amount  
Modulation source of Tap1 feedback amount and effect  
balance  
f
Src  
None…Tempo  
Amt  
–100…+100  
Tap1 feedback amount and modulation amount  
Sets the balance between the effect and dry sounds.  
Modulation amount of effect balance  
Wet/Dry  
Amt  
Dry, 1:99…99:1, Wet  
–100…+100  
g
67  
Download from Www.Somanuals.com. All Manuals Search And Download.  
16: Ensemble  
16: Ensemble  
This Ensemble effect has three chorus blocks, and gives three dimensional depth and spread to the sound,  
because the signal is output from the left, right, and center.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
+
Ensemble  
Right  
Wet / Dry  
Shimmer  
LFO  
Speed  
Src  
1…100  
LFO speed  
a
b
c
None…Tempo  
–100…+100  
0…100  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Amt  
Shimmer  
Depth  
Src  
Amount of shimmering of the LFO waveform P.31  
Depth of LFO modulation  
0…100  
None…Tempo  
–100…+100  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Modulation source of the LFO modulation depth  
Modulation amount of the LFO modulation depth  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Amt  
Wet/Dry  
Src  
d
Amt  
Modulation amount of effect balance  
68  
Download from Www.Somanuals.com. All Manuals Search And Download.  
17: Stereo Flanger  
17: Stereo Flanger  
This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs  
from each other. The flanging effect can fade-in by means of the AutoFade function.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Flanger  
FB Mode  
(Normal/Cross)  
Feedback  
Spread  
High Damp  
Flanger  
FB Mode  
(Normal/Cross)  
Right  
Wet / Dry  
LFO Phase  
LFO Shape  
LFO: Tri / Sine  
AutoFade  
LFO Frequency  
Wet / Dry  
Selects the modulation source that triggers AutoFade.  
 P.59  
AUTOFADE Src  
None…Tempo  
1…100  
a
b
c
d
Fade-In Rate  
Sets the rate of fade-in.  
Delay from the original sound  
Selects LFO Waveform.  
Delay Time [msec]  
LFO Waveform  
0.0…50.0msec  
Triangle, Sine  
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
–100…+100  
LFO Phase [degree]  
LFO Frequency [Hz]  
Src  
–180…+180  
0.02…20.00Hz  
None…AUTOFADE  
–20.00…+20.00Hz  
0…100  
LFO phase difference between the left and right P.65  
LFO speed  
e
Modulation source of LFO speed. AutoFade is available  
Modulation amount of LFO speed  
Amt  
f
Depth  
Depth of LFO modulation  
Feedback  
FB Mode  
–100…+100  
Normal, Cross  
0…100%  
Feedback amount P.32  
g
Sets the feedback routing. P.69  
h
i
High Damp [%]  
Spread  
Feedback damping amount in the high range P.32  
Sets the width of stereo image of effect sound. P.65  
–100…+100  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 32  
Wet/Dry  
j
Modulation source of effect balance. AutoFade is avail-  
able  
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of effect balance  
g: FB Mode  
This parameter sets the feedback routing. “Cross” will select a crossover flanger  
in which each channel applies feedback to the other channel.  
69  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
18: St. Random Flanger (Stereo Random Flanger)  
18: St. Random Flanger (Stereo Random Flanger)  
This is a stereo flanger. The effect uses a step-shape waveform and random LFO for modulation, creating  
a unique flanging effect.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Flanger  
FB Mode  
(Normal/Cross)  
Feedback  
Spread  
High Damp  
Flanger  
FB Mode  
(Normal/Cross)  
Right  
Wet / Dry  
LFO Phase  
LFO: Step-Tri/Random  
a
b
c
Delay Time [msec]  
LFO Waveform  
0.0…50.0msec  
Delay from the original sound  
Step-Tri, Random  
–180…+180  
Selects the LFO Waveform. P.70  
LFO Phase [degree]  
LFO Frequency [Hz]  
LFO phase difference between the left and right  P.65  
0.02…20.00Hz  
LFO speed P.70  
Modulation source used for both LFO speed and step  
speed  
d
Src  
None…Tempo  
Amt  
–20.00…+20.00Hz  
0.05…50.00Hz  
Modulation amount of LFO speed  
LFO Step Freq (Frequency)  
[Hz]  
LFO step speed (speed that changes in steps) P.70  
e
Amt  
–50.00…+50.00Hz  
0…100  
Modulation amount of LFO step speed  
Depth of LFO modulation  
f
Depth  
Feedback  
FB Mode  
High Damp [%]  
Spread  
–100…+100  
Normal, Cross  
0…100%  
Feedback amount P.32  
g
Sets the feedback routing. P.69  
h
i
Feedback damping amount in the high range P.32  
Sets the width of stereo image of effect sound. P.65  
–100…+100  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 32  
Wet/Dry  
j
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
b: LFO Waveform  
When Step-Tri is selected for LFO Waveform, the LFO uses a step-shape triangle  
d: LFO Frequency [Hz] waveform. Set the LFO Frequency to the speed of the original triangle wave-  
e: LFO Step Freq (Fre-  
quency) [Hz]  
form. At this time, changing the LFO Step Freq value will modify the width of  
the step.  
When Random is selected for LFO Waveform, the LFO Step Freq setting will be  
used as a cycle of the random LFO.  
70  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
18: St. Random Flanger (Stereo Random Flanger)  
Random Flanger LFO  
LFO Frequency  
LFO Step Freq  
LFO Step Freq  
Random  
Step-Tri  
71  
Download from Www.Somanuals.com. All Manuals Search And Download.  
19: St. Tempo Flanger (Stereo Tempo Flanger)  
19: St. Tempo Flanger (Stereo Tempo Flanger)  
This is a stereo tempo flanger. The flanging effect can fade-in by means of the AutoFade function.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Flanger  
FB Mode  
(Normal/Cross)  
Feedback  
Spread  
High Damp  
Flanger  
FB Mode  
(Normal/Cross)  
Right  
Wet / Dry  
LFO Phase  
D-mod  
Tempo  
LFO Mode  
Length: 1/4  
LFO Shape  
LFO: Tri / Sine  
120 [beat/min]  
AutoFade  
Manual  
Wet / Dry  
Selects the modulation source that triggers AutoFade.  
 P.59  
AUTOFADE Src  
None…Tempo  
a
b
c
d
e
Fade-In Rate  
1…100  
Sets the rate of fade-in.  
Delay from the original sound  
Selects LFO Waveform.  
Delay Time [msec]  
LFO Waveform  
0.0…50.0msec  
Triangle, Sine  
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
–100…+100  
–180…+180  
Manual, D-mod  
LFO Phase [degree]  
LFO Mode  
LFO phase difference between the left and right  P.65  
Switches between the specified tempo and clock sync.  
 P.33  
Src (fixed)  
Tempo  
Source when LFO Mode = D-mod (fixed to Tempo)  
Tempo [beat/min]  
30…250 beat/min  
Tempo when LFO Mode = Manual P.33  
f
Sets the LFO cycle. LFO Cycle = Length x Whole Note.  
 P.33  
Length  
1…16 / 1…16  
g
h
Depth  
0…100  
Depth of LFO modulation  
Feedback  
FB Mode  
High Damp [%]  
Spread  
–100…+100  
Normal, Cross  
0…100%  
Feedback amount P.32  
Sets the feedback routing. P.69  
Feedback damping amount in the high range P.32  
Sets the width of stereo image of effect sound. P.65  
i
j
–100…+100  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 32  
Wet/Dry  
Modulation source of effect balance. AutoFade is avail-  
able  
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of effect balance  
72  
Download from Www.Somanuals.com. All Manuals Search And Download.  
20: Stereo Phaser  
20: Stereo Phaser  
This is a stereo phaser. You can add spread to the sound by offsetting the phase of the left and right LFOs  
from each other. The phaser effect can fade-in by means of the AutoFade function.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Phaser  
Resonance  
Spread  
High Damp  
Phaser  
Right  
Wet / Dry  
LFO Phase  
LFO Shape  
LFO: Tri / Sine  
AutoFade  
LFO Frequency  
Wet / Dry  
Selects the modulation source that triggers AutoFade.  
 P.59  
AUTOFADE Src  
None…Tempo  
a
Fade-In Rate  
1…100  
Sets the rate of fade-in.  
LFO Waveform  
Triangle, Sine  
Selects LFO Waveform.  
b
c
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
–100…+100  
LFO Phase [degree]  
LFO Frequency [Hz]  
Src  
–180…+180  
LFO phase difference between the left and right P.65  
LFO speed  
0.02…20.00Hz  
None…AUTOFADE  
–20.00…+20.00Hz  
0…100  
d
Modulation source of LFO speed. AutoFade is available  
Modulation amount of LFO speed  
Amt  
e
f
Manual  
Sets the frequency to which the effect is applied.  
Depth of LFO modulation  
Depth  
0…100  
g
Resonance  
–100…+100  
Sets the resonance amount. P.35  
Resonance damping amount in the high range  
 P.35  
h
i
High Damp [%]  
Spread  
0…100%  
Sets the width of stereo image of effect sound.  
 P.65  
–100…+100  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 35  
Wet/Dry  
j
Modulation source of effect balance. AutoFade is avail-  
able  
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of effect balance  
73  
Download from Www.Somanuals.com. All Manuals Search And Download.  
21: St. Random Phaser (Stereo Random Phaser)  
21: St. Random Phaser (Stereo Random Phaser)  
This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating  
a unique phasing effect.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Phaser  
Resonance  
Spread  
High Damp  
Phaser  
Right  
Wet / Dry  
LFO Phase  
LFO: Step-Tri/Step-Sin/Random  
a
b
LFO Waveform  
Step-Tri, Step-Sin, Random  
–180…+180  
Selects the LFO Waveform. P.70  
LFO Phase [degree]  
LFO Frequency [Hz]  
LFO phase difference between the left and right P.65  
0.02…20.00Hz  
LFO speed P.70  
Modulation source commonly used for LFO speed and  
step speed  
c
Src  
None…Tempo  
Amt  
–20.00…+20.00Hz  
0.05…50.00Hz  
Modulation amount of LFO speed  
LFO Step Freq (Frequency)  
[Hz]  
LFO step speed P.70  
d
Amt  
–50.00…+50.00Hz  
0…100  
Modulation amount of LFO step speed  
e
f
Manual  
Sets the frequency to which the effect is applied.  
Depth of LFO modulation  
Depth  
0…100  
g
h
i
Resonance  
High Damp [%]  
Spread  
–100…+100  
0…100%  
Sets the resonance amount. P.35  
Resonance damping amount in the high range P.35  
Sets the width of stereo image of effect sound. P.65  
–100…+100  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 35  
Wet/Dry  
j
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
74  
Download from Www.Somanuals.com. All Manuals Search And Download.  
22: St. Tempo Phaser (Stereo Tempo Phaser)  
22: St. Tempo Phaser (Stereo Tempo Phaser)  
This is a stereo tempo phaser. The phasing effect can fade-in by means of the AutoFade function.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Phaser  
Resonance  
Spread  
High Damp  
Phaser  
Right  
Wet / Dry  
LFO Phase  
D-mod  
Manual  
Tempo  
LFO Mode  
Length: 1/4  
LFO Shape  
LFO: Tri / Sine  
120 [beat/min]  
AutoFade  
Wet / Dry  
Selects the modulation source that triggers AutoFade.  
 P.59  
AUTOFADE Src  
None…Tempo  
a
Fade-In Rate  
1…100  
Sets the rate of fade-in.  
LFO Waveform  
Triangle, Sine  
Selects LFO Waveform.  
b
c
d
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
–100…+100  
–180…+180  
Manual, D-mod  
Tempo  
LFO Phase [degree]  
LFO Mode  
LFO phase difference between the left and right  P.65  
Switches between the specified tempo and clock sync.  
 P.33  
Src (fixed)  
Source when LFO Mode = D-mod (fixed to Tempo)  
Tempo [beat/min]  
30…250 beat/min  
Tempo when LFO Mode = Manual P.33  
e
f
Sets the LFO cycle. LFO Cycle = Length x Whole Note.  
 P.33  
Length  
1…16 / 1…16  
Manual  
0…100  
Sets the frequency to which the effect is applied.  
Depth  
0…100  
Depth of LFO modulation  
g
h
i
Resonance  
High Damp [%]  
Spread  
–100…+100  
0…100%  
–100…+100  
Sets the resonance amount. P.35  
Resonance damping amount in the high range  P.35  
Sets the width of stereo image of effect sound. P.65  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 35  
Wet/Dry  
j
Modulation source of effect balance. AutoFade is avail-  
able  
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of effect balance  
75  
Download from Www.Somanuals.com. All Manuals Search And Download.  
23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)  
23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)  
This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parame-  
ters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will  
create an analog-type, unstable modulated sound.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Chorus/Flanger  
High Damp  
Feedback  
High Damp  
Chorus/Flanger  
Right  
Wet / Dry  
180 [degree]  
LFO1: Tri / Sine  
LFO2: Tri / Sine  
LFO1 Waveform  
LFO2 Waveform  
LFO Phase Sw  
LFO1 Frequency [Hz]  
Src  
Triangle, Sine  
Triangle, Sine  
0 degree, 180 degree  
0.02…30.00Hz  
None…Tempo  
–30.00…+30.00  
0.02…30.00Hz  
–30.00…+30.00  
0…100  
Selects LFO1 waveform.  
a
b
Selects LFO2 waveform.  
Switches the LFO phase difference between left and right.  
LFO1 speed  
c
d
e
f
Modulation source of LFO1&2 speed  
Modulation amount of LFO1 speed  
LFO2 speed  
Amt  
LFO2 Frequency [Hz]  
Amt  
Modulation amount of LFO2 speed  
Depth of LFO1 modulation  
Depth1  
Src  
None…Tempo  
–100…+100  
Modulation source of LFO1&2 modulation depth  
Modulation amount of LFO1 modulation depth  
Depth of LFO2 modulation  
Amt  
Depth2  
0…100  
Amt  
–100…+100  
Modulation amount of LFO2 modulation depth  
Left channel delay time  P.65  
Right channel delay time  P.65  
Feedback amount  P.30  
g
h
L Pre Delay [msec]  
R Pre Delay [msec]  
Feedback  
0.0…50.0msec  
0.0…50.0msec  
–100…+100  
i
High Damp [%]  
0…100%  
High range damping amount  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25  
Wet/Dry  
j
Src  
None…Tempo  
Modulation source of effect balance.  
Amt  
–100…+100  
Modulation amount of effect balance  
76  
Download from Www.Somanuals.com. All Manuals Search And Download.  
23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)  
Bi-Phase Modulation LFO  
LFO1  
LFO2  
Depth1  
+
Depth2  
77  
Download from Www.Somanuals.com. All Manuals Search And Download.  
24: Stereo Vibrato  
24: Stereo Vibrato  
This is a stereo vibrato. You can set a delay for the time that is taken before the auto-fade starts.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Vibrato  
Vibrato  
Right  
Wet / Dry  
LFO Shape  
LFO: Tri / Sine  
AutoFade  
LFO Frequency  
Fade-In Delay  
Sets the modulation source that starts AutoFade.  
 P.78  
AUTOFADE Src  
None…Tempo  
a
Fade-In Rate  
1…100  
Sets the rate of fade-in.  
Sets delay time for fade-in. P.78  
Selects the LFO Waveform.  
b
c
Fade-In Delay [msec]  
LFO Waveform  
00…2000msec  
Triangle, Sine  
Determines how much the LFO waveform shape is  
changed.  P.32  
d
LFO Shape  
–100…+100  
LFO Frequency [Hz]  
0.02…20.00Hz  
None…AUTOFADE  
–20.00…+20.00Hz  
0…100  
LFO speed  
e
Src  
Modulation source of LFO speed. AutoFade is available.  
Modulation amount of LFO speed  
Amt  
Depth  
Src  
Depth of LFO modulation  
f
None…Tempo  
–100…+100  
Modulation source of the LFO modulation depth  
Modulation depth of the LFO modulation depth  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
g
Amt  
a: AUTOFADE Src  
a: Fade-In Rate  
If AutoFade is selected for the LFO speed, you can use the AutoFade function to  
apply modulation.  
b: Fade-In Delay [msec]  
The AUTOFADE Src parameter selects the modulation source that triggers Auto-  
Fade. The Fade-in Rate parameter specifies the rate of fade-in. The Fade-in Delay  
parameter determines the time from AutoFade modulation source ON until the  
fade-in starts.  
78  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
24: Stereo Vibrato  
The following is an example of fade-in where the LFO speed is increased from  
“1.0Hz” to “4.0Hz” when a note-on message is received.  
a: AUTOFADE Src = Gate1  
e: LFO Frequency [Hz] = 1.0  
e: Src = AUTOFADE  
e: Amt = 3.0  
The effect is off when a value for the dynamic modulation source speci-  
fied for the AUTOFADE Src parameter is smaller than 64, and the effect is  
on when the value is 64 or higher. The AutoFade function is triggered  
when the value changes from 63 or smaller to 64 or higher.  
AUTOFADE AutoFade  
AUTOFADE Src=Gate1  
LFO Frequency[Hz]=1.0  
Src=AUTOFADE  
Amt=+3.0  
Gate1 Signal  
All Note Off  
Note On  
LFO Frequency  
=1.0+3.0=4.0Hz  
Fade-In Rate  
Fade-In Dealy  
AUTOFADE  
LFO Frequency  
=1.0Hz  
79  
Download from Www.Somanuals.com. All Manuals Search And Download.  
25: 2-Voice Resonator  
25: 2-Voice Resonator  
This resonator has two resonance points. You can set the output level and stereo image (pan) for each res-  
onator.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp  
Resonator  
Level  
Pan  
Trim  
Resonance  
+
Resonator  
Trim  
Level  
Pan  
High Damp  
Right  
Wet / Dry  
-mod  
D
Invert: On/Off  
LFO  
Manual  
Pitch, Fine [cent]  
Control Mode  
Control Mode  
Manual, LFO, D-mod  
Off, On  
Switches the controls of resonance intensity.  P.81  
a
Reverses the Voice 1 and 2 control when LFO/D-mod is  
selected.  P.81  
LFO/D-mod Invert  
LFO Frequency [Hz]  
D-mod Src  
Mod. Depth  
Trim  
0.02…20.00Hz  
None…Tempo  
–100…+100  
0…100  
LFO speed  
b
c
d
Modulation source that controls resonance intensity  
Amount of resonance intensity control via LFO/D-mod  
Input level at the Resonator  
Voice1: Pitch  
Fine [cent]  
C0…B8  
Voice1 Pitch for resonance  
–50…+50  
Fine adjustment of Voice1 pitch for resonance  
Sets the intensity of resonance when Control Mode =  
Manual.  P.81  
Voice1: Resonance  
High Damp [%]  
–100…+100  
e
Damping amount of resonant sound in the high range  
 P.39  
0…100%  
Voice1: Level  
Pan  
0…100  
Voice1 output level  
f
L6…R6  
C0…B8  
–50…+50  
Voice1 stereo image  
Voice2: Pitch  
Fine [cent]  
Voice2 Pitch for resonance  
Fine adjustment of Voice2 pitch for resonance  
g
Sets the intensity of resonance when Control Mode =  
Manual.  P.81  
Voice2: Resonance  
High Damp [%]  
–100…+100  
h
Damping amount of resonant sound in the high range  
 P.39  
0…100%  
Voice2: Level  
Pan  
0…100  
Voice2 output level  
i
j
L6…R6  
Voice2 stereo image  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
80  
Download from Www.Somanuals.com. All Manuals Search And Download.  
25: 2-Voice Resonator  
a: Control Mode  
e: Voice1: Resonance  
h: Voice2: Resonance  
This parameter determines whether the resonance intensity is controlled by the  
LFO or not.  
When Control Mode = Manual, the Resonance parameter sets the intensity of  
resonance. If the Resonance parameter has a negative value, harmonics will be  
changed, and resonance will occur at a pitch one octave lower.  
When Control Mode = LFO, the intensity of resonance varies according to the  
LFO. The LFO sways between positive and negative values, causing resonance  
to occur between specified pitches an octave apart in turn.  
When Control Mode = D-mod, the resonance is controlled by the dynamic mod-  
ulation source. If JS (X) or Ribbon (X) is assigned as the modulation source, the  
pitch an octave higher and lower can be controlled, similar to when LFO is  
selected for Control Mode.  
a: LFO/ D-mod Invert  
When Control Mode = LFO or D-mod, the controlled phase of either Voice 1 or 2  
will be reversed. When the resonance pitch is set for Voice 1 (Resonance has a  
positive value), Voice 2 will resonate at a pitch an octave below (Resonance has a  
negative value).  
81  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
26: Doppler  
26: Doppler  
This effect simulates a “Doppler effect” (sound moving while changing its pitch) that sounds, for exam-  
ple, like an ambulance siren passing by. Mixing the effect sound with the dry sound will create a special  
chorus effect.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
+
Doppler  
Pan Depth  
Right  
Wet / Dry  
LFO  
-mod  
D
Trigger  
LFO Mode = 1-Shot  
LFO Mode  
Src  
Loop, 1-Shot  
Switches LFO operation mode. P.82  
a
b
When LFO Mode is set to 1-Shot, this modulation source  
triggers the LFO.  
None…Tempo  
LFO Frequency [Hz]  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
0…100  
LFO speed  
Src  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Pitch variation of the moving sound P.83  
Modulation source of pitch variation  
Modulation amount of pitch variation  
Panning of the moving sound P.83  
Modulation source of panning  
Amt  
Pitch Depth  
Src  
c
d
e
None…Tempo  
–100…+100  
Amt  
Pan Depth  
Src  
–100…+100  
None…Tempo  
–100…+100  
Amt  
Modulation amount of panning  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
a: LFO Mode  
a: Src  
The LFO Mode parameter switches LFO operation mode. When Loop is  
selected, the Doppler effect will be created repeatedly.  
When LFO Mode is set to 1-Shot, the Doppler effect is created only once when  
the modulation source specified in the Src field is turned on. At this time if you  
do not set the Src parameter, the Doppler effect will not be created, and no effect  
sound will be output.  
The effect is off when a value for the modulation source specified for the  
Src parameter is smaller than 64, and the effect is on when the value is 64  
or higher. The Doppler effect is triggered when the value changes from 63  
or smaller to 64 or higher.  
82  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
26: Doppler  
c: Pitch Depth  
d: Pan Depth  
With the Doppler effect, the pitch is raised when the sound approaches, and the  
pitch is lowered when the sound goes away. This parameter sets this pitch varia-  
tion.  
This parameter sets the width of the stereo image of the effect sound. With  
larger values, the sound seems to come and go from much further away. With  
positive values, the sound moves from left to right; with negative values, the  
sound moves from right to left.  
Doppler - Pitch / Pan Depth  
Pitch  
Pan Depth  
= (+) value  
Pan Depth  
= (–) value  
Original Pitch  
Pitch Depth  
Left  
Center  
Right  
Pan Depth  
<
<
<
<
< <<<<<< >>>>>> >  
Volume  
>
>
>
>
Louder  
Louder  
83  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
27: Stereo Tremolo  
27: Stereo Tremolo  
This is a stereo tremolo. You can create sound panning to left and right by offsetting the phase of the left  
and right LFOs from each other. The tremolo effect can fade-in by means of the AutoFade function.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Tremolo  
Tremolo  
Right  
Wet / Dry  
LFO Phase  
LFO Shape  
LFO: Tri/Sin/Sqr/Up/Down  
AutoFade  
LFO Frequency  
Depth  
Wet/Dry  
Selects the modulation source that triggers AutoFade.  
 P.59  
AUTOFADE Src  
None…Tempo  
a
b
Fade-In Rate  
1…100  
Sets the rate of fade-in.  
Triangle, Sine, Square, Up,  
Down  
LFO Waveform  
Selects LFO Waveform.  P.42  
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
–100…+100  
c
LFO Phase [degree]  
–180…+180  
LFO phase difference between the left and right P.84  
LFO speed  
LFO Frequency [Hz]  
0.02…20.00Hz  
None…AUTOFADE  
–20.00…+20.00Hz  
0…100  
d
Src  
Modulation source of LFO speed. AutoFade is available.  
Modulation amount of LFO speed  
Depth of LFO modulation  
Amt  
Depth  
Modulation source of the depth of modulation. AutoFade  
is available.  
e
f
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of the depth of modulation  
Wet/Dry  
Dry, 1:99…99:1, Wet  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance. AutoFade is avail-  
able.  
Src  
None…AUTOFADE  
Amt  
–100…+100  
Modulation amount of effect balance  
c: LFO Phase [degree]  
This parameter determines the difference between the left and right LFO phases.  
A higher value will simulate the auto-pan effect in which the sound is panned  
between left and right.  
84  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
28: Stereo Auto Pan  
28: Stereo Auto Pan  
This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO  
phases from each other will simulate the sound of the left and right channels crossing over each other by  
turns, or chasing each other.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Pan  
Depth  
Pan  
Right  
Wet / Dry  
LFO Phase  
LFO Shape  
LFO: Tri / Sin  
a
b
c
LFO Waveform  
Triangle, Sine  
Selects LFO Waveform.  
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
–100…+100  
LFO Phase [degree]  
–180…+180  
LFO phase difference between the left and right  P.85  
LFO speed  
LFO Frequency [Hz]  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
0…100  
d
e
f
Src  
Modulation source of LFO speed  
Amt  
Modulation amount of LFO speed  
Depth  
Src  
Depth of LFO modulation  
None…Tempo  
–100…+100  
Modulation source of the depth of modulation  
Modulation amount of the depth of modulation  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Amt  
b: LFO Shape  
c: LFO Phase  
You can change the panning curve by modifying the LFO waveform.  
This parameter determines the difference in the left and right LFO phases. When  
you change the value gradually from “0”, the sound from the left and right chan-  
nels will chase each other around. If you set the parameter to +180 or –180, the  
sound from each channel will cross over each other.  
You need to input different sounds to each channel in order for this parameter to  
be effective.  
85  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
28: Stereo Auto Pan  
Stereo Auto Pan - LFO Phase  
LFO Phase = 0 degrees  
LFO Phase = 90 degrees  
LFO Phase = 180 degrees  
L-In  
L-In  
R-In  
L-In  
R-In  
R-In  
L-In  
R-In  
L-In  
L-In  
R-In  
L-In  
R-In  
L-In  
R-In  
L-In  
R-In  
R-In  
L-In  
R-In  
L-In  
L-In  
R-In  
L-In  
R-In  
L-In  
R-In  
L-In  
R-In  
R-In  
Left  
Right  
Center  
Output Stereo Image  
86  
Download from Www.Somanuals.com. All Manuals Search And Download.  
29: St. Envelope Pan (Stereo Envelope Pan)  
29: St. Envelope Pan (Stereo Envelope Pan)  
This stereo Pan uses the envelope generator to pan sound to the left and right. You can also control the  
panning directly using a modulation source.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Pan  
Start Offset  
Destination Offset  
Pan  
Right  
Wet / Dry  
-mod  
D
D-mod  
EG  
Pan Mode  
EG Attack, Release  
Pan Mode  
Src  
EG, D-mod  
Switches panning mode. P.87  
When Pan Mode = EG, this selects the modulation source  
that triggers the EG. When Pan Mode = D-mod, it selects  
the modulation source that controls the pan. P.87  
a
None…Tempo  
b
c
EG Attack  
1…100  
Attack rate of Envelope Generator P.88  
Release rate of Envelope Generator. P.88  
Initial panning value for the left channel P.88  
Target panning value for the left channel  
Initial panning value for the right channel P.88  
Target panning value for the right channel  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
EG Release  
Lch Start Offset  
Destination Offset  
Rch Start Offset  
Destination Offset  
Wet/Dry  
1…100  
L, 1…99, R  
L, 1…99, R  
L, 1…99, R  
L, 1…99, R  
d
e
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
f
Src  
Amt  
Modulation amount of effect balance  
a: Pan Mode  
a: Src  
This parameter selects whether the panning effect is controlled by the Envelope  
Generator, or directly by the modulation source.  
With Pan Mode = EG, this parameter specifies the modulation source that starts  
the envelope. This envelope generator is included in the Stereo Envelope Pan,  
and is not related to the Oscillator EG, Filter EG, or Amp EG. If you select, for  
example, Gate, the envelope generator will start when a note-on message is  
received.  
The effect is off when a value for the modulation source specified for the  
Src parameter is smaller than 64, and the effect is on when the value is 64  
or higher. The Envelope Generator is triggered when the value changes  
from 63 or smaller to 64 or higher.  
87  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
29: St. Envelope Pan (Stereo Envelope Pan)  
With Pan Mode = D-mod, you can control panning directly using the modula-  
tion source specified in the Src field.  
b: EG Attack  
c: EG Release  
Stereo Envelope Pan - EG  
Pan Mode=EG  
Src=Gate1  
Lch Start Offset=L  
Lch Destination Offset=R  
Rch Start Offset=75:25  
Rch Destination Offset=25:75  
Gate1 Signal  
All Note Off  
Note On  
Release  
EG  
Attack  
Left  
L-In  
Center  
Right  
Output  
R-In  
Time  
d: Lch Start Offset  
d: Destination Offset  
e: Rch Start Offset  
e: Destination Offset  
When Pan Mode = EG, the Start Offset parameter sets the panning at the start of  
the Envelope Generator. Destination Offset sets the panning for the sustain  
period.  
When Pan Mode = D-mod, Start Offset specifies the pan setting when the modu-  
lation source value is 0. Destination Offset sets the pan setting when the modu-  
lation source value is maximum.  
88  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
30: Stereo Dyna Pan  
30: Stereo Dyna Pan  
This effect counts the number of times the modulation source is turned on/ off, and switches the panning  
mode. You can create a panning effect that changes according to phrases you play on the keyboard. It is  
very effective for solos. You can also route this effect after a delay effect so that the delay sound will be  
panned gradually.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Pan  
Start Offset  
Destination Offset  
Pan  
Right  
Wet / Dry  
Panning Rate  
Reset Interval  
Count  
Panning Mode: Alternate/Random  
-mod  
Trigger Direction: Attack/Release  
D
Selects the modulation source for counting on/off times.  
 P.89  
a
b
c
Trigger Source  
Trigger Direction  
Panning Mode  
None…Tempo  
Attack, Release  
Alternate, Random  
Determines whether the on or off time is counted.  P.89  
Switches between Alternate and Random panning mode.  
 P.90  
Determines the number of times the on/off operation is  
counted until panning mode is changed. P.89  
d
e
Count  
1…16  
Reset Interval  
Panning Rate  
Src  
0…100  
Time taken to reset panning and on/off counting P.90  
Sets the panning rate.  P.90  
1…100  
f
None…Tempo  
–100…+100  
L, 1…99, R  
L, 1…99, R  
L, 1…99, R  
L, 1…99, R  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Modulation source of panning rate  
Amt  
Modulation amount of panning rate  
Lch Start Offset  
Destination Offset  
Rch Start Offset  
Destination Offset  
Wet/Dry  
Initial panning value for the left channel P.90  
Target panning value for the left channel  
Initial panning value for the right channel P.90  
Target panning value for the right channel  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
g
h
i
Src  
Amt  
Modulation amount of effect balance  
a: Trigger Source  
b: Trigger Direction  
d: Count  
When Trigger Direction = Attack, the effect counts how many times the modula-  
tion source (specified in the Trigger Source field) is turned on. When Trigger  
Direction = Release, the effect counts how many times the source is turned off.  
If the number of count exceeds the “Count” value, panning will be switched. If  
Gate is selected as the modulation source, you can set panning according to  
phrases you play on the keyboard.  
89  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
30: Stereo Dyna Pan  
The effect is off when the value for the modulation source specified for the  
Trigger Source parameter is smaller than 64, and the effect is on when the  
value is 64 or higher. When Trigger Direction is set to Attack, the number  
of times this value changes from 63 or smaller to 64 or higher (Off→On)  
will be counted. When Trigger is set to Release, the number of times this  
value changes from 64 or higher to 63 or smaller (On→Off) will be  
counted.  
c: Panning Mode  
When Panning Mode = Alternate, the panning setting will change from the Start  
Offset value to the Destination Offset value, then to the Start Offset value again.  
g: Lch Start Offset  
g: Destination Offset  
h: Rch Start Offset  
h: Destination Offset  
When Panning Mode = Random, the panning setting will change randomly  
between the Start Offset value and Destination Offset value.  
An example of setting to pan every third Note On message:  
a: Trigger Source = Gate2  
b: Trigger Direction = Attack  
c: Panning Mode = Alternate  
d: Count = 3  
Stereo Dyna Pan  
1
Trigger Source=Gate2  
Trigger Direction=Attack  
Panning Mode=Alternate  
Count=3  
1
2
3
1
2
1
2
2
3
2
3
1
3
1
Note-On  
Gate2 Signal  
Left  
Trigger >  
Trigger >  
Trigger >  
Start  
Reset Interval  
Offset  
Center  
Right  
Wet  
Panning Rate  
< Trigger  
Destination  
Offset  
<Reset>  
Time  
e: Reset Interval  
If the modulation source (specified in the Trigger Source field) remains off for a  
while, the number of counts will be reset and the panning setting will go back to  
the Start Offset value. (However, when Panning Mode = Random, it will not go  
back to the Start Offset value.) The Reset Interval parameter sets this interval.  
With a larger value, the interval will become longer. If this value is too small,  
very slow panning will be reset before it is switched. In this case, set this param-  
eter to a larger value.  
If you set this interval to the same period of time as between the phrases, pan-  
ning and counting will start from the beginning at the start of the phrase.  
f: Panning Rate  
This parameter determines how fast panning is switched. A smaller value will  
cause panning to move more slowly.  
If you wish to combine a delay effect to pan the delay sound, you should adjust  
this parameter so that it will match the delay time and feedback.  
90  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
31: Phaser+Tremolo  
31: Phaser+Tremolo  
This effect links a stereo phaser LFO and a tremolo LFO. Swelling created by the phaser and shimmering  
created by the tremolo are synchronized, making a pleasant modulation. It works well with electric piano  
sounds.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Phaser  
Tremolo  
Phaser Wet / Dry  
Phaser Wet / Dry  
Resonance  
Phaser  
Tremolo  
Right  
Wet / Dry  
Phaser LFO  
Tremolo LFO  
LFO  
LFO Shape  
Diff Phaser<>Tremolo  
LFO Frequency [Hz]  
0.02…20.00Hz  
LFO speed  
a
Src  
None…Tempo  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Amt  
–20.00…+20.00Hz  
The difference between the left and right phases of the  
phaser.  P.92  
b
c
Phaser LFO [degree]  
–180…+180  
Phaser Manual  
Phaser Depth  
Src  
0…100  
Sets the frequency to which the effect is applied.  
0…100  
Depth of Phaser LFO modulation  
d
None…Tempo  
–100…+100  
–100…+100  
Modulation source of the phaser modulation depth  
Modulation amount of the phaser modulation depth  
Sets the resonance amount.  
Amt  
e
f
Phaser Resonance  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the phaser effect and dry  
sounds. P.25, 92  
Phaser Wet/Dry  
The difference between the left and right phases of the  
tremolo. P.92  
Tremolo LFO [degree]  
Diff Tremolo<>Phaser  
Tremolo LFO Shape  
–180…+180  
–180…+180  
–100…+100  
g
The difference between Tremolo LFO phase and Phaser  
LFO phase.  
Sets how much the Tremolo LFO shape is modulated.  
 P.32  
h
i
Tremolo Depth  
0…100  
Depth of Tremolo LFO modulation  
Src  
None…Tempo  
–100…+100  
Modulation source of the tremolo modulation depth  
Modulation amount of the tremolo modulation depth  
Amt  
Sets the balance between the effect and dry sounds.  
 P.92  
Wet/Dry  
Dry, 1:99…99:1, Wet  
j
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
91  
Download from Www.Somanuals.com. All Manuals Search And Download.  
31: Phaser+Tremolo  
b: Phaser LFO [degree] The Phaser LFO and Tremolo LFO determine the right and left phase difference  
g: Tremolo LFO [degree] respectively.  
g: Diff Tremolo<>Phaser  
Phaser LFO is used to control the spread of the phaser effect, and Tremolo LFO is  
used to control the tremolo effect that is shimmering between left and right.  
The Diff Tremolo<>Phaser sets the phase difference of the Phaser and Tremolo.  
Controlling the relationship between the Phaser and Tremolo will allow you to  
adjust the feel of sound movement and rotation.  
f: Phaser Wet/ Dry  
j: Wet/ Dry  
Phaser Wet/ Dry sets the balance between the phaser output and the dry sound.  
On the other hand, Wet/ Dry sets the balance between the final output of Phaser  
plus Tremolo, and the dry sound.  
92  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
32: Shimmer  
32: Shimmer  
This effect controls a stereo tremolo based on the input signal level. You can create an effect in which the  
shimmering becomes larger and fades away as the volume level becomes lower.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Tremolo  
Tremolo  
Right  
Wet / Dry  
LFO Phase  
LFO Shape  
LFO: Tri/Sin/Sqr/Up/Down  
Envelope Shape  
Envelope  
+
Envelope Sens  
a
b
Envelope Sens  
Envelope Shape  
0…100  
Sets the sensitivity of the input signal envelope.  
Sets the envelope curve of the input signal.  
–100…+100  
Triangle, Sine, Square, Up,  
Down  
c
d
e
LFO Waveform  
LFO Shape  
Selects LFO waveform.  
Determines how much the LFO waveform shape is modi-  
fied. P.32  
–100…+100  
The difference between the left and right LFO phase.  
 P.84  
LFO Phase [degree]  
–180…+180  
LFO Frequency [Hz]  
Envelope Amount [Hz]  
Depth  
0.02…20.00Hz  
–20.00…+20.00Hz  
0…100  
LFO speed P.93  
f
Changes LFO speed according to the input signal level  
Depth of LFO modulation  P.93  
g
Changes the modulation depth according to the input sig-  
nal level  
Envelope Amount  
–100…+100  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
h
Amt  
Modulation amount of effect balance  
f: LFO Frequency [Hz]  
These parameters are used to set the modulation applied based on the envelope  
f: Envelope Amount [Hz] (input signal level).  
g: Depth  
g: Envelope Amount  
LFO speed is the LFO Frequency added by the Envelope Amount multiplied by  
the input signal level. The Depth value is also obtained by adding the Depth  
value to the Envelope Amount multiplied by the input signal level.  
93  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
32: Shimmer  
Setting example: The maximum input level will produce 1.0Hz, Depth = 0. An  
input level of “0” will produce 8.0Hz, Depth = 100:  
f: LFO Frequency [Hz] = 8.0  
f: Envelope Amount [Hz] = –7.0  
g: Depth = 100  
g: Envelope Amount = –100  
Shimmer  
Level  
Dry Envelope  
LFO Frequency[Hz]=8.0  
Envelope Amount[Hz]= –7.0Hz  
Depth=100  
Envelope Amount= –100  
Time  
94  
Download from Www.Somanuals.com. All Manuals Search And Download.  
33: Detune  
33: Detune  
Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the  
pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created.  
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp  
Delay  
+
Detune  
Right  
Wet / Dry  
The difference between the input signal pitch and effect  
sound pitch.  
Pitch Shift [cent]  
–100…+100cent  
a
Src  
None…Tempo  
–100…+100cent  
0…1000msec  
0…100%  
Modulation source of the pitch shift  
Amt  
Modulation amount of the pitch shift  
Sets the time delay from the input signal.  
Damping amount in the high range  
b
c
Delay Time [msec]  
High Damp [%]  
Wet/Dry  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
d
Src  
Amt  
95  
Download from Www.Somanuals.com. All Manuals Search And Download.  
34: Pitch Shifter  
34: Pitch Shifter  
This effect changes the pitch of the input signal. You can select from three types: Fast (quick response),  
Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually  
raised (or dropped) using the delay with feedback.  
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Input Level  
High Damp  
Delay  
+
Pitch Shifter  
Feedback  
Input Level  
Right  
Wet / Dry  
Input Level  
Src  
0…100  
Sets the input level to the effect.  
a
b
c
None…Tempo  
–100…+100  
Selects the modulation source of input level.  
Modulation amount of input level  
Amt  
Mode  
Slow, Medium, Fast  
–24…+24  
Switches Pitch Shifter mode. P.96  
Pitch Shift [1/2tone]  
Src  
Sets the pitch shift amount by steps of a semitone. P.97  
Modulation source of pitch shift amount  
Modulation amount of pitch shift amount  
Sets the pitch shift amount by steps of a cent. P.97  
Modulation amount of pitch shift amount  
Sets the delay time from the input signal.  P.97  
Sets the feedback amount. P.97  
None…Tempo  
–24…+24  
Amt  
Fine [cent]  
Amt  
–100…+100cent  
–100…+100vent  
0…1000msec  
–100…+100  
d
e
f
Delay Time [msec]  
Feedback  
High Damp [%]  
Wet/Dry  
g
0…100%  
Damping amount in the high range  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
h
Src  
Amt  
Modulation amount of effect balance  
b: Mode  
This parameter switches the pitch shifter operating mode. With Slow, tonal  
quality will not be changed too much. With Fast, the effect becomes a Pitch  
Shifter that has a quick response, but may change the tone. Medium is in  
between these two.  
If you do not need to set too much pitch shift amount, set this parameter to  
“Fast.” If you wish to change the pitch significantly, use “Slow.”  
96  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
34: Pitch Shifter  
c: Pitch Shift [1/ 2tone] The amount of pitch shift will use the value of the Pitch Shift plus the Fine value.  
c: Src  
The amount of modulation will use the c: Amt value plus d: Amt.  
c: Amt  
d: Fine [cent]  
d: Amt  
Modulation Source is used both for Pitch Shift and Fine.  
e: Delay Time [msec]  
f: Feedback  
Sets the delay time and feedback amount. The sound with feedback will be input  
to the Pitch Shifter again, causing the pitch to be raised (or lowered) gradually.  
97  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
35: Pitch Shift Mod. (Pitch Shift Modulation)  
35: Pitch Shift Mod. (Pitch Shift Modulation)  
This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to  
the sound by panning the effect sound and dry sound to the left and right. This is especially effective  
when the effect sound and dry sound output from stereo speakers are mixed.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
+
Pitch Shifter  
Pan  
Right  
Wet / Dry  
LFO: Tri / Sqr  
a
b
Pitch Shift [cent]  
–100…+100cent  
Triangle, Square  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
–100…+100  
Pitch difference from the input signal  P.98  
Selects LFO waveform.  
LFO Waveform  
LFO Frequency [Hz]  
LFO speed  
c
Src  
Modulation source of LFO speed  
Amt  
Depth  
Src  
Modulation amount of LFO speed  
LFO modulation depth for pitch shift amount  P.98  
Modulation source of the depth of modulation  
Modulation amount of the depth of modulation  
Pans the effect sound and dry sound separately. P.99  
d
e
None…Tempo  
–100…+100  
Amt  
Pan  
L, 1:99…99:1, R  
Sets the balance between the effect and dry sounds.  
 P.99  
Wet/Dry  
Dry, 1:99…99:1, Wet  
f
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
a: Pitch Shift [cent]  
d: Depth  
These parameters set the amount of pitch shift and amount of modulation by  
means of the LFO.  
98  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
35: Pitch Shift Mod. (Pitch Shift Modulation)  
Pitch Shift Mod - Pitch Shift / Depth  
Pitch  
LFO Waveform=Triangle  
Depth (+value)  
Pitch Shift (+ value)  
Original Pitch  
LFO Waveform=Square  
Depth (–value)  
e: Pan  
f: Wet/ Dry  
The Pan parameter pans the effect sound and dry sound to the left and right.  
With “L,” the effect sound is panned left, and the dry sound is panned right.  
With a Wet/ Dry = Wet setting, the effect and dry sound will be output in a pro-  
portion of 1:1.  
99  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
36: Rotary Speaker  
36: Rotary Speaker  
This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the  
low range and the horn in the high range separately. The effect also simulates the microphone settings.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Horn  
Rotary Speaker  
Mic Distance  
Mic Spread  
Rotor/Horn  
Balance  
+
Rotor  
Speaker Simulation  
Right  
Wet / Dry  
-mod  
-mod  
-mod  
Mode Switch: Rotate/Stop  
Speed Switch: Slow/Fast  
Manual Speed Control  
D
D
D
Mode Switch  
Src  
Rotate, Stop  
Switches between speaker rotation and stop.  
None…Tempo  
Modulation source that toggles between rotation and stop  
a
b
Selects switching mode of the modulation source that tog-  
gles between rotation and stop.  P.101  
Sw  
Momentary, Toggle  
Switches the speaker rotation speed between slow and  
fast.  
Speed Switch  
Slow, Fast  
Src  
Sw  
None…Tempo  
Momentary, Toggle  
Modulation source that toggles between slow and fast  
Selects switching mode of the modulation source that tog-  
gles between slow and fast.  P.43  
Sets the modulation source in case the rotation speed is  
changed directly.  P.101  
c
Manual Speed Control  
Rotor Acceleration  
Rotor Ratio  
None…Tempo  
0…100  
How quickly the rotor rotation speed in the low range is  
switched.  P.43  
d
Adjusts the (low-range side) rotor rotation speed. Stan-  
dard value is 1.0. Selecting “Stop” will stop the rotation.  
Stop, 0.50…2.00  
0…100  
How quickly the horn rotation speed in the high range is  
switched.  P.43  
Horn Acceleration  
Horn Ratio  
e
Adjusts the (high-range side) horn rotation speed. Stan-  
dard value is 1.0. Selecting “Stop” will stop the rotation.  
Stop, 0.50…2.00  
Distance between the microphone and rotary speaker  
 P.101  
f
Mic Distance  
0…50  
g
h
Mic Spread  
0…50  
Angle of left and right microphones P.101  
Sets the volume level balance between the low-range  
rotor and high-range horn.  
Rotor/Horn Balance  
Rotor, 1…99, Horn  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
i
Amt  
Modulation amount of effect balance  
100  
Download from Www.Somanuals.com. All Manuals Search And Download.  
36: Rotary Speaker  
a: Sw  
This parameter sets how the modulation source switches between rotation and  
stop.  
When Sw = Momentary, the speaker is rotating. It stops only when you hold the  
pedal or keep the joystick in position.  
When the value for the modulation source is 63 or smaller, the speaker  
will rotate. When the value is 64 or higher, the speaker will stop.  
When Sw = Toggle, the speaker rotates or stops alternately each time you press  
the pedal or operate the joystick.  
Each time when the value for the modulation source exceeds 64, the  
speaker rotates or stops alternately.  
c: Manual Speed Control If you wish to control the speaker rotation speed manually, not switching  
between Slow and Fast, select the modulation source in the Manual Speed Con-  
trol field. If manual control is not necessary, set this field to “None.”  
f: Mic Distance  
g: Mic Spread  
This is a simulation of stereo microphone settings.  
Rotary Speaker - Mic Placement  
Mic Spread  
Microphone  
Microphone  
Mic Distance  
Mic Distance  
Rotary Speaker (Top View)  
101  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
37: Dual Delay  
37: Dual Delay  
This 2-channel delay allows you to set the delay time for the left and right channels independently.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp Low Damp  
Delay  
Input Level D-mod  
Feedback  
High Damp Low Damp  
Input Level D-mod  
Delay  
Right  
Wet / Dry  
a
b
L Delay Time [msec]  
L Feedback  
0.0…680.0msec  
Sets the delay time for the left channel.  
–100…+100  
Sets the feedback amount for the left channel.  
Damping amount in the high range for the left channel  
 P.44  
L High Damp [%]  
0…100%  
c
L Low Damp [%]  
R Delay Time [msec]  
R Feedback  
0…100%  
Damping amount in the low range for the left channel  
d
e
0.0…680.0msec  
–100…+100  
Sets the delay time for the right channel.  
Sets the feedback amount for the right channel.  
Damping amount in the high range for the right channel  
 P.44  
R High Damp [%]  
0…100%  
f
R Low Damp [%]  
Input Level D-mod: Src  
Amt L  
0…100%  
Damping amount in the low range for the right channel  
Modulation source of the left and right input level  P.44  
Modulation amount of the input level for the left channel  
None…Tempo  
–100…+100  
g
h
Modulation amount of the input level for the right channel  
 P.44  
Amt R  
–100…+100  
Sets the balance between the effect and dry sounds for  
the left channel.  
L Wet/Dry  
Dry, 1:99…99:1, Wet  
i
j
Src  
None…Tempo  
Modulation source of left/right effect balance  
Amt  
–100…+100  
Modulation amount of effect balance for the left channel  
Sets the balance between the effect and dry sounds for  
the right channel.  
R Wet/Dry  
Amt  
Dry, 1:99…99:1, Wet  
–100…+100  
Modulation amount of effect balance for the right channel  
102  
Download from Www.Somanuals.com. All Manuals Search And Download.  
38: Stereo Delay  
38: Stereo Delay  
This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross  
over between the left and right by changing the feedback routing.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp Low Damp  
Delay  
Input Level D-mod  
Stereo/Cross  
Feedback  
Spread  
High Damp Low Damp  
Input Level D-mod  
Delay  
Stereo/Cross  
Right  
Wet / Dry  
Switches between stereo delay and cross-feedback  
delay.  
a
Stereo/Cross  
Stereo, Cross  
b
c
L Delay Time [msec]  
R Delay Time [msec]  
Feedback  
0.0…680.0msec  
0.0…680.0msec  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the delay time for the left channel.  
Sets the delay time for the right channel.  
Sets the feedback amount.  
d
Src  
Modulation source of feedback amount  
Modulation amount of feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Amt  
e
f
High Damp [%]  
Low Damp [%]  
Input Level D-mod: Src  
Amt  
0…100%  
None…Tempo  
–100…+100  
g
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
Src  
–100…+100  
None…Tempo  
–100…+100  
Modulation source of the effect sound’s stereo image  
width  
h
Modulation amount of the effect sound’s stereo image  
width  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
i
Amt  
Modulation amount of effect balance  
103  
Download from Www.Somanuals.com. All Manuals Search And Download.  
39: St. Multitap Delay (Stereo Multitap Delay)  
39: St. Multitap Delay (Stereo Multitap Delay)  
The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap  
output allows you to create various patterns of complex effect sounds.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Feedback  
Delay  
(2)  
Input Level D-mod  
Input Level D-mod  
(1)  
Tap1 Level  
High Damp Low Damp  
Tap1=(1)  
Tap2=(2)  
Mode  
(2)  
Spread  
Mode  
High Damp Low Damp  
(1)  
Delay  
Feedback  
Right  
Wet / Dry  
Mode: Normal  
Mode: Cross Feedback  
Mode: Cross Pan1  
Mode: Cross Pan2  
Normal, Cross Feedback,  
Cross Pan1, Cross Pan2  
a
Mode  
Switches the left and right delay routing. P.104  
b
c
d
Tap1 Time [msec]  
Tap2 Time [msec]  
Tap1 Level  
0.0…680.0msec  
0.0…680.0msec  
0…100  
Sets the Tap1 delay time.  
Sets the Tap2 delay time.  
Tap1 output level  P.45  
Feedback  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the Tap2 feedback amount.  
e
Src  
Modulation source of the Tap2 feedback amount  
Modulation amount of the Tap2 feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Amt  
f
High Damp [%]  
Low Damp [%]  
Input Level D-mod: Src  
Amt  
g
0…100%  
None…Tempo  
–100…+100  
h
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
Src  
–100…+100  
None…Tempo  
–100…+100  
Modulation source of the effect sound’s stereo image  
width  
i
Modulation amount of the effect sound’s stereo image  
width  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
j
Amt  
Modulation amount of effect balance  
a: Mode  
You can change how the left and right delay signals are panned by modifying  
the routing of the left and right delay as shown in the figure above. You need to  
input different sounds to each channel in order for this parameter to be effective.  
104  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
40: L/C/R Delay  
40: L/ C/ R Delay  
This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust  
the left and right spread of the delay sound.  
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out  
Left  
Wet / Dry  
L Delay  
Input Level D-mod  
Level  
Spread  
+
C Delay  
High Damp Low Damp  
Level  
Feedback  
Input Level D-mod  
R Delay  
Level  
Right  
Wet / Dry  
L Delay Time [msec]  
Level  
0…1360msec  
0…50  
Sets the TapL delay time.  
TapL output level  
a
b
c
C Delay Time [msec]  
Level  
0…1360msec  
0…50  
Sets the TapC delay time.  
TapC output level  
R Delay Time [msec]  
Level  
0…1360msec  
0…50  
Sets the TapR delay time.  
TapR output level  
Feedback  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the TapC feedback amount.  
d
Src  
Modulation source of the TapC feedback amount  
Modulation amount of the TapC feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level P.44  
Modulation amount of the input level  
Amt  
e
f
High Damp [%]  
Low Damp [%]  
Input Level D-mod: Src  
Amt  
0…100%  
None…Tempo  
–100…+100  
g
h
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
0…50  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
i
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
105  
Download from Www.Somanuals.com. All Manuals Search And Download.  
41: Tempo Delay  
41: Tempo Delay  
This delay allows you to match the delay time with a song’s tempo. For example, you can apply the delay  
effect synchronized to the sequencer, or you can input the tempo prior to a real-time performance so that  
the delay effect will match the song tempo. You can set the delay time in terms of a musical duration,  
rather than as a value of time.  
You can also specify any number of times for feedback.  
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Input Level D-mod  
High Damp Low Damp  
Delay  
+
Feedback Count: On/Off  
Feedback  
Input Level D-mod  
Right  
Wet / Dry  
D-mod  
Tempo  
Mode  
Time Adjust [%]  
Length: 3/16  
120 [beat/min]  
Manual  
Switches between the specified tempo and clock sync.  
 P.107  
Mode  
Manual, D-mod  
a
Src (fixed)  
Tempo  
Source when Mode = D-mod (fixed to Tempo)  
Tempo [beat/min]  
30…250 beat/min  
Tempo when Mode = Manual  P.107  
b
c
Sets the delay time. Delay time = Length x Whole Note.  
 P.107  
Length  
1…96 / 1…96  
Time Adjust [%]  
Delay 1362ms  
–10.00…+10.00%  
Fine adjustment of delay time  
OVER!!  
Delay time upper limit/error indication  P.107  
Selects whether the number of feedback times is counted  
or not.  P.107  
Feedback Count  
Off, On  
Gate1  
d
Source that triggers the counting of the feedback time  
(fixed to Gate1).  
Src (fixed)  
e
f
Count [times]  
Feedback  
Src  
0…96  
Number of feedback times  P.107  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the feedback amount.  
Modulation source of feedback amount  
Modulation amount of feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
g
h
High Damp [%]  
Low Damp [%]  
0…100%  
Input Level D-mod: Src  
None…Tempo  
–100…+100  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
i
Amt  
Wet/Dry  
Src  
j
Amt  
106  
Download from Www.Somanuals.com. All Manuals Search And Download.  
41: Tempo Delay  
a: Mode  
a: Src (fixed)  
This parameter selects the delay operating mode. When Manual is selected, the  
value set in e: Tempo will be used. When D-mod is selected, the delay will syn-  
chronize to the internal MIDI clock. This is useful for performances using a  
sequencer.  
When D-mod is selected, the source is fixed to Tempo and cannot be changed.  
b: Tempo [beat/ min]  
This parameter sets the tempo when Manual is selected for Mode.  
b: Length  
c: Delay 1362ms  
This parameter sets the delay time. The delay time is obtained by multiplying  
the length of a whole note by the value of Length.  
For example, when Length is set to 1/ 4, the length of the delay will be one quar-  
ter note.  
The maximum delay time is 1,362msec. If you attempt to set a higher value, the  
display will show “OVER!!” Try to set the value of Tempo and Length so that  
this error message will not appear.  
d: Feedback Count  
d: Src (fixed)  
The Feedback Count parameter determines whether or not the number of feed-  
back times will be counted or not.  
e: Count [times]  
With Feedback Count = On, the delay will feed back the signal for the times  
specified in the Count parameter, and disappear.  
The source that triggers the start of feedback counting is fixed to Gate1. You can-  
not select another source.  
107  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
42: St. Modulation Delay  
42: St. Modulation Delay  
This stereo delay uses an LFO to sweep the delay time. The pitch also varies. You will obtain a delay  
sound with swell and shimmering. You can also control the delay time using a modulation source.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Delay  
Feedback  
Delay  
Right  
Wet / Dry  
D-mod  
-mod  
Response  
L/R: +/+ +/–  
D
LFO Sync  
LFO Shape  
LFO: Tri / Sine  
LFO  
LFO Phase  
Modulation Mode  
Switches between LFO modulation control and modula-  
tion source control.  
a
b
Modulation Mode  
LFO, D-mod  
D-mod Modulation  
Src  
L/R:+/+, L/R:+/–  
None…Tempo  
0…30  
Reversed L/R control by modulation source  P.109  
Modulation source that controls delay time  
Rate of response to the modulation source  
Selects LFO waveform.  
Response  
LFO Waveform  
Triangle, Sine  
c
Determines how much the LFO waveform is modified.  
 P.32  
LFO Shape  
–100…+100  
d
e
LFO Frequency [Hz]  
LFO Sync  
0.02…20.00Hz  
Off, On  
LFO speed  
LFO reset off/on  P.109  
Src  
None…Tempo  
–180…+180  
–180…+180  
0…200  
Modulation source that resets the LFO  
Phase obtained when the left LFO is reset  P.109  
Phase obtained when the right LFO is reset  
Depth of the left LFO modulation  
Depth of the right LFO modulation  
Left delay time  
L LFO Phase [degree]  
R LFO Phase [degree]  
L Depth  
f
g
h
i
R Depth  
0…200  
L Delay Time [msec]  
R Delay Time [msec]  
L Feedback  
0.0…500.0  
0.0…500.0  
–100…+100  
–100…+100  
Right delay time  
Feedback amount of left delay  
Feedback amount of right delay  
R Feedback  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25  
Wet/Dry  
j
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
108  
Download from Www.Somanuals.com. All Manuals Search And Download.  
42: St. Modulation Delay  
b: D-mod Modulation  
When the modulation source is used for control, this parameter reverses the left  
and right modulation direction.  
e: LFO Sync  
The LFO can be reset via a modulation source.  
e: Src  
The Src parameter sets the modulation source that resets the LFO. For example,  
you can assign Gate as a modulation source so that the sweep always starts from  
the specified point.  
f: L LFO Phase [degree]  
f: R LFO Phase [degree]  
L LFO Phase and R LFO Phase set the phase obtained when the left and right  
LFOs are reset. In this way, you can create changes in sweep pitch for the left and  
right channels individually.  
The effect is off when a value of the modulation source specified in the Src  
parameter is 63 or smaller, and the effect is on when the value is 64 or  
higher. The LFO is triggered and reset to the L LFO Phase and R LFO  
Phase settings when the value changes from 63 or smaller to 64 or higher.  
109  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
43: St. Dynamic Delay (Stereo Dynamic Delay)  
43: St. Dynamic Delay (Stereo Dynamic Delay)  
This stereo delay controls the level of delay according to the input signal level. You can use this as a duck-  
ing delay that applies delay to the sound only when you play keys at a high velocity or only when the  
volume level is low.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp Low Damp  
Delay  
Input Level  
D-mod  
Feedback  
Spread  
Input Level  
D-mod  
High Damp Low Damp  
Delay  
Right  
Wet / Dry  
In  
FB  
Out  
Control Target  
Attack, Release  
Envelope  
+
Threshold  
Selects from no control, input, output, and feedback.  
 P.110  
Control Target  
None, In, Out, FB  
a
Polarity  
Threshold  
Attack  
+, –  
Reverses level control  P.110  
b
c
d
e
f
0…100  
Sets the level to which the effect is applied. P.110  
Attack time of level control P.110  
Release time of level control  P.110  
Sets the delay time for the left channel.  
Sets the delay time for the right channel.  
Sets the feedback amount.  
1…100  
Release  
1…100  
L Delay Time [msec]  
R Delay Time [msec]  
Feedback  
0.0…680.0msec  
0.0…680.0msec  
–100…+100  
0…100%  
0…100%  
g
High Damp [%]  
Low Damp [%]  
Damping amount in the high range  P.44  
Damping amount in the low range  
h
i
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
–100…+100  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
j
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
a: Control Target  
In this field, you can select from no level control, control of delay input level,  
output (effect balance), and feedback amount.  
a: Polarity  
b: Threshold  
c: Attack  
When Polarity is positive, delay is applied when the input signal level exceeds  
the Threshold value. When Polarity is negative, delay is applied when the input  
signal level is lower than the Threshold value.  
d: Release  
The Attack and Release parameters specify attack time and release time of delay  
level control.  
110  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
43: St. Dynamic Delay (Stereo Dynamic Delay)  
Dynamic Delay  
Level  
Dry  
Threshold  
Release  
Envelope  
Attack  
Wet  
(Ducking Delay)  
Control Target=Out  
Polarity= (–)  
Delay Time  
Wet  
Control Target=Out  
Polarity= (+)  
Time  
111  
Download from Www.Somanuals.com. All Manuals Search And Download.  
44: Random Panning Dly (Random Panning Delay)  
44: Random Panning Dly (Random Panning Delay)  
When this stereo delay is applied, the delay sound will jump around randomly, creating a unique, myste-  
rious delay effect.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Delay  
Level  
Feedback  
Random Panning  
Delay  
Level  
Right  
Wet / Dry  
a
b
c
d
L Delay Time [msec]  
R Delay Time [msec]  
L Feedback  
0.0…680.0msec  
0.0…680.0msec  
–100…+100  
Sets the delay time for the left channel.  
Sets the delay time for the right channel.  
Sets the feedback amount for the left channel.  
Sets the feedback amount for the right channel.  
R Feedback  
–100…+100  
Speed at which the stereo image of the left channel  
changes  P.112  
e
f
L Panning Speed [Hz]  
R Panning Speed [Hz]  
Panning Spread  
0.02…20.00Hz  
0.02…20.00Hz  
0…100  
Speed at which the stereo image of the right channel  
changes  P.112  
Sets the width of the stereo image of the delay sound.  
 P.112  
g
h
i
L Delay Level  
R Delay Level  
Wet/Dry  
Src  
0…100  
Output level of the left channel delay sound  
Output level of the right channel delay sound  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
0…100  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
j
Amt  
Modulation amount of effect balance  
e: L Panning Speed [Hz] These parameters set the speed at which the stereo image of the delay sound  
f: R Panning Speed [Hz] changes randomly. It is effective to set these values according to the delay time.  
g: Panning Spread  
This parameter sets the panning width of the delay sound.  
112  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
45: Early Reflections  
45: Early Reflections  
This is a stereo early reflection effect. Compared to the Early Reflections of size 1, this effect has twice the  
number of reflections, thus creating a smooth and dense sound.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
EQ Trim  
LEQ  
HEQ  
Pre Delay  
Early Reflections  
+
EQ Trim  
Right  
Wet / Dry  
Sharp, Loose, Modulated,  
Reverse  
a
b
c
Type  
Selects the decay curve for the early reflection. P.46  
ER Time [msec]  
Pre Delay [msec]  
EQ Trim  
10…800msec  
Time length of early reflection  
Time taken from the original sound to the first early reflec-  
tion  
0…200msec  
d
e
f
0…100  
Input level of EQ applied to the effect sound  
Low range EQ gain  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Wet/Dry  
–15.0…+15.0dB  
–15.0…+15.0dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
High range EQ gain  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
g
Src  
Amt  
113  
Download from Www.Somanuals.com. All Manuals Search And Download.  
46: Reverb-Hall  
46: Reverb-Hall  
This effect simulates the reverberation and ambience of medium-size concert halls and ensemble halls.  
47: Reverb-SmoothHall  
This hall-type reverb creates a reverberation with a smooth release curve. Setting a longer reverb time can  
simulate reverberations from that of a larger hall to that of a stadium.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Pre Delay Thru  
EQ Trim  
LEQ  
HEQ  
Pre Delay  
Reverb  
+
EQ Trim  
Right  
Wet / Dry  
a
b
c
d
e
f
Reverb Time [sec]  
High Damp [%]  
Pre Delay [msec]  
Pre Delay Thru [%]  
EQ Trim  
0.1…10.0sec  
0…100%  
Sets the reverberation time.  
Damping amount in the high range  
0…200msec  
0…100%  
Delay time from the dry sound  P.114  
Mix ratio of non-delay sound  P.114  
EQ input level  
0…100  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Wet/Dry  
–15…+15dB  
–15…+15dB  
Low-EQ gain  
g
High-EQ gain  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
h
Src  
Amt  
c: Pre Delay [msec]  
d: Pre Delay Thru [%]  
The Pre Delay sets the delay time to the reverb input, allowing you to control  
spaciousness.  
Using the Pre Delay Thru parameter, you can mix the dry sound without delay,  
emphasizing the attack of the sound.  
114  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
46: Reverb-Hall  
Reverb - Hall / Plate Type  
Level  
Dry  
Reverb  
Pre Delay Thru  
Pre Delay  
Time  
Reverb Time  
115  
Download from Www.Somanuals.com. All Manuals Search And Download.  
48: Reverb-Room  
48: Reverb-Room  
This reverberation effect emphasizes the early reflections, simulating a tight, room sound. Changing the  
balance between the early reflections and reverb sound allows you to simulate nuances, such as the type  
of walls of a room.  
49: Reverb-BrightRoom  
This reverberation creates a bright, room-type sound.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
ER Level  
ERs  
EQ Trim  
Pre Delay Thru  
LEQ  
HEQ  
Pre Delay  
Reverb Level  
Reverb  
+
ERs  
EQ Trim  
ER Level  
Right  
Wet / Dry  
a
b
c
d
e
f
Reverb Time [sec]  
High Damp [%]  
Pre Delay [msec]  
Pre Delay Thru [%]  
ER Level  
0.1…3.0sec  
0…100%  
0…200msec  
0…100%  
0…100  
Sets the reverberation time.  
Damping amount in the high range  
Delay time from the dry sound  P.116  
Mix ratio of non-delay sound  P.116  
Sets the level of early reflections. P.116  
Sets the reverberation level. P.116  
EQ input level  
Reverb Level  
EQ Trim  
0…100  
g
h
i
0…100  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Wet/Dry  
–15…+15dB  
–15…+15dB  
Low-EQ gain  
High-EQ gain  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
j
Src  
Amt  
c: Pre Delay [msec]  
d: Pre Delay Thru [%]  
The Pre Delay sets delay time of reverb input, allowing you to control spacious-  
ness.  
Using the Pre Delay Thru parameter, you can mix the dry sound without delay,  
emphasizing the attack of the sound.  
116  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
48: Reverb-Room  
e: ER Level  
These parameters set the early reflection level and reverb level.  
f: Reverb Level  
Changing these parameter values allows you to simulate the type of walls in the  
room. That is, a larger ER Level simulates a hard wall, and a larger Reverb Level  
simulates a soft wall.  
Reverb - Room Type  
Level  
Dry  
ER  
(Early Reflections)  
Reverb  
Time  
Pre Delay Thru  
Pre Delay  
Reverb Time  
117  
Download from Www.Somanuals.com. All Manuals Search And Download.  
50: Reverb-Wet Plate  
50: Reverb-Wet Plate  
This effect simulates a dense plate reverberation. You can create a warm reverb sound.  
51: Reverb-Dry Plate  
This effect simulates a lighter plate reverberation. You can create a dry reverb sound.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Pre Delay Thru  
EQ Trim  
LEQ  
HEQ  
Pre Delay  
Reverb  
+
EQ Trim  
Right  
Wet / Dry  
a
b
c
d
e
f
Reverb Time [sec]  
High Damp [%]  
Pre Delay [msec]  
Pre Delay Thru [%]  
EQ Trim  
0.1…10.0sec  
0…100%  
Sets the reverberation time.  
Damping amount in the high range  
0…200msec  
0…100%  
Delay time from the dry sound  P.114  
Mix ratio of non-delay sound  P.114  
EQ input level  
0…100  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Wet/Dry  
–15…+15dB  
–15…+15dB  
Low-EQ gain  
g
High-EQ gain  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
h
Src  
Amt  
118  
Download from Www.Somanuals.com. All Manuals Search And Download.  
00: Piano Body/Damper (Piano Body/ Damper Simulation)  
00: Piano Body/ Damper (Piano Body/ Damper Simulation)  
This effect simulates the resonance of the piano sound board caused by the string vibration, and also sim-  
ulates the resonance of other strings that are not being played when you press the damper pedal. It will  
create a very realistic sound when applied to acoustic piano sounds.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
+
Piano  
Body/Damper  
Simulation  
Right  
Wet / Dry  
-mod  
Damper  
D
Sets the intensity of resonance of the sound board.  
 P.119  
a
Sound Board Depth  
0…100  
Sets the intensity of the string resonance created when  
the damper pedal is pressed. P.119  
Damper Depth  
0…100  
b
Src  
None…Tempo  
1…100  
Modulation source of damper effect  
Adjusts tonal quality of effect sound. P.119  
Adjusts the mid range of tonal quality. P.119  
Fine tuning P.119  
c
d
e
Tone  
Mid Shape  
Tune  
0…36  
–50…+50  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
f
Amt  
a: Sound Board Depth  
This parameter sets the intensity of resonance of the piano sound board.  
b: Damper Depth  
b: Src  
This parameter sets the resonance intensity of the other strings created when the  
damper pedal is pressed. The Src parameter selects the modulation source from  
which the damper effect is applied. Usually, select Sustain Pdl (Sustain pedal).  
The effect is off when a value for the modulation source specified for the  
Src parameter is 63 or smaller, and the effect is on when the value is 64 or  
higher.  
c: Tone  
These parameters control the tonal quality of the effect sound.  
d: Mid Shape  
e: Tune  
Since this effect simulates the resonance of the strings, the sound varies depend-  
ing on the pitch. If you have changed tuning using the Master Tune, adjust this  
parameter value.  
119  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
01: St. Mlt.band Limiter (Stereo Multiband Limiter)  
01: St. Mlt.band Limiter (Stereo Multiband Limiter)  
This is a stereo multiband limiter.  
Stereo In - Stereo Out  
Band-Pass Filters  
Left  
Low  
Wet / Dry  
Limiter  
Envelope - Control  
Mid  
Limiter  
Envelope - Control  
Gain Adjust  
High  
Limiter  
Envelope - Control  
Envelope - Control  
Limiter  
Low  
Gain Adjust  
Envelope - Control  
Limiter  
Mid  
Envelope - Control  
Limiter  
High  
Right  
Wet / Dry  
Offset  
a
b
Ratio  
1.0:1…50.0:1, Inf:1  
Sets the signal compression ratio.  P.15  
Sets the signal level above which compression is applied.  
 P.15  
Threshold [dB]  
–40…0dB  
c
d
e
f
Attack  
1…100  
Sets the attack time. P.16  
Release  
1…100  
Sets the release time. P.16  
Low Offset [dB]  
Mid Offset [dB]  
High Offset [dB]  
Gain Adjust [dB]  
Wet/Dry  
–40…0dB  
Low range gain of trigger signal P.50  
Mid range gain of trigger signal P.50  
High range gain of trigger signal P.50  
Sets the output gain. P.15  
–40…0dB  
g
h
–40…0dB  
–16…+24dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
i
Src  
Amt  
120  
Download from Www.Somanuals.com. All Manuals Search And Download.  
02: OD/Hyper-Gain Wah (Overdrive/ Hyper-Gain Wah)  
02: OD/ Hyper-Gain Wah (Overdrive/ Hyper-Gain Wah)  
This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. The  
effect also has wah, 4-band EQ, and amp simulator. Compared to the same effect of size 1 and 2, you can  
set a higher gain for this effect.  
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Mode: Overdrive / Hyper-Gain  
Drive  
Pre Low-cut  
Wah  
4 Band PEQ  
Driver  
Amp Simulation  
+
Output Level  
Direct Mix  
Right  
Wet / Dry  
-mod  
D
Wah  
Src  
Off, On  
Switches Wah on/off. P.54  
a
b
c
None…Tempo  
Modulation source that controls wah  
Wah Sweep Range  
Drive Mode  
Pre Low-cut  
Drive  
–10…+10  
Sets the sweep range of wah. P.54  
Overdrive, Hyper-Gain  
0…10  
Switches between overdrive and hyper-gain distortion.  
Low range cut amount at the distortion input  P.19  
Sets the degree of distortion. P.19  
Sets the output level.  
1…120  
d
e
Output Level  
Band1 Cutoff [Hz]  
Q
0…50  
20…1.0kHz  
0.5…10.0  
EQ - Band1 center frequency  
Band1 bandwidth P.19  
Gain [dB]  
–18…+18dB  
50…5.00kHz  
0.5…10.0  
Band1 gain  
Band2 Cutoff [Hz]  
Q
Band2 center frequency  
f
Band2 bandwidth P.19  
Gain [dB]  
–18…+18dB  
300…10.00kHz  
0.5…10.0  
Band2 gain  
Band3 Cutoff [Hz]  
Q
Band3 center frequency  
g
Band3 bandwidth P.19  
Gain [dB]  
–18…+18dB  
500…20.00kHz  
0.5…10.0  
Band3 gain  
Band4 Cutoff [Hz]  
Q
Band4 center frequency  
h
i
Band4 bandwidth P.19  
Gain [dB]  
–18…+18dB  
0…50  
Band4 gain  
Direct Mix  
Mixing amount of dry sound to the distortion  
Speaker simulation on/off  
Speaker Simulation  
Off, On  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
j
Amt  
121  
Download from Www.Somanuals.com. All Manuals Search And Download.  
03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)  
03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)  
This is a stereo 13-band graphic equalizer that allows for finer equalization. You can select one of two set-  
tings for the center frequency for each band.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Trim  
Band1  
Band2  
Band3  
Band4  
Band5  
Band6  
Band7  
Band9  
Band10 Band12  
Band11 Band13  
Band8  
Trim  
Band1  
Band2  
Band3  
Band4  
Band5  
Band6  
Band7  
Band9  
Band10 Band12  
Band11 Band13  
Band8  
Right  
Wet / Dry  
Selects a combination of center frequencies for each  
band. P.57  
a
Type  
A, B  
b
c
d
e
f
Trim  
0…100  
Sets the input level.  
Band1 [dB]  
Band2 [dB]  
Band3 [dB]  
Band4 [dB]  
Band5 [dB]  
Band6 [dB]  
Band7 [dB]  
Band8 [dB]  
Band9 [dB]  
Band10 [dB]  
Band11 [dB]  
Band12 [dB]  
Band13 [dB]  
Wet/Dry  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
–18.0…+18.0dB  
Sets the Band1 gain.  
Sets the Band2 gain.  
Sets the Band3 gain.  
Sets the Band4 gain.  
g
h
i
Sets the Band5 gain.  
Sets the Band6 gain.  
Sets the Band7 gain.  
j
Sets the Band8 gain.  
k
l
Sets the Band9 gain.  
Sets the Band10 gain.  
m
n
o
Sets the Band11 gain.  
Sets the Band12 gain.  
Sets the Band13 gain.  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
p
Src  
Amt  
122  
Download from Www.Somanuals.com. All Manuals Search And Download.  
04: Vocoder  
04: Vocoder  
This effect adds characteristics of other signals (Modulator) to the input signal (Carrier). The Carrier is  
input to the left channel, and the Modulator is input to the right channel. A sound with a lot of harmonics  
is suitable for a carrier, while a unique effect sound is suitable for a modulator.  
Wet: Stereo In - Mono Out / Dry: Stereo In - Stereo Out  
Carrier  
Left  
Wet / Dry  
Lch (Carrier) Trim  
Vocoder / Carrier  
+
Envelope  
Band Pass Filter  
Mod High Mix  
Rch (Modulator) Trim  
Right  
Wet / Dry  
Modulator  
a
b
Lch (Carrier) Trim  
0…100  
Input level of left channel (Carrier)  
Rch (Modulator) Trim  
Mod High Mix  
0…100  
Input level of right channel (Modulator)  
Output level of high-range component of right channel  
(Modulator)  P.123  
c
0…100  
Balance between vocoder output and left channel (Car-  
rier)  P.123  
Vocoder/Carrier  
Src  
0…100  
Modulation source of the balance between vocoder out-  
put and left channel (Carrier)  
d
None…Tempo  
–100…+100  
Dry, 1:99…99:1, Wet  
Modulation amount of the balance between vocoder out-  
put and left channel (Carrier)  
Amt  
Sets the balance between the effect and dry sounds.  
 P.123  
Wet/Dry  
e
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
c: Mod High Mix  
This parameter sets the high-range output level of the right channel sound  
(Modulator). Raise this value to enhance the characteristics of the modulator.  
d: Vocoder/ Carrier  
e: Wet/ Dry  
The Vocoder/ Carrier parameter sets the balance between the vocoder sound  
and the left channel sound (Carrier). The Wet/ Dry parameter sets the balance  
between the effect and dry sound.  
If you wish to change the intensity of the vocoder effect, select “Wet” for Wet/  
Dry, and adjust the balance using the Vocoder/ Carrier parameter.  
123  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
05: St. Harmonic Chorus (Stereo Harmonic Chorus)  
05: St. Harmonic Chorus (Stereo Harmonic Chorus)  
This is a stereo harmonic chorus effect that applies chorus separately to the high and low ranges of the  
input signal. You can set the parameters for the low and high range chorus individually. You can also use  
the high-range chorus as a step chorus employing a step-shape LFO waveform. Thick, fine chorus effects  
can be created when it is applied to strings or ensemble sounds.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Low Band Chorus  
High/Low Balance  
High Band Chorus  
High/Low Split Point  
High Band Chorus  
High/Low Balance  
Low Band Chorus  
Right  
Wet / Dry  
LFO Phase  
Step: On/Off  
LFO: Tri / Sine  
LFO: Tri / Sine  
a
b
LFO Waveform  
Triangle, Sine  
Selects LFO waveform.  
The difference between low-range left and right LFO  
phase.  P.65  
LFO Phase [degree]: Low  
High  
–180…+180  
The difference between high-range left and right LFO  
phase.  
–180…+180  
LFO Frequency [Hz]: Low  
High  
0.02…20.00Hz  
Low-range LFO speed  
High-range LFO speed  
c
0.02…20.00Hz  
LFO Step Freq [Hz]  
(LFO Step Frequency)  
Determines whether or not the high-range LFO is step-  
shaped. P.125  
Off, On  
d
High  
0.05…50.00Hz  
0.0…50.0msec  
0.0…50.0msec  
0…100  
Speed at which the LFO waveform becomes step-shaped  
Pre Delay [msec]: Low  
Low range delay time  
e
f
High  
High range delay time  
Depth: Low  
High  
Depth of low range LFO modulation  
Depth of high range LFO modulation  
0…100  
LFO Freq D-mod  
(LFO Frequency D-mod)  
Selects only low-range, high-range, or both ranges for  
LFO speed modulation. P.125  
Low, High, Both  
g
Src  
None…Tempo  
Modulation source of LFO speed  
–20.00 (–80.00) …+20.00Hz  
(+80.00)  
Amt  
Modulation amount of LFO speed  
Selects only low-range, high-range, or both ranges for  
LFO modulation depth.  P.125  
Depth D-mod  
Low, High, Both  
h
i
Src  
None…Tempo  
–100…+100  
1…100  
Modulation source of LFO modulation depth  
Modulation amount of LFO modulation depth  
Splits frequencies into low and high ranges  P.125  
Sets output balance between low and high ranges.  
Amt  
High/Low Split Point  
High/Low Balance  
Low, 1…99, High  
124  
Download from Www.Somanuals.com. All Manuals Search And Download.  
05: St. Harmonic Chorus (Stereo Harmonic Chorus)  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
j
Amt  
Modulation amount of effect balance  
d: LFO Step Freq [Hz]  
d: High  
This parameter determines whether or not the waveform of the high-range LFO  
should be step-shaped. Changing the d: High value will allow you to adjust the  
width of the steps.  
g: LFO Freq D-mod  
This parameter determines whether the LFO speed dynamic modulation is  
applied to the low range, high range, or both ranges. When d: LFO Step Freq is  
On, the waveform of the high-range LFO will be step-shaped, and dynamic  
modulation will be applied to the speed of this step-shaped LFO (width of  
steps).  
h: Depth D-mod  
This parameter determines whether the dynamic modulation of LFO modula-  
tion depth is applied to the low range, high range, or both ranges.  
i: High/ Low Split Point This parameter sets the split point (frequency) between high and low ranges.  
Split signals are input to the respective chorus block.  
125  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
06: Multitap Chorus/Dly (Multitap Chorus/ Delay)  
06: Multitap Chorus/ Dly (Multitap Chorus/ Delay)  
This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by  
setting a different delay time and depth for each block. You can control the delay output level via a mod-  
ulation source.  
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out  
Left  
Wet / Dry  
Feedback  
Tap1 Delay  
Tap2 Delay  
Tap3 Delay  
Tap4 Delay  
Tap5 Delay  
+
Tap6 Delay  
Right  
Wet / Dry  
0 [degree]  
180 [degree]  
60 [degree]  
240 [degree]  
120 [degree]  
300 [degree]  
Panning Preset  
LFO: Triangle  
-mod  
D
On/Off Control  
a
b
LFO Frequency [Hz]  
Tap1(000) [msec]  
Depth  
0.02…13.00Hz  
0…570msec  
0…30  
LFO speed  
Tap1 (LFO phase = 0) delay time  
Depth of Tap1 chorus  
Always On, Always Off,  
On→Off(dm), Off→On(dm)  
Selects on, off, or modulation source for the control of  
Tap1 output. P.127  
Status  
Tap2(180) [msec]  
Depth  
0…570msec  
Tap2 (LFO phase = 180) delay time  
0…30  
Depth of Tap2 chorus  
c
d
e
f
Always On, Always Off,  
On→Off(dm), Off→On(dm)  
Selects on, off, or modulation source for the control of  
Tap2 output. P.127  
Status  
Tap3(060) [msec]  
Depth  
0…570msec  
Tap3 (LFO phase = 60) delay time  
0…30  
Depth of Tap3 chorus  
Always On, Always Off,  
On→Off(dm), Off→On(dm)  
Selects on, off, or modulation source for the control of  
Tap3 output. P.127  
Status  
Tap4(240) [msec]  
Depth  
0…570msec  
Tap4 (LFO phase = 240) delay time  
0…30  
Depth of Tap4 chorus  
Always On, Always Off,  
On→Off(dm), Off→On(dm)  
Selects on, off, or modulation source for the control of  
Tap4 output. P.127  
Status  
Tap5(120) [msec]  
Depth  
0…570msec  
Tap5 (LFO phase = 120) delay time  
0…30  
Depth of Tap5 chorus  
Always On, Always Off,  
On→Off(dm), Off→On(dm)  
Selects on, off, or modulation source for the control of  
Tap5 output. P.127  
Status  
Tap6(300) [msec]  
Depth  
0…570msec  
Tap6 (LFO phase = 300) delay time  
0…30  
Depth of Tap6 chorus  
g
Always On, Always Off,  
On→Off(dm), Off→On(dm)  
Selects on, off, or modulation source for the control of  
Tap6 output. P.127  
Status  
h
Panning Preset  
1, 2, 3, 4  
Specifies the stereo image of each Tap.  P.127  
126  
Download from Www.Somanuals.com. All Manuals Search And Download.  
06: Multitap Chorus/Dly (Multitap Chorus/ Delay)  
Tap1 Feedback  
Src  
–100…+100  
Tap1 feedback amount  
Modulation source for the Tap output level, feedback  
amount, and effect balance P.127  
i
j
None…Tempo  
Amt  
–100…+100  
Modulation amount of Tap1 feedback amount  P.127  
Balance between effect sound and dry sound  
Modulation amount of effect balance P.127  
Wet/Dry  
Amt  
Dry, 1:99…99:1, Wet  
–100…+100  
b: Status  
c: Status  
d: Status  
e: Status  
f: Status  
g: Status  
These parameters set the output status of each Tap.  
Always On: Output is always on. (No modulation)  
Always Off: Output is always off. (No modulation)  
On→Off (dm): Output level is switched from on to off depending on the modu-  
lation source.  
Off→On (dm): Output level is switched from off to on depending on the modu-  
lation source.  
Combining these parameters, you can change from 4-phase chorus to two-tap  
delay by crossfading them gradually via the modulation source during a perfor-  
mance.  
h: Panning Preset  
This parameter selects combinations of stereo images of the tap outputs.  
i: Src  
i: Amt  
j: Amt  
Tap output level, feedback amount and effect balance are controlled simulta-  
neously via a modulation source.  
127  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
07: Stereo Ensemble  
07: Stereo Ensemble  
This is a stereo ensemble effect that has three chorus blocks each for the left and right channels.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
LEQ  
HEQ  
HEQ  
Ensemble  
Ensemble  
EQ Trim  
Spread  
LEQ  
EQ Trim  
Right  
Wet / Dry  
Shimmer  
LFO: Tri / Sine  
180 [degree]  
a
b
c
d
LFO Waveform  
Speed  
Triangle, Sine  
1…100  
Selects LFO waveform.  
LFO speed  
Src  
None…Tempo  
–100…+100  
0…100  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Amt  
Shimmer  
Depth  
Amount of shimmering of LFO waveform  P.31  
Depth of LFO modulation  
0…100  
Src  
None…Tempo  
–100…+100  
0…100  
Modulation source of LFO modulation depth  
Modulation amount of LFO modulation depth  
EQ input level  
Amt  
e
f
EQ Trim  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
–15.0…+15.0dB  
–15.0…+15.0dB  
Low EQ gain  
g
High EQ gain  
Sets the width of the stereo image of the effect sound.  
 P.65  
h
i
Spread  
–100…+100  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
128  
Download from Www.Somanuals.com. All Manuals Search And Download.  
08: St. Tempo Flanger (Stereo Tempo Flanger)  
08: St. Tempo Flanger (Stereo Tempo Flanger)  
This is a stereo tempo flanger. You can select random or step waveforms for the LFO, and synchronize the  
speed of the random/ step waveform with tempo. Also, synchronizing the LFO to note-on messages will  
produce a flanging effect with a fixed timing.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Flanger  
FB Mode  
(Normal/Cross)  
Spread  
Feedback  
High Damp  
Flanger  
FB Mode  
(Normal/Cross)  
Right  
Wet / Dry  
LFO Phase  
D-mod  
Tempo  
LFO Mode  
Length: 1/4  
Step Length: 1/16  
LFO Shape  
LFO: Tri / Sine  
120 [beat/min]  
LFO Sync  
Manual  
LFO: Step-Tri / Step Sin / Random  
LFO Sync  
Src  
Off, On  
LFO reset on/off  P.109  
a
b
None…Tempo  
Modulation source that resets LFO  
Delay Time [msec]  
LFO Waveform  
0.0…50.0msec  
Delay time from the original sound  
Triangle, Sine, Step-Tri,  
Step-Sin, Random  
Selects LFO waveform. P.70  
c
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
–100…+100  
LFO Lch Phase [deg]  
Rch Phase [deg]  
–180…+180  
Left LFO phase after reset  P.109  
d
e
–180…+180  
Right LFO phase after reset  
Switches between the specified tempo and clock sync.  
 P.33  
LFO Mode  
Manual, D-mod  
Src(fixed)  
Tempo  
Source when LFO Mode = D-mod (fixed to Tempo)  
Tempo [beat/min]  
30…250 beat/min  
Tempo when LFO Mode = Manual  P.33  
Sets the LFO cycle. LFO Cycle = Length x Whole Note.  
 P.33  
Length  
Step  
1…16 / 1…16  
f
Sets the LFO step cycle. LFO step Cycle = Length x  
Whole Note.  
1…16 / 1…32  
Depth  
0…100  
Depth of LFO modulation  
g
Src  
None…Tempo  
–100…+100  
–100…+100  
Normal, Cross  
0…100%  
Modulation source of LFO modulation depth  
Modulation amount of LFO modulation depth  
Feedback amount  P.32  
Amt  
Feedback  
FB Mode  
High Damp [%]  
h
i
Sets feedback routing. P.69  
Feedback damping amount in the high range  P.32  
Sets the width of the stereo image of effect sound.  
 P.65  
Spread  
–100…+100  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.25, 32  
Wet/Dry  
j
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
129  
Download from Www.Somanuals.com. All Manuals Search And Download.  
09: St. Tempo Phaser (Stereo Tempo Phaser)  
09: St. Tempo Phaser (Stereo Tempo Phaser)  
This is a stereo tempo phaser. You can select random or step waveforms for the LFO, and synchronize the  
speed of the random/ step waveform with tempo. Also, synchronizing the LFO to note-on messages will  
produce a phasing effect with a fixed timing.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
Phaser  
Resonance  
Spread  
High Damp  
Phaser  
Right  
Wet / Dry  
LFO Phase  
D-mod  
Manual  
Tempo  
LFO Mode  
Length: 1/4  
LFO Shape  
LFO: Tri / Sine  
120 [beat/min]  
LFO: Step-Tri / Step Sin / Random  
Step Length: 1/16  
LFO Sync  
LFO Sync  
Src  
Off, On  
LFO reset on/off  P.109  
a
b
None…Tempo  
Modulation source that resets LFO  
Triangle, Sine, Step-Tri,  
Step-Sin, Random  
LFO Waveform  
LFO Shape  
Selects LFO waveform.  P.70  
Determines how much the LFO waveform is changed.  
 P.32  
–100…+100  
LFO Lch Phase [deg]  
Rch Phase [deg]  
–180…+180  
Left LFO phase after reset  P.109  
c
–180…+180  
Right LFO phase after reset  
Switches between the specified tempo and clock sync.  
 P.33  
d
LFO Mode  
Manual, D-mod  
Src(fixed)  
Tempo  
Source when LFO Mode = D-mod (fixed to Tempo)  
Tempo [beat/min]  
30…250 beat/min  
Tempo when LFO Mode = Manual  P.33  
Sets the LFO cycle. LFO Cycle = Length x Whole Note.  
 P.33  
e
Length  
Step  
1…16 / 1…16  
Sets the LFO step cycle. LFO step Cycle = Length x  
Whole Note.  
1…16 / 1…32  
f
Manual  
Depth  
0…100  
Sets the center frequency to which the effect is applied.  
Depth of LFO modulation  
0…100  
g
Src  
None…Tempo  
–100…+100  
–100…+100  
0…100%  
Modulation source of LFO modulation depth  
Modulation amount of LFO modulation depth  
Sets resonance amount.  P.35  
Amt  
h
i
Resonance  
High Damp [%]  
Resonance damping amount in the high range  P.35  
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
–100…+100  
–Wet…–1:99, Dry,  
1:99…Wet  
Sets the balance between the effect and dry sounds.  
 P.35  
Wet/Dry  
j
Src  
None…Tempo  
Modulation source of effect balance  
Amt  
–100…+100  
Modulation amount of effect balance  
130  
Download from Www.Somanuals.com. All Manuals Search And Download.  
10: St. Pitch Shifter (Stereo Pitch Shifter)  
10: St. Pitch Shifter (Stereo Pitch Shifter)  
This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from  
each other.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp  
Delay  
Pitch Shifter  
Input Level  
Feedback  
Spread  
Input Level  
High Damp  
Delay  
Pitch Shifter  
Right  
Wet / Dry  
Input Level  
Src  
0…100  
Sets input level to the effect.  
a
None…Tempo  
Selects the modulation source of input level.  
Modulation amount of input level  
Amt  
–100…+100  
b
c
Mode  
Slow, Medium, Fast  
Normal, Up/Down  
Switches Pitch Shifter mode. P.96  
Determines whether or not the L/R pitch shift amount is  
inverted.  
L/R Pitch  
Pitch Shift [1/2tone]  
Src  
–24…+24  
Sets the pitch shift amount in steps of a semitone. P.97  
Modulation source of pitch shift amount  
Modulation amount of pitch shift amount  
Sets the pitch shift amount in steps of one cent. P.97  
Modulation amount of pitch shift amount  
Sets the delay time for the left channel.  P.97  
Sets the delay time for the right channel.  
Sets the feedback amount. P.97  
d
None…Tempo  
–24…+24  
Amt  
Fine [cent]  
Amt  
–100…+100cent  
–100…+100cent  
0…1000msec  
0…1000msec  
–100…+100  
0…100%  
e
f
Lch Delay [msec]  
Rch Delay [msec]  
Feedback  
g
h
High Damp [%]  
Damping amount in the high range  
Sets the width of the stereo image of the effect sound.  
 P.65  
i
Spread  
–100…+100  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
j
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
c: L/ R Pitch  
When you select Up/ Down for this parameter, the pitch shift amount for the left  
channel will be reversed. If the pitch shift amount is positive, the pitch of the left  
channel is raised, and the pitch of the right channel is lowered.  
131  
Download from Www.Somanuals.com. All Manuals Search And Download.  
11: 2Band Pitch Shifter  
11: 2Band Pitch Shifter  
This pitch shifter sets an individual shift amount for the high and low input signal ranges. If you apply a  
detune effect to the high range of a string sound, and add the lower octave to the low range, a large  
ensemble sound is produced.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp  
Pitch Shifter  
High/Low  
Balance  
High/Low Split Point  
Spread  
+
Pitch Shifter  
High Damp  
Right  
Wet / Dry  
a
b
Mode  
Slow, Medium, Fast  
Switches pitch shifter mode.  P.96  
Sets pitch shift amount for the low range in steps of a  
semitone.  P.97  
Low Pitch [1/2tone]  
–24…+24  
Src  
None…Tempo  
Modulation source of pitch shift amount  
Amt  
–24…+24  
Modulation amount of pitch shift amount for the low range  
Sets pitch shift amount for the low range in steps of one  
cent.  P.97  
Low Fine [cent]  
–100…+100cent  
c
Amt  
–100…+100cent  
Modulation amount of pitch shift amount for the low range  
d
Low High Damp [%]  
0…100%  
High component damping amount in the low range  
Sets pitch shift amount for the high range in steps of a  
semitone.  P.97  
High Pitch [1/2tone]  
Amt  
–24…+24  
e
f
Modulation amount of pitch shift amount for the high  
range  
–24…+24  
Sets pitch shift amount for the low range in steps of one  
cent.  P.97  
High Fine [cent]  
Amt  
–100…+100cent  
–100…+100cent  
Modulation amount of pitch shift amount for the high  
range  
g
h
High High Damp [%]  
High/Low Split Point  
High/Low Balance  
0…100%  
High component damping amount in the high range  
Splits frequencies between low and high ranges  
Output balance between low and high ranges  
1…100  
Low, 1:99…99:1, High  
Sets the width of the stereo image of the effect sound.  
 P.132  
i
j
Spread  
–100…+100  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
i: Spread  
This parameter specifies the width of the stereo image of the effect sound. With  
a value of +100, the low range signal is output from the left channel and the high  
range signal from the right channel. With a value of 0, both channels will output  
a mix signal of low and high-range signals. With a negative value, the output  
channel of the low and high-range signals will be reversed.  
132  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
12: Rotary Speaker OD (Rotary Speaker Overdrive)  
12: Rotary Speaker OD (Rotary Speaker Overdrive)  
This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recre-  
ating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary  
speaker sound.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
Horn  
Rotary Speaker  
Mic Distance  
Mic Spread  
Rotor/Horn  
Balance  
Overdrive  
+
Rotor  
Speaker Simulation  
Right  
Wet / Dry  
-mod  
-mod  
-mod  
-mod  
On/Off  
D
D
D
D
Mode Switch: Rotate/Stop  
Speed Switch: Slow/Fast  
Manual Speed Control  
Overdrive  
Src  
Off, On  
Switches overdrive on/off.  
None…Tempo  
Modulation source that switches overdrive on/off.  
a
Selects the switching mode of the modulation source that  
switches overdrive on/off.  P.134  
Sw  
Momentary, Toggle  
Overdrive Gain  
Overdrive Level  
Overdrive Tone  
Speaker Simulator  
Mode Switch  
Src  
0…50  
Determines the degree of distortion.  
b
c
0…50  
Overdrive output level  
0…15  
Tonal quality of overdrive  
Off, On  
Switches speaker simulation on/off.  
Switches between speaker rotation and stop.  
Modulation source that toggles between rotation and stop  
Rotate, Stop  
None…Tempo  
d
e
Selects the switching mode of the modulation source that  
toggles between rotation and stop.  P.101  
Sw  
Momentary, Toggle  
Switches the speaker rotation speed between slow and  
fast.  
Speed Switch  
Slow, Fast  
Src  
Sw  
None…Tempo  
Momentary, Toggle  
Modulation source that toggles between slow and fast.  
Selects the switching mode of the modulation source that  
toggles between slow and fast.  P.43  
Sets the volume level balance between the low-range  
rotor and high-range horn.  
Rotor/Horn Balance  
ManualSpeedControl  
Rotor Acceleration  
Rotor Ratio  
Rotor, 1…99, Horn  
None…Tempo  
0…100  
f
Sets the modulation source in case the rotation speed is  
changed directly.  P.101  
How quickly the rotor rotation speed in the low range is  
switched.  P.43  
g
Adjusts the (low-range side) rotor rotation speed. Stan-  
dard value is 1.0. Selecting “Stop” will stop the rotation.  
Stop, 0.50…2.00  
133  
Download from Www.Somanuals.com. All Manuals Search And Download.  
12: Rotary Speaker OD (Rotary Speaker Overdrive)  
How quickly the horn rotation speed in the high range is  
switched.  P.43  
Horn Acceleration  
Horn Ratio  
0…100  
h
Adjusts the (high-range side) horn rotation speed. Stan-  
dard value is 1.0. Selecting “Stop” will stop the rotation.  
Stop, 0.50…2.00  
0…50  
Distance between the microphone and rotary speaker.  
 P.101  
Mic Distance  
i
Mic Spread  
Wet/Dry  
Src  
0…50  
Angle of left and right microphones  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
j
Amt  
Modulation amount of effect balance  
a: Sw  
This parameter determines how to switch on/ off the overdrive via a modula-  
tion source.  
When Sw = Momentary, overdrive is applied only when a pedal or joystick is  
held in position.  
Only when the value for the modulation source is 64 or higher, the over-  
drive effect is applied.  
When Sw = Toggle, overdrive is turned on/ off each time the pedal or joystick is  
operated.  
Each time when the value for the modulation source exceeds 64, the over-  
drive effect is switched on/ off.  
134  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
13: Early Reflections  
13: Early Reflections  
This is a stereo early reflection effect. Compared to the Early Reflections of size 2, this effect has twice the  
number of reflections, thus creating a smooth, dense sound.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
EQ Trim  
LEQ  
HEQ  
Pre Delay  
Early Reflections  
+
EQ Trim  
Right  
Wet / Dry  
Sharp, Loose, Modulated,  
Reverse  
a
b
c
Type  
Selects the decay curve for the early reflection. P.46  
ER Time [msec]  
Pre Delay [msec]  
EQ Trim  
10…1600msec  
Time length of early reflection  
Time taken from the original sound to the first early reflec-  
tion  
0…200msec  
d
e
f
0…100  
Input level of EQ applied to the effect sound  
Low range EQ gain  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
Wet/Dry  
–15.0…+15.0dB  
–15.0…+15.0dB  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
High range EQ gain  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
g
Src  
Amt  
135  
Download from Www.Somanuals.com. All Manuals Search And Download.  
14: L/C/R Long Delay  
14: L/ C/ R Long Delay  
This multitap delay outputs three Tap signals to left, right and center respectively. You can set a maxi-  
mum of 2,730msec for the delay time.  
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out  
Left  
Wet / Dry  
L Delay  
Input Level D-mod  
Level  
Spread  
+
C Delay  
High Damp Low Damp  
Level  
Feedback  
Input Level D-mod  
R Delay  
Level  
Right  
Wet / Dry  
L Delay Time [msec]  
Level  
0…2730msec  
0…50  
Sets the TapL delay time.  
TapL output level  
a
b
c
C Delay Time [msec]  
Level  
0…2730msec  
0…50  
Sets the TapC delay time.  
TapC output level  
R Delay Time [msec]  
Level  
0…2730msec  
0…50  
Sets the TapR delay time.  
TapR output level  
Feedback  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the Tap2 feedback amount.  
d
Src  
Modulation source of the Tap2 feedback amount  
Modulation amount of the Tap2 feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Amt  
e
f
High Damp [%]  
Low Damp [%]  
Input Level D-mod: Src  
Amt  
0…100%  
None…Tempo  
–100…+100  
g
h
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
0…50  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
i
Modulation source of effect balance  
Amt  
Modulation amount of effect balance  
136  
Download from Www.Somanuals.com. All Manuals Search And Download.  
15: Stereo Long Delay  
15: Stereo Long Delay  
This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross  
over between left and right by changing the feedback routing. You can set a maximum of 1,360msec for  
the delay time.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp Low Damp  
Delay  
Input Level D-mod  
Stereo/Cross  
Stereo/Cross  
Feedback  
Spread  
High Damp Low Damp  
Input Level D-mod  
Delay  
Right  
Wet / Dry  
Switches between stereo delay and cross-feedback  
delay.  
a
Stereo/Cross  
Stereo, Cross  
b
c
L Delay Time [msec]  
R Delay Time [msec]  
Feedback  
0.0…1360.0msec  
0.0…1360.0msec  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the delay time for the left channel.  
Sets the delay time for the right channel.  
Sets feedback amount.  
d
Src  
Modulation source of feedback amount  
Modulation amount of feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Amt  
e
f
High Damp [%]  
Low Damp [%]  
Input Level D-mod: Src  
Amt  
0…100%  
None…Tempo  
–100…+100  
g
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
Src  
–100…+100  
None…Tempo  
–100…+100  
Modulation source of stereo image width of the effect  
sound  
h
Modulation amount of stereo image width of the effect  
sound  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
i
Amt  
Modulation amount of effect balance  
137  
Download from Www.Somanuals.com. All Manuals Search And Download.  
16: Dual Long Delay  
16: Dual Long Delay  
This 2-channel delay allows you to set the delay time for left and right channels independently. You can  
set a maximum of 1,360msec for the delay time.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp Low Damp  
Delay  
Input Level D-mod  
Feedback  
High Damp Low Damp  
Input Level D-mod  
Delay  
Right  
Wet / Dry  
a
b
L Delay Time [msec]  
L Feedback  
0.0…1360.0msec  
Sets the delay time for the left channel.  
–100…+100  
Sets the feedback amount for the left channel.  
Damping amount in the high range for the left channel  
 P.44  
L High Damp [%]  
0…100%  
c
L Low Damp [%]  
R Delay Time [msec]  
R Feedback  
0…100%  
Damping amount in the low range for the left channel  
d
e
0.0…1360.0msec  
–100…+100  
Sets the delay time for the right channel.  
Sets the feedback amount for the right channel.  
Damping amount in the high range for the right channel  
 P.44  
R High Damp [%]  
0…100%  
f
R Low Damp [%]  
Input Level D-mod: Src  
Amt L  
0…100%  
Damping amount in the low range for the right channel  
Modulation source of the left and right input level  P.44  
Modulation amount of the input level for the left channel  
None…Tempo  
–100…+100  
g
h
Modulation amount of the input level for the right channel  
 P.44  
Amt R  
–100…+100  
Sets the balance between the effect and dry sounds for  
the left channel.  
L Wet/Dry  
Dry, 1:99…99:1, Wet  
i
j
Src  
None…Tempo  
Modulation source of left/right effect balance  
Amt  
–100…+100  
Modulation amount of effect balance for the left channel  
Sets the balance between the effect and dry sounds for  
the right channel.  
R Wet/Dry  
Amt  
Dry, 1:99…99:1, Wet  
–100…+100  
Modulation amount of effect balance for the right channel  
138  
Download from Www.Somanuals.com. All Manuals Search And Download.  
17: St. Tempo Delay (Stereo Tempo Delay)  
17: St. Tempo Delay (Stereo Tempo Delay)  
This is a stereo tempo delay.  
Stereo In - Stereo Out  
Left  
Wet / Dry  
High Damp Low Damp  
Delay  
Input Level D-mod  
Feedback Count: On/Off  
Feedback  
Feedback Count: On/Off  
Input Level D-mod  
Delay  
High Damp Low Damp  
Right  
Wet / Dry  
D-mod  
Tempo  
Mode  
Length: 3/16  
Time Adjust [%]  
120 [beat/min]  
Manual  
Switches between the specified tempo and clock sync.  
 P.107  
Mode  
Manual, D-mod  
a
Src (fixed)  
Tempo  
Source when LFO Mode = D-mod (fixed to Tempo)  
Tempo [beat/min]  
30…250 beat/min  
Tempo when LFO Mode = Manual  P.107  
b
c
Sets the delay time. Delay time = Length x Whole Note.  
 P.107  
Length  
1…96 / 1…96  
Time Adjust [%]  
Delay 1362ms  
–10.00…+10.00%  
Fine adjustment of delay time  
OVER!!  
Delay time upper limit/error indication  P.107  
Selects whether the number of feedback times is counted  
or not.  P.107  
Feedback Count  
Off, On  
Gate1  
d
Source that triggers the counting of the feedback time  
(fixed to Gate1)  
Src (fixed)  
e
f
Count [times]  
Feedback  
Src  
0…96  
Number of feedback times  P.107  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the feedback amount.  
Modulation source of feedback amount  
Modulation amount of feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
Amt  
g
h
High Damp [%]  
Low Damp [%]  
0…100%  
Input Level D-mod: Src  
None…Tempo  
–100…+100  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
i
Amt  
Wet/Dry  
Src  
j
Amt  
139  
Download from Www.Somanuals.com. All Manuals Search And Download.  
18: Hold Delay  
18: Hold Delay  
This effect records the input signal and plays it back repeatedly. You can control the start of recording and  
reset via a modulation source. Easy to use for real-time performances.  
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out  
Left  
Wet / Dry  
+
Delay  
Pan  
Loop Time: Auto/ ...2700ms  
Right  
Wet / Dry  
-mod  
REC Control  
D
-mod  
D
RST Control  
Sets Automatic loop time setup mode or specifies loop  
time.  P.140  
a
Loop Time [msec]  
Auto, 1…2700msec  
b
c
d
e
REC Control Src  
None…Tempo  
None…Tempo  
REC Off, REC On  
Off, RESET  
Selects control source for recording.  P.140  
Selects control source for reset.  P.141  
Recording switch  P.140  
RST Control Src  
Manual REC Control  
Manual RST Control  
Reset switch  P.141  
Pan  
L100…L1, C, R1…R100  
None…Tempo  
–100…+100  
Sets the stereo image of the effect.  
Modulation source of stereo image of the effect  
Modulation amount of stereo image of the effect  
Sets the balance between the effect and dry sounds.  
Modulation source of effect balance  
Modulation amount of effect balance  
f
Src  
Amt  
Wet/Dry  
Src  
Dry, 1:99…99:1, Wet  
None…Tempo  
–100…+100  
g
Amt  
a: Loop Time [msec]  
With Auto, the loop time is automatically set. Otherwise, you can specify the  
loop time.  
When Auto is selected, the Loop Time is automatically set to the time it takes for  
a performance recorded while the Modulation Source or Manual Rec Control is  
on. However, if the time length exceeds 2,700msec, the loop time will be auto-  
matically set to 2,700msec.  
b: REC Control Src  
REC Control Src selects the modulation source that controls recording. If this  
d: Manual REC Control modulation is on, or if Manual REC Control is set to REC On, you can record the  
input signal. If a recording has already been carried out, additional signals will  
be overdubbed.  
The effect is off when a value for the modulation source specified for the  
REC Control Src parameter is 63 or smaller, and the effect is on when the  
value is 64 or higher.  
140  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
18: Hold Delay  
c: RST Control Src  
The RST Control Src parameter specifies the modulation source that controls the  
e: Manual RST Control reset operation. When you set this modulatoin source to On, or Manual RST  
Control to RST On, you can erase what you recorded. If the Loop Time parame-  
ter has been set to Auto, the loop time is also reset.  
The effect is off when a value for the modulation source specified for the  
RST Control Src parameter is 63 or smaller, and the effect is on when the  
value is 64 or higher.  
“Hold” procedure (when Loop Time = Auto)  
Select the following options for each parameter:  
1
a: Loop Time [msec] = Auto  
b: REC Control Src = JS(+Y)  
c: RST Control Src = JS(–Y)  
d: Manual REC Control = REC Off  
e: Manual RST Control = RST On  
It should be noted that all recordings will be deleted while Reset is On.  
2
3
e: Manual RST Control = RST Off  
Reset is cancelled and the unit enters Rec ready mode.  
Push the joystick in the +Y direction (forward) and play a phrase you wish to  
hold. When you pull the joystick to its original position, the recording will be  
finished and the phrase you just played will be held.  
Loop Time is automatically set only for the first recording after resetting. If  
the time length exceeds 2,700msec, Loop Time will be automatically set to  
2,700msec. (If you have set a: Loop Time to 1–2,700msec, the specified loop  
time will be used regardless of the time taken from pushing the joystick for-  
ward until it is pulled back. However, the recording method remains the  
same. The phrase being played while the joystick is pushed forward will be  
held.)  
4
5
6
If you made a mistake during recording, pull the joystick in the –Y direction  
(back) to reset. In this way, the recording will be erased. Repeat step 3 again.  
The recorded phrase will be repeated again and again. You can use this to  
create an accompaniment.  
By pushing the joystick in the +Y direction (forward), you can also overdub  
performances over the phrase that is being held.  
141  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
00: Flanger  
00: Flanger  
This effect is a monaural-in/ stereo-out flanger, with a two-band equalizer, that allows you to control the  
tonal quality of the effect sound.  
Mono In - Stereo Out  
Return1  
Left  
Output Level  
Flanger  
High Damp  
LEQ  
HEQ  
Spread  
Send1  
EQ Trim  
Feedback  
Flanger  
FB Mode  
(Normal/Cross)  
FB Mode  
(Normal/Cross)  
Output Level  
LFO Phase  
Return1  
Right  
LFO Shape  
LFO: Tri / Sine  
a
b
c
Delay Time [msec]  
0.0…50.0msec  
Triangle, Sine  
Delay from the original sound  
Selects LFO Waveform.  
LFO Waveform  
LFO Shape  
Determines how much the LFO waveform is changed.  
 P.32  
–100…+100  
LFO Phase [degree]  
LFO Frequency [Hz]  
Src  
–180…+180  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
0…100  
LFO phase difference between the left and right  P.65  
LFO speed  
d
Modulation source of LFO speed.  
Modulation amount of LFO speed  
Depth of LFO modulation  
Amt  
e
f
Depth  
Feedback  
FB Mode  
–100…+100  
Normal, Cross  
0…100%  
Feedback amount P.32  
Sets the feedback routing.  P.69  
Feedback damping amount in the high range  P.32  
2-band EQ input level  
g
High Damp [%]  
EQ Trim  
0…100  
h
i
LEQ [dB]  
–15…+15dB  
–15…+15dB  
0…100  
Low-EQ gain  
HEQ [dB]  
Spread  
High-EQ gain  
Sets the width of the effect sound’s stereo image.  P.65  
Sets the balance between the effect and dry sounds.  
 P.32, 142  
Output Level  
–100…+100  
j
Src  
None…Tempo  
Modulation source of effect balance.  
Amt  
–100…+100  
Modulation amount of effect balance  
j: Output Level  
When this parameter is set in the range of values from –100 to –1, the effect  
sound will be output with its phase reversed.  
142  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
01: Phaser  
01: Phaser  
This effect is a monaural-in/ stereo-out phaser, with a two-band equalizer, that allows you to control the  
tonal quality of the effect sound.  
Mono In - Stereo Out  
Return1  
Left  
Output Level  
Phaser  
High Damp  
LEQ  
HEQ  
Spread  
Send1  
EQ Trim  
Resonance  
Phaser  
Output Level  
LFO Phase  
Return1  
Right  
LFO Shape  
LFO: Tri / Sine  
LFO Waveform  
Triangle, Sine  
Selects LFO Waveform.  
a
b
Determines how much the LFO waveform is changed.  
 P.32  
LFO Shape  
–100…+100  
LFO Phase [degree]  
LFO Frequency [Hz]  
Src  
–180…+180  
0.02…20.00Hz  
None…Tempo  
–20.00…+20.00Hz  
0…100  
LFO phase difference between the left and right  P.65  
LFO speed  
c
Modulation source of LFO speed. AutoFade is available.  
Modulation amount of LFO speed  
Sets the frequency to which the effect is applied.  
Depth of LFO modulation  
Amt  
d
e
f
Manual  
Depth  
0…100  
Resonance  
High Damp [%]  
EQ Trim  
–100…+100  
0…100%  
Sets the resonance amount.  P.35  
Resonance damping amount in the high range  P.35  
2-band EQ input level  
g
0…100  
h
i
LEQ [dB]  
–15…+15dB  
–15…+15dB  
0…100  
Low-EQ gain  
HEQ [dB]  
Spread  
High-EQ gain  
Sets the width of the effect sound’s stereo image.  P.65  
Sets the balance between the effect and dry sounds.  
 P.35, 142  
Output Level  
–100…+100  
j
Src  
None…Tempo  
Modulation source of effect balance.  
Amt  
–100…+100  
Modulation amount of effect balance  
143  
Download from Www.Somanuals.com. All Manuals Search And Download.  
02: Multitap Chorus/Dly (Multitap Chorus/ Delay)  
02: Multitap Chorus/ Dly (Multitap Chorus/ Delay)  
This effect has three chorus blocks with different LFO phases. You can create a complex stereo image by  
setting each block’s delay time, depth, output level, and pan individually. You can also set some of the  
chorus blocks to combine the chorus and delay effects.  
Mono In - Stereo Out  
Return1  
Left  
Output Level  
Feedback  
Tap1 Delay  
Tap2 Delay  
Tap3 Delay  
Level  
Level  
Pan  
Pan  
Pan  
Send1  
Level  
Output Level  
90 [degree]  
0 [degree]  
180 [degree]  
Return1  
Right  
LFO: Triangle  
a
b
LFO Frequency [Hz]  
0.02…20.00Hz  
0…570msec  
0…100  
LFO speed  
Tap1(090) [msec]  
Tap1 (LFO phase=90 degrees) delay time  
Tap1 chorus depth  
Depth  
Level  
0…100  
Tap1 output level  
Pan  
L6…L1, C, R1…R6  
0…570msec  
0…100  
Tap1 stereo image  
Tap2(000) [msec]  
Tap2 (LFO phase=0 degrees) delay time  
Tap2 chorus depth  
Depth  
c
Level  
0…100  
Tap2 output level  
Pan  
L6…L1, C, R1…R6  
0…570msec  
0…100  
Tap2 stereo image  
Tap3(180) [msec]  
Tap3 (LFO phase=180 degrees) delay time  
Tap3 chorus depth  
Depth  
Level  
d
0…100  
Tap3 output level  
Pan  
L6…L1, C, R1…R6  
–100…+100  
None…Tempo  
–100…+100  
0…100  
Tap3 stereo image  
Tap1 Feedback  
Src  
Tap1 feedback amount  
e
f
Modulation source of Tap1 feedback amount  
Modulation amount of Tap1 feedback amount  
Output level of effect sound  
Modulation source of output level  
Modulation amount of output level  
Amt  
Output Level  
Src  
None…Tempo  
–100…+100  
Amt  
144  
Download from Www.Somanuals.com. All Manuals Search And Download.  
03: Ensemble  
03: Ensemble  
This Ensemble effect has three chorus blocks, and adds a three dimensional depth and spread to the  
sound, since the signal is output from the left, right, and center.  
Mono In - Stereo Out  
Return1  
Left  
Output Level  
Send1  
Ensemble  
Output Level  
Shimmer  
LFO  
Return1  
Right  
Speed  
Src  
1…100  
LFO speed  
a
b
c
None…Tempo  
–100…+100  
0…100  
Modulation source of LFO speed  
Modulation amount of LFO speed  
Amt  
Shimmer  
Depth  
Src  
Amount of shimmer of the LFO waveform  P.31  
Depth of LFO modulation  
0…100  
None…Tempo  
–100…+100  
0…100  
Modulation source of the LFO modulation depth  
Modulation amount of the LFO modulation depth  
Output level of effect sound  
Amt  
Output Level  
Src  
d
None…Tempo  
–100…+100  
Modulation source of output level  
Amt  
Modulation amount of output level  
145  
Download from Www.Somanuals.com. All Manuals Search And Download.  
04: Chorus  
04: Chorus  
This is a monaural-in/ stereo-out chorus. You can add spread to the sound by offsetting the phase of the  
left and right LFOs from each other.  
Mono In - Stereo Out  
Return1  
Left  
Output Level  
Chorus  
LEQ  
HEQ  
Spread  
Send1  
EQ Trim  
Chorus  
Output Level  
LFO Phase  
Return1  
Right  
LFO: Tri / Sine  
LFO Waveform  
Triangle, Sine  
–180…+180  
Selects LFO Waveform.  
a
b
LFO Phase [degree]  
LFO Frequency [Hz]  
Src  
LFO phase difference between the left and right  P.65  
LFO speed  
0.02…20.00Hz  
None…Tempo  
Modulation source of LFO speed.  
Modulation amount of LFO speed  
Delay time for the left channel  P.65  
Delay time for the right channel  P.65  
Depth of LFO modulation  
Amt  
–20.00…+20.00Hz  
0.0…50.0msec  
0.0…50.0msec  
0…100  
c
L Pre Delay [msec]  
R Pre Delay [msec]  
Depth  
d
e
Src  
None…Tempo  
–100…+100  
Modulation source of the LFO modulation depth.  
Modulation amount of the LFO modulation depth  
EQ input level  
Amt  
f
EQ Trim  
0…100  
Pre LEQ Gain [dB]  
Pre HEQ Gain [dB]  
–15.0…+15.0dB  
–15.0…+15.0dB  
Low-EQ gain  
g
High-EQ gain  
Sets the spread of the stereo image of the effect sound.  
 P.65  
h
i
Spread  
–100…+100  
Output Level  
Src  
–100…+100  
None…Tempo  
–100…+100  
Output level of the effect sound  P.142  
Modulation source of output level  
Modulation amount of output level  
Amt  
146  
Download from Www.Somanuals.com. All Manuals Search And Download.  
05: L/C/R Delay  
05: L/ C/ R Delay  
This multitap delay outputs three Tap signals to the left, right and center respectively.  
Mono In - Stereo Out  
Return1  
Left  
Output Level  
L Delay  
Level  
Spread  
Send1  
C Delay  
Level  
Level  
Input Level  
D-mod  
Feedback  
High Damp Low Damp  
R Delay  
Output Level  
Return1  
Right  
L Delay Time [msec]  
Level  
0…680msec  
Sets the TapL delay time.  
TapL output level  
a
b
c
0…50  
C Delay Time [msec]  
Level  
0…680msec  
0…50  
Sets the TapC delay time.  
TapC output level  
R Delay Time [msec]  
Level  
0…680msec  
0…50  
Sets the TapR delay time.  
TapR output level  
Feedback  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the TapC feedback amount.  
d
Src  
Modulation source of the TapC feedback amount  
Modulation amount of the TapC feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Amt  
e
f
High Damp [%]  
Low Damp [%]  
Input Level D-mod: Src  
Amt  
0…100%  
None…Tempo  
–100…+100  
g
h
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
0…50  
Output Level  
Src  
0…100  
Output level of the effect sound  
Modulation source of output level  
Modulation amount of output level  
i
None…Tempo  
–100…+100  
Amt  
147  
Download from Www.Somanuals.com. All Manuals Search And Download.  
00: L/C/R Long Delay  
00: L/ C/ R Long Delay  
This multitap delay outputs three Tap signals to the left, right and center respectively. Maximum delay  
time is 2,000msec.  
Mono In - Stereo Out  
Return2  
Left  
Output Level  
L Delay  
Level  
Spread  
Send2  
C Delay  
Level  
Level  
Input Level  
D-mod  
Feedback  
High Damp Low Damp  
R Delay  
Output Level  
Return2  
Right  
L Delay Time [msec]  
Level  
0…2000msec  
Sets the TapL delay time.  
TapL output level  
a
b
c
0…50  
C Delay Time [msec]  
Level  
0…2000msec  
0…50  
Sets the TapC delay time.  
TapC output level  
R Delay Time [msec]  
Level  
0…2000msec  
0…50  
Sets the TapR delay time.  
TapR output level  
Feedback  
–100…+100  
None…Tempo  
–100…+100  
0…100%  
Sets the TapC feedback amount.  
d
Src  
Modulation source of the TapC feedback amount  
Modulation amount of the TapC feedback amount  
Damping amount in the high range  P.44  
Damping amount in the low range  P.44  
Modulation source of the input level  P.44  
Modulation amount of the input level  
Amt  
e
f
High Damp [%]  
Low Damp [%]  
Input Level D-mod: Src  
Amt  
0…100%  
None…Tempo  
–100…+100  
g
h
Sets the width of the stereo image of the effect sound.  
 P.65  
Spread  
0…50  
Output Level  
Src  
0…100  
Output level of effect sound  
i
None…Tempo  
–100…+100  
Modulation source of output level  
Modulation amount of output level  
Amt  
148  
Download from Www.Somanuals.com. All Manuals Search And Download.  
01: Delay/Reverb  
01: Delay/ Reverb  
This effect is a combination of a multitap delay and a hall-type reverb.  
Mono In - Stereo Out  
Pre Delay Thru  
Return2  
Left  
LEQ  
HEQ  
Pre Delay  
Spread  
Reverb  
Send2  
Output Level  
EQ Trim  
L Delay  
Level  
Level  
Level  
Spread  
C Delay  
Output Level  
Feedback  
High Damp Low Damp  
R Delay  
Return2  
Right  
L Delay Time [msec]  
Level  
0…680msec  
0…30  
Sets the TapL delay time.  
TapL output level  
a
b
C Delay Time [msec]  
Level  
0…680msec  
0…30  
Sets the TapC delay time.  
TapC output level  
R Delay Time [msec]  
Level  
0…680msec  
0…30  
Sets the TapR delay time.  
TapR output level  
c
d
e
Feedback  
–100…+100  
0…100%  
0…100%  
0.1…10.0  
0…100%  
0…200msec  
0…30  
Sets the TapC feedback amount.  
Damping amount in the high range  P.44  
Damping amount in the low range  
Sets the period of reverberation time.  
High Damp [%]  
Low Damp [%]  
Reverb Time [sec]  
High Damp [%]  
Pre Delay [msec]  
Pre Delay Thru  
EQ Trim  
f
Reverberation damping amount in the high range  
Reverb delay time P.116  
g
Mix ratio of non-delayed reverb sound  
0…30  
Reverb input level to EQ  
h
i
LEQ [dB]  
–15…+15  
–15…+15  
Reverb gain for the low-EQ  
HEQ [dB]  
Reverb gain for the high-EQ  
Sets the width of the stereo image of the effect sound.  
 P.150  
Spread  
0…30  
Determines whether delay output, reverb output, or both  
outputs are controlled for the width of the stereo image.  
Spread Control  
Delay, Reverb, Both  
Output Level  
Src  
0…100  
Output level of the effect sound  
Modulation source of output level  
Modulation amount of output level  
j
None…Tempo  
–100…+100  
Amt  
149  
Download from Www.Somanuals.com. All Manuals Search And Download.  
01: Delay/Reverb  
i: Spread  
i: Spread Control  
These parameters set the width of the stereo image of the effect sound. The wid-  
est image can be obtained with a value of 30. With a value of 0, the effect sound  
will be output from the center.  
When the Spread control = Delay, you can control the width of the stereo image  
of the delay output only. In this case, the width of the reverb stereo image is set  
to maximum.  
When the Spread control = Reverb, you can control the width of the stereo  
image of the reverb output only. In this case, the width of the delay stereo image  
is set to maximum.  
When the Spread control = Both, you can control the width of the stereo image  
of both the delay and reverb outputs.  
150  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
02: Reverb-Room  
02: Reverb-Room  
This is a room-type reverberation. Setting the four types of early reflections individually allows you to  
simulate the sound reflections on the front, rear, left, and right walls of a room, creating a more realistic  
reverb sound. You can also adjust the width of the stereo image of the reverb sound.  
03: Reverb-Bright Room  
This is a bright, room-type reverb. Setting the four types of early reflections individually allows you to  
simulate the sound reflections on the front, rear, left, and right walls of a room, creating a more realistic  
reverb sound. You can also adjust the width of the stereo image of the reverb sound.  
Mono In - Stereo Out  
Return2  
Left  
Level  
Pan  
Output Level  
ER1  
ER2  
Pre Delay Thru  
Pre Delay  
LEQ  
HEQ  
Spread  
Reverb  
Send2  
EQ Trim  
ER3  
ER4  
Output Level  
Return2  
Right  
a
b
Reverb Time [sec]  
High Damp [%]  
Pre Delay [msec]  
Pre Delay Thru  
EQ Trim  
0.1…3.0sec  
Sets the reverberation time.  
Damping amount in the high range.  
Delay time from the dry sound  P.152  
Mix ratio of non-delay sound  
EQ input level  
0…100%  
0…200msec  
0…30  
c
0…30  
d
LEQ [dB]  
–15…+15dB  
–15…+15dB  
0…200msec  
0…30  
Low-EQ gain  
HEQ [dB]  
High-EQ gain  
ER1 Delay [msec]  
Level  
Delay time of early reflection 1  P.152  
Early reflection 1 output level  
Stereo image of early reflection 1  
Delay time of early reflection 2  P.152  
Early reflection 2 output level  
Stereo image of early reflection 2  
Delay time of early reflection 3  P.152  
Early reflection 3 output level  
Stereo image of early reflection 3  
Delay time of early reflection 4  P.152  
Early reflection 4 output level  
Stereo image of early reflection 4  
e
f
Pan  
L, 1, 2, CNT, 4, 5, R  
0…200msec  
0…30  
ER2 Delay [msec]  
Level  
Pan  
L, 1, 2, CNT, 4, 5, R  
0…200msec  
0…30  
ER3 Delay [msec]  
Level  
g
Pan  
L, 1, 2, CNT, 4, 5, R  
0…200msec  
0…30  
ER4 Delay [msec]  
Level  
h
i
Pan  
L, 1, 2, CNT, 4, 5, R  
Sets the width of the stereo image of the reverb sound  
(excluding the early reflections)  P.65  
Spread  
0…30  
151  
Download from Www.Somanuals.com. All Manuals Search And Download.  
03: Reverb-Bright Room  
Output Level  
0…100  
Output level of the effect sound  
Modulation source of output level  
Modulation amount of output level  
j
Src  
None…Tempo  
–100…+100  
Amt  
c: Pre Delay [msec]  
e: ER1 Delay [msec]  
f: ER2 Delay [msec]  
g: ER3 Delay [msec]  
h: ER4 Delay [msec]  
Reverb (Master)  
Level  
Dry  
ER1,2,3,4  
(Early Reflections)  
ER  
Delay  
Reverb  
Time  
Pre Delay Thru  
Pre Delay  
Reverb Time  
152  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
04: Reverb-Hall  
04: Reverb-Hall  
This is a hall-type reverberation. Setting the four types of early reflections individually allows you to sim-  
ulate the sound reflections on the front, rear, left, and right walls of a room, creating a more realistic  
reverb sound. You can also adjust the width of the stereo image of the reverb sound.  
05: Reverb-Smooth Hall  
This is a hall-type reverberation with a smooth release. Setting the four types of early reflections individ-  
ually allows you to add effective ambience to the sound. You can also adjust the width of the stereo image  
of the reverb sound.  
06: Reverb-Wet Plate  
This effect simulates a dense plate reverberation. Setting the four types of early reflections individually  
allows you to add effective ambience to the sound. You can also adjust the width of the stereo image of  
the reverb sound.  
07: Reverb-Dry Plate  
This is a light, plate reverberation. Setting the four types of early reflections individually allows you to  
add effective ambience to the sound. You can also adjust the width of the stereo image of the reverb  
sound.  
a
b
Reverb Time [sec]  
High Damp [%]  
Pre Delay [msec]  
Pre Delay Thru  
EQ Trim  
0.1…10.0sec  
0…100%  
Sets the reverberation time.  
Damping amount in the high range.  
Delay time from the dry sound  P.152  
Mix ratio of non-delay sound  
EQ input level  
0…200msec  
0…30  
c
0…30  
d
LEQ [dB]  
–15…+15dB  
–15…+15dB  
0…200msec  
0…30  
Low-EQ gain  
HEQ [dB]  
High-EQ gain  
ER1 Delay [msec]  
Level  
Delay time of early reflection 1  P.152  
Early reflection 1 output level  
Stereo image of early reflection 1  
Delay time of early reflection 2  P.152  
Early reflection 2 output level  
Stereo image of early reflection 2  
Delay time of early reflection 3  P.152  
Early reflection 3 output level  
Stereo image of early reflection 3  
Delay time of early reflection 4  P.152  
Early reflection 4 output level  
Stereo image of early reflection 4  
e
f
Pan  
L, 1, 2, CNT, 4, 5, R  
0…200msec  
0…30  
ER2 Delay [msec]  
Level  
Pan  
L, 1, 2, CNT, 4, 5, R  
0…200msec  
0…30  
ER3 Delay [msec]  
Level  
g
Pan  
L, 1, 2, CNT, 4, 5, R  
0…200msec  
0…30  
ER4 Delay [msec]  
Level  
h
i
Pan  
L, 1, 2, CNT, 4, 5, R  
Sets the width of the stereo image of the reverb sound  
(excluding early reflections)  P.65  
Spread  
0…30  
Output Level  
Src  
0…100  
Output level of effect sound  
j
None…Tempo  
–100…+100  
Modulation source of output level  
Modulation amount of output level  
Amt  
153  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Index  
Hold Delay140  
Reverb-Wet Plate  
Master Effect153  
size2118  
Ring Modulator40  
Rotary Speaker  
size143  
L
Index  
L/ C/ R Delay  
Master Effect147  
size2105  
Numerics  
2Band Pitch Shifter132  
2-Voice Resonator80  
size2100  
Rotary Speaker OD133  
L/ C/ R Long Delay  
Master Effect148  
size4136  
S
Limiter15  
A
Shimmer93  
Amp Simulation13  
St. Amp Simulation47  
St. Bi-phase Mod.76  
St. Dynamic Delay110  
St. Envelope Pan87  
St. Graphic 13EQ122  
St. Graphic 7EQ56  
St. Harmonic Chorus  
size266  
M
Multiband Limiter50  
Multitap Chorus/ Dly  
Master Effect144  
size267  
C
Chorus  
Master Effect146  
size129  
size4126  
Multitap Delay45  
Compressor14  
size4124  
D
O
St. Mlt.band Limiter120  
St. Modulation Delay108  
St. Multitap Delay104  
St. Parametric 4EQ55  
St. Pitch Shifter131  
St. Random Filter58  
St. Random Flanger70  
St. Random Phaser74  
St. Tempo Delay139  
St. Tempo Flanger  
size272  
Decimator28  
Delay44  
OD/ Hi-Gain Wah53  
OD/ Hyper-Gain Wah121  
Overdrive/ Hi-Gain19  
Delay/ Reverb149  
Detune95  
Doppler82  
Dual Delay102  
Dual Long Delay138  
Dyna Exciter26  
P
Parametric 4EQ20  
Phaser  
Master Effect143  
size135  
E
Phaser+Tremolo91  
Piano Body/ Damper119  
Pitch Shift Mod.98  
Pitch Shifter96  
Early Reflections  
size146  
size4129  
St. Tempo Phaser  
size275  
size2113  
size4135  
size4130  
Ensemble  
R
Stereo Auto Pan85  
Stereo Chorus64  
Stereo Compressor48  
Stereo Decimator63  
Stereo Delay103  
Stereo Dyna Pan89  
Stereo Enhancer60  
Stereo Ensemble128  
Stereo Flanger69  
Stereo Gate51  
Stereo Limiter49  
Stereo Long Delay137  
Stereo Phaser73  
Stereo Tremolo84  
Stereo Vibrato78  
Sub Oscillator27  
Master Effect145  
size131  
size268  
Random Filter25  
Random Panning Dly112  
Resonator39  
Envelope Flanger34  
Envelope Phaser37  
Reverb-Bright Room  
Master Effect151  
size2116  
Reverb-Dry Plate  
Master Effect153  
size2118  
F
Flanger  
Master Effect142  
size132  
Reverb-Hall  
Master Effect153  
size2114  
G
Gate17  
Graphic 13Band EQ57  
Graphic 7Band EQ22  
Reverb-Room  
Master Effect151  
size2116  
Reverb-Smooth Hall  
Master Effect153  
size2114  
H
Harmonic Chorus30  
154  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Index  
T
Talking Modulator61  
Tempo Delay106  
Tempo Flanger33  
Tempo Phaser36  
Tremolo42  
V
Vibrato38  
Vocoder123  
W
Wah/ Auto Wah23  
155  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Index  
156  
Download from Www.Somanuals.com. All Manuals Search And Download.  

InFocus Cordless Drill DV 14DL User Manual
Init Paper Shredder NT PS11CC User Manual
Jenn Air Automobile Parts AR140 User Manual
Johnson Hardware Door IN2204FS User Manual
JVC DVD Player CU VH1 User Manual
Jwin CD Player JX CD900 User Manual
Kinyo Home Theater System R 655U User Manual
KitchenAid Coffeemaker KCM1402OB User Manual
KitchenAid Gas Grill KBGS274LSS User Manual
KitchenAid Oven KBHS109SSS00 User Manual