Owner`s Manual
Integrated Effects
Switching System
Owner’s
Manual
Warranty
We at DigiTech® are very proud of our products and back up each one we sell with the following warranty:
1.
Please register online at digitech.com within ten days of purchase to validate this warranty. This
warranty is valid only in the United States.
2.
DigiTech warrants this product, when purchased new from an authorized U.S. DigiTech dealer and
used solely within the U.S., to be free from defects in materials and workmanship under normal use
and service. This warranty is valid to the original purchaser only and is non-transferable.
3.
DigiTech liability under this warranty is limited to repairing or replacing defective materials that show
evidence of defect, provided the product is returned to DigiTech WITH RETURN AUTHORIZATION,
where all parts and labor will be covered up to a period of one year. A Return Authorization number
may be obtained by contacting DigiTech. The company shall not be liable for any consequential damage
as a result of the product’s use in any circuit or assembly.
4.
Proof-of-purchase is considered to be the responsibility of the consumer. A copy of the original
purchase receipt must be provided for any warranty service.
5.
DigiTech reserves the right to make changes in design, or make additions to, or improvements upon
this product without incurring any obligation to install the same on products previously manufactured.
6.
The consumer forfeits the benefits of this warranty if the product’s main assembly is opened and
tampered with by anyone other than a certified DigiTech technician or, if the product is used with AC
voltages outside of the range suggested by the manufacturer.
7.
The foregoing is in lieu of all other warranties, expressed or implied, and DigiTech neither assumes
nor authorizes any person to assume any obligation or liability in connection with the sale of this
product. In no event shall DigiTech or its dealers be liable for special or consequential damages or
from any delay in the performance of this warranty due to causes beyond their control.
NOTE: The information contained in this manual is subject to change at any time without notification.
Some information contained in this manual may also be inaccurate due to undocumented changes in the
product since this version of the manual was completed. The information contained in this version of the
owner’s manual supersedes all previous versions.
Technical Support & Service
If you require technical support, contact DigiTech Technical Support. Be prepared to accurately describe the
problem. Know the serial number of your device – this is printed on a sticker attached to the chassis. If you
have not already taken the time to register your product, please do so now at digitech.com.
Before you return a product to the factory for service, we recommend you refer to this manual. Make sure
you have correctly followed installation steps and operating procedures. For further technical assistance or
service, please contact our Technical Support Department at (801) 566-8800 or visit digitech.com. If you
need to return a product to the factory for service, you MUST first contact Technical Support to obtain a
Return Authorization Number.
NO RETURNED PRODUCTS WILL BE ACCEPTED AT THE FACTORY WITHOUT A
RETURN AUTHORIZATION NUMBER.
Please refer to the Warranty information, which extends to the first end-user. After expiration of the
warranty, a reasonable charge will be made for parts, labor, and packing if you choose to use the factory
service facility. In all cases, you are responsible for transportation charges to the factory. If the product is
still under warranty, DigiTech will pay the return shipping.
Use the original packing material if it is available. Mark the package with the name of the shipper and with
these words in red: DELICATE INSTRUMENT, FRAGILE! Insure the package properly. Ship prepaid, not
collect. Do not ship parcel post.
Table of Contents
Section 1 - Introduction................................. 1
Getting Acquainted......................................................... 1
About the RP1000.......................................................... 1
Preset Mode and Pedalboard Mode...................... 1
Bypass .......................................................................... 1
Amp/Cabinet Bypass ................................................ 1
Tuner............................................................................. 2
Tone Library (Knob 1).............................................. 2
Effects Library (Knob 2)........................................... 2
Effects Level (Knob 3).............................................. 2
Amp Gain/Effect Parameter (Knob 4).................. 2
Amp Level/Effect Parameter (Knob 5)................. 3
Master Level (Knob 6).............................................. 3
X-EditTM Editor/Librarian......................................... 3
Presets.......................................................................... 3
Create Your Sound in Three Easy Steps.................... 3
A Guided Tour of the RP1000..................................... 4
Front Panel.................................................................. 4
Rear Panel.................................................................... 7
Getting Started................................................................ 8
Making Connections................................................. 8
Amp/Cabinet Bypass................................................. 8
Amp Loop.................................................................... 8
Stomp Loop................................................................ 8
Connection Setups.................................................... 9
Applying Power .......................................................14
Section 2 - Editing Functions....................... 14
Preset Mode and Pedalboard Mode.........................14
Editing/Creating Presets..............................................15
Editing Amp/Cabinet Models......................................15
Amp/Cabinet Bypass....................................................15
Storing/Copying/Naming a Preset.............................16
Section 3 - Effects and Parameters............. 17
About the Effects..........................................................17
Effect Definitions...........................................................17
Wah.............................................................................17
Compressor .............................................................17
Distortion..................................................................18
Amplifier....................................................................20
EQ...............................................................................22
Noise Gate/Auto Swell..........................................22
Chorus/FX.................................................................22
Delay ..........................................................................29
Reverb .......................................................................30
Section 4 - Other Functions........................ 31
Expression Pedal...........................................................31
Footswitch Assign.........................................................31
LFOs.................................................................................31
Wah Min/Max................................................................32
Expression Update........................................................32
Factory Reset.................................................................32
Expression Pedal Calibration.....................................32
Preset Level....................................................................33
Bypass..............................................................................33
Looper.............................................................................33
Tuner................................................................................35
USB Setup.......................................................................36
Section 5 - RP1000 Effects Descriptions ... 37
Wahs................................................................................37
Compressors.................................................................37
Noise Gates...................................................................37
EQ....................................................................................38
Chorus Stompbox Models..........................................38
Flanger.............................................................................38
Phasers............................................................................39
Pitch.................................................................................40
Vibrato / Rotary............................................................40
Tremolo...........................................................................40
Envelope / Special.........................................................41
Delays..............................................................................41
Reverbs............................................................................42
Distortions.....................................................................43
Amps................................................................................45
Cabinets..........................................................................49
Section 6 - Appendix..................................... 51
Specifications..................................................................51
Tone Library...................................................................52
Effects Library................................................................52
Section 1 - Introduction
Getting Acquainted
Congratulations on your purchase of the RP1000. The RP1000 Integrated Effects Switching System takes
your tone to the next level giving you the control that you need over your external amp and stompboxes
while packing in the power of a multi-effects processor. Use the RP1000 to control and spice up your tone
without any compromises. The RP1000’s vast pallet of stompboxes, effects, amps and cabinets allow you to
get any sound imaginable and then some. Easily dial up a sound using the Tone and Effects Library knobs.
You will appreciate the tone and dynamic interaction of each of the amps, stompboxes, and effects with
your system. Add USB support for computer recording and you have the RP1000: the key to unlock your
creative potential.
About the RP1000
Do yourself a favor and read the next couple pages before you start playing with your new RP1000. It’ll
help you get the most out of it without having to read the whole manual.
Preset Mode and Pedalboard Mode
There are two different ways to use the footswitches with the presets: Preset Mode and Pedalboard Mode.
Push the Pedalboard button (just to the right of the knobs below the Display) to toggle between these two
modes.
Preset Mode
In Preset mode (Pedalboard button is off), each of the 10 numbered footswitches loads a preset, and
you can’t turn individual models on or off with the footswitches. The Up/Down footswitches select
banks of 10 presets.
Pedalboard Mode
In Pedalboard mode, footswitches 1-5 select presets, and footswitches 6-10 act like pedals on a
pedalboard. That means you can turn the distortion, chorus, etc. on and off within each preset. The
first time you power up the RP1000 when you take it out of the box (or after doing a factory
restore), it’s in Pedalboard mode.
The RP1000 remembers which mode you’re in when you turn it off, and keeps it in that mode when
you turn it back on.
Bypass
You can bypass all the internal amps and effects in the RP1000 by stepping on the currently active preset’s
footswitch. In bypass mode, your guitar’s clean signal comes through without any processing. To exit bypass
mode and re-activate the preset you were in, just step the same footswitch again. To exit bypass mode and
activate another preset, step on a different footswitch.
If you’re using the Amp Loop and/or the Stomp Loop when you go into bypass mode, any devices
connected to the Amp Loop and Stomp Loop are still active. So you can use bypass to kill all the effects in
the RP1000 without bypassing your amp/preamp connected to the Amp Loop.
Amp/Cabinet Bypass
You can also turn off the internal amps and cabinets for all the presets in the RP1000. This is really useful
when you just want to add effects processing to your own core amplifier sound. So basically the RP1000
becomes a straight multi-effects box when you do this, and only Wah, Compressor, Distortion, Equalizer,
Noise Gate, Chorus/FX, Delay, and Reverb are used.
To bypass amp/cabinet modeling in all presets, press the Amp/Cabinet Bypass button. When that button is
lit, amp/cabinet modeling is bypassed in all presets.
You can use amp/cabinet bypass in Preset or Pedalboard mode.
1
Tuner
The RP1000’s built-in tuner lets you quickly and easily tune your guitar, even on a dark stage. Just press
and hold the currently active preset’s Footswitch for 2 seconds. The Display briefly shows BYPASS then
TUNER to let you know you’re in Tuner mode. To begin tuning, play a note on your guitar (a harmonic at
the 12th fret usually works best). The Numeric Display shows the note being played. Arrows on the right
mean the note is sharp and should be tuned down. Arrows on the left mean the note is flat and should be
tuned up. A left and a right arrow in the center mean the note is in tune. The Expression Pedal controls
the guitar volume while tuning. Exit tuner mode by pressing any Footswitch.
Left and right arrows
in the center indicate
note is in tune
Note being played
A
If you use an alternate tuning, like down a half-step or drop D, you can still use the tuner as if you were in
standard tuning. Just go into Tuner mode and change your tuning reference. The default setting is standard
tuning, where A=440 Hz (displayed as A=440). But when you’re in Tuner mode, you can rotate Knob 1
to pick an alternate tuning. These include A = A , A = G, A = G , and tuning references A=427
- A=453.
Tone Library (Knob 1)
This is one of the RP1000’s coolest features. In Pedalboard and Preset modes, you turn this knob to pick
from a list of amp tones like Blues or Metal or Country. Each one has different Compressor, Distortion,
Amp/Cabinet type, EQ, and Noise Gate settings, but you don’t have to mess with any of those settings if
you don’t want to, they just load up automatically when you pick a tone from the library. If you’re into it,
you can go ahead and refine the sound by editing the preset (see Editing/Creating Presets on page 15),
but the thing is you don’t have to. The Tone Library doesn’t change the Chorus/FX, Delay or Reverb, so
you can experiment with different amp styles quickly with the current effect chain. When in Amp/Cabinet
Bypass Mode, the amplifiers are bypassed, so only the distortion and overdrive stompboxes are providing
distortion.
Effects Library (Knob 2)
This knob works hand-in-hand with the Tone Library knob. In Pedalboard and Preset modes, this knob
selects from a variety of post-amplifier effect chains (Chorus, Chorus + Delay, Delay + Reverb, etc.). And
just like with the Tone library, you can edit the preset if you want to (see Editing/Creating Presets on
page 15), but you don’t have to. Changing between different Effects Library selections doesn’t change the
Compressor, Distortion, Amp/Cabinet types, EQ, and Noise Gate settings, so you can experiment with
different effect chains quickly with the current amp tone.
Effects Level (Knob 3)
In Pedalboard and Preset modes, this knob changes the relative level of the post-amp effects (Chorus/FX,
Delay, and Reverb). It’s like an effects mix control, where turning it clockwise increases the level of these
effects and turning it counter-clockwise decreases the level of these effects.
Amp Gain/Effect Parameter (Knob 4)
This knob adjusts the Gain (distortion) for the selected Amp (not available for Acoustic) and is also used
to adjust parameters of other effects in the matrix. The amplifier and cabinets can’t be adjusted when the
Amp/Cabinet Bypass button is enabled.
2
Amp Level/Effect Parameter (Knob 5)
This knob adjusts the Level (volume) of the selected amp and adjusts other effect parameters in the matrix.
Amp Level can’t be adjusted when the Amp/Cabinet Bypass button is enabled.
Master Level (Knob 6)
This knob controls the overall output volume of all of the RP1000’s presets and adjusts other effect
parameters in the matrix.
X-EditTM Editor/Librarian
You can edit your RP1000 with your computer, using the X-EditTM Editor/Librarian, which you can download
from www.digitech.com.
Presets
Presets are named and numbered locations of programmed sounds which reside in the RP1000 (in case
you didn’t know). You load Presets with the Footswitches (see Preset Mode and Pedalboard Mode on
page 14 for more information about that). The active effects in each preset are indicated by lighted LEDs
in the Effect Matrix, and if you’re in Pedalboard mode, the LEDs over footswitches 6-10 show you which
of those effects are on or off. The RP1000 comes with 100 User presets (1-00) and 100 Factory presets
(F1-F00). You can save changes to the User presets, but not the Factory presets. From the factory, the 100
User presets are exact duplicates of the 100 Factory presets. That way you can create your own presets
without losing the sounds that came with the RP1000.
Create Your Sound in Three Easy Steps
1.
Tone Library
Select one of 40 different tones from rock, metal, blues, country, and
more. The tones consist of a combination of Compressor, Distortion
Stompbox, Amplifier/Cabinet, EQ, and Noise Gate.
For a complete list of available tones, see page 52.
2.
Effects Library
Select one of 40 different effects chains. The effects consist of a
combination of Chorus/FX, Delay, and Reverb.
For a complete list of available effects chains, see page 52.
3.
Effects Level
Adjust the overall level of the post-amp effects to your liking.
To make further edits, refer to page 15. To store the preset, refer to page 16.
3
A Guided Tour of the RP1000
Front Panel
1
2
345 6
7
8 9 10
11
12
13
1. Tap Tempo Footswitch
Step on this footswitch repeatedly in time with your music to get the delay to sync up with the music’s
rhythm.
2. Stomp Loop Footswitch
This footswitch enables and disables the mono stompbox effects loop.
3. Edit Up/Down Buttons
These buttons navigate up and down the rows of the matrix for editing presets.
4. Amp Loop Button
This button enables and disables the external Amp/Preamp loop. The button lights when the Amp/Preamp
loop is active. If no connections are made to the loop, NO loop appears in the display briefly when the
button is engaged or disengaged.
5. Stomp Loop LED
This LED lights when the Stomp Loop is activated using the Stomp Loop footswitch. When the LED is
off, the Stomp Loop is inactive. Note that the Stomp Loop button’s LED turns red when its position is pre
amp model and amp loop, and green when it’s post amp model and amp loop.
6. Effects Matrix
The matrix provides information regarding the current preset and parameter edit functions. In Performance
mode, the LEDs running down the left side of the Matrix provide a visual indication of which effects are
in use for the selected preset. While editing a preset, the LEDs indicate that the Effect row is selected for
editing.
7. Displays
The RP1000 has two sets of displays. The 8 character alpha-numeric display shows preset names, bank
names, and effects names while editing. The 2 character numeric display shows preset numbers and effects
parameters while editing and shows the note being tuned when the Tuner is enabled.
4
8. Knobs 1-6 (From left to right)
These six knobs perform various functions, depending on which mode is currently active and what (if
anything) is being edited. The functions are listed below:
Tone Library (Knob 1)
1. In Performance mode, this knob selects from a library of preset amp tones.
2. When editing a preset, this knob changes the Amp or Effect model for the selected row and
pressing the knob will turn the effect row on or off. When editing an Effect row, press this knob
to turn the effect on or off. When editing the Amp/Cabinet row, pressing this knob will switch
between editing the amp model or the cabinet model.
3. When the Expression row is selected, this knob selects the Expression Pedal, LFO 1, and LFO 2
parameter links, footswitch 6-10* assignments, Wah pedal range, Expression Pedal update, and
Stomp Loop position.
*NOTE: The assignments selected for footswitches 6-10 are only available when the Pedalboard
button is active.
Effects Library (Knob 2)
1. In Performance mode, this knob selects from a library of preset effect chains.
2. When editing a preset, this knob modifies the parameter listed in the column directly above it for
the selected Effect row.
3. When the Expression row is selected, this knob selects which parameter is assigned to the
Expression Pedal, footswitches 6-10*, and LFO1or LFO2.
*NOTE: The assignments selected for footswitches 6-10 are only available when the Pedalboard
button is active.
Effects Level (Knob 3)
1. In Performance mode, this knob adjusts the overall level of post amp model effects (Chorus/FX,
Delay, and Reverb).
2. When editing a preset, this knob modifies the parameter listed in the column directly above it for
the selected Effect row.
3. When the Expression row is selected, this knob selects the heel value for the parameter linked to
the Expression Pedal or the off state are parameters assigned to footswitches 6-10*.
*NOTE: The assignments selected for footswitches 6-10 are only available when the Pedalboard
button is active.
Amp Gain (Knob 4)
1. In Performance mode, this knob adjusts the Amp Gain (distortion) for the selected Amp model.
2. When editing a preset, this knob modifies the parameter listed in the column directly above it for
the selected Effect row. This knob also is used to adjust the RP/USB mix when the RP1000 is
connected to a computer and using recording software. Just select the Wah row to adjust this
parameter when USB is connected to the RP1000.
3. When the Expression row is selected, this knob selects the toe value for the parameter linked to
the Expression Pedal Expression Pedal or the on state are parameters assigned to footswitches
6-10*.
*NOTE: the assignments selected for footswitches 6-10 are only available when the Pedalboard
button is active.
Amp Level (Knob 5)
1. In Performance mode, this knob adjusts the Amp Level (volume) of the selected Amp model.
2. When editing a preset, this knob modifies the parameter listed in the column directly above it
for the selected Effect row. This knob is also used to adjust the USB Record Level when the
5
RP1000 is connected to a computer and using recording software. Just select the Wah row to
adjust this parameter when USB is connected to the RP1000.
3. When the Expression row is selected, this knob selects the LFO waveform. LFO 1or LFO 2 must
first be selected with Knob 1 for this parameter to be available.
Master Volume (Knob 6)
1. In Performance mode, this knob adjusts the output level of the RP1000.
2. When editing a preset, this knob modifies the parameter listed in the column directly above it for
the selected Effect row.
3. When the Expression row is selected, this knob sets the LFO speed. LFO 1or LFO 2 must first be
selected with Knob 1 for this parameter to be available.
9. Looper Button
This button enables and disables the RP1000’s loop phrase sampler. The Looper can be used at any time
during RP1000 operation and offers the ability to create mono loop phrases of up to 20 seconds in length.
Three LEDs (Record/Play/Overdub) indicate the status of the Looper during use. While the Looper is
active, the Bank Up/Down footswitches change function to control the Looper record, overdub, playback,
and loop clear functions.
10. System Buttons
There are three system buttons: AMP/CABINET BYPASS, PEDALBOARD, and STORE.
1. Amp/Cabinet Bypass – When this button is lit, amp and cabinet modeling is bypassed in all
RP1000 presets
2. Pedalboard – When this button is lit, the 5 numbered footswitches turn the effects labeled above
them on and off. When the button is not lit, these footswitches select the five presets in the
active bank.
3. Store – Press this button to begin the store/copy procedure.
11. Bank Up/Down Footswitches
These Up/Down footswitches select preset banks. When Pedalboard mode is active, there are 20 banks of
5 presets. When Preset mode is active (Pedalboard button is disabled) there are 10 banks of 10 presets.
When the Looper is active, these footswitches control Record, Playback, Overdub, Stop, and Loop Clear
functions. Refer to page 33 for more information on using the Looper.
12. Expression Pedal
The Expression Pedal provides real-time control of the RP1000’s Volume, Wah, or any assigned effect
parameter. Almost every parameter is available for Expression Pedal control. The Expression Pedal is
equipped with a V-switch that turns on and controls the Wah effect when you apply extra pressure to the
toe.
13. 1-10 / Effects Footswitches
In Preset Mode, these 10 footswitches select between 10 different presets in the active bank (10 banks of
10 presets). The footswitch LED will light to indicate which preset is active. When Pedalboard mode is
active, footswitches 1-5 will select between 5 different presets in the active bank (20 banks of 5 presets)
while footswitches 6-10 are used to turn Compressor, Distortion, Chorus/FX, Delay, and Reverb effects on
and off. Effects that are on will have their footswitch LED lit.
6
Rear Panel
1 2 3 4 5 6 7 8 9 10 11 12 13
1. Amp Loop Ground Lift
This Ground Lift switch can be enabled to help prevent unwanted hum or buzz caused by ground loops
between the RP1000 and external amplifiers/preamps.
2. Input
High impedance 1/4” instrument input.
3. Amp Loop
These 1/4” send and return jacks let you connect to an external preamp or amplifier and use the tone
from these components instead of the internal amplifiers of the RP1000. A Ground Lift switch is provided
and can be enabled to help prevent unwanted hum or buzz caused by ground loops between the RP1000
and external amplfiers/preamps.
4. Stomp Loop
These 1/4” send and return jacks let you connect to an external stompbox effect pedal into one of 2
different positions of the RP1000 effects path.
5. Ground Lift Switch
This switch lifts pin 1 from the XLR Mixer Outputs from all ground references. This may be necessary to
help solve troublesome ground loops that can cause hum in the system, especially when both XLR and 1/4”
outputs are used together.
6. Amp/Mixer Switch
This switch optimizes the 1/4” Line Outputs for connecting to either a guitar amp system or directly into
the inputs of a mixer.
7. 1/4” Line Outputs
These 1/4” outputs can be plugged into a guitar amplifier or into inputs of a mixer or recording device.
The front panel Output Level controls the level of these outputs.
8. XLR Mixer Outputs
The XLR outputs are designed for connecting to a recording device or mixing console. These outputs
always have speaker compensation active as they are intended to be sent into full a range audio system.
9. Headphone Output
Connect headphones here. Output optimized for use with headphones having 60 Ohms of impedance or
less.
10. Looper Control Input
This 1/4” TRS jack allow the optional FS3X footswitch to be connected for remote control of the RP1000’s
Looper feature.
11. USB Jack
The USB jack connects the RP1000 to a computer and provides two purposes. First it is used to provide
communication between the RP1000 and the X-Edit editor librarian software. Second, it is used to stream
four channels of audio (2 up / 2 back) to and from the computer when recording using the RP1000 and
your recording software of choice.
12. Power Jack
Connect only the included power adapter here (see Specifications for further information).
13. Power Switch
Used to turn the RP1000’s power on and off.
7
Getting Started
Making Connections
There are lots of ways to connect the RP1000 to amps, effects, mixers, and other equipment. Before
connecting the RP1000 to anything, make sure both your amp and the RP1000 are turned off.
Amp/Cabinet Bypass
The RP1000 lets you bypass its amp and cabinet tones so you can apply its effects to your own amp/cabinet
tone. To bypass the RP1000 amp and cabinet tones in all presets, push the Amp/Cabinet Bypass button
so it’s lit. To utilize the RP1000 amp and cabinet tones, push the Amp/Cabinet Bypass button so it’s not
lit.
Amp Loop
The RP1000’s Amp Loop lets you use an external amplifier or preamp with the RP1000’s signal path instead
of the RP1000’s internal amps and cabinets. You can turn on the Amp Loop with the Amp Loop button on
the left side of the matrix. With this button enabled, the external amp or preamp is placed in the signal
path around internal amps and cabinets, so the internal amps and cabinets are totally bypassed when the
Amp Loop is engaged. To enable the Amp Loop, follow these steps:
1.
2.
Press the Amp Loop button on the left side of the effects matrix. When the LED on the Amp Loop
button is lit, the Amp Loop is enabled and the connected device is now in the RP1000’s effects chain.
Internal Amp/Cabinets are basically bypassed when the Amp Loop is enabled.
Press the Amp Loop button again to turn off the Amp Loop. Internal Amp/Cabinets are now again
active in the RP1000’s effects chain and the external device is bypassed.*
The Amp Loop can also be assigned to any of the 6-10 numbered footswitches for remote control
operation during performance. To assign a footswitch to control the Amp Loop, follow these steps:
1.
2.
3.
4.
Press either Edit button until the Expression row has been selected (indicated by the Expression
row’s LED lighting).
Rotate Knob 1 until FS6 ASN - FS10 ASN appears in the Display. This selects which footswitch
you are about to change the assignment for.
Rotate Knob 2 until AMP LOOP appears in the Display.
Store your footswitch assignment to your preset.
*NOTE: If the Amp/Cabinet Bypass button is enabled, internal amp and cabinet effects are bypassed in
all presets regardless of whether the Amp Loop is disabled. Also, if you attempt to enable the Amp Loop
without connections being made, the display will briefly read no Loop indicating there are no connections
made to the Amp Loop and the loop will not enable.
Stomp Loop
The RP1000 also has a stompbox effects loop (Stomp Loop). This loop lets you use an external effects
device or effects chain with the RP1000’s signal path. The Stomp Loop has a dedicated Stomp Loop
footswitch that enables and disables this loop during performance.
The Stomp Loop has the option of being inserted into two different positions in the RP1000’s signal path:
Pre Amp, or Post Amp. This lets you pick where to place external effects in the loop. The placement of the
Stomp Loop can be saved on a per preset basis.
To change the position of the Stomp Loop, follow these steps:
1.
2.
3.
Press the Edit Down button so that the Expression row is selected.
Turn Knob 1 until STOMPPOS appears in the Display.
Turn Knob 2 to select one of the two different positions you want to insert the Stomp Loop: PRE
AMP (post Distortion, pre Amp Model/Amp Loop send), or POST AMP (Post Amp Model/Amp Loop
8
4.
return). Note that the Stomp Loop button’s LED turns red when it’s pre amp, and green when it’s
post amp or post FX.
Store these changes using the Store procedure.
NOTE: If you try to enable the Stomp Loop but nothing is connected to the Stomp Loop jacks, the
Display will briefly read NO loop. The Stomp Loop will not enable when no connections are present at
these jacks.
Connection Setups
The RP1000 has many different connection options. Here are some more common ways it can be used:
Mono Amp
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the RP1000’s
Left (mono) Line Output
to the amp’s Input.
9
Mixer
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to MIXER.
OR
Connect the RP1000
Mixer Outputs or 1/4”
Line Outputs to the
mixer channel inputs.
Pan channels hard left
and right for proper
stereo imaging.
Stereo Amps
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the RP1000’s
1/4” Line Outputs to the
Power Amp inputs.
POWER AMP WITH SPEAKER CABS
10
Amp Loop with Pre-Amp In Line
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the
External Preamp
Line Out to the
RP1000 Amp Loop
Return.
Connect the RP1000’s
1/4” Line Outputs to the
Power Amp inputs.
Connect the
RP1000 Amp
Loop Send to
the External
Preamp Input.
PREAMP
POWER AMP WITH SPEAKER CABS
Stomp Loop
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the
stompbox Output
to the RP1000
Stomp Loop Return.
11
Connect the
RP1000 Stomp
Loop Send to the
stompbox Input.
Connect the RP1000’s
Left (mono) Line Output
to the amp’s Input.
Amp Loop using Guitar Amp’s Pre Amp
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the RP1000
Amp Loop Send to
the amp’s Input.
Connect the amp’s Loop
Send to the RP1000
Amp Loop Return.
Connect the RP1000
Line Out to the amp’s
Loop Return.
Amp Loop and Stomp Loop
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect
the RP1000
Amp Loop
Send to the
amp’s Input.
Connect the amp’s Loop
Send to the RP1000 Amp
Loop Return.
Connect the RP1000
Line Out to the amp’s
Loop Return.
Connect the
RP1000 Stomp Loop
Send to the stompbox Input.
Connect the
stompbox Output
to the RP1000
Stomp Loop
Return.
12
Studio Setup (Computer and Personal Monitors)
Connect your
guitar to the
RP1000’s Input.
XLR Left Out
Connect the RP1000’s
USB port to an available
USB port on your computer.
XLR Right Out
STUDIO REFERENCE MONITORS
13
Applying Power
Before applying power to anything, set your amp(s) to a clean tone and set the tone controls to a flat EQ
response (on most amps, this should be set to 5 on EQ’s to obtain the amp’s natural voicing.). Then follow
the steps listed below.
1.
2.
3.
4.
5.
6.
Turn your amp volume all the way down.
Connect the power supply to the RP1000.
Plug the power supply into an AC outlet.
Turn on the RP1000’s power switch and adjust the RP1000’s Master Level to 0.
Turn your amp on and adjust the volume to a normal playing level.
Gradually increase the RP1000’s Master Level knob to achieve the desired volume (a setting of 30
will provide approximately a unity gain signal in your system).
4.Turn on the RP1000’s
power switch
2. Connect the power supply to the
power jack
3. Connect the power supply to
the AC outlet and turn the
RP1000’s Master Level to “0”
5.Turn amp volume up
1.Turn amp volume down
6.Turn the RP1000’s Master Level
to the desired listening volume
Section 2 - Editing Functions
Preset Mode and Pedalboard Mode
There are two different ways to use the footswitches with the presets: Preset Mode and Pedalboard Mode.
Push the Pedalboard button (just to the right of the knobs below the Display) to toggle between these two
modes.
Preset Mode
In Preset mode, each of the 10 numbered footswitches loads a preset, and you can’t turn individual
models on or off with the footswitches. The Up/Down footswitches select banks of 10 presets.
Pedalboard Mode
In Pedalboard mode, footswitches 1-5 select presets, and footswitches 6-10 act like pedals on a
pedalboard. That means you can turn the distortion, chorus, etc. on and off within each preset. The
first time you power up the RP1000 when you take it out of the box (or after doing a factory
restore), it’s in Pedalboard mode.
The RP1000 remembers which mode you’re in when you turn it off, and keeps it in that mode when you
turn it back on.
14
Editing/Creating Presets
The easiest way to start editing presets is with the Tone Library and Effects Library knobs. Try out
some of the tones in the Tone Library and then try out some effects setups with the Effects Library
knob. Use the Effects Level Knob to increase or decrease the overall Chorus/FX, Delay and Reverb
levels if desired. Once you find a tone that’s pretty close to what you want, use the Edit buttons to navigate
through the individual effects to make some adjustments. The steps below go into more detail about how
this works.
1. Select a tone
with the
Tone Library knob
2. Select an effect
3. Adjust the
or effects chain with the effects level with the
Effects Library knob
Effects Level knob
To edit and create a preset:
1.
2.
3.
4.
5.
6.
Use the Up, Down and numbered Footswitches to select the preset you wish to edit.
If you find a preset close to what you want, you can begin editing the effect parameters by pressing
the Edit Up/Down buttons and selecting the Effect row you want to edit.
If you are trying to find something different from the existing presets, begin by using the Tone
Library, Effects Library and Effects Level knobs to get close to a sound you want.
Press the Edit Up/Down buttons to begin selecting the individual Effects rows to edit their
parameters.
To bypass or enable an Effect row, press the Tone Library knob.
Use the Knobs 2-6 to modify the effect parameter settings.
NOTE: Anytime a stored value within a preset is changed, the Store button LED lights up. This indicates
that you need to store the changes. Changing presets, or turning the power off before storing any changes,
erases any changes made and the RP1000 will revert to the stored values for the preset.
Also, if you are using the RP1000 with the Amp/Cabinet Bypass button enabled (effects only), Tone Libraries
that use amps only will not provide distortion or tone changes since amps and cabinets are globally
disabled.
Editing Amp/Cabinet Models
Each RP1000 preset has a ton of world class amp and cabinet models to choose from. To edit amp and
cabinet models, follow these steps:
1. Press the Edit Down button until the Amp/Cabinet row is selected. The row’s LED should be lit
and the current amp model should be shown in the display.
2. Turn Knob 1 to select from the different amp models.
3. Press Knob 1. The current cabinet model will now be displayed. Turn Knob 1 to select from the
different cabinet models. Pressing Knob 1 again will return you to the amp model display
4. To bypass amp/cabinet models in a preset, turn Knob 1, fully clockwise until direct appears in the
RP1000’s main display, or enable the Amp/Cabinet Bypass button.
Amp/Cabinet Bypass
The RP1000 has the unique feature of being able to turn off amp and cabinet modeling globally in all
presets. This feature is extremely useful when you just want to add effects processing to your own core
amplifier sound. The RP1000 basically becomes a straight multi-effects box where only Wah, Compressor,
Distortion, Equalizer, Noise Gate, Chorus/FX, Delay, Reverb and any effects connected to the Stomp Loop
15
are the only effects being used.
To bypass amp/cabinet modeling in all presets, press the Amp/Cabinet Bypass button. When it is lit, amp/
cabinet modeling is bypassed in all presets.
Amp/Cabinet Bypass can be used in either Preset or Pedalboard mode.
Storing/Copying/Naming a Preset
When you’re done editing a preset, you should store your settings to any of the 100 User preset locations
(presets 1-00). The following steps tell you how to store changes to a preset or copy a preset to a
different location:
1.
2.
Press the Store button once. The Store button LED blinks and the first character in the Display
flashes, indicating that you can now name your custom creation.
Use Knob 1 to select the alpha-numeric character and Knob 2 to select the next character
location.
1. Press Store;
characters in Display
flash individually
2. Use Knobs to
name Preset
3.
4.
Once the desired name is shown in the display, press the Store button again to enter the second
stage of the storing process. The red Display begins to flash.
Select the User preset location where your new sound will reside using the Up and Down
Footswitches. The displays show the preset name and User preset number about to be overwritten.
3. Press Store again;
Preset number flashes
4. Select destination
with UP and DOWN
Footswitches
5.
Press the Store button again to save the changes.
The procedure for copying one preset to another preset location is the same. Use the Footswitches
to select the preset that you want to copy, then follow steps 1-4 for storing a preset as described above.
Press either Edit button at any time to abort the Store procedure.
16
Section 3 - Effects and Parameters
About the Effects
The RP1000 is like a dream collection of vintage and contemporary amplifiers with several pedalboards
full of classic, modern, and boutique stompboxes all in a single programmable, portable package. With
stompboxes, the order in which they are connected affects the overall sound. The RP1000 has placed the
Amps and Effects in an order for optimum results. The following diagram shows the order in which they
are connected.
Block Diagram
AMP/CABINET
BYPASS
WAH
VOLUME POST
REVERB
DELAY
CHORUS/FX
(POST)
VOLUME PRE
EQ
NOISE GATE
AMP/CABINET DISTORTION
CHORUS/FX
(PRE)
GUITAR IN
COMPRESSOR
Effect Definitions
Each Amp and Effect within the RP1000 can be programmed to suit your personal taste and application.
Understanding how these components alter the sound, and how each parameter alters the effect, will help
you get the sound you are looking for. The following pages talk about the RP1000’s amps, cabinets, and
effects and what each effect and parameter does. For more information about each effect, like how it’s used
by some musicians, check out the Effects Descriptions section on page 37.
Wah
Wah is an effect controlled by an Expression Pedal making the guitar sound as if it’s saying “Wah.”
Wahs - Knob 1 selects the Wah type. Values include: CRY wah (Cry Wah is a traditional sounding
Wah), clydewah based on a Vox® Clyde McCoyTM Wah), and FULlRaNG (DigiTech® Full Range Wah
sweeps the entire spectrum of audible frequencies). Press this knob to turn Wah on and off.
Wah Level - Knob 2 adjusts the Wah Level. Ranges from 0dB to +12dB.
Compressor
A Compressor is used to increase sustain, tighten up guitars, and prevent the signal from clipping the input
of other effects. It sets a maximum boundary for the strength of a signal.
Comp - Knob 1 selects one of three Compressors: DIGiCoMP (DigiTech® Compressor),
CS COMP (Based on a Boss® CS-2 Compressor/Sustainer), or DYNoCOMP (Based on an MXR®
Dynacomp). Press this knob to turn the selected Compressor on and off.
Knobs 2-6 have the following functions for the various Compressors:
Compressor
17
Knob 2
(Sustain)
Knob 3
(Tone)
Knob 4
(Attack)
Knob 5
Knob 6
(Compressor
Level)
digicomp
Sustain
Tone
Attack
--
Level
cs comp
Sustain
--
Attack
--
Level
dynocomp
Sensitivity
--
--
--
Output
Distortion
The RP1000 includes the tones of many popular distortion stompboxes, each of which can be fully dialed in.
Distortion - Knob 1 selects a Distortion. Press this knob to turn the selected Distortion on and off.
screamer Based on an Ibanez® TS-9
oc drive Fulltone OCD Overdrive
808
Based on an Ibanez TS-808 Tube rodent
Based on a Pro Co RATTM
Screamer
mx dist Based on an MXR® Distortion +
TS mod Based on a modified Ibanez® TS-9
DS Dist Based on a Boss® DS-1TM
sd odrv Based on a Boss SD-1TM
Distortion
Overdrive
grungeDigiTech® Grunge®
Od odrv Based on a Boss OD-1TM
zone
Based on a Boss MT-2 Metal Zone®
Overdrive
death
DigiTech Death MetalTM
Sparkdrv Based on a Voodoo Labs Sparkle gonkultr Based on a DOD Gonkulator Drive
8tavia
Based on a Roger Mayer OctaviaTM
guy odrv Based on a Guyatone® Overdrive fuzzlatr Based on a Demeter Fuzzulator
OD-2
clascfuz Based on a DOD Classic Fuzz
dod 250 Based on a DOD® 250
fuzzYFAC Based on an Arbiter® Fuzz FaceTM
Overdrive/Preamp
big pi
Based on an Electro-Harmonix® redlineDigiTech® Redline Overdrive
Big Muff Pi®
ampdrivr DigiTech Amp Driver
18
Knobs 2-6 have the following functions for the various Distortions:
Distortion
Knob 3
(Param. 1)
Knob 4
(Param. 2)
Knob 5
(Param. 3)
Knob 6
(Distortion
Level)
P7
(X-EditTM
only)
Drive
Tone
--
--
Level
--
Overdrive
Tone
--
--
Level
--
Drive
Tone
--
--
Level
--
SD odrv
Drive
Tone
--
--
Level
--
OD ODRv
Overdrive
Tone
--
--
Level
--
SPARKDRV
Gain
Tone
Clean
--
Volume
--
GUY ODRV
Drive
--
--
--
Level
--
DOD 250
Gain
--
--
--
Level
--
Redline
Gain
Low
High
--
Level
--
ampdriver
Gain
Mid Boost
--
--
Level
--
oc drive
Drive
Tone
HP/LP
--
Volume
--
rodent
Distortion
Filter
--
--
Level
--
mx dist
Distortion
--
--
--
Output
--
ds dist
Gain
Tone
--
--
Level
--
Grunge
Grunge
Butt
Face
--
Loud
--
Gain
Low
Mid
High
Level
Mid Freq
--
Low
Mid
High
Level
--
gonkUltR
Gunk
Smear
Suck
--
Heave
--
8tavia
Drive
--
--
--
Volume
--
fuzZlAtr
Fuzz
Tone
Loose/Tight
--
Volume
--
clasCfUz
Fuzz
Tone
--
--
Volume
--
fuzzYFAC
Fuzz
--
--
--
Volume
--
Sustain
Tone
--
--
Volume
--
ScreamER
808
TS MOD
zone
death
big pi
19
Knob 2
(Gain)
Amplifier
The amplifiers are an assortment of popular vintage and modern amp tones. The amplifiers also include
acoustic guitar simulations.
Amp - By default, Knob 1 selects one of the classic, modern, and DigiTech custom Amp types. Note
that when you select an Amp, the default cabinet is automatically selected. You can, however, change
the cabinet after selecting an Amp to achieve different tones. Press this knob and turn it to select a
cabinet. Press this knob again to return to the Amp types and parameters.
Based on a ‘57 Fender® Tweed
Champ®
57deluxe Based on a ‘57 Fender Tweed Deluxe
59BassMN Based on a ‘59 Fender Tweed Bassman®
62BAssmn Based on a ‘62 Fender Brown
Bassman
65 twin Based on a ‘65 Fender Blackface Twin Reverb®
65dluxrv Based on a ‘65 Fender Blackface
Deluxe Reverb®
45 jtm Based on a ‘65 Marshall® JTM-45
68 plexi Based on a ‘68 Marshall 100 Watt Super Lead (plexi)
jumppanl Based on a ‘68 Marshall Jump Panel
mastrvol Based on a ‘77 Marshall Master Volume
800 jcm Based on an ‘83 Marshall JCM800
900 jcm
Based on a ‘93 Marshall JCM900
2000 jcm Based on an ‘01 Marshall JCM2000
ac15 Based on a ‘62 Vox® AC15
AC30 tb Based on a ‘63 Vox AC30 Top Boost
hiwattag Based on a ‘69 Hiwatt® Custom 100
DR103
mark iic Based on an ‘81 Mesa Boogie® Mark
II C
mark iv Based on a ‘94 Mesa Boogie®
Mark IV
dualrect Based on an ‘01 Mesa Boogie Dual Rectifier
triprect Based on an ‘04 Mesa Boogie Triple Rectifier
22 calibr Based on an ‘86 Mesa Boogie
.22 Caliber
99 legacy Based on a 99 Legacy VL-100
matchc30
Based on a ‘96 MatchlessTM HC30
57 champ chief
sldno100 supergrp ga-40 or-120 PV 5150 RG100 jazz 120 solar100 dig solo digmetal digbrght digchunk digclean dig gain digblues
dig fuzz
digspank
2101 Cln 2101 saT
digcrnch
digmnstr
digtweed
digblack
digstonr
digdkmtl
digtrans
digbrown dig mosh
dread AC
jumbo ac
direct Based on a ‘95 Matchless Chieftan
Based on an ‘88 Soldano SLO-100
Based on a Laney Supergroup
Based on a Gibson® GA-40
Based on an Orange OJ120
Based on a Peavey® 5150 II®
Based on a Randall RG100
Based on a Roland JC120
Based on a Sunn Solar 100S
80s shred guitar
Heavy
Sparkle clean
Beefy high gain with tight bottom end
Sparkle clean
Punchy high gain that cleans up
Tube combo at the sweet spot
Fuzz Face + Orange Amp
Cool rhythm tone with spanky top
end
DigiTech 2101 Clean Tube
DigiTech 2101 Saturated Tube
Based on a modified Plexi
Maxed out gain
Based on a Tweed front Blackface
power hybrid
Based on a ‘65 Blackface into a ‘58
Bassman
DigiTech stoner rock
DigiTech dark metal
Based on a transistor amp - “Deacy”
from Brian May
Brown sound
DigiTech mosh
Dreadnaught acoustic
Jumbo acoustic
No amp
20
Cabinet - Knob 1 also selects cabinets. Pressing this knob alternates between selecting amps and
cabinets
champ1x8
dlux1x12
dxrv1x12
brit1x12
gbsn1x12
bman2x12
twin2x12
brit2x12
jazz2x12
jbl 2x15
bman4x10
clas4x12
Based on a 1x8 ‘57 Fender®
Tweed Champ®
Based on a 1x12 ‘57 Fender Tweed Deluxe®
Based on a 1x12 ‘65 Fender Blackface Deluxe Reverb
Based on a 1x12 ‘62 Vox® AC15
w/20W Vox Speaker
Based on a ‘60 Gibson® GA-40
Jensen Speaker
Based on a 2x12 ‘57 Fender Blonde Bassman®
Based on a 2x12 ‘65 Fender Blackface Twin Reverb®
Based on a 2x12 ‘63 Vox® AC30
Top Boost w/ Jensen® Blue Backs
Based on a 2x12 ‘84 Roland®
Jazz Chorus
Based on a JBL/Lansing Enclosure
Based on a 4x10 ‘59 Fender Tweed Bassman®
Based on a 4x12 Marshall® 1969
Straight w/ Celestion® G12-T70
GRen4x12
fane4x12
botq4x12
vntg4x12
rect4x12
solo4x12
brgt2x12
metl4x12
rock4x12
altr4x12
dvtg4x12
chnk4x12
spnk4x12
digispkr
direct
Based on a 4x12 Marshall 1969 Slant w/ Celestion 25W
Greenbacks
Based on a 4x12 Hiwatt® Custom w/ Fane Speakers
Based on a 4x12 ‘96 VHT® Slant w/ Celestion Vintage 30’s
Based on a 4x12 Johnson® Straight w/ Celestion Vintage 30’s
Based on a 4x12 Mesa/Boogie Rectifier V30 speakers
4x12 DigiTech® Solo
2x12 DigiTech Bright
4x12 DigiTech Metal
4x12 DigiTech Rock
4x12 DigiTech Alt Rock
4x12 DigiTech Vintage
4x12 DigiTech Chunk
4x12 DigiTech Spank
DigiTech Speaker Compensation
No cabinet
Amp Gain - Knob 2 adjusts the Gain (distortion) for the selected Amp (not available for Acoustic).
The Gain parameter ranges from 0 to 99.
Bass - Knob 3 adjusts the low frequencies of the amp’s tone. Ranges from 1.0 to 10.
Middle - Knob 4 adjusts the mid frequencies of the amp’s tone. Ranges from 1.0 to 10.
Treble - Knob 5 adjusts the high frequencies of the amp’s tone. Ranges from 1.0 to 10.
Amp Level - Knob 6 adjusts the Level (volume) of the selected Amp. The Level parameter ranges
from 0 to 99.
21
EQ
The RP1000’s EQ helps further shape your tone with Low, Mid, and High controls.
Knob 1 - Press Knob 1 to turn the EQ on and off.
Low Level - Knob 2 adjusts the Low EQ level. Ranges from -12dB to
12dB.
Mid Frequency - Knob 3 selects the frequency that the Mid parameter adjusts. Range
Is from 300 Hz to 4000 Hz.
Mid Level - Knob 4 adjusts the Mid EQ level. Range is
from -12dB to 12dB.
High Frequency - Knob 5 adjusts the High EQ frequency. Range is from 2000 Hz to 8000 Hz
High Level - Knob 6 adjusts the High EQ level. Range is
from -12dB to 12dB.
Low Frequency (X-EditTM only) - This parameter selects the Low EQ frequency. Ranges from 60 Hz
to 500 Hz.
Low, Mid, and High Bandwidth (X-Edit only) - This parameter selects the frequency bandwidth
for each frequency band. Range is from Narrow to Wide.
Noise Gate/Auto Swell
A Noise Gate is designed to eliminate noise while you are not playing, or provide an auto volume swell
effect.
Gate Type - Knob 1 selects between the DigiTech® noise gate or the volume swell effect. Values
include: gate (Selects the Noise Gate) and swEll (Selects the Auto Swell effect.) Press this knob to
turn the Noise Gate/Auto Swell on and off.
Threshold (Noise Gate only) - Knob 2 sets the signal strength (Threshold) required to open or
close the Noise Gate. Parameters range from 0 (opens easily) to 99 (requiring strong signals to
open).
Attack Time - Knob 3 sets the attack time. Ranges from 0 (shorter attack time) to 99 (longer
attack time).
Release - Knob 4 sets the Release parameter. Ranges from 0 to 99.
Attenuation - Knob 5 sets the Attenuation parameter. Ranges from 0 to 99.
Swell Sensitivity (Auto Swell only) - Knob 6 sets the Swell Sensitivity parameter of the Auto
Swell. Ranges from 0 to 99.
Chorus/FX
The Chorus/FX row in the RP1000 is a multi-function module, allowing you to select Effect types such as
Chorus, Flanger, Phaser, Vibrato, Rotary Speaker, Tremolo, Panner, Envelope Filter, Detune, Whammy™,
Pitch Shift, Detune, Harmony, OC Octaver and more. When the Chorus/FX row is selected, Knob 1 is
used to choose the Effect type. Press this knob to turn these Effects on and off. Only one of the effects in
this row can be used at a time. After selecting the type of effect in this module, Knobs 2-6 can then be
used to adjust the individual parameters associated with the selected effect. The following list describes
each Effect and its parameters in more detail:
Chorus
A Chorus adds a short delay to your signal. The delayed signal is modulated in and out of tune and then
mixed back with the original signal to create a thicker sound. The RP1000 includes the following Chorus
Effects: CECHoruS (based on the classic Boss® CE-2 Chorus), tcchoruS (based on the TC Electronic
22
Chorus), CHORUS (DigiTech®’s Dual Chorus), glischrs (DigiTech’s Glistening Chorus) and MultCHRS
(DigiTech’s famous Multi Chorus®), voo doo (based on the VooDoo Labs Analog Chorus), and clone
(Based on the Electro Harmonix Small Clone).
Knobs 2-6 have the following functions for the various Chorus types:
Chorus
Knob 2
(Pre/Post Amp)
Knob 3
(Speed)
Knob 4
(Depth)
Knob 5
(Regeneration)
Knob 6
(FX Level)
CECHoruS
Pre/Post Amp
Speed
Depth
--
--
TCCHorus
Pre/Post Amp
Speed
Width
--
Intensity
chorus
Pre/Post Amp
Speed
Depth
Waveform
Level
glischrs
Pre/Post Amp
Speed
Depth
--
Level
Multchrs
Pre/Post Amp
Speed
Depth
Waveform
Level
voo doo
Pre/Post Amp
Speed
Intensity
--
--
clone
Pre/Post Amp
Rate
Depth
--
--
Flanger
A Flanger uses the same principle as a Chorus but uses a shorter delay time and adds regeneration (or
repeats) to the modulating delay. This results in an exaggerated up and down sweeping motion to the
effect. The RP1000 includes the following Flanger Effects: fLanger (the DigiTech® Flanger), trigfLnG
(the DigiTech Triggered Flanger), fLtrFLng (the DigiTech Filter Flanger), mx FLngr (based on an MXR®
Flanger), eh FLngr (based on an Electro-Harmonix® Electric Mistress), and ad FLngr (based on an A/
DA Flanger).
Knobs 2-6 have the following functions for the various Flanger types:
Flanger
Knob 2
(Pre/Post Amp)
Knob 3
(Speed)
Knob 4
(Depth)
Knob 5
(Regeneration)
Knob 6
(FX Level)
flanger
Pre/Post Amp
Speed
Depth
Regen
Level
trigflng
Pre/Post Amp
Speed
Sensitivity
LFO Start
Level
fltrflng
Pre/Post Amp
Speed
Depth
Regen
Frequency
mx flngr
Pre/Post Amp
Speed
Width
Regen
Manual
EH flngr
Pre/Post Amp
Rate
Range
Color
--
AD flngr
Pre/Post Amp
Speed
Enhance
Range
Manual
Phaser
A phaser splits the incoming signal, and then changes the phasing of the signal. This signal is then taken in
and out of phase and mixed back in with the original signal. As the phasing changes, different frequencies
get canceled resulting in a warm sort of twisting sound. The RP1000 includes the following Phaser types:
phaser (the DigiTech Phaser), trigphas (the DigiTech Triggered Phaser), mx phasr (based on an MXR
Phase 100), and eh phasr (based on an Electro-Harmonix Small Stone).
Knobs 2-6 have the following functions for the various Phaser Effects:
Phaser
23
Knob 2
(Pre/Post Amp)
Knob 3
(Speed)
Knob 4
(Depth)
Knob 5
(Regeneration)
Knob 6
(FX Level)
Phaser
Pre/Post Amp
Speed
Depth
Regen
Level
trigphas
Pre/Post Amp
Speed
Sensitivity
LFO Start
Level
mx phasr
Pre/Post Amp
Speed
Intensity
--
--
eh phasr
Pre/Post Amp
Rate
--
Color
--
Vibrato (viBRaTo)
The DigiTech Vibrato effect modulates the pitch of the incoming signal at an even rate.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Speed - Knob 3 adjusts the rate (Speed) at which the pitch modulates. Ranges from 0 to 99.
Depth - Knob 4 adjusts the intensity (Depth) of the modulating pitch. Ranges from 0 to 99.
Rotary Speaker (ROTARY)
The Rotary Speaker emulates a device that included a spinning horn and woofer. The rotation of these two
speakers produced an interesting combination of the sound panning from side to side. This produced a
slight pitch change due to the speed of the sound coming towards, and then going away from the listener.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Speed - Knob 3 adjusts the rate (Speed) of the spinning speakers. Ranges from 0 to 99.
Intensity - Knob 4 controls the intensity of the effect. Ranges from 0 to 99.
Doppler - Knob 5 controls the Pitch Shift effect that is the ratio between the horn and the rotor
positions. Ranges from 0 to 99.
Crossover - Knob 6 selects the crossover frequency between the horn and rotor. Ranges from 0
(200 Hz) to 99 (1600 Hz).
VibroPan (vibropan)
A vibrato is an effect that modulates the pitch of the incoming signal. This will take the whole signal slightly
in and out of tune at a steady pace. The DigiTech® VibroPan also incorporates an automatic panner with the
vibrato effect that creates a lush chorus-like sound.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Speed - Knob 3 adjusts how fast the signal is being modulated.
Depth - Knob 4 adjusts the amount of pitch change.
Vibrato/Pan- Knob 5 adjusts the amount of panning incorporated with the vibrato effect. When
set at 0, this effect is a standard vibrato. As the parameter is turned up, the phase difference of the
vibrato signal sent to the two channels is changed until a full stereo image is obtained at 99.
Waveform - Knob 6 selects a waveform: triangle, Sine, or Square.
24
Unicord Uni-Vibe™ (unovibe)
Based on the Unicord® Uni-VibeTM pedal, Uni-Vibe adds a lush chorus or rotary speaker (vibrato) effect to
your tone.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Speed - Knob 3 adjusts the rate (Speed) of the chorus modulation or spinning speaker (vibrato)
effect. Ranges from 0 to 99.
Intensity - Knob 4 controls the intensity of the effect. Ranges from 0 to 99.
Chorus/Vibrato - Knob 5 selects either the chorus or vibrato effect. Turn counter-clockwise for
Chorus, or clockwise for Vibrato.
Volume - Knob 6 adjusts the volume of the effect.
Tremolo/Panner
A Tremolo effect modulates the volume of the signal at an even rate. The RP1000 includes the following
Tremolo types: tremolo (the DigiTech® Tremolo), sctrtrem (DigiTech Scattertrem (dual asynchronized
tremolos)), optotrem (based on the Fender® Opto Tremolo), biastrem (based on the Vox® Bias
Tremolo), and panner (the DigiTech Panner).
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Speed - Knob 3 adjusts the rate (Speed) at which the volume modulates. Ranges from 0 to 99
Depth - Knob 4 adjusts the intensity (Depth) of the modulating volume. Ranges from 0 to 99.
Waveform (DigiTech Tremolo and Panner only) - Knob 5 selects a waveform:
triangle, Sine, or Square.
Envelope Filter (eNvfiltr)
The DigiTech Envelope Filter is a dynamic Wah effect that alters your sound based upon how hard you play.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Sensitivity - Knob 3 adjusts the sensitivity or the input signal required to trigger the Wah effect.
Ranges from 0 to 99.
Range - Knob 4 controls the range of the Envelope effect. Ranges from 0 to 99.
DOD FX25 (fx25 env)
This envelope filter is based on the DOD FX25.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Blend - Knob 3 adjusts the balance between effect signal and dry signal.
Sensitivity - Knob 4 adjusts the sensitivity or the input signal required to trigger the Wah effect.
Ranges from 0 to 99.
Range - Knob 5 controls the range of the envelope effect. Ranges from 0 to 99.
25
AutoYa™ (AUTO YA)
An AutoYaTM combines the characteristics of a Wah and a Flanger together creating an almost human vowel
characteristic as if the guitar were saying “Yah.” The AutoYa automatically provides this animation to the
sound at an even rate.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Speed - Knob 3 adjusts the speed of the AutoYa sweep. Ranges from 0 to 99.
Intensity - Knob 4 adjusts the intensity of the AutoYa effect. Ranges from 0 to 99.
Range - Knob 5 adjusts the throaty quality of the AutoYa effect. Ranges from 0 to 49.
YaYa™ (ya ya)
The YaYaTM is another effect exclusive to DigiTech products. Like the AutoYa, it combines the characteristics
of a wah and a flanger together providing a unique talk box type of effect, but is controlled by the
Expression Pedal.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Pedal - Knob 3 adjusts the Ya pedal position. Ranges from 0 to 99.
Intensity - Knob 4 adjusts the intensity of the YaYa effect. Ranges from 0 to 99.
Range - Knob 5 adjusts the throaty quality of the YaYa effect. Ranges from 0 to 49.
SynthTalk™ (synthtlk)
SynthTalkTM is another effect exclusive to DigiTech®. It makes your guitar appear to speak based upon the
dynamics of your playing style.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Release - Knob 4 adjusts the release of the synthesized voice. Ranges 0 to 99, and oo (infinity).
Vox - Knob 5 changes the characteristics of the various synth voices. Ranges from 0 to 99.
Sensitivity - Knob 6 adjusts the sensitivity of the input signal required to trigger the SynthTalk
effect. Ranges from 0 to 99.
Balance (X-EditTM only) - adjusts the left to right balance of the wet signal, Ranges from
left 99 to right 99.
Step Filter (stepfltr)
The DigiTech Step Filter is like an automatic “random wah” with a square waveform.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Speed - Knob 3 adjusts the speed of the Wah effect. Ranges from 0 to 99.
Intensity - Knob 4 controls the intensity of the Wah effect. Ranges from 0 to 99.
26
Sample Hold (smplhold)
The DigiTech Sample Hold randomly shifts the pitch of the note you’re playing, creating an “electronic” or
“robotic” sound.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Speed - Knob 3 adjusts the speed of the Sample Hold effect. Ranges from 0 to 99.
Intensity - Knob 4 controls the intensity of the Sample Hold effect. Ranges from 0 to 99.
DigiTech Whammy® (wHammy)
The DigiTech Whammy® is an effect that uses an Expression Pedal to bend the pitch of the incoming signal,
or add a bendable harmony with the original signal. As the Pedal is moved, the note bends either up or
down. When DigiTech Whammy is selected, it is automatically placed before the internal amplifiers as
shown in the block diagram on page 17.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Shift Amount - Knob 3 selects the interval and direction of the pitch bend. Choices are as follows:
WhammyTM (no Dry Signal)
Harmony Bends (Dry Signal Added)
1 oct up (1 octave above)
mn3>Maj3 (a minor third to a Major third)
2 oct up (2 octaves above)
2nd>maj3 (a second above to a Major third
2nd down (a second below)
above)
rev 2nd (a second below reversed pedal
3rd->4th (a third above to a fourth above)
action)
4th->5th (a fourth above to a fifth above)
4th down (a fourth below)
5thoctup (a fifth above to an octave above)
1 oct dn (an octave below)
h oct up (one octave above)
2 oct dn (2 octaves below)
h oct dn (one octave down)
DIVeBoMb (Dive Bomb)
octup>dn (octave up/down)
Pedal Position - Knob 5 provides a manual control of the Whammy pedal position. Ranges from 0
to 99.
Mix - Knob 6 adjusts the Whammy mix. Ranges from 0 to 99.
Pitch Shift (PitCH)
A Pitch Shifter copies the incoming signal, then shifts the pitch of the copy to a different note. The shifted
note is then mixed back with the original signal, sounding as if two guitars were playing different notes.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Shift Amount - Knob 3 selects the interval of the shifted pitch. Ranges from -24 (2 octaves
below) to 24 (2 octaves above).
Mix - Knob 6 controls the mix level of the shifted pitch. Ranges from 0 to 99.
27
Detune (DetUNe)
A Detuner makes a copy of your incoming signal, takes the copied signal slightly out of tune from the
original, then mixes the two signals together. The result is a doubling type of effect as if two guitars were
playing the same part together.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Shift Amount - Knob 3 adjusts the amount of detune shift. Ranges from -24 to 24 cents.
Level - Knob 6 controls the mix of the detuned note. Ranges from 0 to 99.
Harmony Pitch Shifting (harmony)
Harmony Pitch Shifting makes a copy of the incoming signal, and then changes the pitch of the copied note
to a diatonically correct interval specified by the Amount parameter. A Harmony Pitch Shifter sharpens or
flattens the shifted pitch in order to keep the specified interval within the selected key and scale creating a
true harmony.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Shift Amount - Knob 3 selects the amount or harmony interval for the Harmony Pitch
Shifter. Interval choices include:
OCT
7TH
6tH
5tH
4tH
3RD
2ND
Dn
Dn
Dn
Dn
Dn
Dn
Dn
(octave down)
(a seventh below)
(a sixth below)
(a fifth below)
(a fourth below)
(a third below)
(a second below)
2ND
3RD
4TH
5TH
6TH
7TH
OCT
UP
UP
UP
UP
UP
UP
UP
(a second above)
(a third above)
(a fourth above)
(a fifth above)
(a sixth above)
(a seventh above)
(an octave above)
Key - Knob 4 selects the musical key that the HPS uses. Key choices range from the Key
of E (KEY E) through the Key of Eb (KEY E ).
Scale - Knob 5 selects the scale the HPS will use. Scale choices include: Major (MAJOR), Minor
(MINOR), Dorian (DORIAN), Mixolydian (MIXOLYdn), Lydian (LYDIAN), and Harmonic Minor
(HarmMINr).
Level - Knob 6 adjusts the HPS Level of all the pitch-altering effects in this module.
Ranges from 0 to 99.
Boss® OC-2 Octaver™ (octaver)
Based on the Boss® OC-2 OctaverTM, this adds two signals to your original guitar signal. The first is one
octave below your guitar, and the second is two octaves below your guitar. Each additional signal has its
own volume control.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain. Turn counterclockwise for Pre (appears before the Distortion effect), or clockwise for Post (appears after the
Noise Gate effect).
Octave 1- Knob 3 adjusts the the volume of the signal 1 octave below the input signal. Ranges from
0 to 99.
Octave 2 - Knob 4 controls the volume of the signal 2 octaves below the input signal. Ranges 0 to
99.
Dry Level - Knob 6 controls the volume of the dry signal. Ranges from 0 to 99.
28
Delay
Delay is an effect that records a portion of the incoming signal, and then plays it back a short time later.
The recording can repeat just once or several times.
Delay - Knob 1 selects one of the 7 different Delay types. Values include: analog (DigiTech® Analog
Delay), dm delay (Based on the Boss DM-2 Analog Delay), digital (DigiTech Digital Delay),
modulate (DigiTech Modulated Delay), pingpong (DigiTech Pong Delay), tape (DigiTech Tape
Delay), echoplex (Based on the MaestroTM EP-2 Echoplex® Tape Echo), reverse (DigiTech Reverse
Delay), lo fi (a Lo Fidelity Delay), and 2 tap (a 2-tap Delay). Press this knob to turn the Delays on
and off.
Knobs 2-6 have the following functions for the various Delay Effects:
Delay
Knob 2
(Time)
Knob 3
(Repeats)
Knob 4
(Param. 1)
Knob 5
(Param. 2)
Knob 6
(Delay Level)
Time
Repeats
--
Multiplier
Delay Level
dm delay
Repeat Rate
Echo
Intensity
Multiplier
--
digital
Time
Repeats
Ducker
Threshold
Multiplier
Delay Level
modulate
Time
Repeats
Depth
Multiplier
Delay Level
pingpong
Time
Repeats
Ducker
Threshold
Multiplier
Delay Level
tape
Time
Repeats
Wow
Multiplier
Delay Level
echoplex
Time
Repeats
--
Multiplier
Volume
reverse
Time
Repeats
--
Multiplier
Delay Mix
LO FI
Time
Repeats
--
Multiplier
Volume
2 tap
Time
Repeats
Tap Ratio
Multiplier
Delay Mix
analog
The Repeats parameter (Knob 3) ranges from 0 to Repeat Hold (Hold) for all delays except the
Echoplex®, DM-2, and Lo-Fi. Repeat Hold is one click past 99, and acts as an infinite repeat.
The Multiplier parameter (Knob 5) lets you divide the tap tempo rate into 1/2, 1/4, dotted 1/8, 1/8, and
triplet 1/4 note rhythms.
29
Reverb
Using reverb in recorded program material gives the listener a sense that the material is being performed in
an actual room or hall. It is this similarity to actual acoustic spaces that makes reverberation a useful tool
in recorded music. The RP1000 features genuine Lexicon® reverbs, whose rich, lush effects have been heard
in countless songs, soundtracks, and live performances for decades.
Reverb Types
Knob 1 selects the Reverb Effect or acoustic space. Press this knob to turn the Reverb on and off.
The following types are available:
twnsprng
lexambnc
lexstudo
- Based on a Fender® Twin Reverb
- Lexicon® Ambience
- Lexicon Studio
lex room
lex hall
emtplate
- Lexicon Room
- Lexicon Hall
- Based on an EMT240 Plate
Knobs 2-6 have the following functions for the various Reverb Effects:
Reverb
twnsprng
Knob 2
(Pre Delay)
Knob 3
(Decay)
Knob 4
(Liveliness)
Knob 6
(Reverb Level)
--
--
--
Reverb
lexambnc
Pre Delay
Decay
Liveliness
Reverb Level
lexstudo
Pre Delay
Decay
Liveliness
Reverb Level
lex room
Pre Delay
Decay
Liveliness
Reverb Level
lex hall
Pre Delay
Decay
Liveliness
Reverb Level
emtplate
Pre Delay
Decay
Liveliness
Reverb Level
30
Section 4 - Other Functions
Expression Pedal
You can link the Expression Pedal on the RP1000 to control the RP1000’s Volume, Wah, Whammy™,
YaYa™, or almost any of the RP1000’s other parameters in real time with your foot. When a parameter
has been linked to the Expression Pedal, you can also set the minimum (heel) and maximum (toe) value
for the range. When you push down hard on the toe of the Expression Pedal to activate the V-switch,
the Expression Pedal switches between the linked parameter and the Wah. To link a parameter to the
Expression Pedal, follow these steps:
1.
2.
3.
4.
5.
6.
Press either Edit button until the Expression row is selected (indicated by the LED lighting on the
Expression row).
Rotate Knob 1 until EXP PeDL appears in the Display.
Rotate Knob 2 until the desired parameter to be linked appears in the Display.
Rotate Knob 3 to select the minimum (heel) value the assigned parameter will reach with the
Expression Pedal in the toe up position.
Rotate Knob 4 to select the maximum (toe) value the assigned parameter will reach with the
Expression Pedal in the toe down position.
Store your Expression Pedal assignment to your preset. See page 16 for more information on the
storing procedure.
Footswitch Assign
You can link footswitches 6-10 to almost any of the RP1000’s parameters or to enable and disable the Amp
Loop. From the factory, footswitches 6-10 are set to turn on and off the Compressor, Distortion, Chorus/
FX, Delay, and Reverb respectively when the Pedalboard button is enabled. If a parameter other than these
on/off parameters is linked to these footswitches, you can specify a minimum value (LED off) and maximum
value (LED on) for the parameter. That way you can toggle a parameter like chorus speed between two
distinct values while you’re performing. Footswitch assignments are stored with the preset so they can be
different for every preset. To link a parameter to the footswitches 6-10, follow these steps:
1.
2.
3.
4.
5.
6.
Press either Edit button until the Expression row is selected (indicated by the Expression row’s LED
lighting).
Rotate Knob 1 until FS6 ASN - FS10 ASN appears in the Display. This selects which footswitch
you are about to change the assignment for.
Rotate Knob 2 until the desired parameter to be linked appears in the Display.
Rotate Knob 3 to select the minimum value the assigned parameter will reach when the footswitch is
off (LED off).
Rotate Knob 4 to select the maximum value the assigned parameter will reach when the footswitch
is on (LED on).
Store your footswitch assignments to your preset.
LFOs
The RP1000 includes two assignable low frequency oscillators (LFO 1 and LFO 2) that you can assign to
any of the same parameters available for assignment to the Expression
Pedal. A low frequency oscillator automatically varies the value of the assigned parameter at
a steady rate. You can set the minimum and maximum value that each LFO will reach.
For instance, if the Amp Gain is assigned to LFO 1, and the minimum value is set to 1 and
the maximum value is set to 99, the RP1000 will automatically sweep the amount of
distortion from a clean sound to a distorted sound. You can also set the LFO speeds. In the previous
example, the LFO speed would determine the length of time it takes the LFO to sweep from the clean to
the distorted sound. To assign the LFOs in the RP1000, follow these steps:
1.
31
Press the Edit button until the Expression row is selected (indicated by the LED lighting on the
Expression row).
2.
3.
4.
5.
Rotate Knob 1 to select one of the two LFO links, LFO 1 (LFO 1) or LFO 2 (LFO 2).
Rotate Knob 2 to select the parameter you want linked to the LFO 1 or LFO 2.
Rotate Knob 5 to select which waveform you want the LFO to use, Triangle (TRIanGle), Sine
(SINE), or Square (SQUARE).
Rotate Knob 6 to select the speed you want the parameter to be controlled at.
Wah Min/Max
You can set the Wah effect’s minimum and maximum values with the Expression row. To do so, follow these
steps:
1.
2.
3.
4.
Press the Edit button until the Expression row is selected (indicated by the LED lighting on the
Expression row).
Rotate Knob 1 to select wah pedl.
Rotate Knob 3 to adjust the Wah effect’s minimum value.
Rotate Knob 4 to adjust the Wah effect’s maximum value.
Expression Update
You can set up the RP1000’s Expression pedal to update its position each time you change presets.
Normally, the Expression pedal only updates its position on a preset change when it’s linked to the Volume
Pre or Volume Post parameter in a preset. This lets the Expression pedal behave like a real volume pedal
between preset changes. When Expression Update is enabled (ON), the Expression pedal will update its
position no matter what parameter it’s linked to, so it has more of an “analog” feel like a typical standalone
expression pedal.
To enable the Expression Update function, follow these steps:
1.
2.
3.
Press the Edit button until the Expression row is selected (indicated by the LED lighting on the
Expression row).
Rotate Knob 1 to select EXPUPDAT. The default setting is for Expression Update is OF.
Press Knob 1 to enable or disable Expression Update.
Expression Update affects all presets. You don’t have to save this change to each preset.
Factory Reset
This function resets the RP1000 to its original factory settings. This procedure erases all custom User
presets, and recalibrates the Expression Pedal.
ATTENTION: Performing this function will erase all user-programmed data. All such data will
be lost forever! Be sure you want to erase the memory and start fresh before continuing with
this procedure.
The procedure for performing a Factory Reset is as follows:
1.
2.
3.
Press and hold the Store button while powering up the RP1000.
When the display prompts you with FACt RST, release the Store button, which is now flashing.
Press and hold the flashing Store button for 3 seconds until ReSTOReD appears in the display and
release. The Restore procedure takes several seconds to complete; during the procedure, the display
will count up. After the Restore procedure is complete, the Expression Pedal calibration procedure
will begin.
Expression Pedal Calibration
The Expression Pedal on the RP1000 needs to be recalibrated for use after you do a factory reset. This
calibration procedure automatically starts after the factory reset procedure is completed. (You can also
32
start the calibration procedure by pressing and holding the currently active preset’s footswitch for about
5 seconds.) If the pedal’s calibration fails, or if the pedal does not function properly, it can be re-calibrated
using the calibration procedure. This will not erase the User presets. The procedure for calibrating the
expression pedal is as follows:
1.
2.
3.
4.
5.
6.
Press and hold the currently active preset’s footswitch until PEDL CAL appears in the display
(BYPASS, TUNER, and EXIT will be displayed before PEDL CAL is accessed, after about 5 seconds.)
When the Display prompts you with TOE DowN, rock the Expression Pedal forward (toe down) and
press Footswitch 5.
When the Display prompts you with TOE UP, rock the Expression Pedal back (toe up) and press
Footswitch 5.
The Display now prompts you to calibrate the V-Switch sensitivity (VSWitchxxx), where XXX is the
current V-Switch threshold. Rock the Expression Pedal forward and press firmly on the toe once to
turn the V-Switch on (WAH ON), and again to turn the V-Switch off (WAH OFF).
If the V-Switch is too sensitive, press the Up Footswitch to raise the threshold (range is 0-199). The
Down Footswitch decreases sensitivity. Keep testing the V-Switch sensitivity and adjust the threshold
until it only engages when you want it to (too sensitive a setting will lead to the V-Switch falsely
triggering on or off when using the Expression Pedal).
When the V-Switch sensitivity is set to your satisfaction, press Footswitch 5 to exit.
NOTE: If the Display shows error, an error has occurred and steps 2 through 5 should be repeated.
Preset Level
Each of the presets in the RP1000 can have a specified programmed level. To change the level of a preset,
follow these steps:
1.
2.
3.
From the preset name display, press the Edit Down button once. The Wah row will be lit.
Turn Knob 6 to change the Preset Level parameter.
Store these changes to the preset using the Store procedure if these changes are to be recalled later.
Bypass
Any preset in the RP1000 can be bypassed using the preset footswitches. Bypass will defeat all amp
and effects modeling an output an unprocessed bypass signal. Bypass can be selected any time during
performance or editing.
1.
2.
Press the currently active preset’s footswitch. The display will read BYPASS and unprocessed guitar
signal will be heard on all outputs.
Press any footswitch again to exit bypass and return to the last state (edited or unedited) the RP1000
was in.
When a preset is bypassed, any devices connected to the Amp Loop and Stomp Loop will still be active,
meaning you can use bypass to kill all effects in the RP1000 without bypassing your core tone.
Looper
The RP1000 includes a dedicated Looper phrase sampler that lets you record up to 20 seconds of your
guitar playing and play it back as an endless loop so you can solo over it, You can also add more guitar
work to the recorded loop (overdub). What’s great about the RP1000’s Looper is that even while the
Looper is playing back and/or recording you can select different presets or turn on and off effects to add
different sounds to your loop or overdubs.
You turn on the RP1000’s Looper with the Looper button in the matrix section and control it with the
Up/Down footswitches when the Looper is turned on. You can also connect an FS3X footswitch to the
Looper Control input jack on the rear panel for stand-alone remote control of the Looper.
33
Normally, when the Looper is turned on, the Up/Down footswitches won’t change preset banks. However,
if an FS3X footswitch is connected to the Looper Control input on the rear panel of the RP1000,
the Looper will always be enabled, the Looper button will always be lit, and the RP1000’s Up/Down
footswitches will always change banks.
There are two ways to use the Looper: with a “quiet start” or “on the fly.” “Quiet start” means you activate
the Looper’s record feature when you’re not playing your guitar, and it automatically starts recording when
you start playing. “On the fly” means you activate the record feature while you’re playing, and it starts
recording as soon as you step on the Down footswitch.
To use the Looper with a quiet start, follow these steps:
1.
2.
3.
4.
5.
6.
7.
8.
Press the Looper button to enable the Looper. The Looper button should now be lit. None of the
Record, Play, Overdub LEDs will be lit at this time.
To begin looping, press the Down footswitch. The Record LED on the matrix will flash red indicating
the Looper is armed and ready to record but not actually recording yet.
To begin recording, just start playing. The Record LED will now light solid red indicating recording is
in progress.
To set the loop point, press the Down footswitch again. The loop point will be set and the recorded
phrase will now begin playback. The Record LED will turn off and the green Play LED will now be
lit.
To add overdubs to the loop, press the Down footswitch again. The yellow Overdub LED will now
light (the green Play LED will still be lit) indicating that anything being played will be merged with the
loop being played.
Press the Down footswitch again to stop overdub recording which will turn off the Overdub LED
and return the loop to normal playback.
To stop loop playback, press the Up footswitch. This does not clear out the loop but simply stops
playback. Pressing the Down footswitch again will resume playback.
To clear a loop from memory, press and hold the Up footswitch until the main display shows
LOOPCLRD.
To use the Looper on the fly, follow these steps:
1.
2.
3.
4.
5.
6.
7.
8.
Press the Looper button to enable the Looper. The Looper button should now be lit. None of the
Record, Play, Overdub LEDs will be lit at this time.
Start playing your guitar.
To begin looping, press the Down footswitch. The Looper will start recording as soon as you press
the Down footswitch, and the Record LED on the matrix will light red after about half a second.
To set the loop point, press the Down footswitch again. The loop point will be set and the recorded
phrase will now begin playback. The Record LED will turn off and the green Play LED will now be
lit.
To add overdubs to the loop, press the Down footswitch again. The yellow Overdub LED will now
light (the green Play LED will still be lit) indicating that anything being played will be merged with the
loop being played.
Press the Down footswitch again to stop overdub recording which will turn off the Overdub LED
and return the loop to normal playback.
To stop loop playback, press the Up footswitch. This does not clear out the loop but simply stops
playback. Pressing the Down footswitch again will resume playback.
To clear a loop from memory, press and hold the Up footswitch until the main display shows
LOOPCLRD.
If using the optional FS3X to control the Looper, follow these steps for a quiet start:
1.
2.
To begin looping, press the Down footswitch. The Record LED on the matrix will flash red indicating
the Looper is armed and ready to record but not recording yet.
To begin recording, just start playing. The Record LED will now light solid red indicating recording is
34
3.
4.
5.
6.
7.
in progress.
To set the loop point, press the Down footswitch again. The loop point will be set and the recorded
phrase will now begin playback. The Record LED will turn off and the green Play LED will now be
lit.
To add overdubs to the loop, press the Down footswitch again. The yellow Overdub LED will now
light (the green Play LED will still be lit) indicating that anything being played will be merged with the
loop being played.
Press the Down footswitch again to stop overdub recording which will turn off the Overdub LED
and return the loop to normal playback.
To stop loop playback, press the Up (right) footswitch. This does not clear out the loop but simply
stops playback. Pressing the Down (left) footswitch again will resume playback.
To clear a loop from memory, press and hold the Mode (left) footswitch until the main display shows
LOOPCLRD.
If using the optional FS3X to control the Looper, follow these steps for on the fly use:
1.
2.
3.
4.
5.
6.
7.
Start playing your guitar.
To begin looping, press the Down footswitch. The Looper will start recording as soon as you press
the Down footswitch, and the Record LED on the matrix will light red after about half a second.
To set the loop point, press the Down footswitch again. The loop point will be set and the recorded
phrase will now begin playback. The Record LED will turn off and the green Play LED will now be
lit.
To add overdubs to the loop, press the Down footswitch again. The yellow Overdub LED will now
light (the green Play LED will still be lit) indicating that anything being played will be merged with the
loop being played.
Press the Down footswitch again to stop overdub recording which will turn off the Overdub LED
and return the loop to normal playback.
To stop loop playback, press the Up (right) footswitch. This does not clear out the loop but simply
stops playback. Pressing the Down (left) footswitch again will resume playback.
To clear a loop from memory, press and hold the Mode (left) footswitch until the main display shows
LOOPCLRD.
Tuner
The RP1000 features a built-in chromatic tuner with variable tuning references (427-453, A=Ab, A=G,
A=Gb). To use the tuner, follow these steps:
1.
2.
3.
4.
Press and hold the currently active preset’s footswitch to access the Tuner for 2 seconds. The display
briefly flashes TUNER.
To begin tuning, play a note on your guitar (a harmonic at the 12th fret usually works best).
The numeric display shows the note being played, and the alpha-numeric display indicates whether the
note is sharp or flat. Arrows to the left (<<<) indicate the note is sharp and should be tuned down.
Arrows to the right (>>>) indicate the note is flat and should be tuned up. When your note is in tune,
-><- is displayed.
To exit the Tuner, press any numbered footswitch.
While the tuner is selected, you can set your tuning reference with Knob 1. The default factory setting is
A=440 Hz. The tuning references range from 427 Hz to 453 Hz (± 50 cents (1/2 semitone) from either
direction of 440 Hz). Below 427 Hz, are alternate dropped tunings. The alternate tunings are REF A(A=Ab),
REF G(A=G), and REF G(A=Gb). The display window briefly flashes the selected tuning preference.
35
USB Setup
The RP1000 features a USB jack which connects it to a computer. The USB jack serves two purposes:
Streaming audio to and from a computer recording software application, and as a connection for use with
the X-Edit editor librarian software (downloadable from www.digitech.com).
Visit www.digitech.com for free X-Edit and driver downloads.
NOTE: PC users must download and install the ASIO driver to use the RP1000 with recording software.
There are two parameters in the effects matrix for adjusting USB parameters; USB Record Level and USB
Playback Mix
USB Record Level – This option provides a digital level control for boosting or cutting the level sent to
your recording application. Range is -12dB to +24dB.
USB Playback Mix – This option controls the playback mix between RP1000 processing and USB playback
from your computer’s recording application. The range for this control is from USB Mix 0% (all that is
heard is the RP1000 processing, no playback) to USB = RP (both USB playback and RP1000 have equal
levels) to RP Mix 0% (all that is heard is the USB playback in the outputs, no RP1000 processing).
To change the USB Setup options, follow these steps
1.
2.
3.
From the preset name display, press the Edit Down button once to enter Edit mode. The Wah row’s
LED will be lit.
Turn Knob 4 to adjust the USB Playback Mix.
Turn Knob 5 to adjust the USB Record Level.
Changes made to the USB parameters are saved automatically and will affect the global performance of
the RP1000 and all of its presets. Audio recorded via USB in the RP1000 is always tapped off of the audio
feeding the XLR outputs.
36
Section 5 - RP1000 Effects Descriptions
Wahs
Wah is an effect controlled by an Expression Pedal making the guitar sound as if it’s saying “Wah.”
DigiTech® Wah
DigiTech’s Full range Wah sweeps the entire spectrum of audible frequencies giving you the most range of
tone from the wah pedal.
Dunlop® Crybaby™ Wah:
This Wah pedal is the more “traditional” sounding Wah pedal that you will have heard in the 60’s to the 80’s
guitar solos. This Wah sweeps the lower to mid range of the audible spectrum.
Vox® Clyde McCoy™ Wah
This Wah pedal was the “original” and was designed to try to emulate the sound of a muted trumpet. Clyde
McCoy was a trumpet player that had asked Vox for a device that could make an instrument sound like his
muted trumpet. This Wah has a “thinner” tone and sweeps more of the upper end of the audible spectrum.
Compressors
A Compressor is used to increase sustain, tighten up guitars, and prevent the signal from clipping the input
of other effects. It sets a maximum boundary for the strength of a signal.
Boss® CS-2 Compressor/Sustainer
The CS-2 compresses high-input signals while boosting low-input signals, giving you smooth and long sustain
without degrading the quality of the original sound.
DigiTech Compressor
The DigiTech Compressor compresses high-input signals while boosting low-input signals, giving you smooth
and long sustain without degrading the quality of the original sound and also allows you to adjust the tone
of the compression.
MXR® Dynacomp
The MXR® Dynacomp will compress the high-input signals and boost the low-input signals while adding
its unique voicing that has become popular with many players for leads, clean chicken picking, and simple
boosts.
Noise Gates
A Noise Gate is used to control the volume of an audio signal. In its most simple form, a noise gate allows
a signal to pass through only when it is above a set threshold. When this happens, the gate is ‘open’. If the
signal falls below the threshold no signal is allowed to pass (or the signal is substantially attenuated) and the
gate is ‘closed’.
DigiTech Silencer Noise Gate
This noise gate allows you to reduce line noise or audio signal when that signal goes below the set
threshold. Depending on how you set the parameters (Threshold, Attack Time, Release, and Attenuation)
you can make the audio transition cut your signal at very low noise volumes or high noise volumes.
DigiTech Auto Swell Gate:
This noise gate will also let you set the threshold of the noise floor but instead of a strict feel of “opening
and closing” the gate, you get more of an auto volume swell effect making it a smoother transition between
the open and closed positions.
37
EQ
The RP1000 is equipped with a 3 band semi-parametric EQ which helps shape your tone with Low, Mid,
and High controls.
3 Band Semi-Parametric EQ
By adjusting the frequency and levels of each band, you can control how much or little of the frequency
range of 60 Hz to 8 kHz you want in your overall tone.
Chorus Stompbox Models
A Chorus adds a short delay to your signal. The delayed signal is modulated in and out of tune and then
mixed back with the original signal to create a thicker sound. The RP1000 includes the following Chorus
Effects: Boss® CE-2 Chorus, DigiTech® Dual Chorus, DigiTech Glistening Chorus, DigiTech Multi-Chorus,
Electro Harmonix® Small Clone, TC Electronics Chorus, and Voodoo Labs Analog Chorus.
Boss® CE-2 Chorus
A very simple but popular Chorus pedal. Its simplistic two knob design makes it easy to use adjusting the
Speed and Depth of the Chorus while keeping a nice warm tone.
DigiTech Dual Chorus:
A warm dual voice chorus that allows you to adjust the speed, depth, level, AND wave form.
DigiTech Glistening Chorus: A more simplistic Chorus giving you a warm Chorus tone like the CE-2 but
adding a 3rd knob allowing you to adjust the overall level as well.
DigiTech Multi-Chorus
DigiTech’s famous Multi-Chorus allows you to get an incredible warm Chorus tone using 16 voices that
interact with each other in Stereo Mode giving you the most incredible unique Chorus tone you can
imagine.
Electro Harmonix® Small Clone
A very lush, watery Chorus which can be heard on hits by bands including Nirvana. This Chorus has a very
“earthy” tone to it and definitely take your Chorus tone to a different place.
TC Electronics® Chorus
A Chorus pedal that was made for guitar but also used by Bass and keyboard players as well. Many
keyboardists use it to enhance their electric piano “Rhoads” sound. The speed knob controls the speed of
the chorus or flanger sweeps. The width knob controls how much frequency change the effect spans. The
intensity controls how much of the effect is used.
Voodoo Labs Analog Chorus
A strikingly vocal with distinct organic tone Chorus pedal. It is capable of a wide range of sounds from a
thick analog doubling, to an ultra-lush chorus, and even a Leslie rotating speaker.
Flanger
A Flanger uses the same principle as a Chorus but uses a shorter delay time and adds regeneration (or
repeats) to the modulating delay. This results in an exaggerated up and down sweeping motion to the effect.
The RP1000 includes the following Flanger Effects:
ADA Flanger, DigiTech Flanger, DigiTech Filter Flanger, DigiTech Triggered Flanger, Electro Harmonix®
Electric Mistress, and the MXR® Flanger.
A/DA Flanger
A super quiet Flanger with plenty of headroom. Made popular by its ability to get thick and juicy tones
from using not only the standard knobs of the normal Flanger but also the Harmonic knob which offers the
user a slightly different timbre going from even to odd harmonics.
38
DigiTech Flanger
DigiTech’s own Flanger model! This gives you the Flnager effect and allows you to control the standard
Speed, Depth, Regeneration, and Level of the Flanger effect.
DigiTech® Filter Flanger
The DigiTech tone team expanded on the traditional flanger by adding a band pass filter in the feedback
path of the effect. Because of the filter, the filter flanger’s feedback affects only a set amount of frequencies
to generate a different flanger effect.
DigiTech Triggered Flanger
By setting the threshold sensitivity, you control when the Flanger starts sweeping, and by setting the LFO
Start knob, you control WHERE in the sweep it starts! Next you can adjust the speed that it sweeps and
the overall level of the Flanger effect!
Electro Harmonix® Electric Mistress
This Flanger has a unique tone giving it a sort of Chorus/Flanger mixed tone making it not as dry as some
of the other Flangers (but with a more pronounced sweep). Its easy to use with only 3 knobs (Color, Range,
and Rate) which also makes it a little easier to dial in your tone quicker.
MXR® Flanger
A big rich and organic Flanger tone made popular by such people as Eddie Van Halen. The MXR® flanger
creates a variety of wild sounds from dynamic jet plane or cool space effects to short delay, chorus and
vibrato. Back off Width to zero to disengage auto-sweep, then use the Manual knob to physically place the
effect anywhere along the frequency spectrum. Manual knob selects frequency center of effect when autosweep is disengaged Width knob at zero disengages auto-sweep, rotates clockwise to increase total phase
sweep of effect Speed knob modulates rate of effect Regen knob feeds effect back onto itself at adjustable
intensity, increasing the total phase effect.
Phasers
A phaser splits the incoming signal, and then changes the phasing of the signal. This signal is then taken in
and out of phase and mixed back in with the original signal. As the phasing changes, different frequencies
get canceled resulting in a warm sort of twisting sound. The RP1000 includes the following Phaser types:
DigiTech Phaser, DigiTech Triggered Phaser, Electro-Harmonix® Small Stone, and the MXR® Phase 100.
DigiTech Phaser
This Phaser will give you the standard Phaser tone and options for controlling it via the Speed, Depth,
Regeneration, and Level settings.
DigiTech Triggered Phaser
Like the Triggered Chorus, You can set the threshold of the sensitivity knob to state what volume you
would like the Phaser triggered. Then using the LFO Start knob, you can set where in the range of the
Phaser you would like it to start from.
Electro-Harmonix® Small Stone
The Small Stone’s full-bodied, 3-dimensional phasing adds a special swirl to every musical style. Blues players
dig its rapidly rotating speaker effect while Country players use it to add seasoning to their chicken’ pickin’.
Metal-heads and Industrialists dig the Stone’s jet plane woosh. Its simplistic 2 knob control panel (Rate and
Color) make it easier to dial in a quick Phaser tone that will be just right for you!
MXR® Phase 100
Another industry standard in Phase pedals with its own unique tones. It as well has a simplistic 2 knob
control panel (Intensity and Speed). Along with the speed control that controls the speed of the Phase
sweep, there is the Intensity knob that selects four different intensities, defined as preset waveform patterns.
Between the intensity and speed settings, you’ll find quite a supply of excellent sounds!
39
Pitch
The RP1000 comes equipped with effects to manipulate your pitch and do incredible things with it like
harmonize both intelligently and by using standard semitones, detune, and do cool effects by raising and/
or lowering your original notes from 2 octaves down to 2 octaves up! Pitch pedals it is equipped with are:
Boss® OC-2 Octaver, DigiTech Detune, DigiTech Harmony Pitch, DigiTech Pitch Shift, and the ever popular
DigiTech Whammy Pedal!!
Boss® OC-2 Octaver
Based on the Boss® OC-2 Octaver™, this adds two signals to your original guitar signal. The first is one
octave below your guitar, and the second is two octaves below your guitar. Each additional signal has its
own volume control.
DigiTech® Detune
A Detuner makes a copy of your incoming signal, takes the copied signal slightly out of tune from the
original, then mixes the two signals together. The result is a doubling type of effect as if two guitars were
playing the same part together.
DigiTech Harmony Pitch
Harmony Pitch Shifting makes a copy of the incoming signal, and then changes the pitch of the copied note
to a diatonically correct interval specified by the Amount parameter. A Harmony Pitch Shifter sharpens or
flattens the shifted pitch in order to keep the specified interval within the selected key and scale creating a
true harmony.
DigiTech Pitch Shift
A Pitch Shifter copies the incoming signal, then shifts the pitch of the copy to a different note. The shifted
note is then mixed back with the original signal, sounding as if two guitars were playing different notes.
DigiTech Whammy™
The DigiTech Whammy is an effect that uses an Expression Pedal to bend the pitch of the incoming signal,
or add a bendable harmony with the original signal. As the Pedal is moved, the note bends either up or
down.
Vibrato / Rotary
DigiTech Rotary
The Rotary is an effect that produces the Doppler effect and volume change of a rotary speaker. The sound
is lush and full.
DigiTech Vibrato
The Vibrato produces volume and tone change that can be found on surf and country classics.
DigiTech Vibro / Pan
The Vibro/Pan not only changes volume but shifts it side to side. This effect is great for stereo setups.
Unicord Uni-Vibe™
The Uni-Vibe creates a chorus type effect in tandem with a vibrato to produce a lush swirling effect.
Tremolo
DigiTech Panner
Pans the sound from side to side. The speed controls how fast and the depth controls how much of the
signal is panned.
DigiTech Tremolo
The Tremolo is a volume changing effect that can be heard on surf and country classics.
40
DigiTech ScatterTrem
The ScatterTrem combines two tremolos that are “out of sync” to produce an unpredictable scattered
tremolo sound.
Fender® Opto Tremolo™
The sound of the Fender® Opto Tremolo is as classic as their amps. Both tone shift and volume effects are
produced to create this unique tone.
Vox® Bias Tremolo
Another way to achieve a tremolo effect is to alter the bias of the poweramp tubes. This Vox® Bias
Tremolo produces the volume and tone effects to create a tone heard on many famous British tunes.
Envelope / Special
DigiTech® Envelope Filter
An envelope filter is also called a “auto-wah” for its wah effect. The amount of wah is dependent of the
output volume of your guitar – he harder you play, the more wah you get. A definite B-Movie soundtrack
tone.
DigiTech Auto Yah™
If a wah, why not an effect that says “yah” when you use it? This is another take on the vowel based effects
but it is controlled the same way that the envelope filter is controlled.
DigiTech Sample & Hold
Using a changing filter, the Sample and Hold produces skipping tones
that can be heard in experimental and alternative music. Best used with distortion in front of the effect.
DigiTech Step Filter
The Step Filter changes frequency in related patterns much like a sample and hold effect.
DigiTech Synth Talk™
Another DigiTech first, the Synth Talk™ makes your guitar sound like it’s talking due to vowel like qualities.
DigiTech YaYa™
A descendent of a wah, the YaYa™ is a more complex circuit that produces a “ya” sound.
DOD® FX25 Envelope Filter
The DOD® FX25 is an classic analog envelope filter that can be found on many funk and alternative tracks.
Used by both guitar and bass players. Try this one clean for a really funky sound.
Delays
Analog Delay
The analog delay produces delays that were derived from ”BBD” analog delay chips. The BBD chips were
the first ways to produce delay aside from the costly tape delays. The delay sound was not HiFi but was
reminiscent of the original signal and quickly became a cornerstone to modern guitar sounds due to their
warm qualities.
Boss® DM2 Analog Delay:
The DM2 is a classic and standard BBD analog delay that used 4,096 stages of delay. The frequency response
and noise depended upon the delay time. The signal derogates with every repeat so as the repeats are
turned up, the signal becomes less and less recognizable and actually becomes more of an “effect” than a
delay.
41
Digital Delay
A digital delay can be called a perfect representation of your guitar’s signal. Desired for their brilliant
qualities, digital delays have virtually no noise and a full frequency response.
Lo Fi Delay: The Lo Fi delay is an analog delay with a severely limited frequency response to produce an
even grungier delay effect.
Maestro EP-2 Tube Echoplex
The Echoplex is the standard to which all analog delays are judged. The Echoplex was the first widely used
tape delay and had a tone all of it’s own. The Echoplex can be heard on many rockabilly, surf, country and
rock tracks.
Modulated Delay
A modulated delay is a digital delay with chorus added to the delays to produce a wider sounding stereo
delay.
Pong Delay
A pong delay’s repeats jump from side to side and requires a stereo setup.
Reverse Delay: The Reverse Delay senses the guitar’s input signal and plays the delayed guitar backwards
once it is sampled. Reverse delay used to be a studio trick, now with modern technology it exists in a
stompbox!
Tape Delay
The tape delay effect produces a warm tone by limiting the frequency response and adding the distortion
that exists in a tape delay.
2-Tap Delay
While most delays are derived from a signal delay with one end tap, the 2-Tap Delay uses a single delay line
but with two endpoints that are spaced about at different ratios. Use this effect to add more of a rhythmic
quality to your delays.
Reverbs
EMT® 240 Plate Reverb
The EMT Plate Reverb is the reverence reverb to which all studio reverbs are compared to. Using a large
sheet of metal, one end of the “plate” was excited by a transducer and the sound would then travel through
the plate to the other side where the delayed tone was received. The frequency response and dynamics of
the signal would change when traveling through the plate creating a reverb effect.
Lexicon® Ambience
The Lexicon Ambience reverb is full, bright and produces ambience around or behind your guitar signal.
Lexicon Hall
The largest of the Lexicon reverbs, the Hall produces lush reverbs with a swirling decay unlike any other
reverbs today.
Lexicon Room
A great effect to produce a small room, the Lexicon Room produces that reverb found in many isolation
rooms in recording studios today.
Lexicon Studio
Larger than the Room reverb, the Studio Reverb is the Lexicon studio standard reverb algorithm.
Spring based on a Fender® Twin Reverb™
The tone and reaction of the spring reverb is captured! Surf’s up, the best setting is at maximum Cowabunga.
42
Distortions
Distortion and overdrive pedals were designed to give your guitar tone gain before it reaches your amp.
Many heavily distorted pedals such as the DigiTech Grunge™ were designed to provide most or all of the
gain and run through a cleaner amp. Overdrives are great for boosting the gain of your guitar sound and
driving an already distorted amp giving your total tone, more gain and a heavier feel. Overdrives on their
own and ran into clean amps provide a bluesy tone.
Arbiter® Fuzz Face™
The Dallas Arbiter Fuzz Face surfaced in 1966 and used germanium transistors to get it’s unique fuzzy
sound and inspired many other fuzz pedals to follow. The Fuzz Face produces a thick wall of edgy distortion
and a very full low end. Perfect for creating ‘60s or modern stonerrock tones.
Boss® DS-1™ Distortion
A truly classic distortion. A nice, common distortion that ranges in tone from rock to mild metal. Use it to
drive a distorted amp!
Boss MT-2 Metal Zone®
The Metal Zone will produce nearly any metal tone needed from tight, percussive Bay area thrash to deep
detuned grind core.
Boss OD-1 Overdrive
The OD-1 is perfect for just adding a little gain to your tone no matter what type of amp you use. To
produce a bluesy tone, use it with a clean combo. To drive your stack, crank the gain and level.
Boss SD-1 Overdrive
With a little more gain than the OD-1, the SD-1 will drive any amp into another realm. If you’re just looking
for a good classic rock tone, this is it.
Demeter Fuzzulator
Enhancing the proper frequencies with a pre-emphasis tone circuit, the Fuzzulator produces distortion that
is unique and does not get muddy. It just gets better and the Fuzz is turned up.
DigiTech® Amp Driver
The Amp Driver distortion is designed to turn a regular distorted amp into a monster. The Amp Driver not
only distorts the guitar’s signal but also boosts frequencies around 600Hz. By emphasizing the frequencies
around 600Hz amps can be driven harder and take on more of a metal tone. A mean sound is not only
how determined by how much gain you put in front of your amp, but how hard you drive the amp and with
what frequencies the amp is driven with.
DigiTech Death Metal™
Designed in 1992 to provide death metal musicians with a wall of sound, the Death Metal™ pedal does just
that. Whether you play early ‘90s grindcore or modern death metal, the Death Metal’s tone controls that
are placed at the correct frequencies give you a multitude of sonic options.
DigiTech Grunge®
In late 1991 as Grunge hit the radio the pedal was designed as the DOD FX69 Grunge. The pedal was
designed by a young engineer who played “punk” and was released as an experiment to see what this “new
type” of music was all about. Now a decade later, the Grunge is still a top-seller. The Grunge produces
tones from early famous Seattle sounds to borderline metal. Don’t forget your flannel….
DigiTech Redline Modified Overdrive
Not your standard overdrive, the Redline takes overdrive to a place that never existed. The Redline’s circuit
overdrives the guitar’s signal in a way that is not evenly clipped like the way a tube amp distorts. Add extra
gain and a thicker low end and the Redline was born.
43
DOD 250 Overdrive/Preamp
The DOD®250 is another classic overdrive. With no tone control to get in the way, the 250’s beauty is just
it’s pure overdrive.
DOD Classic Fuzz
A part of the original DOD FX family, the Classic Fuzz gained a following for its clearer voicing as
compared to many fuzz pedals.
DOD Gonkulator Ring Modulator
Meet the needs of many experimental guitarists, the Gonkulator was a silent hit only to become a high
cost interned item. The Gonkulator is a compination of a Grunge pedal and a ring modulator that produces
distortion and mixes in bell-like ringing. The first pedal with a “suck” knob.
Electro-Harmonix® Big Muff Pi®
A requirement for any alternative player, the Big Muff Pi’s thick fuzz is unmistakable in grunge, new wave and
many punk hits.
Fulltone® OCD Overdrive
Straddling the border of overdrive and distortion, the OCD produces amazing harmonics and drives any
amp into oblivion. The overdrive is thicker than most yet clear letting every string and note come through.
Guyatone® Overdrive OD-2
The OD-2 is yet a different flavor of overdrive. The OD-2’s is transparent and does not get in the way
when playing single notes or chords.
Ibanez® TS-9 Tube Screamer™
One of the most famous pedals ever created, the TS-9 has not only stood the test of time but can be found
on nearly every pedal board.
Ibanez TS-808 Tube Screamer™
The predecessor to the famed TS-9 the TS-808 has spawned a whole boutique market around modifications
to this classis design. If you want one of the standards in overdrive, this is it.
Modified Ibanez® TS-9
Take a TS-9, add more gain and modify the low end to produce a thicker, bluesier overdrive.
MXR® Distortion +
A classic pedal due to it’s simplicity. Just plug in an go. The Distortion + produces good honest distortion,
perfect for driving a distorted amp.
Pro Co RAT™
Want gain? Want more gain? The Rat was one of the first pedals to take the gain to another dimension. The
filter control gives the Rat it’s unique tones and flexibility. It is rumored that early Bay area thrash bands
used it in conjunction with a Marshall® JCM800 to achieve their heavy tones.
Roger Mayer Octavia™
Designed in 1967, the Octavia was featured on “Purple Haze” and “Fire” by Jimi.
Voodoo® Lab Sparkle Drive®
The Sparkle Drive mixes a 808 tone with boosted clean to form a perfect device to drive amps.
44
Amps
’99 Carvin® Legacy VL-100
Steve Vai’s signature amp that he has been using since 1999. Custom tweaked tone to Steve’s specifications
featuring an EL-34 tube output stage. Very smooth for soloing.
‘57 Fender® Tweed Champ®
The Tweed Champ is a straight ahead, growly amp with that is best suited for blues and garage music. The
tone is nasely, distorts easy due to the low wattage but cuts through!
‘57 Fender Tweed Deluxe™
One of the most sought after amps ever made, this is a tone you can’t get enough of. This baby shows off
its glory when pushed to the limits.
‘59 Fender Tweed Bassman®
This classic really roars with lots of bottom end. Great for blues riffs but equally great for driving rock and
roll rhythm guitar parts.
‘62 Fender Brownface Bassman®
From the era of the first tolex covered Fender® amps, this particular amp was used on the classic Hendrix
song “Voodoo Child”.
‘65 Fender Blackface Twin Reverb®
The benchmark for twin speaker combos. This great amp is one of the most recognizable clean tone on
recordings for the last 40 years.
‘65 Fender® Blackface Deluxe Reverb®
The single speaker version of its bigger brother, this amp is equally at home for blues, country and rock
players.
’59 Gibson® GA-40
A very cool blues/rock amp in the ranks with the Deluxes but with a personality all its own.
‘69 Hiwatt® Custom 100 DR103
This superb rock and roll amp was the staple of Pete Townshend’s tone in the early /70s. A monster that
has loads of headroom, this is at its best when cranked up all the way and paired with the Fane 4x12 cab.
’69 Laney™ Supergroup
The Supergroup was used most notably by Tony Iommi and was key to the sound of early Black Sabbath
records.
‘65 Marshall® JTM-45
Perhaps the turning point for blues and rock and roll, this amp set the course for the future of Marshall®
amps. It started the “crunch” revolution, turning up on classic songs from AC/DC and most notably the
Bluesbreakers “Beano” album featuring Eric Clapton.
‘68 Marshall 100 Watt Super Lead (plexi)
This is undoubtedly the amp that changed rock and roll. It is a benchmark for many of the greatest guitar
sounds ever heard. From Hendrix to Van Halen, this amp is the real deal.
‘68 Marshall Jump Panel
This is the method to get the most saturation from the classic plexi. By jumping channel 1 into channel 2,
you get a bit more push over the top.
‘77 Marshall Master Volume
This amp was king of rock and roll in the 70’s and one of our favorites. This JMP 100W amp featured four
6550 output tube making it hot and punchy for rock and punk music alike.
45
‘83 Marshall JCM800
The amp that defined many of the metal sounds of the 80’s is still one of the most highly respected
Marshall® amps ever made.
‘93 Marshall JCM900
Incorporating a diode clipping stage, this amp gives you more gain than you can shake a stick at.
‘01 Marshall JCM2000 (Solo Channel)
The TSL100 is a superb tone with tons of sustain for grinding riffs or singing solos.
‘81 Mesa Boogie® Mark II C
Based originally off hot rodded Fender® amps, this classic has some of the best rhythm and lead tones ever.
This amp was the peak for Mesa Boogie during their custom built to order days.
’86 Mesa Boogie .22 Caliber
A monster little combo with the classic Boogie Mark tone.
‘93 Mesa Boogie Mark IV
If high gain is your bag, this is up your alley. Still a hugely influential amp today as it was when introduced
over a decade ago.
‘96 Mesa Boogie Dual Rectifier
The new benchmark for metal guitar, this mid 90’s Rectifier series unleashed a new era of high gain amp
mayhem.
‘01 Mesa Boogie Triple Rectifier
The latest from the guys in Petaluma, this bigger brother of the dual rectifier packs and additional 50 Watts
of power.
’95 Matchless™ Chieftain
A beautifully full amp tone with plenty of character. The Chief is a really great amp to use for putting a
slightly different color in your musical palette.
‘96 Matchless HC30
The perfect Class A crunch tone with tight responsive low end. This is right at home with country, blues,
and rock
’74 Orange™ OR 120
This often overlooked amp from a great British amp company was used by greats like Jimmy and Frank
Zappa. No wonder the great Orange is making a comeback.
’99 Peavey® 5150® II
Designed in conjunction with Eddie Van Halen by Peavey®, this amp offers gain for days.
’88 Randall® HT-100
A vintage solid state amp that ushered in a new metal generation. This was the amp Dimebag used in the
earlier Pantera days.
’84 Roland® JC-120
This solid state combo was synonymous with the sparkling clean sounds of the 80’s.
‘88 Soldano SLO-100
Considered one of the first “boutique” amp companies, the SLO 100 is a pure gain head’s dream. Smooth
distortion with incredible sustain, this amp is amazing.
46
’67 Sunn® 100S
Used by Pete Townshend in the late ‘60s US tour, these amps offered tons of headroom which certainly
delivered the SPLs The Who loved.
‘62 Vox® AC15
The first great Vox® amp. A single 12” version of its more famous 30 Watt big brother, this amp has much
of the same character to offer.
‘63 Vox AC30 Top Boost
The quintessential amp that defined both Brian May’s and Edge’s sound. Just crank this amp up and get
some of the most awesome growl you will ever hear from an amp.
DigiTech® Blackbass – ’65 Blackface preamp w/ Bassman poweramp
What happens when you combine the cleaner input stage of Blackface and connect it to the gritty
poweramp of a Bassman? You get an experimental amp that works perfect for blues, rock-a-billy, country
and rock. You’ll want to drive this hard.
DigiTech Blues
A perfect combination of clarity and grit. The Blues amp cuts through but doesn’t get too muddy as the gain
is turned up.
DigiTech Bright Clean
A perfect clean combo amp structure, the amp is bright yet cleaner than most. Great for jazz, surf, country,
clean rock and metal.
DigiTech Brownsound - Hot rodded 80’s stack tone
The Brownsound is a hot-rodded Marshall® tone of the early ‘80s made famous by a wild, finger-tapping
guitarist.
DigiTech Chunk
Thicker than a Marshall®, the Chuck gives you lots of gain with plenty of low end that doesn’t get in your
way.
DigiTech Clean Tube
The Clean Tube is a very clean tube combo tone with just the right amount of 2nd harmonics.
DigiTech® Crunch
The Crunch is just that, a tube head that crunches more than the rest. The crunch has extra gain and cuts
through. Perfect for both rhythms and solos.
DigiTech Tweedface – Tweed preamp w/Blackface poweramp
Imagine combining two of the greatest Fender® amps into a single beast. That’s what we have done with
the Tweedface. Take the preamp of the classic Tweed Deluxe™ and combine it with the output stage of the
Blackface Twin Reverb® and here is the monster you get.
DigiTech Darkmetal
Producing a tight, focused tone, the Darkmetal has high gain, yet does not muddy up you guitars tone.
Perfect if you play intricate metal.
DigiTech Fuzz
The DigiTech Fuzz tone is based off of the fuzz tone of the late 60’s English bands with our own twist with
fizz. Thus making the DigiTech Fuzz ideal for 90’s grunge to today’s mix of music.
DigiTech GSP2101TM Artist Clean Tube
The GSP2101 has become an iconic preamp processor for many players over the years. After years of
requests from players, we have brought the sounds back from their glory days. The GSP2101 Clean Tube
47
captures the warmth and brightness while being able to drive it hard to produce a nice warm clean sound
with grit.
DigiTech GSP2101 Artist Saturated Tube
The sound of the GSP2101 preamp being the most used sound from the GSP2101. Mild to over the top
gain without getting a muddy sound. A perfect tone setting for all types of music.
DigiTech High Gain
For the rock or hard rock player who requires a lot of distortion as a starting point. A very punchy tone
for both rhythm and lead work reminiscent of a well polished production album.
DigiTech Metal
A true metal tone for both classic or modern style metal with a chunky bottom end. This setting is able to
achieve a variety of metal tones with the use of the EQ and gain controls.
DigiTech Monster
The DigiTech Monster was created on an operating table in a European castle with one thing in mind, fullon dimed out molten metal gain. This is the perfect setting for death metal or the Norwegian Sound.
DigiTech Mosh
This sound was created after the mid 80’s NYC and Bay Area tones. You will feel like you’re in the pit while
taken a “thrashing.” Big metal sound with a bit of sizzle.
DigiTech Solo
Dialed in tone ideal for laying down solos for country, rock, jazz, blues and even metal. Add a bit of delay
and reverb, and you have the perfect sound for any lick you can come up with.
DigiTech Spank
A bright and punchy clean sound that can be driven for a bit of edge. At home with funk or any tone that
needs some spanking.
DigiTech Stonerrock
The Stonerrock amp produces tones made famous by So-Cal and dessert bands. The Stonerrock’s huge,
flubby low end and warm high end make you want to use your bridge pickup, turn your guitar’s tone knob
down and play Godzilla all night…….
DigiTech Transistor
The Transistor setting emulates a grainy narrow EQ band sound of a solid state transistor lo-fi amplifier.
Great for use as an effect or to set the mood.
Direct
No amp model
Dreadnaught Acoustic
Awesome dreadnaught acoustic simulation with an articulate top end. Best suited for middle and neck
pickups.
Jumbo Acoustic
A warmer acoustic model with more midrange. 48
Cabinets
1x8 ‘57 Fender® Tweed Champ®
A small speaker but a great way to cut through the mix.
1x12 ‘57 Fender Tweed Deluxe®
A bluesman’s delight. Wonderful response with a classic tone when matched with its namesake amp model.
1x12 ‘65 Fender Blackface Deluxe Reverb®
Solid tone can be combined with any amp for a great rhythm tone.
1x12 ‘62 Vox® AC15
A great little cab perfect for rock and blues.
1x12 ‘59 Gibson® GA-40
Similar to the Deluxe cabs with emphasized top end for more bite.
2x12 ‘57 Fender® Blonde Bassman®
Warm dual speaker combo. Great for driving rhythm playing or clean chord comps.
2x12 ‘65 Fender Blackface Twin Reverb®
The benchmark that many others have tried to imitate. The classic clean tone at it’s best.
2x12 ‘63 Vox AC30 Top Boost w/ Jensen® Blue Backs
Amazing low end. These were our favorite speakers of the early Vox/Jensen era.
2x12 ‘84 Roland® JC-120
Awesome for spankin’ clean tones with emphasized top end.
2x15 ’68 Sunn 200S w/JBL®-Lansings
Powerful bottom end from a landmark speaker designer. Classic tones from the late ‘60s.
4x10 ‘59 Fender Tweed Bassman®
Powerful, throaty, and just plain cool. This mixed with its matching amp get you tones as cool as they come.
4x12 Hiwatt® Custom w/ Fane Speakers
Unique warm tone was the perfect balance for the head it is originally paired with.
4x12 Marshall® 1969 Straight w/ Celestion® G12-T70
Great power handling speakers give you the classic Marshall® bite and chunk. Takes a lot of power to
break these up.
4x12 Marshall 1969 Slant w/ Celestion® 25W Green backs
Super speaker design provides a voice that is distinctive as it’s name. Great match for the Plexi.
4x12 ‘96 Johnson® Vintage w/ Celestion® Vintage 30’s
Classic V30 sound with throaty midrange and great low end.
4x12 ‘96 VHT® Slant w/ Celestion® Vintage 30’s
A rare matchup from the guys at VHT. Great bite that really cuts through.
4x12 ‘07 Mesa/Boogie Rectifier w/Celestion® Vintage 30’s
The ultimate 4x12 for the heaviest tone. Massive bottom end and punchy midrange.
2x12 DigiTech® Bright
A particularly bright but full sounding combo cabinet. Great for clean.
49
4x12 DigiTech Alt Rock
The DigiTech Alt Rock is a dirtier cabinet with more sizzle than a standard 4x12 cabinet. Use if you want to
drive your tone over the edge.
4x12 DigiTech Chunk
The Chunk is a thicker cabinet that lends itself to hard rock and solos. This will help any amp cut through
the mix.
4x12 DigiTech Metal
The Metal cabinet provides a deeper but tight low end response. Great with any amp that needs a little
focus.
4x12 DigiTech Rock
Take a standard 4x12 and add just a little more 600Hz to cut through the mix, the Rock cabinet not only
sounds good for rock but excels at hard rock and gives distorted combos new life.
4x12 DigiTech Solo
One issue with solos, the need to cut through and not squash the sound. The Solo cabinet is phrased to
provide clear tone with maximum distortion.
4x12 DigiTech Spank
Need a jangley, funk high end? The Spank is perfect for funk.
4x12 DigiTech Speaker Compensation
The speaker compensation is from the GSP2101. The has become a standard in direct micing for music of
all types.
4x12 DigiTech Vintage
A vintage speaker cabinet with that “broken in” warm tone.
4x12 Johnson® Straight w/ Celestion Vintage 30’s
This tone is great when used for rock, hard rock and metal. The low end compresses just the right amount
due to the combination of the Celestion Vintage 30’s and cabinet volume.
Direct
No cabinet model
50
Section 6 - Appendix
Specifications
General Specifications
A/D/A Converter: Sample rate: DSP Section: Voltage Rails: Electronic SNR: USB: Audio streaming: Simultaneous Effects: Preset Memory: Dimensions: Unit Weight: Analog Input Connections
Guitar Input
Impedance: Maximum Input signal: Stompbox Loop Input
Impedance: Maximum Input signal: Amp Loop Input
Impedance: Maximum Input signal: 24-bit high performance audio
44.1 kHz 24 bit
AudioDNA2™ DSP Processor
+/-15V
≥ 107dB
2.0 compliant
2 channels to computer, 2 channels from computer
10
100 User Presets (1-00) / 100 Factory Presets (F1-F00)
19.5˝ Length x 10.75˝ Width x 3.75˝ Height
11.5 lbs.
1M Ohms
8 dBu
475K Ohms
8 dBu
16K Ohms
8 dBu
Analog Output Connections
Line Outputs
Impedance: 1K Ohms unbalanced / 2K Ohms balanced
Maximum Output level: 8 dBu
XLR Mixer Outputs
Impedance: 2k Ohms balanced
Maximum Output level: 14 dBu
Stompbox Loop Output
Impedance: 600 Ohms unbalanced / 1.2K Ohms balanced
Maximum Output signal: 8 dBu
Amp Loop Output
Impedance: 600 Ohms unbalanced / 1.2K Ohms balanced
Maximum Output signal: 8 dBu
Headphone Output
Minimum Headphone
Impedance: 50 Ohms
External Control Input
Looper Footswitch Input: For use with optional DigiTech FS3X
Power Requirements
Power Supply: *Important Note: There are two different models of this product. If purchasing a replacement power supply, ensure that you properly match the power requirements screening on the back panel of the product with the corresponding adapter model listed below.
Back Panel Screening = 9 VAC 1.3 A*
Country
Voltage
Adapter Model
Japan:
100 VAC, 50/60 Hz PS0913B-100*
US and Canada: 120 VAC, 60 Hz
PS0913B-120*
Europe:
230 VAC, 50 Hz
PS0913B-230*
UK:
240 VAC, 50 Hz
PS0913B-240*
Australia:
240 VAC, 50 Hz
PS0913B-240-AU*
51
Back Panel Screening =
Country
US, Canada, Europe, Japan:
Australia & UK:
9 VDC 1.3 A*
Voltage
Adapter Model
100-240 VDC, 50/60 Hz PS0913DC-01*
100-240 VDC, 50/60 Hz PS0913DC-02*
Windows® Software Requirements
Windows 7, 8.x, 10 (32/64-bit)
Intel/AMD Dual Core
4GB RAM
USB Port
USB driver installed
Internet connection for software download
Mac® Software Requirements
Mac OS 10.8.5 or later
Intel Dual Core
4GB RAM
USB Port
Internet connection for software download
Tone Library
OVERDRIVE
DISTORTION
HOT RAT
SUSTAINER
FUZZOH
OVEREASY
DIRTY TUBES
ROCK 1
ROCK 2
BLUES 1
BLUES 2
METAL 1
METAL 2
COUNTRY 1
COUNTRY 2
WARM DRIVE
CRUNCH
TEXAS TONE
ROCKABILLY
SOLO 1
SOLO 2
ROCK WAH
CHUNKY
SMOOTH
HEAVY
CLEAN 1
CLEAN 2
BRITISH 1
BRITISH 2
AMERICAN 1
AMERICAN 2
TUBE DRIVE
SCOOPED
PUNCHY
BRIGHT CLEAN
BIG PUNCH
SUPER GAIN
GRINDER
BAD BOY
LEGACY LEAD
SPRING REVERB
CHORUS-DELAY
CHORUS-DLEAY-REVERB
FLANGER-DELAY
PHASER-DELAY
PHASER-MOD DELAY
PHASER-REVERB
DIGITAL DELAY-REVERB
DELAY-SPRING REVERB
CHORUS-REVERB
PONG DELAY-HALL REVERB
TAPE DELAY-SPRING REVERB
TREMOLO-TAPE DELAY
PITCH-DELAY
MOD DELAY-PLATE REVERB
ROTARY-DELAY
ENVELOPE-REVERB
VIBRO-DELAY
ROTARY-DELAY-SPRING
SLOW SWEEP
VIBROPAN
VIBE-DELAY
OCTAVE ROOM
A MAJOR
TRIPLET DELAY
SPACIOUS
Effects Library
CUSTOM/CHORUS
PHASER
FLANGER
PITCH
TREMOLO
ROTARY
ENVELOPE FILTER
DIGITAL DELAY
ANALOG DELAY
PONG DELAY
MODULATED DELAY
TAPE DELAY
HALL REVERB
PLATE REVERB
52
PHONE:
WEB:
SUPPORT:
(801) 566-8800
digitech.com
digitech.com/en-US/support
RP1000 Owner's Manual
5059526-A
© 2016 Harman
All rights reserved
DigiTech is a registered trademark of Harman
DigiTech, X-Edit, Production Modeling, Grunge, Death Metal, Jimi Hendrix™ Artist Series Pedal, DOD, Gonkulator, DigiTech
Whammy, Multi Chorus, Auto Ya, YaYa, Synth Talk, Lexicon, Johnson Amplification and AudioDNA are trademarks of Harman.
Other product names modeled in this product are trademarks of their respective companies that do not endorse and are
not associated or affiliated with DigiTech or Harman. ADA Flanger, Arbiter Fuzz Face, Boss CE-2 Chorus, Boss CS-2, Boss
DM-2, Boss DS-1, Boss Metal Zone, Boss OC-2 Octaver, Boss OD-1, Boss SD-1, Celestion, Carvin Legacy, Demeter Fuzzulator,
Dunlop Cry Baby, EH Big Muff ?, EH Electric Mistress, EH Small Clone, EH SmallStone, EMT 240 Plate, Fender Blackface Deluxe
Reverb, Fender Blackface Twin Reverb, Fender Blonde Bassman, Fender Brownface Bassman, Fender Opto Tremolo, Fender
Tweed Bassman, Fender Tweed Champ, Fender Tweed Deluxe, Fender Twin Reverb, Fulltone OCD Overdrive, Gibson GA-40,
Guyatone Overdrive, Hiwatt, Ibanez Tube Screamer, Jensen Blue Backs, Laney Supergroup, Maestro EP-2, Marshall, Marshall
JTM-45, Marshall JumpPanel, Marshall Master Volume, Marshall SuperLead, Matchless, Matchless Chieftain, Mesa/Boogie, .22
Caliber, Mark II, Mark IV, Dual Rectifier, Triple Rectifier, MXR, MXR Distortion +, MXR DynaComp, MXR Flanger, MXR Phase
100, Orange OR120, Peavey 5150, ProCo Rat, Randall HT-100, Roger Mayer Octavia, Roland JC-120, Soldano, Sunn 100S, TC
Electronic Chorus, Unicord Uni-Vibe, VHT Amplification, Voodoo Labs Analog Chorus, Voodoo Labs Sparkle Drive, Vox, Vox
Bias Tremolo, Vox Clyde McCoy Wah, and Vox Top Boost are trademarks or trade names of other manufacturers and were
used merely to identify products whose sounds were reviewed in the creation of this product. All other trademarks are the
property of their respective holders.
53
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement