Owner’s Manual
Thank you, and congratulations on your choice of the Roland VB-99.
201a
Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (p.
2–3), and “IMPORTANT NOTES” (p. 4–5). These sections provide important information
concerning the proper operation of the unit. Additionally, in order to feel assured that you
have gained a good grasp of every feature provided by your new unit, Owner’s manual
should be read in its entirety. The manual should be saved and kept on hand as a conve-
nient reference.
202
Copyright © 2008 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Roland Website http://www.roland.com/
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012b
•
Immediately turn the power off, remove the AC
•
101fPlease be sure to read and adhere to the
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center,
or an authorized Roland distributor, as listed on
the “Information” page when:
cautionary notices contained in the instructions
that came with this product.
Please note that, depending on the manner in
which performances are carried out, you may encounter
situations where the unit falls off the stand or the stand
topples over, even though you have followed all of the
instructions and advice contained within the product’s
manual. For this reason, you should always perform a
safety check each time you use the stand.
• The AC adaptor, the power-supply cord, or the plug
has been damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been spilled onto
the unit; or
..........................................................................................................
103b
• The unit has been exposed to rain (or otherwise has
become wet); or
•
At regular intervals, you should unplug the AC
adaptor and clean it by using a dry cloth to wipe
all dust and other accumulations away from its
prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug
and the power outlet can result in poor insulation
and lead to fire.
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
013 In households with small children, an adult
•
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
104 Try to prevent cords and cables from becoming
..........................................................................................................
014 Protect the unit from strong impact.
•
•
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
(Do not drop it!)
..........................................................................................................
..........................................................................................................
•
015 Do not force the unit’s power-supply cord to
•
106 Never climb on top of, nor place heavy objects on
share an outlet with an unreasonable number of
other devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
the unit.
..........................................................................................................
107cNever handle the AC adaptor or its plugs with
•
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
108d: Selection
•
If you need to move the instrument, take note of
the precautions listed below. It should be handled
carefully, all the while keeping it level. Make sure
to have a firm grip, to protect yourself from injury
and the instrument from damage.
..........................................................................................................
016 Before using the unit in a foreign country, consult
•
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
1
..........................................................................................................
• Check to make sure the screws or the attached knob
bolts securing the unit to the stand have not become
any loosening.
•
023 DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
2
3
• Disconnect the power cord.
..........................................................................................................
• Disconnect all cords coming from external devices.
..........................................................................................................
109b
•
101b
Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 25).
•
The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
110b
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
•
101cThis VB-99 for use only with Roland rack-mount
adaptor RAD-99 or Stand PDS-10. Use with other
rack-mount adaptors or stands are capable of
resulting in instability causing possible injury.
..........................................................................................................
•
118cKeep any screws you may remove and the
..........................................................................................................
included knob bolts in a safe place out of
children’s reach, so there is no chance of them
being swallowed accidentally ( p. 93, p. 94).
•
102cAlways grasp only the plug on the AC adaptor
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
..........................................................................................................
3
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IMPORTANT NOTES
Power Supply
• Do not connect this unit to same electrical outlet that is
Maintenance
• For everyday cleaning wipe the unit with a soft, dry cloth
301
401a
being used by an electrical appliance that is controlled by
an inverter (such as a refrigerator, washing machine,
microwave oven, or air conditioner), or that contains a
motor. Depending on the way in which the electrical
appliance is used, power supply noise may cause this unit
to malfunction or may produce audible noise. If it is not
practical to use a separate electrical outlet, connect a
power supply noise filter between this unit and the
electrical outlet.
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
302
Repairs and Data
• Please be aware that all data contained in the unit’s
• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
452
307
memory may be lost when the unit is sent for repairs.
Important data should always be backed up in another
MIDI device (e.g., a sequencer), or written down on paper
(when possible). During repairs, due care is taken to avoid
the loss of data. However, in certain cases (such as when
circuitry related to memory itself is out of order), we
regret that it may not be possible to restore the data, and
Roland assumes no liability concerning such loss of data.
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
Placement
351
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
Additional Precautions
• Please be aware that the contents of memory can be
551
352a
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
device (e.g., a sequencer).
• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
352b
• Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initi-
ating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
552
• Unfortunately, it may be impossible to restore the contents
of data that was stored in the unit’s memory once it has
been lost. Roland Corporation assumes no liability
concerning such loss of data.
553
354a
• Use a reasonable amount of care when using the unit’s
• Do not expose the unit to direct sunlight, place it near
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
554
• Never strike or apply strong pressure to the display.
355b
556
• When moved from one location to another where the
• When connecting / disconnecting all cables, grasp the
temperature and/or humidity is very different, water
droplets (condensation) may form inside the unit. Damage
or malfunction may result if you attempt to use the unit in
this condition. Therefore, before using the unit, you must
allow it to stand for several hours, until the condensation
has completely evaporated.
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
558a
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
360
• Depending on the material and temperature of the surface
on which you place the unit, its rubber feet may discolor
or mar the surface.
559a
• When you need to transport the unit, package it in the box
You can place a piece of felt or cloth under the rubber feet
to prevent this from happening. If you do so, please make
sure that the unit will not slip or move accidentally.
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
4
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IMPORTANT NOTES
561
Printing Conventions and
icons in This Manual
• Use only the specified expression pedal (Roland EV-5,
BOSS FV-500L/500H with a connection cable (stereo 1/4”
phone – stereo 1/4” phone); sold separately). By
connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
Text or numerals
enclosed in square
brackets [ ]
Indicate buttons.
[WRITE]
WRITE button
562
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this unit.
The use of such cables can cause the sound level to be
extremely low, or impossible to hear. For information on
cable specifications, contact the manufacturer of the cable.
Indicates information that you
should be aware of when
using the VB-99.
563
Indicates supplementary
information about an
operation.
• Use of the included CD-ROM for rental, lease, or the like
without the permission of the copyright owner is
prohibited. Unauthorized copying is also prohibited by
law.
Indicates information about a
convenient operation.
566b
• The sensitivity of the D Beam controller will change
depending on the amount of light in the vicinity of the
unit. If it does not function as you expect, adjust the sensi-
tivity as appropriate for the brightness of your location.
Indicates a reference page.
(p.**)
801
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
5
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Chapter 1 Outputting Sounds.......................................................................16
About the Play Screen.................................................................................................................................... 20
Inputting the Divided Pickup Settings (GK Settings)............................................................ 21
Tuning the Bass (TUNER)........................................................................................................ 23
Switching Tones (Patch).......................................................................................................... 24
About the Patch Numbers............................................................................................................................. 24
Turning Off the Power.............................................................................................................. 25
Setting the COSM BASS Tone................................................................................................. 26
Applying the COSM Amps and Effects to Normal Pickup Sound........................................ 27
Setting the COSM AMP Tone................................................................................................... 27
Mixing the Normal Pickup Sound with the GK Input............................................................. 30
Setting the Connection Locations for COSM Bass/Normal Pickup Sound........................................... 31
Setting the Volume and Panning for Each Channel.................................................................................. 31
Setting the Mix Balance.................................................................................................................................. 32
Setting the Delay and Reverb (DELAY/REVERB).................................................................................... 32
Using Playing Dynamics to Control the Mix Between the Two Channels (DYNAMIC)..................... 32
Setting the Overall Patch Volume Level (V-BASS LEVEL)...................................................................... 33
Naming a Patch (PATCH NAME) ............................................................................................. 34
Saving a Patch (WRITE) ........................................................................................................... 34
Chapter 3 Global Device Settings (SYSTEM)..............................................35
Inputting the Divided Pickup Settings.................................................................................... 35
Selecting the Settings...................................................................................................................................... 35
Naming GK Settings (GK NAME) ............................................................................................................... 35
Selecting the Divided Pickup Type (GK PU TYPE)................................................................................... 36
6
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Matching the Divided Pickup and Normal Pickup Phase (GK PU PHASE)......................................... 37
Setting the Direction for the Installed Divided Pickup (GK PU DIRECTION)..................................... 37
Setting the Gap Between the Pickup and the Bridge (PICKUP↔BRIDGE)........................................... 38
Adjusting the Overall Tone According to the Environment (GLOBAL/OUTPUT SELECT)........ 40
Naming the Settings....................................................................................................................................... 40
Setting the Types of Connected Devices (OUTPUT SELECT)................................................................. 40
Adjusting the Overall Tone (GLOBAL EQ)................................................................................................ 41
Controlling the Overall Reverb Level (Total REVERB) ............................................................................ 42
(SYSTEM CONTROL ASSIGN)................................................................................................. 42
Over When Patches are Called Up (ASSIGN HOLD).............................................................. 43
(SYSTEM DIRECT EDIT)........................................................................................................... 43
Limiting the Patches That Can Be Switched (PATCH EXTENT)........................................... 44
Adjusting the Screen’s Contrast............................................................................................. 44
Setting the Output Signal and Level (SYSTEM OUTPUT)..................................................... 45
Connecting with the RRC2 IN Connector............................................................................... 46
Settings Related to the FC-300................................................................................................ 46
Settings for Control of the FC-300................................................................................................................ 46
Activating the VB-99’s Tuner from the FC-300 (QUICK TUNER).......................................... 47
What You Can Do Using MIDI..................................................................................................................... 49
Main Types of MIDI Messages Handled by the VB-99............................................................................. 50
Bank Select and Program Change................................................................................................................ 52
Setting the BASS TO MIDI Function (Patch Parameters) ......................................................................... 61
Chapter 6 Using the VB-99 Connected to a Computer Via USB................65
Before Using the USB Connection.......................................................................................... 65
Switching the Driver Mode........................................................................................................................... 66
Setting the USB Functions ...................................................................................................... 66
Setting the Digital Audio Signal Input and Output .................................................................................. 66
Setting the Direct Monitor............................................................................................................................. 67
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Contents
Using the VB-99 to Add Effects to Audio Playback from a Computer................................. 69
Adjusting the D Beam (CALIBRATION).................................................................................................... 70
Adjusting the Ribbon Controller (CALIBRATION).................................................................................. 72
Controlling the Sounds with the Movement of Your Fingertip (Ribbon Controller)........................... 73
Changing the Pitch as with a Tremolo Arm (T-ARM).............................................................................. 74
Exchanging the Current Patch with a Different Patch (PATCH EXCHANGE).................................... 82
Storing Your Preferred Settings Individually (FAVORITE SETTINGS) ................................ 86
Calling Up Favorite Settings......................................................................................................................... 87
Naming Favorite Settings (FAVORITE NAME) ........................................................................................ 89
Searching for Patches That Use the Same Favorite Settings..................................................................... 89
Controlling Video Images with Your Bass (V-LINK).............................................................. 90
Switching V-LINK On and Off..................................................................................................................... 91
Setting V-LINK ............................................................................................................................................... 91
E.BASS (Electric Bass) ..................................................................................................................... 98
AC BASS (Acoustic Bass) ................................................................................................................ 100
SYNTH (Synthesizer) ...................................................................................................................... 100
E.GTR (Electric Guitar) ................................................................................................................... 105
COSM BASS Common Parameters ............................................................................................... 105
POLY FX (Poly Effect) ............................................................................................................ 108
POLY COMP (Poly Compressor) .................................................................................................. 108
POLY LIMITR (Poly Limiter) ......................................................................................................... 108
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POLY EQ (Poly Equalizer) ............................................................................................................. 109
POLY RING (Poly Ring Modulator) ............................................................................................. 110
POLY SG (Poly Slow Gear) ............................................................................................................ 110
EQ (Equalizer) .................................................................................................................................. 112
CHORUS ........................................................................................................................................... 115
MOD1, MOD2 .................................................................................................................................. 116
NS (Noise Suppressor) .................................................................................................................... 127
COSM AMP.............................................................................................................................. 128
Speaker Settings ............................................................................................................................... 129
MIXER ............................................................................................................................................... 131
DYNAMIC ........................................................................................................................................ 134
CONTROL ASSIGN ........................................................................................................................ 135
GK VOL (GK Volume)................................................................................................................................. 135
EXP PEDAL (Expression Pedal)................................................................................................................. 139
ASSIGN 1–16................................................................................................................................................. 140
NAME/KEY/BPM .......................................................................................................................... 142
PATCH .............................................................................................................................................. 143
SYSTEM................................................................................................................................... 145
DIRECT PATCH .............................................................................................................................. 145
GK SETTING .................................................................................................................................... 145
CTL (Control) ................................................................................................................................... 146
CONTROL ASSIGN..................................................................................................................................... 146
FC-300 ................................................................................................................................................ 148
MIDI ................................................................................................................................................... 149
OUTPUT ............................................................................................................................................ 151
USB ..................................................................................................................................................... 152
BPM .................................................................................................................................................... 153
V-LINK .............................................................................................................................................. 153
V-LINK PATCH............................................................................................................................................ 153
V-LINK SYSTEM .......................................................................................................................................... 155
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Contents
CATEGORY NAME ........................................................................................................................ 156
PATCH EXTENT ............................................................................................................................. 156
TUNER ..................................................................................................................................... 158
For Windows................................................................................................................................................. 164
For Mac OS .................................................................................................................................................... 164
Error Messages....................................................................................................................... 165
Troubleshooting ..................................................................................................................... 165
Problems with Sounds................................................................................................................................. 165
Other Problems ............................................................................................................................................. 167
Index .............................................................................................................168
Checking the Package Contents
The VB-99 comes with the following items. After opening the package, please check all items. If any items are missing, please contact the
retailer from whom this product was purchased.
❏ VB-99
❏ USB cable
❏ RRC2 cable
❏ AC adaptor (PSB-1U)
❏ Knob bolt x 4
❏ VB-99 Software CD-ROM
❏GK cable (5 m)
❏ Owner’s Manual (this manual)
10
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Main Features
Ultimate bass modeling system
provides unlimited possibilities
in creating sounds
The VB-99 is the culmination of Roland’s COSM technology-based
bass modeling systems. Featuring advanced software supported by
the very latest custom DSP chips, the instrument also offers a large-
sized high-contrast LCD, top-quality AD/DA converters, balanced
XLR output connectors, digital output connectors, USB connector,
and other features that all add up to a truly pro-spec system.
Combine with the FC-300 to
create the perfect live system
Connecting a Roland FC-300 MIDI Foot Controller (optional) to the
VB-99 allows you to switch tones and carry out other tasks using the
FC-300’s multiple foot pedals for easy hands-free operation. These
units also feature an RRC2 connector, allowing you to connect the
VB-99 and FC-300 with a single cable. This RRC2 function enables
two-way communications between the devices, while further acting
as a power supply to the FC-300, thus reducing the number of cables
used to connect the devices.
About COSM
(Composite Object Sound Modeling)
Composite Object Sound Modeling—or “COSM” for short—is
BOSS/Roland’s innovative and powerful technology that’s
used to digitally recreate the sound of classic musical
instruments and effects. COSM analyzes the many factors that
make up the original sound—including its electrical and
physical characteristics—and creates a digital model that
accurately reproduces the original.
Includes pitch/MIDI conversion
function
The VB-99 can convert and output bass performance data as MIDI
information, allowing you to connect a synthesizer sound module or
similar device and use the setup as a bass synthesizer.
Features V-LINK function
This function enables you to use performance data and pedal
Two complete sound creation
systems
operations in controlling video.
The VB-99 features two separate bass and COSM amp systems. You
can use two different types of modeled basses simultaneously and
create different amp sounds to use with each bass. What’s more, the
VB-99 comes equipped with two effects systems featuring a huge
selection of BOSS effects, including COSM effects. This all enables
you to achieve the perfect processing for each individual bass.
V-LINK
V-LINK is a function that allows music and images to be
performed together. By using MIDI to connect two or more V-
LINK compatible devices, you can easily enjoy a wide range of
visual effects that are linked to the expressive elements of a
music performance.
Equipped with D Beam, ribbon,
and other new realtime controllers
The VB-99 now enables new and heretofore unimaginable forms of
musical expression, including new ways of using the bass’s neck and
your hands. Of course, you can still connect expression pedals and
control switches as well, just as with previous V-Bass systems.
Console style accommodates a
variety of usage environments
The VB-99 can be set up in a number of different ways to suit the
needs of the user—as a desktop unit for recording or when using
computer input, attached to its stand (optional) and set up right by
the performer, or placed in a rack with the (optional) rack mount
adaptor.
11
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Names of Things and What They Do
Top Panel
fig.00-020
3
32
33
1
2
4
30
23 24
25
5
6
26
7
13
11
14
16
17
27
28
29
8
9
10
12
19
18
15
31
20
21
22
1. D BEAM
6. FUNCTION Buttons F1–F6
Used to select the parameters indicated in the LCD.
effects to your sounds by moving your hand or the bass neck
within the range of the beam. (p. 71)
7. BASS DIRECT Button
•
PITCH Button
This outputs only the normal pickup sound. (p. 27)
In addition to changing the pitch of the bass, this can be
used for the Freeze function, which continuously holds
the bass’s tone. (p. 73)
8. COSM BASS Buttons
These set the COSM bass type and tone. (p. 26)
•
•
FILTER Button
This changes the bass’s tone. (p. 75)
ASSIGNABLE Button
9. POLY FX (Poly Effects) Buttons
These set the poly effects. (p. 28)
Use this to assign different parameters and functions to
the D Beam and change the tone in real time. (p. 77)
10. FX (Effects) Buttons
These set the effects. (p. 28)
2. LCD
Various information regarding the VB-99 is indicated here.
11. COSM AMP Buttons
Used to make settings for the COSM amp. (p. 27)
3. PATCH/VALUE Dial
Used to switch patches and change settings values.
12. MIXER Buttons
Used to make settings for the mixer. (p. 31)
4. CATEGORY Button
Used to select and change categories. (p. 85)
13. DELAY/REVERB Button
Used to make settings for the mixer section’s delay and
reverb. (p. 32)
5. FUNCTION Knob F1–F6
Changes the value of the setting for the parameter indicated in
the LCD.
14. DYNAMIC Button
Used for setting the dynamics. (p. 32)
12
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Names of Things and What They Do
15. BALANCE Knob
This allows you to change the tone by sliding your finger
along the ribbon.
Sets the mix balance. (p. 32)
16. CHAIN Button
amp connection sequence. (p. 31)
•
•
•
PITCH Button
Changes the bass’s pitch. (p. 74)
FILTER Button
Alters the brightness of the sound. (p. 75)
ASSIGNABLE Button
17. CONTROL ASSIGN Button
This sets the functions assigned to pedals and switches. (p. 76)
the ribbon controller and change the tone in real time. (p.
77)
18. NAME/KEY/BPM Button
Used to specify patch names (p. 34) and the tempo and key (p.
29) for songs to be played.
31. GK IN Connector
Connect the GK cable here.
Adjusts the volume of a patch. (p. 33)
32. POWER Switch
20. V-LINK Button
Switches the power on and off. (p. 19) (p. 25)
33. OUTPUT LEVEL Knob
This adjusts the volume level for the MAIN OUT jacks and
headphone jack.
21. DIRECT PATCH Buttons
Use these to directly call up the patches you have assigned to
them. (p. 81)
22. CONTROL Buttons
with these buttons. (p. 77)
About the Illumination of Buttons
When a button is lit, it indicates that the function for
that button is switched on.
23. EXIT Button
Used to return previous screens and to undo operations.
*
The corresponding DIRECT PATCH button (1–5) lights when
a Direct Patch (1–5) is selected.
24. WRITE Button
Use for storing settings in patches and executing operations.
(p. 34) (p. 82)
25. PAGE Buttons
26. BASS TO MIDI Button
This sets the BASS TO MIDI function (the function that
27. SYSTEM Button
environment. (p. 35)
28. GLOBAL Button
This sets the GLOBAL function (which affects the tone of all
patches). (p. 40)
29. TUNER Button
This turns the tuning function on. (p. 23)
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Names of Things and What They Do
Rear Panel
fig.00-030
1
5
15
2 3
4
7 8 9 10 11 12
13
6
14
1. Security Slot (
)
An optional footswitch (such as an FS-6) can be connected
988
here. (p. 17)
Connect a commercially available anti-theft security cable
*
The patch up/down function is assigned to this jack at the factory.
here.
http://www.kensington.com/
11. USB Connector
Use a USB cable to connect a computer to this connector and
enable exchange of data between the VB-99 and the computer.
(p. 65)
2. BASS INPUT Jack
Use this jack when directly inputting a normal bass.
3. BASS OUTPUT Jack
12. RRC2 IN Connector
This outputs sounds from normal basses connected to a GK-
Accepts connection of an FC-300 (optional).
This connector supplies power to the FC-300 and provides for
two-way communications with it. (p. 46)
3B and unaltered signals from the BASS INPUT jack.
4. SUB OUT Connectors L, R
*
The RRC2 IN connector is for use exclusively with the FC-300. It
cannot be used with other devices.
These balanced output jacks use XLR type connectors.
*
The SUB OUT L and R connectors are unaffected by the OUTPUT
LEVEL knob settings; output is constant at a fixed output level (+4
dBu).
13. MIDI OUT, IN Connector
Connect an external MIDI device here to transmit and receive
MIDI messages to and from the device. (p. 52)
5. GND LIFT Switch
You can disconnect the SUB OUT connectors’ No. 1 pin from
14. DC IN (AC Adaptor) Jack
the VB-99’s ground.
Connect the included AC adaptor here.
Normally, this is set to GND. Switch to LIFT if a ground loop
or similar problem is causing the output of hum or noise.
To prevent damaging the VB-99, please be sure not to use any
AC adaptor other than the one included with the VB-99.
6. MAIN OUT Jacks L/MONO, R
15. Cord Hook
These are unbalanced phone jack outputs. Use these to
Fasten the AC adaptor cord using this hook to prevent the
connect to amps, mixers, and similar equipment.
cord from being disconnected accidentally. (p. 18)
*
Disconnecting the AC adaptor while the VB-99 is in use may result
in corruption of important data.
7. PHONES Jack
Connect headphones here.
8. DIGITAL OUT Connector
Digital audio signals are output here. (p. 33)
9. EXP PEDAL (EXPRESSION PEDAL) Jack
Connect an optional expression pedal (such as a Roland EV-5)
here. (p. 17)
*
The VB-99 is set at the factory so that the pedal is automatically
enabled to function as a foot volume.
14
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Chapter 1 Outputting Sounds
Installing the Divided Pickup
First install the GK-3B divided pickup (optional) on the bass to be
used. For installation instructions, refer to the GK-3B Owner’s
Manual.
Before Connecting
To perform with the VB-99, first set up the following devices.
•
A bass on which the GK-3B has been installed or equipped with
internal GK function
•
Bass amp/speaker or headphones
Performing can be made even more convenient using the following
devices:
The GK-3B cannot be used with the following basses (the
pickup will not function properly even when installed).
Basses with an unconventional string configuration, such as
basses (acoustic string basses)
•
•
MIDI foot controller (Roland FC-300; optional)
Expression pedal (Roland EV-5 or BOSS FV-500L/500H with a
connection cable (stereo 1/4” phone – stereo 1/4” phone);
optional)
•
•
Pedal switch (BOSS FS-5U or FS-6; optional)
•
•
Nylon-stringed or gut-stringed basses and basses using any
non-steel strings
Other basses whose construction does not provide adequate
space to properly attach the GK-3B
About the GK-3B’s GK Volume Control
With the VB-99, you can assign various different functions to the
GK-3B’s GK volume control. (p. 77)
You may not be able to control the VB-99’s volume level with the GK
volume control when another parameter is assigned to the GK
volume control.
About the GK-3B’s Select Switches
As the VB-99 allows you to set the balance between the COSM bass
and the normal bass volume in each individual patch, we
recommend that MIX be the basic function used for the select switch.
Also note that if a parameter other than volume is assigned as the
GK volume control function, the GK-3B’s select switch will stop
functioning normally.
16
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Chapter 1 Outputting Sounds
Making the Connections
Top Panel
GK cable
Bass with GK-3B / GK-2B
Rear Panel
Stereo
Headphones
Digital
Recorder etc.
MIDI IN
Synthesizer
(external sound module) etc.
Mixer etc.
MIDI Sequencer etc.
(Normal Bass)
MIDI IN
MIDI IN
MIDI OUT
V-LINK
Compatible Device
(EDIROL P-10 etc.)
AC Adaptor PSB-1U
To the Power Outlet
RRC2 cable
EXP Pedal
(EV-5 etc.) (BOSS FS-6 etc.)
Footswitch
Computer
MIDI Foot Controller
FC-300
Bass Amp
(for Normal Bass)
Example of Connections When Using Effects Units
Example 1)
Example 2)
Bass with GK-3B / GK-2B
Bass with GK-3B / GK-2B
MAIN
OUT
MAIN
OUT
GK-IN
GK-IN
BASS
INPUT
GK cable
GK cable
Bass Amp Effector
VB-99
Bass Amp Effector
VB-99
Effector
17
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Chapter 1 Outputting Sounds
*
The GK cable is a locking cable. When disconnecting the cable, do
not pull on it with undue force, but instead release the lock and
gently disconnect the cable. You can disconnect the cable simply and
easily by holding down the locking portion with your finger and
gently pulling on the plug.
922
*
This instrument is equipped with balanced type jack (XLR=SUB
OUT). Wiring diagrams for this jacks is shown below. Make
connections after first checking the wiring diagrams of other
equipment you intend to connect.
fig.XLR/TRSJack.eps
925
Lock
*
Use only the specified expression pedal (Roland EV-5, BOSS FS-
500L/500H with a connection cable (stereo 1/4” phone – stereo 1/4”
phone); sold separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
921
*
To prevent malfunction and/or damage to speakers or other devices,
always turn down the volume, and turn off the power on all devices
before making any connections.
927
*
Depending on the circumstances of a particular setup, you
may experience a discomforting sensation, or perceive that
the surface feels gritty to the touch when you touch this
device, microphones connected to it, or the metal portions of
other objects, such as basses. This is due to an infinitesimal
electrical charge, which is absolutely harmless. However, if
you are concerned about this, connect the ground terminal
(see figure) with an external ground. When the unit is
grounded, a slight hum may occur, depending on the
particulars of your installation. If you are unsure of the
connection method, contact the nearest Roland Service
Center, or an authorized Roland distributor, as listed on the
“Information” page.
932
*
Place the AC adaptor so the side with the indicator (see illustration)
faces upwards and the side with textual information faces
downwards.
*
The indicator will light when you plug the AC adaptor into an AC
outlet.
AC Adaptor
Power Cord
AC Outlet
Indicator
924
*
To prevent the inadvertent disruption of power to your unit (should
the plug be pulled out accidentally), and to avoid applying undue
stress to the AC adaptor jack, anchor the power cord using the cord
hook, as shown in the illustration.
Unsuitable places for connection
•
•
•
Water pipes (may result in shock or electrocution)
Gas pipes (may result in fire or explosion)
Telephone-line ground or lightning rod (may be
dangerous in the event of lightning)
fig.CordHook.e.eps
926a
The cord of
the supplied AC Adaptor
*
When connection cables with resistors are used, the volume level of
equipment connected to the BASS INPUT may be low. If this
happens, use connection cables that do not contain resistors.
Never connect anything other than the FC-300’s RRC2 OUT
connector to the VB-99’s RRC2 IN connector. Connecting to a LAN
or other devices that use modular jacks of the same size and shape
(RJ45) may result in damage to the VB-99 and/or the connected
device.
To the Power Outlet
*
*
Cord Hook
If using a commercially available ethernet cable as the RRC2
connecting cable, be sure that the cable meets the following
specifications:
*
Wiring diagrams for CTL3, 4 jack is shown below. Make connections
after first checking the wiring diagrams of other equipment you
intend to connect.
•
•
•
Category 5 (Cat5) or above
Maximum length of 15 meters
Cable designed for straight-through connections
fig.XLR/TRSJack.eps
*
Crossover cables cannot be used.
=CTL3
=CTL4
*
*
Do not subject the RRC2 cable to stress or physical shock.
Carefully connect the RRC2 cable all the way in–until it is firmly
connected to the RRC2 IN connector.
*
When outputting in mono, connect a cable only to the MAIN OUT
L/MONO jack.
*
You cannot use COSM BASS or POLY FX with signals input via
BASS IN. The GT-10B’s internal FX, COSM AMP, MIXER, and
18
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other settings can be used fully in two channels.
Turning On the Power
941
*
When connecting an expression pedal to the EXP PEDAL jack, set
the pedal’s minimum level knob to the MIN position.
*
When connecting an FS-6 footswitch (optional) to the CTL3/4 jack,
set the MODE switch and POLARITY switch as shown below.
Once the connections have been completed (p. 17), turn on power to
your various devices in the order specified. By turning on devices in
fig.01-010
the wrong order, you risk causing malfunction and/or damage to
B
A
speakers and other devices.
942
*
This unit is equipped with a protection circuit. A brief interval (a
few seconds) after power up is required before the unit will operate
normally.
943
*
Always make sure to have the volume level turned down before
switching on power. Even with the volume all the way down, you
may still hear some sound when the power is switched on, but this is
normal, and does not indicate a malfunction.
BOSS FS-6
*
When connecting an FS-5U footswitch (optional) to the CTL3/4
jack, set the POLARITY switch as shown below.
fig.01-020
*
Turning on devices in the wrong sequence may result in
malfunction and/or damage to speakers and other devices.
1. Switch on the POWER switch on the VB-99’s
top panel.
BOSS FS-5U
The display changes as described below, and after several
*
*
You can connect two FS-5Us using the special Roland PCS-31
connection cable (optional).
seconds the VB-99 is ready for normal performance.
This screen is called the “Play screen.”
fig.01-060d
When an FS-6 is connected to the CTL3,4 jack with an optional
connection cable (stereo 1/4” phone – stereo 1/4” phone), pedal
switch B operates according to the CONTROL 3 settings, and pedal
switch A operates according to the CONTROL 4 settings.
fig.01-030
To CTL3,4 jack
PCS-31 cable
To CTL3,4 jack
To CTL3,4 jack
Unless special note is made otherwise, the operations
described in this manual are carried out with the Play screen
displayed.
*
When the power to the VB-99 is turned on, the patch selected at the
time the power was last turned off is called up.
White
Red
White
Red
985
*
The explanations in this manual include illustrations that depict
what should typically be shown by the display. Note, however, that
your unit may incorporate a newer, enhanced version of the system
may not always match what appears in the manual.
BOSS
FS-5U
(CTL3) (CTL4)
BOSS
FS-5U
(CTL3) (CTL4)
(CTL4) (CTL3)
2. Turn on the power to the bass amp or mixer.
*
Raise amp volume levels only after turning on the power to all the
•
•
When using the VB-99 with an expression pedal connected
to the EXP PEDAL jack, make the settings described on
“EXP PEDAL (Expression Pedal)” (p. 139).
When using the VB-99 with a footswitch connected to the
CTL3/4 jack, make the settings described on “CTL3, CTL4
(Control3, Control4)” (p. 139).
devices.
19
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Chapter 1 Outputting Sounds
About the Play Screen
About the Information in the
Display (Basic Operation)
The VB-99 has a variety of Play screen variations, each providing
different information about the current state of the VB-99.
Some screens may contain parameters spanning multiple pages. The
You can switch the information shown in the Play screen by pressing
page number is indicated at the upper right of the screen.
PAGE [
] [
].
Screen 1:
The first nine characters of the patch name are displayed in large
type; also shown are icons for the basses and amps in both channels.
fig.01-060d
1. Use PAGE [ ] [ ] to switch pages.
2. Use [F1]–[F6] or the F1–F6 knobs to change
the values.
Screen 2:
All sixteen characters of the patch name are displayed.
Pressing a FUNCTION button while SET** appears in
the lower part of the screen sets the corresponding
function to the indicated value of **.
Screen 3:
The effects used, as well as their connection sequence (CHAIN) in
both channels are indicated.
Adjusting the Volume
Turn the OUTPUT LEVEL knob to set the volume to a suitable level.
fig.01-070
Screen 4:
The screen shows level meters for the GK IN strings Hi C–Low B,
normal pickup, MAIN OUT, and SUB OUT levels.
*
*
The output level from the SUB OUT connector (XLR type) cannot
be adjusted with the OUTPUT LEVEL knob.
You can adjust the volume level by assigning this function to the
expression pedal or GK-3B GK volume control. For details, see
“Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)” (p. 77).
By assigning parameters to the F1–F6 knobs, as
described in “Changing the Sounds with the Function
Knobs as You Play (DIRECT EDIT)” (p. 76), you can
use them to control values while in the Play screen.
Additionally, you can display a popup for the assigned
parameters and their values by pressing the [F1]–[F6]
buttons.
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Chapter 1 Outputting Sounds
Setting the Device (Amp)
Connected to MAIN OUT (Output
Select)
Inputting the Divided Pickup
The VB-99’s sound characteristics vary greatly depending on how
the divided pickup is installed. To ensure consistent conditions for
optimal sound production, be sure to make the settings affecting the
divided pickup (the GK settings). With these settings appropriately
made, the VB-99 can then operate under optimal conditions.
Use this procedure to set the type of device connected to the MAIN
OUT jacks.
fig.01-071
3
*
For information on parameters not described in this chapter, refer to
4
2
“GK SETTING” (p. 145).
3
When using more than one bass with the VB-99, you can
save the settings for each bass separately.
1
1. Press [GLOBAL].
The Global screen is displayed.
The GK settings are extremely important to getting
good tones from the VB-99. Be sure to input the
settings correctly.
fig.01-072d
fig.01-100
8
10 11
2. Press PAGE [ ] to go to Page 1.
12
2
4 7 9
3. Press [F4] (SELECT) or turn the F4 knob to set
the type of device to be connected to the MAIN
OUT jacks.
5
6
3
1
Value
Explanation
Use this setting when connecting to a tweet-
er-equipped bass amp.
AMP WITH TWEETER
Use this setting when connecting to a bass
amp that has no tweeter. The high-frequen-
cy range is adjusted.
1. Press [SYSTEM].
AMP NO TWEETER
LINE/PHONES
The System screen is displayed
Use this setting when using headphones or
connecting directly to a PA system or multi-
track recorder.
4. Press [EXIT] to return to the Play screen.
2. Press PAGE [ ] to go to Page 1.
3. Press [F3] (GK).
The GK Settings screen is displayed.
fig.01-060d
4. Press PAGE [ ] [ ] to go to Page 2.
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Chapter 1 Outputting Sounds
5. Select the divided pickup type.
7. Select the position of the divided pickup.
Use the F5 knob to set the position of divided pickup installed
in the bass you are using.
Use the F1 knob to set the type of divided pickup installed in
the bass you are using.
fig.01-060d
For a 4-string bass:
4STR-1
4STR-2
4STR-3
string 1
string 2
string 3
string 4
Settings
GK-3B
Explanation
Specifies the GK-3B.
Specifies the GK-2B.
For a 5-string bass:
GK-2B
5STR Lo1 5STR Lo2
5STR Hi1 5STR Hi2
This is suited to piezo pickups that have a flat
response.
PIEZO
string Hi C
string 1
string 2
string 3
string 4
string Hi C
This is suited to piezo pickups made by Graph
Tech Guitar Labs.
string 1
string 2
string 3
string 4
PIEZO G
PIEZO R
This is suited to piezo pickups made by RMC
Pickup Co.
string Low B
*
*
Piezo pickups are a type of pickup that are installed at the bass’s
bridge and use piezoelectric elements to determine the string
vibrations.
For a 6-string bass:
6STR
string Hi C
string 1
string 2
string 3
string 4
string Low B
*
Selecting PIEZO, PIEZO G or PIEZO R for GK PU TYPE lets you
further adjust the sound quality of the low and high frequency
ranges. For detailed information, refer to “Selecting the Divided
Pickup Type (GK PU TYPE)” (p. 36).
8. Press PAGE [ ] to go to Page 4.
6. Set the scale length.
9. Input the gap between the pickup and the
Use the F4 knob to set the scale length (the distance from the
bridge to the nut) of the bass you are using. Then, specify the
value within 710-940 mm, or select one of the 4 presets listed
below.
bridge.
Set the clearance from the divided pickup to the bridge’s
saddle.
Settings
SHORT
Scale Length
760mm
MEDIUM
812mm
LONG JB/PB
EXTRA LONG
864mm
914mm
*
This setting is not required when the GK PU TYPE is set to piezo
type parameter.
string Hi C
string 1
string 2
string 3
string 4
string Low B
String
Pickup
Bridge
22
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Chapter 1 Outputting Sounds
10. Press PAGE [ ] to go to Page 5.
Tuning the Bass (TUNER)
Tune the bass using the VB-99’s tuner function.
fig.01-060d
*
To get the best tone quality from the VB-99, make sure the tuning is
accurate.
fig.01-190
7
11. Rotate the F1–F6 knobs to adjust the divided
pickup sensitivity for each string.
2
3
First play the Low B string with the maximum force to be used
during actual performance, and as you play the string, set the
sensitivity with the F1 knob until the meter registers at a point
just before it crosses beyond the maximum level.
Set the sensitivity for the fifth through Hi C strings in the same
manner.
1
7
*
*
If the level meter registers in excess of the maximum level, it means
the level is set too high. Lower the sensitivity setting.
Depending on the bass you are using, the level meter may move to
the maximum level even when the sensitivity is set to the minimum
setting. If this occurs, adjust the clearance separating the divided
pickup and the strings so the distance is slightly greater than
specified.
1. Press [TUNER].
The tuner function is switched on.
2. Set the following with the PAGE [ ] [
]
buttons.
TUNER
Explanation
You can play and tune six strings simulta-
neously.
12. Check the volume balance of the six strings.
Play the Low B through Hi C strings with the normal amount
of force; if any string sounds particularly loud, lower the
sensitivity setting for that string, and keep adjusting until the
differences in the strings’ volume levels are minimal.
MULTI MODE
You can play one individual string to
tune that string.
SINGLE MODE
3. Press the function button ([F5], [F6])
corresponding to the function you want to set,
then rotate the knobs to select the value for
the setting.
13. Press [EXIT] several times to return to the Play
screen.
*
pickup on a new or different bass and when the divided pickup height
is changed. Once the settings are completed properly, they are saved
when the power is turned off. Afterwards, you need not make the
settings each time you play the instrument.
If you do not want to change these settings, proceed to Step 4.
•
[F5] (PITCH: 435 Hz–445 Hz)
This sets the reference pitch.
*
*
With the factory settings, this is set to 440 Hz.
The COSM bass PITCH SHIFT, HARMO, and BEND settings
controlled by the KEY parameter and the HARMONIST effect refer
to this reference pitch.
For more information on other parameters in the GK
Settings, refer to “GK SETTING” (p. 145).
What is the Reference Pitch?
This is the frequency at A4 (the note played with the A key at
the middle of the piano keyboard) played by the instrument
(e.g., piano) used as the reference for tuning for performances.
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Chapter 1 Outputting Sounds
•
[F6] (MUTE OFF, MUTE ON)
This setting determines whether sounds from the output
jacks are output or not while tuning is in progress.
Switching Tones (Patch)
TUNER
MUTE OFF
Explanation
Sounds are output during tuning.
What is a patch?
The VB-99 provides 400 memory locations where settings
determining the sound, including those for COSM basses,
COSM amps, and effects, as well as settings for a variety of
other parameters are stored.
Sounds are not output during tuning.
*
With the factory settings, this is set to
MUTE ON
MUTE ON.
Each one of these is called a patch.
4. Play a single note, open, on the string being
Each time you switch a patch, you can instantly change to a
different tone.
tuned.
5. Tune the string until the name of the string is
shown in the display.
When you choose the MULTI MODE
About the Patch Numbers
Patch numbers and patch names are indicated in the Play screen as
fig.01-060d
shown below.
fig.01-060d
Patch Number
When you choose the SINGLE MODE
fig.01-060d
Patch Name
Patches are categorized into User patches and Preset patches.
User Patches
These include 200 preprogrammed patches. You can freely change
the tones and save the your changes.
6. Keep checking the screen, tuning until the
center indicator lights up.
Repeat Steps 3-5 to tune all the strings.
Preset Patches
Included here are 200 preprogrammed patches. Although you can
make changes to these tones, you cannot save these changes in a
Preset Patch. If you want to save a changed tone, save it as a User
patch.
7. When you have finished tuning, press
[TUNER] or [EXIT].
This completes the preparations for playing
the instrument. Now try playing some sounds.
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Chapter 1 Outputting Sounds
Switching with the PATCH/
VALUE Dial
Turning Off the Power
1. Confirm the following before turning off the
You can switch patches consecutively with the PATCH/VALUE
power.
Dial.
•
Are the volume levels for the VB-99 and connected amp and
other devices turned down completely?
1. Confirm that the Play screen is displayed.
If a screen other than the Play screen is shown, press [EXIT]
several times until the Play screen appears.
2. Turn off the power to the bass amp (power
amp).
3. Press [POWER] to turn off the VB-99’s power.
2. Rotate the PATCH/VALUE dial to switch the
fig.01-190
patches.
3
fig.01-190
2
The message “NOW SHUTDOWN...” appears when
the power is switched off. The VB-99’s current
settings are saved to memory at this time. Do not
disconnect the AC adaptor until this message is no
longer displayed.
Turn the dial to the right (clockwise) to switch to the next
patch number, or to the left (counterclockwise) to switch to the
previous patch number.
25
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Chapter 2 Creating Sounds
First, let’s take a look at how the VB-99 is organized internally.
Setting the COSM BASS Tone
1. Press [COSM BASS].
● COSM Basses
You can use COSM modeling to create the tones of a variety of
different bass guitars. Available sounds include not just electric bass
and acoustic bass tones, but extend beyond to include the sounds of
synthesizers and electric guitars and even non-existent, imaginary
bass guitars. Since the created sounds are based on the signals sent
by the GK-3B for each individual string, the system allows you to
play these sounds while still retaining all the flavor created by the
unique playing techniques and picking nuances that the bass guitar
offers.
2. Press PAGE [ ] several times to display Page
1.
The VB-99 allows you to make settings for two different COSM bass
types at the same time, enabling you to instantly switch what
amounts to two actual bass guitars and create sounds in which two
bass guitars seem to be playing at the same time.
3. Use [F1] (ON/OFF) or the F1 knob to switch the
COSM BASS ON/OFF setting.
4. Use [F2] (SELECT) or the F2 knob to select the
Modeling type.
● COSM Amps
Since this technology models the bass amp circuitry and speaker
characteristics, the modeled amps simulate exactly the behavior of
the actual amps, even in the way distortion is added and the way the
tone controls work.
5. Use [F3] (SELECT) or the F3 knob to select the
COSM BASS type.
6. Press PAGE [ ].
You can configure preamps and speaker cabinets as you like—you
can even model the amp’s studio miking. The VB-99 produces two
independent COSM amp systems at the same time, which allows
you to process each of the two COSM basses through a different
amp.
● Poly Effects
*
Each press of PAGE [
] takes you to the next screen in which
These are original VB effects that can be applied independently to
each string. You can choose which of the two COSM basses the
effects are applied to.
parameter settings are made.
the F1–F6 knobs.
● Effects
The VB-99 is equipped with two BOSS GT-10B class multi-effects
systems. You can apply effects separately to each of the two COSM
basses.
sound you want.
For detailed information about each of the parameters,
● Mixer
refer to “COSM BASS” (p. 96).
In addition to having full freedom in mixing the sounds from the
two COSM basses, you can also output the two bass guitars
separately to MAIN OUT and SUB OUT. The Dynamic function
further allows you to use the force of your playing attack to switch
between the two bass sounds or many other functions. Furthermore,
the mixer section also includes delay/reverb and an equalizer,
enabling you to adjust the overall tone of the patches.
9. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
26
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Chapter 2 Creating Sounds
One-touch Output of the
Bass Direct Sound
(BASS DIRECT)
Setting the COSM AMP Tone
1. Press [COSM AMP].
2. Press PAGE [ ] several times to display Page
Setting BASS DIRECT to “on” enables you to output the direct bass
sound at a single touch.
1.
It's possible to create sounds like bass direct sound plus synthesizer
bass sound by combining the direct bass sound with COSM bass,
effect, or COSM amp sound.
3. Use [F1] (ON/OFF) or the F1 knob to switch the
COSM AMP ON/OFF setting.
fig.01-060d
Press [BASS DIRECT] to switch this off (unlit) or on (lit).
You can store the BASS DIRECT setting in memory for each
individual patch.
MAIN
SUB
MAIN OUT
DIVIDED PU
NORMAL PU
PHONES
SUB OUT
Bass with
GK-3B
4. Use [F2] (SELECT) or the F2 knob to select the
Normal
Bass
COSM AMP type.
5. Press PAGE [ ].
fig.01-060d
Applying the COSM Amps
and Effects to Normal
Pickup Sound
Setting the COSM BASS switch to “NORMAL PU” lets you apply
COSM amps or effects using the normal pickup sound for the bass
instead of the COSM bass.
*
Each press of PAGE [
] takes you to the next screen in which
parameter settings are made.
the F1–F6 knobs.
OFF
ON
DIVIDED PU
NORMAL PU
To the FX, COSM AMP
NORMAL PU
sound you want.
COSM BASS
SW
For detailed information on all the parameters, refer to
“COSM AMP” (p. 128).
8. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not need to save the settings, press [EXIT] to return to the
Play screen.
27
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Chapter 2 Creating Sounds
FX (Effects)
Here’s how to make settings for the effects.
Setting the Effects
POLY FX (Poly Effect)
1. Press [FX].
fig.01-060d
*
You can use POLY FX in only one channel at a time (A or B).
1. Press [POLY FX] for the channel, either A or B,
in which you want to use it.
2. Press PAGE [ ] several times to display Page
1.
2. Switch the individual effects on or off with the
fig.01-060d
[F1]–[F6] (ON/OFF).
*
Each press of PAGE [
] [
] takes you to another effect screen in
which parameter settings are made.
All effects that are on can be alternately switched off
(indicator unlit) and on (indicator lit) together by
pressing [FX].
3. Switch the function on or off with the [F1] (ON/
OFF) or the F1 knob.
4. Select the POLYFX TYPE with [F2] (SELECT)
3. Press [F1]–[F6] to select the effect you want to
or the F2 knob.
edit.
5. Using [F3] (A/B) or the F3 knob, switch the
channel to the one in which POLY FX is to be
used.
4. Adjust the desired parameter with [F1]–[F6] or
the F1–F6 knobs.
*
next parameter.
6. Press PAGE [ ].
fig.01-060d
sound you want.
For detailed information on all the parameters, refer to
“FX (Effects)” (p. 111).
*
Each press of PAGE [
next parameter.
] takes you to the settings screen for the
6. If you want to save the edited settings,
perform the Write procedure (p. 34).
If you do not need to save the settings, press [EXIT] to return to the
*
with the F1–F6 knobs.
Play screen.
desired sound.
For detailed information on all the parameters, refer to
“POLY FX (Poly Effect)” (p. 108).
9. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If not saving the values, press [EXIT] to return to the Play screen.
28
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Chapter 2 Creating Sounds
Rearranging the Effect and
Amp Connection Sequence
(CHAIN)
Specifying the tempo and
key of the song to be played
Here’s how to specify the tempo and key of a song you’ll be playing.
Set these when you want to specify a delay time or rate that suits a
song’s tempo (specifying it in terms of the note length) and when
using the HARMONY function.
You can freely set the order in which the effects and COSM amps are
connected.
1. Press [CHAIN].
Setting the Tempo
The Chain screen is displayed.
1. Press [NAME/KEY/BPM].
*
If the effects and COSM amps are off, OFF is indicated.
2. Press [F3] (BPM).
2. Select the channel for which you want to
change the connection sequence with
[F1] (A/B).
3. Press [F2] (
SEL) [F3] (SEL
) to select the
effect, COSM bass, or COSM amp to be shifted
in the sequence.
The output level for the selected effect is indicated in the
upper right of the screen.
3. Tap [F1] (TAP) in time with the song tempo
(quarter notes), or adjust the tempo with the
F1 knob.
4. Press [F4] (←MOVE) [F5] (MOVE→) to move to
the position in the sequence you want the
shifted item inserted.
*
If you want to control a patch parameter with the adjusted tempo, set
the corresponding effect parameter to BPM –BPM
.
5. To make any additional changes in the
number of quarter notes played in one minute.
connection sequence, repeat Steps 2–4.
*
off while setting the connection sequence. Pressing [F6] while the
effect, COSM bass, or COSM amp is selected switches the function’s
ON/OFF setting.
If you want to use the MIDI SYNC function, the SYNC
CLOCK parameter must be set to AUTO (USB), AUTO
(MIDI), or AUTO (RRC2). For detailed information, refer
to “Syncing to the MIDI Clock from an External
Device” (p. 58).
6. Press [EXIT] to return to the Play screen.
7. If you want to save the edited settings,
perform the Write procedure (p. 34).
To use Tap Input
Press [F5] (TAP) at least two times, at quarter note intervals of
the desired tempo. The tempo will be calculated
automatically, and set to the interval at which you pressed the
button.
4. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
29
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Chapter 2 Creating Sounds
Setting the Key
1. Press [NAME/KEY/BPM].
2. Press [F2] (KEY).
Mixing the Normal Pickup
Sound with the GK Input
It is possible to combine the sound of the COSM basses and the
normal bass pickups at the same time.
Setting the Volume Balance
1. Press [COSM BASS].
3. Set the song’s key with [F1] (SELECT) or the
F1 knob.
*
The COSM bass PITCH SHIFT, HARMO, and BEND settings and
the HARMONIST effect operate according to the key you set here.
2. Set the COSM BASS SW to ON with [F1] or
4. If you want to save the edited settings,
with the F1 knob.
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
The sounds from the normal pickup and COSM bass are
not played when COSM BASS SW is set to OFF.
3. Press PAGE [ ] several times to move to the
screen for setting the volume balance.
4. Use the F1 and F2 knobs to set the balance
between the COSM bass sound and the
normal pickup sound.
F1 Knob
Adjusts the COSM bass’s volume level. When POLY FX is set
to ON, it adjusts the volume level of the signal after it has
passed through POLY FX.
F2 Knob
This adjusts the volume of the normal pickup.
When the COSM bass is connected in CHAIN at a point other
than the beginning of the effects chain, you can adjust the
volume of the sounds that have passed though effects from
the beginning of the chain up to the point where the bass is
connected.
5. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
30
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Chapter 2 Creating Sounds
Setting the Connection Locations
for COSM Bass/Normal Pickup
Sound
Mixing Channels A and B
Together (MIXER)
For a detailed block diagram of the signal path, refer to
1. Press [CHAIN].
“Signal Flow” (p. 15).
Setting the Volume and Panning
for Each Channel
2. Use [F2] (
SEL) and [F3] (SEL
) to
1. Press [MIXER].
select the arrow that indicates the connection
location for the COSM bass or normal pickup
sound.
2. Press PAGE [ ] to display Page 1.
3. Use [F4] (
MOVE) and [F5] (MOVE
) to
move the connection location for the COSM
bass or normal pickup sound.
Make the settings for each channel on this page.
*
Page 2 and later pages contain the mixer section’s common settings.
3. Set the volume and panning with [F1]–[F6] or
with the F1–F6 knobs.
4. If you want to save the edited settings,
4. If you want to save the edited settings,
perform the Write procedure (p. 34).
perform the Write procedure (p. 34).
*
If you do not need to save the settings, press [EXIT] to return to the
*
If not saving the settings, press [EXIT] to return to the Play screen.
Play screen.
When mixing two channels, you can produce a more
realistic twin bass tone by setting a channel delay in one
of the channels, thus causing the two bass sounds to be
output at different times.
For detailed information on all the parameters, refer to
“MIXER” (p. 131).
31
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Chapter 2 Creating Sounds
Setting the Mix Balance
You can set the mix balance of Channel A and Channel B with the
BALANCE knob. Soon after the knob is turned, the balance value
pops up in the screen.
Using Playing Dynamics to
Control the Mix Between the
Two Channels (DYNAMIC)
You can control the mix between the two channels according to how
strongly the strings are picked.
1. Press [DYNAMIC].
2. Press PAGE [ ] to display Page 1.
*
You can also adjust this parameter in Page 2 of the Mixer screen.
3. Switch the Dynamic function on or off with
*
This knob is disabled when the Dynamic function is switched on.
[F1] (OFF/ON).
4. Select the Dynamic function type.
Setting the Delay and Reverb
(DELAY/REVERB)
5. Press PAGE [ ] to display Page 2.
This sets the mixer section’s delay and reverb.
1. Press [DELAY/REVERB].
2. Press PAGE [ ] to display Page 1.
7. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If not saving the values, press [EXIT] to return to the Play screen.
3. Switch the delay on or off with [F1] (OFF/ON);
For detailed information on all the parameters, refer to
switch the reverb on or off with [F4] (OFF/ON).
“DYNAMIC” (p. 134).
4. Set the parameters with [F1]–[F6] or with the
F1–F6 knobs.
*
Each press of PAGE [
next parameter.
] takes you to the settings screen for the
5. Adjust the parameters until you achieve the
6. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If not saving the values, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
“DELAY/REVERB” (p. 133).
32
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Chapter 2 Creating Sounds
Setting the Overall Patch
Setting the Output Signal and
Level (OUTPUT)
Volume Level (V-BASS LEVEL)
You can set the overall patch volume level with the V-BASS LEVEL
knob. Soon after the knob is turned, the V-Bass settings value pops
up in the screen.
This sets the signals and levels output for each of the VB-99’s output
jacks and connectors.
1. Press [MIXER].
2. Press PAGE [ ] to display Page 5.
*
You can also adjust this parameter in Page 2 of the Mixer screen.
fig.01-060d
3. Set the signal and level output to MAIN OUT
and SUB OUT with [F2]–[F5] or with the F2–F5
knobs.
For detailed information on the parameters that can be
Adjusting the Overall Patch Tone
(TOTAL EQ)
set, refer to “OUTPUT” (p. 132).
4. Press PAGE [ ] to display Page 6.
You can make separate settings in each individual patch for the
overall tone after sounds have passed through the mixer.
5. Set the signal and level output to DIGITAL OUT
with [F2], [F3] or with the F2, F3 knobs.
1. Press [MIXER].
6. If you want to save the edited settings,
2. Press PAGE [ ] [ ] to display Page 3 or 4.
perform the Write procedure (p. 34).
*
If not saving the settings, press [EXIT] to return to the Play screen.
You can also set the output signal and level for the
entire system.
3. Switch the EQ on or off with [F1] (ON/OFF) on
Page 3.
1. Press [SYSTEM].
4. Set the tonal quality with [F1]–[F6] or with the
2. Press PAGE [ ] [ ] to display Page 2.
5. If you want to save the edited settings,
3. Press [F1] (OUTPUT).
perform the Write procedure (p. 34).
*
If not saving the settings, press [EXIT] to return to the Play screen.
4. Set the OUTPUT MODE parameter to
SYSTEM with [F1] (SELECT) or the F1
knob.
For detailed information on all the parameters, refer to
The value in the MIXER screen is disregarded, and
“TOTAL EQ (Total Equalizer)” (p. 131).
instead the SYSTEM value < > is applied.
33
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Chapter 2 Creating Sounds
Naming a Patch (PATCH NAME)
Saving a Patch (WRITE)
The settings made to change a sound are temporary; when you
switch to a different patch, the settings revert to the values in effect
before the changes were made.
You can give names to the patches you create.
1. Press [NAME/KEY/BPM].
If you want to save the changes in the settings, carry out the Write
procedure.
To make a copy of an existing patch, you can simply
save it to a different patch number.
2. Press [F1] (NAME).
1. Press [WRITE].
The Write screen appears.
3. Press PAGE [ ] [ ] to move the cursor to
the position at which you want to change a
character.
2. Rotate the PATCH/VALUE dial to select the
save-destination patch number.
3. To save the patch, press [WRITE].
“NOW WRITING...” is displayed while the patch is being
saved, and then the Play screen returns to the display.
4. Select the character with the PATCH/VALUE
dial.
As you continue to rotate the PATCH/VALUE dial, the
character guide automatically switches from uppercase letters
to lowercase letters, numerals, and symbols.
You can use the following convenient operations by pressing
[F1]–[F6].
Function
Button
Description
*
If you do not want to save, press [EXIT] to return to the Play screen.
[F1] (INSERT)
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
Inserts a blank space at the cursor position.
Deletes the character and shifts the charac-
ters that follow to the left.
Inserts a blank space at the cursor position.
Switches between letters, numerals, and
symbols.
Switches between uppercase and lower-
case letters.
[F5] (A<=>a)
Sets the category for the current patch. Re-
fer to “Assigning a Patch to a Category”
(p. 85)
[F6] (CATGRY)
5. Repeat Steps 3 and 4 to complete the patch
name.
6. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If not saving the settings, press [EXIT] to return to the Play screen.
34
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*
The parameters described in this section are saved without the Write
procedure being performed.
Naming GK Settings (GK NAME)
You can give names to each of the GK settings.
Inputting the Divided Pickup
Settings
To ensure optimal conditions for producing sounds with the VB-99,
making the correct settings affecting the divided pickup (the GK
settings) is required.
1. Follow Steps 1–5 in “Selecting the Settings”
(p. 35) to select the GK SETTING.
2. Press PAGE [ ] to display Page 1.
After you have finished inputting the various settings, press [EXIT]
one or more times to return to the Play screen.
Selecting the Settings
The VB-99 can store ten separate sets of GK settings. If you are
playing more than one bass using the VB-99, you can store separate
settings for each one, allowing you to be ready in moments with the
necessary settings when the basses are switched.
3. Press [F6] (NAME).
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 1.
4. Set the name using PAGE [ ] [
], [F1]–[F5],
and the PATCH/VALUE dial.
Function Button
Explanation
[F1] (INSERT)
Insert a space at the cursor location.
Delete a character. The characters that
follow get shifted to the left.
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
3. Press [F3] (GK) to display the GK SETTING
Input a space at the cursor location.
screen.
Switch between uppercase letters and
lowercase letters.
4. Press PAGE [ ] to display Page 1.
Switch between uppercase letters, low-
ercase letters, numbers, and characters.
[F5] (A<=>a)
*
Press [EXIT] one or more times to return to the previous screen.
This specifies the setting to be stored as the GK setting.
*
*
Pressing [EXIT] at this point and returning to the Play screen
enables the selected GK setting.
When PATCH is selected for the SET MODE parameter, the GK
settings specified in each patch take priority. For detailed
information, refer to “Using Different Bass Settings in Each
Patch (SET MODE)” (p. 39).
35
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Chapter 3 Global Device Settings (SYSTEM)
Selecting the Divided Pickup Type
(GK PU TYPE)
Inputting the Bass’s Scale
(BASS SCALE)
Set the scale length (the distance from the bridge to the nut).
1. Follow Steps 1–5 in “Selecting the Settings”
(p. 35) to select the GK SETTING.
1. Follow Steps 1–5 in “Selecting the Settings”
(p. 35) to select the GK SETTING.
2. Press PAGE [ ] [ ] to display Page 2.
2. Press PAGE [ ] [ ] to display Page 2.
3. Use the F4 knob to set the scale length of the
bass you are using.
Settings
Explanation
710–940mm,
SHORT (760mm)
MEDIUM (812mm)
EXTRA LONG (914mm)
3. Use F1 (SELECT) or the F1 knob to select the
pickup type.
Specifies the scale of your bass.
Settings
GK-3B
Explanation
Specifies the GK-3.B
Specifies the GK-2B.
GK-2B
Selecting the Position of the
Divided Pickup (GK PU POS)
This is suited to piezo pickups that
have a flat response.
PIEZO
This is suited to piezo pickups made by
Graph Tech Guitar Labs.
PIEZO G
PIEZO R
1. Follow Steps 1–5 in “Selecting the Settings”
This is suited to piezo pickups made by
RMC Pickup Co.
(p. 35) to select the GK SETTING.
*
*
If you’re not sure which piezo type parameter is appropriate, choose the
parameter for the piezo type that sounds the most natural as you play.
Piezo pickups are a type of pickup that are installed at the bass’s
bridge and use piezo electric elements to determine the string
vibrations.
2. Press PAGE [ ] [ ] to display Page 2.
3. Use the F5 knob to select the position of
divided pickup installed in the bass you are
using.
Selecting PIEZO, PIEZO G or PIEZO R for GK PU
TYPE lets you further adjust the sound quality of
the low and high frequency ranges. Adjust them as
required.
For a 4-string bass:
4STR-1
4STR-2
4STR-3
string 1
string 2
string 3
string 4
4. Use the F2 (LOW) and F3 (HIGH) knobs to
adjust the sound quality of the low and high
frequency ranges.
Parameter/
Explanation
Range
For a 5-string bass:
5STR Lo1 5STR Lo2
5STR Hi1 5STR Hi2
PIEZO TONE LOW
string Hi C
string 1
string 2
string 3
string 4
string Hi C
-10–+10
Adjusts the low frequency range tone.
string 1
string 2
string 3
string 4
PIEZO TONE HIGH
-10–+10
Adjusts the high frequency range tone.
string Low B
For a 6-string bass:
6STR
string Hi C
string 1
string 2
string 3
string 4
string Low B
36
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Chapter 3 Global Device Settings (SYSTEM)
(GK PU PHASE)
Certain peculiarities in the sound may appear when the COSM bass
and normal pickup sounds are mixed. If this occurs, adjust this
parameter and switch the COSM bass’s phase.
Switch Arrangement (S1, S2 POS)
On some basses with the divided pickup built in, the positions of the
DOWN/S1 and UP/S2 switches are reversed. Set this so that the
functions match.
1. Follow Steps 1–5 in “Selecting the Settings”
(p. 35) to select the GK SETTING.
1. Follow Steps 1–5 in “Selecting the Settings”
(p. 35) to select the GK SETTING.
2. Press PAGE [ ] [ ] to display Page 3.
2. Press PAGE [ ] [ ] to display Page 3.
3. Use [F3] (SELECT) or the F3 knob to select the
arrangement.
3. Use [F1] (SELECT) or the F1 knob to select the
phase.
Settings
Explanation
NORMAL
The switches will not be reversed.
Settings
NORMAL
REVRSE
Explanation
Leave the phase unchanged.
Invert the phase.
The DOWN/S1 switch and UP/S2 switch will
be reversed.
REVRSE
(GK PU DIRECTION)
*
Make this setting if the divided pickup has been installed with the Hi
C string end and Low B string end reversed.
1. Follow Steps 1–5 in “Selecting the Settings”
(p. 35) to select the GK SETTING.
2. Press PAGE [ ] [ ] to display Page 3.
3. Use [F2] (SELECT) or the F2 knob to select the
pickup direction.
Settings
Explanation
The cable exits the pickup in the direction of the
bass’s bridge.
NORMAL
The cable exits the pickup in the direction of the
bass’s neck.
REVRSE
NORMAL
REVERSE
string Hi C
string 1
string 2
string 3
string 4
string Low B
37
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Chapter 3 Global Device Settings (SYSTEM)
Setting the Gap Between the
Pickup and the Bridge
Adjusting the Sensitivity for Each
Adjust the divided pickup sensitivity for each string.
Set the clearance from the divided pickup to the bridge’s saddle for
1. Follow Steps 1–5 in “Selecting the Settings”
each string.
(p. 35) to select the GK SETTING.
*
This setting is not required when the GK PU TYPE is set to piezo-
type parameter.
2. Press PAGE [ ] to display Page 5.
1. Follow Steps 1–5 in “Selecting the Settings”
(p. 35) to select the GK SETTING.
2. Press PAGE [ ] [ ] to display Page 4.
3. Rotate the F1–F6 knobs to adjust the
sensitivity.
Play each open string with the maximum force you’d use in an
actual performance, and set the sensitivity such that the meter
registers a level just before reaching the maximum level.
3. Rotate the F1–F6 knobs to set the clearance
*
If the large segments at the right end of the level meter appear, it
means the level is set too high. Lower the sensitivity setting.
Pressing [F1]–[F6] initializes each string’s value to 65.
Depending on the bass you use, the level meter may move to the
maximum level even when the sensitivity is set to the minimum
setting. If this occurs, adjust the clearance separating the divided
pickup and the strings so the distance is slightly greater than
specified.
for strings Hi C–Low B.
*
*
Settings
Explanation
Specify the distance between the divid-
ed pickup and the center of each bridge
saddle.
0.0–50.0 mm
The setting is disregarded when the GK
PU TYPE is set to piezo type parameter.
4. Play the Low B through Hi C strings with the
normal amount of force; if any string sounds
particularly loud, lower the sensitivity setting
for that string, and keep adjusting until the
differences in the strings’ volume levels are
minimal.
string Hi C
string 1
string 2
string 3
string 4
string Low B
Settings
Explanation
Adjusts the divided pickup input sen-
sitivity for each string.
0–100
String
Pickup
Bridge
38
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Chapter 3 Global Device Settings (SYSTEM)
The VB-99 comes equipped with a function that automatically
detects whether or not a GK connection exists and switches the
internal settings accordingly. This makes it possible for you to use all
functions other than a COSM bass (COSM amp, effects, tuner, etc.)
when you’ve connected only to the BASS INPUT.
S1, UP/S2 Switches (GK FUNC)
This sets the function for the GK-3B’s GK Volume and DOWN/S1,
UP/S2 switches.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 35) to display the GK SETTING screen.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 35) to display the GK SETTING screen.
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] to display Page 1.
3. Press [F2] (GK FUNC).
3. Use [F1] (SELECT) or the F1 knob to select the
4. Set the parameter you want to assign with [F1]
setting.
(SELECT), [F6] (SELECT) or the F1, F6 knob.
Settings
Explanation
The presence of a GK connection is detected au-
tomatically and the internal settings are
switched accordingly.
For detailed information on the parameters that can be
assigned, refer to “GK VOL (GK Volume)” (p. 145) and
“GK S1, S2 (GK S1, S2 Switch)” (p. 145).
AUTO
Settings appropriate for a GK connection are al-
ways used.
ON
*
*
When assigning functions to each patch for GK Volume, DOWN/S1
and UP/S2, set Control Assign to ASSIGNABLE (PATCH). With
other settings, the assignment settings in the patches are disregarded.
This is the same setting as that set with GK VOL or GK S1, S2 in
[SYSTEM] (CTL).
Settings appropriate for a BASS INPUT connec-
tion are always used.
OFF
*
You should ordinarily use AUTO (the default setting). In cases
where the auto-detect function does not operate correctly, (for
example, when you are using a divided pickup other than the GK-
3B), pickup, use [F1] or the F1 dial to change the setting.
Each Patch (SET MODE)
This setting determines whether the VB-99 uses a single global GK
setting or if the GK settings can be specified individually for each
patch.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 35) to display the GK SETTING screen.
2. Press PAGE [ ] to display Page 1.
3. Use [F3] (SELECT) or the F3 knob to select the
setting.
Settings
Explanation
The GK SETTING set here is used globally for
the entire VB-99.
SYSTEM
This is the default factory setting.
The GK Settings can be specified individually
for each patch.
Use this setting when switching among multi-
ple basses as you perform.
PATCH
39
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Chapter 3 Global Device Settings (SYSTEM)
Naming the Settings
You can assign up to ten user names, each containing up to eight
characters. For example, you could create names that suggest the
gear used in a certain setting or a place where you perform.
Adjusting the Overall Tone
According to the Environment
(GLOBAL/OUTPUT SELECT)
The VB-99 includes a function for adjusting the overall tone produced
by the device. This is referred to as the Global function. You can use the
Global function to adjust the overall sound of the VB-99 to suit the
equipment being used or environment you are in without altering the
individual patches.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 40) to select the SETTING.
2. Press [F3] (NAME).
Selecting the Settings
The VB-99 can store ten separate Global function settings (1–10).
After you have finished inputting the various settings, press [EXIT]
one or more times to return to the Play screen.
3. Set the name using PAGE [ ] [
] and [F1]–
[F5].
1. Press [GLOBAL].
Function Button
[F1] (INSERT)
Explanation
Insert a space at the cursor location.
2. Press PAGE [ ] to display Page 1.
The Global screen appears.
Delete a character. The characters that
follow get shifted to the left.
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
Input a space at the cursor location.
Switch between uppercase letters and
lowercase letters.
Switch between uppercase letters, low-
ercase letters, numbers, and characters.
[F5] (A<=>a)
3. Select any setting 1–10 with [F1] (SELECT) or
the F1 knob.
Devices (OUTPUT SELECT)
You can match the VB-99’s output response to that of the connected
device. Making this setting helps keep differences in sound qualities
respective to the connected device to a minimum.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 40) to select the SETTING.
2. Use [F4] (OUTPUT SELECT) or the F4 knob to
set the type of device to be connected to the
MAIN OUT jacks.
Value
Explanation
AMP WITH
TWEETER
Use this setting when connecting to a
tweeter-equipped bass amp.
Use this setting when connecting to a
AMP NO TWEETER bass amp that has no tweeter. The high-
frequency range is adjusted.
Use this setting when using head-
LINE/PHONES
phones or connecting directly to a PA
system or multi-track recorder.
40
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Chapter 3 Global Device Settings (SYSTEM)
settings in the individual patches. This is an effective tool when
basses are changed during performances and for making
adjustments in response to noise levels at the performance venue.
This is an overall setting and does not alter the individual patch
settings.
Both MAIN OUT and SUB OUT feature four-band EQs.
EQ (MAIN) is applied to the output from MAIN OUT;
EQ (SUB) is applied to the output from SUB OUT.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 40) to select the SETTING.
1. Follow Steps 1–3 in “Selecting the Settings”
2. Press PAGE [ ] [
] to display Page 2–5.
(p. 40) to select the SETTING.
2. Press PAGE [
] to display Page 6.
3. Use [F1] – [F6] or the F1 – F6 knobs to adjust
the tone.
3. Adjust the level with the F1 knob.
Parameter/
Explanation
Range
This adjusts the noise suppressor threshold levels set in each
patch.
MAIN EQ (Main Equalizer),
SUB EQ (Sub Equalizer)
-20 dB – +20 dB
*
*
This adjustment has no effect on patches in which the noise
suppressor is off.
A four-band equalizer with high and low ranges is provided.
MAIN EQ SW (Main Equalizer Switch),
SUB EQ SW (Sub Equalizer Switch)
To use the levels set in the individual patches, set this to 0 dB.
OFF, ON
Turns the EQ effect on/off.
TOTAL GAIN
-12–+12dB
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
LOW GAIN
-12–+12dB
HIGH GAIN
-12–+12dB
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz Specifies the center of the frequency range that will
be adjusted by the LOW MID GAIN.
LOW MID Q (Low Middle Q)
0.5–16
Adjusts the width of the area affected by the EQ
centered at the LOW MID FREQ.
Higher values will narrow the area.
LOW MID GAIN (Low Middle Gain)
-12–+12dB
Adjusts the low-middle frequency range tone.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz Specifies the center of the frequency range that will be
adjusted by the HIGH MID GAIN.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the EQ
centered at the HIGH MID FREQ.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
Adjusts the high-middle frequency range tone.
41
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Chapter 3 Global Device Settings (SYSTEM)
This controls the overall reverb level settings in the individual
patches. This is effective for adjusting to the acoustics of the
performance venue. This setting does not affect the individual patch
settings.
Control and Switch and the
Pedal Function (SYSTEM
CONTROL ASSIGN)
1. Press [SYSTEM].
1. Follow Steps 1–3 in “Selecting the Settings”
2. Press PAGE [ ] to display Page 1.
(p. 40) to select the SETTING.
2. Press PAGE [
] to display Page 6.
3. Press [F4] (CTL).
4. Press PAGE [ ] to display Page 1.
3. Adjust the level with the F2 knob.
This adjusts the reverb level set in each patch.
0–200%
*
This adjustment has no effect on patches in which reverb is switched
off.
*
To use the levels set in the individual patches, set this to 100%.
5. Select any setting from GK VOL to FC-300
CTL8 with [F2] (SEL) or [F3] (SEL) or the F2 or
F3 knobs, then use [F5] (SELECT) or the F5
Setting the Sounds Output from
SUB OUT (SUB OUT LEVEL)
This setting selects which signals are output from the SUB OUT
jacks.
If you want to be able to assign the functions for the
controllers on an individual patch basis, set Control
Assign to ASSIGNABLE (PATCH). With Control Assign
set to ASSIGNABLE (PATCH), the unit operates in
accordance with the assignments set in each patch, as
described in “Using the Switches, Pedals, and MIDI to
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 40) to select the SETTING.
2. Press PAGE [
] to display Page 6.
*
With other settings, the assignment settings in the patches are
disregarded.
For information on assigned controllers, refer to
“Controller” (p. 146) ; for more on assignable
parameters, refer to “Parameters That Can Be
Assigned to Controllers” (p. 147).
3. Adjust the setting with the F3 knob.
This adjusts the sub output level set in each patch.
0–200%
*
To use the levels set in the individual patches, set this to 100%.
42
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Chapter 3 Global Device Settings (SYSTEM)
Having Values from an
Making System-wide
External Pedal, GK VOLUME
Control, or Other Controller
Carried Over When Patches
are Called Up (ASSIGN HOLD)
Settings for the Features
Controlled by the Function
Knobs (SYSTEM DIRECT EDIT)
1. Press [SYSTEM].
This setting determines whether or not the current settings for each
controller (the expression pedals, the FC-300’s expression pedals,
control pedals or other controllers) are applied to the patch when
patches are switched.
2. Press PAGE [ ] to display Page 1.
*
Assign Hold is not performed when the SW MODE parameter in
Control Assign Source is set to LATCH. (LATCH toggles between
the minimum and maximum value each time the switch is pressed.)
1. Press [SYSTEM].
3. Press [F4] (CTL).
2. Press PAGE [ ] to display Page 1.
4. Press PAGE [ ] [
] to display Page 2.
The Control screen appears.
3. Press [F4] (CTL).
4. Press PAGE [
] to display Page 2.
The Control screen appears.
If you want to be able to assign the functions for the
knobs on an individual patch basis, set DIRECT EDIT to
PATCH. With DIRECT EDIT set to PATCH, the unit
operates in accordance with the assignments set in each
patch, as described in “Changing the Sounds with the
Function Knobs as You Play (DIRECT EDIT)” (p. 76).
5. Select ON or OFF for the Assign Hold function
with [F1] (OFF/ON) or the F1 knob.
6. Press Page [ ] to go to the page for the knob
you want to set.
Settings
Explanation
Current values of controllers are applied when
patches are called up.
ON
7. Use the [F1]–[F6] or F1–F6 knobs to select the
parameters you want to assign to the knob.
Stored values (at the time of Patch Write) of
controllers are used when patches are called
up. (Current controller values ignored.)
OFF
You can quickly locate and select the desired parameter
by first narrowing down the parameter type with F1
(F4), then using F2 (F5) and then F3 (F6) to reach the
right parameter.
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Chapter 3 Global Device Settings (SYSTEM)
Limiting the Patches That
Can Be Switched (PATCH
EXTENT)
Adjusting the Screen’s
Contrast
The text and icons in the LCD screen may be difficult to make out
sometimes, such as immediately after the VB-99 is turned on or after
extended use. The conditions at the place where you are using the
VB-99 can also affect visibility. Should you run into this problem, try
adjusting the contrast.
Setting upper and lower limits for the patches that can be switched
allows you to select only the patches you need.
1. Press [SYSTEM].
1. Press [SYSTEM].
2. Press PAGE [
] to display Page 3.
2. Press PAGE [ ] to display Page 1.
3. Press [F1] (MISC).
3. Press [F1] (LCD).
4. Press [F3] (FROM).
4. Turn the F1 knob to adjust the contrast.
5. Set the lower limit of the patch selection with
the PATCH/VALUE dial and [F3] (FROM) or the
F3 knob.
6. Press [F4] (TO).
7. Set the upper limit of the patch selection with
the PATCH/VALUE dial and [F4] (TO) or the F4
knob.
*
These settings are enabled in the following situations.
•
•
When the PATCH/VALUE dial is turned
When patches are switched with the control switches or
other controls
•
When SYSTEM CONTROL ASSIGN (p. 42) is used to
assign PATCH SELECT INC or PATCH SELECT DEC to
the FC-300’s control switches or expression pedal
switches
These settings have no effect on other FC-300 operations
or operations using an external MIDI device.
44
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Chapter 3 Global Device Settings (SYSTEM)
Setting the Output Signal
and Level (SYSTEM OUTPUT)
This sets the signals and levels output for each of the VB-99’s output
jacks and connectors (MAIN OUT, SUB OUT, and DIGITAL OUT).
1. Press [SYSTEM].
2. Press PAGE [ ] [
] to display Page 2.
3. Press [F1] (OUTPUT).
4. Set the OUTPUT MODE parameter to SYSTEM
with [F1] (SELECT) or with the F1 knob.
*
If set to PATCH, the values set under“Setting the Output Signal
and Level (OUTPUT)” (p. 33) are enabled. The value in the
MIXER screen is disregarded, and instead the value < > is applied.
5. Set the signal and level output to each output
with PAGE [ ] [ ] or with the F1–F6 knobs.
For detailed information on the parameters that can be
set, refer to “OUTPUT” (p. 151).
45
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Chapter 4 Using the VB-99 in
Combination with an FC-300
With an FC-300 (optional) connected to the VB-99, you can perform
the following operations:
Settings Related to the FC-
300
If connecting the VB-99 with an FC-300 using an RRC2 cable, make
the settings below as needed.
•
•
•
•
Switch patches
Have patch names be shown in the FC-300’s display
Control tones with the FC-300’s pedals (Control Assign)
Show the VB-99’s tuner in the FC-300’s display when the
TUNER function is used
•
Switch the FC-300’s Amp Control on and off
Settings for Control of the FC-
300
Connecting with the RRC2
IN Connector
Connect the VB-99 and FC-300 using the RRC2 cable included with
the unit.
This sets the method for controlling the FC-300.
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 1.
What is RRC2?
RRC2 is a Roland protocol that provides for the supply of
power and two-way data communications over a single cable.
Devices can also be connected using a commercially available
ethernet cable instead of the included RRC2 cable.
3. Press [F5] (FC-300).
•
•
Be sure to connect the RRC2 OUT connector to a device with an
RRC2 IN connector. Use of the connection with LAN or other
devices may cause generation of heat and damage to the
equipment.
Carefully connect the RRC2 cable the way in—until it is firmly
to the RRC2 IN connector.
•
•
Do not subject the RRC2 cable to stress or physical shock.
If using commercially available ethernet cable as the RRC2
connecting cable, be sure that the cable meets the following
specifications:
4. Set the SYS EX MODE with [F1] (OFF/ON) or
with the F1 knob.
•
•
•
Category 5 (Cat5) or above
Maximum length of 15 meters
Cable designed for straight-through connection.
Available
Settings
Description
*
Ethernet cables designed for crossover connections cannot be used.
When connected to the VB-99, the FC-300 automat-
ically changes to Exclusive mode and functions in
accordance with the settings made with the VB-99.
This is the setting normally selected. You can con-
trol the FC-300 even without matching the VB-99’s
and FC-300’s Device IDs.
ON
Connecting an FC-300 automatically switches the
FC-300 to Exclusive mode. Normally, you should
select this setting.
Select OFF when using the FC-300 in a mode other
than System Exclusive mode.
OFF
The mode does not switch automatically.
*
The FC-300 will not respond unless you return to the Play screen.
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Chapter 4 Using the VB-99 in Combination with an FC-300
Activating the VB-99’s
Tuner from the FC-300
(QUICK TUNER)
Setting the Operation When
Patches Are Switched
This sets the timing at which patches are switched when you press
[
] [
] pedals on the FC-300.
You can use the FC-300’s number pedals to switch the Tuner
function on and off.
1. Press [SYSTEM].
*
*
The Quick Tuner function is enabled only in the Play screen.
The Quick Tuner function is enabled only when the FC-300’s
MODE is set to SYS EX.
2. Press PAGE [ ] to display Page 1.
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 1.
3. Press [F5] (FC-300).
3. Press [F5] (FC-300).
4. Set QUICK TUNER with [F3] (SELECT) or with
the F3 knob.
Available Settings Description
OFF
The QUICK TUNER function is not opera-
tional.
ON
The QUICK TUNER function is operational.
The TUNER function is alternately switched
on and off each time the currently selected
number pedal is pressed.
4. Set BANK CHANGE with [F2] (SELECT) or with
the F2 knob.
Available
Settings
Description
The patch changes immediately when the FC-300’s
IMMEDIATE
[
] [
] pedals are pressed.
Even after the FC-300’s [
pressed, the patch does not change until the NUM-
BER is set.
] [
] pedals are
WAIT NUM
*
The FC-300 will not respond unless you return to the Play screen.
47
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Chapter 4 Using the VB-99 in Combination with an FC-300
Setting the FC-300 Amp
Control
This switches the FC-300’s AMP CTL 1 and AMP CTL 2 parameters
on and off.
When the bass amp’s channel switch jack is connected to the FC-
300’s AMP CONTROL 1 jack (or AMP CONTROL 2 jack), you can
then switch the bass amp channels with the VB-99’s AMP CTL1 (or
AMP CTL2) parameter.
1. Use the PATCH/VALUE dial to select the patch
you want to set.
2. Press [NAME/KEY/BPM].
3. Press [F4] (AMP CTL).
4. Use [F1] and [F2] or the F1 and F2 knobs to set
AMP CTL1 and AMP CTL2 to ON or OFF.
Available Settings Description
The FC-300’s AMP CTL1 and AMP CTL2
parameters are set to OFF.
OFF
The FC-300’s AMP CTL1 and AMP CTL2
parameters are set to ON.
ON
With Amp Control, not only can you switch amp
channels, you can also use it to switch the amp’s effects
on and off, like a foot switch controller.
48
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Chapter 5 Using MIDI
Outputting Performance Data
The bass’s performance data can be output as Note messages and
Bend messages, allowing you to perform through synthesizer sound
modules and other devices connected to the VB-99. For more
detailed information, refer to “Playing an External Synthesizer
Sound Module (BASS TO MIDI)” (p. 58).
About MIDI
MIDI, an abbreviation for Musical Instrument Digital Interface, is a
universal standard that enables musical instruments to exchange
musical performance data, messages concerning changes in the
sounds, and other information. Any device that conforms to the
MIDI specifications can communicate (to the extent that is relevant
to both devices) with any other MIDI device, even those that were
made by a different manufacturer or that belong to a different
category of instrument.
Transmitting Data
You can use Exclusive messages to transmit settings for effect
sounds and other data stored in the VB-99 to other MIDI devices.
This allows you to give another VB-99 the identical settings and to
Under the MIDI specifications, performance data produced by such
actions as playing a keyboard or pressing a pedal is handled as MIDI
messages.
Controlling the VB-99 from an
External MIDI Device
What You Can Do Using MIDI
Using MIDI, you can carry out the following operations with the VB-
99.
The VB-99’s patches switch immediately in response to Program
Change messages received from external MIDI devices.
If using the VB-99 with an FC-300 connected, also refer to“Chapter 4
Using the VB-99 in Combination with an FC-300” (p. 46).
*
Use of MIDI requires that the MIDI channels of connected devices
be matched.
You can set the correspondence between MIDI Program
Change messages and the VB-99’s patches with the “RX
PC MAP (RECEIVE PROGRAM CHANGE MAP)” (p.
55). Set this to ensure correspondence of the VB-99’s
effect sounds with those of other MIDI devices.
Data cannot be transmitted to or received from other MIDI devices
unless the MIDI channels are set correctly.
Operating from the VB-99
The connections shown in the diagram below are used when playing
your bass backed by an automatic sequencer performance. The VB-
99’s patches change automatically when a Program number is
entered with the performance data at the point where you want the
VB-99’s patches to change.
Outputting Program Change Messages
When a patch is selected with the VB-99, the VB-99 simultaneously
transmits a Program Change message corresponding to the selected
number. The external MIDI device switches its settings in response
to the received Program Change message.
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
Outputting Control Change Messages
Data describing the action of an external device (expression pedal or
footswitch) connected to the VB-99 is output as Control Change
messages. These messages can be used for such tasks as adjusting
external MIDI devices’ parameters.
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Chapter 5 Using MIDI
Receiving Control Change Messages
Main Types of MIDI Messages
Handled by the VB-99
In order to be able to convey the full range of expression that is
possible during performance, MIDI provides for different types of
MIDI messages. MIDI messages can be categorized broadly into two
groups; messages handled on an individual MIDI channel basis
(Channel messages), and those handled independently of MIDI
channels (System messages).
The VB-99 can receive Control Change messages to
control specified parameters while a performance is in
progress. Set the parameters to be controlled with
“Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)” (p. 77).
Receiving Data
The VB-99 can receive data transmitted from other VB-99’s and data
saved to MIDI sequencers.
Channel Messages
These are messages used for conveying the events that take place
during performance. Normally, you can control most performances
using only these messages. The action controlled with each MIDI
message is determined by the receiving device’s settings.
Program Change Messages
These message are generally used for switching sounds; sounds are
switched with Program Change numbers 1–128. Furthermore, with
the VB-99, you can also use Control Change Bank Select messages
together with the Program Change messages, allowing you to switch
400 different patch numbers.
Control Change Messages
Control Change messages are used for enhancing performance
expression. Functions are distinguished from one another with
Control numbers; the particular functions that can be controlled
varies with the MIDI device. With the VB-99, you can control
specified parameters.
Note On Messages
These messages convey to the device the pitches and volumes at
which sounds are played.
Note Off Messages
These messages instruct the device to stop sounds currently being
played.
Bend Messages
These messages are sent to produce continuous changes in the pitch.
System Messages
System messages include Exclusive messages, messages required for
synchronized performances, and messages designed to prevent
problems with operation.
Exclusive Messages
Exclusive messages are used for handling sounds unique to a
particular device and other such messages. Basically, you can
exchange messages between devices of the same type from the same
manufacturer. Using Exclusive messages, you can store parameter
settings to sequencers and transmit parameter settings to other VB-
99s.
To exchange Exclusive messages, the Device ID numbers for each of
the instruments must match.
50
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Chapter 5 Using MIDI
About the MIDI Implementation
Exchanging MIDI Messages
While the use of MIDI allows various devices to communicate with
each other, this does not mean that it enables exchanges of all
information. The data that can be exchanged between any two
connected devices is limited to the messages common to both
devices.
This section provides a simple description of how MIDI messages
are exchanged.
About MIDI Connectors
MIDI messages are exchanged via the connectors described below.
Connect MIDI cables to these connectors according to the use.
Therefore, MIDI device owner’s manuals always contain a MIDI
Implementation chart, which allows the user to determine quickly
what MIDI messages the particular device supports. Comparing the
MIDI Implementation charts for each device allows you to confirm
what information can be exchanged and how to accomplish this.
Since these charts are uniform in size, you can overlay the charts for
the transmitting and receiving devices when checking the
information.
Fold here
MIDI Device A
MIDI Device B
Function
Transmit
Recognized
Remarks
MIDI
Description
Connector
Messages from other MIDI devices are received
here.
MIDI IN
MIDI OUT
Messages from the VB-99 are transmitted here.
About MIDI Channels
MIDI allows various different messages to be sent separately to
multiple MIDI devices over a single MIDI cable. This is possible
thanks to the concept of MIDI channels.
A separate publication titled “MIDI Implementation” is also
available. It provides complete details concerning the way MIDI
has been implemented on this unit. If you should require this
publication (such as when you intend to carry out byte-level
programming), please access the Roland web site.
http://www.roland.com/
MIDI channels use an approach similar to that of television channels.
Switching channels on the TV allows the viewer to watch programs
from a variety of broadcasters. This is because information is
transferred over the channel to which both the transmitter and
receiver are tuned.
TV information from many different broadcasting
station is sent through an antenna.
Broadcasting
Station A
Broadcasting
Station B
Broadcasting
Station C
Select the channel of the broadcasting
station you wish to watch.
MIDI includes channels numbered 1–16; MIDI messages are
transmitted to (receiving) instruments set to the same channel as the
transmitting device’s.
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Chapter 5 Using MIDI
Bank Select and Program Change
Setting the MIDI-Related
Functions
Bank Select and Program Change are MIDI messages generally used
for switching patches.
This section describes the VB-99’s MIDI-related functions. Set these
according to how they are to be used.
Normally, patches are switched using Program Change messages.
However, if Program Changes alone are used, you’ll only be able to
select up to a maximum of 128 different patches. Because of this,
some devices also employ the Bank Select, expanding the number of
selectable patches.
1. Press [SYSTEM].
The System screen appears.
Patches for these devices are assigned numbers combining Bank
Select MSB, LSB numbers 0–127 and Program numbers 1–128.
2. Press PAGE [ ] to display Page 1.
*
The VB-99 disregards the Bank Select LSB.
3. Press [F6] (MIDI).
The MIDI settings screen appears.
used with MIDI.
MIDI Channel
messages corresponding to the VB-99’s patches and operations.
Also refer to “Playing an External Synthesizer Sound Module
(BASS TO MIDI)” (p. 58) if you are using the BASS TO MIDI
function, and refer to “Controlling Video Images with Your Bass
(V-LINK)” (p. 90) if you are using the V-LINK function.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
2. Press PAGE [ ] to display Page 1.
3. Rotate the F1 knob to set the MIDI channel (1–
16).
Be sure not to set the same MIDI channel as the channel
used for the BASS TO MIDI or V-LINK functions.
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MIDI Omni Mode
SYNC CLOCK
When set to MIDI Omni mode, the VB-99 receives messages on all
MIDI channels, regardless of the MIDI channel settings. You can use
Omni mode whenever you do not need to use specific MIDI
channels in controlling the VB-99.
You can synchronize the VB-99 to the MIDI Clock (tempo)
transmitted from a MIDI sequencer or other external MIDI device.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
3. Use [F6] (SELECT) or the F6 knob to select the
2. Press PAGE [ ] to display Page 1.
MIDI Clock to use as the tempo reference.
For detailed information on the parameters that can be
set, refer to “Syncing to the MIDI Clock from an
External Device” (p. 58).
3. Set Omni mode on or off with [F2] or the F2
MIDI ROUTING
knob.
Set the VB-99’s control signal path.
The VB-99 features three types of connectors for data input and
than the FC-300, you need to consider the routing of the control
signals.
Even with Omni mode set to ON, the only Exclusive
messages received will be those carrying the Device ID
set for Device ID.
Check the display as you set the necessary connections.
You can make the settings for MIDI IN and OUT on Page 2, for the
Omni mode is set to ON at the factory.
1. Follow Steps 1–3 in “Setting the MIDI-Related
This sets the Device ID to be used for the transmission and reception
of Exclusive messages.
Functions” (p. 52) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Pages 2–4.
Device ID is set to 1 at the factory.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
2. Press PAGE [ ] to display Page 1.
3. Rotate the F3 knob to set the Device ID (1–32).
3. Set the connections with [F1]–[F3] or the F1–
F3 knobs.
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Chapter 5 Using MIDI
MIDI PC OUT
This setting determines whether or not Program Change messages
are output when the VB-99’s patches are switched.
This setting determines the sequence of Program Change messages
output when the VB-99’s patches are changed.
You can select whether to output Program Change messages set for
the patches in advance or the Program Change messages
programmed in each patch.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Page 5.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Page 5.
3. Set PC OUT ON/OFF with [F1] or the F1 knob.
When outputting Program Change messages, the VB-99
simultaneously outputs MIDI Bank Select messages.
3. Use [F2] or the F2 knob to set whether or not
the Transmit Program channel is used.
Available
Settings
Description
Regardless of the patch settings, Program Change
messages predetermined for each patch number are
output.
FIX
The Program Change messages programmed in
each patch are output.
PROG
The table below shows the correspondence between the patches and
Program Change messages when TX PC MAP is set to FIX.
Patch
Number
Bank Select Program
Number
001
:
0
:
1
:
100
101
:
0
1
:
100
1
:
200
201
:
1
2
:
100
1
:
400
3
100
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Chapter 5 Using MIDI
Setting the TX PC MAP
To set Program Change messages to be transmitted with individual
patches, make the settings described below.
CHANGE MAP)
You can select whether to use a fixed or freely set correspondence
between program numbers received and the patches switched to
when the VB-99’s patches are switched by Program Change
messages transmitted by an external MIDI device.
Patch parameters are settings made individually for each
patch. The Write procedure (p. 34) is required to save changes
in the settings.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
1. Select the patch to which you want to assign
the predetermined Program Change message
to be transmitted.
2. Press PAGE [ ] [ ] to display Page 5.
2. Press [NAME/KEY/BPM].
3. Press [F5] (TX PC).
3. Use [F3] or the F3 knob to set whether or not
the Receive Program Change Map is used.
Available
Settings
Description
4. Use [F1] – [F3] or F1 – F3 knob to set the
Program Change Number and the Bank Select.
The VB-99 switches to the patches predetermined
for the corresponding received Program Change
messages, regardless of the Receive Program
Change Map settings.
FIX
5. If you want to save the edited settings,
perform the Write procedure (p. 34).
If not saving the settings, press [EXIT] to return to the Play screen.
The VB-99 switches to the patches set in the Receive
Program Change Map.
PROG
*
4. To change the patch assigned to a received
Program Number, press [LEFT] [RIGHT] to
display Page 6.
The RX PC MAP screen appears.
5. Assign the patch to a received Program
Number.
[F1] (BANK)/F1 Knob
•
Selects the Bank number.
•
•
[F2] (SEL ) or [F3] (SEL )/F2 or F3 Knob
Selects the Program number.
[F5] (SELECT)/F5 Knob
Selects the patch.
When the combination of the Bank number and Program
number selected with F1, F2, and F3 is received, the VB-99
switches to the patch selected with F5.
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Chapter 5 Using MIDI
The table below shows the correspondence between the factory
default Program change Map and the Program Change messages
received when RX PC MAP is set to FIX.
Bulk Dump
With the VB-99, you can use Exclusive messages to set another VB-99
to the same settings or to save effect sound settings to MIDI
sequencers and other such devices.
This transmission of data is referred to as bulk dump.
Data that can be transmitted is described below.
Bank Select Program
Number
Patch
Number
0
:
1
001
:
:
Displayed
Data Transmitted
0
1
:
128
128
:
All transmittable data (SYSTEM, GK SETTING,
GLOBAL, PATCH 001–200, FAVORITE SET-
TING)
1
ALL
:
2
3
:
128
1
328
301
:
SYSTEM
SYSTEM parameters.
GK SETTING
GLOBAL
PATCH
Settings content for GK SETTING
GLOBAL function settings
Settings for patch numbers 001–200
:
3
100
400
FAVORITE
SETTING
Settings content in FAVORITE SETTINGS 01–
10 for all effects
*
When setting “OMNI MODE” (p. 149) to OFF, be sure to match
“MIDI CH (MIDI Channel)” (p. 149) to the external MIDI device’s
transmit channel beforehand.
When Saving Data to a MIDI Sequencer
Connect the devices as shown below, then place the MIDI sequencer
in standby mode, so it is ready to receive Exclusive messages.
Change Number
This sets the Control Change numbers output when the VB-99’s
pedals and external pedals or the FC-300’s pedals and external
pedals are operated.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Page 7.
MIDI IN
The TX CC screen appears.
MIDI OUT
3. Use [F2] (SEL ) or [F3] (SEL ), the F2 or F3
knobs to select the controller you want to set.
4. Use [F5] or the F5 knob to assign the Control
Change number to be transmitted when the
controller is adjusted.
For information on how to operate the sequencer you are
using, refer to the owner’s manual that came with it.
When the controller selected with F2 or F3 is operated, the
Control Change message selected with F5 is transmitted.
*
Control Changes message cannot be output if OFF is selected.
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Chapter 5 Using MIDI
When Transmitting Data to Another VB-99
Connect the devices as shown below, then match the Device IDs for
the transmitting and receiving devices.
Bulk Load
Reception of VB-99 data saved to MIDI sequencers and other devices
is referred to as bulk load.
When Receiving Data Saved to a MIDI
Sequencer
1. Connect the devices as shown below. Set the
VB-99’s Device ID to the same one used when
the data was transmitted to the MIDI
sequencer.
MIDI OUT
MIDI IN
MIDI OUT
MIDI IN
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Page 8.
2. Transmit the bulk data from the MIDI
sequencer.
The message “SYSTEM EXCLUSIVE MESSAGE
RECEIVING...” is displayed while the data is being received.
Once the reception is complete, you’re returned to the screen
you were in prior to reception.
3. Use [F2] (SEL) or [F3] (SEL) to select the data
In this state, the VB-99 can then receive further data.
you want to transmit.
4. Press [F1] (CHECK).
If the message “MIDI BUFFER FULL” appears, check the
connections and reduce the tempo of the transmitting
MIDI device.
Only the types of data with a check mark are transmitted.
When selecting PATCH FROM/TO, you can use the
PATCH/VALUE dial to specify the range of patch
numbers to be transmitted
5. Repeat Steps 2 and 3 as needed.
6. Press [F6] (DUMP).
Transmission begins. Once the transmission is complete,
you’re returned to the screen you were in prior to
transmission.
You can cancel the procedure in progress by pressing
[EXIT].
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Chapter 5 Using MIDI
Syncing to the MIDI Clock
from an External Device
Playing an External
Synthesizer Sound Module
(BASS TO MIDI)
The VB-99 can convert performance data to MIDI Note and Bend
messages and output these messages. Using this function allows you
to record performances to sequencers and play sounds through
external sequencer sound modules.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 52) to display the MIDI screen.
2. Press PAGE [ ] to display Page 1.
The BASS TO MIDI function features system parameters, whose
settings affect the overall functionality of the device, and patch
parameters, which are set on an individual patch basis.
About MIDI messages Output with
3. Use [F6] (SELECT) or the F6 knob to select the
synchronizing signal.
Bass to MIDI
The following MIDI messages are output with Bass to MIDI.
This specifies the setting to be stored as the SYNC CLOCK
setting.
Program Change Messages
These messages convey information about a patch change.
•
•
INTERNAL
The VB-99 operates independently.
AUTO (USB)
Control Change Messages
The VB-99 is synchronized to the MIDI Clock received via
USB. However, operations are automatically synchronized to
the VB-99’s internal Clock if the VB-99 is unable to receive the
external Clock.
These messages describe any changes made using the panel
knobs or by operating pedals.
Note On Messages
These messages convey to the device the pitches and volumes at
which sounds are played.
•
•
AUTO (MIDI)
The VB-99 is synchronized to the MIDI Clock received via
MIDI. However, operations are automatically synchronized to
the VB-99’s internal Clock if the VB-99 is unable to receive the
external Clock.
Note Off Messages
These messages instruct the device to stop sounds currently
being played.
AUTO (RRC2)
The VB-99 is synchronized to the MIDI Clock received via
RRC2. However, operations are automatically synchronized to
the VB-99’s internal Clock if the VB-99 is unable to receive the
external Clock.
Bend Messages
These messages are sent to produce continuous changes in the
pitch.
The Channel-A COSM BASS settings (PITCH SHIFT,
HARMO, and BEND) and the D Beam and ribbon
controller settings (T-ARM) affect the pitch (MIDI note
messages) output with Bass to MIDI. Channel B COSM
BASS settings are not affected.
*
If the pitch (MIDI note messages) output with Bass to MIDI
becomes too low (or too high) because of the effects of the Channel A
COSM BASS settings, the pitch is automatically shifted one octave
higher (or lower).
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Chapter 5 Using MIDI
Selecting the Controller Used to
Setting the BASS TO MIDI
Control the Hold Function (HOLD CTL)
Function (System Parameters)
1. Press [BASS TO MIDI].
These procedures are used for making settings for the device as a
whole. Changes are saved automatically, and the Write procedure is
not required.
The BASS TO MIDI screen appears.
After entering these parameters, press [EXIT] several times to return
to the Play screen.
Switching the BASS TO MIDI Function
On and Off
2. Press [F5] (SYSTEM).
1. Press [BASS TO MIDI].
The BASS TO MIDI screen appears.
3. Use [F1] (SELECT) or the F1 knob to select the
controller you want to set.
2. Set BASS TO MIDI to ON with [F1] (OFF/ON) or
the F1 knob.
HOLD CTL
Controller
GK S1, S2
GK-3B DOWN/S1, UP/S2 switch
Setting this to OFF prevents the output of all MIDI messages
related to the BASS TO MIDI function.
switch connected to CTL 3,4 jack
CTL 1–4
FC-300’s CTL 1, 2 pedals or foot switch con-
nected to CTL jacks 3–8
FC-300 CTL1–8
Controllers to which HOLD CTL is assigned are enabled
CONTROL ASSIGN settings (p. 146). Set CONTROL
ASSIGN to OFF if you want to use only the Hold
function.
You can select the way the Hold function operates. For
more details, refer to “Selecting How the Hold
Functions (HOLD TYPE)” (p. 63).
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Chapter 5 Using MIDI
may encounter problems with operation when Pitch Bend messages
containing large amounts of data are included.
be set in “Outputting Program Change Messages
Simultaneously When Switching Patches (PC)” (p. 64).
You can use the BEND THIN function to thin out the Pitch Bend
messages and control the volume of MIDI data.
*
This does not affect such Program Changes as those set in “MIDI PC
OUT” (p. 54).
1. Follow Steps 1–2 in “Selecting the Controller
Used to Control the Hold Function (HOLD
CTL)” (p. 59) to display the BASS TO MIDI
screen.
1. Follow Steps 1–2 in “Selecting the Controller
Used to Control the Hold Function (HOLD
CTL)” (p. 59) to display the BASS TO MIDI
screen.
2. Set the function to ON with [F2] (OFF/ON) or
the F2 knob.
2. Set the function to ON with [F4] (OFF/ON) or
the F4 knob.
Select OFF when you do not want to reduce the amount of
When PC MASK is set to ON, the Program Change messages
set with the PC parameter (p. 64) in BASS TO MIDI are not
transmitted.
data transmitted in the Pitch Bend messages.
Setting the MIDI Transmit Channel
(BASIC CH)
This sets the MIDI channel used for output of string performance
data from the VB-99.
Set the MIDI channels according to the POLY/MONO mode as
shown below.
•
When set to POLY mode
The performance data for all of the strings is transmitted over
the basic channel.
•
When set to MONO mode
Hi C string: Transmitted over the basic channel.
than the basic channel.
:
For more details about the mode, refer to “Setting the
Transmission Mode (MODE)” (p. 61).
1. Follow Steps 1–2 in “Selecting the Controller
Used to Control the Hold Function (HOLD
CTL)” (p. 59) to display the BASS TO MIDI screen.
2. Set the channel with [F3] (SELECT) or the F3
knob.
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Chapter 5 Using MIDI
Setting the BASS TO MIDI
• All patches are set to MONO mode at the factory.
• When chords are played in POLY mode, pitch bends
change in semitone increments, while vibrato cannot be
used. Pitch bends work normally in POLY Mode when
playing single notes.
Function (Patch Parameters)
Patch parameters are settings made individually for each
patch. The Write procedure is required to save changes
in the settings. Carry out the Write procedure as needed.
Setting the Transmission Mode (MODE)
1. Press [BASS TO MIDI].
The BASS TO MIDI screen appears.
2. Press [F3] (PATCH).
3. Press PAGE [ ] to display Page 1.
4. Set the mode with [F1] (SELECT) or the F1 knob.
•
MONO (MONO Mode)
In this mode, one channel per string is used, thus using a total
of six channels.
Since each string uses a different MIDI channel, you can select
a different tone for each string, using string bending or
continuously varying the pitch on a specific string; however,
this requires use of a multitimbral sound module.
POLY (POLY Mode)
•
In this mode, the messages for all six strings are transmitted
over a single channel.
While transmitting the MIDI messages for all of the strings
over one channel does simplify the settings needed for the
sound module and reduces the number of MIDI channels
used, it does impose certain limitations; for example,
permitting only one tone to be selected for all of the strings.
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Chapter 5 Using MIDI
the Bass (PLAY FEEL)
(CHROMATIC)
This selects the response of the synth sound relative to the playing
dynamics.
When using string bending or other such techniques to gradually
change the pitch with the bass, you can set the VB-99 so that the
pitch of the MIDI messages being output changes in semitone
increments.
Changing this setting depending on the performance style used with
the bass or the tone allows you to express dynamics more naturally.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 61) to display the BASS TO
MIDI screen.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 61) to display the BASS TO
MIDI screen.
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] to display Page 1.
3. Adjust the setting with [F3] (SELECT) or the F3
3. Adjust the setting with [F2] (SELECT) or the F2
knob.
knob.
•
OFF
•
FEEL1–FEEL4
Normal Pitch Bend messages are output. The pitch varies
FEEL1 is the mode that gives sounds the broadest variation in
volume based on the playing dynamics. As the setting number
is increased, it becomes easier to produce high volume sounds
even with weaker playing.
continuously in keeping with the string bending or vibrato.
•
TYPE 1
When the pitch changes, this setting applies the results of the
pitch change information without stopping the note that is
playing.
This allows you to play with consistent volume, whether you
tap the strings or use rough playing.
NO DYNA
In this mode, sounds are played at a fixed volume regardless
of the playing strength.
This produces a unique effect, whereby there is no attack
sound when the pitches change, similar to slurring on a
recorder.
•
•
•
TYPE 2
STRUM
When the pitch changes, the VB-99 retriggers (replays) the
sound at the changed pitch, producing pitch changes only at
the semitone increments.
This suppresses the output of sounds from weaker playing.
This setting allows you to prevent undesired sounds
produced when playing rhythm or due to incidental contact
with strings from incorrect playing.
As a result, the attack sound plays each time the pitch
changes. The attenuation of the string vibration following the
moment the string is played is reflected in the gradual fading
of the retriggered sound.
•
TYPE 3
As with TYPE 2, sounds are retriggered at the changed pitch,
expressing the pitch changes only in semitones.
However, instead of reflecting the attenuation of the string
vibration, the retriggered sound is the same as that when the
string was initially played.
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Chapter 5 Using MIDI
Selecting How the Hold Functions
Operating the Controllers (CC)
You can operate the panel knobs and pedals to output Control
Change messages.
(HOLD TYPE)
This selects the Hold function type when the controller set with the
HOLD CTL parameter (p. 59) is adjusted.
There are two different settings.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 61) to display the BASS TO
MIDI screen.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 61) to display the BASS TO
MIDI screen.
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] [ ] to display Page 2.
3. Use [F1] (SELECT) or the F1 knob to select
MONO.
3. Use [F1] (SELECT) or the F1 knob, or [F4]
(SELECT) or the F4 knob, to select the
controller you want to set.
4. Adjust the setting with [F4] (SELECT) or the F4
knob.
•
HOLD 1
SRC
GK VOL
Controller
The Note On messages are held when the Hold function is
switched on with the controller.
GK-3B Volume knob
GK-3B DOWN/S1 Switch
GK-3B UP/S2 Switch
Control Button 1
GK S1
If the Hold function remains on as you continue to play the
strings, each successive Note On message is held, and when a
Note message is already being played from the same string,
the previous Note message is cancelled, and the next Note On
message is held. This allows you to prevent any interruption
in the sounds, even sounds from releasing the strings over the
frets.
GK S2
CTL1
CTL2
Control Button 2
EXP PEDAL
CTL3
External Expression Pedal
External Footswitch 3
External Footswitch 4
D BEAM Height
CTL4
•
•
HOLD 2
D BEAM V
D BEAM H
RIBBON ACT
RIBBON POS
FC-300 EXP1
FC-300 EXPSW1
FC-300 EXP2
FC-300 EXPSW2
FC-300 CTL1
FC-300 CTL2
The Note On messages are held when the Hold function is
switched on with the controller.
D BEAM Left-Right
Ribbon Controller Touch
Ribbon Controller Touch Position
FC-300’s EXP PEDAL 1
FC-300’s EXP PEDAL SW1
FC-300’s EXP PEDAL 2
FC-300’s EXP PEDAL SW2
FC-300’s CTL1
However, subsequent Note On messages are not output if you
continue to play the instrument with the Hold effect left on.
HOLD 3
The Note On messages are held when the Hold function is
switched on with the controller.
If the Hold function remains on as you continue to play the
strings, Note On messages for strings other than the one
already being held can be output, but they are not held.
FC-300’s CTL2
FC-300’s External Expression Pedal 3,
External Footswitch 3
FC-300 E3/C3
FC-300 CTL4
FC-300 E4/C5
FC-300 CTL6
FC-300 E5/C7
FC-300 CTL8
FC-300’s External Footswitch 4
FC-300’s External Expression Pedal 4,
External Footswitch 5
FC-300’s External Footswitch 6
FC-300’s External Expression Pedal 5,
External Footswitch 7
FC-300’s External Footswitch 8
4. Use [F2] (SELECT) or the F2 knob, or [F5]
(SELECT) or the F5 knob, to select the Control
Change number you want to output.
Off, CC #1–#31, CC #64–#95
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Chapter 5 Using MIDI
Outputting Program Change Messages
The MIDI channel over which the messages are output in
POLY mode is only the basic channel. In MONO mode,
the messages are output over the six channels spanning
from the basic channel up to the channel numbered five
above the basic channel.
This sets the Program Change messages that are output when the
VB-99’s patches are switched.
*
Program Change messages are not output while PC MASK (p. 60) is
set to ON.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 61) to display the BASS TO
MIDI screen.
2. Press PAGE [ ] [ ] to display Pages 3–5.
When MODE (p. 61) is set to MONO, you can make settings
individually for each of the six strings of STRING HiC–LowB.
3. Make the settings with [F1]–[F6] or the F1–F6
knobs.
Set the following parameters.
BANK MSB
Explanation
OFF, 0–127
This sets the Bank Select (MSB).
BANK LSB
Explanation
OFF, 0–127
This sets the Bank Select (LSB).
PC
Explanation
OFF, 1–128
This sets the Program Number.
4. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
The MIDI channel over which the messages are output in
POLY mode is only the basic channel. In MONO mode,
the messages are output over the six channels spanning
from the basic channel up to the channel numbered five
above the basic channel.
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Chapter 6 Using the VB-99 Connected
to a Computer Via USB
Driver Mode
Before Using the USB
The VB-99 features two operational modes, one which uses the
special driver contained on the included CD-ROM, and one in which
Connection
the OS’s (Windows/Mac OS) standard driver is used.
By using USB with the VB-99, you’ll be able to exchange digital
audio signals and MIDI messages with your computer.
Using the specialized driver, you can record, play back, and edit
audio with high-quality sound and stable timing.
It also allows you to control the VB-99 using MIDI messages.
Installing and Setting the USB Driver
Use of the VB-99’s USB functionality requires that the USB driver
first be installed on the computer.
Dedicated Software for the VB-99
Dedicated software that enables you connect and use a
computer is available for the VB-99.
The dedicated VB-99 driver is contained on the “VB-99 Software CD-
ROM” included with the VB-99.
As the program and procedures used in installing the driver vary
according to the operating environment, carefully read the following
Readme file contained on the “VB-99 Software CD-ROM” before use.
The software for the VB-99 will be available on the Roland
website (http://www.roland.com).
Separate versions for Windows and for Macintosh are available.
Using OS
Contained location
\Driver\XP\Readme_E.htm
\Driver\Vista\Readme_E.htm
\Driver\Readme_E.htm
Windows XP
Windows Vista
Mac OS X
VB-99 Editor
You can use this to make settings for the VB-99 from your
computer.
You can also save tone setting (patch) data you have created as
files on the computer.
What is a USB Driver?
VB-99 Librarian
A USB driver is software that acts as a go-between in
transferring data between computer applications (such as
recording software and sequencer software) and the USB device
when the computer and USB device are connected using a USB
cable.
You can manage the VB-99’s settings and patches all together
using your computer.
The USB driver transmits data from the applications to the USB
device, and conversely, passes messages from the USB device to
the applications.
Application
USB Connector
USB
Driver
USB Cable
Computer
VB-99
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Chapter 6 Using the VB-99 Connected to a Computer Via USB
Switching the Driver Mode
Setting the USB Functions
The following section describes the VB-99’s USB-related functions.
1. Press [SYSTEM].
Make these settings in accordance with how you plan to use the VB-
99.
2. Press PAGE [ ] [ ] to go to Page 2.
Setting the Digital Audio Signal
Input and Output
1. Press [SYSTEM].
3. Press [F2] (USB).
2. Press PAGE [ ] to go to Page 2.
4. Press PAGE [ ] to go to Page 2.
3. Press [F2] (USB).
5. Set the DRIVER MODE with [F1] (SELECT) or
4. Press PAGE [ ] to go to Page 1.
the F1 knob.
Setting
Explanation
This mode uses the OS’s standard USB driv-
er.
STNDRD
This mode uses the dedicated driver con-
tained on the CD-ROM.
ADVANC
5. Change the setting’s value with [F1]–[F4] or
*
*
When using VB-99 Editor/Librarian, set this to ADVANC.
The message “PLEASE RESTART” appears when DRIVER
MODE is switched.
the F1–F4 knobs.
6. Press [EXIT] one or more times to return to the
Play screen.
6. Press [EXIT] one or more times to return to the
Play screen.
Parameter/
Explanation
Range
*
If you have not yet installed the driver for the mode you have set,
turn off the power to the VB-99 in this condition and install the
driver.
USB IN
This sets the point at which digital audio signals received via USB
(from your computer) are connected within the VB-99.
7. Quit all sequencer software and other
applications on the computer that are using
the VB-99.
* Do not connect at a point before the point set with the USB OUT
parameter. For more on the connection points, refer to “Signal Flow”
(p. 15).
* If the USB IN parameter is set to COSM BASS A, COSM BASS B, or
NORMAL PU, the setting automatically changes to MAIN & SUB the
next time the VB-99 is powered up. If you plan to use COSM BASS A,
COSM BASS B, or NORMAL PU, make the setting each time you
turn on the power to the VB-99.
8. Turn on the power to the VB-99 again.
*
The functions of a mode won’t become available until after the power
has been turned off, then on again.
OFF
The signals are not connected at any point.
About MIDI in Standard Driver Mode
You cannot use MIDI when STNDRD is selected as the driver mode.
If you want to use MIDI with the USB connection, set the VB-99 to
the advanced driver mode.
COSM BASS A
The signals are connected at the point where
the COSM BASS A is output.
The audio output from the computer, in-
stead of the COSM bass sounds played by
the connected bass, is input to the effects.
* POLY FX are not applied.
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Chapter 6 Using the VB-99 Connected to a Computer Via USB
Parameter/
Range
Explanation
Setting the Direct Monitor
COSM BASS B
The signals are connected at the point where
the COSM BASS B is output.
1. Press [SYSTEM].
The audio output from the computer, in-
stead of the COSM bass sounds played by
the connected bass, is input to the effects.
2. Press PAGE [ ] [ ] to go to Page 2.
* POLY FX are not applied.
NORMAL PU
MAIN OUT
SUB OUT
The signals are connected at the normal
pickup input.
The audio output from the computer, in-
stead of the normal sounds played by the
connected bass, is input to the effects.
The signals are connected at the point where
MAIN OUT is output.
The signals from the VB-99’s MAIN OUT
and the audio output from the computer are
mixed and output.
3. Press [F2] (USB).
4. Press PAGE [ ] to go to Page 2.
The signals are connected at the point where
SUB OUT is output.
The signals from the VB-99’s SUB OUT and
the audio output from the computer are
mixed and output.
MAIN&SUB
The signals are connected at the point where
both MAIN OUT and SUB OUT are output.
Each of the signals from the VB-99’s MAIN
OUT and the audio output from the com-
puter are mixed, SUB OUT and the audio
output from the computer are mixed from
the output.
5. Change the setting’s value with [F2] (SELECT),
[F3] (OFF/ON) or the F2, F3 knobs.
For more information on signal paths set by the Direct
Monitor parameter settings, refer to “Signal Flow” (p.
15).
IN LEVEL
0–200
Adjusts the volume level of the digital audio
received via USB (from the computer).
USB OUT
6. Press [EXIT] one or more times to return to the
This sets the point internally within the VB-99 from which signals are
output via USB (to the computer).
Play screen.
COSM BASS A
COSM BASS B
NORMAL PU
CH A
The output from COSM BASS A is output.
The output from COSM BASS B is output.
The normal pickup input is output.
The output from Channel A is output.
The output from Channel B is output.
CH B
MIXER (DRY)
The signals that have been mixed with the
mixer, but before application of DELAY/
REVERB, are output.
MIXER
The signals that have been mixed with the
mixer and have DELAY/REVERB applied
are output.
MAIN OUT
SUB OUT
The same signals as those from MAIN OUT
are output.
The same signals as those from SUB OUT
are output.
OUT LEVEL
0–200
Adjusts the volume level of the digital audio
output via USB (to the computer).
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Chapter 6 Using the VB-99 Connected to a Computer Via USB
Parameter/
Range
Recording the VB-99’s
Explanation
Output with a Computer
MON CMD (Monitor Command)
This setting determines whether or not the command (the Direct
Monitor command) controlling the Direct Monitor (described later)
setting is enabled.
In the computer application, set the audio input port to the VB-99.
You can freely set the point at which signals are sent to the computer
with “USB OUT” (p. 67)
DISABL
The Direct Monitor command is disabled,
maintaining the Direct Monitor mode set by
the VB-99.
For example, by selecting COSM BASS A or COSM BASS B, you can
listen to the performance with the effects applied, while recording it
without the effects.
ENABLE
The Direct Monitor command is enabled, al-
lowing the Direct Monitor mode to be
switched from an external device.
*
If passing audio data through the software you’re using, switch the
direct monitor off.
DIRECT MON (Direct Monitor)
Switches the output of the VB-99 sound to the PHONES jack, MAIN
OUT jacks, or SUB OUT jacks.
Computer
Audio IN
Audio signal
Audio OUT
USB OUT
USB IN
Bass Amp
Headphones
Mixer
DIRECT MON
VB-99 sound
MAIN or SUB
OFF
ON
Set this to Off if transmitting audio data in-
ternally through a computer (Thru).
The VB-99 sound is output. Set this to On
when using the VB-99 as a standalone de-
vice, without connecting to a computer
(only USB IN input sound will be output if
this is set to Off).
* This setting cannot be saved. It is set to ON when the power is turned
on.
* If you are using the special driver, you can control DIRECT MON On/
Off from ASIO 2.0-compatible application.
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Chapter 6 Using the VB-99 Connected to a Computer Via USB
Using the VB-99 to Add
Effects to Audio Playback
from a Computer
In the computer application, set the audio output port to the VB-99.
You can use the VB-99 to apply effects to the audio data played by
the computer, then record the data again with the computer.
Use this process when, for example, you want to add effects to
existing audio data.
*
Set the software so audio is not passed through it.
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
3. Press [F2] (USB).
4. Press PAGE [ ] to go to Page 1.
made.
Here, set either COSM BASS A, COSM BASS B, or NORMAL
PU.
For more information about the USB IN parameter
settings, refer to “Setting the Digital Audio Signal
Input and Output” (p. 66).
6. Use [F2] or the F2 knob to adjust the level of
the digital audio from the USB (computer).
7. Press [EXIT] one or more times to return to the
Play screen.
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Chapter 7 Other Functions
Changing the Tone in Real
Time with the D Beam and
Ribbon Controllers
•
Be sure to adjust the CALIBRATION directly above the D Beam
controller.
OK!
Adjusting the D Beam
(CALIBRATION)
The sensitivity of the D Beam controller can vary depending on the
amount of light in the vicinity of the controller and the object (e.g.,
hand, bass neck) used to operate it. Perform this adjustment so you
can control the tone in the intended range.
1. Press [SYSTEM].
•
•
When the message “MISSING THE TARGET!” appears, it
indicates that the calibration is not being performed correctly.
2. Press PAGE [ ] [ ] to go to Page 2.
The CALIBRATION setting is a system parameter, so the Write
procedure is not required.
3. Press [F6] (CALIB).
4. Press PAGE [ ] to go to Page 1.
5. Set the beam’s responsive range as you
actually operate the D Beam controller.
•
First, hold the object you will use to activate the controller (your
hand, bass neck, etc.) at the point farthest from the VB-99 in the
range you want the controller to respond, and press [F1]
(SetMIN).
•
Next, hold the object at the closest point in the range you want
the controller to respond, and press [F4] (SetMAX).
6. Press [EXIT] several times to return to the Play
screen.
•
•
The D Beam controller’s response may also vary with the stage
lighting used. Confirm operation of the controller by testing it
onstage under the actual illumination.
If the set range is too narrow or if the positioning is not suitable,
the message “OUT OF RANGE! SET AGAIN.” appears. To keep
this message from appearing, change the range or position and
recalibrate.
•
The controller may not function properly with spot lights or
other such lighting shining directly on it.
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Chapter 7 Other Functions
Disabling the D Beam (DISABLE)
You can disable the D Beam controller for the entire device.
If you are using the VB-99 rack-mounted or otherwise not using the
D Beam controller, we recommend disabling the D Beam controller
by setting D BEAM DISAB to OFF.
Controlling Sounds by Hand
Motion or the Bass Neck
The D Beam controller allows you to change the sounds played by
moving your hand or bass neck over it. You can apply various effects
to the sound by changing the functions assigned to this controller.
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
Before using the D Beam controller, you need to adjust
its sensitivity “Adjusting the D Beam
(CALIBRATION)” (p. 70).
3. Press [F6] (CALIB).
4. Press PAGE [ ] to go to Page 1.
1. Press the D BEAM [PITCH], [FILTER], or
[ASSIGNABLE] button to switch the D Beam
controller on.
The D BEAM CALIB screen appears.
The D Beam controller ON/OFF setting is a patch
parameter. Carry out the Write procedure as required.
(p. 34)
5. Switch the controller on or off with [F6] (OFF/
ON).
Available Settings Explanation
You can use the T-Arm function to control
the bass’s pitch, and the Freeze function to
hold bass sounds.
Available Settings Explanation
PITCH
OFF
The D Beam is enabled.
The D Beam is disabled.
*
The PITCH effect is applied only to
COSM basses. Use this with the COSM
* Pressing the D BEAM [PITCH], [FILTER],
or [ASSIGNABLE] button to switch the D
Beam controller on will have no effect.
ON
controller.
FILTER
The D Beam controller controls the function
assigned to it. You can assign a variety of
functions to the controller.
6. Press [EXIT] several times to return to the Play
ASSIGNABLE
screen.
For instructions on how to set these functions and tones, please
read “Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)” (p. 77).
The DISABLE setting is a system parameter, so the Write
procedure is not required.
2. While you play the bass to produce sound,
place your hand or bass neck above the D
Beam controller and move it slowly up and
down.
Use of the D Beam ASSIGNABLE setting also enables
detection horizontally (left to right).
3. The effect is applied to the sound in
accordance with the function assigned to the
D Beam controller.
The blue indicator under the D Beam controller lights while the
D Beam effect is being applied.
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Chapter 7 Other Functions
4. To turn off the D Beam controller, press the
button you pressed in Step 1 again so the
indicator goes off.
Adjusting the Ribbon Controller
(CALIBRATION)
While the ribbon controller has been adjusted at the factory for
optimum performance, the responsive range may vary with the
width of the finger used to activate the controller.
Effective Range of the D Beam Controller
The D Beam controller’s effective range is shown in the figure
below. Moving your hand outside this effective range produces
no effect.
If this occurs, use the procedure below to readjust the range.
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
3. Press [F6] (CALIB).
The effective range of the D Beam controller will be
extremely limited when used under strong, direct
sunlight. Please be aware of this when using the D
Beam controller outdoors.
4. Press PAGE [ ] to go to Page 2.
The RIBBON CALIB screen appears.
The sensitivity of the D Beam controller can vary
depending on the amount of light in the vicinity of
the unit. If it does not function as you expect, adjust
the D Beam.(p. 70)
5. Set the responsive range as you actually
operate the ribbon controller.
•
•
First, while holding your finger against the near end of the
ribbon controller, press [F1] (SetMIN).
Next, hold your finger against the far end and press [F4]
(SetMAX).
The parameter values set by holding your hand or
other object over the D Beam controller change as
shown below.
If the message “OUT OF RANGE! SET AGAIN.” is displayed,
carry out the calibration process once more. If the message
continues to appear even after the calibration is correctly
performed, it may indicate damage or malfunction. Consult
your Roland dealer or contact Roland Service.
D BEAM vertical
movements
Explanation
Closer to the D Beam The value approaches the MAX value.
Farther from the D
The value approaches the MIN value.
Beam
6. Press [EXIT] several times to return to the Play
screen.
D BEAM horizontal Explanation
movements
To the right of the D
The value approaches the MAX value.
Beam
The CALIBRATION setting is a system parameter, so the
Write procedure is not required.
To the left of the D
The value approaches the MIN value.
Beam
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Chapter 7 Other Functions
Controlling the Sounds with the
Movement of Your Fingertip
(Ribbon Controller)
The ribbon controller allows you to change sounds by “scratching”
or tracing your finger along the ribbon. You can apply various effects
to the sound by changing the functions assigned to this controller.
Holding Sounds for Extended
Periods (FREEZE)
You can press the D BEAM [PITCH] button to use the FREEZE
effect, which allows you to hold sounds indefinitely.
1. Press [CONTROL ASSIGN]
2. Press PAGE [ ] [ ] to go to Page 2.
1. Press the RIBBON CONTROLLER [PITCH],
[FILTER], or [ASSIGNABLE] button to switch
on the ribbon controller.
Available Settings Explanation
You can use the T-Arm function to control
the bass’s pitch, and the Freeze function to
3. Press [F1] (PITCH).
hold bass sounds.
PITCH
*
The PITCH effect is applied only to
COSM basses. Use this with the COSM
bass volume raised. (p. 30)
4. Select FREEZE with [F1] (SELECT) or the F1
FILTER
The ribbon controller controls the function
assigned to it. You can assign a variety of
functions to the controller.
ASSIGNABLE
For more on how to set functions and tones, please read “Using
the Switches, Pedals, and MIDI to Control the Sounds
(CONTROL ASSIGN)” (p. 77).
channel with the sounds you want to freeze.
6. Set each of the FREEZE parameters on Page 1
2. While you play the bass to produce sound,
move your fingertip along the ribbon
controller.
or Page 2
For more detailed information on the parameters that can be set,
refer to (p. 136).
3. The effect is applied to the sound in
accordance with the function assigned to the
ribbon controller.
7. Press [EXIT] several times to return to the Play
screen.
4. To turn off the ribbon controller, press the
button you pressed in Step 1 again so the
indicator goes off.
8. Press the D BEAM [PITCH] button, causing the
indicator to light.
9. Play the bass, and while the sounds are
playing, cut across the D Beam with your hand
or bass neck.
The setting switching the ribbon controller on and off is
a patch parameter. Carry out the Write procedure as
required.
10. The FREEZE function switches on and the
same sound continues to hold, while the D
Beam controller’s blue indicator lights up.
A light touch is sufficient when operating the ribbon controller.
Never press the ribbon controller forcefully or with a hard or
pointed object.
11. To switch FREEZE off, swipe your hand or
bass neck across the D Beam controller’s
beam.
*
With D BEAM:FREEZE:SW set as the target in Control Assign,
you can control the FREEZE effect ON/OFF using an external
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Chapter 7 Other Functions
pedal, MIDI device, or any of a variety of other controllers.
For more detailed information on the parameters that can be set,
refer to “PITCH” (p. 136), (p. 138).
Changing the Pitch as with a
Tremolo Arm (T-ARM)
You can press the D BEAM or RIBBON CONTROLLER [PITCH]
button to use T-ARM, which changes the pitch of the COSM bass like
a tremolo arm.
8. Press [EXIT] several times to return to the Play
screen.
9. Press the D BEAM or RIBBON CONTROLLER
[PITCH] button, causing the indicator to light.
1. Press [CONTROL ASSIGN]
10. Use the D Beam or ribbon controller like a
tremolo arm to change the pitch.
2. Press PAGE [ ] [ ] to go to Page 2 for the D
*
With D BEAM:T-ARM:SW or RIBBON:T-ARM:SW and “
BEAM:T-ARM:CONTROL and RIBBON:T-ARM:CONTROL set
as the target in Control Assign, you can control the T-ARM effect
using an external pedal, MIDI device, or any of a variety of other
controllers.
Beam, or Page 3 for the ribbon controller.
3. Press [F1] (PITCH).
4. Press PAGE [ ] to go to Page 1.
5. Select T-ARM with [F1] (SELECT) or the F1
knob.
The D BEAM T-ARM or the RIBBON T-ARM screen appears.
*
This step is not necessary if you are using the ribbon controller. In
this case, proceed to Step 5.
6. Use [F2] (SELECT) or the F2 knob in the D
Beam screen or [F1] (SELECT) or the F1 knob
in the Ribbon Controller screen to select the
channel to which you want to apply the effect.
7. Set each of the T-ARM parameters on Page 1
or Page 2
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Chapter 7 Other Functions
9. Use the D Beam or ribbon controller to apply
Adding Nuance to the Sound
(FILTER)
You can press the D BEAM or RIBBON CONTROLLER [FILTER]
button to apply the FILTER effect and add nuance to the tone in
Channel A or B, or both channels.
the filter and add nuance to the sound.
*
With D BEAM:FILTER:SW or RIBBON:FILTER:SW and D
BEAM:FILTER:CONTROL and RIBBON:FILTER:CONTROL set
as the target in Control Assign, you can control
FILTER:CONTROL using an external pedal, MIDI device, or any
of a variety of other controllers.
1. Press [CONTROL ASSIGN]
2. Press PAGE [ ] [ ] to go to Page 2 for the D
Beam, or Page 3 for the ribbon controller.
3. Press [F2] (FILTER).
4. Press PAGE [ ] to go to Page 1.
The D BEAM FILTER or the RIBBON FILTER screen appears.
channel to which you want the effect to be
applied.
6. Set each of the FILTER parameters on Page 1.
For more detailed information on the parameters that can be set,
refer to “FILTER” (p. 137), (p. 138).
7. Press [EXIT] several times to return to the Play
screen.
8. Press the D BEAM or RIBBON CONTROLLER
[FILTER] button, causing the indicator to light.
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Chapter 7 Other Functions
Changing the Sounds with
Play (DIRECT EDIT)
SYSTEM.
This means that the settings in the DIRECT EDIT screen, which
are the patch parameters, have no effect.
You can assign parameters to the F1–F6 knobs to control the
parameters as you play.
To enable the settings, the DIRECT EDIT parameter in the
CONTROL screen for SYSTEM must be set to PATCH. For
detailed information, refer to “Making System-wide Settings
for the Features Controlled by the Function Knobs
(SYSTEM DIRECT EDIT)” (p. 43).
Additionally, you can check (display) the assigned parameters by
pressing [F1]–[F6].
*
Set the DIRECT EDIT parameter (p. 148) settings to PATCH.
1. Press [CONTROL ASSIGN]
2. Press PAGE [ ] to go to the last page.
To dismiss this message, press [EXIT].
3. Press [F6] (F1–F6) to enter the DIRECT EDIT
screen.
The DIRECT EDIT screen appears.
4. Press Page [ ] [ ] to go to the page for the
knob you want to set.
5. Use the [F1]–[F6] or F1–F6 knobs to select the
You can quickly locate and select the desired parameter by first
narrowing down the parameter type with F1 (F4), then using F2
(F5) and then F3 (F6) to reach the right parameter.
6. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If not saving the settings, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Using the Switches, Pedals,
and MIDI to Control the
Sounds (CONTROL ASSIGN)
These settings are made when parameters are to be controlled with
the GK-3B VOLUME knob or DOWN/S1, UP/S2 switches, the VB-
controller, or a connected MIDI device.
Displayed
screen
Controller
Control of TREMOLO ARM/
FREEZE with the D Beam control-
ler
D BEAM T-ARM/
D BEAM FREEZE
PITCH
In addition to settings already assigned to controllers, the VB-99 also
Control of FILTER with the D
Beam controller
D BEAM FILTER
D BEAM V
DBM V
DBM H
*
*
*
If you intend to control the parameters of effects and the like, be sure to
set the effect to ON beforehand.
D Beam controller vertical sensor
D Beam controller horizontal sen-
sor
D BEAM H
For more detailed information on the parameters, refer to
“CONTROL ASSIGN” (p. 135),
Enabling the settings requires setting each of the controller
assignments to ASSIGNABLE in the SYSTEM CONTROL ASSIGN
screen. For detailed information, refer to “Setting the GK VOLUME
Control and Switch and the Pedal Function (SYSTEM
CONTROL ASSIGN)” (p. 42).
1. Press [CONTROL ASSIGN]
Displayed
screen
Controller
2. Select the controller you want to set with
Control of PITCH with the TREM-
OLO ARM.
RIBBON T-ARM
RIBBON FILTER
PITCH
PAGE [ ] [ ] and [F1]–[F6].
The various controllers’ setting screens appear.
Control of FILTER with the Ribbon
controller
FILTER
*
The following section describes the controllers you can set.
RIBBON POS
RIBBON ACT
Ribbon controller position sensor
Ribbon controller touch sensor
RB POS
RB ACT
Displayed
screen
Controller
Settings for the volume knob on the
GK-3B.
GK VOL
GK VOL
S1, S2
CTL1
Displayed
screen
Controller
Settings for the switches on the
GK-3B.
GK S1, S2
Settings for the expression pedal
connected to the EXP PEDAL jack
on the VB-99’s rear panel.
EXP PEDAL
CTL3
EXP
Settings for the CONTROL 1 but-
ton on the VB-99’s top panel.
CONTROL1
CONTROL2
Settings for the footswitch connect-
ed to the CTL3 jack on the VB-99’s
rear panel.
Settings for the CONTROL 2 but-
ton on the VB-99’s top panel.
CTL2
CTL3
CTL4
Settings for the footswitch connect-
ed to the CTL4 jack on the VB-99’s
rear panel.
CTL4
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Chapter 7 Other Functions
Displayed
screen
Controller
Settings for the expression pedal 1
on the FC-300 connected to the VB-
99.
FC EXP1
EXP1
Settings for the expression pedal
switch 1 on the FC-300 connected
to the VB-99.
FC EXPSW1
FC EXP2
EXPSW1
EXP2
Displayed
screen
Controller
Settings for the expression pedal 2
on the FC-300 connected to the VB-
99.
Settings for general purpose as-
signs you can set freely as control-
lers for MIDI messages and other
controllers in addition to those de-
scribed above.
ASGN 1
:
ASGN16
ASSIGN1
:
ASSIGN16
Settings for the expression pedal
switch 2 on the FC-300 connected
to the VB-99.
FC EXPSW2
EXSW2
Settings for the function knobs ar-
ranged below the VB-99’s LCD.
DIRECT EDIT
F1–F6
Settings for the CTL1 on the FC-300
connected to the VB-99.
FC CTL1
FC CTL2
CTL1
CTL2
Settings for the CTL2 on the FC-300
connected to the VB-99.
3. Select the function you want to assign with
PAGE [ ] [ ], [F1]–[F6], and the F1–F6
knobs.
Displayed
screen
Controller
For more on PITCH and FILTER of the D BEAM controller,
refer to “Controlling Sounds by Hand Motion or the Bass
Neck (D Beam Controller)” (p. 71). For more on PITCH and
FILTER of the Ribbon controller, refer to “Controlling the
Sounds with the Movement of Your Fingertip (Ribbon
Controller)” (p. 73).
Settings for the expression pedal 3
or footswitch 3 connected to the
FC-300’s rear panel.
FC E3/C3
FC CTL4
FC E4/C5
FC CTL6
FC E5/C7
FC CTL8
E3/C3
CTL4
E4/C5
CTL6
E5/C7
CTL8
Settings for the footswitch 4 con-
nected to the FC-300’s rear panel.
Settings for the expression pedal 4
or footswitch 5 connected to the
FC-300’s rear panel.
Settings for the footswitch 6 con-
nected to the FC-300’s rear panel.
Settings for the expression pedal 5
or footswitch 7 connected to the
FC-300’s rear panel.
Settings for the footswitch 8 con-
nected to the FC-300’s rear panel.
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Chapter 7 Other Functions
F4: MODE (GK S1, S2 only)
The following section describes the parameters you
can set on each page.
This specifies how the switches function.
*
The screen shown in the example is for ASSIGN1.
*
Combinations of the actions below are possible.
S1: DEC / S2: INC
Page 1, 3
S1: INC / S2: DEC
S1: MIN / S2: MAX
S1: MAX / S2: MIN
Available Settings Explanation
The value increases.
INC
The value decreases.
DEC
MIN
MAX
F1: SOURCE (ASSIGN1–16 only)
The value is set to the minimum.
The value is set to the maximum.
This selects the controller assigned to the function.
F3: SW (ON/OFF)
Setting this to ON enables the controller.
that changes values in a continuous, non-discrete way is set as
the source)
Use these to select the parameter you want to assign.
You can quickly locate and select the desired parameter by first
narrowing down the parameter type with F4, then using F5 and
then F6 to reach the right parameter.
This sets the minimum for the range in which the value of the
setting can be changed.
F6: RANGE HIGH (only when an expression pedal or other
controller that changes values in a continuous, non-discrete way
is set as the source)
For more details on the parameters, refer to “CONTROL
This sets the maximum for the range in which the value of the
setting can be changed.
ASSIGN” (p. 135).
Page 2, 4
F2: MIN
This sets the minimum value for the target’s controllable range.
F3: MAX
This sets the maximum value for the target’s controllable range.
F4: SW MODE (only when a switch type controller is selected for
SOURCE)
This specifies how the switches function.
Available Settings Explanation
The parameter switches to the maximum
value only while the switch is held down,
and switches to the minimum value when
MOMENT
the switch is released.
The value alternately switches between
maximum and minimum each time the
switch is pressed.
LATCH
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Chapter 7 Other Functions
About the Range of Targets’ Change
The target’s value changes between MIN (the minimum value)
and MAX (the maximum value).
About the Range of Controllers’ Change
This sets the operational range (range in which the value
actually changes) for an expression pedal, or similar controller
that changes the value of a setting in a continuous fashion,
when it has been set as the source.
When a foot switch or other controller that switches settings on
and off is used, OFF sets the minimum value and ON sets the
maximum value.
If the controller adjustment moves beyond the enabled range of
operation, the value of the setting remains at the maximum
value or minimum value, without changing any further.
Value
MAX
Value
MAX
MIN
Off
On
MIN
Footswitch
Degree to
Which Expression
Pedal Is Depressed
127
When an expression pedal or other controller that changes
values in a consecutive manner is used, the value changes
within the range between MIN and MAX.
0
RANGE
LOW
RANGE
HIGH
Value
MAX
4. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
MIN
Degree to
Which Expression
Pedal Is Depressed
127
0
When the pedal
is fully raised
When the pedal
is fully advanced
EXP Pedal
When an expression pedal or other controller that changes
values in a consecutive manner is used to control a two-value
(On/Off) parameter, the controller functions as shown below.
Value
ON
Degree to
Which Expression
Pedal Is Depressed
OFF
127
0
When the pedal
is advanced halfway
When the pedal
is fully raised
When the pedal
is fully advanced
EXP Pedal
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Chapter 7 Other Functions
Activating the Virtual Expression
Pedal at the Start of Operations
(Internal Pedal System)
The VB-99 features a function called Internal Pedal system. This
function assigns specified parameters to a virtual expression pedal
(the internal pedal), providing an effect automatically that changes
volume and tone in real time just the way an expression pedal
functions.
One Touch Call Up of Favorite
Patches (DIRECT PATCH)
You can assign your favorite patches to the [DIRECT PATCH 1] –
[DIRECT PATCH 5] buttons, then call up these patches just by
pressing the buttons.
Setting DIRECT PATCH
The Internal Pedal system features the following two functions,
allowing you to set Source for each assign 1-16 (p. 78) of the Control
Assign (p. 77).
1. Press [SYSTEM].
2. Press PAGE [ ] to go to Page 1.
•
•
*
Internal Pedal
Wave Pedal
When the Internal Pedal or the Wave Pedal is used, set the ASSIGN
SW MODE to MOMENT.
With the trigger you have set, the assumed expression pedal starts
working. If you have set INTERNAL PEDAL to SOURCE, set the
TRIGGR parameter (p. 141).
3. Press [F2] (DIRECT).
The DIRECT PATCH screen appears.
using INTERNAL PEDAL, refer to “TRIGGR (Trigger)” (p.
141), “TIME” (p. 141), and “CURVE” (p. 141).
Wave Pedal
This changes the parameter selected as a target in a certain cycle with
the assumed expression pedal. When you have set WAVE PEDAL
for SOURCE, the RATE parameter (p. 141) and FORM parameter (p.
141) should be set.
4. Use the F1–F5 knobs to select the patches to
be assigned to [DIRECT PATCH 1]–
[DIRECT PATCH 5].
The numbers correspond, with DIR. PATCH 1 assigned with
the F1 knob, DIR. PATCH 2 assigned with the F2 knob, and so
on.
For more detailed information on the parameters that can be set
using WAVE PEDAL, refer to “RATE” (p. 141) and “FORM” (p.
141).
5. Press [EXIT] several times to return to the Play
screen.
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Chapter 7 Other Functions
Exchanging the Current Patch
with a Different Patch (PATCH
EXCHANGE)
Managing the Patches
Saving and Copying Patches
(PATCH WRITE)
This exchanges the user patch with the different patch.
*
You cannot exchange tones in preset patches.
To save any changes you’ve made in the settings, you need to
perform the write procedure.
1. Confirm that a User patch is selected.
To make a copy of an existing patch, you can simply write it to
another patch location.
2. Press [WRITE].
1. Press [WRITE].
3. Press PAGE [ ] to go to Page 2.
“EXCHANGE” is displayed.
The PATCH WRITE screen appears.
“WRITE TO” is displayed, and the write-destination patch
number and name are indicated.
The exchange-destination patch number and name are
indicated.
2. Use the PATCH/VALUE dial to select the copy-
4. Use the PATCH/VALUE dial to select the
destination patch.
exchange-destination patch.
3. Press [WRITE] again.
5. Press [WRITE] again.
The message “NOW WRITING...” is displayed as the patch is
copied, and the VB-99 changes to the copy-destination patch
number.
The message “NOW EXCHANGING...” is displayed as the
current patch and the selected patch are exchanged, and the VB-
99 changes to the exchange-destination patch number.
*
If you are not saving the settings, press [EXIT] to return to the Play
screen.
*
If you do not want to exchange the patches, press [EXIT] to return to
the Play screen.
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Chapter 7 Other Functions
Initializing User Patches
(PATCH INITIALIZE)
Copying Settings Between Channel
A and Channel B (A/B COPY)
You can set user patches to their initial conditions, with all effects
1. Go to the settings screen for the parameters
switched off.
whose settings you want to copy.
This is convenient when you want to create a patch from scratch.
*
You cannot initialize preset patches.
2. Press PAGE [ ] several times to go to the
last page.
1. Confirm that a User patch is selected.
3. Use [F1] (SELECT) or the F1 knob to select A/B
2. Press [WRITE].
COPY.
3. Press PAGE [ ] to go to Page 3.
The PATCH INITIALIZE screen appears.
4. Press [F6] (EXEC) to copy the settings.
“INITIALIZE” is displayed, and the number and name of the
patch to be initialized are indicated.
5. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
4. Use the PATCH/VALUE dial to select the patch
you want to initialize.
Exchanging the Channel A and
Channel B Settings
(A/B EXCHANGE)
5. Press [WRITE] again.
The message “NOW INITIALIZING...” is displayed as the VB-
99 switches to the patch to be initialized, then the Play screen
returns.
1. Go to the settings screen for the parameters
whose settings you want to exchange.
2. Press PAGE [ ] several times to go to the
last page.
3. Use [F1] (SELECT) or the F1 knob to select A/B
*
If you do not want to initialize the patch, press [EXIT] to return to the
Play screen.
EXCHNG.
4. Press [F6] (EXEC) to exchange the settings.
5. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Partially Copying Parameters in
a Different Patch (MODULE COPY)
The following parameters can be handled as modules.
•
•
•
•
•
•
•
COSM BASS
POLY FX
You can copy and reuse portions of patch parameters (such as
Overall FX for Channel A and B
Each of the effects in FX
COSM AMP
COSM amps, effects, and other modules).
1. Go to the settings screen for the parameters
MIXER section DELAY and REVERB
MIXER section DYNAMIC
whose settings you want to copy.
2. Press PAGE [ ] several times to go to the
last page.
3. Use [F1] (SELECT) or the F1 knob to select
MODULE COPY.
The MODULE COPY screen appears.
4. Use [F2] (PATCH) or the F2 knob and [F3]
(SOURCE) or the F3 knob to select the copy
source.
5. Press [F6] (EXEC) to copy the settings.
6. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
Partially Initializing Patch
Parameters (MODULE INITIALIZE)
1. Go to the settings screen for the parameter
whose settings you want to initialize.
2. Press PAGE [ ] several times to go to the
last page.
3. Use [F1] (SELECT) or the F1 knob to select
MODULE INIT.
The MODULE INITIALIZE screen appears.
4. Press [F6] (EXEC) to initialize the settings.
5. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Assigning a Patch to a Category
You can assign categories to patches and separate them into groups.
Separating Patches into
Groups (CATEGORY)
The VB-99 includes a function that allows you to categorize patches
into a number of different groups. This is called the CATEGORY
function. Specifying the category for each patch makes searching for
patches more convenient. The CATEGORY function also features ten
user categories you can name however you like.
1. From the PLAY screen, use the PATCH/VALUE
dial to select the patch you want to include in a
category.
2. Press [NAME/KEY/BPM].
Using CATEGORY to Call Up
Patches
1. Confirm that the Play screen is displayed.
2. Press [CATEGORY].
3. Press [F1] (NAME).
The Category screen appears.
The Name settings screen appears.
The categories and the patches in these categories are shown in
list format.
4. Press [F6] (CATGRY).
The Category settings popup appears.
3. Use [F1] (SEL ) and [F2] (SEL ) or the F1
and F2 knobs to select the category.
4. Use the PATCH/VALUE dial or [F3] (SEL ),
[F4] (SEL ) to select a patch.
5. Press [CATEGORY] again.
5. Use the F6 knob to select the category.
The VB-99 switches to the selected patch.
6. Press [EXIT].
The category is assigned to the patch.
If no operation if performed within a set period of time,
the display returns to the Play screen.
7. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Naming User Categories
(CATEGORY NAME)
Storing Your Preferred
Settings Individually
(FAVORITE SETTINGS)
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
What are Favorite Settings?
The VB-99 includes a function that, apart from the patches, stores the
settings you like for each effects processor. These are called Favorite
Settings.
By storing the settings you like for each of a variety of effects
processors, you can then easily create sounds simply by combining
these settings.
3. Press [F5] (CATGRY).
Furthermore, creating patches using the Favorite Settings vastly
simplifies editing when multiple similar tones are used.
For example, if you beforehand select the same Favorite Settings for
a multiple number of patches, you’ll later be able to implement
changes in all those patches at once simply by editing the Favorite
settings.
The Category Name settings screen appears.
4. Use [F6] or the F6 knob to select User
Category with the name you want to change.
5. Press PAGE [ ] [ ] to move the cursor to
the position with the character you want to
change.
6. Select the character with the PATCH/VALUE
dial.
As you continue to rotate the PATCH/VALUE dial, the
character guide automatically switches from uppercase letters
to lowercase letters, numerals, and symbols.
You can carry out the following operations by pressing [F1]–
[F6].
Buttons
Functions
Inserts a blank space at the cursor position.
[F1] (INSERT)
Deletes the character and shifts the follow-
ing characters to the left.
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
Enters a blank space at the cursor position.
Switches between letters, numerals, and
symbols.
Switches between uppercase and lowercase
letters.
[F5] (A<=>a)
Select the user category you want to name.
[F6] (CATGRY)
7. Repeat Steps 6 and 7 to complete the category
name.
8. Press [EXIT] several times to return to the Play
screen.
*
Category names are system parameters. They are saved at the time
they are entered, even without the Write procedure.
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Chapter 7 Other Functions
Calling Up Favorite Settings
Changing Tone Settings
This procedure changes the tones in patches using the Favorite
Settings. The method below can also be used to edit the Favorite
Settings themselves.
Here is an example using the compressor effect.
1. Press [FX].
Here is an example using the compressor effect.
2. Press PAGE [ ] to go to Page 1.
1. Press [FX].
2. Press PAGE [ ] to go to Page 1.
3. Press [F1] (COMP).
3. Press [F1] (COMP).
The number and name of the currently selected Favorite
Settings are displayed.
4. Press PAGE [ ] to display the last page (in
this case, Page 3).
5. Use [F1] (SELECT) or the F1 knob to select
FAVORITE.
4. Press [F6] (EDIT).
The FAVORITE screen appears.
5. Use [F1]–[F4] or the F1–F4 knobs to adjust the
6. Use [F2] (SELECT) or the F2 knob to select
desired parameters on Pages 1 and 2.
your preferred setting.
6. To store the content of the settings, carry out
7. When you have made your choice, press [F6]
(OK); to cancel the procedure, press [F5]
(CANCEL) or press [EXIT] several times to
return to the Play screen.
the steps described next.
8. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Saving to the Favorite Settings
The following describes an example with the status indicated in the
Compressor edit screen in Step 4 of “Changing Tone Settings” (p.
87).
Saving Changed Tones
There are two methods you can use to save changed tones.
Saving to Patches
1. Press PAGE [ ] to display the last page (in
this case, Page 3).
1. Press [WRITE].
The PATCH WRITE screen appears.
2. Rotate the F1 (SELECT) knob to select
FAVORITE WRITE.
The FAV WRITE screen appears.
2. Use the PATCH/VALUE dial to select the save-
destination patch.
3. Press [WRITE].
write destination.
At this point, you can press [F3] (SEARCH) to display a
list of patches using the write-destination Favorite
Settings. For more detailed information, refer to
“Searching for Patches That Use the Same Favorite
Settings” (p. 89).
“NOW WRITING...” is displayed as the patch is being saved,
and then the Play screen returns to the display.
Saving tones with this process undoes the link between the
patch and the Favorite Settings. Afterwards, any changes to
tones with Favorite Settings used earlier will not be reflected in
the tone for this patch.
4. Press [F6] (WRITE) to save the settings.
“NOW WRITING...” is displayed as the Favorite Settings are
being saved, and the number and name of the currently selected
Favorite Settings are displayed.
5. Press [EXIT] several times to return to the Play
screen.
This procedure only saves information to the Favorite Settings.
Nothing is saved to the patches. To save parameters to patches,
carry out the Write procedure. (p. 34)
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Chapter 7 Other Functions
Naming Favorite Settings
(FAVORITE NAME)
When storing Favorite Settings, you can also give the settings names.
Carry out the following procedure in Step 2 of “Saving to the
Favorite Settings” (p. 88).
Searching for Patches That Use
the Same Favorite Settings
Here is an example using the compressor effect.
1. Press [FX].
2. Press PAGE [ ] to go to Page 1.
1. Press [F5] (NAME).
The Name edit screen appears.
3. Press [F1] (COMP).
The number and name of the currently selected Favorite
2. Press PAGE [ ] [ ] to move the cursor to
the position with the character you want to
enter.
Settings are displayed.
3. Select the character with the PATCH/VALUE
dial.
As you continue to rotate the PATCH/VALUE dial, the
character guide automatically switches from uppercase letters
to lowercase letters, numerals, and symbols.
You can carry out the following operations by pressing [F1]–
[F5].
If not using the Favorite Settings, proceed to Step 4.
4. Press [F6] (EDIT).
Buttons
Functions
Inserts a blank space at the cursor position.
[F1] (INSERT)
Deletes the character and shifts the follow-
ing characters to the left.
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
Enters a blank space at the cursor position.
5. Press PAGE [ ] to display the last page (in
Switches between letters, numerals, and
symbols.
this case, Page 3).
Switches between uppercase and lowercase
letters.
6. Use [F1] (SELECT) or the F1 knob to select
FAVORITE WRITE.
[F5] (A<=>a)
The FAV WRITE screen appears.
4. Repeat Steps 2 and 3 to complete the Favorite
Setting name.
5. When you have finished editing the name,
press [EXIT].
The Favorite Settings save screen returns to the display.
6. Press [F6] (WRITE); the settings are saved.
7. Rotate F2 (SELECT) to select the Favorite
Settings you want to search for.
7. Press [EXIT] several times to return to the Play
screen.
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Chapter 7 Other Functions
8. Press [F3] (SEARCH).
Controlling Video Images
with Your Bass (V-LINK)
The VB-99 features the V-LINK function.
With the VB-99 connected to another V-LINK compatible device,
you can use your bass performance to control playback of video
images.
A list of patches using the selected Favorite Setting is displayed.
9. You can scroll through the list using [F3] and
[F4] or the F3 and F4 knobs.
What is V-LINK?
V-LINK is a function that synchronizes the performance of music
10. Press [F5] (EXIT).
and video.
The list disappears from the screen.
Connecting V-LINK compatible devices to each other via MIDI
makes it simple to enjoy using a variety of video effects linked with
what you express in your performances.
11. Press [EXIT] several times to return to the Play
screen.
For example, combining the VB-99 with the EDIROL motion dive
.tokyo performance package lets you do the following.
•
•
•
Set the required information for motion dive .tokyo
performance package performances.
Switch motion dive .tokyo performance package video images
(palettes/clips) and control the video brightness and hue.
Enjoy synchronized performances of music and video.
Be sure also to read the owner’s manual for the
connected V-LINK compatible device.
Connecting the V-LINK Device
Connect the VB-99’s MIDI OUT connector to the V-LINK compatible
device.
When connecting these and other devices, turn down the
volume completely on all the devices and turn off their power
before connecting to prevent malfunction and damage to
speakers and other equipment.
MIDI IN
MIDI OUT
V-LINK Compatible Device
(EDIROL P-10, MD-P1 or CG-8 etc.)
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Chapter 7 Other Functions
4. Press [F1] (CLIP).
Switching V-LINK On and Off
The PATCH/CLIP screen appears.
1. Connect the VB-99’s MIDI OUT connector to
the V-LINK compatible device.
2. Turn on the power to the device to start it up.
3. Press [V-LINK].
V-LINK is switched on, and [V-LINK] lights up.
The function set in “Setting V-LINK” (p. 91) is enabled,
allowing you to control the video images and have them linked
with the performance on the VB-99.
5. Use [F1] and [F2] or the F1 or F2 knobs to set
the palette and clip for V-LINK Channel B with
[F4] and [F5] or the F4 or F5 knobs.
Available V-LINK
Transmitted
MIDI Messages
Parameter
Even with V-LINK on, the VB-99 operates as normal.
Setting
Function
PALETTE
OFF, 1–32
Changing the CC00 (Bank Select):
palette. 00H–1FH
Changing the Program Change:
clip. 00H–1FH
Depending on the settings in “MIDI ROUTING” (p. 53),
signals may not be output from MIDI OUT. In such
cases, V-LINK signals are not output either.
CLIP
OFF, 1–32
Setting the String Channel (STRING CH)
This setting determines which of the V-LINK device’s channels is
used in controlling the note messages output when a string is
played. This can be set individually for each string.
4. Press [V-LINK] once more.
The [V-LINK] light goes off, and the V-LINK function is
switched off.
When the V-LINK function is switched off, all V-LINK-
related MIDI messages are no longer output.
1. Follow Steps 1–3 in “Making the Palette and
Clip Settings (PALETTE/CLIP)” (p. 91) to
display the V-LINK screen.
2. Press [F4] (STR CH) to select the channel to be
Setting V-LINK
controlled with each string.
Making the Palette and Clip Settings
STRING CH
(PALETTE/CLIP)
HiC, 1–4th,
LowB
Explanation
This sets the Program Change messages transmitted when patches
are switched.
OFF
No channel is controlled.
You can set different Program Changes in Channel A and Channel B.
A CH
Channel A of the V-LINK compatible device is
controlled.
1. Press [SYSTEM].
B CH
C CH
Channel B of the V-LINK compatible device is
controlled.
2. Press PAGE [ ] [ ] to go to Page 2.
MIDI Note plug-in is controlled.
3. Press [F4] (V-LINK).
The V-LINK screen appears.
Some V-LINK compatible models such as the EDIROL
DV-7PR allow only Channel A to be used.
Note messages output with the V-LINK function are
affected by the parameters set in “Playing an External
Synthesizer Sound Module (BASS TO MIDI)” (p. 58) as
well as the STRING CH settings.
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Chapter 7 Other Functions
Setting the Assign (ASSIGN1–2)
These settings are necessary for controlling video using the bass’s
performance data and messages from the VB-99’s controllers.
You can make up to two types of settings.
1. Follow Steps 1–3 in “Making the Palette and
Clip Settings (PALETTE/CLIP)” (p. 91) to
display the V-LINK screen.
2. Press [F2] (ASGN1) or [F3] (ASGN2) to select
Assign 1 or Assign 2.
source to be used in operating the target.
4. Use [F2] (SELECT) or the F2 knob to set the
target.
For more on the source and target parameters, refer to “V-LINK
PATCH” (p. 153).
5. Rotate the F3 knob to set the minimum value
for the TARGET parameter’s control range.
6. Rotate the F4 knob to set the maximum value
for the TARGET parameter’s control range.
7. If you want to save the edited settings,
perform the Write procedure (p. 34).
*
If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 7 Other Functions
Using the VB-99 on a Stand
You can use the VB-99 while attached to a PDS-10 stand (optional).
928, 929
•
To prevent the PDS-10 stand from falling, use the attached
cable ties to wind all cables around the stand, as shown in
the figure below.
1. Turn the VB-99 over and remove the screws
from the bottom panel.
2. Attach the mounting plate as shown in the
figure, using the screws removed in Step 1 or
the knob nuts included with the kit.
Cable tie
•
•
Use the screws (M5 x 10) included with the VB-99 to attach
the PDS-10 mounting plate. Use of other screws may
damage the device internally or cause the unit to be
inadequately secured.
3. Attach the VB-99 to the stand.
When turning the unit over, place some newspapers,
magazines, or other such material under the four corners
or at both ends to prevent damage to the buttons, dials,
and other controls. Also, try to orient the unit so no
buttons or controls are damaged.
•
•
When turning the unit upside-down, handle with care to
avoid dropping it, or allowing it to fall or tip over.
When removing the screws, be sure to keep them out of
the reach of children to prevent smaller children from
accidentally swallowing them.
For instructions on how to assemble the PDS-10 and
attach the mounting plate, refer to the Owner’s Manual
that came with the PDS-10.
•
Take care not to allow hands and fingers to become
pinched when attaching and removing the units.
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Chapter 7 Other Functions
Using the VB-99 Mounted in
a Rack
By employing the separately available RAD-99 rack mount adaptor ,
you can use the VB-99 in a rack-mounted configuration.
928, 929
•
Use the screws (M5 x 10) included with the VB-99 to
attach the RAD-99. Use of other screws may damage the
device internally or cause the unit to be inadequately
secured.
•
When turning the unit over, place some newspapers,
magazines, or other such material under the four corners
or at both ends to prevent damage to the buttons, dials,
and other controls. Also, try to orient the unit so no
buttons or controls are damaged.
1. Turn the VB-99 over and remove the screws
from the bottom panel.
•
•
When turning the unit upside-down, handle with care to
avoid dropping it, or allowing it to fall or tip over.
When removing the screws, be sure to keep them out of
the reach of children to prevent smaller children from
accidentally swallowing them.
•
Take care not to allow hands and fingers to become
pinched when attaching and removing the units.
2. Attach the RAD-99 as shown in the figure,
using the screws removed in Step 1 or the
knob nuts included with the kit.
3. Mount the VB-99 in the rack.
Use screws (in four places) to securely affix the unit to the rack.
*
Use the screws included with the rack.
For instructions on how to assemble the RAD-99 and
adjust the angle of attachment, refer to the RAD-99
Owner’s Manual.
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Chapter 7 Other Functions
Restoring the VB-99 to its
Original Factory Condition
(FACTORY RESET)
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 3.
3. Press [F2] (F.RST).
The FACTORY RESET screen appears.
4. Select the parameters you want to restore to
the original factory condition.
Explanation
Available Settings
ALL
All data
System parameters
SYSTEM
Content of GK settings
Content of settings for the Global function
Content of settings for PATCH 001–200
GK SETTING
GLOBAL
PATCH
FAVORITE
SETTING
Content of settings for FAVORITE SET-
TINGS 01–10 for all effects
5. Press [F6] (EXEC).
6. To execute Factory Reset, press [WRITE].
*
To cancel Factory Reset, press [EXIT].
When Factory Reset is completed, the display returns to the
Play screen.
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Chapter 8 Parameters Guide
In this chapter you’ll find detailed descriptions for each of the VB-99’s operational parameters.
The trademarks listed in this document are trademarks of their respective owners, which are separate companies from Roland.
Those companies are not affiliated with Roland and have not licensed or authorized Roland’s VB-99.
Their marks are used solely to identify the equipment whose sound is simulated by Roland’s VB-99.
COSM BASS
The COSM BASS section provides a rich array of settings that allow you to produce an enormous variety of instrument tones. In addition to
traditional bass parameters—such as settings for the pickup, body, and string tuning—you can also produce tones not normally available from a
bass guitar, including synthesizer and electric guitar sounds.
Parameter/
Explanation
Range
COSM BASS SW
Turns the COSM bass on/off.
OFF
Normal pickup sound and COSM bass are not played.
COSM bass is played.
ON
NORMAL PU
Normal pickup sound is played.
MODLNG TYPE (Modeling Type)
E.BASS
AC BASS
SYNTH
E. GTR
This models an electric bass.
This models an acoustic bass.
This produces synthesizer sound.
This converts a bass guitar sound to an electric guitar sound.
E. BASS TYPE (Electric Bass Type)/SYNTH TYPE (Synthesizer Type)/E. GTR TYPE (Electric Guitar Type)
Refer to Modeling Type
List
Select the COSM bass from each modeling type.
The parameters that can be set will depend on the type. For details on the parameters, refer to the corresponding item.
*
COSM bass configuration
OFF
ON
E.BASS/
AC BASS/
SYNTH/
E.GTR
PITCH
SHIFT
MIX LEVEL/
NS
DIVIDED PU
To the FX, COSM AMP
EQ
NORMAL
COSM BASS
SW
NORMAL PU
Modeling Type List
E. BASS TYPE (Electric Bass Type)
Parameter/
Explanation
Range
VINT JB
JB
This models a Fender Jazz Bass from the sixties.
This models a Fender Jazz Bass from the late seventies or later.
This models a Fender Precision Bass from the early sixties.
This models a Fender Precision Bass from the late seventies or later.
This models a Music Man StingRay Bass from the seventies.
This models a Rickenbacker 4001.
VINT PB
PB
M-MAN
RICK
T-BIRD
ACTIVE
VIOLIN
VARI
This models a Gibson Thunderbird.
This models a modern bass equipped with an active pickup.
This models a Höfner Violin Bass.
This allows you to use up to two pickups of your choice, selecting from double-coil, single-coil and piezo. If you use
double-coil or single-coil type pickups, you may freely adjust the location of the pickups.
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COSM BASS
Chapter 8 Parameters Guide
SYNTH TYPE (Synthesizer Type)
Parameter/
Explanation
Range
ANALOG GR
This is the sound of a vintage analog polyphonic bass guitar synthesizer.
Equipped with Hexa VCO and VCF (variable cutoff-frequency filter) that generates sawtooth waves independently for
each of the six strings, this sound accommodates hexa-distortion and pitch shifting, and enables you to enjoy analog-
synthesizer tones while producing all the nuances of live bass guitar play.
WAVE SYNTH
OSC SYNTH
This algorithm creates synth sounds by directly processing the string signal from the divided pickup. It allows a natural
feeling of playability.
This detects the pitch and attack information in the input bass sound and outputs signals produced by the built-in os-
cillator.
FILTER
This instrument is like a bass whose sound is passed through a filter.
This represents stringed musical instruments played with a bow.
This produces sounds like a soft woodwind lead instrument.
This is an instrument sound with a metallic luster.
BOWED
PIPE
CRYSTL (Crystal)
ORGAN
This is a long tone instrument suitable for playing solo parts or slow songs. Like an organ, you should balance out the
volume levels for the three parameters (FEET 16, 8, 4) to create just the sound you’re after.
BRASS
This instrument detects the pitch of the bass guitar and creates a synthesizer sound.
E.GTR TYPE (Electric Guitar Type)
Parameter/
Explanation
Range
ST (Stratocaster)
The sound of a Fender Stratocaster.
Simulates the installation of three single-coil pickups (passive type).
LP (Les Paul)
The sound of a Gibson Les Paul Standard.
Simulates the installation of two humbucking pickups (passive type).
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Chapter 8 Parameters Guide
COSM BASS
RICK
E.BASS (Electric Bass)
Parameters for the various electric bass models.
Parameter/
Range
Explanation
MASTER VOL (Master Volume)
VINT JB/JB/T-BIRD
0–100
Sets the overall bass volume level. With a
setting of 0, there will be no sound.
Parameter/
Explanation
Range
REAR VOL (Rear Volume)
0–100
Sets the volume of the rear pickup. With a
setting of 0, there will be no sound.
MASTER VOL (Master Volume)
0–100
Sets the overall bass volume level. With a
setting of 0, there will be no sound.
FRONT VOL (Front Volume)
0–100
Sets the volume of the front pickup. With a
setting of 0, there will be no sound.
REAR VOL (Rear Volume)
0–100
Sets the volume of the rear pickup. With a
setting of 0, there will be no sound.
REAR TONE (Rear Tone)
0–100
Adjusts the tone of the rear pickup.
FRONT VOL (Front Volume)
FRONT TONE (Front Tone)
0–100
Sets the volume of the front pickup. With a
setting of 0, there will be no sound.
0–100
Adjusts the tone of the front pickup.
TONE
PU SEL (Pickup Select)
0–100
Adjusts the tone.
REAR
Use the rear pickup.
R+F
Use both rear and front pickups.
Use the front pickup.
FRONT
VINT PB/PB
Parameter/
Range
Explanation
ACTIVE
VOL (Volume)
0–100
Parameter/
Range
Explanation
Sets the volume. With a setting of 0, there
will be no sound.
MASTER VOL (Master Volume)
0–100
TONE
0–100
Sets the overall bass volume level. With a
setting of 0, there will be no sound.
Adjusts the tone.
REAR VOL (Rear Volume)
0–100
Sets the volume of the rear pickup. With a
setting of 0, there will be no sound.
M-MAN
Parameter/
Range
FRONT VOL (Front Volume)
Explanation
0–100
Sets the volume of the front pickup. With a
VOL (Volume)
setting of 0, there will be no sound.
0–100
Sets the volume. With a setting of 0, there
will be no sound.
TREBLE
0–100
Adjusts the tone for the high frequency
range.
TREBLE
-50–+50
Adjusts the tone for the high frequency
range.
BASS
0–100
Adjusts the tone for the low frequency
range.
BASS
-50–+50
Adjusts the tone for the low frequency
range.
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COSM BASS
VIOLIN
Chapter 8 Parameters Guide
Parameter/
Range
Explanation
Parameter/
Range
Explanation
BASS *5
-50–+50
Adjusts the tone for the low frequency
range.
MASTER VOL (Master Volume)
0–100
Sets the overall bass volume level. With a
setting of 0, there will be no sound.
REAR PU (Rear Pickup),
FRONT PU (Front Pickup)
REAR VOL (Rear Volume)
0–100
TYPE
Sets the volume of the rear pickup. With a
setting of 0, there will be no sound.
Specify the type of pickup.
SINGLE
DOUBLE
PIEZO
A single-coil pickup.
FRONT VOL (Front Volume)
A double-coil pickup.
A piezo pickup.
0–100
Sets the volume of the front pickup. With a
setting of 0, there will be no sound.
Switches the rear pickup on/off.
Switches the front pickup on/off.
POS (Position)
5–450mm
TREBLE ON
OFF, ON
Specifies the location of the pickup in terms
of the distance from the bridge. Higher set-
tings will simulate a greater distance be-
tween the pickup and bridge.
BASS ON
OFF, ON
* It is not possible to set the position if
“PIEZO” is selected as the pickup type.
RHYTHM/SOLO
RHYTHM
The volume will be set to 50.
The volume will be set to 100.
PHASE
SOLO
Specify the phase of the pickup when mixing the front and rear pick-
ups.
VARI
IN
The pickup will be mixed in normal phase.
The pickup will be mixed in reverse phase.
OUT
Parameter/
Range
Explanation
OFFSET
CTL TYPE (Control Type)
-445–+445mm
Finely adjust the rear pickup position for
each string.
2V2T
2V1T
BAL
Two volume and two tone controllers.
* It is not possible to set the offset if “PIEZO”
is selected as the pickup type.
Two volume and one tone controller.
One balance and one tone controller.
Bass and treble controllers.
*1 Setting available with CTL TYPE set to 2V2T or 2V1T.
*2 Setting available with CTL TYPE set to BAL or 2BAND.
*3 Setting available with CTL TYPE set to 2V2T.
2BAND
MASTER VOL (Master Volume) *1
0–100
Sets the overall bass volume level. With a
setting of 0, there will be no sound.
VOL (Volume) *2
*4 Setting available with CTL TYPE set to 2V1T or BAL.
*5 Setting available with CTL TYPE set to 2BAND.
0–100
Sets the overall bass volume level. With a
setting of 0, there will be no sound.
REAR VOL (Rear Volume) *1
0–100
Sets the volume of the rear pickup. With a
setting of 0, there will be no sound.
FRONT VOL (Front Volume) *1
0–100
Sets the volume of the front pickup. With a
setting of 0, there will be no sound.
BAL (Balance) *2
R100:0F–R0:100F
Adjusts the volume balance of the rear pick-
up and front pickup.
REAR TONE *3
-50–+50
Adjusts the tone of the rear pickup.
Adjusts the tone of the front pickup.
Adjusts the tone of the pickup.
FRONT TONE *3
-50–+50
TONE *4
-50–+50
TREBLE *5
-50–+50
Adjusts the tone for the high frequency
range.
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Chapter 8 Parameters Guide
COSM BASS
AC BASS (Acoustic Bass)
Parameters for the acoustic bass model.
SYNTH (Synthesizer)
Parameters for the synthesizer sound.
ANALOG GR
Parameter/
Explanation
Range
Parameter/
Explanation
Range
LEVEL
0–100
MASTER LEVEL
0–100
Adjusts the volume. With a setting of 0,
there will be no sound.
Sets the volume.
MODE
BODY
0–100
This setting determines whether the HEXA-VCO (sawtooth wave) or the
HEXA-DISTORTION (rectangular wave) is played, or if both are played.
This sets the volume level of the resonant
sound produced by the panels and cavity
(the body resonation).
VCO
V+D
The HEXA-VCO sound is played.
The HEXA-VCO and HEXA-DISTORTION
sounds are played simultaneously.
*
The body resonance is monophonic. This
means that if this Body parameter is set to
100, the panning of each string will have
less effect.
DIST
The HEXA-DISTORTION sound is played.
COMP (Compression)
RESO (Resonance)
OFF, ON
When this is set to ON, the HEXA-VCO’s
decay time is extended.
When ENV MOD SW is set to ON, the VCF (vari-
able frequency filter) decay time is also extended
0–100
Adjusts the body resonance. The resonance
increases as the value is raised.
SIZE
* The HEXA-DISTORTION decay time is not
extended.
-50–+50
Specifies the size of the body. This modifies
the resonant frequency to simulate changes
in body size. A setting of 0 will produce a
normal resonance.
CUTOFF FREQ (Cutoff Frequency)
0–100
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The sound
gets brighter (harder) as the value is raised.
ATTACK
0–100
This sets the intensity of the attack when the
strings are fingered. The higher the value
you set, the greater the intensity of the
sound produced when the strings are
played. The attack of the body sound will in-
crease as well.
RESO (Resonance)
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
BOTTOM
0–100
ENV MOD (Envelope Modulation)
This automatically changes the VCF cutoff frequency according to
the amplitude of the string vibration. This allows you to change the
tone with a wah-like effect each time you pick a string.
This sets the volume level of string vibra-
tion.
BUZZ SENS (Buzz Sensitivity)
0–100
This sets the sensitivity for the distinctive
harmonics of an acoustic bass. Adjust this to
match the velocity of fingering.
SW
OFF
Envelope modulation is not used.
ON
This causes the VCF cutoff frequency to
change from a high to low frequency each
time the string is picked.
DECAY
0–100
This sets the decay of the string vibration.
This produces a wah-like effect, with the
sound going from low frequencies to high.
Setting the cutoff frequency to an
extremely high value makes the effect
difficult to discern.
INV
As opposed to the ON setting, this allows
you to have the VCF cutoff frequency
change from a low to high frequency each
time the string is picked.
This produces a reverse wah-like effect, with
the sound going from high frequencies to low.
Setting the cutoff frequency to a
relatively high value makes the effect
easier to discern.
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COSM BASS
Chapter 8 Parameters Guide
Parameter/
Range
Parameter/
Range
Explanation
Explanation
SWEEP
SENS (Sensitivity)
This SWEEP function smoothly changes the amount of pitch shift
when the amount of pitch shift is changed with PITCH SW.
0–100
Adjusts the input sensitivity for the envelope
modulation function. As the value is raised,
the change from the envelope modulation
broadens with progressively weaker playing.
SW
OFF, ON
Turns the SWEEP function on/off.
Confirm the change in the tone as you
make the adjustment. Try setting the
value near 0, then gradually raise it as
you pick a string. Setting the attack time
to 0 makes the changes easier to discern.
PITCH SW is normally controlled after
the settings for the operation of PITCH
SW are made in Control Assign.
* The SWEEP function is enabled when the
amount of shift in the pitch of the HEXA-
VCO is changed through the operation of
PITCH SW. It is not activated in response to
changes in the pitch of the input when the
amount of pitch shift does not change. No
effect is produced when the SWEEP SW in
RISE and FALL is set to OFF.
ATTACK
0–100
Adjusts the attack time for the change in the en-
velope modulation produced by playing. Rais-
ing the value slows the attack.
PITCH A/PITCH A FINE,
PITCH B/PITCH B FINE
These parameters adjust the amount of pitch shift.
RISE
0–100
* This is enabled when the PITCH SW parameter is set to anything other
than OFF.
Adjusts the amount of time for the pitch to
shift when the PITCH SW parameter is
switched and the sound changes to a higher
pitch.
When set to zero, the pitch changes instant-
ly; at higher values, the pitch rises more
slowly.
* The final amount of shift in the pitch is the sum of the pitch shift set
with PITCH and PITCH FINE.
PITCH A
PITCH B
-12–+12
This sets the amount of shift in pitch from
the original sound in semitone increments.
A setting of -12 lowers the pitch one octave,
while +12 raises the pitch one octave.
FALL
0–100
Adjusts the amount of time for the pitch to
shift when the PITCH SW parameter is
switched and the sound changes to a lower
pitch.
When set to zero, the pitch changes instantly;
at higher values, the pitch falls more slowly.
PITCH A FINE
PITCH B FINE
-50–+50
This finely adjusts the pitch. A setting of -50
lowers the pitch one semitone; +50 raises the
pitch by one semitone.
You can use this FINE setting effectively in
the DUET feature that follows.
PITCH SW
VIBRATO
This setting allows you to switch on and off the pitch shift, which en-
ables the pitch of the HEXA-VCO sound to shift in response to the
pitch of the sound caused by the string’s vibration.
You can apply an electronic vibrato effect to the HEXA-VCO.
SW
OFF, ON
*
PITCH SHIFT is applied only to the HEXA-VCO, not the HEXA-
Turns the VIBRATO function on/off.
DISTORTION. Set MODE to VCO or V+D when using the pitch shift function.
A
The shift in pitch set with PITCH A and
PITCH A FINE is applied.
By setting VIBRATO SW as the function
to be controlled in Control Assign and
then switching the VIBRATO SW to ON
as you are playing, you can apply
stronger vibrato at whatever point in a
performance you want.
OFF
B
The pitch of the original source sound is un-
changed.
The shift in pitch set with PITCH B and
PITCH B FINE is applied.
DUET
OFF, ON
* You cannot apply vibrato to the HEXA-
DISTORTION.
When DUET is set to ON, then in addition to
the HEXA-VCO, a sawtooth wave is played
at the same pitches as the source sound,
adding greater breadth to the sound.
RATE
0–100
This adjusts the rate of the vibrato. Raising
the value increases the rate.
DEPTH
0–100
Setting HEXA-VCO pitch shifts to values
such as PITCH+/-12 (up or down an
octave), +/-7 (perfect fifth), or +/-5
(perfect fourth) produces a thicker sound
like that from a synthesizer.
You can add further depth to the sound by
setting PITCH FINE to +/-5, thus slightly
shifting the pitch of the HEXA-VCO.
This adjusts the depth of the vibrato. No vi-
brato is added when the value is set to 0. The
vibrato deepens as the value is raised.
*
When ANALOG GR has been selected for COSM BASS, using
SHIFT, HARMO, or BEND to make settings that shift the pitch in an
extreme way may make sound generation unstable.
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Chapter 8 Parameters Guide
WAVE SYNTH
COSM BASS
OSC SYNTH
Parameter/
Explanation
Range
Parameter/
Range
Explanation
MASTER LEVEL
0–100
MASTER LEVEL
0–100
Sets the volume.
Sets the volume.
WAVE SHAPE
OSC SHAPE
SQ=0, SW=100–
SQ=100, SW=0
Specifies the waveform by adjusting the bal-
ance of SQ (square wave) and SW (sawtooth
wave).
Selects the wave type on which the synth sound is based.
SAW
Creates a synth sound with a sawtooth waveform.
Creates a synth sound with a square waveform.
SQUARE
SENS (Sensitivity)
0–100
WAVE SENS (Wave Sensitivity)
Adjusts the input sensitivity
0–100
This adjusts the input sensitivity to be used
PWM WIDTH
0–100
for detecting when a string has been played.
Adjusting this parameter allows you to sup-
press erroneous processing of volume and
tone changes after a string is played.
Adjusts the width of the positive phase and
negative phase of the SQUARE wave.
PWM RATE
0–100
WAVE ATTACK
Adjusts the frequency at which the pulse
width of the SQUARE wave will be modu-
lated.
0–100
Adjusts the time it takes for the synth sound to
rise after a string is plucked. When it is set to a
lower value, the sound will rise quickly. When
it is set higher, the sound will rise slowly.
PWM DEPTH
0–100
Adjusts the depth to which the pulse width
of the SQUARE wave will be modulated.
WAVE DECAY
0–100
Adjusts the time it takes for the synth sound to
decay. The synth sound decays more quickly
when this parameter is set to a lower value. Set-
ting a higher value increases the decay time.
*
PWM WIDTH, RATE, and DEPTH will have
no effect if OSC SHAPE is SW=100 and
SQ=0.
CUTOFF
ENV FOLLOW (Envelope Follow)
0–100
Adjusts the cutoff frequency at which the fil-
ter cuts off the sound’s harmonic compo-
nents.
This parameter determines the sound that
will result after the filter has stopped vary-
ing due to FILTER DEPTH.
OFF, ON
When set to “ON,” the sound is generated
according to the amplitude of the strings.
When set to “OFF,” the sound is generated
at a fixed level.
HOLD
OFF, ON
This function sustains the output of the
synth sound. If you turn Hold “ON” while
the synth sound is being output, the output
of the synth sound will be held until you turn
it “OFF.” It would be useful when you assign
it to the CTL pedal, and use it while you per-
form. Normally, you should set this “OFF.”
RESO (Resonance)
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
FILTER TYPE
-12 dB, -24 dB
CUTOFF (Cutoff Frequency)
Selects the curve of attenuation in the filter.
The -24 dB setting has very steep filtering
characteristics.
0–100
Adjusts the brightness (hardness) of the
sound. Increasing this value will brighten
the sound.
FILTER ATTACK
0–100
RESO (Resonance)
Sets the filter attack time.
Sets the filter decay time.
0–100
Adjusts the amount of resonance (tonal
character) for the synthesizer sound. In-
creasing this value will produce a more
strongly distinctive tone.
FILTER DECAY
0–100
FILTER DEPTH
-50–+50
FILTER TYPE
Adjusts the depth of the filter’s change.
When set to a positive value, the VCF cutoff
frequency shifts from a high value to a low
value. When set to a negative value, the VCF
cutoff frequency shifts from a low value to a
high value.
-12 dB, -24 dB
Specifies the depth of the effect produced by
the filter.
FILTER ATTACK
0–100
Specifies the attack time of the filter.
FILTER DECAY
0–100
Adjusts the time over which the filter will
come to rest.
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COSM BASS
Chapter 8 Parameters Guide
BOWED/PIPE
Parameter/
Range
Parameter/
Range
Explanation
Explanation
FILTER DEPTH
-50–+50
MASTER LEVEL
0–100
Adjusts the depth of the filter. Increasing
this value will produce a greater amount of
filter change. “+” and “-” will cause the filter
to move in opposite directions.
Sets the volume.
FILTER CUTOFF
0–100
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The sound
gets brighter (harder) as the value is raised.
SUB OSC
Adds depth to the sound by layering a synth sound onto each string.
OFF
SUB OSC is not used.
FILTER RESO (Filter Resonance)
DETUNE
Adds depth to the sound by layering a
pitch-shifted sound.
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
-1OCT
Adds depth to the sound by layering sound
one-octave lower.
SUB DETUNE
-50–+50
TOUCH SENS (Touch Sensitivity)
Specify the pitch of the DETUNE sound in
units of a cent.
0–100
This sets the sensitivity when the filter is
shifted according to the playing. The shifting
of the filter caused by the playing increases
as the value is raised. When the value is set to
0, the filter remains set, with no movement.
SUB LEVEL
0–100
Specify the volume of the DETUNE sound
or -1OCT sound.
POWER BEND
A higher setting results in a darker sound. At the same time, the tone
and volume also change with respect to fluctuations in pitch pro-
duced by vibrato or other techniques.
FILTER
Parameter/
Range
Explanation
0–100
The higher the value, the more strained the
sound becomes.
MASTER LEVEL
0–100
POWER BEND Q
Sets the volume.
0–100
The higher the value, the more the sound will
consist of mainly the harmonic components, thus
creating a sound that exhibits almost no attack.
FILTER CUTOFF
0–100
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The
sound gets brighter (harder) as the value is
raised.
SUSTAIN
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
FILTER RESO (Filter Resonance)
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
TOUCH SENS (Touch Sensitivity)
0–100
This sets the sensitivity when the filter is
shifted according to the playing. The shift-
ing of the filter caused by the playing in-
creases as the value is raised. When the
value is set to 0, the filter remains set, with
no movement.
FILTER DECAY
0–100
This sets the speed at which the filter stops.
The speed increases as the value of the set-
ting is reduced.
* The decay effect cannot be obtained if the
TOUCH SENS value is too low.
COLOR
0–100
Adjusts the strength of the low range. As the
value is increased, the low range will be-
come stronger.
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Chapter 8 Parameters Guide
CRYSTL
COSM BASS
BRASS
Parameter/
Explanation
Range
Parameter/
Range
Explanation
MASTER LEVEL
0–100
MASTER LEVEL
0–100
Sets the volume.
Sets the volume.
ATTACK LENGTH
0–100
FILTER CUTOFF
0–100
This sets the decay time for the attack por-
tion of the sound. A smaller setting results
in a shorter attack.
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The
sound gets brighter (harder) as the value is
raised.
MOD TUNE (Modulation Tune)
0–100
This sets the tuning for the modulation ap-
plied to the attack.
FILTER RESO (Filter Resonance)
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
MOD DEPTH (Modulation Depth)
0–100
This sets the depth of the modulation ap-
plied to the attack. Larger values result in
deeper undulations.
TOUCH SENS (Touch Sensitivity)
ATTACK LEVEL
0–100
0–100
This sets the sensitivity when the filter is
This sets the volume level of the attack portion.
shifted according to the playing. The shift-
ing of the filter caused by the playing in-
creases as the value is raised. When the
value is set to 0, the filter remains set, with
no movement.
BODY LEVEL
0–100
This sets the volume level for the sustained
portion of the sound.
SUSTAIN
0–100
SUSTAIN
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
ORGAN
Parameter/
Range
Explanation
MASTER LEVEL
0–100
Sets the volume.
FEET 16’
0–100
This is a long tone at the same pitch as the bass.
FEET 8’
0–100
This is a long tone one octave lower than the
bass.
FEET 4’
0–100
This is a long tone two octave higher than
the bass.
SUSTAIN
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
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COSM BASS
Chapter 8 Parameters Guide
E.GTR (Electric Guitar)
Parameters for the electric guitar models.
COSM BASS Common
Parameters
Besides the other COSM BASS parameters, the VB-99 also includes
the following shared parameters.
ST
Parameter/
Explanation
Range
EQ
A four-band equalizer with high and low ranges is provided.
VOL (Volume)
0–100
Sets the volume. With a setting of 0, there
will be no sound.
Parameter/
Explanation
Range
TONE
0–100
EQ SW (Equalizer Switch)
Adjusts the tone. The standard value is 100;
lowering the value creates a softer tone.
OFF, ON
Turns the EQ effect on/off.
TOTAL GAIN
-12–+12dB
PU SEL (Pickup Select)
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
REAR
Use the rear pickup.
LOW GAIN
-12–+12dB
R+C
Use both center and rear pickups.
Use the center pickup.
CENTER
C+F
Use both front and center pickups.
Use the front pickup.
HIGH GAIN
-12–+12dB
FRONT
LOW MID FREQ (Low Middle Frequency)
LP
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
Parameter/
Range
Explanation
LOW MID Q (Low Middle Q)
VOL (Volume)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
0–100
Sets the volume. With a setting of 0, there
will be no sound.
LOW MID GAIN (Low Middle Gain)
TONE
0–100
-12–+12dB
Adjusts the low-middle frequency range
tone.
Adjusts the tone. The standard value is 100;
lowering the value creates a softer tone.
HIGH MID FREQ (High Middle Frequency)
PU SEL (Pickup Select)
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN
REAR
Use the rear pickup.
R+F
Use both rear and front pickups.
Use the front pickup.
HIGH MID Q (High Middle Q)
FRONT
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
Adjusts the high-middle frequency range tone.
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Chapter 8 Parameters Guide
PITCH
COSM BASS
Parameter/
Range
Explanation
Parameter/
Explanation
Range
DIRECT LEVEL HiC, 1–4th, LowB *4
0–100
Adjusts the volume of the direct sound for
each string.
PITCH SHIFT (Pitch Shift)
OFF, ON
Turns pitch shift on/off.
LEVEL HiC, 1–4th, LowB *5
0–100
SHIFT MODE (Pitch Shift Mode)
Selects the operation of pitch shift.
Adjusts the volume of the pitch shift sound
for each string.
SHIFT
This lets you fine tune the setting for the
fixed amount of pitch shift.
*1 Setting available with SHIFT MODE set to HARMO.
*2 Setting available with SHIFT MODE set to SHIFT.
*3 Setting available with HARMO set to USER.
HARMO
This analyzes the pitch of the bass input and
shift. You can use this to create diatonic-
scale harmonies.
*4 Setting available when MODLNG TYPE for COSM BASS is set
to E.BASS, AC BASS, or SYNTH.
KEY *1
C Am–B G#m
Specify the key of the song you are playing.
*5 Setting available when MODLNG TYPE for COSM BASS is set
to E.GTR.
This KEY parameter is the same as the Key
setting in the [NAME/KEY/BPM] section
(p. 142) and FX MOD1, 2 HARMONIST.
Altering either one changes the key.
*
When ANALOG GR has been selected for COSM BASS, using
SHIFT, HARMO, or BEND to make settings that shift the pitch in an
extreme way may make sound generation unstable.
HARMO (Harmony) *1
-2oct–TONIC–+2oct,
USER
This sets the pitch for the harmony interval rel-
ative to the input sound.
When this is set to USER, you can set this to the
desired harmony in USER INTERVAL.
Creating Harmony Scales (User Harmony)
When HARMO is set to any value from -2oct to +2oct, and the
harmony does not sound the way you intend, use a User harmony.
You can set the corresponding pitches to be output for each input
pitch.
BEND
0–100
Setting this to 0 makes for no shift in pitch
by bend, and setting it to 100 produces shift-
ing according to the settings for HiC, 1st
through 4th, LowB.
Normally, you can use the unit with BEND
for patches set at 0 and use Control Assign
to adjust the bend setting between 0 and
100.
1. Set HARMO to USER in the Harmony screen.
2. Press PAGE [
] .
The User Harmony screen appears.
fig.04-0100d
* This setting cannot be saved with the patch.
Switching patches resets the setting to 0.
SHIFT HiC, 1–4th, LowB *2
-24–+24
This sets the amount of pitch shift for each
individual string, in semitone steps.
3. Use PAGE [
] [
], [F1]–[F6], and the F1–F6 knob to set
the amount of pitch shift for each voice.
FINE HiC, 1–4th, LowB *2
-50–+50
This fine tunes the amount of change in the
pitch shift sound for each individual string.
USER HARMONY C–B *3
-24–+24
This sets the output pitch relative to the in-
put pitch for the selected key.
BEND SHIFT HiC, 1–4th, LowB
-24–+24
This sets the amount of pitch shift in each
string when the BEND is set to 100.
The amount of shift from the current pitch is
set in semitone increments.
DELAY HiC, 1–4th, LowB
0–100ms
This adjusts the delay of the pitch-shift
sound for each individual string.
EFFECT LEVEL HiC, 1–4th, LowB *4
0–100
Adjusts the volume of the pitch shift sound
for each string.
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COSM BASS
MIX
Chapter 8 Parameters Guide
Parameter/
Range
Explanation
STRING PAN HiC, 1–4th, LowB
L0:100R–L100:0R
This sets the left/right pan of each string.
* The pan effect is cancelled if a monaural effect
or COSM amp is connected after the COSM
bass.
STRING LEVEL HiC, 1–4th, LowB
0–100
Specifies the output level of each string.
MIX LEVEL
COSM BASS
0–100
Specifies the level of the COSM bass.
NORMAL PU (Normal Pickup)
0–100
Adjusts the volume of the normal pickup.
NS (Noise Suppressor) *1
This effect reduces the noise and hum picked up by bass pickups.
Since it suppresses the noise in synchronization with the envelope of
the bass sound (the way in which the bass sound decays over time),
it has very little effect on the overall sound, and does not harm its the
natural character.
SW (Noise Suppressor Switch)
OFF, ON
Turns the NS effect on/off.
THRSH (Threshold)
0–100
Adjust this parameter as appropriate for the
volume of the noise. If the noise level is
high, a higher setting is appropriate. If the
noise level is low, a lower setting is appro-
priate. Adjust this value until the decay of
the bass sound is as natural as possible.
REL (Release)
0–100
Adjusts the amount of time from the point at
which application of the noise suppressor
begins to when the volume is fully attenuat-
ed.
*1 Setting available when MODLNG TYPE for COSM BASS is set
to E.BASS, AC BASS, or E.GTR.
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Chapter 8 Parameters Guide
POLY
POLY FX (Poly Effect)
POLY LIMITR (Poly Limiter)
This lets you apply an independent limiter for each string. The limiter
suppresses the volume of sounds that exceed the threshold setting.
Parameter/
Explanation
Range
POLYFX SW (Poly Effect Switch)
OFF, ON
Turns the poly effect on/off.
Parameter/
Explanation
Range
TYPE
POLY COMP
POLY LIMITR
POLY DEFRET
POLY DIST
Select the poly effect type.
LIMITER ATTACK HiC, 1–4th, LowB
* The parameters that can be set differ with
each type. Refer to each of the parameters
cited later.
0–100
Adjusts the strength of the playing attack.
Larger values will result in a sharper attack,
creating a more clearly defined sound.
POLY EQ
LIMITER THRESHOLD HiC, 1–4th, LowB
POLY OCTAVE
POLY RING
POLY SG
0–100
Adjust this as appropriate for the input sig-
nal from your bass. When the input signal
level exceeds this threshold level, limiting
will be applied.
STRING MODLNG
LIMITER RATIO HiC, 1–4th, LowB
1:1–∞:1
POLYFX CH (Poly Effect Channel)
A, B
This selects the compression ratio used with
This selects the channel to which the POLY
FX are applied.
signals in excess of the threshold level.
Higher values create a stronger compres-
sion effect.
LIMITER RELEASE HiC, 1–4th, LowB
POLY COMP (Poly Compressor)
The Poly Compressor attenuates loud input levels and boosts
soft input levels, thus evening out the volume to create
sustain without distortion. With the Poly Compressor,
compression is applied separately to each string.
0–100
Adjusts the time from when the signal level
drops below the threshold until when limit-
ing is removed.
LIMITER TONE HiC, 1–4th, LowB
-50–+50
Adjusts the tone.
LIMITER LEVEL HiC, 1–4th, LowB
Parameter/
Explanation
Range
0–100
Adjusts the volume.
COMP SUSTAIN HiC, 1–4th, LowB
(Compressor Sustain)
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
COMP ATTACK HiC, 1–4th, LowB
(Compressor Attack)
0–100
Adjusts the strength of the playing attack.
Larger values will result in a sharper attack,
creating a more clearly defined sound.
COMP TONE HiC, 1–4th, LowB
(Compressor Tone)
-50–+50
Adjusts the tone.
COMP LEVEL HiC, 1–4th, LowB
(Compressor Level)
0–100
Adjusts the volume.
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POLY FX (Poly Effect)
Chapter 8
POLY DEFRET (Poly Defretter)
This changes the sound of a fretted bass guitar to make it resemble a
fretless bass guitar.
POLY EQ (Poly Equalizer)
Each string is provided with its own four-band equalizer, allowing
you to achieve the right tone by boosting or cutting any of the four
bands. The tone can be adjusted independently for each string.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
SENS (Sensitivity)
LOW GAIN HiC, 1–4th, LowB
0–100
This controls the input sensitivity of the de-
fretter.
-20–+20dB
Adjusts the low frequency range tone.
COLOR
0–100
LOW MID FREQ HiC, 1–4th, LowB
(Low Middle Frequency)
Adjusts how the harmonics of the sound’s
attack are produced.
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
TONE
0–100
Adjusts the tone.
LOW MID Q HiC, 1–4th, LowB (Low Middle Q)
LEVEL
0–100
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
Adjusts the volume.
LOW MID GAIN HiC, 1–4th, LowB
(Low Middle Gain)
POLY DIST (Poly Distortion)
You can individually distort the sound of each string to get a sound
that can be played chordally without breaking up.
-20–+20dB
Adjusts the low-middle frequency range
tone.
HIGH MID FREQ HiC, 1–4th, LowB
(High Middle Frequency)
Parameter/
Explanation
Range
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
TYPE
Selects the type of distortion.
HIGH MID Q HiC, 1–4th, LowB (High Middle Q)
OD1
OD2
A clear overdrive sound is obtained.
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
Allows you to obtain a rich effect just like
distortion, without losing the subtle nuance
of the overdrive.
HIGH MID GAIN HiC, 1–4th, LowB
(High Middle Gain)
DS1
DS2
Allows you to obtain a standard distortion
sound.
-20–+20dB
Adjusts the high-middle frequency range tone.
Allows you to obtain a distortion sound
with a rich middle.
HIGH GAIN HiC, 1–4th, LowB
-20–+20dB
Adjusts the high frequency range tone.
DRIVE
TOTAL GAIN HiC, 1–4th, LowB
0–100
This sets the degree of sound distortion.
Adjusts the tone.
-20–+20dB
Adjusts the overall volume level of the
equalizer.
TONE
-50–+50
EFFECT LEVEL
0–100
Adjusts the volume of the distortion sound.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
DRIVE BAL (Drive Balance)
-50–+50
Adjusts the degree of distortion between
low and high strings, to even out the volume
balance.
POLY BAL (Poly Balance)
0–100
Adjusts the degree of distortion for chordal
playing.
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Chapter 8 Parameters Guide
POLY
POLY OCTAVE (Poly Octave)
POLY SG (Poly Slow Gear)
This creates a volume-swell (violin-like) effect independently for each
string.
This supports playing technique related to octaves.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
-1 OCTAVE LEVEL HiC, 1–4th, LowB
RISE TIME
0–100
This adds sound one octave lower than the
original sound.
0–100
Adjusts the time needed for the volume to
reach its maximum from the moment you
begin playing.
-2 OCTAVE LEVEL HiC, 1–4th, LowB
0–100
This adds sound two octaves lower than the
original sound.
SENS (Sensitivity)
0–100
Adjusts the sensitivity.
DIRECT LEVEL HiC, 1–4th, LowB
When set to a lower value, the slow gear ef-
fect is only triggered with strong playing.
When set to a higher value, the slow gear ef-
fect can be triggered with both weak and
strong playing.
0–100
Adjusts the level of the original sound.
POLY RING
(Poly Ring Modulator)
This enables you to mix the internal oscillator with the input sound
and apply a ring modulator independently for each string, creating a
sound with pitchless metallic reverberations.
STRING MODLNG
(String Modeling)
This converts the sound of a bass guitar strung with round-wound
strings to the sound of a bass with flat wound or black nylon strings.
COSM BASS settings other than E.BASS may not produce the expect-
ed results.
Parameter/
Explanation
Range
MODE
This selects the operation of the ring modulator.
Parameter/
Explanation
Range
NORMAL
This is the normal ring modulator.
INTELLIGENT
This changes the oscillator frequency ac-
cording to the pitch of the input sound. Un-
like NORMAL, this produces sound that
has pitch.
STRING TYPE HiC, 1–4th, LowB
OFF
No conversion is performed.
FLAT WOUND
Converts sound to that of flat wound
strings.
FREQ (Frequency)
0–100
BLACK NYLON
Converts sound to that of black nylon
strings.
Adjusts the frequency of the internal oscilla-
tor.
STRING LEVEL HiC, 1–4th, LowB
DISTORTION
This effect makes the effect sound of the ring modulator more
extreme.
0–100
Specifies the output level of each string.
DRIVE
0–100
Adjusts the depth of distortion.
Adjusts the tone.
TONE
-50–+50
LEVEL
0–100
Adjusts the volume of the distortion sound.
EFFECT LEVEL HiC, 1–4th, LowB
0–100
Adjusts the volume of the effect sound.
DIRECT LEVEL HiC, 1–4th, LowB
0–100
Adjusts the volume of the direct sound.
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FX (Effects)
Chapter 8 Parameters Guide
FX (Effects)
COMP (Compressor)
Parameter/
Range
Explanation
This is an effect that attenuates loud input levels and boosts soft
input levels, thus evening out the volume to create sustain without
distortion. Many different types of compression are provided,
including digital models of vintage compressors, as well as limiters
that suppress only the sound peaks.
ATTACK *3
0–100
Adjusts the strength of the playing attack
when the strings are played. Higher values
result in s sharper attack, creating a more
clearly defined sound.
REL *2
0–100
Parameter/
Explanation
Range
Adjusts the time from when the signal level
drops below the threshold until when limit-
ing is removed.
COMP SW
OFF, ON
Turns the COMP effect on/off.
LOW THRSH *4
0–100
TYPE
Select the compressor type.
In the Low Frequency Range, when the in-
put signal level exceeds this threshold level,
limiting will be applied.
BOSS COMP
D-COMP
Models the BOSS CS-3
Models the MXR DynaComp.
This selects a stereo limiter.
Models the dbx 160x.
LOW RATIO *4
1:1–∞:1
BOSS LIMITR
RACK 160D
VTG RACK U
MULTI BAND
In the Low Frequency Range, this selects the
compression ratio used with signals in ex-
cess of the threshold level. Higher values
create a stronger compression effect.
Models the UREI 1178.
This limiter lets you divide the input signal
into four separate bands—ultra low, low,
high, and ultra high frequency ranges—and
apply different settings to the low and high
frequency ranges. You can set the frequen-
cies separating each band using the XOVER
F L, M, and H parameters.
HIGH THRSH *4
0–100
In the High Frequency Range, when the in-
put signal level exceeds this threshold level,
limiting will be applied.
HIGH RATIO *4
1:1–∞:1
In the High Frequency Range, this selects
the compression ratio used with signals in
excess of the threshold level. Higher values
create a stronger compression effect.
XOVER F L XOVER F M XOVER F H
DRIVE *5
0–100
Frequency
This adjusts the intensity of the effect that
amplifies a weak input signal to produce a
uniform volume level. Larger values will re-
sult in longer sustain.
Ultra Low
Frequency Range
High Frequency
Range
Low Frequency
Range
Ultra High
Freqency Range
TONE
-50–+50
LEVEL
0–100
* The limiter is applied neither to the ultra low
range, which is critical to the bass’s sound,
nor to the ultra high range, which affects the
nuance of the attack.
Adjusts the tone.
Adjusts the volume.
NATURAL
This compressor is configured using the
same frequency divisions as MULTI BAND,
but with simplified parameter settings.
X-OVER FREQ LOW (Crossover Frequency Low) *4
32Hz–315Hz
This sets the frequency dividing the ultra
low- and low-frequency ranges.
SUSTAIN *1
0–100
X-OVER FREQ MID (Crossover Frequency Middle) *4
This adjusts the intensity of the effect that
amplifies a weak input signal to produce a
uniform volume level. Larger values will re-
sult in longer sustain.
100Hz–4.00kHz
This sets the frequency dividing the low-
and high-frequency ranges.
X-OVER FREQ HIGH (Crossover Frequency High) *4
THRSH *2
0–100
2.50kHz–10.0kHz
This sets the frequency dividing the high-
and ultra high-frequency ranges.
Adjust this as appropriate for the input sig-
nal from your bass. When the input signal
level exceeds this threshold level, limiting
will be applied.
*1 Setting available with Type set to BOSS COMP or D-COMP.
*2 Setting available with Type set to BOSS LIMITR, RACK 160D,
or VTG RACK U.
*3 Setting available with Type set to BOSS COMP, D-COMP, BOSS
LIMITR, RACK 160D, or VTG RACK U.
RATIO *2
1:1–∞:1
This selects the compression ratio used with
signals in excess of the threshold level. Higher
values create a stronger compression effect.
*4 Setting available with Type set to MULTI BAND.
*5 Setting available with Type set to NATURAL.
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Chapter 8 Parameters Guide
FX (Effects)
OD/DS (Overdrive/Distortion)
EQ (Equalizer)
This effect distorts the sound to create long sustain.
The EQ is a powerful sound-shaping tool, with four frequency bands
and low cut and high cut filters. A parametric-type EQ is provided
for the high-middle and low-middle ranges.
12 different types of overdrive/distortion are provided.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
OD/DS SW
EQ SW (Equalizer Switch)
OFF, ON
Turns the OD/DS effect on/off.
OFF, ON
Turns the EQ effect on/off.
TYPE
TOTAL GAIN
-20–+20dB
Selects the type of distortion.
BOOSTER
This not only functions as a booster, but also
produces a clean tone that has punch even
when used alone.
Adjusts the overall volume level of the
equalizer.
LOW GAIN
-20–+20dB
NATURAL
This is a mild and natural overdrive sound.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
BASS DRIVER
Models the TECH21 SANSAMP BASS
DRIVER DI.
HIGH GAIN
-20–+20dB
BASS OD
Overdrive tuned especially for use with
basses.
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz
BLUES OD
The crunch sound of the BOSS BD-2.
This produces distortion that faithfully re-
produces the nuances of playing.
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
BASS DS
Distortion tuned especially for use with
basses.
LOW MID Q (Low Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
GUV DS
This models a Marshall GUV’ NOR.
Wild, radical distortion sound.
BASS MT
METAL ZONE
This is the sound of the BOSS MT-2.
It produces a wide range of metal sounds,
from old style to slash metal.
LOW MID GAIN (Low Middle Gain)
-20–+20dB
Adjusts the low-middle frequency range
tone.
BASS FUZZ
MUFF FUZZ
Fuzz tuned especially for use with basses.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz
This models an Electro-Harmonix Big Muff
π.
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
HI-BAND DRIVE
With this effect, distortion is applied only to
the high frequency sounds, and not to the
sounds in the low frequency range.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
DRIVE
0–100
Adjusts the depth of distortion.
Adjusts the tone.
TONE
-50–+50
BOTTOM
0–100
HIGH MID GAIN (High Middle Gain)
-20–+20dB
Adjusts the high-middle frequency range tone.
LOW CUT (Low Cut Filter)
Extracts the low-frequency components of
the sound input to this effect, and adjusts
the amount added to the effect sound.
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
DIRECT MIX
0–100
Adjusts the mix volume of the direct sound.
Adjusts the volume.
HIGH CUT (High Cut Filter)
700 Hz–11kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When it is set to FLAT, the
LEVEL
0–100
high cut filter is off or has no effect.
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FX (Effects)
Chapter 8 Parameters Guide
Parameter/
Range
DELAY
Explanation
MOD (Modulate)
to the sound.
This effect adds delayed sound to the direct sound, great for adding
more body to the sound or for creating special effects.
HOLD
Up to 10 seconds of performance content is
recorded, then played back repeatedly. You
can also layer this as you perform some-
thing else, then record these together (over-
dub), allowing you to produce what is
called sound-on-sound or looping.
Parameter/
Explanation
Range
DELAY SW
OFF, ON
Turns the DELAY effect on/off.
DELAY TYPE
Selects the type of delay.
SINGLE
* For more detail the operation, refer to “Using the HOLD (Hold
Delay)” (p. 115).
This is a simple monaural delay.
* If you switch patches with the TYPE set to either DUAL-S, DUAL-P,
or DUAL L/R and then begin to play immediately after the patches
change, you may be unable to attain the intended effect in the first
portion of what you perform.
PAN
The primary delay time is divided—or
“tapped”—and the primary delay is sent to
the R output, while the tap delay is sent to
the L output.
* The stereo effect is cancelled if a monaural effect or COSM amp is
connected after a stereo delay effect.
fig.04-0050
TAP TIME
OUTPUT L
EFFECT
LEVEL
DELAY TIME
OUTPUT R
INPUT
DELAY
Parameter/
Explanation
Range
FEEDBACK
STEREO
The direct sound is output from the left
channel, and the effect sound is output from
the right channel.
DELAY TIME *1
1 ms–1800 ms,
This determines the delay time.
BPM –BPM
DUAL-S (Dual Series) This is a delay comprising two different de-
lays connected in series. Each delay time can
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
be set in a range from 1 ms to 900 ms.
fig.04-0060
D1: Delay 1
D2: Delay 2
D1
D2
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DUAL-P (Dual Paral- This is a delay comprising two delays con-
lel)
nected in parallel. Each delay time can be set
in a range from 1 ms to 900 ms.
fig.04-0070
* After setting DELAY TIME to BPM (
–
), if you tap [F1] (TAP),
D1
D2
the BPM value will change to match the timing of your tapping.
FEEDBACK *1
0–100
This sets the amount of delay sound re-
turned to the input.
A higher value will increase the number of
the delay repeats.
DUAL-L/R
This is a delay with individual settings avail-
able for the left and right channels. Delay 1
goes to the left channel, Delay 2 to the right.
fig04-0080
D1
D2
L
R
Feedback is returning a delay signal to the
input.
REVRSE
This produces an effect where the sound is
played back in reverse.
HIGH CUT (High Cut Filter) *1
700 Hz–11 kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When it is set to FLAT, the
ANALOG
This gives a mild analog delay sound. The
delay time can be set within the range of 1 to
1800 ms
high cut filter is off or has no effect.
TAPE
This setting provides the characteristic wa-
vering sound of the tape echo. The delay time
can be set within the range of 1 to 1800 ms.
EFFECT LEVEL *1
0–120
Adjusts the volume of the delay sound.
Adjusts the volume of the direct sound.
WARP
This simultaneously controls the delay
sound’s feedback level and volume to pro-
duce a totally unreal delay.
DIRECT LEVEL
0–100
LEVEL
DEPTH
*1 The DELAY TIME, FEEDBACK, HIGH CUT, and EFFECT
LEVEL are not enabled when the TYPE is set to DUAL-S,
DUAL-P, or DUAL-L/R.
INPUT
OUTPUT
DELAY
FB DEPTH
RISE TIME
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Chapter 8 Parameters Guide
PAN
FX (Effects)
WARP
Parameter/
Explanation
Range
Parameter/
Range
Explanation
TAP TIME
0%–100%
WARP SW
OFF, ON
Adjusts the delay time of the left channel de-
Turns the WARP effect on/off.
lay. This setting adjusts the L channel delay
time relative to the R channel delay time
(considered as 100%).
This parameter is assigned to the
footswitch (CTL 3/4) and/or FC-300’s
CTL pedal.
RISE TIME
0–100
Parameter/
Explanation
Range
Adjusts how rapidly the warped delay
sound rises.
FB DEPTH (Feedback Depth)
DELAY1 TIME
0–100
Adjusts the feedback level of the warped de-
1 ms–900 ms,
This determines the delay time.
lay sound.
BPM –BPM
LEVEL DEPTH
0–100
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
Adjusts the volume of the warped delay
sound.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
MOD
Parameter/
Range
Explanation
* After setting DELAY TIME to BPM (
–
), if you tap [F1] (TAP),
the BPM value will change to match the timing of your tapping.
MOD RATE (Modulation Rate)
DELAY1 FEEDBACK
0–100
Adjusts the modulation rate of the delay
sound.
0–100
Adjusts the amount of feedback of the Delay1.
A higher value will increase the number of
the delay repeats.
MOD DEPTH (Modulation Depth)
0–100
Adjusts the modulation depth of the delay
DELAY HI-CUT (Delay 1 High Cut Filter)
sound.
700 Hz–11 kHz, FLAT This sets the frequency at which the high cut
filter of the Delay1 begins to take effect.
When it is set to FLAT, the high cut filter is
off or has no effect.
DELAY1 LEVEL
0–120
Adjusts the volume of the Delay1.
DELAY2 TIME
1 ms–900 ms,
This determines the delay time of the
Delay2.
BPM
–BPM
DELAY2 FEEDBACK
0–100
Adjusts the amount of feedback of the
Delay2.
DELAY2 FEEDBACK (Delay 2 High Cut Filter)
700 Hz–11 kHz, FLAT This sets the frequency at which the high cut
filter of the Delay2 begins to take effect.
When it is set to FLAT, the high cut filter is
off or has no effect.
DELAY2 LEVEL
0–120
Adjusts the volume of the Delay2.
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FX (Effects)
Chapter 8 Parameters Guide
CHORUS
In this effect, a slightly detuned sound is added to the original sound
to add depth and breadth.
Using the HOLD (Hold Delay)
*
Recording and playback of performances and other operations are
carried out with pedals while Hold is in effect. Connect external pedals
(footswitches) or an FC-300.
Parameter/
Explanation
Range
1. Referring to “Using the Switches, Pedals, and MIDI to
Control the Sounds (CONTROL ASSIGN)” (p. 77), assign the
following functions to the connected external pedals
(footswitches) or FC-300 CTL pedals.
CHORUS SW
OFF, ON
Turns the CHORUS effect on/off.
CHORUS MODE
Selection for the chorus mode.
Controller
TARGET PARAMETER
SW MODE
CTL3, etc
[A] FX (or [B] FX)
DELAY (HOLD)
REC
MONO
This chorus effect outputs the same sound
from both L channel and R channel.
LATCH
ST1 (Stereo1)
This is a stereo chorus effect that adds differ-
ent chorus sounds to L channel and R
channel.
CTL4, etc
[A] FX (or [B] FX)
DELAY (HOLD)
STOP
- - -
ST2 (Stereo2)
with the direct sound output in the L
channel and the effect sound output in the R
channel.
2. Set TYPE to HOLD in the Delay screen.
3. Press the pedal to which REC is assigned.
Recording starts when you press the pedal.
RATE
0–100,
4. Press the pedal to which REC is assigned again to stop
Adjusts the rate of the chorus effect.
recording.
BPM
–BPM
*
*
The maximum recording time is 10 seconds. If the recording time
exceeds 10 seconds, the recording stops automatically, and the
recorded content is then played back.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
An oscillating sound may be audible with extremely short recording
times.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
5. When layering recordings, repeat Steps 4 and 5.
*
The recorded content is cleared when the TYPE or patch is switched to
a different setting or when the power is turned off.
DEPTH
0–100
Adjusts the depth of the chorus effect.
6. To return to recording standby, press the pedal to which
STOP is assigned.
To use it for doubling effect, set the
value to 0.
The unit returns to recording standby.
*
*
When playback is stopped, the recorded content is erased.
PRE DELAY
0.0 ms–40.0 ms
You can also set REC SW MODE to MOMENT.
If you use this setting, be sure to keep the pedal held down during
recording.
Adjusts the time needed for the effect sound
to be output after the direct sound has been
output. By setting a longer pre delay time,
you can obtain an effect that sounds like
more than one sound is being played at the
same time (doubling effect).
LOW CUT (Low Cut Filter)
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
HIGH CUT (High Cut Filter)
700 Hz–11 kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When FLAT is selected, the
high cut filter will have no effect.
EFFECT LEVEL
0–100
Adjusts the volume of the effect sound.
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Chapter 8 Parameters Guide
FX (Effects)
MOD1, MOD2
For MOD1 and MOD2, you can choose one of the following effect
types. (If desired, you can select the same effect for both MOD1 and
MOD2.)
Parameter/
Explanation
MOD TYPE
PHASER
Phaser
(p. 116)
(p. 117)
(p. 117)
(p. 117)
(p. 118)
(p. 118)
(p. 119)
(p. 119)
(p. 120)
(p. 120)
(p. 121)
(p. 122)
(p. 122)
(p. 123)
(p. 123)
(p. 123)
(p. 123)
(p. 124)
(p. 124)
(p. 124)
(p. 124)
(p. 125)
(p. 125)
(p. 125)
(p. 126)
(p. 126)
(p. 126)
FLANGR
TREML
Flanger
This is a four-phase effect. A light phaser ef-
fect is obtained.
Tremolo
8STG
This is an eight-phase effect. It is a popular
phaser effect.
PAN
Pan
PEDAL WAH
T.WAH
Pedal Wah
Touch Wah
Auto Wah
M-TRON III
Octave
effect is obtained.
AUTO WAH
M-TRON III
OCTAVE
PITCH SHIFT
HARMONIST
PEDAL BEND
2x2 CHORUS
ROTARY
UNI-V
This is the phaser with two phase shift cir-
cuits connected in series.
Pitch Shifter
Harmonist
Pedal Bend
2x2 Chorus
Rotary
This sets the rate of the phaser effect.
song.
MOD1
MOD2
Common
Uni-V
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
VIB
Vibrato
SLICER
Slicer
HUMANIZER
SLOW GEAR
RING MOD
ANTI FB
Humanizer
Slow Gear
Ring Modulator
Anti Feedback
Advanced Compressor
Limiter
0–100
Determines the depth of the rotation effect.
MANUAL
0–100
ADV.COMP
LIMITR
Adjusts the center frequency of the rotation
effect.
RESO (Resonance)
ENHANCER
PEQ
Enhancer
Parametric Equalizer
Graphic Equalizer
Sub Delay
0–100
Determines the amount of resonance (feed-
back).
GEQ
Increasing the value will emphasize the ef-
fect, creating a more unusual sound.
SUB DELAY
STEP RATE
OFF, 0–100,
Parameter/
Range
Explanation
This sets the cycle of the step function that
changes the rotation. When it is set to a high-
er value, the change will be finer. Set this to
Off when not using the Step function.
BPM
–BPM
MOD1 SW, MOD2 SW
OFF, ON
Turns the MOD-1 (MOD-2) effect on/off.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
MOD 1 TYPE, MOD 2 TYPE
see above
Selects the effect to be used.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
EFFECT LEVEL
0–100
Adjusts the volume of the phaser.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
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FX (Effects)
FLANGER
Chapter 8 Parameters Guide
TREML (Tremolo)
The flanging effect gives a twisting, jet-airplane-like character to the
sound.
Tremolo is an effect that creates a cyclic change in volume.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
WAVE SHAPE
RATE
0–100,
0–100
Adjusts the curve for the volume change.
Raising the value makes the changes occur
more rapidly.
This sets the rate of the flanging effect.
BPM
–BPM
RATE
0–100,
BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
Adjusts the frequency (speed) of the change.
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DEPTH
0–100
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
Determines the depth of the flanging effect.
MANUAL
0 –100
DEPTH
Adjusts the center frequency at which to ap-
ply the effect.
0–100
Adjusts the depth of the effect.
RESO (Resonance)
0–100
Determines the amount of resonance (feed-
PAN
back).
This is a stereo effect that pans the sound alternately between the left
and right outputs, making the sound fly back and forth between the
speakers.
Increasing the value will emphasize the ef-
fect, creating a more unusual sound.
SEPARATION
0–100
Parameter/
Explanation
Range
Adjusts the diffusion. The diffusion increas-
es as the value increases.
WAVE SHAPE
0–100
LOW CUT (Low Cut Filter)
Adjusts the curve for the volume change.
Raising the value makes the changes occur
more rapidly.
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
RATE
0–100,
BPM
Adjusts the frequency (speed) of the change.
EFFECT LEVEL
0–100
–BPM
Adjusts the volume of the flanger.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DEPTH
0–100
Adjusts the depth of the effect.
* The pan effect is cancelled if a monaural effect or COSM amp is
connected after the COSM bass.
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Chapter 8 Parameters Guide
PEDAL WAH
FX (Effects)
T.WAH (Touch Wah)
This is a wah effect that you control in real time by adjusting the EXP
pedal connected to the EXP PEDAL jack or an FC-300 EXP pedal.
This is an automatic wah effect where the filter changes in response
to the bass level.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
TYPE
Selects the type of wah.
MODE
Selects the wah mode.
CRY WAH
This models the sound of the CRY BABY
wah pedal popular in the `70s.
LPF (Low Pass Filter) This passes only the low band.
BPF (Band Pass Filter) This passes only a specific band.
VO WAH
This models the sound of the VOX V846.
This a wah sound featuring a bold tone.
POLARITY
FAT WAH
LIGHT WAH
Selects the direction in which the filter will change in response to the
input.
This wah has a refined sound with no un-
usual characteristics.
DOWN
UP
The frequency of the filter will fall.
The frequency of the filter will rise.
BASS WAH
RESO WAH
This wah has been specially adapted for use
in the bass registers. Inclusion of the low-
frequency range in the wah sound produces
a robust wah effect, with no dilution of the
sound.
SENS (Sensitivity)
0–100
Adjusts the sensitivity at which the filter
will change in the direction determined by
the polarity setting.
Higher values will result in a stronger re-
sponse. With a setting of 0, the strength of
playing will have no effect.
This completely original effect offers en-
hancements on the characteristic resonances
produced by analog synth filters.
PEDAL POS (Pedal Position)
0–100
FREQ (Frequency)
0–100
Adjusts the position of the wah pedal.
Adjusts the center frequency of the Wah ef-
fect.
* This parameter is usually assigned to an
expression pedal or the like for use.
PEAK
PEDAL MIN (Pedal Minimum)
0–100
Higher values will produce a stronger tone which emphasizes the
wah effect more.
Selects the tone produced when the heel of
the EXP Pedal is depressed.
0–100
Adjusts the way in which the wah effect ap-
plies to the area around the center frequen-
cy. With a value of 50 a standard wah sound
will be produced.
PEDAL MAX (Pedal Maximum)
0–100
Selects the tone produced when the toe of
the EXP Pedal is depressed.
EFFECT LEVEL
0–100
LEVEL
0–100
Adjusts the volume.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
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FX (Effects)
AUTO WAH
Chapter 8 Parameters Guide
M-TRON III
This filters the sound over a periodic cycle, providing an automatic
wah effect.
This models a Musitronics Mu-Tron III. Filter movement
corresponds to the intensity of the input, producing a touch-wah
sound suited to funk.
Parameter/
Explanation
Range
The original used monaural input and output, but on the VB-99 this
is enhanced to stereo input and output.
MODE
Selects the wah mode.
Parameter/
Explanation
Range
LPF (Low Pass Filter) This passes only the low band.
BPF (Band Pass Filter) This passes only a specific band.
MODE
This chooses the type of filter.
FREQ (Frequency)
LPF (Low Pass Filter) This passes only the low band.
BPF (Band Pass Filter) This passes only a specific band.
HPF (High Pass Filter) This passes only the high band.
0–100
Adjusts the center frequency of the Wah ef-
fect.
PEAK
0–100
Adjusts the amount of wah effect applied in
the range near the reference frequency.
which emphasizes the wah effect more.
With a value of 50 a standard wah sound
will be produced.
DRIVE
This chooses the direction of filter movement during the attack.
DOWN
UP
Moves in the low-band direction.
Moves in the high-band direction.
PEAK
0–100
RATE
0–100,
BPM
Adjusts the intensity of the filter's idiosyn-
crasies.
Adjusts the frequency (speed) of the change.
–BPM
DEPTH
0–100
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
Adjusts the range of variability for the filter
according to the input level.
The DEPTH parameter is sensitive to
input. Adjust it as appropriate to
match the intensity of touch and the
style of play.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DEPTH
0–100
RANGE
0–100
Adjusts the depth of the effect.
Adjusts the range of filter movement.
LOW on the original corresponds to around
25, and HIGH to around 75.
LEVEL
0–100
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
EFFECT LEVEL
0–100
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
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Chapter 8 Parameters Guide
FX (Effects)
OCTAVE
PITCH SHIFT (Pitch Shifter)
This adds a note one octave lower, creating a richer sound.
This effect changes the pitch of the original sound (up or down)
within a range of two octaves.
*
Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
Parameter/
Explanation
Range
Parameter/
Range
Explanation
VOICE
Selects the number of voices for the pitch shift sound.
OCTAVE LEVEL
0–100
1VOICE
One-voice pitch-shifted sound output in
monaural.
Adjusts the volume of the sound one octave
below.
2MONO
Two-voice pitch-shifted sound (PS1, PS2)
output in monaural.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
2ST (2Stereo)
Two-voice pitch-shifted sound (PS1, PS2)
output through left and right channels.
LEVEL1, LEVEL2 *1
0–100
Adjusts the volume of the pitch shift sound
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
PITCH SHIFT1, PITCH SHIFT2
MODE1, MODE2 *1
Selection for the pitch shifter mode.
FAST, MEDIUM,
SLOW
A chord can be input with a normal pitch
shifter. The response is slower in the order
of FAST, MEDIUM and SLOW, but the
modulation is lessened in the same order.
MONO
MONO is used for inputting single notes.
* You may be unable to produce the intended
effect when playing chords (two or more
notes played simultaneously).
PITCH 1, PITCH2 *1
-24–+24
Adjusts the amount of pitch shift (the
amount of interval) in semitone steps.
FINE1, FINE2 *1
-50–+50
The amount of the change in the Fine 100 is
equivalent to that of the Pitch 1.
PRE DELAY1, PRE DELAY2 *1
0 ms –300 ms,
Adjusts the time from when the direct
sound is heard until the pitch shifted sounds
are inputted. Normally you can leave this
set at 0ms.
BPM –BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
FEEDBACK1
0–100
Adjusts the feedback amount of the pitch
shift sound.
*1 With VOICE set to 2MONO or 2ST, you can select two sounds.
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FX (Effects)
Chapter 8 Parameters Guide
HARMONIST
Parameter/
Range
Harmonist is a pitch-shift effect where the amount of shifting is
adjusted according to an analysis of the bass input, allowing you to
create harmonies based on diatonic scales.
Explanation
PRE DELAY1, PRE DELAY2 *1
0 ms–300 ms,
Adjusts the time from when the direct
*
Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
sound is heard until the harmonist sounds
are heard. Normally you can leave this set at
0ms.
BPM –BPM
*
You cannot use the Harmonist effect with audio input via USB IN.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
Parameter/
Range
Explanation
KEY
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
C (Am)–B (G#m)
Specify the key of the song you are playing.
By specifying the key, you can create har-
monies that fit the key of the song.
LEVEL1, LEVEL2 *1
This KEY parameter is the same as the
Key setting in the [NAME/KEY/BPM]
section (p. 142) and FX MOD1, 2
HARMONIST. Altering either one
changes the key.
0–100
Adjusts the volume of the harmony sound.
VOICE1 INTERVAL C–B, VOICE2 INTERVAL C–B *2
-24–+24
Sets the output pitch for the set key relative
to the input pitch.
*1 HARM1 and HARM2 are set individually.
The key setting corresponds to the key of the song (#,
b
) as follows.
*2 VOICE1 INTERVAL (VOICE2 INTERVAL) is enabled when
HARM1 (HARM2) is set to USER.
Creating Harmonist Scales
(Voice Interval)
When HARM is set to any value from -2oct to +2oct, and the
harmony does not sound the way you intend, use a voice interval.
You can set the corresponding pitches to be output for each input
pitch.
1. Set HARM1 (or HARM2) to USER in the Harmonist screen.
VOICE
2. Select VOICE1 INTERVAL (or VOICE2 INTERVAL) with
Selects the number of voices for the pitch shift sound.
PAGE [
].
1VOICE
One-voice pitch-shifted sound output in
monaural.
The Voice Interval screen appears.
fig.04-0100d
2MONO
Two-voice pitch-shifted sound (PS1, PS2)
output in monaural.
2ST (2Stereo)
Two-voice pitch-shifted sound (PS1, PS2)
output through left and right channels.
FEEDBACK1
0–100
Adjusts the feedback amount of the har-
monist sound.
3. Use PAGE [
] [
], [F1]–[F6], and the F1–F6 knob to set
the amount of pitch shift for each voice.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
HARMONY1, HARMONY2 *1
HARM1, HARM2 (Harmony) *1
This determines the pitch of the sound added to the input sound,
when you are making a harmony.
-2 oct–+2 oct,
USER
It allows you to set it by up to 2 octaves
higher or lower than the input sound. When
the scale is set to USER, this parameter sets
the user scale number to be used.
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Chapter 8 Parameters Guide
FX (Effects)
PEDAL BEND
2x2 CHORUS
This lets you use a pedal to get a pitch bend effect.
Frequency band division is employed to produce two different
choruses, one for low frequencies and one for higher frequencies, for
both the left and right channels (for a total of four). This allows you
to achieve a natural chorus sound.
*
Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
Parameter/
Explanation
Range
“Chapter 4 Using the VB-99 in Combination with an
FC-300” (p. 46)
X-OVER FREQ (Crossover Frequency)
Parameter/
Range
100 Hz–4.00 kHz
This sets the frequency dividing the low-
and high-frequency ranges.
Explanation
LOW RATE
0–100,
PITCH MIN (Pitch Minimum )
Adjust the speed of the chorus effect for the
low frequency range.
-24–+24
This sets the pitch at the point where the ex-
pression pedal is fully lifted.
BPM
–BPM
PITCH MAX (Pitch Maximum )
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
-24–+24
This sets the pitch at the point where the ex-
pression pedal is all the way down.
PEDAL POS (Pedal Position)
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
0–100
Adjusts the pedal position for pedal bend.
* This parameter is used after it’s been
assigned to an expression pedal or similar
controller.
LOW DEPTH
0–100
Adjust the depth of the chorus effect for the
low frequency range. If you wish to use this
as a doubling effect, use a setting of 0.
EFFECT LEVEL
0–100
Adjusts the volume of the pitch bend sound.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
LOW PREDLY (Low Pre Delay)
0.0 ms–40.0 ms
Adjusts the delay of the effect sound in the
low-frequency range.
Extending the pre-delay will produce the
sensation of multiple sounds (doubling ef-
fect).
LOW LEVEL
0–100
Adjusts the volume of the effect sound in
the low-frequency range.
HIGH RATE
0–100,
Adjust the speed of the chorus effect for the
high frequency range.
BPM
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
HIGH DEPTH
0–100
Adjust the depth of the chorus effect for the
high frequency range. If you wish to use this
as a doubling effect, use a setting of 0.
HIGH PREDLY (High Pre Delay)
0.0 ms–40.0 ms
Adjusts the delay of the effect sound in the
high-frequency range.
Extending the pre-delay will produce the
sensation of multiple sounds (doubling ef-
fect).
HIGH LEVEL
0–100
Adjusts the volume of the effect sound in
the high-frequency range.
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FX (Effects)
Chapter 8 Parameters Guide
ROTARY
VIB (Vibrato)
This produces an effect like the sound of a rotary speaker.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
SPEED
SLOW, FAST
RATE
0–100,
This parameter changes the simulated
speaker’s rotating speed (Slow or Fast).
Adjusts the rate of the vibrato.
BPM
–BPM
RATE SLOW
0–100,
When set to BPM, the value of each parameter will be set according to
the value of the BPM (p. 142) specified for each patch. This makes it eas-
ier to achieve effect sound settings that match the tempo of the song.
This parameter adjusts the speed of rotation
when set to SLOW.
BPM
–BPM
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
RATE FAST
0–100,
This parameter adjusts the speed of rotation
when set to FAST.
BPM
–BPM
DEPTH
0–100
When the Rate (SLOW) or Rate (FAST) set to BPM, the value of each
parameter will be set according to the value of the BPM (p. 142) spec-
ified for each patch. This makes it easier to achieve effect sound set-
tings that match the tempo of the song.
Adjusts the depth of the vibrato.
RISE TIME
0–100
This sets the time passing from the moment
the trigger is turned on until the set vibrato
is obtained.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
* When a patch with TRIG set to ON is called
happens when TRIG is switched from OFF to
ON. If you want the vibrato effect to be
produced immediately after the patches are
switched, set RISE TIME to 0.
RISE TIME
0–100
This parameter adjusts the time it takes for
the rotation speed to change when switched
from Slow to Fast.
FALL TIME
0–100
TRIG (Trigger)
OFF, ON
This parameter adjusts the time it takes for
the rotation speed to change when switched
from Fast to Slow.
This selects on/off of the vibrato. It is as-
sumed that this parameter will be assigned
to the footswitch. (p. 42)
DEPTH
0–100
This parameter adjusts the amount of depth
in the rotary effect.
SLICER
This consecutively interrupts the sound to create the impression that
a rhythm backing phrase is being played.
UNI-V
This models the sound of the Uni-vibe.
Parameter/
Explanation
Range
Although the same type of effect as a phaser, its characteristic feature
is a unique twisting effect, which you can’t get from an ordinary
phaser.
PATTERN
P1–P20
Select the slice pattern that will be used to
cut the sound.
Parameter/
Explanation
Range
RATE
0–100,
BPM
Adjust the rate at which the sound will be
cut.
RATE
0–100,
–BPM
Adjusts the rate of the Uni-V effect.
When set to BPM, the value of each parameter will be set according to
the value of the BPM (p. 142) specified for each patch. This makes it eas-
ier to achieve effect sound settings that match the tempo of the song.
BPM
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
TRIG SENS (Trigger Sensitivity)
0–100
Adjust the sensitivity of triggering.
With low settings of this parameter, softly
picked notes will not retrigger the phrase (i.e.,
the phrase will continue playing), but strongly
picked notes will retrigger the phrase so that it
will playback from the beginning. With high
settings of this parameter, the phrase will be
retriggered even by softly picked notes.
DEPTH
0–100
Adjusts the depth of the Uni-V effect.
Adjusts the volume.
LEVEL
0–100
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Chapter 8 Parameters Guide
FX (Effects)
HUMANIZER
SLOW GEAR
This creates human vowel-like sounds.
This produces a volume-swell effect (“violin-like” sound).
Parameter/
Explanation
Range
Parameter/
Explanation
Range
MODE
SENS (Sensitivity)
This sets the mode that switches the vowels.
0–100
Adjusts the sensitivity.
PICK (Picking)
The sound changes from VOWEL1 to
RISE TIME
0–100
VOWEL2 along with the playing. The time
cycle for the change is adjusted with the
rate.
Adjusts the time needed for the volume to
reach its maximum from the moment you
begin playing.
AUTO
By adjusting the rate and depth, two vowels
(VOWEL1 and VOWEL 2) can be switched
automatically.
RING MOD (Ring Modulator)
RANDOM
Five vowels (A, E, I, O, U) are called out at
random by adjusting the rate and depth.
This creates a bell-like sound by ring-modulating the bass sound
with the signal from the internal oscillator. The sound can be
unmusical and lack distinctive pitches.
VOWEL1 *1
A, E, I, O, U
Selects the first vowel.
Parameter/
Explanation
Range
VOWEL2 *1
A, E, I, O, U
Selects the second vowel.
MODE
SENS (Sensitivity) *2
This selects the mode for the ring modulator.
0–100
Adjusts the sensitivity.
NORMAL
This is a normal ring modulator.
When set to a lower value, the humanizer ef-
When set to a higher value, the humanizer
effect can be triggered with both weak and
strong playing.
INTELLIGENT
By ring-modulating the input signal, a bell
like sound is created. The intelligent ring
modulator changes the oscillation frequen-
cy according to the pitch of the input sound
and therefore produces a sound with the
sense of pitch, which is quite different from
the NORMAL setting. This effect does not
give a satisfactory result if the pitch of the
bass sound is not correctly detected. So, you
must use single notes, not chords.
RATE
0–100,
BPM
Adjusts the cycle for changing the two vow-
els.
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
FREQ (Frequency)
0–100
Adjusts the frequency of the internal oscilla-
tor.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
EFFECT LEVEL
0–100
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
MANUAL *3
0–100
DIRECT LEVEL
0–100
This determines the point where the two
vowels are switched. When it is set to 50,
VOWEL1 and VOWEL2 are switched in the
same length of time. When it is set to lower
than 50, the time for vowel 1 is shorter.
When it is set to higher than 50, the time for
vowel 1 is longer.
ANTI FB (Anti-feedback)
This prevents the acoustic feedback that can be produced by the
body resonances of an acoustic bass.
Parameter/
Explanation
Range
DEPTH
0–100
Adjusts the depth of the effect.
Adjusts the volume.
FREQ1–3 (Frequency 1–3)
LEVEL
0–100
0–100
Set the fixed frequency point at which feed-
back will be cancelled.
You can set up to three cancellation points.
*1 Setting available with MODE set to PICK or AUTO.
*2 Setting available with MODE set to PICK.
*3 Setting available with MODE set to AUTO.
DEPTH1–3
0–100
Adjusts the degree of the anti-feedback at
each of the three cancellation points.
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FX (Effects)
Chapter 8 Parameters Guide
ADV.COMP (Advanced Compressor)
LIMITR (Limiter)
This is an effect that produces a long sustain by evening out the
volume level of the input signal. You can also use it as a limiter to
suppress only the sound peaks and prevent distortion.
The limiter attenuates loud input levels to prevent distortion.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
TYPE
Selects the limiter type.
TYPE
BOSS LIMITR
RACK 160D
This selects a stereo limiter.
This models a dbx 160X.
This models a UREI 1178.
Selects the compressor type.
BOSS COMP
HI-BAND
This models a BOSS CS-3.
VTG RACK U
This is a compressor that adds an even
stronger effect in the high end.
ATTACK
0–100
Adjusts the strength of the playing attack
when the strings are played. Higher values
result in s sharper attack, creating a more
clearly defined sound.
LIGHT
This is a compressor with a light effect.
This models a MXR DynaComp.
D-COMP
ORANGE
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
THRSH (Threshold)
FAT
When applied heavily, this compressor ef-
fect provides a fat tone with a boosted
midrange.
0–100
Adjust this as appropriate for the input sig-
nal from your bass. When the input signal
level exceeds this threshold level, limiting
will be applied.
MILD
When applied heavily, this compressor ef-
fect produces a sweet tone with the high end
cut.
RATIO
1: 1–∞: 1
This selects the compression ratio used with
signals in excess of the threshold level.
STEREO COMP
SUSTAIN
0–100
This selects a stereo compressor.
REL (Release)
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
Adjusts the time from when the signal level
drops below the threshold until when limit-
ing is removed.
ATTACK
0–100
LEVEL
0–100
Adjusts the strength of the playing attack.
Larger values will result in a sharper attack,
creating a more clearly defined sound.
Adjusts the volume.
TONE
-50–+50
LEVEL
0–100
ENHANCER
This is an effect that clarifies the contour of the input sound by em-
phasizing the attack of the sound following changes in the input level.
Adjusts the tone.
Adjusts the volume.
Parameter/
Explanation
Range
SENS (Sensitivity)
0–100
This adjusts the Enhancer sensitivity. The
more the value is increased, the more softly
you can play and still have the effect ap-
plied.
LOW FREQ (Low Frequency)
31.5Hz–125Hz
Sets the low frequency range for the en-
hanced sound.
LOW LEVEL
0–100
Adjusts the enhancer volume for the high
frequency range.
HIGH FREQ (High Frequency)
800Hz–8.00kHz
Sets the high frequency range for the en-
hanced sound.
HIGH LEVEL
0–100
Adjusts the enhancer volume for the high
frequency range.
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Chapter 8 Parameters Guide
PEQ (Parametric Equalizer)
FX (Effects)
GEQ (Graphic Equalizer)
This is a seven-band graphic equalizer that allows you to precisely ad-
just tones by boosting/cutting any of the seven bands.
Adjusts the tonal quality. You can adjust the sound quality in four
bands.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
TOTAL GAIN
TOTAL GAIN
-20–+20dB
Adjusts the overall EQ volume.
-20–+20dB
Adjusts the overall EQ volume.
Set this so that no difference in volume level
occurs when switched on and off.
Set this so that no difference in volume level
occurs when switched on and off.
LOW GAIN
-20–+20dB
Parameter
Range
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
This boosts or cuts the respective frequency bands.
HIGH GAIN
-20–+20dB
50Hz
400Hz 800Hz
500Hz
HIGH
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz
120Hz
4.5kHz
+20dB
0dB
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
LOW MID Q (Low Middle Q)
Frequency
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
-20dB
LOW MID GAIN (Low Middle Gain)
-20–+20dB
Adjusts the low-middle frequency range
tone.
SUB DELAY
HIGH MID FREQ (High Middle Frequency)
This is a delay with a maximum delay time of 400 ms. This effect is
useful for making the sound fatter.
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
Parameter/
Explanation
Range
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
DELAY TIME
1 ms–400 ms,
Adjusts the delay time.
HIGH MID GAIN (High Middle Gain)
BPM –BPM
-20–+20dB
Adjusts the high-middle frequency range tone.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
LOW CUT (Low Cut Filter)
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
HIGH CUT (High Cut Filter)
700 Hz–11 kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When it is set to FLAT, the
* After setting DELAY TIME to BPM (
the BPM value will change to match the timing of your tapping.
–
), if you tap [F1] (TAP),
FEEDBACK
0–100
Adjusts the volume that is returned to the
input.
high cut filter is off or has no effect.
Feedback refers to returning the delayed
signal back into the input of the delay. High-
er settings will result in more delay repeats.
EFFECT LEVEL
0–120
Adjusts the volume of delay sound.
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FX (Effects)
Chapter 8 Parameters Guide
NS (Noise Suppressor)
This effect reduces the noise and hum picked up by bass pickups.
Since it suppresses the noise in synchronization with the envelope of
the bass sound (the way in which the bass sound decays over time),
it has very little effect on the overall sound, and does not harm its the
natural character.
This is a volume control effect.
Normally, this is controlled with an expression pedal connected to
the EXP PEDAL jack or one of the FC-300’s EXP pedals.
*
When making the settings determining each pedal’s foot volume
operations, refer to “Setting the GK VOLUME Control and
Switch and the Pedal Function (SYSTEM CONTROL
ASSIGN)” (p. 42), “Settings Related to the FC-300” (p. 46).
*
Please connect the noise suppressor in the signal path prior to the
reverberation type effect. This setup will prevent an unnatural break of
the reverberation effect.
Parameter/
Range
Explanation
Parameter/
Range
Explanation
LEVEL
0–100
NS SW (Noise Suppressor Switch)
Adjusts the volume.
OFF, ON
Turns the NS effect on/off.
VOL CURVE (Volume Curve)
You can select how the actual volume changes relative to the amount
the pedal is pressed.
THRSH (Threshold)
0–100
Adjust this parameter as appropriate for the
fig.04-0200
volume of the noise. If the noise level is
high, a higher setting is appropriate. If the
noise level is low, a lower setting is appro-
priate. Adjust this value until the decay of
the bass sound is as natural as possible.
SLOW1, SLOW2,
NORMAL, FAST
Volume
* High settings for the threshold parameter
may result in there being no sound when you
play with your bass volume turned down.
REL (Release)
0–100
Adjusts the amount of time from the point at
which application of the noise suppressor
begins to when the volume is fully attenuat-
ed.
When the pedal
is fully raised
When the pedal
is fully advanced
EXP Pedal
DETECT
This controls the noise suppressor based on the volume level for the
point specified in Detect.
INPUT
Volume of the COSM bass and normal pick-
up
NS IN (NS Input)
Noise suppressor input volume.
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Chapter 8 Parameters Guide
COSM AMP
COSM AMP
COSM technology simulates different preamp characteristics,
speaker sizes, and cabinet shapes.
FLIP TOP
Parameter/
Range
*
You can make separate settings for Channel A and Channel B.
Explanation
Parameter/
Range
MIDDLE FREQ (Middle Frequency)
220Hz, 800Hz, 3.0kHz Specifies the center of the frequency range
that will be adjusted by the MIDLLE.
Explanation
COSM AMP SW
OFF, ON
Turns the COSM amp effect on/off.
BRIGHT
PREAMP TYPE
Turns the bright setting on/off.
This sets the type of the bass preamp.
OFF
ON
Bright is not used.
SUPER FLAT
FLIP TOP
B MAN
An amp with flat response.
Bright is switched on to create a lighter and
crisper tone.
Models the Ampeg B-15.
RESPONCE
BASS, FLAT
Models the Fender Bassman 100.
Models the Ampeg SVT.
This controls the overall amp characteris-
tics. Select the position corresponding to the
characteristics for one of the two types of
sound.
CONCRT 810
BASS 360
Models the Acoustic 360.
T.E.
Models the Trace Elliot AH600SMX.
Models the SWR SM-400.
SESSION
AC BASS
An amp ideal for ACOUSTIC BASS.
B MAN
GTR AMP CLEAN
This is a clean sound that is smooth and
warm.
Parameter/
Range
Explanation
GTR AMP CRUNCH This is a crunch sound that can faithfully re-
produce the nuances of playing.
MIDDLE FREQ (Middle Frequency)
220Hz, 800Hz, 3.0kHz Specifies the center of the frequency range
that will be adjusted by the MIDDLE.
GTR AMP DRIVE
This is a drive sound producing awesome
distortion.
GTR AMP METAL
GAIN
This is a metal sound suited to heavy riffs.
DEEP
OFF, ON
This switch changes the character of the
lower range.
0–100 (0–120)
Adjusts the distortion of the amp.
* When a guitar setting has been selected for
PREAMP TYPE, the setting is within the
range shown in parentheses.
CONCRT 810
BASS
0–100
Parameter/
Range
Explanation
Adjusts the tone for the low frequency
range.
MIDDLE FREQ (Middle Frequency)
220Hz, 800Hz, 3.0kHz Specifies the center of the frequency range
that will be adjusted by the MDDLE.
MIDDLE
0–100
Adjusts the tone for the middle frequency
range.
BRIGHT
Turns the bright setting on/off.
TREBLE
0–100
Adjusts the tone for the high frequency
range.
OFF
ON
Bright is not used.
Bright is switched on to create a lighter and
crisper tone.
LEVEL
0–100
Adjusts the volume of the entire preamp.
ULTRA LOW
-, 0, +
* Be careful not to raise the Level setting too
high.
This controls the character of the lower
range.
ULTRA HIGH
OFF, ON
SUPER FLAT / AC BASS
This controls the ultra high-frequency range
lying beyond treble.
Parameter/
Explanation
Range
PRESENCE
0–100
Adjusts the tone for the ultra high frequency
range.
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COSM AMP
BASS 360
Chapter 8 Parameters Guide
GTR AMP DRIVE / GTR AMP METAL
Parameter/
Range
Parameter/
Explanation
Range
Explanation
BRIGHT
Turns the bright setting on/off.
PRESENCE
0–100
Adjusts the tone for the ultra high frequency
range.
OFF
ON
Bright is not used.
Bright is switched on to create a lighter and
crisper tone.
GAIN SW
LOW, MIDDLE, HIGH Provides for selection from three levels of
distortion: LOW, MIDDLE, and HIGH. Dis-
tortion will successively increase for set-
T.E.
Parameter/
Range
tings of LOW, MIDDLE and HIGH.
Explanation
* The sound of each Type is created on the basis
that the Gain is set to MIDDLE. So,
normally set it to MIDDLE.
MIDDLE FREQ (Middle Frequency)
220Hz, 800Hz, 3.0kHz Specifies the center of the frequency range
that will be adjusted by the MIDDLE.
SOLO SW
OFF, ON
Switches the tone to one suitable for solos.
PRE SHAPE
OFF, 1, 2
SOLO LEVEL
0–100
This is a shape switch that adds a particular
nuance to the midrange.
Adjusts the volume level when the SOLO
SW is ON.
SESSION
Parameter/
Range
Explanation
Speaker Settings
SUPER FLAT / FLIP TOP / B MAN /
CONCRT 810 / BASS 360 / T.E. /
SESSION / AC BASS
MIDDLE FREQ (Middle Frequency)
220Hz, 800Hz, 3.0kHz Specifies the center of the frequency range
that will be adjusted by the MIDDLE.
ENHANCER
0–100
This controls the clarity and presence of the
sound.
Parameter/
Explanation
Range
SP TYPE (Speaker Type)
Select the speaker type.
GTR AMP CLEAN / GTR AMP CRUNCH
Parameter/
Explanation
Range
OFF
This turns off the speaker simulator.
ORIG
This is the built-in speaker of the amp you
selected with PREAMP TYPE.
PRESENCE
0–100
Adjusts the tone for the ultra high frequency
range.
1x15”
1X18”
2X15”
4X10”
8X10”
Models the Trace Elliot 1518.
Models the SWR Big Ben.
Models the Acoustic 402.
Models the SWR Goliath.
Models the Ampeg 810E.
BRIGHT
Turns the bright setting on/off.
OFF
ON
Bright is not used.
Bright is switched on to create a lighter and
crisper tone.
MIC POS (Mic Position)
This simulates the microphone position.
GAIN SW
CENTER
Simulates the condition that the micro-
phone is set in the middle of the speaker
cone.
LOW, MIDDLE, HIGH Provides for selection from three levels of
distortion: LOW, MIDDLE, and HIGH. Dis-
tortion will successively increase for set-
1–10cm
Simulates the condition that the micro-
phone is moved away from the center of the
speaker cone.
tings of LOW, MIDDLE and HIGH.
* The sound of each Type is created on the basis
that the Gain is set to MIDDLE. So,
normally set it to MIDDLE.
BOTTOM
0–100
Extracts the low-frequency components of
the sound input to this effect, and adjusts
the amount added to the effect sound.
SOLO SW
OFF, ON
Switches the tone to one suitable for solos.
SOLO LEVEL
0–100
DIRECT MIX
0–100
Adjusts the volume level when the SOLO
SW is ON.
Adjusts the volume of the direct sound.
Adjusts the volume.
LEVEL
0–100
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Chapter 8 Parameters Guide
COSM AMP
GTR AMP CLEAN / GTR AMP CRUNCH /
GTR AMP DRIVE / GTR AMP METAL
Parameter/
Range
Explanation
DIRECT MIX
0–100
Parameter/
Explanation
Range
Adjusts the volume of the direct sound.
Adjusts the volume.
LEVEL
0–100
SP TYPE (Speaker Type)
Select the speaker type.
OFF
This turns off the speaker simulator.
ORIG
This is the built-in speaker of the amp you
selected with PREAMP TYPE.
1x8”
This is a compact open-back speaker cabinet
with one 8-inch speaker.
1x10”
1X12”
2X12”
4X10”
4X12”
8X12”
This is a compact open-back speaker cabinet
with one 10-inch speaker.
This is a compact open-back speaker cabinet
with one 12-inch speaker.
This is a general open-back speaker cabinet
with two 12-inch speakers.
This is an optimal speaker cabinet for a large
enclosed amp with four 10-inch speakers.
This is an optimal speaker cabinet for a large
enclosed amp with four 12-inch speakers.
This is a double stack of two cabinets, each
with four 12-inch speakers.
MIC TYPE
This setting selects the simulated mic type.
DYN57
This is the sound of the SHURE SM-57, a
general-purpose dynamic mic used for in-
struments and vocals.
DYN421
CND451
This is the sound of the SENNHEISER MD-
421, a dynamic mic with an extended low-
frequency response.
This is the sound of the AKG C451B, a small-
diaphragm condenser mic for use with in-
struments.
CND87
FLAT
This is the sound of the NEUMANN U87, a
classic large-diaphragm condenser mic.
Simulates a mic with perfectly flat response.
Produces a sonic image close to that of lis-
tening to the sound directly from the speak-
ers (on site).
MIC DIS (Mic Distance)
Simulates the distance between the mic and speaker.
Off MIC
On MIC
This setting points the mic away from the
speaker.
Provides conditions whereby the mic is di-
rected more towards the speaker.
MIC POS (Mic Position)
This simulates the microphone position.
CENTER
Simulates the condition that the micro-
phone is set in the middle of the speaker
cone.
1–10cm
Simulates the condition that the micro-
phone is moved away from the center of the
speaker cone.
BOTTOM
0–100
Extracts the low-frequency components of
the sound input to this effect, and adjusts
the amount added to the effect sound.
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MIXER
Chapter 8 Parameter Guide
Chapter
8
Parameter Guide
MIXER
MIXER
TOTAL EQ (Total Equalizer)
This adjusts the tone of the mixed signals from Channel A and
Channel B. Parametric EQ is used for the low-middle and high-
middle frequency ranges.
The mixer allows you to combine Channel A and Channel B
together, adjust their relative levels and panning, and apply effects
and EQ to the combined signals.
Parameter/
Explanation
Range
MIXER A, B (MIXER CHANNEL A, B)
EQ SW (Equalizer Switch)
OFF, ON
Turns the EQ effect on/off.
Parameter/
Explanation
Range
TOTAL GAIN
-12–+12dB
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
MIX SW (Mixer Switch)
LOW GAIN
-12–+12dB
OFF, ON
This setting switches mixing of Channel A
(or Channel B) on and off. The sounds in the
respective channel are not mixed when this
is set to OFF.
HIGH GAIN
-12–+12dB
PAN
LOW MID FREQ (Low Middle Frequency)
L100:0R–L0:100R
This sets the panning for Channel A (or
Channel B).
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
LEVEL
0–100
This sets the Channel A (or Channel B) vol-
ume level.
LOW MID Q (Low Middle Q)
0.5–16
Adjusts the width of the area affected by the
DELAY A SEND, DELAY B SEND
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
0–100
Adjusts the send level from Channel A (or
Channel B) to the mixer’s delay.
LOW MID GAIN (Low Middle Gain)
-12–+12dB
Adjusts the low-middle frequency range
tone.
REVERB A SEND, REVERB B SEND
0–100
Adjusts the send level from Channel A (or
Channel B) to the mixer’s reverb.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
CH DELAY (Channel Delay)
0–50ms
Adjusts the time that the overall sound in
HIGH MID Q (High Middle Q)
Channel A (or B) is delayed.
Although this is normally set to 0 ms, you
can produce greater breadth along with a
chorus effect by setting a difference in the
time the sounds are played relative to the
sounds from Channel B.
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
Adjusts the high-middle frequency range tone.
V-BASS LEVEL
Parameter/
Range
Explanation
A/B BAL (A/B Balance)
A0:100B–A100:0B
Adjusts the volume balance of Channel A
and Channel B. You can set this parameter
in the Mixer screen or with the BALANCE
knob.
This parameter is disabled when DYNAM-
IC is on.
V-BASS LEVEL
0–200
Adjusts the overall patch volume.
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Chapter 8 Parameter Guide
OUTPUT
MIXER
Parameter/
Range
Explanation
This setting determines the signal routing and level to the VB-99’s
outputs.
D OUT (Digital Output)
Parameter/
Explanation
Range
This switches the signals output from the DIGITAL OUT.
COSM BASS A
COSM BASS B
NORMAL PU
CH A
This outputs the sounds from COSM BASS
A.
MAIN OUT
This switches the signals output from the MAIN OUT.
This outputs the sounds from COSM BASS
B.
CH A
This outputs Channel A.
This outputs the sounds from the normal
pickup.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
This outputs Channel A.
CH B
This outputs Channel B.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
CH B
This outputs Channel B.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
BASS DIRECT
This outputs only the bass direct sound
(normal pickup sound).
MAIN LEVEL
0–200
MAIN OUT
SUB OUT
This outputs the same signals as those from
Adjusts the output volume to the MAIN
OUT.
This outputs the same signals as those from
SUB OUT.
SUB OUT
This switches the signals output from the SUB OUT.
D OUT LEVEL (Digital Output Level)
CH A
This outputs Channel A.
0–200
Adjusts the output volume to theDIGITAL
OUT.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
*
The parameters enabled (MAIN OUT, MAIN LEVEL, SUB OUT,
SUB LEVEL, D OUT, D OUT LEVEL) change according to the
settings in “OUTPUT MODE” (p. 151) in the SYSTEM screen.
When disabled, the value < > is given.
CH B
This outputs Channel B.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
BASS DIRECT
This outputs only the bass direct sound
(normal pickup sound).
SUB LEVEL
0–200
Adjusts the output volume to the SUB OUT.
132
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MIXER
Chapter 8 Parameter Guide
REVERB
DELAY/REVERB
You can apply delay and reverb jointly to Channel A and Channel B.
Parameter/
Range
Explanation
REVERB SW
OFF, ON
DELAY/REVERB Signal Flow
Turns the REVERB effect on/off.
LEVEL
TYPE
(DELAY LEVEL)
DELAY
This selects the reverb type. Various different simulations of space
are offered.
REVERB
SEND
AMB (AMBIENCE)
Simulates an ambience mic (off-mic, placed
at a distance from the sound source) used in
recording and other applications. Rather
than emphasizing the reverberation, this re-
verb is used to produce a sense of openness
and depth.
CH A
CH B
ROOM
HALL1
HALL2
PLATE
Simulates the reverberation in a small room.
Provides warm reverberations.
DELAY
SEND
Simulates the reverberation in a concert hall.
Provides clear and spacious reverberations.
REVERB
LEVEL
(REVERB LEVEL)
Simulates the reverberation in a concert hall.
Provides warm reverberations.
Simulates plate reverberation (a reverb unit
that uses the vibration of a metallic plate).
Provides a metallic sound with a distinct
upper range.
DELAY
Parameter/
Explanation
Range
TIME
DELAY SW
OFF, ON
0.1 s–10.0 s
PRE DELAY
0 ms–100 ms
Adjusts the length (time) of reverberation.
Turns the DELAY effect on/off.
LEVEL
(DELAY LEVEL)
Adjusts the time until the reverb sound ap-
pears.
INPUT
LOW CUT (Low Cut Filter)
FLAT, 55 Hz–800 Hz This sets the frequency at which the low cut
filter begins to take effect.
FEEDBACK
TIME
1–1800 ms,
This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When Flat is selected, the
low cut filter will have no effect.
This determines the delay time.
BPM
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
HIGH CUT (High Cut Filter)
700 Hz–11 kHz, FLAT This sets the frequency at which the high cut
filter begins to take effect.
*
If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When Flat is selected, the
high cut filter will have no effect.
*
After setting DELAY TIME to BPM (
–
), if you tap [F2]
(TAP), the BPM value will change to match the timing of your
tapping.
DENS (Density)
0–10
Adjusts the density of the reverb sound.
Adjusts the volume of the reverb sound.
FEEDBACK
0–100
LEVEL
0–100
Adjusts the amount of feedback.
Feedback is returning a delay signal to the input. A higher value will
increase the number of the delay repeats.
HIGH CUT (High Cut Filter)
700 Hz–11.0 kHz,
FLAT
This sets the frequency at which the high cut
filter begins to take effect.
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency. When it is set to FLAT, the high
cut filter is off or has no effect.
LEVEL
0–120
Adjusts the volume of the direct sound.
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Chapter 8 Parameter Guide
MIXER
DYNAMIC
Parameter/
Range
Explanation
This function allows you use your playing dynamics to control the
volume of the mix of the two channels. The volume and balance of the
channels change according to the dynamics each time you pick the strings.
You can set the point at which the volume changes in the settings
screen as you check the dynamics level shown by the meter.
RELEASE
0–100
This adjust the rate of the response when the
input level drops.
*1 Setting available when TYPE is set to DYNA A or DYNA B.
*2 Setting available when TYPE is set to DYNA BAL.
The A/B BAL setting is disabled when DYNAMIC is switched
on.
With DYNAMIC, when a new note is detected, the peak level at
the instant the string is picked (i.e., the playing dynamics) is
held momentarily, and control of the channel volume or balance
is based on that value.
Parameter/
Explanation
Range
DYNA SW (Dynamic Switch)
The playing dynamics controls the sound as described below.
OFF, ON
This setting switches DYNAMIC on and off.
•
•
•
When the level is at or below the LOWER RNG setting, the
playing controls the volume or balance of the softer sounds set
in LOWER LEV (when TYPE is set to DYNA A or DYNA B) or
LOWER BAL (when TYPE is set to DYNA BAL).
TYPE
This sets the DYNAMIC type.
This setting determines the channel for which the volume is con-
trolled with the playing dynamics.
When the level is at or above the UPPER RNG setting, the
playing controls the volume or balance of the louder sounds set
in UPPER LEV (when TYPE is set to DYNA A or DYNA B) or
UPPER BAL (when TYPE is set to DYNA BAL).
DYNA A
Channel A’s volume level is controlled.
The volume in Channel B is fixed.
DYNA B
Channel B’s volume level is controlled.
The volume in Channel A is fixed.
DYNA BAL
(DYNA Balance)
The volume levels of both Channel A and
Channel B (the balance) is controlled.
When the level is between these settings, the playing controls
the volume or balance between the softer sounds and louder
sounds described above (continuously changing the level
according to the dynamics).
LOWER LEV (Lower Level)
0–100
Adjusts the volume of the sounds played
softly. *1
Changes made to the above parameters are indicated in the
graph in the settings screen.
You can adjust the A level when DYNA A is
used and the B level when DYNA B is used.
When TYPE is set to DYNA A or DYNA B
LOWER BAL (Lower Balance)
LOWER LEV
UPPER LEV
0:100–100:0
Adjusts the balance between Channel A and
B when sounds are played softly. *2
LOWER RNG (Lower Range)
Volume/Balance
Control Status
0–99
This sets the point at which the strength of
the playing begins to change from the soft
sound’s volume (or balance) to the louder
sounds’ volume (or balance).
When the volume is below the set point, the
volume (or balance) switches to that set in
either LOWER LEV or LOWER BAL in ac-
cordance with the TYPE setting.
LOWER RNG
Input Level
UPPER RNG
Held Peak
Input Level
When TYPE is set to DYNA BAL
UPPER LEV (Upper Level)
LOWER BAL
UPPER BAL
0–100
Adjusts the volume of the sounds played
loudly. *1
You can adjust the A level when DYNA A is
used and the B level when DYNA B is used.
Volume/Balance
Control Status
UPPER BAL (Upper Balance)
0:100–100:0
Adjusts the balance between Channel A and
B when sounds are played loudly. *2
LOWER RNG
Input Level
UPPER RNG
Held Peak
Input Level
UPPER RNG (Upper Range)
Changes made to the above parameters are indicated in the
graph in the settings screen.
The input level and held peak input level are indicated beneath
the graph display. Making these settings is easier by actually
playing the strings as you watch the meter and adjust the
LOWER RNG and UPPER RNG settings.
1–100
This sets the point at which the strength of
the playing begins to change from the loud
sound’s volume (or balance) to the softer
sounds’ volume (or balance).
When the volume is above the set point, the
volume (or balance) switches to that set in
either UPPER LEV or UPPER BAL in accor-
dance with the TYPE setting.
In addition, you can confirm the volume/balance control status
with the fader displayed to the right of the graph.
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MASTER
Chapter 8 Parameter Guide
MASTER
CONTROL ASSIGN
Adjust these settings if you would like to use a pedal connected to
the VB-99, or an external MIDI device (control source) to control
parameters as you play.
GK S1, S2
(DOWN/S1, UP/S2 Switch)
Parameter/
Explanation
Range
You can set two parameters as targets to each control source.
*
Turn on the COSM bass, COSM amp, and effect that contains the
parameter you wish to control.
SW
OFF, ON
This setting determines whether control
using DOWN/S1 and UP/S2 is switched on
or off.
GK VOL (GK Volume)
TARGET PARAMETER
This selects the parameter to be changed.
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
Parameter/
Explanation
Range
SW
OFF, ON
This setting switches GK VOL on and off.
TARGET PARAMETER
This selects the parameter to be changed.
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
MAX (Maximum)
This sets the maximum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
MODE
MAX (Maximum)
Specify how the value will change in response to an operation.
This sets the maximum value for the range in which the parameter
*
When the DOWN/S1, UP/S2 POS of the GK SETTING is set to
REVRSE position, the function of DOWN/S1, UP/S2 will be
reversed.
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
RANGE LOW, RANGE HIGH
*
When KEY/BPM/AMPCTL:BPM TAP, FX–DELAY(HOLD)–
REC, or FX–DELAY(HOLD)–STOP is set for the TARGET
PARAMETER, control is available regardless of whether DOWN/S1
or UP/S2 is pressed. In this case, the MODE setting is disabled.
Low: 0–126
High: 1–127
You can set the controllable range for target
parameters within the GK Volume’s opera-
tional range. Target parameters are con-
trolled within the range set with RANGE
LOW and RANGE HIGH. You should nor-
mally set RANGE LOW to 0 and RANGE
HIGH to 127.
S1: DEC
S2: INC
S1 will decrease the value, and S2 will in-
crease it.
S1: INC
S2: DEC
S2 will decrease the value, and S1 will in-
crease it.
S1: MIN
S2: MAX
The value will be at MIN when S1 is
pressed.
The value will be at MAX when S2 is
pressed.
S1: MAX
S2: MIN
The value will be at MAX when S1 is
pressed.
The value will be at MIN when S2 is
pressed.
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Chapter 8 Parameter Guide
MASTER
PANEL CTL1/CTL2
D BEAM
PITCH
(Control Button 1/2)
Parameter/
Range
Parameter/
Explanation
Range
Explanation
PITCH TYPE
SW
This selects the effect applied when [PITCH] is pressed.
OFF, ON
This setting switches CONTROL button on
and off.
T-ARM
This feature changes the pitch of the COSM
bass as a tremolo arm does. Use of a
tremolo arm can be simulated by holding
your bass neck or hand over the D BEAM
controller.
TARGET PARAMETER
This selects the parameter to be changed.
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
FREEZE
This continuously holds the sound of the
COSM bass.
You can switch the FREEZE effect on and
off by holding your bass neck or hand over
the D BEAM controller.
MAX (Maximum)
This sets the maximum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
Parameter/
Range
Explanation
T-ARM CH (Tremolo Arm Channel)
This selects the channel to which the tremolo T-ARM is applied.
* While you can set two different target parameters each to CTL1 and
CTL2, the CTL1 and CTL2 buttons light when the value set in MAX
for the first parameter set to either one is reached.
A
T-ARM is applied only to Channel A.
T-ARM is applied only to Channel B.
T-ARM is applied to both Channel A and B.
B
SW MODE (Switch Mode)
This sets the behavior of the value each time the switch is operated.
A+B
TYPE
MOMENT
The setting is normally OFF (minimum val-
ue), switching to ON (maximum value)
while the CONTROL button is held down.
This selects the T-ARM type.
S-TYPE
This simulates the characteristics of a
LATCH
The setting alternately switches to OFF
(minimum value) and ON (maximum val-
ue) each time the CONTROL button is
pressed.
synchronized-type tremolo arm on the
Fender Stratocaster.
B-TYPE
F-TYPE
TRANS
This simulates a Bigsby-type tremolo arm
on the Gibson or the Rickenbacker.
This simulates the characteristics of a Floyd
Rose’s locking-type tremolo arm.
This simulates how a Trans-tremolo type
arm changes the pitch of all the strings
equally.
DOWN MIN (Down Minimum)
-50–+50 (S-TYPE, B-
TYPE, F-TYPE)
This sets the pitch when T-ARM is first acti-
vated (the minimum value).
Setting a negative value causes the pitch to
rise, while positive values produce lowered
pitches.
-24–+24 (TRANS)
DOWN MAX (Down Maximum)
-50–+50 (S-TYPE, B-
TYPE, F-TYPE)
This sets the pitch when T-ARM is most ful-
ly applied (the maximum value).
Setting a negative value causes the pitch to
rise, while positive values produce lowered
pitches.
-24–+24 (TRANS)
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MASTER
Chapter 8 Parameter Guide
Parameter/
Range
Parameter/
Range
Explanation
Explanation
LEVEL
0–100
FREEZE CH (Freeze Channel)
This selects the channel to which the FREEZE effect is applied.
Adjusts the volume level. Raising the value
increases the volume.
A
FREEZE is applied only to Channel A.
FREEZE is applied only to Channel B.
FREEZE is applied to both Channel A and B.
B
ASSIGNABLE
A+B
ATTACK
0–100
Parameter/
Range
Explanation
This sets the attack time for the FREEZE
sound when FREEZE is switched on. Rais-
ing the value increases the attack time.
SW
OFF, ON
This setting switches D BEAM ASSIGN-
ABLE on and off.
REL (Release)
0–100
This sets the time for the FREEZE sound to
be released when FREEZE is switched off.
Raising the value increases the release time.
TARGET PARAMETER
This selects the parameter to be changed.
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
LEVEL
0–100
This sets the volume level of the freeze
sound. The volume increases as the value is
raised.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
DIRECT
0–100
MAX (Maximum)
This sets the maximum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
This sets the volume level of the direct
sound. The volume increases as the value is
raised.
FILTER
SW MODE (Switch Mode) *1
This sets the behavior of the value each time the switch is operated.
This passes only portions of the sound’s frequency ranges, giving the
sound a unique tone. You can add different types of expression to
the sound by changing the frequencies (pitches) that are passed.
MOMENT
The setting is normally OFF (minimum val-
ue), switching to ON (maximum value)
while the CONTROL button is held down.
Parameter/
Explanation
Range
LATCH
The setting alternately switches to OFF
(minimum value) and ON (maximum val-
ue) each time the CONTROL button is
pressed.
FILTER CH (Filter Channel)
This selects the channel to which the filter is applied.
RANGE LOW, RANGE HIGH
A
The filter is applied only to Channel A.
The filter is applied only to Channel B.
The filter is applied to both Channel A and B.
Low: 0–126
High: 1–127
You can set the range for control of target
B
parameters within the D BEAM controller’s
response range. Target parameters are
controlled within the range set with
RANGE LOW and RANGE HIGH. You
should normally set RANGE LOW to 0 and
RANGE HIGH to 127.
A+B
TYPE
This selects the filter type.
LPF
BPF
This filter passes only the low frequencies.
This filter passes frequencies only in the
specified range.
*1 Setting available with SOURCE set to D BEAM V.
HPF
This filter passes only the high frequencies.
FREQ MIN (Frequency Minimum)
0–100
This sets the frequency when the filter is
first activated. Higher frequencies are set as
the value is raised.
FREQ MAX (Frequency Maximum)
0–100
This sets the frequency when the filter is
most fully applied (the maximum value).
Higher frequencies are set as the value is
raised.
RESO (Resonance)
0–100
Adjusts the amount of filter resonance (dis-
tinctiveness of the sound) used. Raising the
value strengthens the characteristic coloring
of the tone.
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Chapter 8 Parameter Guide
MASTER
Parameter/
Range
RIBBON
Explanation
PITCH
FREQ MIN (Frequency Minimum)
0–100
This sets the frequency when the RIBBON
CONTROLLER is touched at the end closest
to the front (the minimum value). Raising
the value increases the set frequency.
Parameter/
Explanation
Range
T-ARM CH (Tremolo Arm Channel)
FREQ MAX (Frequency Maximum)
This selects the channel to which the tremolo T-ARM is applied.
A
T-ARM is applied only to Channel A.
T-ARM is applied only to Channel B.
T-ARM is applied to both Channel A and B.
0–100
This sets the frequency when the RIBBON
CONTROLLER is touched at the end away
from the front (the maximum value). Rais-
ing the value increases the set frequency.
B
A+B
TYPE
RESO (Resonance)
This selects the T-ARM type.
0–100
Adjusts the amount of filter resonance (dis-
S-TYPE
This simulates the characteristics of a
synchronized-type tremolo arm on the
Fender Stratocaster.
tinctiveness of the sound) used. Raising the
value strengthens the characteristic coloring
of the tone.
B-TYPE
F-TYPE
TRANS
This simulates a Bigsby-type tremolo arm
on the Gibson or the Rickenbacker.
LEVEL
0–100
Adjusts the volume level. Raising the value
increases the volume.
This simulates the characteristics of a Floyd
Rose’s locking-type tremolo arm.
This simulates how a Trans-tremolo type
arm changes the pitch of all the strings
equally.
ASSIGNABLE
Parameter/
Range
Explanation
DOWN MIN (Down Minimum)
-50–+50
SW
This sets the pitch when the RIBBON CON-
(S-TYPE, B-TYPE, F-
TYPE)
TROLLER is pressed at the end closest to the
front. Setting a negative value raises the
pitch, while setting a positive value lowers
the pitch.
OFF, ON
This setting switches RIBBON ASSIGN-
ABLE on and off.
-24–+24
(TRANS)
TARGET PARAMETER
This selects the parameter to be changed.
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
DOWN MAX (Down Maximum)
-50–+50
(S-TYPE, B-TYPE, F-
TYPE)
This sets the pitch when the RIBBON CON-
TROLLER is pressed at the end farthest
from the front. Setting a negative value rais-
es the pitch, while setting a positive value
lowers the pitch.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
-24–+24
(TRANS)
MAX (Maximum)
This sets the maximum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
FILTER
This passes only portions of the sound’s frequency ranges, giving the
sound a unique tone. You can add different types of expression to
the sound by changing the frequencies (pitches) that are passed.
SW MODE (Switch Mode) *1
This sets the behavior of the value each time the switch is operated.
Parameter/
Explanation
Range
MOMENT
The setting is normally OFF (minimum val-
ue), switching to ON (maximum value)
while the footswitch is held down.
FILTER CH (Filter Channel)
This selects the channel to which the filter is applied.
LATCH
The setting alternately switches to OFF
(minimum value) and ON (maximum val-
ue) each time the footswitch is pressed.
A
The filter is applied only to Channel A.
The filter is applied only to Channel B.
The filter is applied to both Channel A and B.
B
RANGE LOW, RANGE HIGH *2
A+B
Low: 0–126
High: 1–127
You can set the range for control of target
TYPE
This selects the filter type.
parameters within the RIBBON CONTROL-
LER’s response range. Target parameters
are controlled within the range set with
RANGE LOW and RANGE HIGH. You
should normally set RANGE LOW to 0 and
RANGE HIGH to 127.
LPF
BPF
This filter passes only the low frequencies.
This filter passes frequencies only in the
specified range.
HPF
This filter passes only the high frequencies.
*1 Setting available with SOURCE set to RIBBON ACT.
*2 Setting available with SOURCE set to RIBBON POS.
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MASTER
Chapter 8 Parameter Guide
EXP PEDAL (Expression Pedal)
CTL3, CTL4 (Control3, Control4)
Parameter/
Explanation
Range
Parameter/
Explanation
Range
SW
SW
OFF, ON
This setting determines whether control us-
ing an expression pedal connected to the
EXP PEDAL jack is switched on or off.
OFF, ON
This setting determines whether control us-
ing a footswitch connected to the CTL3,
CTL4 jack is switched on or off.
TARGET PARAMETER
This selects the parameter to be changed.
MIN (Minimum)
TARGET PARAMETER
This selects the parameter to be changed.
MIN (Minimum)
This sets the minimum value for the range in which the parameter
This sets the minimum value for the range in which the parameter
can change.
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
MAX (Maximum)
MAX (Maximum)
This sets the maximum value for the range in which the parameter
This sets the maximum value for the range in which the parameter
can change.
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
RANGE LOW, RANGE HIGH
SW MODE
Low: 0–126
High: 1–127
You can set the range for control of target
parameters within an expression pedal’s
response range. Target parameters are
controlled within the range set with
RANGE LOW and RANGE HIGH. You
should normally set RANGE LOW to 0 and
RANGE HIGH to 127.
This sets the behavior of the value each time the switch is operated.
MOMENT
The setting is normally OFF (minimum val-
ue), switching to ON (maximum value)
while the footswitch is held down.
LATCH
The setting alternately switches to OFF
(minimum value) and ON (maximum val-
ue) each time the footswitch is pressed.
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Chapter 8 Parameter Guide
MASTER
FC-300 CONTROL
The controllers (sources) controlling targets when an FC-300 is
ASSIGN 1–16
You can freely assign functions to the VB-99’s and FC-300’s
connected are shown below.
controllers.
Source
Explanation
Parameter/
Explanation
Range
FC-300 EXP1 *1
FC-300 EXPSW1 *2
FC-300 EXP2 *1
FC-300 EXPSW2 *2
FC-300 CTL1 *2
FC-300 CTL2 *2
FC-300 E3/C3 *3
FC-300 expression pedal1
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
SOURCE
This selects the controller to which the function is assigned.
GK VOL
GK S1
GK-3B GK volume knob
GK-3B DOWN/S1 switch
GK-3B UP/S2 switch
Control button1
FC-300 control pedal2
GK S2
FC-300 external expression pedal3/external
footswitch3
CTL1
CTL2
Control button2
FC-300 CTL4 *2
FC-300 E4/C5 *3
Expression pedal connected to the EXP
PEDAL jack
FC-300 external expression pedal4/external
footswitch5
D BEAM V
D BEAM H
RIBBON ACT
CTL3
D BEAM vertical movements
D BEAM horizontal movements
RIBBON CONTROLLER touch
RIBBON CONTROLLER position
FC-300 CTL6 *2
FC-300 E5/C7 *3
FC-300 external expression pedal5/external
footswitch7
FC-300 CTL8 *2
Footswitch connected to the CTL3,4 jack
(jack tip)
*1 The types of parameters that can be set are the same as those
CTL4
Footswitch connected to the CTL3,4 jack
(jack ring)
*2 The types of parameters that can be set are the same as those
FC-300 EXP1
FC-300 EXPSW1
FC-300 EXP2
FC-300 EXPSW2
FC-300 CTL1
FC-300 CTL2
FC-300 E3/C3
FC-300 expression pedal1
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
described in “CTL3, CTL4 (Control3, Control4)” (p. 139).
*3 When an expression pedal is connected, the types of parameters
that can be set are the same as those described in “EXP PEDAL
(Expression Pedal)” (p. 139); when a footswitch is connected,
the types of parameters that can be set are the same as those
described in “CTL3, CTL4 (Control3, Control4)” (p. 139).
FC-300 control pedal2
FC-300 external expression pedal3/external
footswitch3
FC-300 CTL4
FC-300 E4/C5
FC-300 external footswitch4
FC-300 external expression pedal4/external
footswitch5
FC-300 CTL6
FC-300 E5/C7
FC-300 external footswitch6
FC-300 external expression pedal5/external
footswitch7
FC-300 CTL8
INTRNL PEDAL
WAVE PEDAL
INPUT LEVEL
CC
FC-300 external footswitch8
Internal pedal
Wave pedal
Input level
Control change
SW
OFF, ON
This setting switches the VB-99’s and FC-
300’s controllers on and off.
TARGET PARAMETER
This selects the parameter to be changed.
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
140
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MASTER
Chapter 8 Parameter Guide
Parameter/
Range
Parameter/
Range
Explanation
Explanation
MAX (Maximum)
CURVE
This sets the maximum value for the range in which the parameter
can change.
This selects one of the three types that determines how the internal
pedal should change. *1
The value differs depending on the parameter assigned for TARGET
PARAMETER.
LINEAR
SLOW RISE
FAST RISE
SW MODE (Switch Mode)
This sets the behavior of the value each time the switch is operated.
MOMENT
The setting is normally OFF (minimum val-
ue), switching to ON (maximum value)
while the footswitch is held down.
RATE
LATCH
The setting alternately switches to OFF
(minimum value) and ON (maximum val-
ue) each time the footswitch is pressed.
This determines the time spend for one cycle
of the wave pedal. *2
0–100, BPM
–
FORM
RANGE LOW, RANGE HIGH
This selects one of the three types that determines how the wave
pedal should change. *2
Low: 0–126
High: 1–127
You can set the controllable range for target
parameters within the source’s operational
range. Target parameters are controlled
within the range set with RANGE LOW and
RANGE HIGH. You should normally set
RANGE LOW to 0 and RANGE HIGH to
127.
SAW
TRI
SIN
TRIGGR (Trigger)
This sets the trigger that activates the internal pedal. *1
INPUT SENS
0–100
PATCH CHANGE
GK VOL
Functions when patches are switched.
This adjusts the input sensitivity when IN-
PUT LEVEL is selected for SOURCE. *3
Functions when the divided pickup’s vol-
ume knob is adjusted.
*1 The TRIGGR, TIME, and CURVE parameters are enabled when
the SOURCE parameter is set to INTRNL PEDAL.
GK S1, S2
Functions when the divided pickup’s
DOWN/S1 or UP/S2 switch position is
changed.
*2 The RATE and FORM parameters are enabled when the
SOURCE parameter is set to WAVE PEDAL.
CTL1–CTL4
Functions when the CTL 1, 2 buttons or foot
switch connected to CTL 3,4 jack are operat-
ed.
*3 The INPUT SENS parameter is enabled when the SOURCE
parameter is set to INPUT LEVEL.
EXP PEDAL
Functions when the expression pedal con-
nected to EXP PEDAL jack are operated.
DIRECT EDIT F1–F6
D BEAM V, H
Functions when the vertical or horizontal
position is detected by the D Beam control-
ler.
Parameter/
Explanation
Range
RIBBON ACT, POS
Functions when the ribbon controller is op-
erated by touch or when the position is de-
tected.
This assigns functions to the function buttons operable in the Play
screen and the [F1]–[F6] or F1–F6 knobs.
FC-300 EXP1, EXP2
FC-300 CTL1, CTL2
Functions when the FC-300’s EXP PEDAL 1
or 2 is operated.
TARGET PARAMETER
This selects the parameter to be changed.
Functions when the FC-300’s CTL1 or CTL2
is operated.
FC-300 E3/C3, CTL4, Functions when a pedal connected to the
E4/C5, CTL6, E5/C7, FC-300’s E3/C3, CTL4, E4/C5, CTL6, E5/
CTL8
C7, or CTL8 jacks is operated.
TIME
Adjusts the amount of time for the internal
pedal to shift from the fully released posi-
tion (pedal toe raised) to the fully depressed
position (pedal toe pressed down). *1
0–100, BPM
–
141
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Chapter 8 Parameter Guide
MASTER
BPM
NAME/KEY/BPM
Parameter/
Range
Explanation
PATCH NAME
BPM
Parameter/
Explanation
Range
40–250
Adjust the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that
occur each minute.
PATCH NAME
* When “SYNC CLOCK” (p. 149) is set to a value other than
INTERNAL, sending a MIDI clock signal from an external MIDI
sent. To enable the BPM setting, set this to INTERNAL.
This sets the patch name.
INSERT
DELETE
Insert a space at the cursor location.
*
The parameters enabled (SYSTEM BPM, BPM) change according to
the BPM MODE settings.
When they are disabled, the value < > is given.
SPACE
A0!
Input a space at the cursor location.
Switch between uppercase letters, numbers,
and characters.
A<=>a
Switch between uppercase letters and low-
ercase letters.
Control with the BPM
You can tap input the BPM with [F1].
CATEGRY
Sets the category for the current patch. Refer
to “Separating Patches into Groups
(CATEGORY)” (p. 85)
AMP CONTROL
CATEGORY
Parameter/
Explanation
Range
Parameter/
Range
Explanation
FC AMP CTL1, FC AMP CTL2
CATEGORY
USER 1–10
E.BASS
AC BASS
SYNTH
E.GUITAR
EFFECTS
OTHERS
OFF, ON
This setting switches the FC-300’s AMP CTL
1 and AMP CTL 2 parameters on and off.
This selects the Category name.
*
You can set USER1–USER10 in
SYSTEM (p. 86).
TX PC (Transmit Program Change)
Parameter/
Explanation
Range
You can assign whatever Program Change numbers you want to
patches.
KEY
* This setting is enabled when the SYSTEM MIDI TX PC MAP is set to
PROG (p. 150).
Parameter/
Range
Explanation
BANK MSB
KEY
C (Am)–B (G#m)
OFF, 1–127
This sets the Bank Select (MSB) to be output.
This sets the Bank Select (LSB) to be output.
This sets the key for the COSM bass and FX
HARMONIST.
BANK LSB
OFF, 1–127
The key setting corresponds to the key of the song (#,
b
) as follows.
PC (Program Change)
1–128
This sets the Program Change to be output.
V-BASS LEVEL
Parameter/
Range
Explanation
V-BASS LEVEL
0–200
Adjusts the volume the patch.
* This parameter is the same as V-BASS
LEVEL (p. 131) in MIXER.
142
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BASS TO MIDI
Chapter 8 Parameter Guide
BASS TO MIDI
Parameter/
Range
Parameter/
Range
Explanation
Explanation
BASS TO MIDI
OFF, ON
CHROMATIC
This sets the VB-99 so that if you play bends or slides, the unit will
not send pitch bend message but instead will play the notes in half
steps.
This switches the BASS TO MIDI function
on and off. Setting this to OFF prevents out-
put of all BASS TO MIDI-related MIDI mes-
sages.
OFF
Normal Pitch Bend messages are output.
The pitch varies continuously in keeping
with the string bending or vibrato.
TYPE1
When the pitch changes, this setting applies
the results of the pitch change information
without stopping the note that is playing.
This produces a unique effect, whereby
there is no attack sound when the pitches
change, similar to slurring on a clarinet or a
saxophone.
PATCH
These parameters are set for each individual patch with the BASS TO
MIDI function.
Parameter/
Explanation
Range
TYPE2
TYPE3
When the pitch changes, the VB-99 retrig-
gers (replays) the sound at the changed
pitch, producing pitch changes only at the
semitone increments.
As a result, the attack of the new note starts
at the current volume of the string, not the
original volume.
MODE
This sets the transmission mode for the MIDI messages.
MONO
In this mode, one channel per string is used,
thus using a total of six channels.
Since each string uses a different MIDI chan-
nel, you can select a different tone for each
string, using string bending or continuously
varying the pitch on a specific string; how-
ever, this requires use of a multitimbral
sound module.
As with CHROMATIC TYPE 2, sounds are
retriggered at the changed pitch, expressing
the pitch changes only in semitones.
However, instead of reflecting the attenua-
tion of the string vibration, the retriggered
sound is the same as that when the string
was initially played.
POLY
In this mode, the messages for all six strings
are transmitted over a single channel.
While transmitting the MIDI messages for
all of the strings over one channel does sim-
plify the settings needed for the sound mod-
ule and reduces the number of MIDI
channels used, it does impose certain limita-
tions; for example, permitting only one tone
to be selected for all of the strings.
HOLD TYPE
This selects the way the Hold function works.
HOLD1
Note On messages are held when the Hold
function is switched on with the controller.
If the Hold function remains on as you con-
tinue to play the strings, each successive
Note On message is held, and when a Note
message is already being played from the
same string,
the previous Note message is cancelled, and
the next Note On message is held. This al-
lows you to prevent any interruption in the
sounds, even sounds from releasing the
strings over the frets.
PLAY FEEL
This selects the feeling produced in playing the bass, allowing you to
choose playing with fingers or a pick to provide more natural dy-
namic expression.
FEEL1–4
FEEL1 is the mode that gives sounds the
broadest variation in volume based on the
playing dynamics. As the setting number is
increased, it becomes easier to produce high
volume sounds even with weaker playing.
This allows you to play with consistent vol-
ume, whether you tap the strings or use
rough playing. In general, use higher setting
numbers for softer playing, fingerplaying or
tapping.
HOLD2
HOLD3
Note On messages are held when the Hold
function is switched on with the controller.
However, subsequent Note On messages
are not output if you continue to play the in-
strument with the Hold effect left on.
Note On messages are held when the Hold
function is switched on with the controller.If
the Hold function remains on as you contin-
ue to play the strings, Note On messages for
strings other than the one already being
held can be output, but they are not held.
NO DYNA
STRUM
In this mode, sounds are played at a fixed
volume regardless of the playing strength.
This suppresses the output of sounds from
weaker playing.
This setting allows you to prevent undes-
ired sounds produced when playing
rhythm or due to incidental contact with
strings from incorrect playing.
143
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Chapter 8 Parameter Guide
BASS TO MIDI
SYSTEM
Parameter/
Explanation
Range
These parameters are applied to the entire VB-99 in the BASS TO
MIDI function.
CC (Control Change)
You can output the actions of the controllers specified with SRC as
Control Change messages.
Parameter/
Explanation
Range
You can make two types of settings, 1 and 2.
SRC (Source)
GK VOL
HOLD CTL (Hold Control)
This setting determines the controller used for the HOLD function.
GK-3B GK volume knob
GK-3B DOWN/S1 switch
GK-3B UP/S2 switch
Control button1
GK S1
GK S1, S2
GK-3B DOWN/S1, UP/S2 switch
Control button1, 2
GK S2
CTL1, 2
CTL1
CTL3, 4
Footswitch connected to the CTL3,4 jack
FC-300 control pedal1, 2
CTL2
Control button2
FC-300 CTL1,2
FC-300 CTL3–8
EXP PEDAL
Expression pedal connected to the EXP
PEDAL jack
FC-300 external footswitch3–8
BEND THIN
CTL3
CTL4
Footswitch connected to the CTL3,4 jack
(jack tip)
OFF, ON
Setting this to ON thins out the Pitch Bend
messages and reduces the volume of MIDI
data.
Footswitch connected to the CTL3,4 jack
(jack ring)
BASIC CH (Basic Channel)
D BEAM V
D BEAM vertical movements
D BEAM horizontal movements
RIBBON CONTROLLER touch
RIBBON CONTROLLER position
FC-300 expression pedal1
1–11ch
This sets the MIDI transmit channel used for
the BASS TO MIDI function.
D BEAM H
RIBBON ACT
RIBBON POS
FC-300 EXP1
FC-300 EXPSW1
FC-300 EXP2
FC-300 EXPSW2
FC-300 CTL1
FC-300 CTL2
FC-300 E3/C3
PC MASK (Program Change Mask)
OFF, ON
When set to ON, the Bank Select messages
and Program Change messages used for the
BASS TO MIDI function are not transmitted
when patches are changed.
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
FC-300 control pedal2
FC-300 external expression pedal3/external
footswitch3
FC-300 CTL4
FC-300 E4/C5
FC-300 external footswitch4
FC-300 external expression pedal4/external
footswitch5
FC-300 CTL6
FC-300 E5/C7
FC-300 external footswitch6
FC-300 external expression pedal5/external
footswitch7
FC-300 CTL8
FC-300 external footswitch8
CC (Control Change)
OFF, #1–#31, #64–#95 This sets the Control Change number to be
output.
* When the MONO/POLY setting is set to
POLY, messages are output only over the
BASIC CH; when this is set to MONO, the
messages are output over the six channels
starting from the BASIC CH.
PC (Program Change)
This sets the Program Change messages that are output when the
VB-99’s patches are switched.
BANK MSB
OFF, 1–127
This sets the Bank Select (MSB).
This sets the Bank Select (LSB).
BANK LSB
OFF, 1–127
PC (Program Change)
OFF, 1–128
This sets the Program Number.
144
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SYSTEM
Chapter 8 Parameter Guide
SYSTEM
LCD CONTRAST
Parameter/
Range
Explanation
SET MODE
Parameter/
Range
Explanation
This setting allows you to select whether one GK SETTING is used
globally for the entire VB-99 or if different GK SETTINGS are speci-
fied for each patch individually.
CONTRAST
1–50
Setting up the VB-99 in certain positions
may make the display difficult to read. If
this occurs, adjust the display contrast (legi-
bility).
SYSTEM
The GK SETTING set here is used globally
for the entire VB-99. This is the default facto-
ry setting.
PATCH
GK SETTINGS are specified for each patch
individually. Carry out the Write procedure
after making changes to the settings in each
patch. Use this setting when performing
with multiple basses, switching the instru-
ment depending on the patch used.
DIRECT PATCH
Parameter/
Range
SETTING1–10
1–10
Explanation
This selects the GK SETTING to be set.
DIRECT PATCH
DIR.PATCH 1–5
NAME
This sets the desired [DIRECT PATCH 1]–
[DIRECT PATCH 5].
This sets the name for the GK SETTING (up to eight characters).
INSERT
DELETE
Insert a space at the cursor location.
Delete a character. The characters that fol-
low get shifted to the left.
GK SETTING
SPACE
A0!
Input a space at the cursor location.
Switch between uppercase letters, numbers,
and characters.
Parameter/
Range
Explanation
A<=>a
Switch between uppercase letters and low-
ercase letters.
GK CONNCT (GK Connect)
AUTO
GK PU TYPE (GK Pickup Type)
This automatically determines the GK con-
GK-3B
GK-2B
PIEZO
Specifies the GK-3B.
nection and switches the internal settings.
When the GK connection is in use, the BASS
INPUT connection is disabled.
Specifies the GK-2B.
This is suited to piezo pickups that have a
flat response.
OFF
ON
Use this setting if you normally use the con-
nection for BASS INPUT.
PIEZO G
PIEZO R
This is suited to piezo pickups made by
Graph Tech Guitar Labs.
This is suited to piezo pickups made by
RMC Pickup Co.
GK FUNC (GK Function)
GK VOL (GK Volume)
PIEZO TONE LOW *1
-10–+10
Adjusts the low frequency range tone.
This selects the function assigned to GK VOL.
PIEZO TONE HIGH *1
Adjusts the high frequency range tone.
to Controllers” (p. 147).
BASS SCALE
710–940mm,
This sets the scale length for your bass.
SHORT (760mm),
MEDIUM(812mm),
LONGJB/PB(864mm),
EXTRA LONG (914mm)
GK S1, S2 (GK S1, S2 Switch)
This selects the functions assigned to GK S1, S2.
For more on the functions assigned, refer to the GK S1,
S2 column in “Parameters That Can Be Assigned to
Controllers” (p. 147).
145
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Chapter 8 Parameter Guide
SYSTEM
CTL (Control)
Parameter/
Explanation
Range
GK PU POS (GK Pickup Position)
This sets the divided pickup’s position.
CONTROL ASSIGN
4STR-1
This is the position on a 4-string bass.
Parameter/
Explanation
Range
4STR-2
4STR-3
Controller
5STR Lo1
5STR Lo2
5STR Hi1
5STR Hi2
6STR
This is the position on a 5-string bass
(Low B–G).
You can freely assign functions to the VB-99’s and FC-300’s control-
lers.
This is the position on a 5-string bass
(E–Hi C).
GK VOL
GK S1, S2
CTL1
GK-3B GK volume knob
GK-3B DOWN/S1, UP/S2 switch
Control button1
This is the position on a 6-string bass.
GK PU PHASE (GK Pickup Phase)
This sets the phase for the divided pickup and normal pickup.
Set this to NORMAL, and if the low-frequency range is cut, set this
to INVERS.
CTL2
Control button2
EXP PEDAL
Expression pedal connected to the EXP
PEDAL jack
CTL3
CTL4
Footswitch connected to the CTL3,4 jack
(jack tip)
Mixing the divided pickup sound and normal pickup sound
(p. 30) makes it easier to determine the phase.
Footswitch connected to the CTL3,4 jack
(jack ring)
NORMAL
INVERS
The phase is left unchanged.
The phase is inverted.
FC-300 EXP1
FC-300 expression pedal1
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
FC-300 EXP SW1
FC-300 EXP2
GK PU DIRECTION (GK Pickup Direction)
This sets the direction for the divided pickup’s installation.
FC-300 EXP SW2
FC-300 CTL1
NORMAL
REVRSE
The cable exits the pickup in the direction of
the bass’s bridge.
FC-300 CTL2
FC-300 control pedal2
The cable exits the pickup in the direction of
the bass’s neck.
FC-300 EXP3/CTL3
FC-300 external expression pedal3/external
footswitch3
S1, S2 POS (S1, S2 Position)
FC-300 CTL4
FC-300 external footswitch4
This exchanges the function for the GK-3B’s or GK-2B’s DOWN/S1,
UP/S2 switches.
FC-300 EXP4/CTL5
FC-300 external expression pedal4/external
footswitch5
NORMAL
REVRSE
The switches are left unchanged.
FC-300 CTL6
FC-300 external footswitch6
The DOWN/S1 switch and UP/S2 switch
are exchanged.
FC-300 EXP5/CTL7
FC-300 external expression pedal5/external
footswitch7
FC-300 CTL8
FC-300 external footswitch8
PICKUP↔BRIDGE HiC, 1–4th, LowB
0.0–50.0mm
This sets the distance of the gap between
each divided pickup and the bridge.
The setting is disregarded when the GK PU
TYPE is set to piezo type parameter.
SENS HiC, 1–4th, LowB
0–100
This sets the input sensitivity for each string.
*1 Setting available when GK PU TYPE is set to PIEZO G, PIEZO
G or PIEZO R.
146
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SYSTEM
Chapter 8 Parameter Guide
Parameter
Explanation
Parameters That Can Be
Assigned to Controllers
MIDI START/STOP
Transmits Start and Stop for transmission of
MIDI Realtime messages.
*
The parameters that can be set will depend on the controllers.
MMC PLAY/STOP
Transmits Play and Stop for transmission of
MIDI Machine Control.
Parameter
Explanation
FC-300 AMP CTL 1/2 Provides control of the FC-300’s AMP
CONTROL1 and AMP CONTROL2 jacks.
This allows switching of the channels for
OFF
No function is assigned.
ASSIGNABLE
(PATCH)
Functions according to the Control Assign
settings in each individual patch.
bass amps connected to these jacks.
FC-300 AMP CTL 1
FC-300 AMP CTL 2
Switches to the channel assigned for the
bass amp connected the FC-300’s AMP
CONTROL1 jack.
V-BASS LEVEL 0–100 Provides control of the V-Bass level.
V-BASS LEVEL 0–200
V-BASS LEV
DEC/INC
Switches to the channel assigned for the
bass amp connected the FC-300’s AMP
CONTROL2 jack.
V-BASS LEVEL INC
Increases the V-Bass level.
V-BASS LEVEL DEC Decreases the V-Bass level.
AB BALANCE
Provides control of the balance of the vol-
ume in Channel A and Channel B.
AB BALANCE
toA/toB
Provides control of the volume balance be-
tween Channel A and Channel B. The level
from Channel A is increased with S1; the
level from Channel B is increased with S2.
AB BALANCE toB
AB BALANCE toA
Increases the volume level in Channel B in
the balance between Channel A and Chan-
nel B.
Increases the volume level in Channel A in
the balance between Channel A and Chan-
nel B.
FOOT VOLUME
[A&B]
Provides simultaneous control of the foot
volume in Channel A and Channel B.
FOOT VOLUME [A] Provides control of the foot volume in Chan-
nel A or Channel B.
FOOT VOLUME [B]
BASS VOLUME [A&B] Provides simultaneous control of the COSM
bass volume in Channel A and Channel B.
BASS VOLUME [A]
BASS VOLUME [B]
BASS TONE [A&B]
Provides control of the COSM bass volume
in Channel A or Channel B.
Provides simultaneous control of the COSM
bass tone in Channel A and Channel B.
BASS TONE [A]
BASS TONE [B]
Provides control of the COSM bass tone in
Channel A or Channel B.
MIXER LEVEL [A&B] Provides simultaneous control of the mixer
volume level in Channel A and Channel B.
MIXER LEVEL [A]
MIXER LEVEL [B]
Provides control of the mixer volume level
in Channel A or Channel B.
PATCH SEL
DEC/INC
When set to INC, patch numbers increase
when patches are switched; setting this to
DEC causes the VB-99 to switch to lower
patch numbers when patches are switched.
PATCH SELECT INC Switches to higher patch numbers when
patches are switched.
PATCH SELECT DEC Switches to lower patch numbers when
patches are switched.
S1:TUNER/
S2:BPM TAP
The TUNER screen is switched with S1. S2
can be used for tap input of the BPM param-
eter.
TUNER ON/OFF
BPM TAP
Switches the TUNER screen.
Allow tap input for the BPM parameter.
147
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Chapter 8 Parameter Guide
SYSTEM
CONTROL
FC-300
Parameter/
Explanation
Range
Parameter/
Range
Explanation
ASSIGN HOLD
SYS EX MODE (System Exclusive Mode)
This sets the FC-300’s control method.
This setting determines whether or not the values (positions) of the
D BEAM (H) or RIBBON CONTROLLER or the FC-300’s expression
pedals or control pedals or other controllers are to be reflected in the
sound as soon as a patch is called up.
ON
When connected to the VB-99, the FC-300
automatically changes to System Exclusive
mode and operates in accordance with the
settings made with the VB-99. This is the set-
ting you should normally select.
ON
When a patch is called up, the controller val-
ues (positions) are applied, producing a
sound that reflects the controller settings.
OFF
When a patch is changed, the sound set in
the patch is played, regardless of the
controller values (positions).
You can control the FC-300 even
without matching the VB-99’s and FC-
300’s Device IDs.
DIRECT EDIT
SYSTEM
OFF
Select OFF when controlling the FC-300’s
with the FC-300 (manually).
The system parameter’s direct edit setting is
used. This applies the same settings to all
patches.
BANK CHANGE
PATCH
The patch parameter’s direct edit setting is
used. This allows you to use different
settings in each individual patch.
This sets the timing with which tones switch when patches are
changed with the FC-300.
IMMEDIATE
The tone changes immediately when the
FC-300’s pedals are pressed.
Even after the FC-300’s pedals are
pressed, the tone does not change until the
NUMBER is set.
DIRECT EDIT F1–F6
This assigns functions to the function buttons operable in the Play
screen and the [F1]–[F6] or F1–F6 knobs.
WAIT NUM
TARGET PARAMETER
This selects the parameter to be changed.
QUICK TUNER
This enables use of the FC-300’s number pedals to switch the Tuner
function on and off.
The Quick Tuner function is enabled only when the FC-300’s MODE
is set to SYS EX.
OFF
The QUICK TUNER function is not opera-
tional.
ON
The QUICK TUNER function is operational.
The TUNER function is alternately switched
on and off each time the currently selected
number pedal is pressed.
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SYSTEM
Chapter 8 Parameter Guide
MIDI
Parameter/
Explanation
MIDI OUT←
This sets the routing of signals at the MIDI OUT connector.
Parameter/
Range
Explanation
OFF
Only Bulk Dump data is output from MIDI
OUT.
MIDI CH (MIDI Channel)
1–16ch
This sets the channel used for transmitting
MAIN
USB
Signals from the VB-99 are output.
and receiving MIDI messages.
When controlling another synthesizer
sound module using the BASS TO MIDI
function, also refer to “BASS TO MIDI” (p.
143).
MIDI signals received via USB are output.
MIDI
The MIDI signals received at MIDI IN are
output from MIDI OUT (thru).
When other signals also are set to be output
simultaneously from MIDI OUT, the signals
are mixed and then output together
(merge).
OMNI MODE
OFF, ON
When MIDI OMNI MODE is set to ON,
messages are received on all MIDI channels,
regardless of the MIDI channel settings.
RRC2
The MIDI signals received at through RRC2
IN connector are output from MIDI OUT
(thru).
DEVICE ID
1–32
This sets the Device ID used for transmis-
sion and reception of Exclusive messages.
When other signals also are set to be output
simultaneously from MIDI OUT, the signals
are mixed and then output together
(merge).
SYNC CLOCK
This setting determines the basis used for synchronizing the timing
for effect modulation rates and other time-based parameters.
USB (MIDI)→
This sets the routing of signals received via USB.
INTERNAL
Operations are synchronized to the VB-99’s
internal Clock.
OFF
Only VB-99 Exclusive messages are received
via USB.
AUTO (USB)
Operations are synchronized to the MIDI
Clock received via USB. However, opera-
tions are automatically synchronized to the
VB-99’s internal Clock if the VB-99 is unable
to receive the external Clock.
MAIN
Signals received via USB are transmitted to
the VB-99’s internal section.
USB (MIDI)←
This sets the routing of signals output from the USB connector.
AUTO (MIDI)
AUTO (RRC2)
Operations are synchronized to the MIDI
Clock received via MIDI. However,
operations are automatically synchronized
to the VB-99’s internal Clock if the VB-99 is
unable to receive the external Clock.
OFF
Only Bulk Dump data is output from USB.
MIDI signals from the VB-99 are output.
MAIN
MIDI
MIDI signals received at MIDI IN are out-
put.
Operations are synchronized to the MIDI
Clock received via the RRC2 IN connector.
However, operations are automatically syn-
chronized to the VB-99’s internal Clock if
the VB-99 is unable to receive the external
Clock.
RRC2
MIDI signals received through RRC2 IN
connector are output.
RRC2→
This sets the routing of signals received via RRC2 IN connector.
OFF
Only VB-99 Exclusive messages are received
via RRC2 IN connector.
ROUTING
MIDI IN→
MAIN
Signals received at the RRC2 IN connector
are transmitted to the VB-99’s internal sec-
tion.
This sets the routing of signals arriving at the MIDI IN connector.
OFF
Only VB-99 Exclusive messages are received
via MIDI IN.
RRC2←
This sets the routing of signals output from the RRC2 IN connector.
MAIN
Signals received at MIDI IN are transmitted
to the VB-99’s internal section.
OFF
Only Bulk Dump data is output from the
RRC2 IN connector.
MAIN
USB
MIDI signals from the VB-99 are output.
MIDI signals received via USB are output.
MIDI
MIDI signals received at MIDI IN are output
from the RRC2 IN connector (thru). When
other signals also are set to be output simul-
taneously from the RRC2 IN connector, the
signals are mixed and then output together
(merge).
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Chapter 8 Parameter Guide
SYSTEM
Parameter/
Explanation
Range
Parameter/
Range
Explanation
PC (Program Change)
BULK DUMP
With the VB-99, you can use Exclusive messages to set another VB-
99 to the same settings or to save effect sound settings to MIDI se-
quencers and other such devices.
PC OUT (Program Change Out)
OFF, ON
This setting determines whether or not Pro-
gram Change messages are output when the
VB-99’s patches are switched.
Program Change messages are output when
this is set to ON.
ALL
All transmittable data (SYSTEM, GK SET-
TING, GLOBAL, PATCH 001–200, FAVOR-
ITE SETTING)
SYSTEM
SYSTEM parameters.
TX PC MAP (Transmit Program Change Map)
This setting determines the sequence of Program Change messages
output when the VB-99’s patches are changed.
GK SETTING
GLOBAL
PATCH
Settings content for GK SETTING
GLOBAL function settings
Settings for patch numbers 001–200
FIX
Regardless of the patch settings, Program
Change messages predetermined for each
patch number are output.
FAVORITE SETTING Settings content in FAVORITE SETTINGS
01–10 for all effects
PROG
The Program Change messages pro-
grammed in each patch are output.
RX PC MAP (Receive Program Change Map)
You can select whether to use a fixed or freely set correspondence be-
tween program numbers received and the patches switched to when
the VB-99’s patches are switched by Program Change messages
transmitted by an external MIDI device.
FIX
The VB-99 switches to the patches predeter-
mined for the corresponding received Pro-
gram Change messages, regardless of the
Receive Program Change Map settings.
PROG
The VB-99’s switches to the patches set in
the Receive Program Change Map.
RX PC MAP (Receive Program Change Map)
You can edit the correspondence between the Program Change num-
bers received and the patches that are switched to.
[F1] (BANK)
Selects the Bank number.
[F2] [F3] (SEL)/
F2, F3 knob
Selects the Program number.
[F5] (SELECT)/
F5 knob
Selects the patch.
When the combination of the Bank number
and Program number selected with F1, F2,
and F3 is received, the VB-99 switches to the
patch selected with F5.
TX CC (Transmit Control Change)
This sets the Control Change numbers output when the VB-99’s ped-
als and external pedals or the FC-300’s pedals and external pedals
are operated.
[F2] [F3] (SEL)/
F2, F3 knob
Selects the controller.
[F5] (SET OFF)/
F5 knob
When the controller selected with F2 or F3 is
operated, the Control Change message se-
lected with F5 is transmitted.
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SYSTEM
Chapter 8 Parameter Guide
OUTPUT
Parameter/
Range
Explanation
D OUT (Digital Out)
This switches the signals output from DIGITAL OUT.
Parameter/
Range
Explanation
COSM BASS A
COSM BASS B
NORMAL PU
CH A
This outputs the sounds from COSM BASS
A.
OUTPUT MODE
SYSTEM
The values set in the SYSTEM parameters
MAIN OUT, MAIN LEVEL, SUB OUT, SUB
LEVEL, D OUT, and D OUT LEVEL are en-
abled.
This outputs the sounds from COSM BASS
B.
This outputs the sounds from the normal
pickup.
PATCH
The values set in MAIN OUT, MAIN LEV-
EL, SUB OUT, SUB LEVEL, D OUT, D OUT
LEVEL for each patch are enabled.
This outputs Channel A.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
MAIN OUT
This switches the signals output to MAIN OUT.
CH B
This outputs Channel B.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
CH A
This outputs Channel A.
The mixer’s MIX SW, PAN, LEVEL, and A/
B BAL are also reflected here.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
CH B
This outputs Channel B.
The mixer’s MIX SW, PAN, LEVEL, and A/
B BAL are also reflected here.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
MAIN OUT
SUB OUT
This outputs the same signals as those from
MAIN OUT.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
This outputs the same signals as those from
SUB OUT.
D OUT LEVEL (Digital Out Level)
BASS DIRECT
This outputs only the bass direct sound
(normal pickup sound).
0–200
Adjusts the level to DIGITAL OUT.
*
The parameters enabled (MAIN OUT, MAIN LEVEL, SUB OUT,
SUB LEVEL, D OUT, D OUT LEVEL) change according to the
OUTPUT MODE settings.
MAIN LEVEL
0–200
Adjusts the level to MAIN LEVEL.
SUB OUT
When they are disabled, the value < > is given.
This switches the signals output to SUB OUT.
CH A
This outputs Channel A.
The mixer’s MIX SW, PAN, LEVEL, and A/
B BAL are also reflected here.
CH B
This outputs Channel B.
The mixer’s MIX SW, PAN, LEVEL, and A/
B BAL are also reflected here.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
BASS DIRECT
This outputs only the bass direct sound
(normal pickup sound).
SUB LEVEL
0–200
Adjusts the level to SUB OUT LEVEL.
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Chapter 8 Parameter Guide
SYSTEM
USB
Parameter/
Explanation
NORMAL PU
CH A
The normal pickup input is output.
The output from Channel A is output.
The output from Channel B is output.
Parameter/
Explanation
Range
CH B
USB IN
MIXER (DRY)
The signals that have been mixed with the
mixer, but before application of DELAY/
REVERB, are output.
This sets the point at which digital audio signals received via USB
(from your computer) are connected within the VB-99.
* Do not connect at a point before the point set with the USB OUT
parameter. For more on the connection points, refer to “Signal Flow”
(p. 15).
MIXER
The signals that have been mixed with the
mixer and have DELAY/REVERB applied
are output.
* If the USB IN parameter is set to COSM BASS A, COSM BASS B, or
NORMAL PU, the setting automatically changes to MAIN & SUB the
next time the VB-99 is powered up. If you plan to use COSM BASS A,
COSM BASS B, or NORMAL PU, make the setting each time you
turn on the power to the VB-99.
MAIN OUT
SUB OUT
The same signals as those from MAIN OUT
are output.
The same signals as those from SUB OUT
are output.
OUT LEVEL
0–200
OFF
The signals are not connected at any point.
Adjusts the volume level of the digital audio
COSM BASS A
The signals are connected at the point where
the COSM BASS A is output.
The audio output from the computer, in-
stead of the COSM bass sounds played by
the connected bass, is input to the effects.
This setting determines which operational mode is used, the mode
using the special driver contained on the included CD-ROM (AD-
VANC) or the mode using the OS’s (Windows/Mac OS) standard
driver (STANDRD).
* POLY FX are not applied.
COSM BASS B
The signals are connected at the point where
the COSM BASS B is output.
* Changing the settings for this parameter requires you to turn off the
power to the VB-99 and then turn it on again.
For more detailed information, refer to “Switching the Driver
Mode” (p. 66).
The audio output from the computer, in-
stead of the COSM bass sounds played by
the connected bass, is input to the effects.
* POLY FX are not applied.
STANDRD
ADVANC
This mode uses the OS’s standard USB driver.
NORMAL PU
MAIN OUT
SUB OUT
The signals are connected at the normal
pickup input.
This mode uses the special driver contained
on the included CD-ROM
The audio output from the computer, in-
stead of the normal sounds played by the
connected bass, is input to the effects.
The mode using this driver allows you to
record, play back, and edit audio with high-
quality sound and stable timing.
The signals are connected at the point where
MAIN OUT is output.
The signals from the VB-99’s MAIN OUT
and the audio output from the computer are
mixed and output.
MON CMD (Monitor Command)
This setting determines whether or not the command (the Direct
Monitor command) controlling the Direct Monitor (described later)
setting is enabled.
DISABL
The Direct Monitor command is disabled,
maintaining the Direct Monitor mode set by
the VB-99.
The signals are connected at the point where
SUB OUT is output.
The signals from the VB-99’s SUB OUT and
the audio output from the computer are
mixed and output.
ENABLE
The Direct Monitor command is enabled, al-
lowing the Direct Monitor mode to be
switched from an external device.
MAIN&SUB
The signals are connected at the point where
both MAIN OUT and SUB OUT are output.
Each of the signals from the VB-99’s MAIN
OUT and the audio output from the com-
puter are mixed, SUB OUT and the audio
output from the computer are mixed from
the output.
DIRECT MON (Direct Monitor)
Switches the output of the VB-99 sound to the PHONES jack, MAIN
OUT jacks, or SUB OUT jacks.
OFF
Set this to Off if transmitting audio data in-
ternally through a computer (Thru).
ON
The VB-99 sound is output. Set this to On
when using the VB-99 as a standalone de-
vice, without connecting to a computer
(only USB IN input sound will be output if
this is set to Off).
IN LEVEL
0–200
Adjusts the volume level of the digital audio
received via USB (from the computer).
USB OUT
* This setting cannot be saved. It is set to ON when the power is turned
on.
This sets the point internally within the VB-99 from which signals are
output via USB (to the computer).
* If you are using the special driver, you can control DIRECT MON On/
Off from ASIO 2.0-compatible application.
COSM BASS A
COSM BASS B
The output from COSM BASS A is output.
The output from COSM BASS B is output.
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SYSTEM
Chapter 8 Parameter Guide
BPM
V-LINK
Parameter/
Range
V-LINK PATCH
Explanation
BPM MODE
SYSTEM
CLIP
SYSTEM BPM is enabled.
Parameter/
Range
Explanation
PATCH
The values set in BPM for each patch is en-
abled.
This sets the Program Change messages transmitted when patches
are switched.
You can set different Program Changes in Channel A and Channel
B. The clips (video images) on the receiving device are switched by
these Program Change messages.
SYSTEM BPM
40–250
Adjust the BPM value for the entire system.
* BPM (beats per minute) indicates the number of quarter note beats that
occur each minute.
A ch/B ch PALETTE
* When “SYNC CLOCK” (p. 149) is set to a value other than
INTERNAL, sending a MIDI clock signal from an external MIDI
instrument synchronizes the VB-99 to the MIDI clock signal that was
sent. To enable the BPM setting, set this to INTERNAL.
OFF, 1–32
This sets the Bank Select number (CC#0,
#32).
A ch/B ch CLIP
OFF, 1–32
This sets the Program Change numbers.
*
The parameters enabled (SYSTEM BPM, BPM) change according to
the BPM MODE settings.
When they are disabled, the value < > is given.
ASSIGN 1–2
Parameter/
Range
Control with the SYSTEM BPM
You can tap input the SYSTEM BPM with [F2].
Explanation
These settings are necessary for controlling video using the bass’s
performance data and messages from the VB-99’s controllers.
You can make up to two types of settings.
SOURCE
OFF
The V-LINK function is not assigned.
Pitch bend messages
Velocity messages
BEND
VELO
GK VOL
GK S1
GK S2
CTL1
GK-3B GK volume knob
GK-3B DOWN/S1 switch
GK-3B UP/S2 switch
Control button1
CTL2
Control button2
EXP PEDAL
Expression pedal connected to the EXP
PEDAL jack
CTL3
CTL4
Footswitch connected to the CTL3,4 jack
(jack tip)
Footswitch connected to the CTL3,4 jack
(jack ring)
D BEAM V
D BEAM vertical movements
D BEAM horizontal movements
RIBBON CONTROLLER
D BEAM H
RIBBON
FC-300 EXP1
FC-300 EXPSW1
FC-300 EXP2
FC-300 EXPSW2
FC-300 CTL1
FC-300 CTL2
FC-300 E3/C3
FC-300 expression pedal1
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
FC-300 control pedal2
FC-300 external expression pedal3/external
footswitch3
FC-300 CTL4
FC-300 E4/C5
FC-300 external footswitch4
FC-300 external expression pedal4/external
footswitch5
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Chapter 8 Parameter Guide
SYSTEM
Parameter/
Explanation
Range
Parameter/
Range
Explanation
FC-300 CTL6
FC-300 E5/C7
FC-300 external footswitch6
TRIGGR (Trigger) *2
Sets the point at which the virtual expression pedal’s action begins.
FC-300 external expression pedal5/external
footswitch7
PATCH CHANGE
GK VOL
Functions when patches are switched.
FC-300 CTL8
FC-300 external footswitch8
Internal pedal
Functions when the divided pickup’s vol-
ume knob is adjusted.
INTRNL PEDAL
WAVE PEDAL
Wave pedal
GK S1, S2
Functions when the divided pickup’s
DOWN/S1 or UP/S2 switch position is
changed.
TARGET
Used in the general V-LINK compatible device.
CTL1–CTL4
Functions when the CTL 1, 2 buttons or foot
switch connected to CTL 3,4 jack are operat-
ed.
DISLV CC #5
Dissolve time
(time elapsed in switching video images)
Cb CC #74
Cr CC #71
Color cb (Color difference signal)
Color cr (Color difference signal)
EXP PEDAL
Functions when the expression pedal con-
nected to EXP PEDAL jack are operated.
Used in the motion dive .tokyo performance package.
D BEAM V, H
Functions when the vertical or horizontal
position is detected by the D Beam control-
ler.
COLOR EQ-FG
COLOR EQ-BG
SCRTCH SW
SPEED KNOB
TOTAL FADER
CROSS FADER
BPM SYNC
Color foreground
Color background
Scratch switch
Speed knob
RIBBON ACT, POS
Functions when the ribbon controller is op-
erated by touch or when the position is de-
tected.
Total fader
FC-300 EXP1, EXP2
FC-300 CTL1, CTL2
Functions when the FC-300’s EXP PEDAL 1
or 2 is operated.
Cross fader
BPM sync switch
Clip loop switch
Assignable knob
Fade time switch
Visual plug-in control knob
A/B switch
Functions when the FC-300’s CTL1 or CTL2
is operated.
CLIP LOOP
ASSIGN KNOB
FADE TIME
VISUAL KNOB
AB SW
FC-300 E3/C3, CTL4, Functions when a pedal connected to the
E4/C5, CTL6, E5/C7, FC-300’s E3/C3, CTL4, E4/C5, CTL6, E5/
CTL8
C7, or CTL8 jacks is operated.
TIME *2
0–100
Adjusts the amount of time for the virtual
expression pedal to shift from the fully re-
leased position (pedal toe raised) to the fully
depressed position (pedal toe pressed
down).
TAP SW
Tap switch
TOTAL SELECT
FX SELECT
Total select
Effect select
PLAY POS
Play position
CURVE *2
LOOP START
LOOP END
Loop start position
Loop end position
Layer mode select
This selects one of the three types that determines how the assumed
expression pedal changes.
LAYER MODE
DV-7PR
PLAY SPEED
LINEAR
SLOW RISE
FAST RISE
Play speed
DISLV TIME
Dissolve time
(time elapsed in switching video images)
T BAR
T bar
COLOR Cb
COLOR Cr
BRIGHTNESS
VFX 1
Color cb (Color difference signal)
Color cr (Color difference signal)
Brightness
RATE *3
0–100
This determines the time spend for one cycle
of the assumed expression pedal.
Visual effects1
FORM *3
VFX 2
Visual effects2
This selects one of the three types that determines how the assumed
expression pedal should change.
VFX 3
Visual effects3
VFX 4
Visual effects4
OUTPUT FADE
DUAL STREAM
Output fade
SAW
TRI
SIN
Dual stream
MIN (Minimum) *1
0–127
Sets the lower limit in the range the param-
eter changes.
MAX (Maximum) *1
0–127
Sets the upper limit in the range the param-
eter changes.
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SYSTEM
Chapter 8 Parameter Guide
*1 You cannot set the MIN or MAX parameters when the TARGET
parameter is set to one of the functions below. The MIN
V-LINK SYSTEM
parameter is fixed at 0, and the MAX parameter is fixed at 127.
•
•
•
•
•
•
SCRTCH SW
BPM SYNC
CLIP LOOP
AB SW
MIDI CH (MIDI Channel)
Parameter/
Explanation
Range
This sets the MIDI receive channel for the V-LINK compatible device
connected to the VB-99.
TAP SW
MIDI A CH (MIDI A Channel)
DUAL STREAM
1–16ch
Sets the MIDI channel for Channel A of the
V-LINK compatible device.
*2 The TRIGGR, TIME, and CURVE parameters are enabled when
the SOURCE parameter is set to INTRNL PEDAL.
MIDI B CH (MIDI B Channel)
1–16ch
*3 The RATE and FORM parameters are enabled when the
SOURCE parameter is set to WAVE PEDAL.
Sets the MIDI channel for Channel B of the
V-LINK compatible device.
MIDI C CH (MIDI B Channel)
Although the target names indicated refer to EDIROL DV-7PR
and motion dive .tokyo, it is Control Change messages that are
actually transmitted.
1–16ch
Specifies the MIDI channel that will control
MIDI note plug-in.
For more on the correspondence between the target names and
Control Change numbers, refer to p. 161.
•
•
The V-LINK screen’s MIDI CH parameter is a system
parameter.
When a V-LINK compatible device is connected to the VB-99,
set this parameter so that the V-LINK compatible device’s MIDI
channel and the MIDI channel used by the VB-99 are not the
same.
For more detailed information on the EDIROL DV-7PR and
motion dive .tokyo performance package, refer to the Owner’s
Manuals for each product.
•
•
The MIDI channels set here are output as System Exclusive
messages when the VB-99’s power is turned on and when the V-
LINK function is switched on.
STRING CH (String Channel)
Parameter/
Explanation
Range
Some V-LINK compatible equipments such as the EDIROL DV-
7PR allow use only of MIDI A CH.
HiC, 1–4th, LowB
Selects the channel to be controlled with each string.
OFF
No channel is controlled.
A CH
Channel A of the V-LINK compatible device
is controlled.
B CH
C CH
Channel B of the V-LINK compatible device
is controlled.
MIDI Note plug-in is controlled.
Some V-LINK compatible equipments such as the EDIROL DV-
7PR allow use only of A CH.
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Chapter 8 Parameter Guide
SYSTEM
CATEGORY NAME
FACTORY RESET
Parameter/
Explanation
Range
Parameter/
Explanation
Range
CATEGORY NAME
FACTORY RESET
This sets the Category name.
This restores the VB-99 to the settings it had when it was shipped
from the factory.
INSERT
DELETE
Insert a space at the cursor location.
ALL
All data.
Delete a character. The characters that fol-
low get shifted to the left.
SYSTEM
Content of the settings for the SYSTEM
parameters.
SPACE
A0!
Input a space at the cursor location.
GK SETTING
GLOBAL
Content of the settings for GK SETTING.
GLOBAL function settings.
Switch between uppercase letters, numbers,
and characters.
A<=>a
Switch between uppercase letters and low-
ercase letters.
PATCH
Settings for patch numbers 001–200.
FAVORITE SETTING Content of the settings in FAVORITE
SETTINGS 01–10 for all effects.
CATGRY
Select the user category you want to name.
D BEAM CALIB
(D BEAM Calibration)
Parameter/
Explanation
Range
D BEAM DISAB (D BEAM Disable)
You can disable the D BEAM controller for the entire device.
OFF
ON
The D BEAM is enabled.
The D BEAM is disabled.
* Pressing the D BEAM [PITCH], [FILTER],
or [ASSIGNABLE] button to switch the D
BEAM controller on will have no effect.
PATCH EXTENT
Parameter/
Range
Explanation
PATCH EXTENT
You can set upper and lower limits to define the range of patches that
can be switched.
Set the lower limits to define the range of
patches.
FROM
TO
Set the upper limits to define the range of
patches.
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GLOBAL
Chapter 8 Parameter Guide
GLOBAL
Parameter/
Range
Parameter/
Range
Explanation
Explanation
LOW MID GAIN (Low Middle Gain)
-12–+12dB
SETTING1–10
1–10
Adjusts the low-middle frequency range tone.
This selects the SETTING to be set.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz Specifies the center of the frequency range that will be
adjusted by the HIGH MID GAIN.
NAME
This sets the name for the SETTING (up to eight characters).
INSERT
DELETE
Insert a space at the cursor location.
Delete a character. The characters that fol-
low get shifted to the left.
Parameter/
Explanation
Range
SPACE
A0!
Input a space at the cursor location.
HIGH MID Q (High Middle Q)
Switch between uppercase letters, numbers,
and characters.
0.5–16
Adjusts the width of the area affected by the EQ
centered at the HIGH MID FREQ.
A<=>a
Switch between uppercase letters and low-
ercase letters.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
MAIN OUTPUT SELECT
This selects the type of device to be connected.
-12–+12dB
Adjusts the high-middle frequency range tone.
Use this setting when connecting to a tweet-
er-equipped bass amp.
AMP WITH TWEETER
NS (Noise Suppressor)
Use this setting when connecting to a bass
AMP NO TWEETER amp that has no tweeter. The high-frequen-
cy range is adjusted.
Parameter/
Explanation
Range
NS (Noise Suppressor)
LINE/PHONES
Use this setting when using headphones or
connecting directly to a PA system or multi-
track recorder.
-20–20dB
This controls the global threshold level for
the noise suppressor settings in each patch.
This feature is effective when you connect a
different bass or for adjusting for changes in
noise levels in the performance venue. It
does not affect the settings in each individu-
al patch.
EQ MAIN (Equalizer Main),
EQ SUB (Equalizer Sub)
Parameter/
Explanation
Range
To use the settings contained in the
individual patches, set this to 0 dB.
MAIN EQ (Main Equalizer),
SUB EQ (Sub Equalizer)
A four-band equalizer with high and low ranges is provided.
REVERB
Parameter/
Range
EQ (MAIN) is applied to the output from MAIN OUT; EQ
(SUB) is applied to the output from SUB OUT.
Explanation
REVERB
0–200%
MAIN EQ SW (Main Equalizer Switch),
SUB EQ SW (Sub Equalizer Switch)
This controls the global reverb level for the
reverb settings in each patch. Adjusting this
reverb level is effective for adjusting to the
acoustics of the performance space. It does
not affect the settings in each individual
patch.
OFF, ON
Turns the EQ effect on/off.
TOTAL GAIN
-12–+12dB
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
LOW GAIN
-12–+12dB
To use the settings contained in the
individual patches, set this to 100%.
HIGH GAIN
-12–+12dB
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz Specifies the center of the frequency range that will
be adjusted by the LOW MID GAIN.
LOW MID Q (Low Middle Q)
0.5–16
Adjusts the width of the area affected by the EQ
centered at the LOW MID FREQ.
Higher values will narrow the area.
157
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Chapter 8 Parameter Guide
SUB OUT LEVEL
TUNER
TUNER
Parameter/
Explanation
Range
MULTI MODE, SINGLE MODE
SUB OUT LEVEL
0–200%
This controls the global output level from
the SUB OUT connectors. It does not affect
the settings in each individual patch.
Parameter/
Explanation
Range
PITCH
435–445Hz
This sets the reference pitch.
To use line level (+4 dBu) as the
output level, set this to 100%.
MUTE
This setting selects whether or not the tuning sound is output from
the connected device (such as an amp).
OFF
ON
The tuning sound is output.
The tuning sound is not output.
158
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Chapter 9 Appendices
MIDI Implementation Chart
V-Bass System
Date : July. 2, 2008
Version : 1.00
Model VB-99
MIDI Implementation Chart (Main Section)
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16
Memorized
Default
Messages
Altered
x
x
x
x
Mode
**************
Note
Number
x
x
True Voice
**************
**************
Velocity
x
x
Note ON
Note OFF
x
x
x
x
After
Touch
Key's
Ch's
x
x
Pitch Bend
x
x
o
o
x
x
o
0
1 – 31
32
33 – 63
64 – 95
o
o
o
x
o
Bank Select MSB
Bank Select LSB
*1
*1
Control
Change
*1
*1
Program
Change
o
o
True #
0 – 127
0 – 127
System Exclusive
o
o
Common
Song Position
Song Select
Tune Request
x
x
x
x
x
x
x
o
o
x
System
Realtime
Clock
Commands
*1
*2
x
x
x
x
o
x
x
x
x
x
o
x
Local ON/OFF
All Notes OFF
All Sound OFF
Reset All Controller
Active Sense
AUX
Messages
System Reset
*1 O X is selectable.
*2 MIDI START/STOP can be set with SYSTEM - CONTROL ASSIGN.
Notes
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
o: Yes
x: No
159
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Chapter 9 Appendices
V-Bass System
Date : July. 2, 2008
Version : 1.00
Model VB-99
MIDI Implementation Chart (BASS TO MIDI Section)
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1–11
1–11
x
x
Memorized
Default
Messages
Altered
Mode 3, 4 (M=6)
x
Mode 3, 4 (M=6)
x
Memorized
Mode
**************
Note
Number
o
x
True Voice
**************
0–127
Velocity
x
x
Note ON
Note OFF
o
x
*2
*3
x
x
After
Touch
Key's
Ch's
x
x
Pitch Bend
o
x
x
x
x
x
x
x
x
0, 32
1 – 31
33 – 63
64 – 95
6, 38
o
o
x
o
o
x
o
Bank Select
*1
*1
Control
Change
*1
Data Entry
NRPN LSB, MSB
RPN LSB, MSB
98, 99
100, 101
*1
Program
Change
o
x
True #
0 – 127
**************
System Exclusive
x
x
Song Position
Song Select
Tune Request
x
x
x
x
x
x
Common
x
x
x
x
System
Realtime
Clock
Commands
x
x
x
x
o
x
x
x
x
x
x
x
Local ON/OFF
All Notes OFF
All Sound OFF
Reset All Controller
Active Sense
AUX
Messages
System Reset
*1 O X is selectable.
*2 Note On is always transmitted with 9nH kkH 00H.
*3 Can be set with the CHROMATIC parameter.
Notes
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
o: Yes
x: No
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Chapter 9 Appendices
V-LINK
V-Bass System
Model VB-99
Date : July. 2, 2008
MIDI Implementation Chart (V-LINK Section)
Version : 1.00
Remarks
Transmitted
Recognized
Function...
Basic
Channel
Default
Changed
1–16
1–16
x
x
Memorized
Default
Messages
Altered
x
x
x
x
Mode
**************
Note
Number
*1
*2
x
o
True Voice
**************
0–127
Velocity
x
x
Note ON
Note OFF
o
x
x
x
After
Touch
Key's
Ch's
x
x
Pitch Bend
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
0, 32
1
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
Bank Select
Modulation
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
Control
Change
3
8
Balance MSB
Pan MSB
Expression MSB
Hold-1
Portamento
Resonance
Release
Attack
Cutoff
General Purpose 6
General Purpose 8
10
11
64
65
71
72
73
74
81
83
85
86
91
92
93
94
Reverb
Effects Depth 2
Effects Depth 3
Effects Depth 4
*1, *3
Program
Change
o
x
True #
0 – 31
**************
System Exclusive
o
x
Common
Song Position
Song Select
Tune Request
x
x
x
x
x
x
x
x
x
x
System
Realtime
Clock
Commands
x
x
x
o
o
x
x
x
x
x
x
x
Local ON/OFF
All Notes OFF
All Sound OFF
Reset All Controller
Active Sense
AUX
Messages
System Reset
*1 O X is selectable.
*2 The Note OFF messages (9nH kkH 00H) are always transmitted.
*3 For correspondences with this device's parameters, refer to the “V-LINK Correspondence Table.”
Notes
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
o: Yes
x: No
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Chapter 9 Appendices
V-LINK Correspondence Table
Transmitted MIDI Message
Transmitted Channel
V-LINK Function
These are used with models such as the DV-7PR or the motion dive .tokyo performance package.
PALETTE 1–32 (Palette Change)
CC 0 (Bank Select MSB): 0–31
CC 32 (Bank Select LSB): 0
ch.A / ch.B
ch.A / ch.B
CLIP 1–32 (Clip Change)
Program Change: 0–31
These are used with the general V-LINK compatible device.
DISLV CC #5
Cb CC #74
Cr CC #71
CC 5 (Portamento Time)
CC 74 (Cutoff)
ch.A
ch.A
ch.A
CC 71 (Resonance)
These are used with the motion dive .tokyo performance package.
COLOR EQ–FG
COLOR EQ–BG
SCRTCH SW
SPEED KNOB
TOTAL FADER
CROSS FADER
BPM SYNC
CC 1 (Modulation)
CC 71 (Resonance)
CC 3 (---)
ch.A & ch.B
ch.A & ch.B
ch.A & ch.B
ch.A & ch.B
ch.A
CC 8 (Balance)
CC 10 (Panpot)
CC 11 (Expression)
CC 64 (Hold 1)
ch.A
ch.A & ch.B
ch.A & ch.B
ch.A & ch.B
ch.A
CLIP LOOP
CC 65 (Portamento)
CC 72 (Release)
CC 73 (Attack)
ASSIGN KNOB
FADE TIME
VISUAL KNOB
AB SW
CC 74 (Cutoff)
ch.A
CC 81 (General Purpose 6)
CC 83 (General Purpose 8)
CC 85 (---)
ch.A
TAP SW
ch.A
TOTAL SELECT
FX SELECT
PLAY POS
ch.A
CC 86 (---)
ch.A
CC 91 (Reverb)
CC 92 (Tremolo)
CC 93 (Chorus)
CC 94 (Celeste)
ch.A & ch.B
ch.A & ch.B
ch.A & ch.B
ch.A
LOOP START
LOOP END
LAYER MODE
These are used with models such as the DV-7PR.
PLAY SPEED
DISLV TIME
T BAR
CC 8 (Balance)
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
CC 73 (Attack)
CC 11 (Expression)
CC 1 (Modulation)
CC 71 (Resonance)
CC 74 (Cutoff)
COLOR Cb
COLOR Cr
BRIGHTNESS
VFX 1
CC 72 (Release)
CC 91 (Reverb)
CC 92 (Tremolo)
CC 93 (Chorus)
CC 10 (Panpot)
CC 64 (Hold 1)
VFX 2
VFX 3
VFX 4
OUTPUT FADE
DUAL STREAM
162
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Chapter 9 Appendices
Specifications
Function buttons x 6 (F1–F6)
VB-99: V-Bass System
EXIT button
WRITE button
AD Conversion
24 bits + AF method
PAGE buttons x 2 (Left, Right)
BASS TO MIDI button
SYSTEM button
DA Conversion
24 bits
GLOBAL button
TUNER button
Sampling Frequency
CATEGORY button
PATCH/VALUE dial
Power switch
44.1 kHz
Program Memories
D BEAM
400: 200 (User) + 200 (Preset)
D Beam Controller
PITCH button
Nominal Input Level
FILTER button
BASS INPUT: -10 dBu
ASSIGNABLE button
Input Impedance
RIBBON CONTROLLER
BASS INPUT: 2.2 M ohms
Ribbon Controller
PITCH button
Nominal Output Level
MAIN OUT: -10 dBu
FILTER button
ASSIGNABLE button
SUB OUT (XLR): +4 dBu
BASS OUT: -10 dBu
[Rear Panel]
Ground Lift switch (SUB OUT)
Output Impedance
MAIN OUT: 1 k ohm
Display
240x64 dots graphic LCD (with backlit)
SUB OUT (XLR): 600 ohms
Connectors
[Top Panel]
Dynamic Range
100 dB or greater (IHF-A)
GK IN connector (13-pin DIN type)
[Rear Panel]
Controls
[Top Panel]
BASS INPUT jack (1/4” phone type)
BASS OUTPUT jack (1/4” phone type)
SUB OUT jacks x 2 (L, R) (XLR type)
MAIN OUT jacks x 2 (L/MONO, R) (1/4” phone type)
PHONES jack (Stereo 1/4” phone type)
DIGITAL OUT jack (Coaxial type, conforms to IEC60958-3)
EXP PEDAL jack (1/4” TRS phone type)
CTL 3,4 jack (1/4” TRS phone type)
USB connector (B type)
OUTPUT LEVEL knob
Function knobs x 6 (F1–F6)
BALANCE knob
V-BASS LEVEL knob
V-LINK button
DIRECT PATCH buttons x 5 (1–5)
CONTROL buttons x 2 (1, 2)
COSM BASS buttons x 2 (A, B)
BASS DIRECT button
RRC2 IN connector (RJ45 type)
MIDI connectors x 2 (IN, OUT) (5-pin DIN type)
DC IN jack
POLY FX A/B buttons x 2 (A, B)
FX buttons x 2 (A, B)
COSM AMP buttons x 2 (A, B)
MIXER buttons x 2 (A, B)
DELAY/REVERB button
DYNAMIC button
Power Supply
AC Adaptor (PSB-1U)
Current Draw
CHAIN button
1.3 A
CONTROL ASSIGN button
NAME/KEY/BPM button
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Chapter 9 Appendices
Dimensions
VB-99 Software System
Requirements
384.0 (W) x 218.0 (D) x 93.5 (H) mm
15-1/8 (W) x 8-5/8 (D) x 3-11/16 (H) inches
*
EIA-5U rack mount type: optional rack mount adaptor RAD-99
For Windows
Weight
2.1 kg / 4 lbs 11 oz (excluding AC Adaptor)
Operating System
•
•
Microsoft Windows XP
Microsoft Windows Vista
Accessories
Owner’s Manual
GK cable (5 m)
CPU/Clock
USB cable
•
Pentium/Celeron, Intel-compatible processor 1 GHz or
RRC2 cable
higher
VB-99 Software CD-ROM
AC adaptor (PSB-1U)
Knob Bolt x 4
RAM
•
512 MBytes or more
Options
Free space required on hard disk
Divided Pickup: GK-3B
MIDI Foot Controller: FC-300
Footswitch: BOSS FS-5U
Dual Footswitch: BOSS FS-6
Expression Pedal: EV-5, BOSS FV-500L/500H
GK Cable: GKC-10/5/3
Unit Selector: US-20
•
190 MBytes or more
Display resolution/Color depth
•
1024 x 768 or higher / 65,536 colors (16 bit High Color) or
more
For Mac OS
Rack Mount Adaptor: RAD-99
Pad Stand: PDS-10
Operating System
Footswitch Cable: PCS-31
Carrying Bag: CB-VG9
•
Mac OS X 10.4.3 or later
CPU/Clock
•
•
PowerPC G4, G5/1 GHz or higher
*
0 dBu = 0.775 V rms
962a+962b
In the interest of product improvement, the specifications, appearance
Intel processor
*
of this unit and/or contents of this package are subject to change
without prior notice.
RAM
•
512 MBytes or more
Free space required on hard disk
•
190 MBytes or more
Display resolution/Color depth
•
1024 x 768 or higher / 32,000 colors or more
986
While under most conditions, a computer similar to the above
will permit normal operation of the VB-99, Roland cannot
guarantee compatibility solely on these factors. This is due to
numerous variables that may influence the processing
environment, such as differences in motherboard design and
the particular combination of other devices involved.
164
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Chapter 9 Appendices
Error Messages
If there has been a mistake in an operation or if the operation is not
executed properly, an error message will appear in the display.
Please follow the instructions indicated in the message to resolve the
issue.
Troubleshooting
If the VB-99 is not producing sounds or if you think it is not
operating properly, first check the following points. If checking these
points fails to resolve the problem, consult your dealer or the nearest
Roland service center.
“DATA WRITE ERROR”
For more on the USB drivers and problems when using
the drivers, refer to the following file contained on the
VB-99 Software CD-ROM.
●
Writing to the memory for storage of user data failed.
The unit may be damaged. Consult the nearest Roland
service center.
❍
OS
Location
“MIDI BUFFER FULL”
“RRC2 BUFFER FULL”
“USB BUFFER FULL”
Windows XP
Windows Vista
Mac OS X
\Driver\XP\Readme_E.htm
\Driver\Vista\Readme_E.htm
/Driver/Readme_E.htm
●
The data cannot be processed correctly due to the high
volume of MIDI messages.
Problems with Sounds
No sound/Low volume
❍
Reduce the volume of MIDI messages transmitted to the
VB-99.
❏
Is there a short in any connecting cable?
→
Try replacing the connecting cable.
“MIDI OFFLINE”
“RRC2 OFFLINE”
“USB OFFLINE”
❏
Are the VB-99 and other devices connected properly?
→
Check the connections with the other devices (p. 17).
❏
Is the power to the connected amp or mixer not turned
on, or is the volume turned down?
●
Transmissions from the connected device have been
interrupted. This message also appears when the power
to the connected device has been turned off. It does not
indicate damage.
→
Check the settings for the connected device.
❏
Is the OUTPUT LEVEL knob turned down completely?
❍
Check to make sure no cable is disconnected and that
there are no shorts.
→
Adjust the knob to an appropriate setting (p. 20).
❏
Is the tuner on?
→
The direct sound is not output when the tuner is on if the
volume setting during tuning is set to MUTE ON (p. 23).
“OUT OF RANGE! SET AGAIN”
●
The D Beam controller or ribbon controller cannot be
calibrated.
❏
Is the [SYSTEM] - GK - GK CONNCT set properly?
❍
If using the D Beam controller, change the range or
position and recalibrate to keep this message from
appearing.
→
If a divided pickup is connected: set [SYSTEM] - GK -
GK CONNCT to ON (if AUTO does not function well).
→
If a divided pickup is not connected: set [SYSTEM] - GK -
GK CONNCT to OFF.
❍
If using the ribbon controller, confirm the calibration by
carrying out the procedure once more.
If the message continues to appear even after the
calibration is correctly performed, it may indicate
damage or malfunction. Consult your Roland dealer or
contact Roland Service.
❏
Is [COSM BASS A] or [COSM BASS B] switched on?
→
No sounds from the divided pickup will be played if
[COSM BASS] is switched off. Switch on the [COSM
BASS].
❏
Is [A/B BALANCE] set correctly?
“USB DEVICE ERROR”
→
Set [A/B BALANCE] for the channel in which sounds
are being played.
●
Initialization of the VB-99’s internal USB device failed.
USB cannot be used.
❍
The unit may be damaged. Consult the nearest Roland
service center.
165
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Chapter 9 Appendices
❏
Is each effect set correctly?
No stereo effect produced
→
Use the “Meter function” (p. 31) in [CHAIN] to confirm
the output level of each effect. If the meter for any effect
is not fluctuating, check the settings for that effect.
❏
Do you have a monaural effect or COSM amp
connected after the stereo effect (STRING PAN,
CHORUS, etc.)?
❏
Are volume parameters such as BASS:VOLUME,
FV:LEVEL, and V-BASS LEVEL set to the assigned
targets?
→
Passing the signal through a monaural effect or COSM
amp cancels the stereo effect. Press [CHAIN] to confirm
the effect connection sequence (p. 31).
→
Operate these in accordance with the sources.
knobs or PATCH/VALUE dial
❏
Are the OUTPUT settings properly made?
→
Check the output settings for [SYSTEM] - OUTPUT and
[MIXER] - OUTPUT.
❏
Are you using INTERNAL PEDAL (p. 140) with
Control Assign?
❏
If there are no sounds through USB, are the [SYSTEM]
- USB settings correct?
→
targets change automatically.
→
Adjust the settings to the appropriate values (p. 66) (p.
152).
If you want to change parameters with the knobs or
PATCH/VALUE dial, first switch off Control Assign
and cancel the INTERNAL PEDAL setting.
❏
If there are no sounds through USB, is [SYSTEM] - GK
SETTING correctly set?
→
When GK CONNCT is set to OFF (or if the divided
pickup is not connected), audio input via USB may not
be output. Be sure to set the appropriate value (p. 145).
❏
Is the source in Control Assign set to INPUT LEVEL (p.
140)?
→
When the assign source is set to INPUT LEVEL, the
effect parameters set as the assign targets automatically
change according to the input level from the bass (the
performance dynamics).
If you want to change parameters with the knobs or
PATCH/VALUE dial, first switch off Control Assign.
❏
Is the [SYSTEM] - USB - DIRECT MON (p. 152)
switched off?
→
926b
Set this to ON.
Low volume for device connected
to INPUT
❏
Could you be using an audio cable that incorporates a
resistor?
→
Oscillating sound audible
❏
Are any gain values or volume-related parameter
values in the effect settings set too high?
→
Lower the values.
❏
Is [SYSTEM] - USB - USB IN (p. 152) set to anything
other than OFF?
→
When set to anything other than OFF, the software
settings may cause looping of the audio signals.
If this occurs, you can use any of the following methods
to avoid the problem.
•
•
•
Stop playback with the software, or set Soft Thru to OFF.
Switch off the software’s audio input.
Change the [SYSTEM] - USB - USB IN setting to OFF.
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Chapter 9 Appendices
MIDI messages not being
transmitted/received
Other Problems
IN settings
❏
Could there be a short in the MIDI cable?
→
Try replacing the MIDI cable.
→
If the USB IN parameter is set to COSM BASS A, COSM
BASS B, or NORMAL PU, then MAIN & SUB will be set
the next time the VB-99 is powered up. If you plan to use
COSM BASS A, COSM BASS B, or NORMAL PU,
remake this setting each time you turn on the power to
the VB-99 (p. 152).
❏
Are the VB-99 and the external MIDI device connected
properly?
→
❏
Are the MIDI channels matched?
→
Check to confirm that both devices are set to the same
MIDI channel (p. 52).
Patches not switching
❏
Is some screen other than the Play screen shown in the
display?
❏
→
Check to confirm that both devices are set to the same
Device ID (p. 53).
→
With the VB-99, you cannot switch patches in any screen
other than the Play screen. Press [EXIT] one or more
times to return to the Play screen (p. 20).
❏
If you are transmitting from the VB-99, have the
settings for transmission been made?
❏
Is [SYSTEM] - MISC - PATCH EXTENT set correctly?
→
Check the Program Change message transmission ON/
OFF setting (p. 54) and the settings for the controller
number to be transmitted (p. 56).
→
The range of patches that can be selected is limited by
the PATCH EXTENT setting. Be sure to set this correctly.
Unable to control parameters set
with Assign as expected
Parameters Indicated with Angle
Brackets
→
When a parameter appears in angle brackets (< >), it
indicates the parameter is currently disabled.
System parameters take priority over the patch
these patch parameters may be disabled.
parameters.
❏
Are the effects switched off?
→
Check to make sure the effects incorporating the
parameters being controlled are on.
❏
Is the patch set to anything other than ASSIGNABLE
(PATCH) in [SYSTEM] - CONTROL ASSIGN?
→
Even with the patch’s [CONTROL ASSIGN] setting
made, the settings made in [SYSTEM] - CONTROL
To enable the settings in the patch, set the controllers
under [SYSTEM] - CONTROL ASSIGN to ASSIGNABLE
(PATCH).
Disabled Patch
Parameters
Corresponding System
[CONTROL ASSIGN]
(p. 77)
[SYSTEM] - CONTROL ASSIGN
(p. 42)
[MIXER] - OUTPUT
(p. 33)
[SYSTEM] - OUTPUT - OUTPUT
MODE (p. 45)
❏
Are the MIDI channels matched?
[NAME/KEY/BPM] - TX [SYSTEM] - MIDI - TX PC MAP
→
When carrying out operations using MIDI, check to
confirm that both devices are set to the same MIDI
channel (p. 52).
PC (p. 54)
(p. 55)
[NAME/KEY/BPM] -
BPM (p. 142)
[SYSTEM] - BPM - SYSTEM BPM
(p. 153)
❏
Are the controller numbers (CC#) matched?
→
Check to confirm that the controller numbers you are
using are the same (p. 56).
167
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Numerics
CTL TYPE ....................................................................... 99
CTL4 .............................................................................. 139
CURVE .................................................................. 141, 154
CUTOFF ........................................................................ 102
CUTOFF FREQ ............................................................ 100
A
ASSIGN 1–16 ................................................................ 140
ASSIGN 1–2 .................................................................. 153
B
BODY LEVEL ............................................................... 104
BOTTOM .............................................. 100, 112, 129–130
BOWED ........................................................................... 97
BOWED/PIPE ............................................................. 103
BPM ....................................................................... 142, 153
BPM MODE .................................................................. 153
BRASS ..................................................................... 97, 104
BRIGHT ................................................................ 128–129
D
D BEAM .................................................................. 12, 136
D BEAM CALIB ........................................................... 156
168
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DUAL-L ........................................................................ 114
DUAL-P ........................................................................ 114
DUAL-S ........................................................................ 114
DUET ............................................................................. 101
DV-7PR ......................................................................... 154
DYNA SW .................................................................... 134
DYNAMIC ............................................................. 32, 134
DYNAMIC Button ........................................................ 12
EQ MAIN ...................................................................... 157
EQ SUB .......................................................................... 157
FINE1 ............................................................................ 120
FINE2 ............................................................................ 120
FLANGER ..................................................................... 117
FLIP TOP ...................................................................... 128
Foot Volume ................................................................. 127
FORM .................................................................... 141, 154
FREEZE ........................................................................... 73
FREEZE CH .................................................................. 137
169
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Index
FRONT PU ..................................................................... 99
FRONT TONE ......................................................... 98–99
HIGH RATE ................................................................. 122
HIGH RATIO ............................................................... 111
HOLD TYPE ........................................................... 63, 143
G
GLOBAL Button ............................................................ 13
GLOBAL EQ .................................................................. 41
LOWER BAL ................................................................ 134
LOWER LEV ................................................................ 134
LOWER RNG ............................................................... 134
LP ............................................................................. 97, 105
H
HiC, 1–4th, LowB ........................................................ 155
HIGH CUT ................................... 112–113, 115, 126, 133
HIGH DEPTH .............................................................. 122
HIGH FREQ ................................................................. 125
HIGH GAIN ................... 41, 105, 109, 112, 126, 131, 157
HIGH LEVEL ....................................................... 122, 125
HIGH MID FREQ .......... 41, 105, 109, 112, 126, 131, 157
HIGH MID GAIN .......... 41, 105, 109, 112, 126, 131, 157
M
MAIN EQ ................................................................ 41, 157
MAIN EQ SW ......................................................... 41, 157
170
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MODE2 ......................................................................... 120
MODLNG TYPE ............................................................ 96
MODULE COPY ............................................................ 84
MODULE INITIALIZE ................................................. 84
MON CMD ............................................................. 68, 152
M-TRON III .................................................................. 119
MULTI MODE ....................................................... 24, 158
MUTE ............................................................................ 158
NAME/KEY/BPM Button ........................................... 13
OSC SYNTH ........................................................... 97, 102
PB ............................................................................... 96, 98
PC ............................................................. 64, 142, 144, 150
PC MASK ...................................................................... 144
PC OUT ......................................................................... 150
PEAK ..................................................................... 118–119
PEDAL BEND .............................................................. 122
PEDAL MAX ................................................................ 118
PEDAL MIN ................................................................. 118
171
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Index
POS .................................................................................. 99
POWER BEND ............................................................. 103
POWER BEND Q ......................................................... 103
POWER Switch .............................................................. 13
PRE DELAY ......................................................... 115, 133
PRE DELAY1 ....................................................... 120–121
PRE DELAY2 ....................................................... 120–121
PRE SHAPE .................................................................. 129
PREAMP TYPE ............................................................ 128
Preset Patches ................................................................. 24
Saving a Patch ................................................................ 34
Security Slot .................................................................... 14
SENS ................ 38, 101–102, 109–110, 118, 124–125, 146
Sensitivity for Each String ............................................ 38
SEPARATION .............................................................. 117
SEQ ................................................................................ 112
SESSION ....................................................................... 129
SET MODE ............................................................. 39, 145
172
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SYNTH TYPE ................................................................. 97
Synthesizer Type ........................................................... 97
TUNER .................................................................... 23, 158
TUNER Button ............................................................... 13
USB Connector ............................................................... 14
VIB ................................................................................. 123
VIBRATO .............................................................. 101, 123
VINT JB ..................................................................... 96, 98
VINT PB .................................................................... 96, 98
VIOLIN ..................................................................... 96, 99
V-LINK .............................................................. 11, 90, 153
V-LINK Button ............................................................... 13
V-LINK PATCH .......................................................... 153
T
T.E. ................................................................................. 129
T.WAH .......................................................................... 118
TAP TIME ..................................................................... 114
TARGET ....................................................................... 154
TARGET PARAMETER ..................... 135–139, 141, 148
T-ARM ............................................................................ 74
T-ARM CH ........................................................... 136, 138
T-BIRD ...................................................................... 96, 98
173
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Index
VOL ......................................................................... 98, 105
VOL (Volume) ............................................................... 99
W
WARP SW .................................................................... 114
WAVE ATTACK ......................................................... 102
WAVE SYNTH ...................................................... 97, 102
WRITE Button ................................................................ 13
X
X-OVER FREQ ............................................................. 122
X-OVER FREQ HIGH ................................................. 111
X-OVER FREQ LOW .................................................. 111
X-OVER FREQ MID .................................................... 111
174
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MEMO
175
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MEMO
176
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MEMO
177
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MEMO
178
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MEMO
179
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MEMO
180
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MEMO
181
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For EU Countries
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*
204Microsoft and Windows are registered trademarks of Microsoft Corporation.
*
Windows Vista is a trademark of Microsoft Corporation.
206j
*
Windows® is known officially as: “Microsoft® Windows® operating system.”
*
207Apple and Macintosh are registered trademarks of Apple Inc.
*
209Mac OS is a trademark of Apple Inc.
*
213Pentium and Celeron are registered trademarks of Intel Corporation.
*
PowerPC is a registered trademark of International Business Machines Corporation.
*
220All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
For EU Countries
This product complies with the requirements of EMC Directive 2004/108/EC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
For the USA
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
VB-99
V-Bass System
Roland Corporation U.S.
5100 S.Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
Telephone :
(
)
For C.A. US Proposition 65
WARNING
This product contains chemicals known to cause cancer, birth defects and other reproductive harm, including lead.
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Information
When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.
PHILIPPINES
CURACAO
URUGUAY
NORWAY
JORDAN
AFRICA
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
Zeelandia Music Center Inc.
Orionweg 30
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
Roland Scandinavia Avd.
MUSIC HOUSE CO. LTD.
Kontor Norge
FREDDY FOR MUSIC
P. O. Box 922846
Amman 11192 JORDAN
TEL: (06) 5692696
EGYPT
Al Fanny Trading Office
9, EBN Hagar Al Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: (022)-418-5531
Curacao, Netherland Antilles
TEL:(305)5926866
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
TEL: (02) 899 9801
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
TEL: 2273 0074
SINGAPORE
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Al-Yousifi Service Center
P.O.Box 126 (Safat) 13002
KUWAIT
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
POLAND
ROLAND POLSKA SP. Z O.O.
UL. Gibraltarska 4.
PL-03 664 Warszawa
POLAND
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
TEL: (022) 679 4419
TEL: 00 965 802929
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
PORTUGAL
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
LEBANON
Chahine S.A.L.
George Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
REUNION ISLAND
TEL: (0262) 218-429
TEL:(593-4)2302364
SOUTH AFRICA
T.O.M.S. Sound & Music
(Pty)Ltd.
2 ASTRON ROAD DENVER
JOHANNESBURG ZA 2195,
SOUTH AFRICA
EUROPE
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: (02) 2561 3339
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
THAILAND
Theera Music Co. , Ltd.
100-108 Soi Verng
OMAN
Austrian Office
TALENTZ CENTRE L.L.C.
Malatan House No.1
Al Noor Street, Ruwi
SULTANATE OF OMAN
TEL: 2478 3443
TEL: (011)417 3400
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
Nakornkasem, New
TEL: 262-0788
Road,Sumpantawongse,
Bangkok 10100 THAILAND
TEL: (02) 224-8821
Paul Bothner(PTY)Ltd.
Royal Cape Park, Unit 24
Londonderry Road, Ottery 7800
Cape Town, SOUTH AFRICA
TEL: (021) 799 4900
TEL: (266) 364 609
GUATEMALA
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
RUSSIA
MuTek
Dorozhnaya ul.3,korp.6
117 545 Moscow, RUSSIA
TEL: (095) 981-4967
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
AUSTRALIA/
NEW ZEALAND
TEL:(502) 599-2888
ASIA
CHINA
Roland Shanghai Electronics
SLOVAKIA
HONDURAS
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
TEL: (014) 575811
DAN Acoustic s.r.o.
Povazská 18.
AUSTRALIA/
SAUDI ARABIA
aDawliah Universal
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
CROATIA
ART-CENTAR
Degenova 3.
HR - 10000 Zagreb
TEL: (1) 466 8493
SK - 940 01 Nové Zámky
TEL: (035) 6424 330
Electronics APL
Behind Pizza Inn
Prince Turkey Street
aDawliah Building,
PO BOX 2154,
Alkhobar 31952
SAUDI ARABIA
TEL: (03) 8643601
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
SPAIN
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
CZECH REP.
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
CZECH REPUBLIC
DISTRIBUTOR s.r.o
Voctárova 247/16
CZ - 180 00 PRAHA 8,
CZECH REP.
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
SWEDEN
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
TEL: (2) 830 20270
TEL: (010) 6426-5050
CENTRAL/LATIN
AMERICA
DENMARK
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
TEL: (011) 223-5384
MEXICO
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
TURKEY
ZUHAL DIS TICARET A.S.
Galip Dede Cad. No.37
Beyoglu - Istanbul / TURKEY
TEL: (0212) 249 85 10
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
TEL: 3916 6200
TEL: 2415 0911
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
Parsons Music Ltd.
TEL: (55) 5668-6699
UKRAINE
EURHYTHMICS Ltd.
P.O.Box: 37-a.
Nedecey Str. 30
UA - 89600 Mukachevo,
UKRAINE
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Ground Floor, Dubai,
U.A.E.
NICARAGUA
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
BARBADOS
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
INDIA
Rivera Digitec (India) Pvt. Ltd.
411, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
TEL: (03131) 414-40
TEL: (04) 3360715
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
UNITED KINGDOM
TEL: (505)277-2557
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
NORTH AMERICA
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
GREECE/CYPRUS
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
UNITED KINGDOM
TEL: (01792) 702701
INDONESIA
PT Citra IntiRama
Jl. Cideng Timur No. 15J-15O
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CANADA
Roland Canada Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
TEL: 315-0101
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
MIDDLE EAST
HUNGARY
TEL: (604) 270 6626
KOREA
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
BAHRAIN
Moon Stores
No.1231&1249 Rumaytha
Building Road 3931, Manama
339 BAHRAIN
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
Roland Canada Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: (23) 511011
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
TEL: 17 813 942
TEL: (574)3812529
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
MALAYSIA
TEL: (905) 362 9707
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
IRAN
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
COSTA RICA
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado
10237,
San Jose, COSTA RICA
TEL: 258-0211
U. S. A.
Lima - Peru
TEL: (511) 4461388
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TRINIDAD
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868) 638 6385
TEL: (021)-2285-4169
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
VIET NAM
Suoi Nhac Company, Ltd
370 Cach Mang Thang Tam St.
Dist.3, Ho Chi Minh City,
VIET NAM
TEL: (323) 890 3700
ISRAEL
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'alia Hashnia St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
TEL: 9316540
As of Oct. 1, 2007 (ROLAND)
04672434
08-08-1N
*
0
4
6
7
2
4
3
4
-
0
1
*
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