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 Table of Contents

Table of Contents
Overview ......................................................................................................... 1
Insert Effects.............................................................................................. 1
Effect Size ........................................................................................... 2
Effect Input/Output ......................................................................... 2
Grouping ............................................................................................ 3
Master Effects ........................................................................................... 3
Program ..................................................................................................... 4
Program - Single/Double OSC mode ............................................ 4
Program - Drums OSC mode .......................................................... 5
Combination ............................................................................................. 6
Sequencer .................................................................................................. 8

Dynamic Modulation................................................................................... 10

Insert Effect size1

00: Amp Simulation...................................................................................... 13
01: Compressor ............................................................................................. 14
02: Limiter...................................................................................................... 15
03: Gate........................................................................................................... 17
04: Overdrive/Hi-Gain................................................................................ 19
05: Parametric 4EQ (Parametric 4-Band EQ) ............................................ 20
06: Graphic 7Band EQ.................................................................................. 22
07: Wah/Auto Wah...................................................................................... 23
08: Random Filter ......................................................................................... 25
09: Dyna Exciter ............................................................................................ 26
10: Sub Oscillator .......................................................................................... 27
11: Decimator ................................................................................................ 28
12: Chorus...................................................................................................... 29
13: Harmonic Chorus ................................................................................... 30
14: Ensemble.................................................................................................. 31
15: Flanger ..................................................................................................... 32
16: Tempo Flanger ........................................................................................ 33
17: Envelope Flanger.................................................................................... 34
18: Phaser ....................................................................................................... 35
19: Tempo Phaser ......................................................................................... 36
20: Envelope Phaser ..................................................................................... 37
21: Vibrato...................................................................................................... 38
22: Resonator ................................................................................................. 39
23: Ring Modulator ...................................................................................... 40
24: Tremolo.................................................................................................... 42
25: Rotary Speaker........................................................................................ 43
26: Delay......................................................................................................... 44
27: Multitap Delay ........................................................................................ 45
28: Early Reflections ..................................................................................... 46

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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

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Insert Effect size4

00: Piano Body/Damper (Piano Body/Damper Simulation) .............. 119
01: St. Mlt.band Limiter (Stereo Multiband Limiter)............................. 120
02: OD/Hyper-Gain Wah (Overdrive/Hyper-Gain Wah)................... 121
03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)............................... 122
04: Vocoder .................................................................................................. 123
05: St. Harmonic Chorus (Stereo Harmonic Chorus) ............................ 124
06: Multitap Chorus/Dly (Multitap Chorus/Delay) ............................ 126
07: Stereo Ensemble.................................................................................... 128
08: St. Tempo Flanger (Stereo Tempo Flanger) ...................................... 129
09: St. Tempo Phaser (Stereo Tempo Phaser) ......................................... 130
10: St. Pitch Shifter (Stereo Pitch Shifter) ................................................ 131
11: 2Band Pitch Shifter ............................................................................... 132
12: Rotary Speaker OD (Rotary Speaker Overdrive)............................. 133
13: Early Reflections ................................................................................... 135
14: L/C/R Long Delay............................................................................... 136
15: Stereo Long Delay ................................................................................ 137
16: Dual Long Delay................................................................................... 138
17: St. Tempo Delay (Stereo Tempo Delay) ............................................ 139
18: Hold Delay ............................................................................................ 140

Master Effects
Modulation
00: Flanger ................................................................................................... 142
01: Phaser ..................................................................................................... 143
02: Multitap Chorus/Dly (Multitap Chorus/Delay) ............................ 144
03: Ensemble................................................................................................ 145
04: Chorus.................................................................................................... 146
05: L/C/R Delay......................................................................................... 147

Reverb/Delay
00: L/C/R Long Delay............................................................................... 148
01: Delay/Reverb........................................................................................ 149
02: Reverb-Room ........................................................................................ 151
03: Reverb-Bright Room ............................................................................ 151
04: Reverb-Hall ........................................................................................... 153
05: Reverb-Smooth Hall............................................................................. 153
06: Reverb-Wet Plate .................................................................................. 153
07: Reverb-Dry Plate .................................................................................. 153

Index............................................................................................................. 154

iii

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 Overview

Overview

The TRINITY series has two types of effects: Insert Effects and Master Effects.

As shown in the figure below, you can use the Insert Effects in the process of sound creation after the
Oscillator, Filter, and Amp. Then, reverberation and other effects are applied through the Master Effects.
One hundred Insert Effects and fourteen Master Effects enable highly flexible sound production.

Send Return
Master Effect

Oscillator Filter Amp Insert Effect + EQ

The TRINITY series does not have an input level meter to recognize the effect input level. Please
note that if the input level is not high enough, the S/N ratio may be reduced, and if the input level
is excessive, clipping may occur.
To obtain the optimum degree of effects, first set the input level of the Insert Effect and Master
Effect to the maximum possible without clipping, then adjust the effect output level using the Wet/
Dry parameter of the Insert Effects, and the Output Level parameter and/or Return 1 and 2 of the
Master Effects.

The following table shows the parameters that can be used to adjust the input/output levels:

Program Edit mode Combination Edit mode Sequencer mode

OSC1/2 High, Low Level (P1) Volume (P1) Volume (P1)
Filter1/2 A/B Gain (P3) Send1/2 (P1) Send1/2 (P1)
Input Amp1/2 Level (P5) Trim Parameter (P7, P8)*
Send1/2 (P5 or P7)
Trim Parameter (P7, P8)*
Wet/Dry (P7) Wet/Dry (P7) Output Level (P8)
Output Output Level (P8) OutPut Level (P8) Return1, 2 (P8)
Retrurn1, 2 (P8) Return1, 2 (P8)

* 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.

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 Overview

Effect Size
Insert Effects utilize effect sizes of 1, 2, and 4.

Program (Single or Double mode Program):

Up to three effects with a total effect size of four or less can be inserted in series.

Size Size Size

1 1 2

Program (Drum mode Program):

Up to four effects with a total effect size of four or less can be inserted in series/parallel.
Use P5 (DrumKit) in Global mode to assign the DrumKit sounds to Insts 1–4 for each key.

Inst1 Size Size Size Inst1 Size Size

1 Inst1 2 Inst1 4 1 1
Inst2 Size Size Size
Inst2 Inst3
1 2 1
Inst3 Size Inst4 Size
1 1
Inst4 Size
1

Combination:
Up to eight effects with a total effect size of eight or less can be inserted.

Size Size Size Size

Timbre1 4 Timbre1 4 2 2
Timbre2 Size Size Size
1 1 2

Sequencer:
Up to eight effects with a total effect size of eight or less can be inserted.

Size Size Size Size

Track1 4 Track1 4 2 2
Track2 Size Size Size
1 1 2

Effect Input/Output
The following table shows the input/output of the Dry sound (the sound without any effect applied) and
the Wet sound (the sound with an effect applied) for each size.
Dry Mono In - Mono Out
size1 Effect
Wet Mono In - Mono Out
Dry Stereo In - Stereo Out
+ Effect
Wet Mono In - Mono Out
size2 Dry Stereo In - Stereo Out
+ Effect
size4 Wet Mono In - Stereo Out
Dry Stereo In - Stereo Out Effect
Wet Stereo In - Stereo Out Effect

Shown on the upper left corner of the effect block diagrams.

The Size 1 effects are all monaural in/monaural out for both dry and wet sounds. Therefore, Size 1 effects
have monaural input as shown in the figure on the next page. If the Effect On/Off parameter is turned
Off, the effect is bypassed. When a size 1 effect is selected, the bypass sound becomes monaural.
Regardless of the Effect On/Off setting, you can turn all Insert Effects Off by sending the Effect 2
Control message (Controller #92). When the Controller value is 0, all effects turn Off. They turn On
with a value of 1–127.

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 Overview

When you want to preserve the stereo image of a Double mode Program, use Insert Effects of size 2 or 4.

Stereo In
Size
4

Stereo In
Size Size
2 2

Mono In
Size Size Size
1 1 2

Grouping
You can use the grouping function in the Combination and Sequencer modes to use the Insert Effects effi-
ciently. The effect grouping function places the Timbres/Tracks into one group so that the same Insert
Effects will be applied to all of them.
Note the following when you are trying to place Timbres/Tracks that use Single or Double mode Pro-
grams, and Timbres/Tracks that use Drum mode Programs into a group:
• When you are adding Timbres/Tracks that use Single or Double mode Programs to a group of Tim-
bres/Tracks that use Drum mode Programs:
The Timbres/Tracks will be grouped (input) to Insert Effect inst1 of the Timbres/Tracks that use Drum
mode Programs.
• When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/Tracks
that use Single or Double mode Programs:
Only DrumKit sounds that have been assigned to inst1 in P5 of Global mode will be grouped (input) to
the Insert Effects of the Timbres/Tracks that use Single or Double mode Programs.

Master Effects
Master Effects use a send and return routing regardless of the modes, and consist of two types of effects:
modulation and reverberation/delay, both mono-in/stereo-out. These fourteen effects can be used to pro-
vide overall ambience. It is possible to route the modulation effects and reverb/delay effects in series.
Send levels are set for each oscillator, or after the Insert Effects are applied. In the Combination and
Sequencer modes, you can set the send levels for each Timbre/Track, allowing you to use the unit as a
mixer to create a spacious effect for entire Programs, Combinations, or Songs.
A Low/High-type shelving EQ is located before the output connectors 1/L/MONO and 2/R, and allows
you to “fine-tune” the tone of your sound.
The Master Effect parameters are set for each Program, Combination, and Song. (Use P8 in each mode.)
The Effect 4 Control message (Controller #94) will turn the modulation effects on/off, and the
Effect 5 control message (Controller #95) will turn the reverb/delay effects on/off. Both control
messages are sent on the Global MIDI Channel. With a control value of 0, the effect is turned off,
and with a value of 1–127, the effect is turned on.
The Effect 3 Level message (Controller #93) will adjust the send level of the modulation effects, and
the Effect 1 Level message (Controller #91) will adjust the send level of the reverb/delay effects.
The control messages for Programs are sent on the Global MIDI Channel, and control messages for
Combinations and Sequences are sent on the MIDI Channels specified for each Timbre and Track.

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 Overview

Program
You can use the Insert Effects as long as the total of the effect size is four or less in Program mode.
The configuration of the Insert Effects is different when using a Single or Double mode Program than
when using a Drum mode Program.

Program - Single/Double OSC mode

Amp1/2 Mod Insert Effects Master Effects

(Program Edit P5) (Program Edit P7) (Program Edit P8)
in the case of
Insert Effect =Off * Master Effects Pan1

Send1
+ + Modulation OUT3

Send2
+ + Reverb/Delay
Pan2 OUT4

Amp1 Send1
OSC1 Filter1
Pan
Send2
Return2 Return1
Send1
+ + LEQ HEQ
Insert Effects
Send2
+ + + + OUT1
OSC2 Filter2 Amp2 + E1 E2 E3

Pan
+ + + + OUT2
+ Pan Width
in the case of
Insert Effect =On Low Gain High Gain

Insert Effect =Off *

* Insert Effect =Off: size =0 Program - Single / Double OSC Mode

Insert Effects
You can insert up to three effects in series as long as the total of the effect sizes is four or less when you
are using a Program with the Oscillator Mode parameter (1–1c) set to single or double (shown as E1, E2,
and E3 in the center of the figure above).
If you insert a size 1 effect, the input/output becomes monaural. In this case, the oscillator’s Pan parame-
ter (P5 in Program Edit mode) becomes ineffective, and the pan setting will be in the center. Adjust the
stereo pan position using the Pan parameter that comes after the Insert Effects (P7 in Program Edit mode).
If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever-
beration) using the Width parameter (P7 in Program Edit mode). If you wish to make the oscillator’s Pan
setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064
and set the Width to 127.
Insert Effect - Pan, Width
Pan=L000 Pan=R127 Pan=L000 Pan=R127 Pan=L000 Pan=R127

Pan=C064, Width=127 Pan=C064, Width=127 Pan=R096, Width=127

Pan=C064, Width=64 Pan=L048, Width=127 Pan=R096, Width=64
Pan=C064, Width=32 Pan=L032, Width=127 Pan=L048, Width=127
Pan=C064, Width=0 Pan=L016, Width=127 Pan=L048, Width=64

Left Center Right Left Center Right Left Center Right

Master Effects
The input level of the Master Effects is set by Send 1 and 2.
Since the destination of the send routing changes depending on whether the Insert Effects have been
inserted or not, the parameters will change accordingly.
If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Program Edit mode will become
effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters
of P5 in Program Edit mode will become effective.
The Send 1 and 2 parameters are also used to set the level of the signal appearing at output connectors 3
and 4.
Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound
(without the Master Effects applied), set the Master Effect parameters of P8 in Program Edit mode to
“Off.” In this case, however, the Master Effects will not be applied to the signal at outputs 1 and 2.

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 Overview

If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2
using the Pan 3 and 4 parameters (P8 in Program Edit mode).
To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Program Edit mode).
If you check the check box located between Send 1 and Send 2 in the upper left corner of the LCD, the
serial routing of Modulation → Reverb/Delay will be added. That is, the Right modulation output will be
added to the Reverb/Delay input. In this case, you can still set the Return 1 and 2 parameters indepen-
dently.

Program - Drums OSC mode

DrumKit Insert Effects Master Effects
(Global P5) (Program Edit P7) (Program Edit P8)
Amp1/2 Mod
Insert Effect=Off (Program Edit P5)
Master Effects Pan1
Send1
Send1
+ + Modulation OUT3
Send2
Send2
+ + Reverb/Delay
Pan2 OUT4

Kick
Pan
Send1
Insert + Return2 Return1
Send1
+ Effects +
+ + + Send2 LEQ HEQ
Send2
+ + + OUT1
Snare + E1
Pan Send1
+ + + OUT2
+ + Pan Width
Insert Effect=inst1 +
Insert Effect=inst2 + + Send2 Low Gain High Gain

+
Inst1/2/3/4 ->E1/E2/E3/E4

Send1
+ E2
+
Send2
+ Send1
+ Pan Width
+ +
Tom Send2
Pan
+ +
+ +
E3
Send1
+ +
Send1

Send2
+ Pan Width
Send2
H.Hat + + +
Pan +
+ E4
Insert Effect=inst3 +
Pan Width

Send1

Send2

Conga +
Pan
+
Insert Effect=inst4

Insert Effect=Off
Program - Drums OSC Mode

Insert Effects
You can insert up to four effects in series or parallel as long as the total of the effect sizes is four or less
when you are using a Drum mode Program (shown as E1, E2, E3, and E4 in the center of the figure
above).
You can select Insert On/Off, and inst 1–4 (using E1–E4 input), and set the Pan and Send 1/2 parameters
for each Drum sound in P5 of Global mode for each key. The final send setting will use the value set here
multiplied by the Send setting set in P5 of Program Edit mode.
If you insert a size 1 effect, the input/output becomes monaural. In this case, the DrumKit’s Pan parame-
ter (P5 in Global mode) becomes ineffective, and the sound will be panned in the center. Adjust the stereo
position using the Pan parameter (P5 of Program Edit mode) that comes after the Insert Effects (P7 in Pro-
gram Edit mode).
If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever-
beration) using the Width parameter (P7 in Program Edit mode). If you wish to make the DrumKit’s Pan
setting (P5 in Global mode) effective, set the Pan setting that comes after the Insert Effects to C064 and set
the Width to 127.
Master Effects
The input level of the Master Effects is set by Send 1 and 2.
Since the destination of the send routing changes depending on whether the Insert Effects have been
inserted or not, the parameters will change accordingly.

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 Overview

If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Program Edit mode will become
effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters
of P5 in Global mode and P5 in Program Edit mode will become effective.
The Send 1 and 2 parameters are also used to set the level of signal appearing at output connectors 3 and
4.
Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound
(without the Master Effects applied), set the Master Effect parameters of P8 in Program Edit mode to
“Off.” In this case, however, the Master Effect will not be applied to the signal at outputs 1 and 2.
If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2
using the Pan 3 and 4 parameters (P8 in Program Edit mode).
To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Program Edit mode).
If you check the check box located between Send 1 and Send 2 in the upper left corner of the LCD, the
serial routing of Modulation → Reverb/Delay will be added. That is, the Right modulation output will be
added to the Reverb/Delay input. In this case, you can also set the Return 1 and 2 parameters indepen-
dently.

Combination
Mixer Insert Effect Grouping Master Effects
(Combination Edit P1) (Combination Edit P7) (Combination Edit P8)

Timbre1 in the case of

Insert Effect =Off Master Effects Pan1

Send1
+ + Modulation OUT3
Insert Effect=Off
Send2
+ + Reverb/Delay
Pan2 OUT4

Filter1 Amp1 Send1

OSC1 +
Pan
Send2
+ Return2 Return1
Send1
+ + LEQ HEQ
Insert Effects
Send2
+ + + + OUT1
OSC2 Filter2 Amp2 + E1 E2 E3
Pan
+ + + + OUT2
Timbre to Insert Effects

+ Pan Width
Assigning / Grouping

in the case of
Insert Effect =On Low Gain High Gain

Timbre2 in the case of

Insert Effect =Off

Send1
+
Send2
+
OSC1 Filter1 Amp1 + Send1
Pan
+ Send2

Send1
+ +
Insert Effects
Send2
+ +
OSC2 Filter2 Amp2 + E1 E2 E3
Pan
+ +
+ Pan Width
in the case of
Insert Effect =On

up to
Timbre8

Insert Effect=Off
Combination

Insert Effects
The Insert Effects selected in Program Edit mode are not used in Combination Edit mode. Instead, you
can set Insert Effects for up to eight Timbres in a Combination.
Go to P7 in Combination Edit mode, and set the Insert Effect’s Off, size (1, 2, 4, 8), and grouping parame-
ters for each of Timbres 1–8.
If you wish to use a Program’s Insert Effect settings by using the Copy function, first select a size for the
corresponding Timbre equal to or greater than the size of the effects used in the Program.
You can route up to three Insert Effects for each Timbre in series. (If the Program is using a DrumKit, you
can use up to four effects in series or parallel.)
The total effect size for all the Timbres must be eight or less.

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 Overview

You can also set the total effect size for a single Timbre to eight. However, if you are routing three Insert
Effects in series, you cannot place an effect of size 4 on the second position. For a Timbre that uses a Drum
mode Program, you can set the total effect size to eight. However, if you are routing three Insert Effects in
series, you cannot place the effect of size 4 on the second position. If you are routing four effects in series,
you cannot place an effect of size 4 on the second or third position.
If you insert a size 1 effect, the input/output becomes monaural. In this case, the Timbre’s Pan parameter
(P1 Timb Param1 in Combination Edit mode) becomes ineffective, and the pan setting will be in the cen-
ter. Adjust the stereo pan position using the Pan parameter (P7 in Combination Edit mode) that comes
after the Insert Effects.
If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever-
beration) using the Width parameter (P7 in Combination Edit mode). If you wish to make the oscillator’s
Pan setting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to
C064 and set the Width to 127.
Refer to the “Program - Drums OSC mode” section for information regarding the setting of Programs that
use a DrumKit.
When you are adding Timbres/Tracks that use Single or Double mode Programs to a group of Tim-
bres/Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect inst1 of
the Timbres/Tracks that use Drum mode Programs.
When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/
Tracks that use Single or Double mode Programs, only DrumKit sounds that have been assigned to
inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/Tracks
that use Single or Double mode Programs.

Master Effects
You need to set the Master Effects in the Combination, since the Master Effects set in Program Edit mode
are ineffective here.
The input levels of the Master Effects are set by Send 1 and 2.
Since the destination of the send routing changes depending on whether Insert Effects have been inserted
or not, the parameters will change accordingly.
If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Combination Edit mode will
become effective (those of P1 Timb Param1 will be ignored). If you have not inserted Insert Effects, the
Send 1 and 2 parameters of P1 Timb Param1 in Combination Edit mode will become effective.
The Send 1 and 2 parameters are also used to set the level of signal appearing at output connectors 3 and
4.
Only the Master Effect sound will be sent to output connectors 3 and 4. If you wish to output dry sound
(without the Master Effects applied), set the Master Effect parameters of P8 in Combination Edit mode to
“Off.” In this case, however, the Master Effects will not be applied either to the output 1 or 2 signal.
If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2
using the Pan 3 and 4 parameters (P8 in Combination Edit mode).
To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Combination Edit mode).
If you check the check box located between Send 1 and 2 in the upper left corner on the LCD, the serial
routing of Modulation → Reverb/Delay will be added. That is, the Right modulation output will be
added to the Reverb/Delay input. In this case, you can still set the Return 1 and 2 parameters indepen-
dently.

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 Overview

Sequencer
Track Play / Rec Insert Effect Grouping Master Effects
(Sequencer P1) (Sequencer P7) (Sequencer P8)

Track1 in the case of

Insert Effect =Off Master Effects Pan1

Send1
+ + Modulation OUT3
Insert Effect=Off
Send2
+ + Reverb/Delay
Pan2 OUT4

Filter1 Amp1 Send1

OSC1 +
Pan
Send2
+ Return2 Return1
Send1
+ + LEQ HEQ
Insert Effects
Send2
+ + + + OUT1
OSC2 Filter2 Amp2 + E1 E2 E3
Pan
+ + + + OUT2
+

Track to Insert Effects

Pan Width

Assigning/Grouping
in the case of
Insert Effect =On Low Gain High Gain

Track2 in the case of

Insert Effect =Off

Send1
+
Send2
+
OSC1 Filter1 Amp1 + Send1
Pan
+ Send2

Send1
+ +
Insert Effects
Send2 + +
OSC2 Filter2 Amp2 + E1 E2 E3
Pan
+ +
+ Pan Width
in the case of
Insert Effect =On

up to
Track16

Insert Effect=Off
Sequencer

Insert Effects
The Insert Effects selected in Program Edit mode are not used in Sequencer mode. Instead, you can set
Insert Effects for up to eight Tracks in the Sequencer.
Go to P7 in Sequencer mode, and set the Insert Effect’s Off, size (1, 2, 4, 8), and grouping parameters for
each of Tracks 1–16.
If you wish to use a Program’s Insert Effect settings by using the Copy function, first select a size for the
corresponding Track equal to or greater than the size of the effects used in the Program.
You can route up to three Insert Effects for each Track in series. (If the Program is using a DrumKit, you
can use up to four effects in series or parallel.)
The total effect size for all the Tracks must be eight or less.
You can also set the total effect size for a single Track to eight. However, if you are routing three Insert
Effects in series, you cannot place an effect of size 4 on the second position. For a Track that uses a Drum
mode Program, you can set the total effect size to eight. However, if you are routing three Insert Effects in
series, you cannot place an effect of size 4 on the second position. If you are routing four effects in series,
you cannot place an effect of size 4 on the second or third position.
If you insert a size 1 effect, the input/output becomes monaural. In this case, the Track’s Pan parameter
(P1 Track Play/Rec in Sequencer mode) becomes ineffective, and the pan setting will be in the center.
Adjust the stereo pan position using the Pan parameter (P7 in Sequencer mode) that comes after the
Insert Effects.
If the Insert Effect output is in stereo, you can control the width of the effect (such as the width of rever-
beration) using the Width parameter (P7 in Sequencer mode). If you wish to make the oscillator’s Pan set-
ting (P5 in Program Edit mode) effective, set the Pan setting that comes after the Insert Effects to C064
and set the Width to 127.
Refer to the “Program - Drums OSC mode” section for information regarding the setting of Programs that
use a DrumKit.

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 Overview

When you are adding Timbres/Tracks that use Single or Double mode Programs to a group of Tim-
bres/Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect Inst1 of
the Timbres/Tracks that use Drum mode Programs.
When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/
Tracks that use Single or Double mode Programs, only DrumKit sounds that have been assigned to
Inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/Tracks
that use Single or Double mode Programs.

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

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 Dynamic Modulation

Dynamic Modulation
You can control certain effect parameters using the joystick, ribbon controller, etc. “on the fly.” For exam-
ple, you can use the After Touch effect to speed up the LFO of the chorus and flanger, or you can use the
ribbon controller to activate the wah effect. In this way, you will be able to make the most out of the
expression created by the effects as part of your instrument.
Most of the parameters with dynamic modulation consist of the parameter value, Src (source), and Amt
(amount). The Src field selects the modulation source, and Amt sets the amount of dynamic modulation
effect. When the modulation source is set to the maximum value, the actual degree of the effect will be the
parameter value plus the Amt value.
Dynamic modulation of the Program’s Insert Effects and Master Effects is controlled via the Global
MIDI Channel. Dynamic modulation of the Insert Effects for Combinations and Sequences is con-
trolled via the MIDI Channels specified for each Timbre and Track. Dynamic modulation of the
Master Effects is controlled via the Global MIDI Channel.

e.x.
Wet/Dry=10:90
Src=Aftr Touch
Amt=+50
In this case, the effect balance is 10:90. As you apply After Touch, the percentage of the effect sound will
increase. When After Touch is at its maximum, the effect balance will be 60:40.
Dynamic Modulation (Example)
Wet / Dry
Wet / Dry=10:90
Wet Amt= +50

Wet / Dry=60:40
Amt= –50

60:40

10:90
Dry
D-mod
Zero Higher Max

If you are controlling the effect parameters using any source other than AUTOFADE, the dynamic
modulation effect will not be affected if you modify the Amt value while the dynamic modulation
is being applied. The modification will become effective when you operate the dynamic modula-
tion source again.

Refer to the corresponding effect section for an explanation of other dynamic modulation parameters.
is marked on the right of the effect parameter table to indicate that the parameter has dynamic
modulation.

Source

None Dynamic modulation is not used.

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

10

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 Dynamic Modulation

Source

JS(–Y) Joystick - downward

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 The effect amount is at maximum during Note-on. When you release all the
Gate1+Sus keys, the effect will stop. For Gate 1+Sus, the maximum effect level will be main-
tained as long as you press the sustain pedal, even after you release the keys.
Gate1,Gate1+Sus
Gate+Sus
1 2 1 3 2 3
Note
Sustain Pedal

On
Gate1 Off

Gate1+Sus

Time

Gate2 These are almost the same as Gate 1, and Gate 1+Sus. However, if you are using
Gate2+Sus this as a source for, say, the EG of size 1, 17: Envelope Flanger, or the AUTO-
FADE of size 2, 13: Stereo Chorus, every Note On message will trigger the effect.
(With Gate 1, and Gate 1+Sus, only the first Note On data will trigger the effect.)
Gate2,Gate2+Sus
Gate+Sus
1 2 1 3 2 3
Note
Sustain Pedal

On
Gate2 Off

Gate2+Sus

Time

11

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 Dynamic Modulation

SW1 If the switches on the panel are assigned as a dynamic modulation source, set
SW2 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.

AUTOFADE AutoFade

D-mod

On Off

AUTOFADE Fade-In Rate

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.

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 00: Amp Simulation

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00: Amp Simulation
This effect simulates the frequency response characteristics of guitar amplifiers. You can obtain a realistic
guitar amplifier sound. It is also effective for organ sounds.

Mono In - Mono Out

In
Wet / Dry

Amp Simulation Filter

a Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
b Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 01: Compressor

01: Compressor
This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for gui-
tar, piano, and drum sounds.

Mono In - Mono Out

In
Wet / Dry

EQ Trim LEQ HEQ

Compressor
Output Level

Envelope - Control

a 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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
g Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Sensitivity The “Sensitivity” parameter sets the sensitivity of the compressor. If this param-
f: Output Level eter is set to a higher value, lower level sounds will be boosted. With a higher
Sensitivity, the overall volume level is higher. To adjust the final volume level,
use the “Output Level” parameter.
Compressor - Sensitivity
Level

Wet

Sensitivity=100
Louder

Sensitivity=40
Dry

Time

b: Attack This parameter controls the attack level.

Compressor - Attack
Level

Attack=80

Attack=20
Wet

Dry

Time

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 02: Limiter

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02: Limiter
The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter com-
presses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies
a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to
set any band width to be covered.

Mono In - Mono Out

In
Wet / Dry
Gain Adjust

Limiter
Side PEQ
Envelope - Control Trigger Monitor

a Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. ☞P.15

Sets the signal level above which compression is applied.
b Threshold [dB] –40…0dB
☞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
Side PEQ Cutoff [Hz] 20…12.00kHz Center frequency of the trigger signal EQ ☞P.16
g Q 0.5…10.0 Band width of the trigger signal EQ
Gain [dB] –18.0…+18.0dB Gain of the trigger signal EQ
Switches effect output/trigger signal monitor on/off.
h Trigger Monitor Off, On
☞P.16
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Ratio This parameter sets the signal compression ratio. Compression is applied only
b: Threshold [dB] when the signal level exceeds the Threshold value.
e: Gain Adjust [dB]
Adjust the output level using the Gain Adjust parameter, since compression
causes the entire level to be reduced.

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 02: Limiter

Limiter - Threshold / Ratio

Ratio=1.0 : 1

Output Level

Ratio=2.0 : 1

Threshold Ratio=4.0 : 1

Ration=Inf : 1

Louder
Louder
Input Level

Level
Ratio=1.0 : 1
Dry
Ratio=2.0 : 1
Ratio=4.0 : 1

Threshold

Ratio=Inf : 1

Time

c: Attack These parameters set the attack time and release time. A higher attack time will
d: Release cause the compression to be applied more slowly.
Limiter - Attack / Release

Threshold

Dry

Ratio=Inf : 1
Wet Attack=1
Release=1

Ratio=Inf : 1
Wet Attack=100
Release=100

Release

Attack

f: Side PEQ Insert These parameters are used to set the EQ applied to the trigger signal.
g: Side PEQ Cutoff [Hz]
The Limiter determines whether the compression is applied or not, based on the
g: Q
sound post-EQ. Setting the equalizer allows you to set the Limiter to respond to
g: Gain [dB]
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.

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 03: Gate

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03: Gate
The Gate effect mutes signals with a level lower than the specified threshold. You can also use this effect
to create Gated Reverb by routing it after the Reverb effect. The Gate can be turned on/off directly by
Note On/Off.

Mono In - Mono Out

In
Wet / Dry

Delay Gate

Envelope - Control
Envelope Select

Gate+Sus

Toggles between control by Modulation Source and con-

Envelope Select D-mod, Input
trol by input signal.☞P.17
a
Modulation Source that controls Gate when Envelope
Src None…Gate2+Sus
Select is set to D-mod.
Sets the signal level below which Gate is applied.
b Threshold 0…100
☞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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
f Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Envelope Select The Envelope Select parameter determines whether the Gate is on/off based on
a: Src 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 This parameter sets the signal level below which Gate is applied when Envelope
c: Attack Select is set to Input.
d: Release
The Attack and Release parameters set the Gate attack time and release time.

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 03: Gate

Gate - Threshold

Output Level

Threshold

Louder
Louder
Input Level

Gate - Attack / Release

Threshold

Dry

Wet Attack=1
Release=1

Wet Attack=100
Release=100

Attack Release

e: Delay Time This parameter sets the delay time of the Gate input. If the sound has a very fast
attack, increase the delay time so that the signal will be input after the Gate is
opened. This will preserve the attack part of the sound.

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 04: Overdrive/Hi-Gain

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04: Overdrive/Hi-Gain
This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the 4-band EQ will
allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.

Mono In - Mono Out

In
Wet / Dry
Pre Low-cut 4 Band PEQ
Driver
Output Level

Mode: Overdrive / Hi-Gain

Drive Direct Mix

a 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
Amount of cut in low range at the distortion input.
d Pre Low-cut 0…10
☞P.19
Band1 Cutoff [Hz] 20…1.0kHz Center frequency of EQ band 1
e Q 0.5…10.0 Band 1 bandwidth ☞P.19
Gain [dB] –18…+18dB Band 1 gain
Band2 Cutoff [Hz] 50…5.00kHz Band 2 center frequency
f Q 0.5…10.0 Band 2 bandwidth ☞P.19
Gain [dB] –18…+18dB Band 2 gain
Band3 Cutoff [Hz] 300…10.00kHz Band 3 center frequency
g Q 0.5…10.0 Band 3 bandwidth ☞P.19
Gain [dB] –18…+18dB Band 3 gain
Band4 Cutoff [Hz] 500…20.00kHz Band 4 center frequency
h 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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

b: Drive The degree of distortion is determined by the level of input signal and the set-
c: Output Level 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 These parameters set the bandwidth of each band filter. The higher the value,
f: Q the narrower the band becomes.
g: Q
h: Q

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 05: Parametric 4EQ (Parametric 4-Band EQ)

05: Parametric 4EQ (Parametric 4-Band EQ)

This effect is a four-band parametric equalizer. You can select either a peaking type or a shelving type for
Band 1 and 4. Band 2 allows for gain control via dynamic modulation.

Mono In - Mono Out

In
Band1 Band2 Band3 Band4 Wet / Dry

PEQ PEQ PEQ PEQ

Trim
LEQ HEQ

D-mod

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
Band2 Dynamic Gain Src None…Tempo Modulation source for Band 2 gain ☞P.21
d
Amt [dB] –18.0…+18.0dB Amount of Band 2 gain modulation
Band1 Cutoff [Hz] 20…1.0kHz Sets the Band 1 center frequency.
e Q 0.5…10.0 Sets the Band 1 bandwidth. ☞P.19
Gain [dB] –18.0…+18.0dB Sets the Band 1 gain.
Band2 Cutoff [Hz] 50…10.00kHz Sets the Band 2 center frequency.
f 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
Band3 Cutoff [Hz] 300…10.00kHz Sets the Band 3 center frequency.
g Q 0.5…10.0 Sets the Band 3 bandwidth. ☞P.19
Gain [dB] –18.0…+18.0dB Sets the Band 3 gain.
Band4 Cutoff [Hz] 500…20.00kHz Sets the Band 4 center frequency.
h 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 Selects a filter type for Band 1 and 4.

c: Band4 Type
Parametric 4EQ - Band1, Band4 Type

3dB
+Gain
Band4 Type=Shelving High
Band4 Type=Peaking

0dB

Band1 Type=Shelving Low

Band1 Type=Peaking
–Gain
3dB

Band1 Cutoff Band4 Cutoff

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 05: Parametric 4EQ (Parametric 4-Band EQ)

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d: Band2 Dynamic Gain You can control the gain of Band 2 using the modulation source.
Src
Parametric 4EQ - Band2 Dynamic Gain Control
d: Amt [dB]
f: Gain [dB]
+15dB
-mod
D
Band2 Cutoff

+6dB +6dB

0dB 0dB
Band2 Cutoff

–9dB
D-mod
Band2 Gain[dB]= +6.0 Band2 Gain[dB]= +6.0
Band2 Dynamic Gain Amt[dB]= +9.0 Band2 Dynamic Gain Amt[dB]= –15.0

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 06: Graphic 7Band EQ

06: Graphic 7Band EQ

This effect is a seven-band graphic equalizer. The bar graph of the gain setting for each band gives you a
clear, visual idea of frequency responses. You can select a center frequency setting for each band from
twelve types, according to the sound.

Mono In - Mono Out

In
Wet / Dry

Trim
Band1 Band2 Band3 Band4 Band5 Band6 Band7

1:Wide 1
2:Wide 2
3:Wide 3
4:Half Wide 1
5:Half Wide 2
6:Half Wide 3 Selects a combination of center frequencies for each band.
a Type
7:Low ☞P.22
8:Wide Low
9:Mid
10:Wide Mid
11:High
12:Wide High
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.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j 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.

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 07: Wah/Auto Wah

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07: Wah/Auto Wah
This wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation,
and much broader range settings. You can select Band Pass or Low Pass for the wah filter.

Mono In - Mono Out

In
Wet / Dry

Wah
Envelope Sens
Auto
Envelope Shape

D
-mod
Response
D-mod Sweep Mode

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
Switches between auto-wah control and modulation
Sweep Mode Auto, D-mod
source. ☞P.24
Modulation source used to control wah when Sweep
c Src None…Tempo
Mode is set to D-mod.
How quickly the wah effect responds to dynamic modula-
Response 0…10
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.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 07: Wah/Auto Wah

a: Frequency Bottom The sweep width and direction of the wah filter are determined by the Fre-
b: Frequency Top quency Top and Frequency Bottom settings.

Sweep Mode=D-mod
Frequency Frequency

Higher
Top=75 Wah

Bottom=60
Higher

Wah
Woo

Top=30
Bottom=25 Woo

Higher D-mod Higher D-mod

Zero Max Zero Max

Sweep Mode=Auto
Frequency Frequency

Wah Wah Wah

Top=75 Bottom=75
Higher

Higher
Envelope

Woo Woo
Bottom=25 Top=25
Woo

Envelope Time Envelope Time

c: Sweep Mode This parameter changes the wah control mode. Setting Sweep Mode to Auto
will select an auto-wah that sweeps according to envelope changes in the input
signal level. Auto-wah is frequently used for funk guitar parts and clav sounds.
When Sweep Mode is set to D-mod, you can control the filter directly via the
modulation source in the same way as a wah pedal.

d: Envelope Sens 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.

Envelope Shape
Level

Envelope

value = 0...+100

value = 0...–100

Time

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 08: Random Filter

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08: Random Filter
The filter frequency changes randomly. You can create a special effect from filter oscillation.

Mono In - Mono Out

In
Wet / Dry

Filter

Random LFO

LFO Frequency [Hz] 0.05…50.00Hz Speed of LFO that modulates the filter
a 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
Depth 0…100 Modulation depth of filter center frequency
c Src None…Tempo Modulation source of filter modulation
Amt –100…+100 Modulation amount of filter modulation
d Resonance 0…100 Sets the resonance amount.
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25
e
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

e: Wet/Dry The effect sound’s phase will be reversed when you set this parameter in the
range of values from –Wet to –1:99.

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 09: Dyna Exciter

09: Dyna Exciter

This effect gives a frame to a sound and emphasizes the outline. You can control the intensity of the effect
using dynamic modulation.

Mono In - Mono Out

In
Wet / Dry
LEQ HEQ
Exciter
EQ Trim

D-mod

Blend –100…+100 Sets the intensity (depth) of the Exciter effect. ☞P.26
a Src None…Tempo Modulation source of the Exciter intensity
Amt –100…+100 Modulation amount of the Exciter intensity
Emphatic Point 0…140 Sets the frequency to be emphasized. ☞P.26
b 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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
f 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.

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 10: Sub Oscillator

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10: Sub Oscillator
This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring
drum sound or emphasizing powerful low range harmonics. You can also adjust the oscillator frequency
to match a particular note number, for use as an octaver.

Mono In - Mono Out

In
Wet / Dry

Pre LPF
Envelope Shape

Fixed
Sine Oscillator
Fixed Frequency
Pitch
OSC Mode
Note No. Note Interval, Fine
Note (Key Follow)

Determines whether the oscillator frequency follows the

a OSC Mode Note (Key Follow), Fixed
note number or whether it is fixed. ☞P.27
When OSC Mode = Note (Key Follow), this parameter
Note Interval –48…0
b 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
When OSC Mode = Fixed, this parameter sets the oscilla-
Fixed Frequency [Hz] 10.0…80.0Hz
tor frequency. ☞P.27
Oscillator frequency modulation source when OSC Mode
d Src None…Tempo
= Fixed.
Oscillator frequency modulation amount when OSC Mode
Amt –80…+80Hz
= Fixed.
The upper limit of the frequency range for which very low
e Envelope Pre LPF 1…100
harmonics are added. ☞P.27
Sets the sensitivity with which very low harmonics are
f Envelope Sens 0…100
added.
g Envelope Shape –100…+100 Sets the oscillator’s volume envelope curve.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: OSC Mode The OSC Mode parameter selects the oscillator operation mode. When Note
b: Note Interval (Key Follow) is selected, the oscillator’s frequency is determined based on the
b: Src note number, allowing you to use it as an octaver. The Note Interval parameter
c: Note Fine 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.

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 11: Decimator

11: Decimator
This effect creates a rough sound like a cheap sampler by lowering the sampling frequency. You can also
simulate noise unique to a sampler (aliasing).

Mono In - Mono Out

In
Wet / Dry

Pre LPF High Damp

Decimator

Sampling Frequency

Selects whether the harmonic noise caused by decrease

a Pre LPF Off, On
in sampling frequency is generated or not. ☞P.28
Sampling Freq [Hz]
1.00k…24.00kHz Sets the sampling frequency.
(Sampling Frequency)
b
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
d 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.

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 12: Chorus

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12: Chorus
This effect adds thickness and warmth to the sound by modulating the delay time of the input signal.

Mono In - Mono Out

In
Wet / Dry

LEQ HEQ
Chorus
EQ Trim

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects LFO Waveform.

LFO Frequency [Hz] 0.02…20.00Hz LFO speed
b 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
Depth 0…100 Depth of LFO modulation
d 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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25
h
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 13: Harmonic Chorus

13: Harmonic Chorus

This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass
sound without making the sound thinner. You can also use this chorus block with feedback as a flanger.

Mono In - Mono Out

In
Low Level Wet / Dry

Chorus/Flanger
High Level
High Damp
High/Low Split Point
Feedback
LFO: Triangle

LFO frequency [Hz] 0.02…20.00Hz LFO speed

a 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
Depth 0…100 Depth of LFO modulation
c Src None…Tempo Modulation source of the LFO modulation depth
Amt –100…+100 Modulation amount of the LFO modulation depth
Frequency split point between the low and high range
d High/Low Split Point 1…100
☞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)
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i 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.

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 14: Ensemble

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14: Ensemble
This chorus effect is created by a subtle shimmering LFO, and adds richness and thickness to the sound.
It is most effective on the string sounds.

Mono In - Mono Out

In
Wet / Dry

Ensemble

Shimmer

LFO

Speed 1…100 LFO speed

a 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
Depth 0…100 Depth of LFO modulation
c Src None…Tempo Modulation source of the LFO modulation depth
Amt –100…+100 Modulation amount of the LFO modulation depth
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
d 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 LFO
Level

Shimmer

Time

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 15: Flanger

15: Flanger
This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied
to a sound with a lot of harmonics, such as cymbals or electric guitar sounds.

Mono In - Mono Out

In
Wet / Dry

Flanger

Feedback High Damp

LFO: Tri / Sine LFO Shape

a Delay Time [msec] 0.0…50.0msec Delay from the original sound

b LFO Waveform Triangle, Sine Selects the LFO Waveform.
Determines how much the LFO waveform is changed.
c LFO Shape –100…+100
☞P.32
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
d 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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 32
h
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

c: LFO Shape Changing the LFO waveform shape controls the peak sweep of flanging effects.

LFO Shape

LFO Shape = 0...+100 LFO Shape = 0...–100

LFO Waveform=Sine

f: Feedback The peak shape of the positive and negative Feedback value is different. The
h: Wet/Dry 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.

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 16: Tempo Flanger

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16: Tempo Flanger
This Flanger allows you to match the LFO cycle with a song’s tempo. For example, you can apply the
Flanger synchronizing to a sequencer rhythm pattern, or you can input a tempo before a live performance
so that the flanging effect will match the song tempo. The LFO cycle can be set in steps of one note.

Mono In - Mono Out

In
Wet / Dry

Flanger

Feedback High Damp

Tempo D-mod

LFO Mode
120 [beat/min] Length: 1/4 LFO: Tri / Sine LFO Shape
Manual

a Delay Time [msec] 0.0…50.0msec Delay from the original sound

b LFO Waveform Triangle, Sine Selects the LFO waveform.
Determines how much the LFO waveform is changed.
c LFO Shape –100…+100
☞P.32
Switches between the specified tempo and clock sync.
LFO Mode Manual, D-mod
d ☞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
Sets the LFO cycle. LFO Cycle = Length x Whole Note.
f Length 1…16/1…16
☞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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 32
j
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

d: LFO Mode This parameter selects the LFO operation mode. When Manual is selected, the
d: Src (fixed) 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.

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 17: Envelope Flanger

17: Envelope Flanger

This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging
each time you play. You can also control the Flanger directly using the modulation source.

Mono In - Mono Out

In
Wet / Dry

Flanger

Feedback High Damp

D-mod
D -mod

EG Decay Sweep Mode

EG

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
Determines whether the flanger is controled by the enve-
Sweep Mode EG, D-mod
lope generator or by the modulation source. ☞P.34

c Modulation source that triggers the EG (when EG is

selected for Sweep Mode), or modulation source that
Src None…Tempo
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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 32
g
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

c: Sweep Mode This parameter switches the flanger control mode. With Sweep Mode = EG, the
c: Src 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.

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 18: Phaser

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18: Phaser
This effect creates a swell by shifting the phase. It is very effective on electric piano sounds.

Mono In - Mono Out

In
Wet / Dry

Phaser

Resonance High Damp

LFO: Tri / Sine LFO Shape

a LFO Waveform Triangle, Sine Selects the LFO Waveform.

Determines how much the LFO waveform shape is
b LFO Shape –100…+100
changed.☞P.32
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
c 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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 35
h
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

f: Resonance The peak shape of the positive and negative Feedback value is different. The
h: Wet/Dry 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.

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 19: Tempo Phaser

19: Tempo Phaser

This Phaser allows you to match the LFO cycle with the song tempo. For example, you can synchronize
the Phaser to a sequencer rhythm pattern, or you can input a tempo before a live performance so that the
phasing effect will match the song tempo.

Mono In - Mono Out

In
Wet / Dry

Phaser

Resonance High Damp

Tempo D-mod

LFO Mode
120 [beat/min] Length: 1/4 LFO: Tri / Sine LFO Shape
Manual

a LFO Waveform Triangle, Sine Selects the LFO waveform.

Determines how much the LFO waveform is changed.
b LFO Shape –100…+100
☞P.32
Switches between the specified tempo and clock sync.
LFO Mode Manual, D-mod
c ☞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
Sets the resonance damping amount in the high range.
i High Damp [%] 0…100%
☞P.35
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 35
j
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 20: Envelope Phaser

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20: Envelope Phaser
This Phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each
time you play. You can also control the Phaser directly using the modulation source.

Mono In - Mono Out

In
Wet / Dry

Phaser

Resonance High Damp

D-mod
D -mod

EG Decay Sweep Mode

EG

Manu Bottom Sets the lower limit of the frequency range to which the
a 0…100
(Manual Bottom) effect is applied. ☞P.24
Manu Top Sets the higher limit of the frequency range to which the
b 0…100
(Manual Top) effect is applied. ☞P.24
Determines whether the phaser is controlled by the enve-
Sweep Mode EG, D-mod
lope generator or by the modulation source. ☞P.34

c Modulation source that triggers the EG (when EG is

selected for Sweep Mode), or modulation source that
Src None…Tempo
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
Sets the resonance damping amount in the high range.
f High Damp [%] 0…100%
☞P.35
–Wet, –99…–1, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1…99, Wet ☞P.25, 35
g
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 21: Vibrato

21: Vibrato
This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or
decrease the shimmering speed.

Mono In - Mono Out

In
Wet / Dry

Vibrato

LFO: Tri / Sine LFO Shape

AutoFade LFO Frequency

Sets the modulation source that starts AutoFade.

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

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 22: Resonator

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22: Resonator
This effect resonates the input signal at a specified pitch. For example, the Resonator will add a unique
character to a string sound by emphasizing certain harmonics, or give a “pitch” to a drum sound. You can
control the resonance intensity via an LFO.

Mono In - Mono Out

In
Wet / Dry
High Damp

Resonator
Trim

Resonance

Manual

Pitch, Fine [cent]

LFO Control Mode

a 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
Sets the intensity of resonance when Control Mode =
g Resonance –100…+100
Manual. ☞P.39
Damping amount of resonant sound in the high range
h High Damp [%] 0…100%
☞P.39
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Contol Mode This parameter determines whether the resonance intensity is controlled by an
g: Resonance LFO or not.
With Control Mode = Manual, the Resonance parameter sets the intensity of res-
onance. If the Resonance parameter has a negative value, harmonics will be
changed, and resonance will occur at a pitch one octave below.
With Control Mode = LFO, the intensity of resonance varies according to the
LFO. The LFO sways between positive and negative values, causing resonance
to occur between specified pitches an octave apart in turn.

e: Pitch The Pitch parameter specifies the pitch of resonance by note name. The Fine
f: Fine [cent] parameter allows for fine adjustment in steps of cents.

h: High Damp [%] This parameter sets the damping amount of resonant sound in the high range.
Lower values will make a metallic sound with a higher range of harmonics.

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 23: Ring Modulator

23: Ring Modulator

This effect creates a metallic sound by routing the input signal to an Oscillator. You will obtain a very rad-
ical modulation by modulating or operating the Oscillator using an LFO or dynamic modulation. Since
the Oscillator frequency can match the note number, you can create a ring modulation effect that follows
the scale.

Mono In - Mono Out

In
Wet / Dry

Pre LPF
Ring Modulator

Fixed Sine Oscillator

Fixed Frequency
Pitch
OSC Mode
Note No. Note Offset, Fine
Note (Key Follow)

LFO

Sets the damping amount of the sound input to the Ring

a Pre LPF 0…100
Modulator in the high range. ☞P.40
Determines whether the Oscillator frequency is specified
b OSC Mode Fixed, Note (Key Follow)
or the note number is followed. ☞P.40
Fixed Frequency [Hz] 0…12.00kHz Oscillator frequency when OSC Mode = Fixed ☞P.41
Modulation Source of the Oscillator frequency when OSC
Src None…Tempo
c Mode = Fixed
Modulation Amount of the Oscillator frequency when OSC
Amt –12.00…+12.00kHz
Mode = Fixed
Pitch difference from the note number when OSC Mode =
Note Offset –48…+48
Note (Key Follow) ☞P.41
d
Note number information source (Fixed to Note #)
Src (fixed) Note No.
☞P.41
e Note Fine –100…+100 Fine adjustment of the Oscillator frequency ☞P.41
LFO Frequency [Hz] 0.02…20.00Hz Speed of LFO that modulates the Oscillator frequency
f Src None…Tempo Modulation source of LFO speed
Amt –20.00…+20.00Hz Modulation amount of LFO speed
Depth of LFO modulation applied to the Oscillator fre-
Depth 0…100
quency
g
Src None…Tempo Modulation source of modulation depth
Amt –100…+100 Modulation amount of modulation depth
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h 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.

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 23: Ring Modulator

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d: Note Offset These are used to set the oscillator when OSC Mode is set to Note (Key Follow).
e: Note Fine 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.

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 24: Tremolo

24: Tremolo
This effect modulates the volume level of the input signal.

Mono In - Mono Out

In
Wet / Dry

Tremolo

LFO: Tri/Sin/Sqr/Up/Down LFO Shape

Triangle, Sine, Square, Up,

a LFO Waveform Selects LFO Waveform. ☞P.42
Down
Determines how much the shape of LFO waveform is
b LFO Shape –100…+100
changed. ☞P.32
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
c Src None…Tempo Modulation source of LFO speed
Amt –20.00…+20.00Hz Modulation amount of LFO speed
Depth 0…100 Depth of LFO modulation
d Src None…Tempo Modulation source of the depth of modulation
Amt –100…+100 Modulation amount of the depth of modulation
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
e 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 - LFO Waveform

Triangle Sine Square Up Down

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 25: Rotary Speaker

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.

Mono In - Mono Out

In
Wet / Dry

Horn
Mic Distance

Rotary Speaker
Rotor/Horn
Balance

Rotor

D-mod Speed Switch: Slow/Fast

Switches the speaker rotation speed between slow and

Speed Switch Slow, Fast
fast.
a Src None…Tempo Modulation source that toggles between slow and fast
Selects switching mode of the modulation source that tog-
Sw Momentary, Toggle
gles between slow and fast.☞P.43
How quickly the horn rotation speed in the high range is
b Horn Acceleration 0…100
switched ☞P.43
Adjusts the (high-range side) horn rotation speed. Stan-
c Horn Ratio Stop, 0.5…2.0
dard value is 1.0. Selecting “Stop” will stop the rotation.
Distance between the microphone and rotary speaker.
d Mic Distance 0…100
☞P.43
Sets the volume level balance between the low-range
e Rotor/Horn Balance Rotor, 1…99, Horn
rotor and high-range horn.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
f 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.

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 26: Delay

26: Delay
This delay effect delays the input signal over time. You can change the character of the delay sound by
setting the feedback damping amount separately for the low range and high range.

Mono In - Mono Out

In
Wet / Dry
High Damp Low Damp
Delay
Input Level D-mod

Feedback

a Delay Time [msec] 0.0…680.0msec Sets the delay time.

Feedback –100…+100 Sets the feedback amount.
b 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
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
e
Amt –100…+100 Modulation amount of the input level
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
f Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

c: High Damp [%] These parameters set the damping amount for the high range and low range
d: Low Damp [%] respectively. Each time feedback is input, the tone of the delay sound becomes
darker, or lighter.

e: Input Level D-mod: Src:These parameters set dynamic modulation of the input level.
e: Amt

Input Level D-mod

Input Level Input Level

x1.0 x1.0 Amt= –50

Amt= –100
Amt= +100
Amt= +50
Louder

Louder

x0.5 x0.5

Higher D-mod Higher D-mod

Zero Max Zero Max

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 27: Multitap Delay

size1
27: Multitap Delay
This Multitap Delay has two taps for delay. With various delay time settings, you can create complex
delay sounds.

Mono In - Mono Out

In
Wet / Dry
Feedback

Delay Tap1=(1)
(2)
Input Level D-mod High Damp Low Damp (1) Tap2=(2)
Tap1 Level

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
Feedback –100…+100 Sets the Tap2 feedback amount.
d 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
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
g
Amt –100…+100 Modulation amount of the input level
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h 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.

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 28: Early Reflections

28: Early Reflections

This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You
can also create sounds such as gated reverb and reversed effects by selecting the decay curve of the early
reflection.

Mono In - Mono Out

In
Wet / Dry

LEQ HEQ
Pre Delay Early Reflections
EQ Trim

Sharp, Loose, Modulated,

a Type Selects the decay curve for the early reflection. ☞P.46
Reverse
b ER Time [msec] 10…400msec Time length of early reflection
Time taken from the original sound to the first early reflec-
c Pre Delay [msec] 0…200msec
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
g 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.

Early Reflections - Type

Sharp

Loose

Modulated

Reverse

Dry Pre Delay ER Time

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 00: St. Amp Simulation (Stereo Amp Simulation)

00: St. Amp Simulation (Stereo Amp Simulation)

This is a stereo amp simulator.

size2
Stereo In - Stereo Out

Left
Wet / Dry

Amp Simulation Filter

Amp Simulation Filter

Right
Wet / Dry

a Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
b Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 01: Stereo Compressor

01: Stereo Compressor

This is a stereo compressor. You can link left and right channels, or use each channel separately.

Stereo In - Stereo Out

Left
Wet / Dry

EQ Trim LEQ HEQ

Compressor Output Level

Envelope - Control
+ Envelope Select
Envelope - Control

Output Level
Compressor
EQ Trim LEQ HEQ

Right
Wet / Dry

Determines whether the left and right channels are linked

a Envelope Select L/R Mix, L/R Individually
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h 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.

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 02: Stereo Limiter

02: Stereo Limiter

This effect is a stereo limiter. You can link left and right channels, or use each channel individually.

size2
Stereo In - Stereo Out
Left
Wet / Dry
Gain Adjust

Limiter
Side PEQ
Envelope - Control Trigger Monitor
+
Envelope - Control

Envelope Select
Limiter
Gain Adjust

Right
Wet / Dry

Selects from linking both channels, controlling only from

L/R Mix, L Only, R Only, L/R
a Envelope Select left channel, only from the right channel, or controlling
Individually
each channel individually. ☞P.49
b Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. ☞P.15
Sets the level above which the compressor is applied.
c Threshold [dB] –40…0dB
☞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
Side PEQ Cutoff [Hz] 20…12.00kHz Trigger signal’s EQ center frequency ☞P.16
h Q 0.5…10.0 Trigger signal’s EQ bandwidth
Gain [dB] –18.0…+18.0dB Trigger signal’s EQ gain
Switches between effect output monitor and trigger signal
i Trigger Monitor Off, On
monitor.☞P.16
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j 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.

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 03: Multiband Limiter

03: Multiband Limiter

This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can
control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range
in a different way from the EQ.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry
Band-Pass Filters
Low
Limiter
Envelope - Control
Mid Low Offset
+ Limiter
Envelope - Control Gain Adjust
High Mid Offset
Limiter
Envelope - Control
High Offset
Right
Wet / Dry

a Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. ☞P.15

Sets the level above which the compression is applied.
b Threshold [dB] –40…0dB
☞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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

e: Low Offset [dB] These parameters set the input gain of the trigger signal.
f: Mid Offset [dB]
For example, if you do not want to apply compression to the high range, reduce
g: High Offset [dB]
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.

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 04: Stereo Gate

04: Stereo Gate

This is a stereo gate effect. Three types are available to turn the gate on/off. This effect features a Hold
function that keeps the gate open for a specified period of time.

size2
Stereo In - Stereo Out
Left
Wet / Dry

Delay Gate

Envelope - Control
+
Envelope - Control

Envelope Select Delay Gate

Right
Wet / Dry

Gate+Sus

Level(Hold time is not avail-

Selects from No hold, Hold from attack, and hold from
a Type Select able), Trigger Attack, Trigger
release. ☞P.51
Release
D-mod, L/R Mix, L Only, R Selects from Control via the modulation source, mixing
Envelope Select
Only the left and right signals, Only left, and Only right.☞P.52
b
Modulation source that controls the gate when Envelope
Src None…Gate2+Sus
Select = D-mod
Switches between non-reversed and reversed Gate on/
c Polarity +, –
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Type Select This parameter selects the gate type.

e: Hold Time [msec]
With Type Select = Level, the gate is opened when the input signal level exceeds
the specified Threshold value, and the gate is closed when the level is below the
Threshold. Hold Time is not effective.
With Type Select = Trigger Attack, the gate is open only during the period speci-
fied in the Hold Time field, after the input signal level exceeds the Threshold
value. Once the gate is closed, it remains closed until the input level exceeds the
Threshold value again.
With Type Select = Trigger Release, the gate is open when the input signal level
exceeds the Threshold value. The gate is closed for a period specified in the Hold
Time field after the level falls below the Threshold.

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 04: Stereo Gate

Stereo Gate - Type Select

Threshold

Dry

Wet
Level

Attack Release

Wet
Trigger Attack

Release
Attack

Hold Time
Trigger

Wet
Trigger Release

Release
Attack

Hold Time
Trigger

b: Envelope Select The Envelope Select parameter selects whether the gate on/off is triggered by
b: Src 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.

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 05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah)

05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah)

This effect is a distortion with wah, 4-band EQ and amp simulator.

size2
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

Mode: Overdrive / Hi-Gain

Drive
Pre Low-cut 4 Band PEQ
+ Wah Driver Amp Simulation
Output Level

Direct Mix

Right
Wet / Dry

D-mod

Wah Off, On Switches Wah on/off. ☞P.54

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

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 05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah)

a: Wah The Wah parameter switches the wah effect on/off. The wah center frequency
a: Src 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.

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 06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ)

06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ)

This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and
4. The gain of Band 2 can be controlled by dynamic modulation.

size2
Stereo In - Stereo Out

Left
Band1 Band2 Band3 Band4 Wet / Dry

PEQ PEQ PEQ PEQ

Trim
LEQ HEQ

LEQ HEQ
Trim

PEQ PEQ PEQ PEQ

Right
Wet / Dry

D-mod

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
Band2 Dynamic Gain Src None…Tempo Modulation source of the Band 2 gain☞P.21
d
Amt [dB] –18.0…+18.0dB Modulation amount of Band 2 gain
Band1 Cutoff [Hz] 20…1.0kHz Sets the center frequency for Band 1.
e Q 0.5…10.0 Band 1 bandwidth☞P.19
Gain [dB] –18.0…+18.0dB Sets the gain of Band 1.
Band2 Cutoff [Hz] 50…10.00kHz Sets the center frequency for Band 2.
f Q 0.5…10.0 Band 2 bandwidth☞P.19
Gain [dB] –18.0…+18.0dB Sets the gain of Band 2.☞P.21
Band3 Cutoff [Hz] 300…10.00kHz Sets the center frequency for Band 3.
g Q 0.5…10.0 Band 3 bandwidth☞P.19
Gain [dB] –18.0…+18.0dB Sets the gain of Band 3.
Band4 Cutoff [Hz] 500…20.00kHz Sets the center frequency for Band 4.
h 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.

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 07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ)

07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ)

This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear,
visual idea of frequency responses. You can select a center frequency setting for each band from twelve
types, according to the sound.

Stereo In - Stereo Out

Left
Wet / Dry

Trim
Band1 Band2 Band3 Band4 Band5 Band6 Band7

Trim

Band1 Band2 Band3 Band4 Band5 Band6 Band7

Right
Wet / Dry

1:Wide 1
2:Wide 2
3:Wide 3
4:Half Wide 1
5:Half Wide 2
6:Half Wide 3 Selects a combination of center frequencies for each band.
a Type
7:Low ☞P.22
8:Wide Low
9:Mid
10:Wide Mid
11:High
12:Wide High
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.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 08: Graphic 13Band EQ

08: Graphic 13Band EQ

This effect is a 13-band graphic equalizer that allows for finer equalization. Two types of settings are
available for the center frequency of each band.

size2
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

Trim

+
Band1 Band3 Band5 Band7 Band9 Band11 Band13
Band2 Band4 Band6 Band8 Band10 Band12

Trim

Right
Wet / Dry

Selects a combination of center frequencies for each band.

a Type A, B
☞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.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
p 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.

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 09: St. Random Filter (Stereo Random Filter)

09: St. Random Filter (Stereo Random Filter)

This effect is a stereo random filter. You can also fade in the effect sound using Auto-Fade, or change the
LFO speed.

Stereo In - Stereo Out

Left
Wet / Dry

Filter

Spread

Filter

Right
Wet / Dry
Random LFO
Random LFO

AutoFade LFO Frequency

Depth
Wet / Dry

Selects the modulation source that triggers AutoFade.

AUTOFADE Src None…Tempo
a ☞P.59
Fade-In Rate 1…100 Sets the rate of fade-in.
LFO Frequency [Hz] 0.05…50.00Hz Speed of LFO that modulates the filter
b 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
Depth 0…100 Modulation depth of filter center frequency
Modulation source of filter modulation. AutoFade is avail-
d Src None…AUTOFADE
able
Amt –100…+100 Modulation amount of filter modulation
e Resonance 0…100 Sets the resonance amount.
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25
f Modulation source of effect balance. AutoFade is avail-
Src None…AUTOFADE
able
Amt –100…+100 Modulation amount of effect balance

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 09: St. Random Filter (Stereo Random Filter)

a: AUTOFADE Src If AutoFade is selected for the LFO speed, depth of modulation, and Effect Bal-
a: Fade-In Rate 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.

size2
The following is an example of fade-in where the effect balance is increased
from “Dry” to “50” when a note-on message is received.
a: AUTOFADE Src = Gate1
f: Wet/Dry = Dry
f: Src = AUTOFADE
f: Amt = +50
The effect is off when a value for the dynamic modulation source speci-
fied for the AUTOFADE Src parameter is smaller than 64, and the effect is
on when the value is 64 or higher. The AutoFade function is triggered
when the value changes from 63 or smaller to 64 or higher.

AUTOFADE AutoFade

AUTOFADE Src=Gate1
Wet/Dry=Dry
Gate1 Signal Src=AUTOFADE
Amt=+50

Note On All Note Off

Wet/Dry=50:50

AUTOFADE Fade-In Rate

Wet/Dry=Dry

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 10: Stereo Enhancer

10: Stereo Enhancer

This effect spreads and adds presence to the sound, and also functions as a stereo exciter. It is useful when
you wish to emphasize a stereo image of the input signal or create a stereo image from a monaural
source.

Stereo In - Stereo Out

Left
Wet / Dry

LEQ HEQ
Exciter
EQ Trim
Delay

Ambience Width

Delay
EQ Trim

Exciter
Enhancer
Right
Wet / Dry

D-mod

Exciter Blend –100…+100 Sets the intensity (depth) of the Exciter effect.☞P.26
a Src None…Tempo Modulation source of the Exciter intensity
Amt –100…+100 Modulation amount of the Exciter intensity
Emphatic Point 0…140 Sets the frequency to be emphasized. ☞P.26
b 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
Enhancer Width –100…+100 Determines to what degree the Enhancer effect is applied
e Src None…Tempo Modulation source of the Enhancer width
Amt 0…+100 Modulation amount of the Enhancer width
Determines to what degree the Enhancer ambience effect
f Enhancer Ambience 0…100
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

c: Enhancer Dly L [msec] These parameters set the delay time for the Enhancer left and right channel.
d: Enhancer Dly R [msec] Specifying a slightly different delay time for the left and right channel will add a
stereo image, depth, and width to the sound.

f: Enhancer Ambience This parameter determines to what degree the Enhancer ambience effect is
applied. The ambience effect will create a wider stereo image. However, if e:
Enhancer Width is set to 0 or the input source is monaural, this effect is not cre-
ated.

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 11: Talking Modulator

11: Talking Modulator

This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via
dynamic modulation, you can create an interesting effect that sounds as if the instrument is talking.

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Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

+ Talking Modulator A-I-U-E-O

Right
Wet / Dry

Voice Top: A
D-mod Voice Center: I
Voice Bottom: U

Bottom, 1…49, Center,

Manual Voice Control Voice pattern control
a 51…99, Top
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
Selects a vowel sound at the bottom end of control.
d Voice Bottom A, I, U, E, O
☞P.61
Adjusts the frequency to which the effect is applied.
e Formant Shift –100…+100
☞P.62
f Resonance 0…100 Level of resonance of the voice pattern
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
g Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

b: Voice Top These parameters assign vowel sounds to the top, center, and bottom of the con-
c: Voice Center troller.
d: Voice Bottom
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.”

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 11: Talking Modulator

Talking Modulator Control

Voice Bottom Voice Center Voice Top

A A
I
U
E
O
JS(X)
D -mod
Ribbon(X) – Max Zero
+ Max

JS(+Y)
JS(–Y) + Max
etc… Zero

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.

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 12: Stereo Decimator

12: Stereo Decimator

This is a stereo decimator.

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Stereo In - Stereo Out

Left
Wet / Dry

Pre LPF High Damp

Decimator

Sampling Frequency

Decimator
Pre LPF High Damp

Right
Wet / Dry

Selects whether the harmonic noise caused by a

a Pre LPF Off, On decrease in sampling frequency is generated or not.
☞P.28
Sampling Freq [Hz]
1.00k…24.00kHz Sets the sampling frequency.
(Sampling Frequency)
b
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
d Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 13: Stereo Chorus

13: Stereo Chorus

This is a stereo chorus. You can add spread to the sound by offsetting the phase of the left and right LFOs
from each other. The chorus effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left
Wet / Dry

LEQ HEQ
Chorus
EQ Trim

Spread

LEQ HEQ
Chorus
EQ Trim

Right
Wet / Dry

LFO Phase

LFO: Tri / Sine

AutoFade LFO Frequency

Depth
Wet / Dry

Selects the modulation source that triggers AutoFade.

AUTOFADE Src None…Tempo
a ☞P.59
Fade-In Rate 1…100 Sets the rate of fade-in.
LFO Waveform Triangle, Sine Selects LFO Waveform.
b
LFO Phase [degree] –180…+180 LFO phase difference between the left and right☞P.65
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
c 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
Depth 0…100 Depth of LFO modulation
Modulation source of the LFO modulation depth. Auto-
f Src None…AUTOFADE
Fade is available
Amt –100…+100 Modulation amount of the LFO modulation depth
g EQ Trim 0…100 EQ input level
Pre LEQ Gain [dB] –15.0…+15.0dB Low-EQ gain
h
Pre HEQ Gain [dB] –15.0…+15.0dB High-EQ gain
Sets the spread of stereo image of the effect sound.
i Spread –100…+100
☞P.65
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25
j Modulation source of effect balance. AutoFade is avail-
Src None…AUTOFADE
able
Amt –100…+100 Modulation amount of effect balance

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 13: Stereo Chorus

b: LFO Phase [degree] Shifting the left and right LFOs’ phase will cause modulation to be applied dif-
ferently for the right and left, spreading and swelling the effect sound between
the left and right.

LFO Phase

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0 +90 +180 [degree]

–180 –90 0 [degree]

d: L Pre Delay [msec] Setting the left and right delay time individually allows you to control the stereo
e: R Pre Delay [msec] 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.

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 14: St. Harmonic Chorus (Stereo Harmonic Chorus)

14: St. Harmonic Chorus (Stereo Harmonic Chorus)

This is a stereo harmonic chorus. Shifting the left and right LFO phases from each other will add spread
to the sound.

Stereo In - Stereo Out

Left
Low Level Wet / Dry

Chorus/Flanger
High Level
High Damp

High/Low Split Point Feedback

High Damp
High Level
Chorus/Flanger

Low Level
Right
Wet / Dry

LFO Phase

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects LFO Waveform.

b LFO Phase [degree] –180…+180 LFO phase difference between the left and right ☞P.65
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
c 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
Depth 0…100 Depth of LFO modulation
e Src None…Tempo Modulation source of the LFO modulation depth
Amt –100…+100 Modulation amount of the LFO modulation depth
Frequency split point between the low and high range
f High/Low Split Point 1…100
☞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)
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 15: Multitap Chorus/Dly (Multitap Chorus/Delay)

15: Multitap Chorus/Dly (Multitap Chorus/Delay)

This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by
setting each block’s delay time, depth, output level, and pan individually. You can also fix some of the
chorus blocks to combine the chorus and delay effects.

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Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out

Left
Wet / Dry
Feedback

Tap1 Delay Level Pan

Tap2 Delay Level Pan

+
Tap3 Delay Level Pan

Tap4 Delay Level Pan

Right
0 [degree] Wet / Dry
180 [degree]
90 [degree]
270 [degree]
LFO: Triangle

a LFO Frequency [Hz] 0.02…13.00Hz LFO speed

Tap1(000) [msec] 0…570msec Tap1 (LFO phase=0 degrees) delay time
Depth 0…30 Tap1 chorus depth
b
Level 0…30 Tap1 output level
Pan L6…L1, C, R1…R6 Tap1 stereo image
Tap2(180) [msec] 0…570msec Tap2 (LFO phase=180 degrees) delay time
Depth 0…30 Tap2 chorus depth
c
Level 0…30 Tap2 output level
Pan L6…L1, C, R1…R6 Tap2 stereo image
Tap3(090) [msec] 0…570msec Tap3 (LFO phase=90 degrees) delay time
Depth 0…30 Tap3 chorus depth
d
Level 0…30 Tap3 output level
Pan L6…L1, C, R1…R6 Tap3 stereo image
Tap4(270) [msec] 0…570msec Tap4 (LFO phase=270 degrees) delay time
Depth 0…30 Tap4 chorus depth
e
Level 0…30 Tap4 output level
Pan L6…L1, C, R1…R6 Tap4 stereo image
Tap1 Feedback –100…+100 Tap1 feedback amount
Modulation source of Tap1 feedback amount and effect
f Src None…Tempo
balance
Amt –100…+100 Tap1 feedback amount and modulation amount
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
g
Amt –100…+100 Modulation amount of effect balance

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 16: Ensemble

16: Ensemble
This Ensemble effect has three chorus blocks, and gives three dimensional depth and spread to the sound,
because the signal is output from the left, right, and center.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

+ Ensemble

Right
Wet / Dry

Shimmer

LFO

Speed 1…100 LFO speed

a 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
Depth 0…100 Depth of LFO modulation
c Src None…Tempo Modulation source of the LFO modulation depth
Amt –100…+100 Modulation amount of the LFO modulation depth
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
d Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 17: Stereo Flanger

17: Stereo Flanger

This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs
from each other. The flanging effect can fade-in by means of the AutoFade function.

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Stereo In - Stereo Out

Left
Wet / Dry

Flanger

FB Mode Feedback Spread

(Normal/Cross)

High Damp
Flanger
FB Mode
(Normal/Cross)

Right
Wet / Dry

LFO Phase

LFO: Tri / Sine LFO Shape

AutoFade LFO Frequency

Wet / Dry

Selects the modulation source that triggers AutoFade.

AUTOFADE Src None…Tempo
a ☞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
LFO Waveform Triangle, Sine Selects LFO Waveform.
c Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
d LFO Phase [degree] –180…+180 LFO phase difference between the left and right☞P.65
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
e 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
Feedback –100…+100 Feedback amount☞P.32
g
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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 32
j Modulation source of effect balance. AutoFade is avail-
Src None…AUTOFADE
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.

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 18: St. Random Flanger (Stereo Random Flanger)

18: St. Random Flanger (Stereo Random Flanger)

This is a stereo flanger. The effect uses a step-shape waveform and random LFO for modulation, creating
a unique flanging effect.

Stereo In - Stereo Out

Left
Wet / Dry

Flanger

FB Mode Feedback Spread

(Normal/Cross)

High Damp
Flanger
FB Mode
(Normal/Cross)

Right
Wet / Dry

LFO Phase

LFO: Step-Tri/Random

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
LFO Frequency [Hz] 0.02…20.00Hz LFO speed☞P.70
Modulation source used for both LFO speed and step
d Src None…Tempo
speed
Amt –20.00…+20.00Hz Modulation amount of LFO speed
LFO Step Freq (Frequency)
0.05…50.00Hz LFO step speed (speed that changes in steps)☞P.70
e [Hz]
Amt –50.00…+50.00Hz Modulation amount of LFO step speed
f Depth 0…100 Depth of LFO modulation
Feedback –100…+100 Feedback amount☞P.32
g
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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 32
j
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

b: LFO Waveform When Step-Tri is selected for LFO Waveform, the LFO uses a step-shape triangle
d: LFO Frequency [Hz] waveform. Set the LFO Frequency to the speed of the original triangle wave-
e: LFO Step Freq (Fre- form. At this time, changing the LFO Step Freq value will modify the width of
quency) [Hz] the step.
When Random is selected for LFO Waveform, the LFO Step Freq setting will be
used as a cycle of the random LFO.

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 18: St. Random Flanger (Stereo Random Flanger)

Random Flanger LFO

LFO Frequency

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LFO Step Freq

LFO Step Freq

Step-Tri Random

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 19: St. Tempo Flanger (Stereo Tempo Flanger)

19: St. Tempo Flanger (Stereo Tempo Flanger)

This is a stereo tempo flanger. The flanging effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left
Wet / Dry

Flanger

FB Mode Feedback Spread

(Normal/Cross)

High Damp
Flanger
FB Mode
(Normal/Cross)

Right
Wet / Dry

LFO Phase
Tempo D-mod

LFO Mode
120 [beat/min] Length: 1/4 LFO: Tri / Sine LFO Shape
Manual

AutoFade Wet / Dry

Selects the modulation source that triggers AutoFade.

AUTOFADE Src None…Tempo
a ☞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
LFO Waveform Triangle, Sine Selects LFO Waveform.
c Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
d LFO Phase [degree] –180…+180 LFO phase difference between the left and right ☞P.65
Switches between the specified tempo and clock sync.
LFO Mode Manual, D-mod
e ☞P.33
Src (fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo)
Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual☞P.33
f Sets the LFO cycle. LFO Cycle = Length x Whole Note.
Length 1…16 / 1…16
☞P.33
g Depth 0…100 Depth of LFO modulation
Feedback –100…+100 Feedback amount☞P.32
h
FB Mode Normal, Cross Sets the feedback routing.☞P.69
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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 32
j Modulation source of effect balance. AutoFade is avail-
Src None…AUTOFADE
able
Amt –100…+100 Modulation amount of effect balance

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 20: Stereo Phaser

20: Stereo Phaser

This is a stereo phaser. You can add spread to the sound by offsetting the phase of the left and right LFOs
from each other. The phaser effect can fade-in by means of the AutoFade function.

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Stereo In - Stereo Out

Left
Wet / Dry

Phaser

Resonance Spread

High Damp
Phaser

Right
Wet / Dry

LFO Phase

LFO: Tri / Sine LFO Shape

AutoFade LFO Frequency

Wet / Dry

Selects the modulation source that triggers AutoFade.

AUTOFADE Src None…Tempo
a ☞P.59
Fade-In Rate 1…100 Sets the rate of fade-in.
LFO Waveform Triangle, Sine Selects LFO Waveform.
b Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
c LFO Phase [degree] –180…+180 LFO phase difference between the left and right☞P.65
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
d 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
Resonance damping amount in the high range
h High Damp [%] 0…100%
☞P.35
Sets the width of stereo image of effect sound.
i Spread –100…+100
☞P.65
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 35
j Modulation source of effect balance. AutoFade is avail-
Src None…AUTOFADE
able
Amt –100…+100 Modulation amount of effect balance

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 21: St. Random Phaser (Stereo Random Phaser)

21: St. Random Phaser (Stereo Random Phaser)

This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating
a unique phasing effect.

Stereo In - Stereo Out

Left
Wet / Dry

Phaser

Resonance Spread

High Damp
Phaser

Right
Wet / Dry

LFO Phase

LFO: Step-Tri/Step-Sin/Random

a 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
LFO Frequency [Hz] 0.02…20.00Hz LFO speed☞P.70
Modulation source commonly used for LFO speed and
c Src None…Tempo
step speed
Amt –20.00…+20.00Hz Modulation amount of LFO speed
LFO Step Freq (Frequency)
0.05…50.00Hz LFO step speed☞P.70
d [Hz]
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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 35
j
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 22: St. Tempo Phaser (Stereo Tempo Phaser)

22: St. Tempo Phaser (Stereo Tempo Phaser)

This is a stereo tempo phaser. The phasing effect can fade-in by means of the AutoFade function.

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Stereo In - Stereo Out

Left
Wet / Dry

Phaser

Resonance Spread

High Damp
Phaser

Right
Wet / Dry

LFO Phase
Tempo D-mod

LFO Mode
120 [beat/min] Length: 1/4 LFO: Tri / Sine LFO Shape
Manual

AutoFade Wet / Dry

Selects the modulation source that triggers AutoFade.

AUTOFADE Src None…Tempo
a ☞P.59
Fade-In Rate 1…100 Sets the rate of fade-in.
LFO Waveform Triangle, Sine Selects LFO Waveform.
b Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
c LFO Phase [degree] –180…+180 LFO phase difference between the left and right ☞P.65
Switches between the specified tempo and clock sync.
LFO Mode Manual, D-mod
d ☞P.33
Src (fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo)
Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual☞P.33
e Sets the LFO cycle. LFO Cycle = Length x Whole Note.
Length 1…16 / 1…16
☞P.33
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
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 35
j Modulation source of effect balance. AutoFade is avail-
Src None…AUTOFADE
able
Amt –100…+100 Modulation amount of effect balance

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 23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)

23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)

This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parame-
ters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will
create an analog-type, unstable modulated sound.

Stereo In - Stereo Out

Left
Wet / Dry

Chorus/Flanger
High Damp

Feedback

High Damp

Chorus/Flanger

Right
Wet / Dry
180 [degree]

LFO1: Tri / Sine

LFO2: Tri / Sine

LFO1 Waveform Triangle, Sine Selects LFO1 waveform.

a
LFO2 Waveform Triangle, Sine Selects LFO2 waveform.
b LFO Phase Sw 0 degree, 180 degree Switches the LFO phase difference between left and right.
LFO1 Frequency [Hz] 0.02…30.00Hz LFO1 speed
c Src None…Tempo Modulation source of LFO1&2 speed
Amt –30.00…+30.00 Modulation amount of LFO1 speed
LFO2 Frequency [Hz] 0.02…30.00Hz LFO2 speed
d
Amt –30.00…+30.00 Modulation amount of LFO2 speed
Depth1 0…100 Depth of LFO1 modulation
e Src None…Tempo Modulation source of LFO1&2 modulation depth
Amt –100…+100 Modulation amount of LFO1 modulation depth
Depth2 0…100 Depth of LFO2 modulation
f
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
Feedback –100…+100 Feedback amount ☞P.30
i
High Damp [%] 0…100% High range damping amount
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25
j
Src None…Tempo Modulation source of effect balance.
Amt –100…+100 Modulation amount of effect balance

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 23: St. Bi-phase Mod. (Stereo Bi-phase Modulation)

Bi-Phase Modulation LFO

LFO1

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Depth1
+
LFO2

Depth2

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 24: Stereo Vibrato

24: Stereo Vibrato

This is a stereo vibrato. You can set a delay for the time that is taken before the auto-fade starts.

Stereo In - Stereo Out

Left
Wet / Dry

Vibrato

Vibrato

Right
Wet / Dry

LFO: Tri / Sine LFO Shape

AutoFade Fade-In Delay LFO Frequency

Sets the modulation source that starts AutoFade.

AUTOFADE Src None…Tempo
a ☞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.
Determines how much the LFO waveform shape is
d LFO Shape –100…+100
changed. ☞P.32
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
e Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available.
Amt –20.00…+20.00Hz Modulation amount of LFO speed
Depth 0…100 Depth of LFO modulation
f Src None…Tempo Modulation source of the LFO modulation depth
Amt –100…+100 Modulation depth of the LFO modulation depth
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
g Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: AUTOFADE Src If AutoFade is selected for the LFO speed, you can use the AutoFade function to
a: Fade-In Rate apply modulation.
b: Fade-In Delay [msec]
The AUTOFADE Src parameter selects the modulation source that triggers Auto-
Fade. The Fade-in Rate parameter specifies the rate of fade-in. The Fade-in Delay
parameter determines the time from AutoFade modulation source ON until the
fade-in starts.

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 24: Stereo Vibrato

The following is an example of fade-in where the LFO speed is increased from
“1.0Hz” to “4.0Hz” when a note-on message is received.
a: AUTOFADE Src = Gate1
e: LFO Frequency [Hz] = 1.0

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e: Src = AUTOFADE
e: Amt = 3.0
The effect is off when a value for the dynamic modulation source speci-
fied for the AUTOFADE Src parameter is smaller than 64, and the effect is
on when the value is 64 or higher. The AutoFade function is triggered
when the value changes from 63 or smaller to 64 or higher.
AUTOFADE AutoFade

AUTOFADE Src=Gate1
LFO Frequency[Hz]=1.0
Gate1 Signal Src=AUTOFADE
Amt=+3.0

Note On All Note Off

LFO Frequency
Fade-In Rate =1.0+3.0=4.0Hz
AUTOFADE
Fade-In Dealy
LFO Frequency
=1.0Hz

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 25: 2-Voice Resonator

25: 2-Voice Resonator

This resonator has two resonance points. You can set the output level and stereo image (pan) for each res-
onator.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry
High Damp

Resonator
Trim Level Pan

+ Resonance

Resonator
Trim Level Pan
High Damp

Right
Wet / Dry

D-mod Invert: On/Off

LFO Pitch, Fine [cent]

Control Mode
Manual

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

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 25: 2-Voice Resonator

a: Control Mode This parameter determines whether the resonance intensity is controlled by the
e: Voice1: Resonance LFO or not.
h: Voice2: Resonance
When Control Mode = Manual, the Resonance parameter sets the intensity of
resonance. If the Resonance parameter has a negative value, harmonics will be

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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).

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 26: Doppler

26: Doppler
This effect simulates a “Doppler effect” (sound moving while changing its pitch) that sounds, for exam-
ple, like an ambulance siren passing by. Mixing the effect sound with the dry sound will create a special
chorus effect.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

+ Doppler
Pan Depth

Right
Wet / Dry

LFO

D-mod
Trigger LFO Mode = 1-Shot

LFO Mode Loop, 1-Shot Switches LFO operation mode.☞P.82

a When LFO Mode is set to 1-Shot, this modulation source
Src None…Tempo
triggers the LFO.
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
b Src None…Tempo Modulation source of LFO speed
Amt –20.00…+20.00Hz Modulation amount of LFO speed
Pitch Depth 0…100 Pitch variation of the moving sound☞P.83
c Src None…Tempo Modulation source of pitch variation
Amt –100…+100 Modulation amount of pitch variation
Pan Depth –100…+100 Panning of the moving sound☞P.83
d Src None…Tempo Modulation source of panning
Amt –100…+100 Modulation amount of panning
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
e Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: LFO Mode The LFO Mode parameter switches LFO operation mode. When Loop is
a: Src 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.

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 26: Doppler

c: Pitch Depth With the Doppler effect, the pitch is raised when the sound approaches, and the
pitch is lowered when the sound goes away. This parameter sets this pitch varia-
tion.

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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.

Doppler - Pitch / Pan Depth

Pitch

Pan Depth Pan Depth

Higher
= (+) value = (–) value

Original Pitch Pitch Depth

Lower

Left Center Right

Pan Depth

< < < < < <<<<<< >>>>>> > > > > >
Louder Volume Louder

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 27: Stereo Tremolo

27: Stereo Tremolo

This is a stereo tremolo. You can create sound panning to left and right by offsetting the phase of the left
and right LFOs from each other. The tremolo effect can fade-in by means of the AutoFade function.

Stereo In - Stereo Out

Left
Wet / Dry

Tremolo

Tremolo

Right
Wet / Dry

LFO Phase

LFO: Tri/Sin/Sqr/Up/Down LFO Shape

AutoFade LFO Frequency

Depth
Wet/Dry

Selects the modulation source that triggers AutoFade.

AUTOFADE Src None…Tempo
a ☞P.59
Fade-In Rate 1…100 Sets the rate of fade-in.
Triangle, Sine, Square, Up,
LFO Waveform Selects LFO Waveform. ☞P.42
Down
b
Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
c LFO Phase [degree] –180…+180 LFO phase difference between the left and right☞P.84
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
d Src None…AUTOFADE Modulation source of LFO speed. AutoFade is available.
Amt –20.00…+20.00Hz Modulation amount of LFO speed
Depth 0…100 Depth of LFO modulation
Modulation source of the depth of modulation. AutoFade
e Src None…AUTOFADE
is available.
Amt –100…+100 Modulation amount of the depth of modulation
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
Modulation source of effect balance. AutoFade is avail-
f Src None…AUTOFADE
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.

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 28: Stereo Auto Pan

28: Stereo Auto Pan

This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO
phases from each other will simulate the sound of the left and right channels crossing over each other by
turns, or chasing each other.

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Stereo In - Stereo Out

Left
Wet / Dry

Pan

Depth

Pan

Right
Wet / Dry

LFO Phase

LFO: Tri / Sin LFO Shape

a LFO Waveform Triangle, Sine Selects LFO Waveform.

Determines how much the LFO waveform is changed.
b LFO Shape –100…+100
☞P.32
c LFO Phase [degree] –180…+180 LFO phase difference between the left and right ☞P.85
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
d Src None…Tempo Modulation source of LFO speed
Amt –20.00…+20.00Hz Modulation amount of LFO speed
Depth 0…100 Depth of LFO modulation
e Src None…Tempo Modulation source of the depth of modulation
Amt –100…+100 Modulation amount of the depth of modulation
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
f 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.

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 28: Stereo Auto Pan

Stereo Auto Pan - LFO Phase

LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees

L-In L-In L-In

R-In R-In R-In

L-In L-In L-In

R-In R-In R-In

L-In L-In L-In

R-In R-In R-In

L-In L-In L-In

R-In R-In R-In

L-In L-In L-In

R-In R-In R-In

Left Center Right

Output Stereo Image

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 29: St. Envelope Pan (Stereo Envelope Pan)

29: St. Envelope Pan (Stereo Envelope Pan)

This stereo Pan uses the envelope generator to pan sound to the left and right. You can also control the
panning directly using a modulation source.

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Stereo In - Stereo Out

Left
Wet / Dry

Pan

Start Offset
Destination Offset

Pan

Right
Wet / Dry

D-mod
D-mod
EG Attack, Release Pan Mode
EG

Pan Mode EG, D-mod Switches panning mode.☞P.87

a When Pan Mode = EG, this selects the modulation source

Src None…Tempo 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
Lch Start Offset L, 1…99, R Initial panning value for the left channel☞P.88
d
Destination Offset L, 1…99, R Target panning value for the left channel
Rch Start Offset L, 1…99, R Initial panning value for the right channel☞P.88
e
Destination Offset L, 1…99, R Target panning value for the right channel
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
f 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.

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 29: St. Envelope Pan (Stereo Envelope Pan)

With Pan Mode = D-mod, you can control panning directly using the modula-
tion source specified in the Src field.

b: EG Attack
c: EG Release Stereo Envelope Pan - EG

Pan Mode=EG
Src=Gate1
Gate1 Signal Lch Start Offset=L
Lch Destination Offset=R
Rch Start Offset=75:25
Rch Destination Offset=25:75
Note On All Note Off

Release
EG
Attack

Left
L-In

Output Center

R-In
Right

Time

d: Lch Start Offset When Pan Mode = EG, the Start Offset parameter sets the panning at the start of
d: Destination Offset the Envelope Generator. Destination Offset sets the panning for the sustain
e: Rch Start Offset period.
e: Destination Offset
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.

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 30: Stereo Dyna Pan

30: Stereo Dyna Pan

This effect counts the number of times the modulation source is turned on/off, and switches the panning
mode. You can create a panning effect that changes according to phrases you play on the keyboard. It is
very effective for solos. You can also route this effect after a delay effect so that the delay sound will be

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panned gradually.

Stereo In - Stereo Out

Left
Wet / Dry

Pan

Start Offset
Destination Offset

Pan

Right
Wet / Dry

Panning Rate
Reset Interval
Count
Panning Mode: Alternate/Random

D-mod Trigger Direction: Attack/Release

Selects the modulation source for counting on/off times.

a Trigger Source None…Tempo
☞P.89
b Trigger Direction Attack, Release Determines whether the on or off time is counted. ☞P.89
Switches between Alternate and Random panning mode.
c Panning Mode Alternate, Random
☞P.90
Determines the number of times the on/off operation is
d Count 1…16
counted until panning mode is changed.☞P.89
e Reset Interval 0…100 Time taken to reset panning and on/off counting☞P.90
Panning Rate 1…100 Sets the panning rate. ☞P.90
f Src None…Tempo Modulation source of panning rate
Amt –100…+100 Modulation amount of panning rate
Lch Start Offset L, 1…99, R Initial panning value for the left channel☞P.90
g
Destination Offset L, 1…99, R Target panning value for the left channel
Rch Start Offset L, 1…99, R Initial panning value for the right channel☞P.90
h
Destination Offset L, 1…99, R Target panning value for the right channel
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Trigger Source When Trigger Direction = Attack, the effect counts how many times the modula-
b: Trigger Direction tion source (specified in the Trigger Source field) is turned on. When Trigger
d: Count 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.

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 30: Stereo Dyna Pan

The effect is off when the value for the modulation source specified for the
Trigger Source parameter is smaller than 64, and the effect is on when the
value is 64 or higher. When Trigger Direction is set to Attack, the number
of times this value changes from 63 or smaller to 64 or higher (Off→On)
will be counted. When Trigger is set to Release, the number of times this
value changes from 64 or higher to 63 or smaller (On→Off) will be
counted.

c: Panning Mode When Panning Mode = Alternate, the panning setting will change from the Start
g: Lch Start Offset Offset value to the Destination Offset value, then to the Start Offset value again.
g: Destination Offset
When Panning Mode = Random, the panning setting will change randomly
h: Rch Start Offset
between the Start Offset value and Destination Offset value.
h: Destination Offset
An example of setting to pan every third Note On message:
a: Trigger Source = Gate2
b: Trigger Direction = Attack
c: Panning Mode = Alternate
d: Count = 3

Stereo Dyna Pan

1 2 3 1 2 3 1 2 3 1 2 1 2 3 1 Trigger Source=Gate2
Note-On Trigger Direction=Attack
Panning Mode=Alternate
Count=3
Gate2 Signal

Left Trigger > Trigger > Trigger >

Start
Reset Interval Offset

Wet Center

Panning Rate

Right < Trigger Destination

<Reset> Offset

Time

e: Reset Interval If the modulation source (specified in the Trigger Source field) remains off for a
while, the number of counts will be reset and the panning setting will go back to
the Start Offset value. (However, when Panning Mode = Random, it will not go
back to the Start Offset value.) The Reset Interval parameter sets this interval.
With a larger value, the interval will become longer. If this value is too small,
very slow panning will be reset before it is switched. In this case, set this param-
eter to a larger value.
If you set this interval to the same period of time as between the phrases, pan-
ning and counting will start from the beginning at the start of the phrase.

f: Panning Rate This parameter determines how fast panning is switched. A smaller value will
cause panning to move more slowly.
If you wish to combine a delay effect to pan the delay sound, you should adjust
this parameter so that it will match the delay time and feedback.

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 31: Phaser+Tremolo

31: Phaser+Tremolo
This effect links a stereo phaser LFO and a tremolo LFO. Swelling created by the phaser and shimmering
created by the tremolo are synchronized, making a pleasant modulation. It works well with electric piano
sounds.

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Stereo In - Stereo Out

Left
Wet / Dry

Phaser Tremolo
Phaser Wet / Dry

Resonance

Phaser Wet / Dry

Phaser Tremolo

Right
Wet / Dry
Phaser LFO Tremolo LFO

LFO LFO Shape

Diff Phaser<>Tremolo

LFO Frequency [Hz] 0.02…20.00Hz LFO speed

a Src None…Tempo Modulation source of LFO speed
Amt –20.00…+20.00Hz Modulation amount of LFO speed
The difference between the left and right phases of the
b Phaser LFO [degree] –180…+180
phaser. ☞P.92
c Phaser Manual 0…100 Sets the frequency to which the effect is applied.
Phaser Depth 0…100 Depth of Phaser LFO modulation
d 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.
–Wet…–1:99, Dry, Sets the balance between the phaser effect and dry
f Phaser Wet/Dry
1:99…Wet sounds.☞P.25, 92
The difference between the left and right phases of the
Tremolo LFO [degree] –180…+180
tremolo.☞P.92
g
The difference between Tremolo LFO phase and Phaser
Diff Tremolo<>Phaser –180…+180
LFO phase.
Sets how much the Tremolo LFO shape is modulated.
h Tremolo LFO Shape –100…+100
☞P.32
Tremolo Depth 0…100 Depth of Tremolo LFO modulation
i Src None…Tempo Modulation source of the tremolo modulation depth
Amt –100…+100 Modulation amount of the tremolo modulation depth
Sets the balance between the effect and dry sounds.
Wet/Dry Dry, 1:99…99:1, Wet
☞P.92
j
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 31: Phaser+Tremolo

b: Phaser LFO [degree] The Phaser LFO and Tremolo LFO determine the right and left phase difference
g: Tremolo LFO [degree] respectively.
g: Diff Tremolo<>Phaser
Phaser LFO is used to control the spread of the phaser effect, and Tremolo LFO is
used to control the tremolo effect that is shimmering between left and right.
The Diff Tremolo<>Phaser sets the phase difference of the Phaser and Tremolo.
Controlling the relationship between the Phaser and Tremolo will allow you to
adjust the feel of sound movement and rotation.

f: Phaser Wet/Dry Phaser Wet/Dry sets the balance between the phaser output and the dry sound.
j: Wet/Dry
On the other hand, Wet/Dry sets the balance between the final output of Phaser
plus Tremolo, and the dry sound.

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 32: Shimmer

32: Shimmer
This effect controls a stereo tremolo based on the input signal level. You can create an effect in which the
shimmering becomes larger and fades away as the volume level becomes lower.

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Stereo In - Stereo Out
Left
Wet / Dry

Tremolo

Tremolo

Right
Wet / Dry
LFO Phase

LFO: Tri/Sin/Sqr/Up/Down LFO Shape

+ Envelope Envelope Shape

Envelope Sens

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.
Triangle, Sine, Square, Up,
c LFO Waveform Selects LFO waveform.
Down
Determines how much the LFO waveform shape is modi-
d LFO Shape –100…+100
fied.☞P.32
The difference between the left and right LFO phase.
e LFO Phase [degree] –180…+180
☞P.84
LFO Frequency [Hz] 0.02…20.00Hz LFO speed☞P.93
f
Envelope Amount [Hz] –20.00…+20.00Hz Changes LFO speed according to the input signal level
Depth 0…100 Depth of LFO modulation ☞P.93
g Changes the modulation depth according to the input sig-
Envelope Amount –100…+100
nal level
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

f: LFO Frequency [Hz] These parameters are used to set the modulation applied based on the envelope
f: Envelope Amount [Hz] (input signal level).
g: Depth
LFO speed is the LFO Frequency added by the Envelope Amount multiplied by
g: Envelope Amount
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.

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 32: Shimmer

Setting example: The maximum input level will produce 1.0Hz, Depth = 0. An
input level of “0” will produce 8.0Hz, Depth = 100:
f: LFO Frequency [Hz] = 8.0
f: Envelope Amount [Hz] = –7.0
g: Depth = 100
g: Envelope Amount = –100

Shimmer

Level Dry Envelope LFO Frequency[Hz]=8.0

Envelope Amount[Hz]= –7.0Hz
Depth=100
Envelope Amount= –100
Louder

Time

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 33: Detune

33: Detune
Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the
pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created.

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Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

High Damp

+ Delay Detune

Right
Wet / Dry

The difference between the input signal pitch and effect

Pitch Shift [cent] –100…+100cent
sound pitch.
a
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
d Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 34: Pitch Shifter

34: Pitch Shifter

This effect changes the pitch of the input signal. You can select from three types: Fast (quick response),
Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually
raised (or dropped) using the delay with feedback.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

Input Level

High Damp

+ Delay Pitch Shifter

Feedback
Input Level

Right
Wet / Dry

Input Level 0…100 Sets the input level to the effect.

a 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
Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount by steps of a semitone.☞P.97
c Src None…Tempo Modulation source of pitch shift amount
Amt –24…+24 Modulation amount of pitch shift amount
Fine [cent] –100…+100cent Sets the pitch shift amount by steps of a cent.☞P.97
d
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h 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.”

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 34: Pitch Shifter

c: Pitch Shift [1/2tone] The amount of pitch shift will use the value of the Pitch Shift plus the Fine value.
c: Src The amount of modulation will use the c: Amt value plus d: Amt.
c: Amt
Modulation Source is used both for Pitch Shift and Fine.
d: Fine [cent]
d: Amt

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e: Delay Time [msec] Sets the delay time and feedback amount. The sound with feedback will be input
f: Feedback to the Pitch Shifter again, causing the pitch to be raised (or lowered) gradually.

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 35: Pitch Shift Mod. (Pitch Shift Modulation)

35: Pitch Shift Mod. (Pitch Shift Modulation)

This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to
the sound by panning the effect sound and dry sound to the left and right. This is especially effective
when the effect sound and dry sound output from stereo speakers are mixed.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

+ Pitch Shifter

Pan

Right
Wet / Dry

LFO: Tri / Sqr

a Pitch Shift [cent] –100…+100cent Pitch difference from the input signal ☞P.98
b LFO Waveform Triangle, Square Selects LFO waveform.
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
c Src None…Tempo Modulation source of LFO speed
Amt –20.00…+20.00Hz Modulation amount of LFO speed
Depth –100…+100 LFO modulation depth for pitch shift amount ☞P.98
d Src None…Tempo Modulation source of the depth of modulation
Amt –100…+100 Modulation amount of the depth of modulation
e Pan L, 1:99…99:1, R Pans the effect sound and dry sound separately.☞P.99
Sets the balance between the effect and dry sounds.
Wet/Dry Dry, 1:99…99:1, Wet
☞P.99
f
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Pitch Shift [cent] These parameters set the amount of pitch shift and amount of modulation by
d: Depth means of the LFO.

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 35: Pitch Shift Mod. (Pitch Shift Modulation)

Pitch Shift Mod - Pitch Shift / Depth

Pitch

LFO Waveform=Triangle

Higher
Depth (+value)

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Pitch Shift (+ value)
Original Pitch

Lower
LFO Waveform=Square
Depth (–value)

e: Pan The Pan parameter pans the effect sound and dry sound to the left and right.
f: Wet/Dry With “L,” the effect sound is panned left, and the dry sound is panned right.
With a Wet/Dry = Wet setting, the effect and dry sound will be output in a pro-
portion of 1:1.

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 36: Rotary Speaker

36: Rotary Speaker

This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the
low range and the horn in the high range separately. The effect also simulates the microphone settings.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

Horn

Rotary Speaker Rotor/Horn Mic Distance

+ Balance Mic Spread

Rotor

Speaker Simulation
Right
Wet / Dry

D-mod Mode Switch: Rotate/Stop

D-mod Speed Switch: Slow/Fast

D-mod Manual Speed Control

Mode Switch Rotate, Stop Switches between speaker rotation and stop.
Src None…Tempo Modulation source that toggles between rotation and stop
a
Selects switching mode of the modulation source that tog-
Sw Momentary, Toggle
gles between rotation and stop. ☞P.101
Switches the speaker rotation speed between slow and
Speed Switch Slow, Fast
fast.
b Src None…Tempo Modulation source that toggles between slow and fast
Selects switching mode of the modulation source that tog-
Sw Momentary, Toggle
gles between slow and fast. ☞P.43
Sets the modulation source in case the rotation speed is
c Manual Speed Control None…Tempo
changed directly. ☞P.101
How quickly the rotor rotation speed in the low range is
Rotor Acceleration 0…100
switched. ☞P.43
d
Adjusts the (low-range side) rotor rotation speed. Stan-
Rotor Ratio Stop, 0.50…2.00
dard value is 1.0. Selecting “Stop” will stop the rotation.
How quickly the horn rotation speed in the high range is
Horn Acceleration 0…100
switched. ☞P.43
e
Adjusts the (high-range side) horn rotation speed. Stan-
Horn Ratio Stop, 0.50…2.00
dard value is 1.0. Selecting “Stop” will stop the rotation.
Distance between the microphone and rotary speaker
f Mic Distance 0…50
☞P.101
g Mic Spread 0…50 Angle of left and right microphones☞P.101
Sets the volume level balance between the low-range
h Rotor/Horn Balance Rotor, 1…99, Horn
rotor and high-range horn.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 36: Rotary Speaker

a: Sw This parameter sets how the modulation source switches between rotation and
stop.
When Sw = Momentary, the speaker is rotating. It stops only when you hold the
pedal or keep the joystick in position.

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When the value for the modulation source is 63 or smaller, the speaker
will rotate. When the value is 64 or higher, the speaker will stop.
When Sw = Toggle, the speaker rotates or stops alternately each time you press
the pedal or operate the joystick.
Each time when the value for the modulation source exceeds 64, the
speaker rotates or stops alternately.

c: Manual Speed Control If you wish to control the speaker rotation speed manually, not switching
between Slow and Fast, select the modulation source in the Manual Speed Con-
trol field. If manual control is not necessary, set this field to “None.”

f: Mic Distance This is a simulation of stereo microphone settings.

g: Mic Spread
Rotary Speaker - Mic Placement

Mic Spread
Microphone Microphone

Mic Distance Mic Distance

Rotary Speaker (Top View)

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 37: Dual Delay

37: Dual Delay

This 2-channel delay allows you to set the delay time for the left and right channels independently.

Stereo In - Stereo Out

Left
Wet / Dry
High Damp Low Damp
Delay
Input Level D-mod

Feedback

Input Level D-mod High Damp Low Damp

Delay

Right
Wet / Dry

a L Delay Time [msec] 0.0…680.0msec Sets the delay time for the left channel.
b L Feedback –100…+100 Sets the feedback amount for the left channel.
Damping amount in the high range for the left channel
L High Damp [%] 0…100%
c ☞P.44
L Low Damp [%] 0…100% Damping amount in the low range for the left channel
d R Delay Time [msec] 0.0…680.0msec Sets the delay time for the right channel.
e R Feedback –100…+100 Sets the feedback amount for the right channel.
Damping amount in the high range for the right channel
R High Damp [%] 0…100%
f ☞P.44
R Low Damp [%] 0…100% Damping amount in the low range for the right channel
Input Level D-mod: Src None…Tempo Modulation source of the left and right input level ☞P.44
g
Amt L –100…+100 Modulation amount of the input level for the left channel
Modulation amount of the input level for the right channel
h Amt R –100…+100
☞P.44
Sets the balance between the effect and dry sounds for
L Wet/Dry Dry, 1:99…99:1, Wet
the left channel.
i
Src None…Tempo Modulation source of left/right effect balance
Amt –100…+100 Modulation amount of effect balance for the left channel
Sets the balance between the effect and dry sounds for
R Wet/Dry Dry, 1:99…99:1, Wet
j the right channel.
Amt –100…+100 Modulation amount of effect balance for the right channel

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 38: Stereo Delay

38: Stereo Delay

This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross
over between the left and right by changing the feedback routing.

size2
Stereo In - Stereo Out

Left
Wet / Dry
High Damp Low Damp
Delay
Input Level D-mod

Stereo/Cross Feedback Spread

Input Level D-mod High Damp Low Damp

Delay
Stereo/Cross

Right
Wet / Dry

Switches between stereo delay and cross-feedback

a Stereo/Cross Stereo, Cross
delay.
b L Delay Time [msec] 0.0…680.0msec Sets the delay time for the left channel.
c R Delay Time [msec] 0.0…680.0msec Sets the delay time for the right channel.
Feedback –100…+100 Sets the feedback amount.
d Src None…Tempo Modulation source of feedback amount
Amt –100…+100 Modulation amount of 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
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
g
Amt –100…+100 Modulation amount of the input level
Sets the width of the stereo image of the effect sound.
Spread –100…+100
☞P.65
Modulation source of the effect sound’s stereo image
h Src None…Tempo
width
Modulation amount of the effect sound’s stereo image
Amt –100…+100
width
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 39: St. Multitap Delay (Stereo Multitap Delay)

39: St. Multitap Delay (Stereo Multitap Delay)

The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap
output allows you to create various patterns of complex effect sounds.

Stereo In - Stereo Out

Left
Wet / Dry
Feedback

Delay
(2)
Input Level D-mod High Damp Low Damp (1)
Tap1=(1)
Mode Tap1 Level Mode Spread
Tap2=(2)
Input Level D-mod High Damp Low Damp (1)
(2)
Delay

Feedback
Right
Wet / Dry

Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2

Normal, Cross Feedback,

a Mode Switches the left and right delay routing.☞P.104
Cross Pan1, Cross Pan2
b Tap1 Time [msec] 0.0…680.0msec Sets the Tap1 delay time.
c Tap2 Time [msec] 0.0…680.0msec Sets the Tap2 delay time.
d Tap1 Level 0…100 Tap1 output level ☞P.45
Feedback –100…+100 Sets the Tap2 feedback amount.
e Src None…Tempo Modulation source of the Tap2 feedback amount
Amt –100…+100 Modulation amount of the Tap2 feedback amount
f High Damp [%] 0…100% Damping amount in the high range ☞P.44
g Low Damp [%] 0…100% Damping amount in the low range ☞P.44
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
h
Amt –100…+100 Modulation amount of the input level
Sets the width of the stereo image of the effect sound.
Spread –100…+100
☞P.65
Modulation source of the effect sound’s stereo image
i Src None…Tempo
width
Modulation amount of the effect sound’s stereo image
Amt –100…+100
width
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Mode You can change how the left and right delay signals are panned by modifying
the routing of the left and right delay as shown in the figure above. You need to
input different sounds to each channel in order for this parameter to be effective.

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 40: L/C/R Delay

40: L/C/R Delay

This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust
the left and right spread of the delay sound.

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Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out

Left
Wet / Dry

Input Level D-mod L Delay

Level

+ High Damp Low Damp

C Delay Spread
Level
Feedback

Input Level D-mod R Delay

Level

Right
Wet / Dry

L Delay Time [msec] 0…1360msec Sets the TapL delay time.

a
Level 0…50 TapL output level
C Delay Time [msec] 0…1360msec Sets the TapC delay time.
b
Level 0…50 TapC output level
R Delay Time [msec] 0…1360msec Sets the TapR delay time.
c
Level 0…50 TapR output level
Feedback –100…+100 Sets the TapC feedback amount.
d Src None…Tempo Modulation source of the TapC feedback amount
Amt –100…+100 Modulation amount of the TapC 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
Input Level D-mod: Src None…Tempo Modulation source of the input level☞P.44
g
Amt –100…+100 Modulation amount of the input level
Sets the width of the stereo image of the effect sound.
h Spread 0…50
☞P.65
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 41: Tempo Delay

41: Tempo Delay

This delay allows you to match the delay time with a song’s tempo. For example, you can apply the delay
effect synchronized to the sequencer, or you can input the tempo prior to a real-time performance so that
the delay effect will match the song tempo. You can set the delay time in terms of a musical duration,
rather than as a value of time.
You can also specify any number of times for feedback.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

Input Level D-mod

High Damp Low Damp

+ Delay

Feedback Count: On/Off

Feedback

Input Level D-mod

Right
Wet / Dry

Tempo D-mod

Mode
120 [beat/min] Length: 3/16 Time Adjust [%]
Manual

Switches between the specified tempo and clock sync.

Mode Manual, D-mod
a ☞P.107
Src (fixed) Tempo Source when Mode = D-mod (fixed to Tempo)
Tempo [beat/min] 30…250 beat/min Tempo when Mode = Manual ☞P.107
b Sets the delay time. Delay time = Length x Whole Note.
Length 1…96 / 1…96
☞P.107
Time Adjust [%] –10.00…+10.00% Fine adjustment of delay time
c
Delay 1362ms OVER!! Delay time upper limit/error indication ☞P.107
Selects whether the number of feedback times is counted
Feedback Count Off, On
or not. ☞P.107
d
Source that triggers the counting of the feedback time
Src (fixed) Gate1
(fixed to Gate1).
e Count [times] 0…96 Number of feedback times ☞P.107
Feedback –100…+100 Sets the feedback amount.
f Src None…Tempo Modulation source of feedback amount
Amt –100…+100 Modulation amount of feedback amount
g High Damp [%] 0…100% Damping amount in the high range ☞P.44
h Low Damp [%] 0…100% Damping amount in the low range ☞P.44
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
i
Amt –100…+100 Modulation amount of the input level
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 41: Tempo Delay

a: Mode This parameter selects the delay operating mode. When Manual is selected, the
a: Src (fixed) value set in e: Tempo will be used. When D-mod is selected, the delay will syn-
chronize to the internal MIDI clock. This is useful for performances using a
sequencer.

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When D-mod is selected, the source is fixed to Tempo and cannot be changed.

b: Tempo [beat/min] This parameter sets the tempo when Manual is selected for Mode.

b: Length This parameter sets the delay time. The delay time is obtained by multiplying
c: Delay 1362ms the length of a whole note by the value of Length.
For example, when Length is set to 1/4, the length of the delay will be one quar-
ter note.
The maximum delay time is 1,362msec. If you attempt to set a higher value, the
display will show “OVER!!” Try to set the value of Tempo and Length so that
this error message will not appear.

d: Feedback Count The Feedback Count parameter determines whether or not the number of feed-
d: Src (fixed) back times will be counted or not.
e: Count [times]
With Feedback Count = On, the delay will feed back the signal for the times
specified in the Count parameter, and disappear.
The source that triggers the start of feedback counting is fixed to Gate1. You can-
not select another source.

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 42: St. Modulation Delay

42: St. Modulation Delay

This stereo delay uses an LFO to sweep the delay time. The pitch also varies. You will obtain a delay
sound with swell and shimmering. You can also control the delay time using a modulation source.

Stereo In - Stereo Out

Left
Wet / Dry

Delay

Feedback

Delay

Right
Wet / Dry

D-mod
D-mod Response L/R: +/+ +/–

LFO Sync LFO: Tri / Sine LFO Shape

LFO

LFO Phase Modulation Mode

Switches between LFO modulation control and modula-

a Modulation Mode LFO, D-mod
tion source control.
D-mod Modulation L/R:+/+, L/R:+/– Reversed L/R control by modulation source ☞P.109
b Src None…Tempo Modulation source that controls delay time
Response 0…30 Rate of response to the modulation source
LFO Waveform Triangle, Sine Selects LFO waveform.
c Determines how much the LFO waveform is modified.
LFO Shape –100…+100
☞P.32
d LFO Frequency [Hz] 0.02…20.00Hz LFO speed
LFO Sync Off, On LFO reset off/on ☞P.109
e
Src None…Tempo Modulation source that resets the LFO
L LFO Phase [degree] –180…+180 Phase obtained when the left LFO is reset ☞P.109
f
R LFO Phase [degree] –180…+180 Phase obtained when the right LFO is reset
L Depth 0…200 Depth of the left LFO modulation
g
R Depth 0…200 Depth of the right LFO modulation
L Delay Time [msec] 0.0…500.0 Left delay time
h
R Delay Time [msec] 0.0…500.0 Right delay time
L Feedback –100…+100 Feedback amount of left delay
i
R Feedback –100…+100 Feedback amount of right delay
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25
j
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 42: St. Modulation Delay

b: D-mod Modulation When the modulation source is used for control, this parameter reverses the left
and right modulation direction.

e: LFO Sync The LFO can be reset via a modulation source.

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e: Src
The Src parameter sets the modulation source that resets the LFO. For example,
f: L LFO Phase [degree]
you can assign Gate as a modulation source so that the sweep always starts from
f: R LFO Phase [degree]
the specified point.
L LFO Phase and R LFO Phase set the phase obtained when the left and right
LFOs are reset. In this way, you can create changes in sweep pitch for the left and
right channels individually.
The effect is off when a value of the modulation source specified in the Src
parameter is 63 or smaller, and the effect is on when the value is 64 or
higher. The LFO is triggered and reset to the L LFO Phase and R LFO
Phase settings when the value changes from 63 or smaller to 64 or higher.

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 43: St. Dynamic Delay (Stereo Dynamic Delay)

43: St. Dynamic Delay (Stereo Dynamic Delay)

This stereo delay controls the level of delay according to the input signal level. You can use this as a duck-
ing delay that applies delay to the sound only when you play keys at a high velocity or only when the
volume level is low.

Stereo In - Stereo Out

Left
Wet / Dry
High Damp Low Damp
Delay
Input Level
D-mod

Feedback Spread

Input Level High Damp Low Damp

D-mod
Delay

Right
Wet / Dry
In FB Out

+ Envelope Attack, Release Control Target

Threshold

Selects from no control, input, output, and feedback.

Control Target None, In, Out, FB
a ☞P.110
Polarity +, – Reverses level control ☞P.110
b Threshold 0…100 Sets the level to which the effect is applied.☞P.110
c Attack 1…100 Attack time of level control☞P.110
d Release 1…100 Release time of level control ☞P.110
e L Delay Time [msec] 0.0…680.0msec Sets the delay time for the left channel.
f R Delay Time [msec] 0.0…680.0msec Sets the delay time for the right channel.
g Feedback –100…+100 Sets the feedback amount.
High Damp [%] 0…100% Damping amount in the high range ☞P.44
h
Low Damp [%] 0…100% Damping amount in the low range
Sets the width of the stereo image of the effect sound.
i Spread –100…+100
☞P.65
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Control Target In this field, you can select from no level control, control of delay input level,
output (effect balance), and feedback amount.

a: Polarity When Polarity is positive, delay is applied when the input signal level exceeds
b: Threshold the Threshold value. When Polarity is negative, delay is applied when the input
c: Attack signal level is lower than the Threshold value.
d: Release
The Attack and Release parameters specify attack time and release time of delay
level control.

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 43: St. Dynamic Delay (Stereo Dynamic Delay)

Dynamic Delay
Level

Dry

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Threshold

Release
Envelope
Attack

Wet (Ducking Delay)

Control Target=Out
Polarity= (–)

Delay Time

Wet

Control Target=Out
Polarity= (+)

Time

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 44: Random Panning Dly (Random Panning Delay)

44: Random Panning Dly (Random Panning Delay)

When this stereo delay is applied, the delay sound will jump around randomly, creating a unique, myste-
rious delay effect.

Stereo In - Stereo Out

Left
Wet / Dry

Delay
Level

Feedback Random Panning

Delay Level

Right
Wet / Dry

a L Delay Time [msec] 0.0…680.0msec Sets the delay time for the left channel.
b R Delay Time [msec] 0.0…680.0msec Sets the delay time for the right channel.
c L Feedback –100…+100 Sets the feedback amount for the left channel.
d R Feedback –100…+100 Sets the feedback amount for the right channel.
Speed at which the stereo image of the left channel
e L Panning Speed [Hz] 0.02…20.00Hz
changes ☞P.112
Speed at which the stereo image of the right channel
f R Panning Speed [Hz] 0.02…20.00Hz
changes ☞P.112
Sets the width of the stereo image of the delay sound.
g Panning Spread 0…100
☞P.112
h L Delay Level 0…100 Output level of the left channel delay sound
i R Delay Level 0…100 Output level of the right channel delay sound
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

e: L Panning Speed [Hz] These parameters set the speed at which the stereo image of the delay sound
f: R Panning Speed [Hz] changes randomly. It is effective to set these values according to the delay time.

g: Panning Spread This parameter sets the panning width of the delay sound.

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 45: Early Reflections

45: Early Reflections

This is a stereo early reflection effect. Compared to the Early Reflections of size 1, this effect has twice the
number of reflections, thus creating a smooth and dense sound.

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Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

EQ Trim

LEQ HEQ
+ Pre Delay Early Reflections

EQ Trim

Right
Wet / Dry

Sharp, Loose, Modulated,

a Type Selects the decay curve for the early reflection.☞P.46
Reverse
b ER Time [msec] 10…800msec Time length of early reflection
Time taken from the original sound to the first early reflec-
c Pre Delay [msec] 0…200msec
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
g Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 46: Reverb-Hall

46: Reverb-Hall
This effect simulates the reverberation and ambience of medium-size concert halls and ensemble halls.

47: Reverb-SmoothHall
This hall-type reverb creates a reverberation with a smooth release curve. Setting a longer reverb time can
simulate reverberations from that of a larger hall to that of a stadium.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

Pre Delay Thru

EQ Trim

LEQ HEQ
+ Pre Delay Reverb

EQ Trim

Right
Wet / Dry

a Reverb Time [sec] 0.1…10.0sec Sets the reverberation time.

b High Damp [%] 0…100% Damping amount in the high range
c Pre Delay [msec] 0…200msec Delay time from the dry sound ☞P.114
d Pre Delay Thru [%] 0…100% Mix ratio of non-delay sound ☞P.114
e EQ Trim 0…100 EQ input level
f Pre LEQ Gain [dB] –15…+15dB Low-EQ gain
g Pre HEQ Gain [dB] –15…+15dB High-EQ gain
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

c: Pre Delay [msec] The Pre Delay sets the delay time to the reverb input, allowing you to control
d: Pre Delay Thru [%] spaciousness.
Using the Pre Delay Thru parameter, you can mix the dry sound without delay,
emphasizing the attack of the sound.

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 46: Reverb-Hall

Reverb - Hall / Plate Type

Level
Dry

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Louder
Reverb

Pre Delay Thru

Time

Pre Delay Reverb Time

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 48: Reverb-Room

48: Reverb-Room
This reverberation effect emphasizes the early reflections, simulating a tight, room sound. Changing the
balance between the early reflections and reverb sound allows you to simulate nuances, such as the type
of walls of a room.

49: Reverb-BrightRoom
This reverberation creates a bright, room-type sound.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

ER Level
ERs
EQ Trim
Pre Delay Thru
LEQ HEQ
+ Pre Delay Reverb Reverb Level

ERs
EQ Trim ER Level

Right
Wet / Dry

a Reverb Time [sec] 0.1…3.0sec Sets the reverberation time.

b High Damp [%] 0…100% Damping amount in the high range
c Pre Delay [msec] 0…200msec Delay time from the dry sound ☞P.116
d Pre Delay Thru [%] 0…100% Mix ratio of non-delay sound ☞P.116
e ER Level 0…100 Sets the level of early reflections.☞P.116
f Reverb Level 0…100 Sets the reverberation level.☞P.116
g EQ Trim 0…100 EQ input level
h Pre LEQ Gain [dB] –15…+15dB Low-EQ gain
i Pre HEQ Gain [dB] –15…+15dB High-EQ gain
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

c: Pre Delay [msec] The Pre Delay sets delay time of reverb input, allowing you to control spacious-
d: Pre Delay Thru [%] ness.
Using the Pre Delay Thru parameter, you can mix the dry sound without delay,
emphasizing the attack of the sound.

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 48: Reverb-Room

e: ER Level These parameters set the early reflection level and reverb level.
f: Reverb Level
Changing these parameter values allows you to simulate the type of walls in the
room. That is, a larger ER Level simulates a hard wall, and a larger Reverb Level
simulates a soft wall.

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Reverb - Room Type
Level
Dry ER
(Early Reflections)

Louder
Reverb

Time

Pre Delay Thru

Pre Delay Reverb Time

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 50: Reverb-Wet Plate

50: Reverb-Wet Plate

This effect simulates a dense plate reverberation. You can create a warm reverb sound.

51: Reverb-Dry Plate

This effect simulates a lighter plate reverberation. You can create a dry reverb sound.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

Pre Delay Thru

EQ Trim

LEQ HEQ
+ Pre Delay Reverb

EQ Trim

Right
Wet / Dry

a Reverb Time [sec] 0.1…10.0sec Sets the reverberation time.

b High Damp [%] 0…100% Damping amount in the high range
c Pre Delay [msec] 0…200msec Delay time from the dry sound ☞P.114
d Pre Delay Thru [%] 0…100% Mix ratio of non-delay sound ☞P.114
e EQ Trim 0…100 EQ input level
f Pre LEQ Gain [dB] –15…+15dB Low-EQ gain
g Pre HEQ Gain [dB] –15…+15dB High-EQ gain
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
h Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 00: Piano Body/Damper (Piano Body/Damper Simulation)

00: Piano Body/Damper (Piano Body/Damper Simulation)

This effect simulates the resonance of the piano sound board caused by the string vibration, and also sim-
ulates the resonance of other strings that are not being played when you press the damper pedal. It will
create a very realistic sound when applied to acoustic piano sounds.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

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+ Piano
Body/Damper
Simulation

Right
Wet / Dry

D-mod Damper

Sets the intensity of resonance of the sound board.

a Sound Board Depth 0…100
☞P.119
Sets the intensity of the string resonance created when
Damper Depth 0…100
b the damper pedal is pressed.☞P.119
Src None…Tempo Modulation source of damper effect
c Tone 1…100 Adjusts tonal quality of effect sound.☞P.119
d Mid Shape 0…36 Adjusts the mid range of tonal quality.☞P.119
e Tune –50…+50 Fine tuning☞P.119
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
f Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Sound Board Depth This parameter sets the intensity of resonance of the piano sound board.

b: Damper Depth This parameter sets the resonance intensity of the other strings created when the
b: Src damper pedal is pressed. The Src parameter selects the modulation source from
which the damper effect is applied. Usually, select Sustain Pdl (Sustain pedal).
The effect is off when a value for the modulation source specified for the
Src parameter is 63 or smaller, and the effect is on when the value is 64 or
higher.

c: Tone These parameters control the tonal quality of the effect sound.
d: Mid Shape

e: Tune Since this effect simulates the resonance of the strings, the sound varies depend-
ing on the pitch. If you have changed tuning using the Master Tune, adjust this
parameter value.

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 01: St. Mlt.band Limiter (Stereo Multiband Limiter)

01: St. Mlt.band Limiter (Stereo Multiband Limiter)

This is a stereo multiband limiter.

Stereo In - Stereo Out

Band-Pass Filters
Left
Low Wet / Dry
Limiter
Envelope - Control
Mid
Limiter
Envelope - Control
Gain Adjust
High
Limiter
Envelope - Control
Envelope - Control
Low
Limiter
Gain Adjust
Envelope - Control
Mid
Limiter
Envelope - Control
Limiter
High
Right
Wet / Dry
Offset

a Ratio 1.0:1…50.0:1, Inf:1 Sets the signal compression ratio. ☞P.15

Sets the signal level above which compression is applied.
b Threshold [dB] –40…0dB
☞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 Low range gain of trigger signal☞P.50
f Mid Offset [dB] –40…0dB Mid range gain of trigger signal☞P.50
g High Offset [dB] –40…0dB High range gain of trigger signal☞P.50
h Gain Adjust [dB] –16…+24dB Sets the output gain.☞P.15
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 02: OD/Hyper-Gain Wah (Overdrive/Hyper-Gain Wah)

02: OD/Hyper-Gain Wah (Overdrive/Hyper-Gain Wah)

This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. The
effect also has wah, 4-band EQ, and amp simulator. Compared to the same effect of size 1 and 2, you can
set a higher gain for this effect.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

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Left
Wet / Dry

Mode: Overdrive / Hyper-Gain

Drive
Pre Low-cut 4 Band PEQ
+ Wah Driver Amp Simulation
Output Level

Direct Mix

Right
Wet / Dry

D-mod

Wah Off, On Switches Wah on/off.☞P.54

a
Src None…Tempo Modulation source that controls wah
b Wah Sweep Range –10…+10 Sets the sweep range of wah.☞P.54
Drive Mode Overdrive, Hyper-Gain Switches between overdrive and hyper-gain distortion.
c
Pre Low-cut 0…10 Low range cut amount at the distortion input ☞P.19
Drive 1…120 Sets the degree of distortion.☞P.19
d
Output Level 0…50 Sets the output level.
Band1 Cutoff [Hz] 20…1.0kHz EQ - Band1 center frequency
e Q 0.5…10.0 Band1 bandwidth☞P.19
Gain [dB] –18…+18dB Band1 gain
Band2 Cutoff [Hz] 50…5.00kHz Band2 center frequency
f Q 0.5…10.0 Band2 bandwidth☞P.19
Gain [dB] –18…+18dB Band2 gain
Band3 Cutoff [Hz] 300…10.00kHz Band3 center frequency
g Q 0.5…10.0 Band3 bandwidth☞P.19
Gain [dB] –18…+18dB Band3 gain
Band4 Cutoff [Hz] 500…20.00kHz Band4 center frequency
h Q 0.5…10.0 Band4 bandwidth☞P.19
Gain [dB] –18…+18dB Band4 gain
Direct Mix 0…50 Mixing amount of dry sound to the distortion
i
Speaker Simulation Off, On Speaker simulation on/off
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)

03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)

This is a stereo 13-band graphic equalizer that allows for finer equalization. You can select one of two set-
tings for the center frequency for each band.

Stereo In - Stereo Out

Left
Wet / Dry

Trim
Band1 Band3 Band5 Band7 Band9 Band11 Band13
Band2 Band4 Band6 Band8 Band10 Band12

Trim

Band1 Band3 Band5 Band7 Band9 Band11 Band13

Band2 Band4 Band6 Band8 Band10 Band12
Right
Wet / Dry

Selects a combination of center frequencies for each

a Type A, B
band.☞P.57
b Trim 0…100 Sets the input level.
c Band1 [dB] –18.0…+18.0dB Sets the Band1 gain.
d Band2 [dB] –18.0…+18.0dB Sets the Band2 gain.
e Band3 [dB] –18.0…+18.0dB Sets the Band3 gain.
f Band4 [dB] –18.0…+18.0dB Sets the Band4 gain.
g Band5 [dB] –18.0…+18.0dB Sets the Band5 gain.
h Band6 [dB] –18.0…+18.0dB Sets the Band6 gain.
i Band7 [dB] –18.0…+18.0dB Sets the Band7 gain.
j Band8 [dB] –18.0…+18.0dB Sets the Band8 gain.
k Band9 [dB] –18.0…+18.0dB Sets the Band9 gain.
l Band10 [dB] –18.0…+18.0dB Sets the Band10 gain.
m Band11 [dB] –18.0…+18.0dB Sets the Band11 gain.
n Band12 [dB] –18.0…+18.0dB Sets the Band12 gain.
o Band13 [dB] –18.0…+18.0dB Sets the Band13 gain.
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
p Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 04: Vocoder

04: Vocoder
This effect adds characteristics of other signals (Modulator) to the input signal (Carrier). The Carrier is
input to the left channel, and the Modulator is input to the right channel. A sound with a lot of harmonics
is suitable for a carrier, while a unique effect sound is suitable for a modulator.

Wet: Stereo In - Mono Out / Dry: Stereo In - Stereo Out

Carrier

size4
Left
Wet / Dry

Lch (Carrier) Trim

+ Vocoder / Carrier

Envelope
Band Pass Filter

Rch (Modulator) Trim Mod High Mix

Right
Modulator Wet / Dry

a Lch (Carrier) Trim 0…100 Input level of left channel (Carrier)

b Rch (Modulator) Trim 0…100 Input level of right channel (Modulator)
Output level of high-range component of right channel
c Mod High Mix 0…100
(Modulator) ☞P.123
Balance between vocoder output and left channel (Car-
Vocoder/Carrier 0…100
rier) ☞P.123
Modulation source of the balance between vocoder out-
d Src None…Tempo
put and left channel (Carrier)
Modulation amount of the balance between vocoder out-
Amt –100…+100
put and left channel (Carrier)
Sets the balance between the effect and dry sounds.
Wet/Dry Dry, 1:99…99:1, Wet
☞P.123
e
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

c: Mod High Mix This parameter sets the high-range output level of the right channel sound
(Modulator). Raise this value to enhance the characteristics of the modulator.

d: Vocoder/Carrier The Vocoder/Carrier parameter sets the balance between the vocoder sound
e: Wet/Dry and the left channel sound (Carrier). The Wet/Dry parameter sets the balance
between the effect and dry sound.
If you wish to change the intensity of the vocoder effect, select “Wet” for Wet/
Dry, and adjust the balance using the Vocoder/Carrier parameter.

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 05: St. Harmonic Chorus (Stereo Harmonic Chorus)

05: St. Harmonic Chorus (Stereo Harmonic Chorus)

This is a stereo harmonic chorus effect that applies chorus separately to the high and low ranges of the
input signal. You can set the parameters for the low and high range chorus individually. You can also use
the high-range chorus as a step chorus employing a step-shape LFO waveform. Thick, fine chorus effects
can be created when it is applied to strings or ensemble sounds.

Stereo In - Stereo Out

Left
Wet / Dry
Low Band Chorus

High/Low Balance
High Band Chorus

High/Low Split Point

High Band Chorus

High/Low Balance

Low Band Chorus

Right
Wet / Dry

LFO Phase
LFO: Tri / Sine Step: On/Off

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects LFO waveform.

The difference between low-range left and right LFO
LFO Phase [degree]: Low –180…+180
phase. ☞P.65
b
The difference between high-range left and right LFO
High –180…+180
phase.
LFO Frequency [Hz]: Low 0.02…20.00Hz Low-range LFO speed
c
High 0.02…20.00Hz High-range LFO speed
LFO Step Freq [Hz] Determines whether or not the high-range LFO is step-
Off, On
d (LFO Step Frequency) shaped.☞P.125
High 0.05…50.00Hz Speed at which the LFO waveform becomes step-shaped
Pre Delay [msec]: Low 0.0…50.0msec Low range delay time
e
High 0.0…50.0msec High range delay time
Depth: Low 0…100 Depth of low range LFO modulation
f
High 0…100 Depth of high range LFO modulation
LFO Freq D-mod Selects only low-range, high-range, or both ranges for
Low, High, Both
(LFO Frequency D-mod) LFO speed modulation.☞P.125
g Src None…Tempo Modulation source of LFO speed
–20.00 (–80.00) …+20.00Hz
Amt Modulation amount of LFO speed
(+80.00)
Selects only low-range, high-range, or both ranges for
Depth D-mod Low, High, Both
LFO modulation depth. ☞P.125
h
Src None…Tempo Modulation source of LFO modulation depth
Amt –100…+100 Modulation amount of LFO modulation depth
High/Low Split Point 1…100 Splits frequencies into low and high ranges ☞P.125
i
High/Low Balance Low, 1…99, High Sets output balance between low and high ranges.

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 05: St. Harmonic Chorus (Stereo Harmonic Chorus)

Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

d: LFO Step Freq [Hz] This parameter determines whether or not the waveform of the high-range LFO
d: High should be step-shaped. Changing the d: High value will allow you to adjust the
width of the steps.

g: LFO Freq D-mod This parameter determines whether the LFO speed dynamic modulation is
applied to the low range, high range, or both ranges. When d: LFO Step Freq is

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On, the waveform of the high-range LFO will be step-shaped, and dynamic
modulation will be applied to the speed of this step-shaped LFO (width of
steps).

h: Depth D-mod This parameter determines whether the dynamic modulation of LFO modula-
tion depth is applied to the low range, high range, or both ranges.

i: High/Low Split Point This parameter sets the split point (frequency) between high and low ranges.
Split signals are input to the respective chorus block.

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 06: Multitap Chorus/Dly (Multitap Chorus/Delay)

06: Multitap Chorus/Dly (Multitap Chorus/Delay)

This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by
setting a different delay time and depth for each block. You can control the delay output level via a mod-
ulation source.

Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out

Left
Feedback Wet / Dry

Tap1 Delay
Tap2 Delay
Tap3 Delay
+
Tap4 Delay
Tap5 Delay

Tap6 Delay

Right
0 [degree] Wet / Dry
180 [degree]
Panning Preset
60 [degree]
240 [degree]
120 [degree]
300 [degree]
LFO: Triangle

D-mod On/Off Control

a LFO Frequency [Hz] 0.02…13.00Hz LFO speed

Tap1(000) [msec] 0…570msec Tap1 (LFO phase = 0) delay time
Depth 0…30 Depth of Tap1 chorus
b
Always On, Always Off, Selects on, off, or modulation source for the control of
Status
On→Off(dm), Off→On(dm) Tap1 output.☞P.127
Tap2(180) [msec] 0…570msec Tap2 (LFO phase = 180) delay time
Depth 0…30 Depth of Tap2 chorus
c
Always On, Always Off, Selects on, off, or modulation source for the control of
Status
On→Off(dm), Off→On(dm) Tap2 output.☞P.127
Tap3(060) [msec] 0…570msec Tap3 (LFO phase = 60) delay time
Depth 0…30 Depth of Tap3 chorus
d
Always On, Always Off, Selects on, off, or modulation source for the control of
Status
On→Off(dm), Off→On(dm) Tap3 output.☞P.127
Tap4(240) [msec] 0…570msec Tap4 (LFO phase = 240) delay time
Depth 0…30 Depth of Tap4 chorus
e
Always On, Always Off, Selects on, off, or modulation source for the control of
Status
On→Off(dm), Off→On(dm) Tap4 output.☞P.127
Tap5(120) [msec] 0…570msec Tap5 (LFO phase = 120) delay time
Depth 0…30 Depth of Tap5 chorus
f
Always On, Always Off, Selects on, off, or modulation source for the control of
Status
On→Off(dm), Off→On(dm) Tap5 output.☞P.127
Tap6(300) [msec] 0…570msec Tap6 (LFO phase = 300) delay time
Depth 0…30 Depth of Tap6 chorus
g
Always On, Always Off, Selects on, off, or modulation source for the control of
Status
On→Off(dm), Off→On(dm) Tap6 output.☞P.127
h Panning Preset 1, 2, 3, 4 Specifies the stereo image of each Tap. ☞P.127

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 06: Multitap Chorus/Dly (Multitap Chorus/Delay)

Tap1 Feedback –100…+100 Tap1 feedback amount

Modulation source for the Tap output level, feedback
i Src None…Tempo
amount, and effect balance☞P.127
Amt –100…+100 Modulation amount of Tap1 feedback amount ☞P.127
Wet/Dry Dry, 1:99…99:1, Wet Balance between effect sound and dry sound
j
Amt –100…+100 Modulation amount of effect balance☞P.127

b: Status These parameters set the output status of each Tap.

c: Status
Always On: Output is always on. (No modulation)
d: Status
Always Off: Output is always off. (No modulation)
e: Status

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On→Off (dm): Output level is switched from on to off depending on the modu-
f: Status
lation source.
g: Status
Off→On (dm): Output level is switched from off to on depending on the modu-
lation source.
Combining these parameters, you can change from 4-phase chorus to two-tap
delay by crossfading them gradually via the modulation source during a perfor-
mance.

h: Panning Preset This parameter selects combinations of stereo images of the tap outputs.

i: Src Tap output level, feedback amount and effect balance are controlled simulta-
i: Amt neously via a modulation source.
j: Amt

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 07: Stereo Ensemble

07: Stereo Ensemble

This is a stereo ensemble effect that has three chorus blocks each for the left and right channels.

Stereo In - Stereo Out

Left
Wet / Dry

LEQ HEQ
Ensemble
EQ Trim

Spread

LEQ HEQ
Ensemble
EQ Trim

Right
Wet / Dry

Shimmer 180 [degree]

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects LFO waveform.

Speed 1…100 LFO speed
b Src None…Tempo Modulation source of LFO speed
Amt –100…+100 Modulation amount of LFO speed
c Shimmer 0…100 Amount of shimmering of LFO waveform ☞P.31
Depth 0…100 Depth of LFO modulation
d Src None…Tempo Modulation source of LFO modulation depth
Amt –100…+100 Modulation amount of 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
Sets the width of the stereo image of the effect sound.
h Spread –100…+100
☞P.65
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 08: St. Tempo Flanger (Stereo Tempo Flanger)

08: St. Tempo Flanger (Stereo Tempo Flanger)

This is a stereo tempo flanger. You can select random or step waveforms for the LFO, and synchronize the
speed of the random/step waveform with tempo. Also, synchronizing the LFO to note-on messages will
produce a flanging effect with a fixed timing.

Stereo In - Stereo Out

Left
Wet / Dry

Flanger

size4
FB Mode Feedback Spread
(Normal/Cross)

High Damp
Flanger
FB Mode
(Normal/Cross)

Right
Wet / Dry

LFO Phase
Tempo D-mod

LFO Mode
120 [beat/min] Length: 1/4 LFO: Tri / Sine LFO Shape
Manual
Step Length: 1/16 LFO: Step-Tri / Step Sin / Random
LFO Sync

LFO Sync Off, On LFO reset on/off ☞P.109

a
Src None…Tempo Modulation source that resets LFO
b Delay Time [msec] 0.0…50.0msec Delay time from the original sound
Triangle, Sine, Step-Tri,
LFO Waveform Selects LFO waveform.☞P.70
Step-Sin, Random
c
Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
LFO Lch Phase [deg] –180…+180 Left LFO phase after reset ☞P.109
d
Rch Phase [deg] –180…+180 Right LFO phase after reset
Switches between the specified tempo and clock sync.
LFO Mode Manual, D-mod
e ☞P.33
Src(fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo)
Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual ☞P.33
Sets the LFO cycle. LFO Cycle = Length x Whole Note.
Length 1…16 / 1…16
f ☞P.33
Sets the LFO step cycle. LFO step Cycle = Length x
Step 1…16 / 1…32
Whole Note.
Depth 0…100 Depth of LFO modulation
g Src None…Tempo Modulation source of LFO modulation depth
Amt –100…+100 Modulation amount of LFO modulation depth
Feedback –100…+100 Feedback amount ☞P.32
h
FB Mode Normal, Cross Sets feedback routing.☞P.69
High Damp [%] 0…100% Feedback damping amount in the high range ☞P.32
i Sets the width of the stereo image of effect sound.
Spread –100…+100
☞P.65
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.25, 32
j
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 09: St. Tempo Phaser (Stereo Tempo Phaser)

09: St. Tempo Phaser (Stereo Tempo Phaser)

This is a stereo tempo phaser. You can select random or step waveforms for the LFO, and synchronize the
speed of the random/step waveform with tempo. Also, synchronizing the LFO to note-on messages will
produce a phasing effect with a fixed timing.

Stereo In - Stereo Out

Left
Wet / Dry

Phaser

Resonance Spread

High Damp
Phaser

Right
Wet / Dry

LFO Phase
Tempo D-mod

LFO Mode
120 [beat/min] Length: 1/4 LFO: Tri / Sine LFO Shape
Manual
Step Length: 1/16 LFO: Step-Tri / Step Sin / Random
LFO Sync

LFO Sync Off, On LFO reset on/off ☞P.109

a
Src None…Tempo Modulation source that resets LFO
Triangle, Sine, Step-Tri,
LFO Waveform Selects LFO waveform. ☞P.70
Step-Sin, Random
b
Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
LFO Lch Phase [deg] –180…+180 Left LFO phase after reset ☞P.109
c
Rch Phase [deg] –180…+180 Right LFO phase after reset
Switches between the specified tempo and clock sync.
d LFO Mode Manual, D-mod
☞P.33
Src(fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo)
Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual ☞P.33

e Sets the LFO cycle. LFO Cycle = Length x Whole Note.

Length 1…16 / 1…16
☞P.33
Sets the LFO step cycle. LFO step Cycle = Length x
Step 1…16 / 1…32
Whole Note.
f Manual 0…100 Sets the center frequency to which the effect is applied.
Depth 0…100 Depth of LFO modulation
g Src None…Tempo Modulation source of LFO modulation depth
Amt –100…+100 Modulation amount of LFO modulation depth
h Resonance –100…+100 Sets resonance amount. ☞P.35
High Damp [%] 0…100% Resonance damping amount in the high range ☞P.35
i Sets the width of the stereo image of the effect sound.
Spread –100…+100
☞P.65
–Wet…–1:99, Dry, Sets the balance between the effect and dry sounds.
Wet/Dry
1:99…Wet ☞P.35
j
Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 10: St. Pitch Shifter (Stereo Pitch Shifter)

10: St. Pitch Shifter (Stereo Pitch Shifter)

This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from
each other.

Stereo In - Stereo Out

Left
Wet / Dry

size4
High Damp
Delay Pitch Shifter
Input Level

Feedback Spread

Input Level High Damp

Delay Pitch Shifter

Right
Wet / Dry

Input Level 0…100 Sets input level to the effect.

a 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
Determines whether or not the L/R pitch shift amount is
c L/R Pitch Normal, Up/Down
inverted.
Pitch Shift [1/2tone] –24…+24 Sets the pitch shift amount in steps of a semitone.☞P.97
d Src None…Tempo Modulation source of pitch shift amount
Amt –24…+24 Modulation amount of pitch shift amount
Fine [cent] –100…+100cent Sets the pitch shift amount in steps of one cent.☞P.97
e
Amt –100…+100cent Modulation amount of pitch shift amount
Lch Delay [msec] 0…1000msec Sets the delay time for the left channel. ☞P.97
f
Rch Delay [msec] 0…1000msec Sets the delay time for the right channel.
g Feedback –100…+100 Sets the feedback amount.☞P.97
h High Damp [%] 0…100% Damping amount in the high range
Sets the width of the stereo image of the effect sound.
i Spread –100…+100
☞P.65
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

c: L/R Pitch When you select Up/Down for this parameter, the pitch shift amount for the left
channel will be reversed. If the pitch shift amount is positive, the pitch of the left
channel is raised, and the pitch of the right channel is lowered.

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 11: 2Band Pitch Shifter

11: 2Band Pitch Shifter

This pitch shifter sets an individual shift amount for the high and low input signal ranges. If you apply a
detune effect to the high range of a string sound, and add the lower octave to the low range, a large
ensemble sound is produced.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry
High Damp

Pitch Shifter

High/Low
+ High/Low Split Point
Balance
Spread

Pitch Shifter
High Damp

Right
Wet / Dry

a Mode Slow, Medium, Fast Switches pitch shifter mode. ☞P.96

Sets pitch shift amount for the low range in steps of a
Low Pitch [1/2tone] –24…+24
semitone. ☞P.97
b
Src None…Tempo Modulation source of pitch shift amount
Amt –24…+24 Modulation amount of pitch shift amount for the low range
Sets pitch shift amount for the low range in steps of one
Low Fine [cent] –100…+100cent
c cent. ☞P.97
Amt –100…+100cent Modulation amount of pitch shift amount for the low range
d Low High Damp [%] 0…100% High component damping amount in the low range
Sets pitch shift amount for the high range in steps of a
High Pitch [1/2tone] –24…+24
semitone. ☞P.97
e
Modulation amount of pitch shift amount for the high
Amt –24…+24
range
Sets pitch shift amount for the low range in steps of one
High Fine [cent] –100…+100cent
cent. ☞P.97
f
Modulation amount of pitch shift amount for the high
Amt –100…+100cent
range
g High High Damp [%] 0…100% High component damping amount in the high range
High/Low Split Point 1…100 Splits frequencies between low and high ranges
h
High/Low Balance Low, 1:99…99:1, High Output balance between low and high ranges
Sets the width of the stereo image of the effect sound.
i Spread –100…+100
☞P.132
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

i: Spread This parameter specifies the width of the stereo image of the effect sound. With
a value of +100, the low range signal is output from the left channel and the high
range signal from the right channel. With a value of 0, both channels will output
a mix signal of low and high-range signals. With a negative value, the output
channel of the low and high-range signals will be reversed.

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 12: Rotary Speaker OD (Rotary Speaker Overdrive)

12: Rotary Speaker OD (Rotary Speaker Overdrive)

This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recre-
ating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary
speaker sound.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

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Horn

Rotary Speaker Rotor/Horn Mic Distance

+ Overdrive
Balance Mic Spread

Rotor

Speaker Simulation
Right
Wet / Dry

D-mod On/Off

D-mod Mode Switch: Rotate/Stop

D-mod Speed Switch: Slow/Fast

D-mod Manual Speed Control

Overdrive Off, On Switches overdrive on/off.

Src None…Tempo Modulation source that switches overdrive on/off.
a
Selects the switching mode of the modulation source that
Sw Momentary, Toggle
switches overdrive on/off. ☞P.134
Overdrive Gain 0…50 Determines the degree of distortion.
b
Overdrive Level 0…50 Overdrive output level
Overdrive Tone 0…15 Tonal quality of overdrive
c
Speaker Simulator Off, On Switches speaker simulation on/off.
Mode Switch Rotate, Stop Switches between speaker rotation and stop.
Src None…Tempo Modulation source that toggles between rotation and stop
d
Selects the switching mode of the modulation source that
Sw Momentary, Toggle
toggles between rotation and stop. ☞P.101
Switches the speaker rotation speed between slow and
Speed Switch Slow, Fast
fast.
e Src None…Tempo Modulation source that toggles between slow and fast.
Selects the switching mode of the modulation source that
Sw Momentary, Toggle
toggles between slow and fast. ☞P.43
Sets the volume level balance between the low-range
Rotor/Horn Balance Rotor, 1…99, Horn
rotor and high-range horn.
f
Sets the modulation source in case the rotation speed is
ManualSpeedControl None…Tempo
changed directly. ☞P.101
How quickly the rotor rotation speed in the low range is
Rotor Acceleration 0…100
switched. ☞P.43
g
Adjusts the (low-range side) rotor rotation speed. Stan-
Rotor Ratio Stop, 0.50…2.00
dard value is 1.0. Selecting “Stop” will stop the rotation.

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 12: Rotary Speaker OD (Rotary Speaker Overdrive)

How quickly the horn rotation speed in the high range is

Horn Acceleration 0…100
switched. ☞P.43
h
Adjusts the (high-range side) horn rotation speed. Stan-
Horn Ratio Stop, 0.50…2.00
dard value is 1.0. Selecting “Stop” will stop the rotation.
Distance between the microphone and rotary speaker.
Mic Distance 0…50
i ☞P.101
Mic Spread 0…50 Angle of left and right microphones
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Sw This parameter determines how to switch on/off the overdrive via a modula-
tion source.
When Sw = Momentary, overdrive is applied only when a pedal or joystick is
held in position.
Only when the value for the modulation source is 64 or higher, the over-
drive effect is applied.
When Sw = Toggle, overdrive is turned on/off each time the pedal or joystick is
operated.
Each time when the value for the modulation source exceeds 64, the over-
drive effect is switched on/off.

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 13: Early Reflections

13: Early Reflections

This is a stereo early reflection effect. Compared to the Early Reflections of size 2, this effect has twice the
number of reflections, thus creating a smooth, dense sound.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

size4
EQ Trim

LEQ HEQ
+ Pre Delay Early Reflections

EQ Trim

Right
Wet / Dry

Sharp, Loose, Modulated,

a Type Selects the decay curve for the early reflection.☞P.46
Reverse
b ER Time [msec] 10…1600msec Time length of early reflection
Time taken from the original sound to the first early reflec-
c Pre Delay [msec] 0…200msec
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
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
g Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 14: L/C/R Long Delay

14: L/C/R Long Delay

This multitap delay outputs three Tap signals to left, right and center respectively. You can set a maxi-
mum of 2,730msec for the delay time.

Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out

Left
Wet / Dry

Input Level D-mod L Delay

Level

+ High Damp Low Damp

C Delay Spread
Level
Feedback

Input Level D-mod R Delay

Level

Right
Wet / Dry

L Delay Time [msec] 0…2730msec Sets the TapL delay time.

a
Level 0…50 TapL output level
C Delay Time [msec] 0…2730msec Sets the TapC delay time.
b
Level 0…50 TapC output level
R Delay Time [msec] 0…2730msec Sets the TapR delay time.
c
Level 0…50 TapR output level
Feedback –100…+100 Sets the Tap2 feedback amount.
d 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
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
g
Amt –100…+100 Modulation amount of the input level
Sets the width of the stereo image of the effect sound.
h Spread 0…50
☞P.65
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 15: Stereo Long Delay

15: Stereo Long Delay

This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross
over between left and right by changing the feedback routing. You can set a maximum of 1,360msec for
the delay time.

Stereo In - Stereo Out

size4
Left
Wet / Dry
High Damp Low Damp
Delay
Input Level D-mod

Stereo/Cross Feedback Stereo/Cross Spread

Input Level D-mod High Damp Low Damp

Delay

Right
Wet / Dry

Switches between stereo delay and cross-feedback

a Stereo/Cross Stereo, Cross
delay.
b L Delay Time [msec] 0.0…1360.0msec Sets the delay time for the left channel.
c R Delay Time [msec] 0.0…1360.0msec Sets the delay time for the right channel.
Feedback –100…+100 Sets feedback amount.
d Src None…Tempo Modulation source of feedback amount
Amt –100…+100 Modulation amount of 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
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
g
Amt –100…+100 Modulation amount of the input level
Sets the width of the stereo image of the effect sound.
Spread –100…+100
☞P.65
Modulation source of stereo image width of the effect
h Src None…Tempo
sound
Modulation amount of stereo image width of the effect
Amt –100…+100
sound
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
i Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 16: Dual Long Delay

16: Dual Long Delay

This 2-channel delay allows you to set the delay time for left and right channels independently. You can
set a maximum of 1,360msec for the delay time.

Stereo In - Stereo Out

Left
Wet / Dry
High Damp Low Damp
Delay
Input Level D-mod

Feedback

Input Level D-mod High Damp Low Damp

Delay

Right
Wet / Dry

a L Delay Time [msec] 0.0…1360.0msec Sets the delay time for the left channel.
b L Feedback –100…+100 Sets the feedback amount for the left channel.
Damping amount in the high range for the left channel
L High Damp [%] 0…100%
c ☞P.44
L Low Damp [%] 0…100% Damping amount in the low range for the left channel
d R Delay Time [msec] 0.0…1360.0msec Sets the delay time for the right channel.
e R Feedback –100…+100 Sets the feedback amount for the right channel.
Damping amount in the high range for the right channel
R High Damp [%] 0…100%
f ☞P.44
R Low Damp [%] 0…100% Damping amount in the low range for the right channel
Input Level D-mod: Src None…Tempo Modulation source of the left and right input level ☞P.44
g
Amt L –100…+100 Modulation amount of the input level for the left channel
Modulation amount of the input level for the right channel
h Amt R –100…+100
☞P.44
Sets the balance between the effect and dry sounds for
L Wet/Dry Dry, 1:99…99:1, Wet
the left channel.
i
Src None…Tempo Modulation source of left/right effect balance
Amt –100…+100 Modulation amount of effect balance for the left channel
Sets the balance between the effect and dry sounds for
R Wet/Dry Dry, 1:99…99:1, Wet
j the right channel.
Amt –100…+100 Modulation amount of effect balance for the right channel

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 17: St. Tempo Delay (Stereo Tempo Delay)

17: St. Tempo Delay (Stereo Tempo Delay)

This is a stereo tempo delay.

Stereo In - Stereo Out

Left
Wet / Dry
High Damp Low Damp
Delay
Input Level D-mod

size4
Feedback Count: On/Off
Feedback
Feedback Count: On/Off
Input Level D-mod

Delay
High Damp Low Damp

Right
Wet / Dry

Tempo D-mod

Mode
120 [beat/min] Length: 3/16 Time Adjust [%]
Manual

Switches between the specified tempo and clock sync.

Mode Manual, D-mod
a ☞P.107
Src (fixed) Tempo Source when LFO Mode = D-mod (fixed to Tempo)
Tempo [beat/min] 30…250 beat/min Tempo when LFO Mode = Manual ☞P.107
b Sets the delay time. Delay time = Length x Whole Note.
Length 1…96 / 1…96
☞P.107
Time Adjust [%] –10.00…+10.00% Fine adjustment of delay time
c
Delay 1362ms OVER!! Delay time upper limit/error indication ☞P.107
Selects whether the number of feedback times is counted
Feedback Count Off, On
or not. ☞P.107
d
Source that triggers the counting of the feedback time
Src (fixed) Gate1
(fixed to Gate1)
e Count [times] 0…96 Number of feedback times ☞P.107
Feedback –100…+100 Sets the feedback amount.
f Src None…Tempo Modulation source of feedback amount
Amt –100…+100 Modulation amount of feedback amount
g High Damp [%] 0…100% Damping amount in the high range ☞P.44
h Low Damp [%] 0…100% Damping amount in the low range ☞P.44
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
i
Amt –100…+100 Modulation amount of the input level
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
j Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

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 18: Hold Delay

18: Hold Delay

This effect records the input signal and plays it back repeatedly. You can control the start of recording and
reset via a modulation source. Easy to use for real-time performances.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Left
Wet / Dry

+ Delay
Pan

Loop Time: Auto/ ...2700ms

Right
Wet / Dry

D-mod REC Control

D-mod RST Control

Sets Automatic loop time setup mode or specifies loop

a Loop Time [msec] Auto, 1…2700msec
time. ☞P.140
b REC Control Src None…Tempo Selects control source for recording. ☞P.140
c RST Control Src None…Tempo Selects control source for reset. ☞P.141
d Manual REC Control REC Off, REC On Recording switch ☞P.140
e Manual RST Control Off, RESET Reset switch ☞P.141
Pan L100…L1, C, R1…R100 Sets the stereo image of the effect.
f Src None…Tempo Modulation source of stereo image of the effect
Amt –100…+100 Modulation amount of stereo image of the effect
Wet/Dry Dry, 1:99…99:1, Wet Sets the balance between the effect and dry sounds.
g Src None…Tempo Modulation source of effect balance
Amt –100…+100 Modulation amount of effect balance

a: Loop Time [msec] With Auto, the loop time is automatically set. Otherwise, you can specify the
loop time.
When Auto is selected, the Loop Time is automatically set to the time it takes for
a performance recorded while the Modulation Source or Manual Rec Control is
on. However, if the time length exceeds 2,700msec, the loop time will be auto-
matically set to 2,700msec.

b: REC Control Src REC Control Src selects the modulation source that controls recording. If this
d: Manual REC Control modulation is on, or if Manual REC Control is set to REC On, you can record the
input signal. If a recording has already been carried out, additional signals will
be overdubbed.
The effect is off when a value for the modulation source specified for the
REC Control Src parameter is 63 or smaller, and the effect is on when the
value is 64 or higher.

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 18: Hold Delay

c: RST Control Src The RST Control Src parameter specifies the modulation source that controls the
e: Manual RST Control reset operation. When you set this modulatoin source to On, or Manual RST
Control to RST On, you can erase what you recorded. If the Loop Time parame-
ter has been set to Auto, the loop time is also reset.
The effect is off when a value for the modulation source specified for the
RST Control Src parameter is 63 or smaller, and the effect is on when the
value is 64 or higher.
“Hold” procedure (when Loop Time = Auto)
Select the following options for each parameter:

size4
1 a: Loop Time [msec] = Auto
b: REC Control Src = JS(+Y)
c: RST Control Src = JS(–Y)
d: Manual REC Control = REC Off
e: Manual RST Control = RST On
It should be noted that all recordings will be deleted while Reset is On.
2 e: Manual RST Control = RST Off
Reset is cancelled and the unit enters Rec ready mode.
3 Push the joystick in the +Y direction (forward) and play a phrase you wish to
hold. When you pull the joystick to its original position, the recording will be
finished and the phrase you just played will be held.
Loop Time is automatically set only for the first recording after resetting. If
the time length exceeds 2,700msec, Loop Time will be automatically set to
2,700msec. (If you have set a: Loop Time to 1–2,700msec, the specified loop
time will be used regardless of the time taken from pushing the joystick for-
ward until it is pulled back. However, the recording method remains the
same. The phrase being played while the joystick is pushed forward will be
held.)
4 If you made a mistake during recording, pull the joystick in the –Y direction
(back) to reset. In this way, the recording will be erased. Repeat step 3 again.
5 The recorded phrase will be repeated again and again. You can use this to
create an accompaniment.
6 By pushing the joystick in the +Y direction (forward), you can also overdub
performances over the phrase that is being held.

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 00: Flanger

00: Flanger
This effect is a monaural-in/stereo-out flanger, with a two-band equalizer, that allows you to control the
tonal quality of the effect sound.

Mono In - Stereo Out

Return1
Left

Output Level

Flanger
High Damp
LEQ HEQ
Send1 Spread
EQ Trim
Feedback

Flanger
FB Mode FB Mode
(Normal/Cross) (Normal/Cross)
Output Level
LFO Phase
Return1
LFO: Tri / Sine LFO Shape Right

a Delay Time [msec] 0.0…50.0msec Delay from the original sound

LFO Waveform Triangle, Sine Selects LFO Waveform.
b Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
c LFO Phase [degree] –180…+180 LFO phase difference between the left and right ☞P.65
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
d 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
Feedback –100…+100 Feedback amount☞P.32
f
FB Mode Normal, Cross Sets the feedback routing. ☞P.69
g High Damp [%] 0…100% Feedback damping amount in the high range ☞P.32
EQ Trim 0…100 2-band EQ input level
h LEQ [dB] –15…+15dB Low-EQ gain
HEQ [dB] –15…+15dB High-EQ gain
i Spread 0…100 Sets the width of the effect sound’s stereo image. ☞P.65
Sets the balance between the effect and dry sounds.
Output Level –100…+100
☞P.32, 142
j
Src None…Tempo Modulation source of effect balance.
Amt –100…+100 Modulation amount of effect balance

j: Output Level When this parameter is set in the range of values from –100 to –1, the effect
sound will be output with its phase reversed.

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 01: Phaser

01: Phaser
This effect is a monaural-in/stereo-out phaser, with a two-band equalizer, that allows you to control the
tonal quality of the effect sound.

Mono In - Stereo Out

Return1
Left

Output Level

Phaser
High Damp
LEQ HEQ
Send1 Spread
EQ Trim
Resonance

Phaser
Output Level
LFO Phase
Return1
LFO: Tri / Sine LFO Shape Right

LFO Waveform Triangle, Sine Selects LFO Waveform.

a Determines how much the LFO waveform is changed.
LFO Shape –100…+100
☞P.32
b LFO Phase [degree] –180…+180 LFO phase difference between the left and right ☞P.65
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
c Src None…Tempo Modulation source of LFO speed. AutoFade is available.
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
EQ Trim 0…100 2-band EQ input level
h LEQ [dB] –15…+15dB Low-EQ gain
HEQ [dB] –15…+15dB High-EQ gain
i Spread 0…100 Sets the width of the effect sound’s stereo image. ☞P.65
Sets the balance between the effect and dry sounds.
Output Level –100…+100
☞P.35, 142
j
Src None…Tempo Modulation source of effect balance.
Amt –100…+100 Modulation amount of effect balance

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 02: Multitap Chorus/Dly (Multitap Chorus/Delay)

02: Multitap Chorus/Dly (Multitap Chorus/Delay)

This effect has three chorus blocks with different LFO phases. You can create a complex stereo image by
setting each block’s delay time, depth, output level, and pan individually. You can also set some of the
chorus blocks to combine the chorus and delay effects.

Mono In - Stereo Out

Return1
Left

Feedback Output Level

Tap1 Delay Level Pan

Send1 Tap2 Delay Level Pan

Tap3 Delay Level Pan

Output Level
90 [degree]
0 [degree]
180 [degree] Return1
Right

LFO: Triangle

a LFO Frequency [Hz] 0.02…20.00Hz LFO speed

Tap1(090) [msec] 0…570msec Tap1 (LFO phase=90 degrees) delay time
Depth 0…100 Tap1 chorus depth
b
Level 0…100 Tap1 output level
Pan L6…L1, C, R1…R6 Tap1 stereo image
Tap2(000) [msec] 0…570msec Tap2 (LFO phase=0 degrees) delay time
Depth 0…100 Tap2 chorus depth
c
Level 0…100 Tap2 output level
Pan L6…L1, C, R1…R6 Tap2 stereo image
Tap3(180) [msec] 0…570msec Tap3 (LFO phase=180 degrees) delay time
Depth 0…100 Tap3 chorus depth
d
Level 0…100 Tap3 output level
Pan L6…L1, C, R1…R6 Tap3 stereo image
Tap1 Feedback –100…+100 Tap1 feedback amount
e Src None…Tempo Modulation source of Tap1 feedback amount
Amt –100…+100 Modulation amount of Tap1 feedback amount
Output Level 0…100 Output level of effect sound
f Src None…Tempo Modulation source of output level
Amt –100…+100 Modulation amount of output level

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 03: Ensemble

03: Ensemble
This Ensemble effect has three chorus blocks, and adds a three dimensional depth and spread to the
sound, since the signal is output from the left, right, and center.

Mono In - Stereo Out

Return1
Left

Output Level

Send1 Ensemble

Output Level

Shimmer
Return1
LFO Right

Speed 1…100 LFO speed

a Src None…Tempo Modulation source of LFO speed
Amt –100…+100 Modulation amount of LFO speed
b Shimmer 0…100 Amount of shimmer of the LFO waveform ☞P.31
Depth 0…100 Depth of LFO modulation
c Src None…Tempo Modulation source of the LFO modulation depth
Amt –100…+100 Modulation amount of the LFO modulation depth
Output Level 0…100 Output level of effect sound
d Src None…Tempo Modulation source of output level
Amt –100…+100 Modulation amount of output level

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 04: Chorus

04: Chorus
This is a monaural-in/stereo-out chorus. You can add spread to the sound by offsetting the phase of the
left and right LFOs from each other.

Mono In - Stereo Out

Return1
Left

Output Level

Chorus

LEQ HEQ
Send1 Spread
EQ Trim

Chorus
Output Level
LFO Phase
Return1
LFO: Tri / Sine Right

LFO Waveform Triangle, Sine Selects LFO Waveform.

a
LFO Phase [degree] –180…+180 LFO phase difference between the left and right ☞P.65
LFO Frequency [Hz] 0.02…20.00Hz LFO speed
b Src None…Tempo Modulation source of LFO speed.
Amt –20.00…+20.00Hz Modulation amount of LFO speed
c L Pre Delay [msec] 0.0…50.0msec Delay time for the left channel ☞P.65
d R Pre Delay [msec] 0.0…50.0msec Delay time for the right channel ☞P.65
Depth 0…100 Depth of LFO modulation
e Src None…Tempo Modulation source of the LFO modulation depth.
Amt –100…+100 Modulation amount of the LFO modulation depth
f EQ Trim 0…100 EQ input level
Pre LEQ Gain [dB] –15.0…+15.0dB Low-EQ gain
g
Pre HEQ Gain [dB] –15.0…+15.0dB High-EQ gain
Sets the spread of the stereo image of the effect sound.
h Spread –100…+100
☞P.65
Output Level –100…+100 Output level of the effect sound ☞P.142
i Src None…Tempo Modulation source of output level
Amt –100…+100 Modulation amount of output level

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 05: L/C/R Delay

05: L/C/R Delay

This multitap delay outputs three Tap signals to the left, right and center respectively.

Mono In - Stereo Out

Return1
Left

Output Level

L Delay
Level

Send1 C Delay Spread

Level
Input Level
D-mod Feedback
High Damp Low Damp
R Delay
Level
Output Level

Return1
Right

L Delay Time [msec] 0…680msec Sets the TapL delay time.

a
Level 0…50 TapL output level
C Delay Time [msec] 0…680msec Sets the TapC delay time.
b
Level 0…50 TapC output level
R Delay Time [msec] 0…680msec Sets the TapR delay time.
c
Level 0…50 TapR output level
Feedback –100…+100 Sets the TapC feedback amount.
d Src None…Tempo Modulation source of the TapC feedback amount
Amt –100…+100 Modulation amount of the TapC 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
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
g
Amt –100…+100 Modulation amount of the input level
Sets the width of the stereo image of the effect sound.
h Spread 0…50
☞P.65
Output Level 0…100 Output level of the effect sound
i Src None…Tempo Modulation source of output level
Amt –100…+100 Modulation amount of output level

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 00: L/C/R Long Delay

00: L/C/R Long Delay

This multitap delay outputs three Tap signals to the left, right and center respectively. Maximum delay
time is 2,000msec.

Mono In - Stereo Out

Return2
Left

Output Level

L Delay
Level

Send2 C Delay Spread

Level
Input Level
D-mod Feedback
High Damp Low Damp
R Delay
Level
Output Level

Return2
Right

L Delay Time [msec] 0…2000msec Sets the TapL delay time.

a
Level 0…50 TapL output level
C Delay Time [msec] 0…2000msec Sets the TapC delay time.
b
Level 0…50 TapC output level
R Delay Time [msec] 0…2000msec Sets the TapR delay time.
c
Level 0…50 TapR output level
Feedback –100…+100 Sets the TapC feedback amount.
d Src None…Tempo Modulation source of the TapC feedback amount
Amt –100…+100 Modulation amount of the TapC 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
Input Level D-mod: Src None…Tempo Modulation source of the input level ☞P.44
g
Amt –100…+100 Modulation amount of the input level
Sets the width of the stereo image of the effect sound.
h Spread 0…50
☞P.65
Output Level 0…100 Output level of effect sound
i Src None…Tempo Modulation source of output level
Amt –100…+100 Modulation amount of output level

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 01: Delay/Reverb

01: Delay/Reverb
This effect is a combination of a multitap delay and a hall-type reverb.

Mono In - Stereo Out

Pre Delay Thru

Return2
LEQ HEQ Left
Send2 Pre Delay Reverb Spread
Output Level
EQ Trim

L Delay
Level

C Delay Spread
Level
Feedback Output Level
High Damp Low Damp
R Delay
Level Return2
Right

L Delay Time [msec] 0…680msec Sets the TapL delay time.

a
Level 0…30 TapL output level
C Delay Time [msec] 0…680msec Sets the TapC delay time.
b
Level 0…30 TapC output level
R Delay Time [msec] 0…680msec Sets the TapR delay time.
c
Level 0…30 TapR output level
d Feedback –100…+100 Sets the TapC feedback amount.
High Damp [%] 0…100% Damping amount in the high range ☞P.44
e
Low Damp [%] 0…100% Damping amount in the low range
Reverb Time [sec] 0.1…10.0 Sets the period of reverberation time.
f
High Damp [%] 0…100% Reverberation damping amount in the high range
Pre Delay [msec] 0…200msec Reverb delay time☞P.116
g
Pre Delay Thru 0…30 Mix ratio of non-delayed reverb sound
EQ Trim 0…30 Reverb input level to EQ
h LEQ [dB] –15…+15 Reverb gain for the low-EQ
HEQ [dB] –15…+15 Reverb gain for the high-EQ
Sets the width of the stereo image of the effect sound.
Spread 0…30
☞P.150
i
Determines whether delay output, reverb output, or both
Spread Control Delay, Reverb, Both
outputs are controlled for the width of the stereo image.
Output Level 0…100 Output level of the effect sound
j Src None…Tempo Modulation source of output level
Amt –100…+100 Modulation amount of output level

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 01: Delay/Reverb

i: Spread These parameters set the width of the stereo image of the effect sound. The wid-
i: Spread Control est image can be obtained with a value of 30. With a value of 0, the effect sound
will be output from the center.
When the Spread control = Delay, you can control the width of the stereo image
of the delay output only. In this case, the width of the reverb stereo image is set
to maximum.
When the Spread control = Reverb, you can control the width of the stereo
image of the reverb output only. In this case, the width of the delay stereo image
is set to maximum.
When the Spread control = Both, you can control the width of the stereo image
of both the delay and reverb outputs.

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 02: Reverb-Room

02: Reverb-Room
This is a room-type reverberation. Setting the four types of early reflections individually allows you to
simulate the sound reflections on the front, rear, left, and right walls of a room, creating a more realistic
reverb sound. You can also adjust the width of the stereo image of the reverb sound.

03: Reverb-Bright Room

This is a bright, room-type reverb. Setting the four types of early reflections individually allows you to
simulate the sound reflections on the front, rear, left, and right walls of a room, creating a more realistic
reverb sound. You can also adjust the width of the stereo image of the reverb sound.

Mono In - Stereo Out

Return2
Left
Level Pan
Output Level
ER1
Pre Delay Thru
ER2
LEQ HEQ
Send2 Pre Delay Reverb Spread
EQ Trim

ER3

ER4
Output Level

Return2
Right

a Reverb Time [sec] 0.1…3.0sec Sets the reverberation time.

b High Damp [%] 0…100% Damping amount in the high range.
Pre Delay [msec] 0…200msec Delay time from the dry sound ☞P.152
c
Pre Delay Thru 0…30 Mix ratio of non-delay sound
EQ Trim 0…30 EQ input level
d LEQ [dB] –15…+15dB Low-EQ gain
HEQ [dB] –15…+15dB High-EQ gain
ER1 Delay [msec] 0…200msec Delay time of early reflection 1 ☞P.152
e Level 0…30 Early reflection 1 output level
Pan L, 1, 2, CNT, 4, 5, R Stereo image of early reflection 1
ER2 Delay [msec] 0…200msec Delay time of early reflection 2 ☞P.152
f Level 0…30 Early reflection 2 output level
Pan L, 1, 2, CNT, 4, 5, R Stereo image of early reflection 2
ER3 Delay [msec] 0…200msec Delay time of early reflection 3 ☞P.152
g Level 0…30 Early reflection 3 output level
Pan L, 1, 2, CNT, 4, 5, R Stereo image of early reflection 3
ER4 Delay [msec] 0…200msec Delay time of early reflection 4 ☞P.152
h Level 0…30 Early reflection 4 output level
Pan L, 1, 2, CNT, 4, 5, R Stereo image of early reflection 4
Sets the width of the stereo image of the reverb sound
i Spread 0…30
(excluding the early reflections) ☞P.65

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 03: Reverb-Bright Room

Output Level 0…100 Output level of the effect sound

j Src None…Tempo Modulation source of output level
Amt –100…+100 Modulation amount of output level

c: Pre Delay [msec]

e: ER1 Delay [msec]
f: ER2 Delay [msec]
Reverb (Master)
g: ER3 Delay [msec]
h: ER4 Delay [msec] Level
Dry ER1,2,3,4
(Early Reflections)
ER
Delay

Louder
Reverb

Time

Pre Delay Thru

Pre Delay Reverb Time

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 04: Reverb-Hall

04: Reverb-Hall
This is a hall-type reverberation. Setting the four types of early reflections individually allows you to sim-
ulate the sound reflections on the front, rear, left, and right walls of a room, creating a more realistic
reverb sound. You can also adjust the width of the stereo image of the reverb sound.

05: Reverb-Smooth Hall

This is a hall-type reverberation with a smooth release. Setting the four types of early reflections individ-
ually allows you to add effective ambience to the sound. You can also adjust the width of the stereo image
of the reverb sound.

06: Reverb-Wet Plate

This effect simulates a dense plate reverberation. Setting the four types of early reflections individually
allows you to add effective ambience to the sound. You can also adjust the width of the stereo image of
the reverb sound.

07: Reverb-Dry Plate

This is a light, plate reverberation. Setting the four types of early reflections individually allows you to
add effective ambience to the sound. You can also adjust the width of the stereo image of the reverb
sound.
a Reverb Time [sec] 0.1…10.0sec Sets the reverberation time.
b High Damp [%] 0…100% Damping amount in the high range.
Pre Delay [msec] 0…200msec Delay time from the dry sound ☞P.152
c
Pre Delay Thru 0…30 Mix ratio of non-delay sound
EQ Trim 0…30 EQ input level
d LEQ [dB] –15…+15dB Low-EQ gain
HEQ [dB] –15…+15dB High-EQ gain
ER1 Delay [msec] 0…200msec Delay time of early reflection 1 ☞P.152
e Level 0…30 Early reflection 1 output level
Pan L, 1, 2, CNT, 4, 5, R Stereo image of early reflection 1
ER2 Delay [msec] 0…200msec Delay time of early reflection 2 ☞P.152
f Level 0…30 Early reflection 2 output level
Pan L, 1, 2, CNT, 4, 5, R Stereo image of early reflection 2
ER3 Delay [msec] 0…200msec Delay time of early reflection 3 ☞P.152
g Level 0…30 Early reflection 3 output level
Pan L, 1, 2, CNT, 4, 5, R Stereo image of early reflection 3
ER4 Delay [msec] 0…200msec Delay time of early reflection 4 ☞P.152
h Level 0…30 Early reflection 4 output level
Pan L, 1, 2, CNT, 4, 5, R Stereo image of early reflection 4
Sets the width of the stereo image of the reverb sound
i Spread 0…30
(excluding early reflections) ☞P.65
Output Level 0…100 Output level of effect sound
j Src None…Tempo Modulation source of output level
Amt –100…+100 Modulation amount of output level

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 Index

Hold Delay140 Reverb-Wet Plate

Master Effect153
Index L
L/C/R Delay
size2118
Ring Modulator40
Master Effect147 Rotary Speaker
size2105 size143
Numerics size2100
L/C/R Long Delay
2Band Pitch Shifter132 Rotary Speaker OD133
Master Effect148
2-Voice Resonator80
size4136
Limiter15 S
A Shimmer93
Amp Simulation13
M St. Amp Simulation47
Multiband Limiter50 St. Bi-phase Mod.76
C Multitap Chorus/Dly St. Dynamic Delay110
Chorus Master Effect144 St. Envelope Pan87
Master Effect146 size267 St. Graphic 13EQ122
size129 size4126 St. Graphic 7EQ56
Compressor14 Multitap Delay45 St. Harmonic Chorus
size266
D O size4124
Decimator28 St. Mlt.band Limiter120
OD/Hi-Gain Wah53
Delay44 St. Modulation Delay108
OD/Hyper-Gain Wah121
Delay/Reverb149 St. Multitap Delay104
Overdrive/Hi-Gain19
Detune95 St. Parametric 4EQ55
Doppler82 St. Pitch Shifter131
P St. Random Filter58
Dual Delay102
Parametric 4EQ20 St. Random Flanger70
Dual Long Delay138
Phaser St. Random Phaser74
Dyna Exciter26
Master Effect143 St. Tempo Delay139
size135 St. Tempo Flanger
E Phaser+Tremolo91 size272
Early Reflections Piano Body/Damper119 size4129
size146 Pitch Shift Mod.98 St. Tempo Phaser
size2113 Pitch Shifter96 size275
size4135
size4130
Ensemble
R Stereo Auto Pan85
Master Effect145
Random Filter25 Stereo Chorus64
size131
Random Panning Dly112 Stereo Compressor48
size268
Resonator39 Stereo Decimator63
Envelope Flanger34
Reverb-Bright Room Stereo Delay103
Envelope Phaser37
Master Effect151 Stereo Dyna Pan89
size2116 Stereo Enhancer60
F Reverb-Dry Plate Stereo Ensemble128
Flanger Master Effect153 Stereo Flanger69
Master Effect142 size2118 Stereo Gate51
size132 Reverb-Hall Stereo Limiter49
Master Effect153 Stereo Long Delay137
G size2114 Stereo Phaser73
Gate17 Reverb-Room Stereo Tremolo84
Graphic 13Band EQ57 Master Effect151 Stereo Vibrato78
Graphic 7Band EQ22 size2116 Sub Oscillator27
Reverb-Smooth Hall
H Master Effect153
Harmonic Chorus30 size2114

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 Index

T
Talking Modulator61
Tempo Delay106
Tempo Flanger33
Tempo Phaser36
Tremolo42

V
Vibrato38
Vocoder123

W
Wah/Auto Wah23

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Index

156