Korg TouchView Trinity Effect Manual

i Table of Contents Overview .........................................................................................................1 Insert Effects..............................................................................................1 Effect Size ...........................................................................................2 Effect Input/Output .........................................................................2 Grouping ............................................................................................3 Master Effects ...........................................................................................3 Program.....................................................................................................4 Program - Single/Double OSC mode ............................................4 Program - Drums OSC mode ..........................................................5 Combination .............................................................................................6 Sequencer ..................................................................................................8 Dynamic Modulation...................................................................................10 Insert Effect size1 00: Amp Simulation......................................................................................13 01: Compressor .............................................................................................14 02: Limiter......................................................................................................15 03: Gate...........................................................................................................17 04: Overdrive/Hi-Gain................................................................................19 05: Parametric 4EQ (Parametric 4-Band EQ)............................................20 06: Graphic 7Band EQ..................................................................................22 07: Wah/Auto Wah......................................................................................23 08: Random Filter .........................................................................................25 09: Dyna Exciter............................................................................................26 10: Sub Oscillator..........................................................................................27 11: Decimator ................................................................................................28 12: Chorus......................................................................................................29 13: Harmonic Chorus...................................................................................30 14: Ensemble..................................................................................................31 15: Flanger .....................................................................................................32 16: Tempo Flanger........................................................................................33 17: Envelope Flanger....................................................................................34 18: Phaser.......................................................................................................35 19: Tempo Phaser .........................................................................................36 20: Envelope Phaser .....................................................................................37 21: Vibrato......................................................................................................38 22: Resonator.................................................................................................39 23: Ring Modulator ......................................................................................40 24: Tremolo....................................................................................................42 25: Rotary Speaker........................................................................................43 26: Delay.........................................................................................................44 27: Multitap Delay........................................................................................45 28: Early Reflections.....................................................................................46

ii Insert Effect size2 00: St. Amp Simulation (Stereo Amp Simulation)................................... 47 01: Stereo Compressor................................................................................. 48 02: Stereo Limiter.......................................................................................... 49 03: Multiband Limiter.................................................................................. 50 04: Stereo Gate .............................................................................................. 51 05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah) .................................. 53 06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ) .......................... 55 07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ) .................................... 56 08: Graphic 13Band EQ................................................................................ 57 09: St. Random Filter (Stereo Random Filter)........................................... 58 10: Stereo Enhancer...................................................................................... 60 11: Talking Modulator................................................................................. 61 12: Stereo Decimator.................................................................................... 63 13: Stereo Chorus.......................................................................................... 64 14: St. Harmonic Chorus (Stereo Harmonic Chorus).............................. 66 15: Multitap Chorus/Dly (Multitap Chorus/Delay).............................. 67 16: Ensemble ................................................................................................. 68 17: Stereo Flanger ......................................................................................... 69 18: St. Random Flanger (Stereo Random Flanger) .................................. 70 19: St. Tempo Flanger (Stereo Tempo Flanger)........................................ 72 20: Stereo Phaser........................................................................................... 73 21: St. Random Phaser (Stereo Random Phaser) ..................................... 74 22: St. Tempo Phaser (Stereo Tempo Phaser)........................................... 75 23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)............................... 76 24: Stereo Vibrato ......................................................................................... 78 25: 2-Voice Resonator .................................................................................. 80 26: Doppler.................................................................................................... 82 27: Stereo Tremolo........................................................................................ 84 28: Stereo Auto Pan...................................................................................... 85 29: St. Envelope Pan (Stereo Envelope Pan)............................................. 87 30: Stereo Dyna Pan ..................................................................................... 89 31: Phaser+Tremolo ..................................................................................... 91 32: Shimmer .................................................................................................. 93 33: Detune...................................................................................................... 95 34: Pitch Shifter............................................................................................. 96 35: Pitch Shift Mod. (Pitch Shift Modulation) .......................................... 98 36: Rotary Speaker...................................................................................... 100 37: Dual Delay............................................................................................. 102 38: Stereo Delay .......................................................................................... 103 39: St. Multitap Delay (Stereo Multitap Delay)...................................... 104 40: L/C/R Delay ........................................................................................ 105 41: Tempo Delay......................................................................................... 106 42: St. Modulation Delay........................................................................... 108 43: St. Dynamic Delay (Stereo Dynamic Delay)..................................... 110 44: Random Panning Dly (Random Panning Delay) ............................ 112 45: Early Reflections .................................................................................. 113 46: Reverb-Hall .......................................................................................... 114 47: Reverb-SmoothHall ............................................................................ 114 48: Reverb-Room ........................................................................................ 116 49: Reverb-BrightRoom ............................................................................ 116 50: Reverb-Wet Plate ................................................................................. 118 51: Reverb-Dry Plate ................................................................................. 118

iii Insert Effect size4 00: Piano Body/Damper (Piano Body/Damper Simulation) ..............119 01: St. Mlt.band Limiter (Stereo Multiband Limiter).............................120 02: OD/Hyper-Gain Wah (Overdrive/Hyper-Gain Wah)...................121 03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)...............................122 04: Vocoder..................................................................................................123 05: St. Harmonic Chorus (Stereo Harmonic Chorus)............................124 06: Multitap Chorus/Dly (Multitap Chorus/Delay) ............................126 07: Stereo Ensemble....................................................................................128 08: St. Tempo Flanger (Stereo Tempo Flanger)......................................129 09: St. Tempo Phaser (Stereo Tempo Phaser).........................................130 10: St. Pitch Shifter (Stereo Pitch Shifter) ................................................131 11: 2Band Pitch Shifter...............................................................................132 12: Rotary Speaker OD (Rotary Speaker Overdrive).............................133 13: Early Reflections...................................................................................135 14: L/C/R Long Delay...............................................................................136 15: Stereo Long Delay ................................................................................137 16: Dual Long Delay...................................................................................138 17: St. Tempo Delay (Stereo Tempo Delay)............................................139 18: Hold Delay ............................................................................................140 Master Effects Modulation 00: Flanger ...................................................................................................142 01: Phaser.....................................................................................................143 02: Multitap Chorus/Dly (Multitap Chorus/Delay) ............................144 03: Ensemble................................................................................................145 04: Chorus....................................................................................................146 05: L/C/R Delay.........................................................................................147 Reverb/Delay 00: L/C/R Long Delay...............................................................................148 01: Delay/Reverb........................................................................................149 02: Reverb-Room ........................................................................................151 03: Reverb-Bright Room ............................................................................151 04: Reverb-Hall ...........................................................................................153 05: Reverb-Smooth Hall.............................................................................153 06: Reverb-Wet Plate..................................................................................153 07: Reverb-Dry Plate ..................................................................................153 Index.............................................................................................................154

As shown in the figure below, you can use the Insert Effects in the process of sound creation after the Oscillator, Filter, and Amp. Then, reverberation and other effects are applied through the Master Effects. One hundred Insert Effects and fourteen Master Effects enable highly flexible sound production. The TRINITY series does not have an input level meter to recognize the effect input level. Please note that if the input level is not high enough, the S/N ratio may be reduced, and if the input level is excessive, clipping may occur. To obtain the optimum degree of effects, first set the input level of the Insert Effect and Master Effect to the maximum possible without clipping, then adjust the effect output level using the Wet/ Dry parameter of the Insert Effects, and the Output Level parameter and/or Return 1 and 2 of the Master Effects. The following table shows the parameters that can be used to adjust the input/output levels: * Certain effects may not utilize some of these parameters. Insert Effects Insert Effects are used as part of the sound creation process. You can select any effects from the effect library, which contains 100 effects, ranging from effects that change tone and dynamics, such as the equalizer, limiter, exciter, etc.; to effects that simulate particular characteristics of certain musical instruments, such as amp simulation, rotary speaker, and piano body/ damper simulation; effects that create conventional effect sounds, such as ring modulator, talking modu- lator, vocoder, and pitch shifter; completely new types of effects, such as decimator and resonator; and classic effects, such as reverberation, chorus, delay, and overdrive. Insert Effects employ the concept of “size”, which allows for more flexible effect routing appropriate for your own application. In Program mode, you can use up to three effects in series (or up to four effects in series/parallel for a Drum mode Program). In the Combination and Sequencer modes, you can use up to three effects in series for each Timbre or Track (or up to four effects in series/parallel for each Timbre or Track that uses a Drum mode Program). In total, you can use up to eight effects for all Timbres/Tracks. For more detailed information, refer to the block diagrams and explanations below for each mode. Program Edit mode Combination Edit mode Sequencer mode Input OSC1/2 High, Low Level (P1) Filter1/2 A/B Gain (P3) Amp1/2 Level (P5) Send1/2 (P5 or P7) Trim Parameter (P7, P8)* Volume (P1) Send1/2 (P1) Trim Parameter (P7, P8)* Volume (P1) Send1/2 (P1) Output Wet/Dry (P7) Output Level (P8) Retrurn1, 2 (P8) Wet/Dry (P7) OutPut Level (P8) Return1, 2 (P8) Output Level (P8) Return1, 2 (P8) Insert Effect Master Effect EQ Send Return Oscillator Filter Amp +

Program (Single or Double mode Program): Up to three effects with a total effect size of four or less can be inserted in series. Program (Drum mode Program): Up to four effects with a total effect size of four or less can be inserted in series/parallel. Use P5 (DrumKit) in Global mode to assign the DrumKit sounds to Insts 1–4 for each key. Combination: Up to eight effects with a total effect size of eight or less can be inserted. Sequencer: Up to eight effects with a total effect size of eight or less can be inserted. Effect Input/Output The following table shows the input/output of the Dry sound (the sound without any effect applied) and the Wet sound (the sound with an effect applied) for each size. The Size 1 effects are all monaural in/monaural out for both dry and wet sounds. Therefore, Size 1 effects have monaural input as shown in the figure on the next page. If the Effect On/Off parameter is turned Off, the effect is bypassed. When a size 1 effect is selected, the bypass sound becomes monaural. Regardless of the Effect On/Off setting, you can turn all Insert Effects Off by sending the Effect 2 Control message (Controller #92). When the Controller value is 0, all effects turn Off. They turn On with a value of 1–127. Size 1 Size 2 Size 1 Size 1 Size 1 Size 1 Size 1 Inst1 Inst2 Inst3 Inst4 Size 2 Size 2 Inst1 Inst2 Size 4 Inst1 Size 1 Size 1 Size 1 Size 1 Inst3 Inst1 Inst4 Timbre2 Size 1 Size 2 Size 1 Size 4 Timbre1 Size 2 Size 2 Timbre1 Size 4 Track2 Size 1 Size 2 Size 1 Size 4 Track1 Size 2 Size 2 Track1 Size 4 size1 Dry Dry Dry Dry Wet Wet Wet Wet size2 size4 Mono In - Mono Out Stereo In - Stereo Out Stereo In - Stereo Out Stereo In - Stereo Out Stereo In - Stereo Out Mono In - Mono Out Mono In - Mono Out Mono In - Stereo Out Effect Effect Effect + Effect + Effect Shown on the upper left corner of the effect block diagrams.

Grouping You can use the grouping function in the Combination and Sequencer modes to use the Insert Effects effi- ciently. The effect grouping function places the Timbres/Tracks into one group so that the same Insert Effects will be applied to all of them. Note the following when you are trying to place Timbres/Tracks that use Single or Double mode Pro- grams, and Timbres/Tracks that use Drum mode Programs into a group: • When you are adding Timbres/Tracks that use Single or Double mode Programs to a group of Tim- bres/Tracks that use Drum mode Programs: The Timbres/Tracks will be grouped (input) to Insert Effect inst1 of the Timbres/Tracks that use Drum mode Programs. • When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/Tracks that use Single or Double mode Programs: Only DrumKit sounds that have been assigned to inst1 in P5 of Global mode will be grouped (input) to the Insert Effects of the Timbres/Tracks that use Single or Double mode Programs. Master Effects Master Effects use a send and return routing regardless of the modes, and consist of two types of effects: modulation and reverberation/delay, both mono-in/stereo-out. These fourteen effects can be used to pro- vide overall ambience. It is possible to route the modulation effects and reverb/delay effects in series. Send levels are set for each oscillator, or after the Insert Effects are applied. In the Combination and Sequencer modes, you can set the send levels for each Timbre/Track, allowing you to use the unit as a mixer to create a spacious effect for entire Programs, Combinations, or Songs. A Low/High-type shelving EQ is located before the output connectors 1/L/MONO and 2/R, and allows you to “fine-tune” the tone of your sound. The Master Effect parameters are set for each Program, Combination, and Song. (Use P8 in each mode.) The Effect 4 Control message (Controller #94) will turn the modulation effects on/off, and the Effect 5 control message (Controller #95) will turn the reverb/delay effects on/off. Both control messages are sent on the Global MIDI Channel. With a control value of 0, the effect is turned off, and with a value of 1–127, the effect is turned on. The Effect 3 Level message (Controller #93) will adjust the send level of the modulation effects, and the Effect 1 Level message (Controller #91) will adjust the send level of the reverb/delay effects. The control messages for Programs are sent on the Global MIDI Channel, and control messages for Combinations and Sequences are sent on the MIDI Channels specified for each Timbre and Track. Stereo In Mono In Stereo In Size 4 Size 1 Size 2 Size 1 Size 2 Size 2

The configuration of the Insert Effects is different when using a Single or Double mode Program than when using a Drum mode Program. Program - Single/Double OSC mode Insert Effects You can insert up to three effects in series as long as the total of the effect sizes is four or less when you are using a Program with the Oscillator Mode parameter (1–1c) set to single or double (shown as E1, E2, and E3 in the center of the figure above). If you insert a size 1 effect, the input/output becomes monaural. In this case, the oscillator’s Pan parame- ter (P5 in Program Edit mode) becomes ineffective, and the pan setting will be in the center. Adjust the stereo pan position using the Pan parameter that comes after the Insert Effects (P7 in Program Edit mode). If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever- beration) using the Width parameter (P7 in Program Edit mode). If you wish to make the oscillator’s Pan setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set the Width to 127. Master Effects The input level of the Master Effects is set by Send 1 and 2. Since the destination of the send routing changes depending on whether the Insert Effects have been inserted or not, the parameters will change accordingly. If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Program Edit mode will become effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P5 in Program Edit mode will become effective. The Send 1 and 2 parameters are also used to set the level of the signal appearing at output connectors 3 and 4. Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound (without the Master Effects applied), set the Master Effect parameters of P8 in Program Edit mode to “Off.” In this case, however, the Master Effects will not be applied to the signal at outputs 1 and 2. OSC1 Filter1 Amp1 OSC2 Filter2 Amp2 E1 E2 E3 Send1 Send2 Pan Width Send1 Send2 Pan Send1 Send2 Pan Insert Effects LEQ HEQ Return1 Return2 Amp1/2 Mod (Program Edit P5) Master Effects Insert Effects (Program Edit P7) Master Effects (Program Edit P8) OUT1 OUT2 Insert Effect =Off * Program - Single / Double OSC Mode Low Gain High Gain Pan1 Pan2 OUT3 OUT4 Modulation Reverb/Delay in the case of Insert Effect =Off * in the case of Insert Effect =On + + + + + + + + + + + + + + + + * Insert Effect =Off: size =0 Right Left Center Pan=C064, Width=127 Pan=C064, Width=64 Pan=C064, Width=32 Pan=C064, Width=0 Pan=L000 Pan=R127 Insert Effect - Pan, Width Right Left Center Pan=C064, Width=127 Pan=L048, Width=127 Pan=L032, Width=127 Pan=L016, Width=127 Right Left Center Pan=R096, Width=127 Pan=R096, Width=64 Pan=L048, Width=127 Pan=L048, Width=64 Pan=L000 Pan=R127 Pan=L000 Pan=R127

using the Pan 3 and 4 parameters (P8 in Program Edit mode). To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Program Edit mode). If you check the check box located between Send 1 and Send 2 in the upper left corner of the LCD, the serial routing of Modulation → Reverb/Delay will be added. That is, the Right modulation output will be added to the Reverb/Delay input. In this case, you can still set the Return 1 and 2 parameters indepen- dently. Program - Drums OSC mode Insert Effects You can insert up to four effects in series or parallel as long as the total of the effect sizes is four or less when you are using a Drum mode Program (shown as E1, E2, E3, and E4 in the center of the figure above). You can select Insert On/Off, and inst 1–4 (using E1–E4 input), and set the Pan and Send 1/2 parameters for each Drum sound in P5 of Global mode for each key. The final send setting will use the value set here multiplied by the Send setting set in P5 of Program Edit mode. If you insert a size 1 effect, the input/output becomes monaural. In this case, the DrumKit’s Pan parame- ter (P5 in Global mode) becomes ineffective, and the sound will be panned in the center. Adjust the stereo position using the Pan parameter (P5 of Program Edit mode) that comes after the Insert Effects (P7 in Pro- gram Edit mode). If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever- beration) using the Width parameter (P7 in Program Edit mode). If you wish to make the DrumKit’s Pan setting (P5 in Global mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set the Width to 127. Master Effects The input level of the Master Effects is set by Send 1 and 2. Since the destination of the send routing changes depending on whether the Insert Effects have been inserted or not, the parameters will change accordingly. Kick Snare E1 Send1 Send2 Pan Width Send1 Send2 Pan Send1 Send2 Pan Insert Effects + + + + LEQ HEQ Return1 Return2 Amp1/2 Mod (Program Edit P5) Master Effects Insert Effects (Program Edit P7) Master Effects (Program Edit P8) OUT1 OUT2 Insert Effect=Off Insert Effect=inst1 Insert Effect=Off Program - Drums OSC Mode Low Gain High Gain Pan1 Pan2 OUT3 OUT4 Send1 Send2 Send1 Send2 Send1 Send2 Pan Width Pan Width Pan Width E2 E3 E4 + + Tom H.Hat Send1 Send2 Pan Send1 Send2 Pan Insert Effect=inst2 Insert Effect=inst3 Send1 Send2 Pan Insert Effect=inst4 Conga DrumKit (Global P5) Inst1/2/3/4 ->E1/E2/E3/E4 Modulation Reverb/Delay Send1 Send2 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P5 in Global mode and P5 in Program Edit mode will become effective. The Send 1 and 2 parameters are also used to set the level of signal appearing at output connectors 3 and 4. Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound (without the Master Effects applied), set the Master Effect parameters of P8 in Program Edit mode to “Off.” In this case, however, the Master Effect will not be applied to the signal at outputs 1 and 2. If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 in Program Edit mode). To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Program Edit mode). If you check the check box located between Send 1 and Send 2 in the upper left corner of the LCD, the serial routing of Modulation → Reverb/Delay will be added. That is, the Right modulation output will be added to the Reverb/Delay input. In this case, you can also set the Return 1 and 2 parameters indepen- dently. Combination Insert Effects The Insert Effects selected in Program Edit mode are not used in Combination Edit mode. Instead, you can set Insert Effects for up to eight Timbres in a Combination. Go to P7 in Combination Edit mode, and set the Insert Effect’s Off, size (1, 2, 4, 8), and grouping parame- ters for each of Timbres 1–8. If you wish to use a Program’s Insert Effect settings by using the Copy function, first select a size for the corresponding Timbre equal to or greater than the size of the effects used in the Program. You can route up to three Insert Effects for each Timbre in series. (If the Program is using a DrumKit, you can use up to four effects in series or parallel.) The total effect size for all the Timbres must be eight or less. OSC1 Filter1 Amp1 OSC2 Filter2 Amp2 E1 E2 E3 Send1 Send2 Pan Width Send1 Send2 Pan Send1 Send2 Pan Insert Effects LEQ HEQ Return1 Return2 Mixer (Combination Edit P1) Master Effects Insert Effect Grouping (Combination Edit P7) Master Effects (Combination Edit P8) OUT1 OUT2 Insert Effect=Off Combination Reverb/Delay Modulation Low Gain High Gain Pan1 Pan2 OUT3 OUT4 OSC1 Filter1 Amp1 OSC2 Filter2 Amp2 Send1 Send2 Pan Send1 Send2 Pan Timbre1 Timbre2 Timbre8 up to E1 E2 E3 + + Send1 Send2 Pan Width Insert Effects + + + Assigning / Grouping Timbre to Insert Effects Insert Effect=Off in the case of Insert Effect =Off in the case of Insert Effect =On in the case of Insert Effect =Off in the case of Insert Effect =On + + + + + + + + + + + + + + + + + + + + + + + + +

Effects in series, you cannot place an effect of size 4 on the second position. For a Timbre that uses a Drum mode Program, you can set the total effect size to eight. However, if you are routing three Insert Effects in series, you cannot place the effect of size 4 on the second position. If you are routing four effects in series, you cannot place an effect of size 4 on the second or third position. If you insert a size 1 effect, the input/output becomes monaural. In this case, the Timbre’s Pan parameter (P1 Timb Param1 in Combination Edit mode) becomes ineffective, and the pan setting will be in the cen- ter. Adjust the stereo pan position using the Pan parameter (P7 in Combination Edit mode) that comes after the Insert Effects. If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever- beration) using the Width parameter (P7 in Combination Edit mode). If you wish to make the oscillator’s Pan setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set the Width to 127. Refer to the “Program - Drums OSC mode” section for information regarding the setting of Programs that use a DrumKit. When you are adding Timbres/Tracks that use Single or Double mode Programs to a group of Tim- bres/Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect inst1 of the Timbres/Tracks that use Drum mode Programs. When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/ Tracks that use Single or Double mode Programs, only DrumKit sounds that have been assigned to inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/Tracks that use Single or Double mode Programs. Master Effects You need to set the Master Effects in the Combination, since the Master Effects set in Program Edit mode are ineffective here. The input levels of the Master Effects are set by Send 1 and 2. Since the destination of the send routing changes depending on whether Insert Effects have been inserted or not, the parameters will change accordingly. If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Combination Edit mode will become effective (those of P1 Timb Param1 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P1 Timb Param1 in Combination Edit mode will become effective. The Send 1 and 2 parameters are also used to set the level of signal appearing at output connectors 3 and 4. Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound (without the Master Effects applied), set the Master Effect parameters of P8 in Combination Edit mode to “Off.” In this case, however, the Master Effects will not be applied either to the output 1 or 2 signal. If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 in Combination Edit mode). To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Combination Edit mode). If you check the check box located between Send 1 and 2 in the upper left corner on the LCD, the serial routing of Modulation → Reverb/Delay will be added. That is, the Right modulation output will be added to the Reverb/Delay input. In this case, you can still set the Return 1 and 2 parameters indepen- dently.

Insert Effects for up to eight Tracks in the Sequencer. Go to P7 in Sequencer mode, and set the Insert Effect’s Off, size (1, 2, 4, 8), and grouping parameters for each of Tracks 1–16. If you wish to use a Program’s Insert Effect settings by using the Copy function, first select a size for the corresponding Track equal to or greater than the size of the effects used in the Program. You can route up to three Insert Effects for each Track in series. (If the Program is using a DrumKit, you can use up to four effects in series or parallel.) The total effect size for all the Tracks must be eight or less. You can also set the total effect size for a single Track to eight. However, if you are routing three Insert Effects in series, you cannot place an effect of size 4 on the second position. For a Track that uses a Drum mode Program, you can set the total effect size to eight. However, if you are routing three Insert Effects in series, you cannot place an effect of size 4 on the second position. If you are routing four effects in series, you cannot place an effect of size 4 on the second or third position. If you insert a size 1 effect, the input/output becomes monaural. In this case, the Track’s Pan parameter (P1 Track Play/Rec in Sequencer mode) becomes ineffective, and the pan setting will be in the center. Adjust the stereo pan position using the Pan parameter (P7 in Sequencer mode) that comes after the Insert Effects. If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever- beration) using the Width parameter (P7 in Sequencer mode). If you wish to make the oscillator’s Pan set- ting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set the Width to 127. Refer to the “Program - Drums OSC mode” section for information regarding the setting of Programs that use a DrumKit. OSC1 Filter1 Amp1 OSC2 Filter2 Amp2 E1 E2 E3 Send1 Send2 Pan Width Send1 Send2 Pan Send1 Send2 Pan Insert Effects LEQ HEQ Return1 Return2 Track Play / Rec (Sequencer P1) Master Effects Insert Effect Grouping (Sequencer P7) Master Effects (Sequencer P8) OUT1 OUT2 Insert Effect=Off Sequencer Low Gain High Gain Pan1 Pan2 OUT3 OUT4 OSC1 Filter1 Amp1 OSC2 Filter2 Amp2 Send1 Send2 Pan Send1 Send2 Pan Track1 Track2 Track16 up to E1 E2 E3 Send1 Send2 Pan Width Insert Effects Assigning/Grouping Track to Insert Effects Insert Effect=Off Modulation Reverb/Delay in the case of Insert Effect =Off in the case of Insert Effect =On in the case of Insert Effect =Off in the case of Insert Effect =On + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

bres/Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect Inst1 of the Timbres/Tracks that use Drum mode Programs. When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/ Tracks that use Single or Double mode Programs, only DrumKit sounds that have been assigned to Inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/Tracks that use Single or Double mode Programs. Master Effects You need to set the Master Effects for each song in the Sequencer mode, since the Master Effects set in Program Edit mode are ignored here. The input levels of the Master Effects are set by Send 1 and 2. Since the destination of the send routing changes depending on whether Insert Effects have been inserted or not, the parameters will change accordingly. If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Sequencer mode will become effective (those of P1–3 Mix 1–8 and P1–4 Mix 9–16 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P1–3 Mix 1–8 and P1–4 Mix 9–16 in Sequencer mode will be used instead. The Send 1 and 2 parameters are also used to set the level of the signal appearing at output connectors 3 and 4. Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound (without the Master Effects applied), set the Master Effect parameters in P8 of Sequencer mode to “Off.” In this case, however, you cannot apply the Master Effects to output connectors 1 and 2. If the output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 of Sequencer mode). To set the Master Effect return level, use the Return 1 and 2 parameters (P8 of Sequencer mode). If you check the check box between Send 1 and 2 located in the upper left corner of the LCD, the serial routing of Modulation → Reverb/Delay will be added. That is, the Right modulation output will be added to the Reverb/Delay input. In this case, you can still set the Return 1 and 2 parameters indepen- dently.

ple, you can use the After Touch effect to speed up the LFO of the chorus and flanger, or you can use the ribbon controller to activate the wah effect. In this way, you will be able to make the most out of the expression created by the effects as part of your instrument. Most of the parameters with dynamic modulation consist of the parameter value, Src (source), and Amt (amount). The Src field selects the modulation source, and Amt sets the amount of dynamic modulation effect. When the modulation source is set to the maximum value, the actual degree of the effect will be the parameter value plus the Amt value. Dynamic modulation of the Program’s Insert Effects and Master Effects is controlled via the Global MIDI Channel. Dynamic modulation of the Insert Effects for Combinations and Sequences is con- trolled via the MIDI Channels specified for each Timbre and Track. Dynamic modulation of the Master Effects is controlled via the Global MIDI Channel. e.x. Wet/Dry=10:90 Src=Aftr Touch Amt=+50 In this case, the effect balance is 10:90. As you apply After Touch, the percentage of the effect sound will increase. When After Touch is at its maximum, the effect balance will be 60:40. If you are controlling the effect parameters using any source other than AUTOFADE, the dynamic modulation effect will not be affected if you modify the Amt value while the dynamic modulation is being applied. The modification will become effective when you operate the dynamic modula- tion source again. Refer to the corresponding effect section for an explanation of other dynamic modulation parameters. is marked on the right of the effect parameter table to indicate that the parameter has dynamic modulation. Source None Dynamic modulation is not used. Gate1 Note On/Off P.11 Gate1+Sus Note On + Sustain pedal On/Off P.11 Gate2 Note On/Off (retrigger) P.11 Gate2+Sus Note On + Sustain pedal On/Off (retrigger) P.11 Note No. Note number. Velocity Velocity AftrTouch Channel After Touch JS(+Y) Joystick - upward Wet / Dry Max Zero Higher D -mod Dry Wet 60:40 10:90 Dynamic Modulation (Example) Wet / Dry=10:90 Amt= +50 Wet / Dry=60:40 Amt= –50

JS(X) Joystick - horizontal direction Ribbon(X) Ribbon controller - horizontal direction Ribbon(Z) How strongly you press the ribbon controller SW1 Assignable Panel Switch 1 (CC#80) P.12 SW2 Assignable Panel Switch 2 (CC#81) P.12 Foot SW Assignable Foot Switch (CC#82) P.12 Foot Pedal Assignable Foot Pedal (CC#04) P.12 SustainPdl Sustain Pedal MIDI Vol MIDI Volume (CC#07) MIDI Pan MIDI Pan (CC#10) MIDI Exp MIDI Expression Control (CC#11) MIDI Cnt1 MIDI Effect Control 1(CC#12) MIDI Cnt2 MIDI Effect Control 2(CC#13) Slider Value Slider (CC#18) MIDI CC#19 MIDI Control Change (CC#19) Tempo Tempo information specified by the sequencer or MIDI clock P.12 AUTOFADE Auto Fade (only for some effects) P.12 Gate1 Gate1+Sus The effect amount is at maximum during Note-on. When you release all the keys, the effect will stop. For Gate 1+Sus, the maximum effect level will be main- tained as long as you press the sustain pedal, even after you release the keys. Gate2 Gate2+Sus These are almost the same as Gate 1, and Gate 1+Sus. However, if you are using this as a source for, say, the EG of size 1, 17: Envelope Flanger, or the AUTO- FADE of size 2, 13: Stereo Chorus, every Note On message will trigger the effect. (With Gate 1, and Gate 1+Sus, only the first Note On data will trigger the effect.) Source Gate1,Gate1+Sus Gate1 Note Gate+Sus 1 2 3 1 2 3 Sustain Pedal Gate1+Sus Time On Off Gate2,Gate2+Sus Gate2 Note Gate+Sus 1 2 3 1 2 3 Sustain Pedal Gate2+Sus Time On Off

SW1 to Modulation (CC#80) and SW2 to (CC#81) in P1 of Program Edit mode, or P4 of Combination Edit mode. Foot SW If the assignable foot switch is assigned as a dynamic modulation, set Foot Switch to Modulation (CC#82) in P1 of Global mode. Then, you can control the effect from a footswitch connected to the SWITCH ter- minal. Foot Pedal If the assignable pedal is assigned as a dynamic modulation, set Foot Pedal to Foot Controller (CC#04) in P1 of Global mode. Then, you can control the effect from a foot pedal connected to the PEDAL ter- minal. AUTOFADE You can use AUTOFADE only for some effects such as size 2, 13: Stereo Chorus. The effect is triggered by Note On data or the assignable switch. AUTOFADE allows the modulation effect amount to fade in automatically. You cannot select AUTOFADE as a modulation source for the effects/parameters that do not have the AutoFade function. In the parameter table, the mark appears to the right of the effect parameters that have the AutoFade function. The effect is off when a value for the dynamic modulation source speci- fied for the AUTOFADE Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher. Tempo The modulation sources ranging from “Note number” to “MIDI CC#19” listed on the table on pages 10 and 11 can be controlled via MIDI Control messages 0 through ±127. On the other hand, Tempo information specified on the sequencer or from the MIDI clock is used as a BPM value for the Tempo. Therefore, a Tempo value of 127 (BPM) will create the same effect as created by the maximum value (+127) of MIDI Control message. On Off Fade-In Rate AUTOFADE AUTOFADE AutoFade D-mod

13 size1 00: Amp Simulation This effect simulates the frequency response characteristics of guitar amplifiers. You can obtain a realistic guitar amplifier sound. It is also effective for organ sounds. a Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier. b Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance In Wet / Dry Mono In - Mono Out Amp Simulation Filter

tar, piano, and drum sounds. a Sensitivity 1…100 Sets sensitivity. P.14 b Attack 1…100 Sets attack amount. P.14 c EQ Trim 0…100 Equalizer input level d Pre LEQ Gain [dB] –15.0…+15.0dB Low EQ gain e Pre HEQ Gain [dB] –15.0…+15.0dB High EQ gain f Ouput Level 0…100 Compressor output level.P.14 g Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Sensitivity f: Output Level The “Sensitivity” parameter sets the sensitivity of the compressor. If this param- eter is set to a higher value, lower level sounds will be boosted. With a higher Sensitivity, the overall volume level is higher. To adjust the final volume level, use the “Output Level” parameter. b: Attack This parameter controls the attack level. In Wet / Dry Mono In - Mono Out EQ Trim LEQ HEQ Compressor Output Level Envelope - Control Sensitivity=100 Sensitivity=40 Dry Wet Time Level Compressor - Sensitivity Louder Dry Wet Time Level Attack=80 Attack=20 Compressor - Attack

presses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered. a Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. P.15 b Threshold [dB] –40…0dB Sets the signal level above which compression is applied. P.15 c Attack 1…100 Sets attack time. P.16 d Release 1…100 Sets release time. P.16 e Gain Adjust [dB] –16…+24dB Sets output gain. P.15 f Side PEQ Insert Off, On Switches the trigger signal EQ on/off. P.16 g Side PEQ Cutoff [Hz] 20…12.00kHz Center frequency of the trigger signal EQ P.16 Q 0.5…10.0 Band width of the trigger signal EQ Gain [dB] –18.0…+18.0dB Gain of the trigger signal EQ h Trigger Monitor Off, On Switches effect output/trigger signal monitor on/off. P.16 i Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Ratio b: Threshold [dB] e: Gain Adjust [dB] This parameter sets the signal compression ratio. Compression is applied only when the signal level exceeds the Threshold value. Adjust the output level using the Gain Adjust parameter, since compression causes the entire level to be reduced. In Wet / Dry Mono In - Mono Out Limiter Gain Adjust Side PEQ Envelope - Control Trigger Monitor

cause the compression to be applied more slowly. f: Side PEQ Insert g: Side PEQ Cutoff [Hz] g: Q g: Gain [dB] These parameters are used to set the EQ applied to the trigger signal. The Limiter determines whether the compression is applied or not, based on the sound post-EQ. Setting the equalizer allows you to set the Limiter to respond to any frequency band. h: Trigger Monitor Setting this parameter On will cause the trigger signal to be output, instead of the Limiter signal. Use this parameter to check the trigger signal with EQ applied. Usually, set this to Off. Input Level Output Level Threshold Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Ration=Inf : 1 Louder Louder Time Level Threshold Ratio=Inf : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Dry Ratio=1.0 : 1 Limiter - Threshold / Ratio Threshold Ratio=Inf : 1 Attack=1 Release=1 Ratio=Inf : 1 Attack=100 Release=100 Dry Wet Wet Release Attack Limiter - Attack / Release

to create Gated Reverb by routing it after the Reverb effect. The Gate can be turned on/off directly by Note On/Off. a Envelope Select D-mod, Input Toggles between control by Modulation Source and con- trol by input signal.P.17 Src None…Gate2+Sus Modulation Source that controls Gate when Envelope Select is set to D-mod. b Threshold 0…100 Sets the signal level below which Gate is applied. P.17 c Attack 1…100 Sets attack time. P.17 d Release 1…100 Sets release time.P.17 e Delay Time [msec] 0…100msec Delay time for gate input P.18 f Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Envelope Select a: Src The Envelope Select parameter determines whether the Gate is on/off based on the level of input signal or by using a modulation source. The Src parameter is available only when you have selected D-mod for the Envelope Select parame- ter. Selection ranges from None to Gate2+Sus. b: Threshold c: Attack d: Release This parameter sets the signal level below which Gate is applied when Envelope Select is set to Input. The Attack and Release parameters set the Gate attack time and release time. In Wet / Dry Mono In - Mono Out Gate Envelope Select Envelope - Control Delay Gate+Sus

This parameter sets the delay time of the Gate input. If the sound has a very fast attack, increase the delay time so that the signal will be input after the Gate is opened. This will preserve the attack part of the sound. Input Level Output Level Threshold Louder Louder Threshold Attack=1 Release=1 Attack=100 Release=100 Dry Wet Wet Attack Release Gate - Attack / Release Gate - Threshold

allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds. a Mode Overdrive, Hi-Gain Switches between overdrive and hi-gain distortions. b Drive 0…100 Sets the degree of distortion. P.19 c Output Level 0…50 Sets the output level.P.19 d Pre Low-cut 0…10 Amount of cut in low range at the distortion input. P.19 e Band1 Cutoff [Hz] 20…1.0kHz Center frequency of EQ band 1 Q 0.5…10.0 Band 1 bandwidth P.19 Gain [dB] –18…+18dB Band 1 gain f Band2 Cutoff [Hz] 50…5.00kHz Band 2 center frequency Q 0.5…10.0 Band 2 bandwidth P.19 Gain [dB] –18…+18dB Band 2 gain g Band3 Cutoff [Hz] 300…10.00kHz Band 3 center frequency Q 0.5…10.0 Band 3 bandwidth P.19 Gain [dB] –18…+18dB Band 3 gain h Band4 Cutoff [Hz] 500…20.00kHz Band 4 center frequency Q 0.5…10.0 Band 4 bandwidth P.19 Gain [dB] –18…+18dB Band 4 gain i Direct Mix 0…50 Mix amount of dry sound routed to Distortion j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance b: Drive c: Output Level The degree of distortion is determined by the level of input signal and the set- ting of Drive. Raising the Drive setting will cause the entire volume level to increase. Use the Output Level parameter to adjust the volume level. The Out- put Level parameter uses the signal level input to the 4-Band EQ. If clipping occurs at the 4-Band EQ, adjust the Output Level parameter. d: Pre Low-cut Cutting the signal in the low range before it is input to the Distortion will create a sharp distortion. e: Q f: Q g: Q h: Q These parameters set the bandwidth of each band filter. The higher the value, the narrower the band becomes. In Wet / Dry Mono In - Mono Out 4 Band PEQ Output Level Direct Mix Pre Low-cut Mode: Overdrive / Hi-Gain Drive Driver

20 05: Parametric 4EQ (Parametric 4-Band EQ) This effect is a four-band parametric equalizer. You can select either a peaking type or a shelving type for Band 1 and 4. Band 2 allows for gain control via dynamic modulation. a Trim 0…100 Sets the input level. b Band1 Type Peaking, Shelving-Low Selects Band 1 type. P.20 c Band4 Type Peaking, Shelving-High Selects Band 4 type. P.20 d Band2 Dynamic Gain Src None…Tempo Modulation source for Band 2 gain P.21 Amt [dB] –18.0…+18.0dB Amount of Band 2 gain modulation e Band1 Cutoff [Hz] 20…1.0kHz Sets the Band 1 center frequency. Q 0.5…10.0 Sets the Band 1 bandwidth. P.19 Gain [dB] –18.0…+18.0dB Sets the Band 1 gain. f Band2 Cutoff [Hz] 50…10.00kHz Sets the Band 2 center frequency. Q 0.5…10.0 Sets the Band 2 bandwidth. P.19 Gain [dB] –18.0…+18.0dB Sets the Band 2 gain. P.21 g Band3 Cutoff [Hz] 300…10.00kHz Sets the Band 3 center frequency. Q 0.5…10.0 Sets the Band 3 bandwidth. P.19 Gain [dB] –18.0…+18.0dB Sets the Band 3 gain. h Band4 Cutoff [Hz] 500…20.00kHz Sets the Band 4 center frequency. Q 0.5…10.0 Sets the Band 4 bandwidth. P.19 Gain [dB] –18.0…+18.0dB Sets the Band 4 gain. i Wet/Dry Dry, 1:99…99:1, Wet Balance between the effect sound and dry sound. b: Band1 Type c: Band4 Type Selects a filter type for Band 1 and 4. In Wet / Dry Mono In - Mono Out Band1 Band2 Band3 Band4 PEQ PEQ PEQ PEQ LEQ HEQ Trim D -mod 3dB 3dB Band1 Cutoff Band4 Cutoff 0dB +Gain –Gain Band1 Type=Peaking Band1 Type=Shelving Low Band4 Type=Peaking Band4 Type=Shelving High Parametric 4EQ - Band1, Band4 Type

21 size1 d: Band2 Dynamic Gain Src d: Amt [dB] f: Gain [dB] You can control the gain of Band 2 using the modulation source. Band2 Cutoff Band2 Cutoff 0dB +6dB +15dB Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.0 D -mod 0dB +6dB –9dB Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= –15.0 D -mod Parametric 4EQ - Band2 Dynamic Gain Control

22 06: Graphic 7Band EQ This effect is a seven-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound. a Type 1:Wide 1 2:Wide 2 3:Wide 3 4:Half Wide 1 5:Half Wide 2 6:Half Wide 3 7:Low 8:Wide Low 9:Mid 10:Wide Mid 11:High 12:Wide High Selects a combination of center frequencies for each band. P.22 b Trim 0…100 Sets the input level. c Band1 [dB] –18.0…+18.0dB Sets Band 1 gain. d Band2 [dB] –18.0…+18.0dB Sets Band 2 gain. e Band3 [dB] –18.0…+18.0dB Sets Band 3 gain. f Band4 [dB] –18.0…+18.0dB Sets Band 4 gain. g Band5 [dB] –18.0…+18.0dB Sets Band 5 gain. h Band6 [dB] –18.0…+18.0dB Sets Band 6 gain. i Band7 [dB] –18.0…+18.0dB Sets Band 7 gain. j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Type This parameter selects a combination of center frequencies for each band. Each center frequency is shown on the right edge of the LCD. You can configure a 21-Band Graphic EQ ranging from 80Hz to 18kHz if you route three Graphic 7Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ. In Wet / Dry Mono In - Mono Out Band1 Band2 Band3 Band4 Trim Band5 Band6 Band7

23 size1 07: Wah/Auto Wah This wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings. You can select Band Pass or Low Pass for the wah filter. a Frequency Bottom 0…100 Sets the lower limit of the wah center frequency. P.24 b Frequency Top 0…100 Sets the upper limit of the wah center frequency. P.24 c Sweep Mode Auto, D-mod Switches between auto-wah control and modulation source. P.24 Src None…Tempo Modulation source used to control wah when Sweep Mode is set to D-mod. Response 0…10 How quickly the wah effect responds to dynamic modula- tion. d Envelope Sens 0…100 Sets the sensitivity of auto-wah. P.24 e Envelope Shape –100…+100 Sets the sweep curve of auto-wah. P.24 f Resonance 0…100 Sets the resonance amount. g Filter Mode Band Pass, Low Pass Selects the wah filter type. h Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance In Wet / Dry Mono In - Mono Out D -mod Envelope Sens Envelope Shape Response Wah Sweep Mode D-mod Auto

24 a: Frequency Bottom b: Frequency Top The sweep width and direction of the wah filter are determined by the Fre- quency Top and Frequency Bottom settings. c: Sweep Mode This parameter changes the wah control mode. Setting Sweep Mode to Auto will select an auto-wah that sweeps according to envelope changes in the input signal level. Auto-wah is frequently used for funk guitar parts and clav sounds. When Sweep Mode is set to D-mod, you can control the filter directly via the modulation source in the same way as a wah pedal. d: Envelope Sens This parameter sets the sensitivity of auto-wah. Increase the value if the input signal is too low to sweep. Reduce the value if the input signal is so high that the filter is stopped temporarily. e: Envelope Shape This parameter determines the sweep curve for auto-wah. Frequency Bottom=25 Top=75 Higher Max Zero Higher D -mod Frequency Bottom=60 Top=30 Higher Max Zero Higher D -mod Sweep Mode=D-mod Frequency Bottom=25 Top=75 Higher Frequency Bottom=75 Top=25 Higher Sweep Mode=Auto Envelope Envelope Time Wah Woo Woo Woo Envelope Wah Wah Time Woo Woo Wah Wah Time Level Envelope value = 0...–100 value = 0...+100 Envelope Shape

25 size1 08: Random Filter The filter frequency changes randomly. You can create a special effect from filter oscillation. a LFO Frequency [Hz] 0.05…50.00Hz Speed of LFO that modulates the filter Src None…Tempo Modulation source of LFO speed Amt –50.00…+50.00Hz Modulation amount of LFO speed b Cutoff 0…100 Filter center frequency c Depth 0…100 Modulation depth of filter center frequency Src None…Tempo Modulation source of filter modulation Amt –100…+100 Modulation amount of filter modulation d Resonance 0…100 Sets the resonance amount. e Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance e: Wet/Dry The effect sound’s phase will be reversed when you set this parameter in the range of values from –Wet to –1:99. Filter In Wet / Dry Mono In - Mono Out Random LFO

26 09: Dyna Exciter This effect gives a frame to a sound and emphasizes the outline. You can control the intensity of the effect using dynamic modulation. a Blend –100…+100 Sets the intensity (depth) of the Exciter effect. P.26 Src None…Tempo Modulation source of the Exciter intensity Amt –100…+100 Modulation amount of the Exciter intensity b Emphatic Point 0…140 Sets the frequency to be emphasized. P.26 Src None…Tempo Modulation source of the frequency to be emphasized Amt –100…+100 Modulation amount of the frequency to be emphasized c EQ Trim 0…100 2-band EQ input level d Pre LEQ Gain [dB] –15.0…+15.0dB Low EQ gain e Pre HEQ Gain [dB] –15.0…+15.0dB High EQ gain f Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Blend This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) different from negative values. b: Emphatic Point This parameter sets the frequency to be emphasized. Higher values will empha- size lower frequencies. In Wet / Dry Mono In - Mono Out EQ Trim LEQ HEQ D -mod Exciter

27 size1 10: Sub Oscillator This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver. a OSC Mode Note (Key Follow), Fixed Determines whether the oscillator frequency follows the note number or whether it is fixed. P.27 b Note Interval –48…0 When OSC Mode = Note (Key Follow), this parameter sets the pitch difference from the note number. P.27 Src (fixed) Note No. Note number information source (fixed to Note #). c Note Fine –100…+100 Fine adjustment of the oscillator frequency.P.27 d Fixed Frequency [Hz] 10.0…80.0Hz When OSC Mode = Fixed, this parameter sets the oscilla- tor frequency. P.27 Src None…Tempo Oscillator frequency modulation source when OSC Mode = Fixed. Amt –80…+80Hz Oscillator frequency modulation amount when OSC Mode = Fixed. e Envelope Pre LPF 1…100 The upper limit of the frequency range for which very low harmonics are added. P.27 f Envelope Sens 0…100 Sets the sensitivity with which very low harmonics are added. g Envelope Shape –100…+100 Sets the oscillator’s volume envelope curve. h Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: OSC Mode b: Note Interval b: Src c: Note Fine The OSC Mode parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator’s frequency is determined based on the note number, allowing you to use it as an octaver. The Note Interval parameter sets the pitch offset from the original note number by semitone steps. The Note Fine parameter allows you to fine-tune in steps of cents. The Src parameter is fixed to the Note #, and you cannot select another source. d: Fixed Frequency [Hz] The Fixed Frequency parameter sets the frequency when you select “Fixed” for the OSC Mode parameter. e: Envelope Pre LPF This parameter sets the upper limit of the frequency range to which very low harmonics are added. Adjust this parameter if you do not want to add lower harmonics to the higher range. For example, you can create a nice effect by add- ing very low harmonics only to the bass drum sound, not to the snare sound. In Wet / Dry Mono In - Mono Out Envelope Shape Note No. OSC Mode Fixed Note (Key Follow) Pre LPF Sine Oscillator Fixed Frequency Pitch Note Interval, Fine

simulate noise unique to a sampler (aliasing). a Pre LPF Off, On Selects whether the harmonic noise caused by decrease in sampling frequency is generated or not. P.28 b Sampling Freq [Hz] (Sampling Frequency) 1.00k…24.00kHz Sets the sampling frequency. Src None…Tempo Sets the modulation source of the sampling frequency. Amt –24.00k…+24.00kHz Sets the modulation amount of the sampling frequency. c High Damp [%] 0…100% Ratio of cut of the high range d Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Pre LPF If you input a sound containing high frequencies (that cannot be sampled) to a sampler with a low sampling frequency, a noise with a pitch unrelated to the original sound will be generated. When Pre LPF = ON, this type of noise will not be generated. You can create a sound similar to a ring modulator if you set Pre LPF to OFF, with a Sampling Freq of 3kHz. In Wet / Dry Mono In - Mono Out Pre LPF High Damp Decimator Sampling Frequency

a LFO Waveform Triangle, Sine Selects LFO Waveform. b LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed c Pre Delay [msec] 0.0…50.0msec Delay from the original sound d Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation amount of the LFO modulation depth e EQ Trim 0…100 EQ input level f Pre LEQ Gain [dB] –15.0…+15.0dB Low-EQ gain g Pre HEQ Gain [dB] –15.0…+15.0dB High-EQ gain h Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Chorus In Wet / Dry Mono In - Mono Out EQ Trim LEQ HEQ LFO: Tri / Sine

30 13: Harmonic Chorus This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a flanger. a LFO frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed b Pre delay [msec] 0.0…50.0msec Delay from the original sound c Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation amount of the LFO modulation depth d High/Low Split Point 1…100 Frequency split point between the low and high range P.30 e Feedback –100…+100 Feedback amount of the chorus block P.30 f High Damp [%] 0…100% Chorus block damping amount in the high range g Low Level 0…100 Output level in the low range h High Level 0…100 Output level in the high range (chorus) i Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance d: High/Low Split Point This parameter sets the frequency that splits the low and high range. Only the high range will be sent to the chorus block. e: Feedback Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a flanger. In Feedback Wet / Dry High Damp Mono In - Mono Out Low Level High Level High/Low Split Point LFO: Triangle Chorus/Flanger

It is most effective on the string sounds. a Speed 1…100 LFO speed Src None…Tempo Modulation source of LFO speed Amt –100…+100 Modulation amount of LFO speed b Shimmer 0…100 Amount of shimmering of the LFO waveform P.31 c Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation amount of the LFO modulation depth d Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance b: Shimmer This parameter sets the amount of shimmering of the LFO waveform. Increasing this value makes more shimmering, making the chorus effect more complex and richer. Ensemble In Wet / Dry Mono In - Mono Out LFO Shimmer Time Level Ensemble LFO Shimmer

to a sound with a lot of harmonics, such as cymbals or electric guitar sounds. a Delay Time [msec] 0.0…50.0msec Delay from the original sound b LFO Waveform Triangle, Sine Selects the LFO Waveform. c LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 d LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed e Depth 0…100 Depth of LFO modulation f Feedback –100…+100 Feedback amountP.32 g High Damp [%] 0…100% Feedback damping amount in the high range P.32 h Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 32 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance c: LFO Shape Changing the LFO waveform shape controls the peak sweep of flanging effects. f: Feedback h: Wet/Dry The peak shape of the positive and negative Feedback value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both Feedback and Wet/Dry, and if you set a negative value for both Feedback and Wet/Dry. g: High Damp [%] This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmonics. Flanger In Feedback LFO Shape LFO: Tri / Sine Wet / Dry Mono In - Mono Out High Damp LFO Shape LFO Shape = 0...+100 LFO Shape = 0...–100 LFO Waveform=Sine

33 size1 16: Tempo Flanger This Flanger allows you to match the LFO cycle with a song’s tempo. For example, you can apply the Flanger synchronizing to a sequencer rhythm pattern, or you can input a tempo before a live performance so that the flanging effect will match the song tempo. The LFO cycle can be set in steps of one note. a Delay Time [msec] 0.0…50.0msec Delay from the original sound b LFO Waveform Triangle, Sine Selects the LFO waveform. c LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 d LFO Mode Manual, D-mod Switches between the specified tempo and clock sync. P.33 Src (fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo) e Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = ManualP.33 f Length 1…16/1…16 Sets the LFO cycle. LFO Cycle = Length x Whole Note. P.33 g Depth 0…100 Depth of LFO modulation h Feedback –100…+100 Feedback amountP.32 i High Damp [%] 0…100% Feedback damping amount in the high range P.32 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 32 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance d: LFO Mode d: Src (fixed) This parameter selects the LFO operation mode. When Manual is selected, the LFO refers to the value set in e: Tempo. When D-mod is selected, the LFO will synchronize to the internal MIDI clock. This is useful for performance using a sequencer. When D-mod is selected for the LFO mode, the source is fixed to Tempo and cannot be changed. e: Tempo [beat/min] This parameter sets the tempo when Manual is selected for the LFO Mode. f: Length This parameter sets the LFO cycle. The cycle is calculated by multiplying the length of a whole note by the value of Length. For example, when Length is set to 1/4, the Flanger will sweep at an interval of one quarter note. Flanger In Feedback LFO Shape LFO: Tri / Sine Wet / Dry Mono In - Mono Out High Damp Tempo LFO Mode D-mod Manual Length: 1/4 120 [beat/min]

34 17: Envelope Flanger This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source. a Delay Bottom [msec] 0.0…50.0msec Sets the lower limit of Delay Time. P.24 b Delay Top [msec] 0.0…50.0msec Sets the higher limit of Delay Time. P.24 c Sweep Mode EG, D-mod Determines whether the flanger is controled by the enve- lope generator or by the modulation source. P.34 Src None…Tempo Modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the flanger to sweep (when D-mod is selected for Sweep Mode). d EG Decay 1…100 Sets the EG decay speed. P.34 e Feedback –100…+100 Feedback amount P.32 f High Damp [%] 0…100% Feedback damping amount in the high range P.32 g Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 32 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance c: Sweep Mode c: Src This parameter switches the flanger control mode. With Sweep Mode = EG, the flanger will sweep using the envelope generator. This envelope generator is included in the envelope flanger, and not related to the Oscillator EG, Filter EG, or Amp EG. The Src parameter selects the source that starts the envelope generator. If you select, for example, Gate, the envelope generator will start when the note-on message is received. When Sweep Mode = D-mod, the modulation source can control the flanger directly. Select the modulation source using the Src parameter. d: EG Decay Decay speed is the only adjustable parameter on this EG. The effect is off when a value for the modulation source specified for the Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher. In Feedback Wet / Dry Mono In - Mono Out High Damp EG Decay EG D-mod Sweep Mode D -mod Flanger

a LFO Waveform Triangle, Sine Selects the LFO Waveform. b LFO Shape –100…+100 Determines how much the LFO waveform shape is changed.P.32 c LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed d Manual 0…100 Sets the frequency to which the effect is applied. e Depth 0…100 Depth of LFO modulation f Resonance –100…+100 Sets the resonance amount. P.35 g High Damp [%] 0…100% Resonance damping amount in the high range P.35 h Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 35 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance f: Resonance h: Wet/Dry The peak shape of the positive and negative Feedback value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound, if you set a positive value for both Resonance and Wet/Dry, and if you set a negative value for both Resonance and Wet/Dry. g: High Damp [%] This parameter sets the amount of damping of the resonance in the high range. Increasing the value will cut high-range harmonics. Phaser In Resonance LFO Shape LFO: Tri / Sine Wet / Dry Mono In - Mono Out High Damp

36 19: Tempo Phaser This Phaser allows you to match the LFO cycle with the song tempo. For example, you can synchronize the Phaser to a sequencer rhythm pattern, or you can input a tempo before a live performance so that the phasing effect will match the song tempo. a LFO Waveform Triangle, Sine Selects the LFO waveform. b LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 c LFO Mode Manual, D-mod Switches between the specified tempo and clock sync. P.33 Src (fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo) d Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = ManualP.33 e Length 1…16/1…16 Sets the LFO cycle. LFO Cycle = Length x Whole Note. f Manual 0…100 Sets the frequency to which the effect is applied. g Depth 0…100 Depth of LFO modulation h Resonance –100…+100 Sets the resonance amount. P.35 i High Damp [%] 0…100% Sets the resonance damping amount in the high range. P.35 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 35 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Phaser In Resonance LFO Shape LFO: Tri / Sine Wet / Dry Mono In - Mono Out High Damp Tempo LFO Mode D-mod Manual Length: 1/4 120 [beat/min]

37 size1 20: Envelope Phaser This Phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source. a Manu Bottom (Manual Bottom) 0…100 Sets the lower limit of the frequency range to which the effect is applied. P.24 b Manu Top (Manual Top) 0…100 Sets the higher limit of the frequency range to which the effect is applied. P.24 c Sweep Mode EG, D-mod Determines whether the phaser is controlled by the enve- lope generator or by the modulation source. P.34 Src None…Tempo Modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the phaser to sweep (when D-mod is selected for Sweep Mode). d EG Decay 1…100 Sets the EG decay speed. P.34 e Resonance –100…+100 Sets the resonance amount. P.35 f High Damp [%] 0…100% Sets the resonance damping amount in the high range. P.35 g Wet/Dry –Wet, –99…–1, Dry, 1…99, Wet Sets the balance between the effect and dry sounds. P.25, 35 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Phaser In Resonance Wet / Dry Mono In - Mono Out High Damp EG Decay EG D-mod Sweep Mode D -mod

decrease the shimmering speed. a AUTOFADE Src None…Tempo Sets the modulation source that starts AutoFade. P.78 Fade-In Rate 1…100 Sets the rate of fade-in. b LFO Waveform Triangle, Sine Selects the LFO Waveform. c LFO Shape –100…+100 Determines how much the LFO waveform shape is changed. P.32 d LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available. Amt –20.00…+20.00Hz Modulation amount of LFO speed e Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation depth of the LFO modulation depth f Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Vibrato In Wet / Dry Mono In - Mono Out LFO: Tri / Sine LFO Shape LFO Frequency AutoFade

character to a string sound by emphasizing certain harmonics, or give a “pitch” to a drum sound. You can control the resonance intensity via an LFO. a Contol Mode Manual, LFO Switches the control of resonance intensity. P.39 b LFO Frequency [Hz] 0.02…20.00Hz LFO speed c LFO Depth –100…100 Amount of resonance intensity control via LFO d Trim 0…100 Input level to the Resonator e Pitch C0…B8 Pitch for resonance P.39 f Fine [cent] –50…+50cent Fine adjustment of pitch for resonance P.39 g Resonance –100…+100 Sets the intensity of resonance when Control Mode = Manual. P.39 h High Damp [%] 0…100% Damping amount of resonant sound in the high range P.39 i Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Contol Mode g: Resonance This parameter determines whether the resonance intensity is controlled by an LFO or not. With Control Mode = Manual, the Resonance parameter sets the intensity of res- onance. If the Resonance parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave below. With Control Mode = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and negative values, causing resonance to occur between specified pitches an octave apart in turn. e: Pitch f: Fine [cent] The Pitch parameter specifies the pitch of resonance by note name. The Fine parameter allows for fine adjustment in steps of cents. h: High Damp [%] This parameter sets the damping amount of resonant sound in the high range. Lower values will make a metallic sound with a higher range of harmonics. In Wet / Dry Mono In - Mono Out High Damp Trim Control Mode LFO Manual Resonance Pitch, Fine [cent] Resonator

40 23: Ring Modulator This effect creates a metallic sound by routing the input signal to an Oscillator. You will obtain a very rad- ical modulation by modulating or operating the Oscillator using an LFO or dynamic modulation. Since the Oscillator frequency can match the note number, you can create a ring modulation effect that follows the scale. a Pre LPF 0…100 Sets the damping amount of the sound input to the Ring Modulator in the high range. P.40 b OSC Mode Fixed, Note (Key Follow) Determines whether the Oscillator frequency is specified or the note number is followed. P.40 c Fixed Frequency [Hz] 0…12.00kHz Oscillator frequency when OSC Mode = Fixed P.41 Src None…Tempo Modulation Source of the Oscillator frequency when OSC Mode = Fixed Amt –12.00…+12.00kHz Modulation Amount of the Oscillator frequency when OSC Mode = Fixed d Note Offset –48…+48 Pitch difference from the note number when OSC Mode = Note (Key Follow) P.41 Src (fixed) Note No. Note number information source (Fixed to Note #) P.41 e Note Fine –100…+100 Fine adjustment of the Oscillator frequency P.41 f LFO Frequency [Hz] 0.02…20.00Hz Speed of LFO that modulates the Oscillator frequency Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed g Depth 0…100 Depth of LFO modulation applied to the Oscillator fre- quency Src None…Tempo Modulation source of modulation depth Amt –100…+100 Modulation amount of modulation depth h Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Pre LPF This parameter sets the damping amount of the sound input to the Ring Modu- lator. If the input signal contains a lot of harmonics, the effect sound tends to be dirty. In this case, cut a certain amount of the high range. b: OSC Mode This parameter determines whether the Oscillator frequency follows the note number. In Wet / Dry Mono In - Mono Out Note No. OSC Mode Fixed Note (Key Follow) Pre LPF Fixed Frequency Pitch Note Offset, Fine Sine Oscillator Ring Modulator LFO

41 size1 d: Note Offset e: Note Fine These are used to set the oscillator when OSC Mode is set to Note (Key Follow). The Note Offset parameter specifies the pitch difference from the original note number in steps of semitones. The Note Fine parameter is used to “fine-tune” this setting in steps of cents. When the oscillator frequency follows the note number, you will obtain a ring modulation effect in the correct scale. d: Src The Note Number information source is fixed to Note #, and you cannot select other sources. c: Fixed Frequency [Hz] This parameter sets the oscillator frequency when OSC Mode is set to Fixed.

a LFO Waveform Triangle, Sine, Square, Up, Down Selects LFO Waveform. P.42 b LFO Shape –100…+100 Determines how much the shape of LFO waveform is changed. P.32 c LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed d Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the depth of modulation Amt –100…+100 Modulation amount of the depth of modulation e Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: LFO Waveform This parameter selects the LFO waveform. Square wave simulates the characteristics of the tremolo created on a guitar amplifier. Combining this effect with the Amp Simulation will make a realistic, vintage tremolo amplifier sound. Tremolo In Wet / Dry Mono In - Mono Out LFO: Tri/Sin/Sqr/Up/Down LFO Shape Tremolo - LFO Waveform Triangle Sine Square Up Down

43 size1 25: Rotary Speaker This effect simulates a rotary speaker which is essential to organ sounds. This size 1 Rotary Speaker effect is monaural. You can change the speed of speaker rotation via dynamic modulation. The effect also simu- lates the microphone settings. a Speed Switch Slow, Fast Switches the speaker rotation speed between slow and fast. Src None…Tempo Modulation source that toggles between slow and fast Sw Momentary, Toggle Selects switching mode of the modulation source that tog- gles between slow and fast.P.43 b Horn Acceleration 0…100 How quickly the horn rotation speed in the high range is switched P.43 c Horn Ratio Stop, 0.5…2.0 Adjusts the (high-range side) horn rotation speed. Stan- dard value is 1.0. Selecting “Stop” will stop the rotation. d Mic Distance 0…100 Distance between the microphone and rotary speaker. P.43 e Rotor/Horn Balance Rotor, 1…99, Horn Sets the volume level balance between the low-range rotor and high-range horn. f Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Sw This parameter sets how the rotation speed (slow and fast) is switched via the modulation source. When Sw = Momentary, the speed is usually slow. It becomes fast only when you keep the pedal depressed or hold the joystick in position. When a value for the modulation source is less than 64, “slow” speed is selected, and when the value is 64 or higher, “fast” is selected. When Sw = Toggle, the speed is switched between slow and fast each time you press the pedal or operate the joystick. Each time the value of the modulation source exceeds 64, the speed is switched between slow and fast. b: Horn Acceleration On a real rotary speaker, the rotation speed is accelerated or decelerated gradu- ally after you switch the speed. The Horn Acceleration parameter sets the speed at which the rotation is accelerated or decelerated. d: Mic Distance This simulates microphone settings, specifying the distance between the micro- phone and rotary speaker. In Wet / Dry Mono In - Mono Out D -mod Speed Switch: Slow/Fast Rotor/Horn Balance Mic Distance Horn Rotary Speaker Rotor

setting the feedback damping amount separately for the low range and high range. a Delay Time [msec] 0.0…680.0msec Sets the delay time. b Feedback –100…+100 Sets the feedback amount. Src None…Tempo Modulation source of the feedback amount Amt –100…+100 Modulation amount of the feedback amount c High Damp [%] 0…100% Damping amount in the high range P.44 d Low Damp [%] 0…100% Damping amount in the low range P.44 e Input Level D-mod: Src None…Tempo Modulation source of the input level P.44 Amt –100…+100 Modulation amount of the input level f Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance c: High Damp [%] d: Low Damp [%] These parameters set the damping amount for the high range and low range respectively. Each time feedback is input, the tone of the delay sound becomes darker, or lighter. e: Input Level D-mod: Src: e: Amt These parameters set dynamic modulation of the input level. Delay In Feedback Wet / Dry Mono In - Mono Out Input Level D-mod High Damp Low Damp Input Level Louder Max Zero Higher D -mod Input Level Max Zero Higher D -mod x1.0 x0.5 Amt= +100 Amt= +50 Louder x1.0 x0.5 Amt= –100 Amt= –50 Input Level D-mod

45 size1 27: Multitap Delay This Multitap Delay has two taps for delay. With various delay time settings, you can create complex delay sounds. a Tap1 Time [msec] 0.0…680.0msec Sets the Tap1 delay time. b Tap2 Time [msec] 0.0…680.0msec Sets the Tap2 delay time. c Tap1 Level +0…+100 Tap1 output level P.45 d Feedback –100…+100 Sets the Tap2 feedback amount. Src None…Tempo Modulation source of the Tap2 feedback amount Amt –100…+100 Modulation amount of the Tap2 feedback amount e High Damp [%] 0…100% Damping amount in the high range P.44 f Low Damp [%] 0…100% Damping amount in the low range P.44 g Input Level D-mod: Src None…Tempo Modulation source of the input level P.44 Amt –100…+100 Modulation amount of the input level h Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance c: Tap1 Level This parameter sets the output level of Tap1. Creating a difference in the volume level from Tap2 will add a groove feeling to a somewhat monotonous delay and feedback. In Feedback Wet / Dry Mono In - Mono Out Input Level D-mod High Damp Low Damp Delay Tap1 Level (1) (2) (1) Tap1=(1) Tap2=(2)

46 28: Early Reflections This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can also create sounds such as gated reverb and reversed effects by selecting the decay curve of the early reflection. a Type Sharp, Loose, Modulated, Reverse Selects the decay curve for the early reflection. P.46 b ER Time [msec] 10…400msec Time length of early reflection c Pre Delay [msec] 0…200msec Time taken from the original sound to the first early reflec- tion d EQ Trim 0…100 Input level of EQ applied to the effect sound e Pre LEQ Gain [dB] –15.0…+15.0dB Low range EQ gain f Pre HEQ Gain [dB] –15.0…+15.0dB High range EQ gain g Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Type This parameter selects the decay curve for the early reflection. In Wet / Dry Mono In - Mono Out Pre Delay Early Reflections LEQ HEQ EQ Trim Sharp Loose Modulated Early Reflections - Type Reverse Dry Pre Delay ER Time

47 size2 00: St. Amp Simulation (Stereo Amp Simulation) This is a stereo amp simulator. a Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier b Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Amp Simulation Filter Amp Simulation Filter

48 01: Stereo Compressor This is a stereo compressor. You can link left and right channels, or use each channel separately. a Envelope Select L/R Mix, L/R Individually Determines whether the left and right channels are linked or used separately. P.48 b Sensitivity 1…100 Sets the sensitivity. P.14 c Attack 1…100 Attack levelP.14 d EQ Trim 0…100 Input level to EQ e Pre LEQ Gain [dB] –15.0…+15.0dB Low EQ gain f Pre HEQ Gain [dB] –15.0…+15.0dB High EQ gain g Output Level 0…100 Output level from the compressor P.14 h Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Envelope Select This parameter selects whether the left and right channels are linked to control both signals simultaneously, or whether each channel is controlled indepen- dently. Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out EQ Trim EQ Trim LEQ HEQ LEQ HEQ Compressor Compressor Envelope Select Output Level Output Level Envelope - Control Envelope - Control +

49 size2 02: Stereo Limiter This effect is a stereo limiter. You can link left and right channels, or use each channel individually. a Envelope Select L/R Mix, L Only, R Only, L/R Individually Selects from linking both channels, controlling only from left channel, only from the right channel, or controlling each channel individually. P.49 b Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. P.15 c Threshold [dB] –40…0dB Sets the level above which the compressor is applied. P.15 d Attack 1…100 Sets the attack time. P.16 e Release 1…100 Sets the release time.P.16 f Gain Adjust [dB] –16…+24dB Sets the output gain.P.15 g Side PEQ Insert Off, On Toggles between trigger signal’s EQ on/offP.16 h Side PEQ Cutoff [Hz] 20…12.00kHz Trigger signal’s EQ center frequency P.16 Q 0.5…10.0 Trigger signal’s EQ bandwidth Gain [dB] –18.0…+18.0dB Trigger signal’s EQ gain i Trigger Monitor Off, On Switches between effect output monitor and trigger signal monitor.P.16 j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Envelope Select When L/R Mix is selected for this parameter, the left and right channels are linked to control the Limiter using the mixed signal. If L Only (or R Only) is selected, the left and right channels are linked, and the Limiter is controlled via only the left (or right) channel. With L/R individually, the left and right channels control the Limiter individu- ally. Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Limiter Limiter Envelope Select Gain Adjust Gain Adjust Side PEQ Envelope - Control Envelope - Control Trigger Monitor +

50 03: Multiband Limiter This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ. a Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. P.15 b Threshold [dB] –40…0dB Sets the level above which the compression is applied. P.15 c Attack 1…100 Sets the attack time. P.16 d Release 1…100 Sets the release time. P.16 e Low Offset [dB] –40…0dB Gain of the low-range trigger signal P.50 f Mid Offset [dB] –40…0dB Gain of the mid-range trigger signal P.50 g High Offset [dB] –40…0dB Gain of the high-range trigger signal P.50 h Gain Adjust [dB] –16…+24dB Sets the output gain. P.15 i Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance e: Low Offset [dB] f: Mid Offset [dB] g: High Offset [dB] These parameters set the input gain of the trigger signal. For example, if you do not want to apply compression to the high range, reduce the High Offset value down below the Threshold level. In this way, the high range limiter will not respond, and compression will not be applied. Left Right Wet / Dry Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Gain Adjust Mid Offset Low Offset High Offset Limiter Envelope - Control Envelope - Control Envelope - Control Limiter Limiter Low Mid High Band-Pass Filters +

51 size2 04: Stereo Gate This is a stereo gate effect. Three types are available to turn the gate on/off. This effect features a Hold function that keeps the gate open for a specified period of time. a Type Select Level(Hold time is not avail- able), Trigger Attack, Trigger Release Selects from No hold, Hold from attack, and hold from release. P.51 b Envelope Select D-mod, L/R Mix, L Only, R Only Selects from Control via the modulation source, mixing the left and right signals, Only left, and Only right.P.52 Src None…Gate2+Sus Modulation source that controls the gate when Envelope Select = D-mod c Polarity +, – Switches between non-reversed and reversed Gate on/ off.P.52 d Threshold 0…100 Sets the level to which the Gate is applied. P.17 e Hold Time [msec] 0…3000msec Gate hold time P.51 f Attack 1…100 Sets attack time. P.17 g Release 1…100 Sets release time. P.17 h Delay Time [msec] 0…100msec Delay time of gate input P.18 i Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Type Select e: Hold Time [msec] This parameter selects the gate type. With Type Select = Level, the gate is opened when the input signal level exceeds the specified Threshold value, and the gate is closed when the level is below the Threshold. Hold Time is not effective. With Type Select = Trigger Attack, the gate is open only during the period speci- fied in the Hold Time field, after the input signal level exceeds the Threshold value. Once the gate is closed, it remains closed until the input level exceeds the Threshold value again. With Type Select = Trigger Release, the gate is open when the input signal level exceeds the Threshold value. The gate is closed for a period specified in the Hold Time field after the level falls below the Threshold. Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out + Gate Gate Envelope Select Envelope - Control Envelope - Control Delay Delay Gate+Sus

52 b: Envelope Select b: Src The Envelope Select parameter selects whether the gate on/off is triggered by the level of the input signal, or controlled directly by the modulation source. The Src parameter specifies the modulation source, selected from None to Gate2+Sus. With Envelope Select = L/R Mix, the left and right channel signal mixture will trigger the gate on/off. When L Only or R Only is selected, the gate is controlled by either of the channel signals. c: Polarity This parameter reverses the Gate on/off operation. With a negative value, the gate is closed when the input signal level exceeds the Threshold. The gate opera- tion controlled by the modulation source is also reversed. Hold Time Hold Time Threshold Release Attack Trigger Release Attack Attack Release Trigger Dry Wet Level Wet Trigger Attack Wet Trigger Release Stereo Gate - Type Select

53 size2 05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah) This effect is a distortion with wah, 4-band EQ and amp simulator. a Wah Off, On Switches Wah on/off. P.54 Src None…Tempo Modulation source that controls the Wah. b Wah Sweep Range –10…+10 Sets the range of Wah. P.54 c Drive Mode Overdrive, Hi-Gain Switches between overdrive and hi-gain distortion. Pre Low-cut 0…10 Low range cut amount of the distortion input P.19 d Drive 1…100 Sets the degree of distortion. P.19 Output Level 0…50 Sets the output level. e Band1 Cutoff [Hz] 20…1.0kHz Equalizer - Band 1 center frequency Q 0.5…10.0 Band 1 bandwidth P.19 Gain [dB] –18…+18dB Band 1 gain f Band2 Cutoff [Hz] 50…5.00kHz Band 2 center frequency Q 0.5…10.0 Band 2 bandwidth P.19 Gain [dB] –18…+18dB Band 2 gain g Band3 Cutoff [Hz] 300…10.00kHz Band 3 center frequency Q 0.5…10.0 Band 3 bandwidth P.19 Gain [dB] –18…+18dB Band 3 gain h Band4 Cutoff [Hz] 500…20.00kHz Band 4 center frequency Q 0.5…10.0 Band 4 bandwidth P.19 Gain [dB] –18…+18dB Band 4 gain i Direct Mix 0…50 Amount of the dry sound mixed to the distortion Speaker Simulation Off, On Speaker simulation on/off j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Left Right Wet / Dry Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out + Amp Simulation 4 Band PEQ Output Level Direct Mix Pre Low-cut D -mod Wah Mode: Overdrive / Hi-Gain Drive Driver

54 a: Wah a: Src The Wah parameter switches the wah effect on/off. The wah center frequency can be controlled by the modulation source specified in the Src parameter. b: Wah Sweep Range This parameter sets the sweep range of the wah center frequency. A negative value will reverse the direction of sweep.

55 size2 06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ) This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation. a Trim 0…100 Sets the input level. b Band1 Type Peaking, Shelving-Low Selects the type for Band 1.P.20 c Band4 Type Peaking, Shelving-High Selects the type for Band 4.P.20 d Band2 Dynamic Gain Src None…Tempo Modulation source of the Band 2 gainP.21 Amt [dB] –18.0…+18.0dB Modulation amount of Band 2 gain e Band1 Cutoff [Hz] 20…1.0kHz Sets the center frequency for Band 1. Q 0.5…10.0 Band 1 bandwidthP.19 Gain [dB] –18.0…+18.0dB Sets the gain of Band 1. f Band2 Cutoff [Hz] 50…10.00kHz Sets the center frequency for Band 2. Q 0.5…10.0 Band 2 bandwidthP.19 Gain [dB] –18.0…+18.0dB Sets the gain of Band 2.P.21 g Band3 Cutoff [Hz] 300…10.00kHz Sets the center frequency for Band 3. Q 0.5…10.0 Band 3 bandwidthP.19 Gain [dB] –18.0…+18.0dB Sets the gain of Band 3. h Band4 Cutoff [Hz] 500…20.00kHz Sets the center frequency for Band 4. Q 0.5…10.0 Band 4 bandwidthP.19 Gain [dB] –18.0…+18.0dB Sets the gain of Band 4. i Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Band1 Band2 Band3 Band4 PEQ PEQ PEQ PEQ LEQ LEQ HEQ HEQ PEQ PEQ PEQ PEQ Trim Trim D -mod

56 07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ) This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound. a Type 1:Wide 1 2:Wide 2 3:Wide 3 4:Half Wide 1 5:Half Wide 2 6:Half Wide 3 7:Low 8:Wide Low 9:Mid 10:Wide Mid 11:High 12:Wide High Selects a combination of center frequencies for each band. P.22 b Trim 0…100 Sets the input level. c Band1 [dB] –18.0…+18.0dB Sets Band 1 gain. d Band2 [dB] –18.0…+18.0dB Sets Band 2 gain. e Band3 [dB] –18.0…+18.0dB Sets Band 3 gain. f Band4 [dB] –18.0…+18.0dB Sets Band 4 gain. g Band5 [dB] –18.0…+18.0dB Sets Band 5 gain. h Band6 [dB] –18.0…+18.0dB Sets Band 6 gain. i Band7 [dB] –18.0…+18.0dB Sets Band 7 gain. j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Band1 Band2 Band3 Band4 Trim Trim Band5 Band6 Band7 Band1 Band2 Band3 Band4 Band5 Band6 Band7

57 size2 08: Graphic 13Band EQ This effect is a 13-band graphic equalizer that allows for finer equalization. Two types of settings are available for the center frequency of each band. a Type A, B Selects a combination of center frequencies for each band. P.57 b Trim 0…100 Sets the input level. c Band1 [dB] –18.0…+18.0dB Sets Band 1 gain. d Band2 [dB] –18.0…+18.0dB Sets Band 2 gain. e Band3 [dB] –18.0…+18.0dB Sets Band 3 gain. f Band4 [dB] –18.0…+18.0dB Sets Band 4 gain. g Band5 [dB] –18.0…+18.0dB Sets Band 5 gain. h Band6 [dB] –18.0…+18.0dB Sets Band 6 gain. i Band7 [dB] –18.0…+18.0dB Sets Band 7 gain. j Band8 [dB] –18.0…+18.0dB Sets Band 8 gain. k Band9 [dB] –18.0…+18.0dB Sets Band 9 gain. l Band10 [dB] –18.0…+18.0dB Sets Band 10 gain. m Band11 [dB] –18.0…+18.0dB Sets Band 11 gain. n Band12 [dB] –18.0…+18.0dB Sets Band 12 gain. o Band13 [dB] –18.0…+18.0dB Sets Band 13 gain. p Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Type This parameter selects a combination of center frequencies for each band. Each center frequency is shown on the right edge of the LCD. Left Right Wet / Dry Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Trim Band1 Band3 Band5 Band7 Band9 Band11 Band13 Band2 Band4 Band6 Band10 Band8 Band12 + Trim

58 09: St. Random Filter (Stereo Random Filter) This effect is a stereo random filter. You can also fade in the effect sound using Auto-Fade, or change the LFO speed. a AUTOFADE Src None…Tempo Selects the modulation source that triggers AutoFade. P.59 Fade-In Rate 1…100 Sets the rate of fade-in. b LFO Frequency [Hz] 0.05…50.00Hz Speed of LFO that modulates the filter Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available Amt –50.00…+50.00Hz Modulation amount of LFO speed c Cutoff 0…100 Filter center frequency d Depth 0…100 Modulation depth of filter center frequency Src None…AUTOFADE Modulation source of filter modulation. AutoFade is avail- able Amt –100…+100 Modulation amount of filter modulation e Resonance 0…100 Sets the resonance amount. f Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25 Src None…AUTOFADE Modulation source of effect balance. AutoFade is avail- able Amt –100…+100 Modulation amount of effect balance Filter Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Random LFO AutoFade Filter Random LFO LFO Frequency Spread Depth Wet / Dry Filter Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Random LFO AutoFade Filter Random LFO LFO Frequency Spread Depth Wet / Dry

59 size2 a: AUTOFADE Src a: Fade-In Rate If AutoFade is selected for the LFO speed, depth of modulation, and Effect Bal- ance, you can use the AutoFade function to apply modulation. The AUTOFADE Src parameter selects the modulation source that triggers Auto- Fade. The Fade-in Rate parameter specifies the rate of fade-in. The following is an example of fade-in where the effect balance is increased from “Dry” to “50” when a note-on message is received. a: AUTOFADE Src = Gate1 f: Wet/Dry = Dry f: Src = AUTOFADE f: Amt = +50 The effect is off when a value for the dynamic modulation source speci- fied for the AUTOFADE Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher. Note On All Note Off Fade-In Rate AUTOFADE Src=Gate1 Wet/Dry=Dry Src=AUTOFADE Amt=+50 Wet/Dry=50:50 Wet/Dry=Dry AUTOFADE Gate1 Signal AUTOFADE AutoFade

60 10: Stereo Enhancer This effect spreads and adds presence to the sound, and also functions as a stereo exciter. It is useful when you wish to emphasize a stereo image of the input signal or create a stereo image from a monaural source. a Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter effect.P.26 Src None…Tempo Modulation source of the Exciter intensity Amt –100…+100 Modulation amount of the Exciter intensity b Emphatic Point 0…140 Sets the frequency to be emphasized. P.26 Src None…Tempo Modulation source of the frequency to be emphasized Amt –100…+100 Amount of modulation of the frequency to be emphasized c Enhancer Dly L [msec] 0…50.0msec Delay time for the Enhancer left channelP.60 d Enhancer Dly R [msec] 0…50.0msec Delay time for the Enhancer right channelP.60 e Enhancer Width –100…+100 Determines to what degree the Enhancer effect is applied Src None…Tempo Modulation source of the Enhancer width Amt 0…+100 Modulation amount of the Enhancer width f Enhancer Ambience 0…100 Determines to what degree the Enhancer ambience effect is applied. P.60 g EQ Trim 0…100 2-band EQ input level h Pre LEQ Gain [dB] –15.0…+15.0dB Low EQ gain i Pre HEQ Gain [dB] –15.0…+15.0dB High EQ gain j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance c: Enhancer Dly L [msec] d: Enhancer Dly R [msec] These parameters set the delay time for the Enhancer left and right channel. Specifying a slightly different delay time for the left and right channel will add a stereo image, depth, and width to the sound. f: Enhancer Ambience This parameter determines to what degree the Enhancer ambience effect is applied. The ambience effect will create a wider stereo image. However, if e: Enhancer Width is set to 0 or the input source is monaural, this effect is not cre- ated. Left Right Ambience Wet / Dry Wet / Dry Stereo In - Stereo Out EQ Trim LEQ HEQ EQ Trim Delay Delay Width D -mod Exciter Exciter Enhancer

61 size2 11: Talking Modulator This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the instrument is talking. a Manual Voice Control Bottom, 1…49, Center, 51…99, Top Voice pattern control Src None…Tempo Modulation source that controls the voice pattern b Voice Top A, I, U, E, O Selects a vowel sound at the top end of control.P.61 c Voice Center A, I, U, E, O Selects a vowel sound in the center of control.P.61 d Voice Bottom A, I, U, E, O Selects a vowel sound at the bottom end of control. P.61 e Formant Shift –100…+100 Adjusts the frequency to which the effect is applied. P.62 f Resonance 0…100 Level of resonance of the voice pattern g Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance b: Voice Top c: Voice Center d: Voice Bottom These parameters assign vowel sounds to the top, center, and bottom of the con- troller. For example, if Ribbon (X) is selected as the modulation source: With Voice Top = A, Voice Center = I, and Voice Bottom = U, moving the finger on the ribbon controller from the right edge to the left edge will produce the vowel sounds “a”, “i”, then “u.” Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Right Wet / Dry Wet / Dry + D -mod Voice Top: A Voice Center: I Voice Bottom: U A - I - U - E - O Talking Modulator

62 e: Formant Shift This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value. f: Resonance This parameter sets the intensity of resonance for the voice pattern. A larger value will add more character to the sound. + Max Zero D -mod – Max Voice Bottom Voice Center Voice Top U I A A O E JS(X) Ribbon(X) JS(+Y) JS(–Y) etc… Zero + Max Talking Modulator Control

63 size2 12: Stereo Decimator This is a stereo decimator. a Pre LPF Off, On Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not. P.28 b Sampling Freq [Hz] (Sampling Frequency) 1.00k…24.00kHz Sets the sampling frequency. Src None…Tempo Sets the modulation source of the sampling frequency. Amt –24.00k…+24.00kHz Sets the modulation amount of the sampling frequency. c High Damp [%] 0…100% Ratio of cut of the high range d Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Pre LPF Pre LPF High Damp High Damp Sampling Frequency Decimator Decimator

64 13: Stereo Chorus This is a stereo chorus. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The chorus effect can fade-in by means of the AutoFade function. a AUTOFADE Src None…Tempo Selects the modulation source that triggers AutoFade. P.59 Fade-In Rate 1…100 Sets the rate of fade-in. b LFO Waveform Triangle, Sine Selects LFO Waveform. LFO Phase [degree] –180…+180 LFO phase difference between the left and rightP.65 c LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available Amt –20.00…+20.00Hz Modulation amount of LFO speed d L Pre Delay [msec] 0.0…50.0msec Delay time for the left channel P.65 e R Pre Delay [msec] 0.0…50.0msec Delay time for the right channel P.65 f Depth 0…100 Depth of LFO modulation Src None…AUTOFADE Modulation source of the LFO modulation depth. Auto- Fade is available Amt –100…+100 Modulation amount of the LFO modulation depth g EQ Trim 0…100 EQ input level h Pre LEQ Gain [dB] –15.0…+15.0dB Low-EQ gain Pre HEQ Gain [dB] –15.0…+15.0dB High-EQ gain i Spread –100…+100 Sets the spread of stereo image of the effect sound. P.65 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25 Src None…AUTOFADE Modulation source of effect balance. AutoFade is avail- able Amt –100…+100 Modulation amount of effect balance Chorus Chorus Left Right Spread LFO Phase Wet / Dry Wet / Dry Stereo In - Stereo Out EQ Trim EQ Trim LEQ HEQ LEQ HEQ LFO: Tri / Sine AutoFade LFO Frequency Depth Wet / Dry

65 size2 b: LFO Phase [degree] Shifting the left and right LFOs’ phase will cause modulation to be applied dif- ferently for the right and left, spreading and swelling the effect sound between the left and right. d: L Pre Delay [msec] e: R Pre Delay [msec] Setting the left and right delay time individually allows you to control the stereo image. i: Spread This parameter sets the width of stereo image of the effect sound. A value of +100 gives the widest spread, and a value of 0 causes the effect sound of both channels to be output from the center. A negative value will reverse the left and right channels of the effect sound. LFO Phase 0 +90 +180 [degree] 0 [degree] –90 –180

66 14: St. Harmonic Chorus (Stereo Harmonic Chorus) This is a stereo harmonic chorus. Shifting the left and right LFO phases from each other will add spread to the sound. a LFO Waveform Triangle, Sine Selects LFO Waveform. b LFO Phase [degree] –180…+180 LFO phase difference between the left and right P.65 c LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed d Pre Delay [msec] 0.0…50.0msec Delay from the original sound e Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation amount of the LFO modulation depth f High/Low Split Point 1…100 Frequency split point between the low and high range P.30 g Feedback –100…+100 Feedback amount of the chorus blockP.30 h High Damp [%] 0…100% Chorus block damping amount in the high range i Low Level 0…100 Output level in the low range h High Level 0…100 Output level in the high range (chorus) j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Left Right Feedback LFO Phase LFO: Tri / Sine Wet / Dry Wet / Dry High Damp Stereo In - Stereo Out Low Level Low Level High Level High Level High/Low Split Point High Damp Chorus/Flanger Chorus/Flanger

67 size2 15: Multitap Chorus/Dly (Multitap Chorus/Delay) This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also fix some of the chorus blocks to combine the chorus and delay effects. a LFO Frequency [Hz] 0.02…13.00Hz LFO speed b Tap1(000) [msec] 0…570msec Tap1 (LFO phase=0 degrees) delay time Depth 0…30 Tap1 chorus depth Level 0…30 Tap1 output level Pan L6…L1, C, R1…R6 Tap1 stereo image c Tap2(180) [msec] 0…570msec Tap2 (LFO phase=180 degrees) delay time Depth 0…30 Tap2 chorus depth Level 0…30 Tap2 output level Pan L6…L1, C, R1…R6 Tap2 stereo image d Tap3(090) [msec] 0…570msec Tap3 (LFO phase=90 degrees) delay time Depth 0…30 Tap3 chorus depth Level 0…30 Tap3 output level Pan L6…L1, C, R1…R6 Tap3 stereo image e Tap4(270) [msec] 0…570msec Tap4 (LFO phase=270 degrees) delay time Depth 0…30 Tap4 chorus depth Level 0…30 Tap4 output level Pan L6…L1, C, R1…R6 Tap4 stereo image f Tap1 Feedback –100…+100 Tap1 feedback amount Src None…Tempo Modulation source of Tap1 feedback amount and effect balance Amt –100…+100 Tap1 feedback amount and modulation amount g Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Amt –100…+100 Modulation amount of effect balance Left Right Feedback Wet / Dry Wet / Dry Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out + Level Level Level Level Pan Pan Pan Pan LFO: Triangle Tap1 Delay Tap2 Delay Tap3 Delay Tap4 Delay 0 [degree] 180 [degree] 90 [degree] 270 [degree]

because the signal is output from the left, right, and center. a Speed 1…100 LFO speed Src None…Tempo Modulation source of LFO speed Amt –100…+100 Modulation amount of LFO speed b Shimmer 0…100 Amount of shimmering of the LFO waveformP.31 c Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation amount of the LFO modulation depth d Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Left Right Wet / Dry Wet / Dry Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out LFO Shimmer + Ensemble

69 size2 17: Stereo Flanger This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The flanging effect can fade-in by means of the AutoFade function. a AUTOFADE Src None…Tempo Selects the modulation source that triggers AutoFade. P.59 Fade-In Rate 1…100 Sets the rate of fade-in. b Delay Time [msec] 0.0…50.0msec Delay from the original sound c LFO Waveform Triangle, Sine Selects LFO Waveform. LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 d LFO Phase [degree] –180…+180 LFO phase difference between the left and rightP.65 e LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available Amt –20.00…+20.00Hz Modulation amount of LFO speed f Depth 0…100 Depth of LFO modulation g Feedback –100…+100 Feedback amountP.32 FB Mode Normal, Cross Sets the feedback routing.P.69 h High Damp [%] 0…100% Feedback damping amount in the high rangeP.32 i Spread –100…+100 Sets the width of stereo image of effect sound.P.65 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 32 Src None…AUTOFADE Modulation source of effect balance. AutoFade is avail- able Amt –100…+100 Modulation amount of effect balance g: FB Mode This parameter sets the feedback routing. “Cross” will select a crossover flanger in which each channel applies feedback to the other channel. Flanger Flanger FB Mode (Normal/Cross) Left Right Feedback LFO Shape LFO Phase LFO: Tri / Sine Wet / Dry Wet / Dry High Damp Stereo In - Stereo Out AutoFade LFO Frequency Wet / Dry Spread FB Mode (Normal/Cross)

70 18: St. Random Flanger (Stereo Random Flanger) This is a stereo flanger. The effect uses a step-shape waveform and random LFO for modulation, creating a unique flanging effect. a Delay Time [msec] 0.0…50.0msec Delay from the original sound b LFO Waveform Step-Tri, Random Selects the LFO Waveform.P.70 c LFO Phase [degree] –180…+180 LFO phase difference between the left and right P.65 d LFO Frequency [Hz] 0.02…20.00Hz LFO speedP.70 Src None…Tempo Modulation source used for both LFO speed and step speed Amt –20.00…+20.00Hz Modulation amount of LFO speed e LFO Step Freq (Frequency) [Hz] 0.05…50.00Hz LFO step speed (speed that changes in steps)P.70 Amt –50.00…+50.00Hz Modulation amount of LFO step speed f Depth 0…100 Depth of LFO modulation g Feedback –100…+100 Feedback amountP.32 FB Mode Normal, Cross Sets the feedback routing.P.69 h High Damp [%] 0…100% Feedback damping amount in the high rangeP.32 i Spread –100…+100 Sets the width of stereo image of effect sound.P.65 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 32 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance b: LFO Waveform d: LFO Frequency [Hz] e: LFO Step Freq (Fre- quency) [Hz] When Step-Tri is selected for LFO Waveform, the LFO uses a step-shape triangle waveform. Set the LFO Frequency to the speed of the original triangle wave- form. At this time, changing the LFO Step Freq value will modify the width of the step. When Random is selected for LFO Waveform, the LFO Step Freq setting will be used as a cycle of the random LFO. Flanger Flanger FB Mode (Normal/Cross) Left Right Feedback LFO Phase Wet / Dry Wet / Dry High Damp Stereo In - Stereo Out LFO: Step-Tri/Random Spread FB Mode (Normal/Cross)

71 size2 Random Flanger LFO LFO Step Freq LFO Frequency LFO Step Freq Step-Tri Random

72 19: St. Tempo Flanger (Stereo Tempo Flanger) This is a stereo tempo flanger. The flanging effect can fade-in by means of the AutoFade function. a AUTOFADE Src None…Tempo Selects the modulation source that triggers AutoFade. P.59 Fade-In Rate 1…100 Sets the rate of fade-in. b Delay Time [msec] 0.0…50.0msec Delay from the original sound c LFO Waveform Triangle, Sine Selects LFO Waveform. LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 d LFO Phase [degree] –180…+180 LFO phase difference between the left and right P.65 e LFO Mode Manual, D-mod Switches between the specified tempo and clock sync. P.33 Src (fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo) f Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = ManualP.33 Length 1…16 / 1…16 Sets the LFO cycle. LFO Cycle = Length x Whole Note. P.33 g Depth 0…100 Depth of LFO modulation h Feedback –100…+100 Feedback amountP.32 FB Mode Normal, Cross Sets the feedback routing.P.69 i High Damp [%] 0…100% Feedback damping amount in the high rangeP.32 Spread –100…+100 Sets the width of stereo image of effect sound.P.65 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 32 Src None…AUTOFADE Modulation source of effect balance. AutoFade is avail- able Amt –100…+100 Modulation amount of effect balance Flanger Flanger FB Mode (Normal/Cross) Left Right Feedback LFO Phase Wet / Dry Wet / Dry High Damp Stereo In - Stereo Out LFO Shape LFO: Tri / Sine Tempo LFO Mode D-mod Manual Length: 1/4 120 [beat/min] Wet / Dry AutoFade Spread FB Mode (Normal/Cross)

73 size2 20: Stereo Phaser This is a stereo phaser. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The phaser effect can fade-in by means of the AutoFade function. a AUTOFADE Src None…Tempo Selects the modulation source that triggers AutoFade. P.59 Fade-In Rate 1…100 Sets the rate of fade-in. b LFO Waveform Triangle, Sine Selects LFO Waveform. LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 c LFO Phase [degree] –180…+180 LFO phase difference between the left and rightP.65 d LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available Amt –20.00…+20.00Hz Modulation amount of LFO speed e Manual 0…100 Sets the frequency to which the effect is applied. f Depth 0…100 Depth of LFO modulation g Resonance –100…+100 Sets the resonance amount.P.35 h High Damp [%] 0…100% Resonance damping amount in the high range P.35 i Spread –100…+100 Sets the width of stereo image of effect sound. P.65 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 35 Src None…AUTOFADE Modulation source of effect balance. AutoFade is avail- able Amt –100…+100 Modulation amount of effect balance Phaser Phaser Left Right Resonance Spread LFO Shape LFO Phase LFO: Tri / Sine Wet / Dry Wet / Dry High Damp Stereo In - Stereo Out AutoFade LFO Frequency Wet / Dry

74 21: St. Random Phaser (Stereo Random Phaser) This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. a LFO Waveform Step-Tri, Step-Sin, Random Selects the LFO Waveform.P.70 b LFO Phase [degree] –180…+180 LFO phase difference between the left and rightP.65 c LFO Frequency [Hz] 0.02…20.00Hz LFO speedP.70 Src None…Tempo Modulation source commonly used for LFO speed and step speed Amt –20.00…+20.00Hz Modulation amount of LFO speed d LFO Step Freq (Frequency) [Hz] 0.05…50.00Hz LFO step speedP.70 Amt –50.00…+50.00Hz Modulation amount of LFO step speed e Manual 0…100 Sets the frequency to which the effect is applied. f Depth 0…100 Depth of LFO modulation g Resonance –100…+100 Sets the resonance amount.P.35 h High Damp [%] 0…100% Resonance damping amount in the high rangeP.35 i Spread –100…+100 Sets the width of stereo image of effect sound.P.65 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 35 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Phaser Phaser Left Right Resonance Spread LFO Phase Wet / Dry Wet / Dry High Damp Stereo In - Stereo Out LFO: Step-Tri/Step-Sin/Random

75 size2 22: St. Tempo Phaser (Stereo Tempo Phaser) This is a stereo tempo phaser. The phasing effect can fade-in by means of the AutoFade function. a AUTOFADE Src None…Tempo Selects the modulation source that triggers AutoFade. P.59 Fade-In Rate 1…100 Sets the rate of fade-in. b LFO Waveform Triangle, Sine Selects LFO Waveform. LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 c LFO Phase [degree] –180…+180 LFO phase difference between the left and right P.65 d LFO Mode Manual, D-mod Switches between the specified tempo and clock sync. P.33 Src (fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo) e Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = ManualP.33 Length 1…16 / 1…16 Sets the LFO cycle. LFO Cycle = Length x Whole Note. P.33 f Manual 0…100 Sets the frequency to which the effect is applied. Depth 0…100 Depth of LFO modulation g Resonance –100…+100 Sets the resonance amount.P.35 h High Damp [%] 0…100% Resonance damping amount in the high range P.35 i Spread –100…+100 Sets the width of stereo image of effect sound.P.65 j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25, 35 Src None…AUTOFADE Modulation source of effect balance. AutoFade is avail- able Amt –100…+100 Modulation amount of effect balance Phaser Phaser Left Right Resonance Spread LFO Phase Wet / Dry Wet / Dry High Damp Stereo In - Stereo Out LFO Shape LFO: Tri / Sine Tempo LFO Mode D-mod Manual Length: 1/4 120 [beat/min] Wet / Dry AutoFade

76 23: St. Bi-phase Mod. (Stereo Bi-phase Modulation) This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parame- ters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound. a LFO1 Waveform Triangle, Sine Selects LFO1 waveform. LFO2 Waveform Triangle, Sine Selects LFO2 waveform. b LFO Phase Sw 0 degree, 180 degree Switches the LFO phase difference between left and right. c LFO1 Frequency [Hz] 0.02…30.00Hz LFO1 speed Src None…Tempo Modulation source of LFO1&2 speed Amt –30.00…+30.00 Modulation amount of LFO1 speed d LFO2 Frequency [Hz] 0.02…30.00Hz LFO2 speed Amt –30.00…+30.00 Modulation amount of LFO2 speed e Depth1 0…100 Depth of LFO1 modulation Src None…Tempo Modulation source of LFO1&2 modulation depth Amt –100…+100 Modulation amount of LFO1 modulation depth f Depth2 0…100 Depth of LFO2 modulation Amt –100…+100 Modulation amount of LFO2 modulation depth g L Pre Delay [msec] 0.0…50.0msec Left channel delay time P.65 h R Pre Delay [msec] 0.0…50.0msec Right channel delay time P.65 i Feedback –100…+100 Feedback amount P.30 High Damp [%] 0…100% High range damping amount j Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the effect and dry sounds. P.25 Src None…Tempo Modulation source of effect balance. Amt –100…+100 Modulation amount of effect balance Chorus/Flanger Left Right Feedback 180 [degree] Wet / Dry Wet / Dry High Damp Stereo In - Stereo Out LFO1: Tri / Sine LFO2: Tri / Sine Chorus/Flanger High Damp

77 size2 LFO1 LFO2 Bi-Phase Modulation LFO Depth1 Depth2 +

78 24: Stereo Vibrato This is a stereo vibrato. You can set a delay for the time that is taken before the auto-fade starts. a AUTOFADE Src None…Tempo Sets the modulation source that starts AutoFade. P.78 Fade-In Rate 1…100 Sets the rate of fade-in. b Fade-In Delay [msec] 00…2000msec Sets delay time for fade-in.P.78 c LFO Waveform Triangle, Sine Selects the LFO Waveform. d LFO Shape –100…+100 Determines how much the LFO waveform shape is changed. P.32 e LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available. Amt –20.00…+20.00Hz Modulation amount of LFO speed f Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the LFO modulation depth Amt –100…+100 Modulation depth of the LFO modulation depth g Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: AUTOFADE Src a: Fade-In Rate b: Fade-In Delay [msec] If AutoFade is selected for the LFO speed, you can use the AutoFade function to apply modulation. The AUTOFADE Src parameter selects the modulation source that triggers Auto- Fade. The Fade-in Rate parameter specifies the rate of fade-in. The Fade-in Delay parameter determines the time from AutoFade modulation source ON until the fade-in starts. Vibrato Vibrato Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out LFO: Tri / Sine LFO Shape Fade-In Delay LFO Frequency AutoFade

79 size2 The following is an example of fade-in where the LFO speed is increased from “1.0Hz” to “4.0Hz” when a note-on message is received. a: AUTOFADE Src = Gate1 e: LFO Frequency [Hz] = 1.0 e: Src = AUTOFADE e: Amt = 3.0 The effect is off when a value for the dynamic modulation source speci- fied for the AUTOFADE Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher. Note On All Note Off Fade-In Rate AUTOFADE Src=Gate1 LFO Frequency[Hz]=1.0 Src=AUTOFADE Amt=+3.0 LFO Frequency =1.0+3.0=4.0Hz LFO Frequency =1.0Hz AUTOFADE Gate1 Signal AUTOFADE AutoFade Fade-In Dealy

80 25: 2-Voice Resonator This resonator has two resonance points. You can set the output level and stereo image (pan) for each res- onator. a Control Mode Manual, LFO, D-mod Switches the controls of resonance intensity. P.81 LFO/D-mod Invert Off, On Reverses the Voice 1 and 2 control when LFO/D-mod is selected. P.81 b LFO Frequency [Hz] 0.02…20.00Hz LFO speed D-mod Src None…Tempo Modulation source that controls resonance intensity c Mod. Depth –100…+100 Amount of resonance intensity control via LFO/D-mod Trim 0…100 Input level at the Resonator d Voice1: Pitch C0…B8 Voice1 Pitch for resonance Fine [cent] –50…+50 Fine adjustment of Voice1 pitch for resonance e Voice1: Resonance –100…+100 Sets the intensity of resonance when Control Mode = Manual. P.81 High Damp [%] 0…100% Damping amount of resonant sound in the high range P.39 f Voice1: Level 0…100 Voice1 output level Pan L6…R6 Voice1 stereo image g Voice2: Pitch C0…B8 Voice2 Pitch for resonance Fine [cent] –50…+50 Fine adjustment of Voice2 pitch for resonance h Voice2: Resonance –100…+100 Sets the intensity of resonance when Control Mode = Manual. P.81 High Damp [%] 0…100% Damping amount of resonant sound in the high range P.39 i Voice2: Level 0…100 Voice2 output level Pan L6…R6 Voice2 stereo image j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Left Right Resonance Wet / Dry Wet / Dry Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out High Damp High Damp Trim Trim + Level Level Pan Pan Control Mode D -mod LFO Manual Invert: On/Off Resonator Resonator Pitch, Fine [cent]

81 size2 a: Control Mode e: Voice1: Resonance h: Voice2: Resonance This parameter determines whether the resonance intensity is controlled by the LFO or not. When Control Mode = Manual, the Resonance parameter sets the intensity of resonance. If the Resonance parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave lower. When Control Mode = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and negative values, causing resonance to occur between specified pitches an octave apart in turn. When Control Mode = D-mod, the resonance is controlled by the dynamic mod- ulation source. If JS (X) or Ribbon (X) is assigned as the modulation source, the pitch an octave higher and lower can be controlled, similar to when LFO is selected for Control Mode. a: LFO/D-mod Invert When Control Mode = LFO or D-mod, the controlled phase of either Voice 1 or 2 will be reversed. When the resonance pitch is set for Voice 1 (Resonance has a positive value), Voice 2 will resonate at a pitch an octave below (Resonance has a negative value).

ple, like an ambulance siren passing by. Mixing the effect sound with the dry sound will create a special chorus effect. a LFO Mode Loop, 1-Shot Switches LFO operation mode.P.82 Src None…Tempo When LFO Mode is set to 1-Shot, this modulation source triggers the LFO. b LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed c Pitch Depth 0…100 Pitch variation of the moving soundP.83 Src None…Tempo Modulation source of pitch variation Amt –100…+100 Modulation amount of pitch variation d Pan Depth –100…+100 Panning of the moving soundP.83 Src None…Tempo Modulation source of panning Amt –100…+100 Modulation amount of panning e Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: LFO Mode a: Src The LFO Mode parameter switches LFO operation mode. When Loop is selected, the Doppler effect will be created repeatedly. When LFO Mode is set to 1-Shot, the Doppler effect is created only once when the modulation source specified in the Src field is turned on. At this time if you do not set the Src parameter, the Doppler effect will not be created, and no effect sound will be output. The effect is off when a value for the modulation source specified for the Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Doppler effect is triggered when the value changes from 63 or smaller to 64 or higher. Left Right Wet / Dry Wet / Dry Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Pan Depth D -mod + Trigger LFO Mode = 1-Shot Doppler LFO

With the Doppler effect, the pitch is raised when the sound approaches, and the pitch is lowered when the sound goes away. This parameter sets this pitch varia- tion. d: Pan Depth This parameter sets the width of the stereo image of the effect sound. With larger values, the sound seems to come and go from much further away. With positive values, the sound moves from left to right; with negative values, the sound moves from right to left. Pitch Higher Doppler - Pitch / Pan Depth Lower Original Pitch Left Center Right Pitch Depth Pan Depth < < < < < <<<<<< >>>>>> > > > > > Volume Louder Louder Pan Depth = (–) value Pan Depth = (+) value

84 27: Stereo Tremolo This is a stereo tremolo. You can create sound panning to left and right by offsetting the phase of the left and right LFOs from each other. The tremolo effect can fade-in by means of the AutoFade function. a AUTOFADE Src None…Tempo Selects the modulation source that triggers AutoFade. P.59 Fade-In Rate 1…100 Sets the rate of fade-in. b LFO Waveform Triangle, Sine, Square, Up, Down Selects LFO Waveform. P.42 LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 c LFO Phase [degree] –180…+180 LFO phase difference between the left and rightP.84 d LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available. Amt –20.00…+20.00Hz Modulation amount of LFO speed e Depth 0…100 Depth of LFO modulation Src None…AUTOFADE Modulation source of the depth of modulation. AutoFade is available. Amt –100…+100 Modulation amount of the depth of modulation f Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…AUTOFADE Modulation source of effect balance. AutoFade is avail- able. Amt –100…+100 Modulation amount of effect balance c: LFO Phase [degree] This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right. Tremolo Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out LFO Frequency AutoFade LFO Phase LFO: Tri/Sin/Sqr/Up/Down LFO Shape Tremolo Depth Wet/Dry

85 size2 28: Stereo Auto Pan This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other. a LFO Waveform Triangle, Sine Selects LFO Waveform. b LFO Shape –100…+100 Determines how much the LFO waveform is changed. P.32 c LFO Phase [degree] –180…+180 LFO phase difference between the left and right P.85 d LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed e Depth 0…100 Depth of LFO modulation Src None…Tempo Modulation source of the depth of modulation Amt –100…+100 Modulation amount of the depth of modulation f Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance b: LFO Shape You can change the panning curve by modifying the LFO waveform. c: LFO Phase This parameter determines the difference in the left and right LFO phases. When you change the value gradually from “0”, the sound from the left and right chan- nels will chase each other around. If you set the parameter to +180 or –180, the sound from each channel will cross over each other. You need to input different sounds to each channel in order for this parameter to be effective. Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out LFO Phase LFO Shape Pan Pan LFO: Tri / Sin Depth

86 L-In Left Center Right Output Stereo Image R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees Stereo Auto Pan - LFO Phase

87 size2 29: St. Envelope Pan (Stereo Envelope Pan) This stereo Pan uses the envelope generator to pan sound to the left and right. You can also control the panning directly using a modulation source. a Pan Mode EG, D-mod Switches panning mode.P.87 Src None…Tempo When Pan Mode = EG, this selects the modulation source that triggers the EG. When Pan Mode = D-mod, it selects the modulation source that controls the pan.P.87 b EG Attack 1…100 Attack rate of Envelope GeneratorP.88 c EG Release 1…100 Release rate of Envelope Generator.P.88 d Lch Start Offset L, 1…99, R Initial panning value for the left channelP.88 Destination Offset L, 1…99, R Target panning value for the left channel e Rch Start Offset L, 1…99, R Initial panning value for the right channelP.88 Destination Offset L, 1…99, R Target panning value for the right channel f Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Pan Mode This parameter selects whether the panning effect is controlled by the Envelope Generator, or directly by the modulation source. a: Src With Pan Mode = EG, this parameter specifies the modulation source that starts the envelope. This envelope generator is included in the Stereo Envelope Pan, and is not related to the Oscillator EG, Filter EG, or Amp EG. If you select, for example, Gate, the envelope generator will start when a note-on message is received. The effect is off when a value for the modulation source specified for the Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher. Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Start Offset Destination Offset EG D-mod Pan Mode D -mod EG Attack, Release Pan Pan

88 With Pan Mode = D-mod, you can control panning directly using the modula- tion source specified in the Src field. b: EG Attack c: EG Release d: Lch Start Offset d: Destination Offset e: Rch Start Offset e: Destination Offset When Pan Mode = EG, the Start Offset parameter sets the panning at the start of the Envelope Generator. Destination Offset sets the panning for the sustain period. When Pan Mode = D-mod, Start Offset specifies the pan setting when the modu- lation source value is 0. Destination Offset sets the pan setting when the modu- lation source value is maximum. Note On All Note Off Pan Mode=EG Src=Gate1 Lch Start Offset=L Lch Destination Offset=R Rch Start Offset=75:25 Rch Destination Offset=25:75 Stereo Envelope Pan - EG Gate1 Signal EG Attack Release Left Center Right L-In R-In Output Time

89 size2 30: Stereo Dyna Pan This effect counts the number of times the modulation source is turned on/off, and switches the panning mode. You can create a panning effect that changes according to phrases you play on the keyboard. It is very effective for solos. You can also route this effect after a delay effect so that the delay sound will be panned gradually. a Trigger Source None…Tempo Selects the modulation source for counting on/off times. P.89 b Trigger Direction Attack, Release Determines whether the on or off time is counted. P.89 c Panning Mode Alternate, Random Switches between Alternate and Random panning mode. P.90 d Count 1…16 Determines the number of times the on/off operation is counted until panning mode is changed.P.89 e Reset Interval 0…100 Time taken to reset panning and on/off countingP.90 f Panning Rate 1…100 Sets the panning rate. P.90 Src None…Tempo Modulation source of panning rate Amt –100…+100 Modulation amount of panning rate g Lch Start Offset L, 1…99, R Initial panning value for the left channelP.90 Destination Offset L, 1…99, R Target panning value for the left channel h Rch Start Offset L, 1…99, R Initial panning value for the right channelP.90 Destination Offset L, 1…99, R Target panning value for the right channel i Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance a: Trigger Source b: Trigger Direction d: Count When Trigger Direction = Attack, the effect counts how many times the modula- tion source (specified in the Trigger Source field) is turned on. When Trigger Direction = Release, the effect counts how many times the source is turned off. If the number of count exceeds the “Count” value, panning will be switched. If Gate is selected as the modulation source, you can set panning according to phrases you play on the keyboard. Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out Start Offset Destination Offset D -mod Count Reset Interval Trigger Direction: Attack/Release Panning Mode: Alternate/Random Pan Pan Panning Rate

90 The effect is off when the value for the modulation source specified for the Trigger Source parameter is smaller than 64, and the effect is on when the value is 64 or higher. When Trigger Direction is set to Attack, the number of times this value changes from 63 or smaller to 64 or higher (Off→On) will be counted. When Trigger is set to Release, the number of times this value changes from 64 or higher to 63 or smaller (On→Off) will be counted. c: Panning Mode g: Lch Start Offset g: Destination Offset h: Rch Start Offset h: Destination Offset When Panning Mode = Alternate, the panning setting will change from the Start Offset value to the Destination Offset value, then to the Start Offset value again. When Panning Mode = Random, the panning setting will change randomly between the Start Offset value and Destination Offset value. An example of setting to pan every third Note On message: a: Trigger Source = Gate2 b: Trigger Direction = Attack c: Panning Mode = Alternate d: Count = 3 e: Reset Interval If the modulation source (specified in the Trigger Source field) remains off for a while, the number of counts will be reset and the panning setting will go back to the Start Offset value. (However, when Panning Mode = Random, it will not go back to the Start Offset value.) The Reset Interval parameter sets this interval. With a larger value, the interval will become longer. If this value is too small, very slow panning will be reset before it is switched. In this case, set this param- eter to a larger value. If you set this interval to the same period of time as between the phrases, pan- ning and counting will start from the beginning at the start of the phrase. f: Panning Rate This parameter determines how fast panning is switched. A smaller value will cause panning to move more slowly. If you wish to combine a delay effect to pan the delay sound, you should adjust this parameter so that it will match the delay time and feedback. 1 2 3 2 1 3 1 2 1 3 1 2 Note-On Gate2 Signal Left Center Right Reset Interval < Trigger Trigger > Start Offset Wet Destination Offset Trigger > Stereo Dyna Pan Trigger Source=Gate2 Trigger Direction=Attack Panning Mode=Alternate Count=3 Panning Rate Time 2 3 1 Trigger >

created by the tremolo are synchronized, making a pleasant modulation. It works well with electric piano sounds. a LFO Frequency [Hz] 0.02…20.00Hz LFO speed Src None…Tempo Modulation source of LFO speed Amt –20.00…+20.00Hz Modulation amount of LFO speed b Phaser LFO [degree] –180…+180 The difference between the left and right phases of the phaser. P.92 c Phaser Manual 0…100 Sets the frequency to which the effect is applied. d Phaser Depth 0…100 Depth of Phaser LFO modulation Src None…Tempo Modulation source of the phaser modulation depth Amt –100…+100 Modulation amount of the phaser modulation depth e Phaser Resonance –100…+100 Sets the resonance amount. f Phaser Wet/Dry –Wet…–1:99, Dry, 1:99…Wet Sets the balance between the phaser effect and dry sounds.P.25, 92 g Tremolo LFO [degree] –180…+180 The difference between the left and right phases of the tremolo.P.92 Diff Tremolo<>Phaser –180…+180 The difference between Tremolo LFO phase and Phaser LFO phase. h Tremolo LFO Shape –100…+100 Sets how much the Tremolo LFO shape is modulated. P.32 i Tremolo Depth 0…100 Depth of Tremolo LFO modulation Src None…Tempo Modulation source of the tremolo modulation depth Amt –100…+100 Modulation amount of the tremolo modulation depth j Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. P.92 Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Phaser Phaser Left Right Resonance Phaser LFO Wet / Dry Wet / Dry Stereo In - Stereo Out Phaser Wet / Dry Phaser Wet / Dry LFO Tremolo LFO Diff Phaser<>Tremolo LFO Shape Tremolo Tremolo

g: Tremolo LFO [degree] g: Diff Tremolo<>Phaser The Phaser LFO and Tremolo LFO determine the right and left phase difference respectively. Phaser LFO is used to control the spread of the phaser effect, and Tremolo LFO is used to control the tremolo effect that is shimmering between left and right. The Diff Tremolo<>Phaser sets the phase difference of the Phaser and Tremolo. Controlling the relationship between the Phaser and Tremolo will allow you to adjust the feel of sound movement and rotation. f: Phaser Wet/Dry j: Wet/Dry Phaser Wet/Dry sets the balance between the phaser output and the dry sound. On the other hand, Wet/Dry sets the balance between the final output of Phaser plus Tremolo, and the dry sound.

shimmering becomes larger and fades away as the volume level becomes lower. a Envelope Sens 0…100 Sets the sensitivity of the input signal envelope. b Envelope Shape –100…+100 Sets the envelope curve of the input signal. c LFO Waveform Triangle, Sine, Square, Up, Down Selects LFO waveform. d LFO Shape –100…+100 Determines how much the LFO waveform shape is modi- fied.P.32 e LFO Phase [degree] –180…+180 The difference between the left and right LFO phase. P.84 f LFO Frequency [Hz] 0.02…20.00Hz LFO speedP.93 Envelope Amount [Hz] –20.00…+20.00Hz Changes LFO speed according to the input signal level g Depth 0…100 Depth of LFO modulation P.93 Envelope Amount –100…+100 Changes the modulation depth according to the input sig- nal level h Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance f: LFO Frequency [Hz] f: Envelope Amount [Hz] g: Depth g: Envelope Amount These parameters are used to set the modulation applied based on the envelope (input signal level). LFO speed is the LFO Frequency added by the Envelope Amount multiplied by the input signal level. The Depth value is also obtained by adding the Depth value to the Envelope Amount multiplied by the input signal level. Tremolo Left Right Wet / Dry Wet / Dry Stereo In - Stereo Out LFO Phase LFO Shape Tremolo Envelope Sens + Envelope LFO: Tri/Sin/Sqr/Up/Down Envelope Shape

input level of “0” will produce 8.0Hz, Depth = 100: f: LFO Frequency [Hz] = 8.0 f: Envelope Amount [Hz] = –7.0 g: Depth = 100 g: Envelope Amount = –100 Level Louder Time Shimmer LFO Frequency[Hz]=8.0 Envelope Amount[Hz]= –7.0Hz Depth=100 Envelope Amount= –100 Dry Envelope

pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created. a Pitch Shift [cent] –100…+100cent The difference between the input signal pitch and effect sound pitch. Src None…Tempo Modulation source of the pitch shift Amt –100…+100cent Modulation amount of the pitch shift b Delay Time [msec] 0…1000msec Sets the time delay from the input signal. c High Damp [%] 0…100% Damping amount in the high range d Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance Left Right Wet / Dry Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out + High Damp Delay Detune

96 34: Pitch Shifter This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feedback. a Input Level 0…100 Sets the input level to the effect. Src None…Tempo Selects the modulation source of input level. Amt –100…+100 Modulation amount of input level b Mode Slow, Medium, Fast Switches Pitch Shifter mode.P.96 c Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount by steps of a semitone.P.97 Src None…Tempo Modulation source of pitch shift amount Amt –24…+24 Modulation amount of pitch shift amount d Fine [cent] –100…+100cent Sets the pitch shift amount by steps of a cent.P.97 Amt –100…+100vent Modulation amount of pitch shift amount e Delay Time [msec] 0…1000msec Sets the delay time from the input signal. P.97 f Feedback –100…+100 Sets the feedback amount.P.97 g High Damp [%] 0…100% Damping amount in the high range h Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds. Src None…Tempo Modulation source of effect balance Amt –100…+100 Modulation amount of effect balance b: Mode This parameter switches the pitch shifter operating mode. With Slow, tonal quality will not be changed too much. With Fast, the effect becomes a Pitch Shifter that has a quick response, but may change the tone. Medium is in between these two. If you do not need to set too much pitch shift amount, set this parameter to “Fast.” If you wish to change the pitch significantly, use “Slow.” Left Right Wet / Dry Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Input Level Input Level + High Damp Delay Feedback Pitch Shifter