BOSS SY-1000 Guitar Synthesizer Owner Manual
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Reference Manual
© 2019 Roland Corporation
02
Contents
Getting Ready
. . . . . . . . . . . . . . . . . . . . . . . . 4
Connecting the Equipment . . . . . . . . . . . . 4
Auto Off Function . . . . . . . . . . . . . . . . . . . . . 4
Panel Descriptions . . . . . . . . . . . . . . . . . . . . . 6
Selecting the Instrument (Guitar/
Bass) to Use (MODE SETTING) . . . . . . . . . . 7
Specifying the Device Connected to
OUTPUT Jacks (OUTPUT SELECT) . . . . . . . 7
Making Pickup Settings (GK SETTING) . . 8
Specifying the Pickup Type . . . . . . . . . . . . 8
Specifying Your Guitar’s (Bass’s) Scale
Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Specifying the Pickup Position (BASS
MODE Only) . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Specifying the Distance from the
Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Adjusting the Pickup Sensitivity . . . . . . . 10
Tuning the Guitar (TUNER) . . . . . . . . . . . . 10
Making Tuner Settings . . . . . . . . . . . . . . . 10
Basic Operation
. . . . . . . . . . . . . . . . . . . . . 11
Display (Play Screen) . . . . . . . . . . . . . . . . . . 11
About the Icons . . . . . . . . . . . . . . . . . . . . . . 11
Screen Operations . . . . . . . . . . . . . . . . . . . . 12
Operating Example 1 (INST Screen) . . . 12
Operating Example 2 (INST Edit
Screen) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Operating Example 3 (EFFECT Edit
Screen) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Switching Patches (Tone)
The Structure and Patches of the SY-
1000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Types of Bank . . . . . . . . . . . . . . . . . . . . . . . . 13
Types of Patch . . . . . . . . . . . . . . . . . . . . . . . 13
Selecting a Patch . . . . . . . . . . . . . . . . . . . . . 13
Editing a Patch
. . . . . . . . . . . . . . . . . . . . . . 14
Changing the INST . . . . . . . . . . . . . . . . . . . . 14
Editing the INST . . . . . . . . . . . . . . . . . . . . . . 14
Viewing All Parameters While You Edit . 14
Saving the Edited INST Settings
(VARIATION) . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Recalling a Saved INST Variation . . . . . . . 15
Editing the Effects . . . . . . . . . . . . . . . . . . . . 16
Basic Operation for Effect Editing . . . . . 16
Editing While Viewing All Parameters . . 16
Changing the Effect Order . . . . . . . . . . . . 16
Saving the Edited Effect Settings
(VARIATION) . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Recalling a Saved Effect Variation . . . . . 17
Assigning Functions to the Foot
Switches and Expression Pedal . . . . . . . . 18
Making Assignments from the Effect
Edit Screen (Quick Assign) . . . . . . . . . . . . 18
Saving a Patch
. . . . . . . . . . . . . . . . . . . . . . . 19
Settings for the Entire SY-1000
(System Parameters)
. . . . . . . . . . . . . . . . 20
2
Settings for the SY-1000 . . . . . . . . . . . . . . 20
Settings (Factory Reset) . . . . . . . . . . . . . . 20
Turning Off the Auto Off Function . . . . . 20
The Internal Structure of the SY-
1000
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
INST (Instrument) Block . . . . . . . . . . . . . . . 21
EFFECT (Effects) Block . . . . . . . . . . . . . . . . . 21
INST Parameters
. . . . . . . . . . . . . . . . . . . . 22
Availability of Functions for Each
INST TYPE (GUITAR MODE) . . . . . . . . . . . . 22
Availability of Functions for Each
INST TYPE (BASS MODE) . . . . . . . . . . . . . . 22
INST TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Parameters Common to Each INST
TYPE (COMMON) . . . . . . . . . . . . . . . . . . . . 23
Parameters Common to Each INST
TYPE (ALT TUNE) . . . . . . . . . . . . . . . . . . . . . 24
DYNAMIC SYNTH Parameters . . . . . . . . . . 25
OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
AMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
LFO1, LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . 27
SEQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
LAYER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
OSC SYNTH Parameters . . . . . . . . . . . . . . . 29
OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
AMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
LFO1, LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . 31
GR-300 (In GUITAR MODE) / ANALOG
GR (In BASS MODE) Parameters . . . . . . . 32
GR-300/ANALOG GR . . . . . . . . . . . . . . . . . 32
E.GUITAR Parameters . . . . . . . . . . . . . . . . . 33
GUITAR (In GUITAR MODE) . . . . . . . . . . . . 33
GUITAR (In BASS MODE) . . . . . . . . . . . . . . 33
AMP (AMP Modeling) . . . . . . . . . . . . . . . . 34
NS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
ACOUSTIC Parameters . . . . . . . . . . . . . . . . 36
ACOUSTIC . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
AMP (AMP Modeling) . . . . . . . . . . . . . . . . 37
NS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
AC BASS Parameters . . . . . . . . . . . . . . . . . . 37
AC BASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
AMP (AMP Modeling) . . . . . . . . . . . . . . . . 37
NS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
E.BASS Parameters . . . . . . . . . . . . . . . . . . . . 38
BASS (In GUITAR MODE) . . . . . . . . . . . . . . 38
BASS (In BASS MODE) . . . . . . . . . . . . . . . . 38
AMP (AMP Modeling) . . . . . . . . . . . . . . . . 39
NS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
VIO GUITAR Parameters . . . . . . . . . . . . . . . 39
GUITAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
HARMO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
NS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
POLY FX Parameters . . . . . . . . . . . . . . . . . . 41
NS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
EFFECT Parameters
. . . . . . . . . . . . . . . . . 42
FX1–FX3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
AC RESONANCE . . . . . . . . . . . . . . . . . . . . . . 43
AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . 43
CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
CLASSIC-VIBE . . . . . . . . . . . . . . . . . . . . . . . . 44
COMPRESSOR . . . . . . . . . . . . . . . . . . . . . . . 44
DEFRETTER . . . . . . . . . . . . . . . . . . . . . . . . . . 44
DEFRETTER BASS . . . . . . . . . . . . . . . . . . . . 45
DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
FLANGER/FLANGER BASS . . . . . . . . . . . . . 46
FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . 46
GRAPHIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . 47
HARMONIST . . . . . . . . . . . . . . . . . . . . . . . . . 47
HUMANIZER . . . . . . . . . . . . . . . . . . . . . . . . . 48
ISOLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
LIMITER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
LO-FI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
OCTAVE/OCTAVE BASS . . . . . . . . . . . . . . . 49
PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
PARAMETRIC EQ . . . . . . . . . . . . . . . . . . . . . 49
PEDAL BEND . . . . . . . . . . . . . . . . . . . . . . . . 49
PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . 50
REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
RING MOD . . . . . . . . . . . . . . . . . . . . . . . . . . 51
ROTARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
SITAR SIM . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
SLICER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
SLOW GEAR/SLOW GEAR BASS . . . . . . . . 52
SOUND HOLD . . . . . . . . . . . . . . . . . . . . . . . 52
TOUCH WAH/TOUCH WAH BASS . . . . . . 53
TREMOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
AMP (AMP Modeling) . . . . . . . . . . . . . . . . . 54
TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
SP TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
MIC TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
COMPRESSOR . . . . . . . . . . . . . . . . . . . . . . . . 57
TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
DISTORTION . . . . . . . . . . . . . . . . . . . . . . . . . . 57
TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
EQ 1, EQ2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
MASTER DELAY . . . . . . . . . . . . . . . . . . . . . . . 59
TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
DELAY 1, DELAY 2 . . . . . . . . . . . . . . . . . . . . . 60
REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
NOISE SUPPRESSOR . . . . . . . . . . . . . . . . . . 62
FOOT VOLUME 1, FOOT VOLUME 2 . . . . . 62
SEND/RETURN . . . . . . . . . . . . . . . . . . . . . . . . 63
MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
DIVIDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
BALANCER 1–BALANCER 3 . . . . . . . . . . . . 65
MAIN OUT/SUB OUT . . . . . . . . . . . . . . . . . . 65
MASTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
NORMAL INPUT . . . . . . . . . . . . . . . . . . . . . . . 66
CONTROL ASSIGN Parameters
CONTROL FUNCTION . . . . . . . . . . . . . . . . . 67
FUNCTION . . . . . . . . . . . . . . . . . . . . . . . . . . 67
MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
PREFERENCE . . . . . . . . . . . . . . . . . . . . . . . . . 69
ASSIGN SETTING . . . . . . . . . . . . . . . . . . . . . . 70
ASSIGN 1–ASSIGN 16 . . . . . . . . . . . . . . . . . 70
Virtual Expression Pedal System
(Wave Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . 77
LowB, STRING ALL, NORMAL IN . . . . . . . 77
INPUT SENS (Input Sens) . . . . . . . . . . . . . 77
PATCH MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
PATCH MIDI 1–PATCH MIDI 4 . . . . . . . . . . 78
GUITAR TO MIDI/BASS TO MIDI . . . . . . . . 79
LED COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
[BANK I ]/[BANK H ] switch, [CTL1]/
[CTL2] switch, [1]–[4] switch, CUR
NUM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
PREFERENCE . . . . . . . . . . . . . . . . . . . . . . . . . 80
SYSTEM Parameters
. . . . . . . . . . . . . . . . . 81
CONTROL MODE . . . . . . . . . . . . . . . . . . . . . . 81
IN/OUT SETTING . . . . . . . . . . . . . . . . . . . . . . 81
GK SETTING . . . . . . . . . . . . . . . . . . . . . . . . . 81
NORMAL SETTING . . . . . . . . . . . . . . . . . . . 83
MAIN OUT, SUB OUT . . . . . . . . . . . . . . . . . 83
TOTAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
USB AUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . 85
HARDWARE SETTING . . . . . . . . . . . . . . . . . 87
KNOB SETTING . . . . . . . . . . . . . . . . . . . . . . 87
ASSIGN HOLD . . . . . . . . . . . . . . . . . . . . . . . 87
GROUND LIFT . . . . . . . . . . . . . . . . . . . . . . . 87
OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
PLAY OPTION . . . . . . . . . . . . . . . . . . . . . . . . . 88
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Operations from the SY-1000 . . . . . . . . . 89
Operations from an External MIDI
Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
MIDI SETTING . . . . . . . . . . . . . . . . . . . . . . . . 89
PROGRAM MAP BANK1–BANK4 . . . . . . . 90
BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . 90
GUITAR TO MIDI/BASS TO MIDI . . . . . . . . 91
TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
TUNER MODE . . . . . . . . . . . . . . . . . . . . . . . . 91
FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . 92
MODE SETTING . . . . . . . . . . . . . . . . . . . . . . . 92
Saving a Sound (WRITE)
Saving a Patch (PATCH WRITE) . . . . . . . . . 93
EXCHANGE) . . . . . . . . . . . . . . . . . . . . . . . . . . 93
INITIALIZE) . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Inserting a Patch (PATCH INSERT) . . . . . . 94
Connecting to a Computer
Installing the USB Driver . . . . . . . . . . . . . . 95
Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Troubleshooting
. . . . . . . . . . . . . . . . . . . . 96
When Using the SY-1000 on Its Own . . . 96
When Connected to a MIDI Device or
Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Block Diagram
. . . . . . . . . . . . . . . . . . . . . . 98
When Using a GK PATCH . . . . . . . . . . . . . . 98
When Using a NORMAL PATCH . . . . . . . . 99
Contents
3
Getting Ready
Connecting the Equipment
* To prevent malfunction and equipment failure, always turn down the volume, and turn off all the units before making any connections.
GK IN connector
Connect a guitar or bass equipped with the Roland Divided
Pickup (Roland GK-3/GK-3B) or a GK-compatible guitar such as the Roland V-Guitar GC-1 to this connector.
In addition to the signal from the divided pickup, the conventional guitar signal (normal pickup) is also input to the
GK IN connector.
* Never connect anything other than the dedicated GK cable.
GUITAR INPUT jack
Use this control if you’re directly inputting a conventional guitar.
* The guitar connected to the
GUITAR INPUT jack can only use a NORMAL PATCH.
* Use the “PATCH TYPE”
to a NORMAL PATCH.
DC IN jack
Connect the included AC adaptor here.
* Place the AC adaptor so the side with the indicator faces upwards. The indicator will light when you plug the AC adaptor into an AC outlet.
Roland GK-3 users Roland V-Guitar GC-1 users
You must set this to the center (MIX) position!
Indicator
4
SEND/RETURN jacks
Connect an external effect processor here.
(USB) port
Use a commercially available USB 2.0 cable to connect this port to your computer. It can be used to transfer USB MIDI and USB audio data.
You must install the USB driver when connecting the unit to your computer .
Download the USB driver from the BOSS website. For details, refer to Readme.htm which is included in the download.
https://www .boss .info/global/support/
For details on the settings, refer to
“Connecting to a Computer” (p. 95).
Turning the Power On/Off ([POWER] switch)
This turns the power on/off.
* Before turning the unit on/off, always be sure to turn the volume down. Even with the volume turned down, you might hear some sound when switching the unit on/ off. However, this is normal and does not indicate a malfunction.
Auto Off Function
The power to this unit will be turned off automatically after a predetermined amount of time has passed since it was last used for playing music, or its buttons or controls were operated (Auto Off function). If you do not want the power to be turned off automatically, disengage the Auto Off function.
* Any settings that you make in the process of editing will be lost when the power is turned off. If you have any settings that you want to keep, you should save them beforehand.
* To restore power, turn the power on again.
For details on the settings, refer to “AUTO OFF” (p. 88).
Getting Ready
MAIN OUTPUT jack / SUB OUTPUT jack
Connect these jacks to your guitar amp, headphones (sold separately), or to
PA (LINE).
* Connect your headphones to the MAIN OUTPUT L/PHONES jack.
* If your system is mono, use only the R/MONO jack.
* If you’re using headphones, don’t connect anything to R/MONO jack.
MIDI IN, MIDI OUT/THRU jacks
Connect an external MIDI device here.
For details, refer to “MIDI” (p. 89).
Ground Terminal
Connect this to an external earth or ground if necessary.
CTL 3, 4/EXP 1, CTL 5, 6/EXP 2 jacks
You can connect an expression pedal (EV-30, FV-500L, FV-500H, or EV-5: sold separately) or footswitch (FS-5U, FS-6, FS-7: sold separately), and use it to control various functions.
For details on the settings, refer to “CONTROL ASSIGN Parameters” (p. 67).
To use these as EXP 1,
EXP 2 jacks
Connect an expression pedal.
To use these as CTL 3,4 or CTL 5,6 jacks
Connect a footswitch.
FS-5U x 1
1/4” phone type
.
/
1/4” phone type
FS-5U x 2
Stereo 1/4” phone type
.
/
1/4” phone type x 2
FS-6
Stereo 1/4” phone type
.
/
Stereo 1/4” phone type
FS-7
Stereo 1/4” phone type
.
/
Stereo 1/4” phone type
* Use only the specified expression pedal (EV-30, FV-
500L, FV-500H, or EV-
5: sold separately).
By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.
CTL 3
CTL 5
MODE / POLARITY switch
FS-5U FS-6
CTL 4
CTL 6
CTL 3
CTL 5
CTL 4
CTL 6
CTL 3
CTL 5
FS-7
CTL 4
CTL 6
CTL 3
CTL 5
5
6
Getting Ready
Panel Descriptions
1
2
12
3
4 5 6
7 8 9
10
11
No. Name
1 Display
2 [1]–[6] knobs
3 [OUTPUT LEVEL] knob
4 [INST] button
5 [EFFECTS] button
6 [CTL] button
7 [EXIT] button
8 [WRITE] button
9 [SYSTEM] button
10 [ K ] [ J ] (PAGE) buttons
11 BANK [ I ], BANK [ H ] switches
12 [CTL 1] [CTL 2] switches
13 [1]–[4] switches
13
Explanation
Various information regarding the SY-1000 is indicated here.
Use this to select or edit the value of the parameter that’s shown in the display.
This adjusts the volume level for the MAIN OUTPUT jack.
* Depending on how you switch the settings, you can also adjust the MAIN OUTPUT and
SUB OUTPUT volumes simultaneously.
[SYSTEM] button 0 HARDWARE SETTING 0 KNOB 0 OUTPUT LEVEL KNOB
Specifies the sound of the INST (sound engine).
Specifies the effect settings and the order in which effects are connected.
Accesses the CTL screen, where you can assign functions to the buttons and switches.
Used to return previous screens and to undo operations.
Use for storing settings in patches and executing operations.
Used for making settings related to the SY-1000’s operating
This switches the screens displayed in the display.
Switch banks.
By default, the [CTL 1] and [CTL 2] switches control a function that’s assigned by each patch.
Switch patches.
Page
–
–
–
–
Selecting the Instrument (Guitar/Bass) to
Use (MODE SETTING)
Here you can select whether you’re connecting a guitar or a bass to the SY-1000.
Choose GUITAR MODE (GUITAR) if you’re using a guitar, or choose
BASS MODE (BASS) if you’re using a bass.
1 .
Press the [SYSTEM] button.
Getting Ready
Specifying the Device Connected to
OUTPUT Jacks (OUTPUT SELECT)
Use this procedure to set the type of device connected to the output jacks (MAIN OUTPUT, SUB OUTPUT).
This applies the optimal adjustments for the device that is connected.
1 .
Press the [SYSTEM] button.
2 .
Use the [
K
] [
J
] (PAGE) buttons to access the “IN/
OUT SETTING” icon.
2 .
Use the [
K
] [
J
] (PAGE) buttons to access the “MODE
SETTING” icon.
3 .
Press the [2] knob.
The IN/OUT SETTING screen appears.
3 .
Press the [2] knob.
The message appears.
4 .
Press the [3] knob or [4] knob.
The MAIN OUT screen or SUB OUT screen appears.
4 .
To change the mode, press the [6] knob.
If you decide to cancel, press the [5] knob. When you press the [6] knob, a message appears.
5 .
Press the [1] knob.
The OUTPUT SELECT screen appears.
5 .
Turn the power of the SY-1000 off, then on again.
If you decide to cancel, press the [EXIT] button. Verify that the
SY-1000 has started with the mode that you specified.
MEMO
5 With the factory settings, this is set to “GUITAR.”
5 The SY-1000 starts with the specified mode until the next time you change the mode.
5 Some parameters are displayed differently depending on the selected mode.
5 Patches are saved separately for GUITAR MODE and BASS MODE.
6 .
Turn the [1] knob.
Select the connected device (type of amp).
OUTPUT SELECT Explanation
LINE/PHONES
JC-120 RETURN
JC-120 INPUT
COMBO AMP 1
RETURN
Choose this setting if you’re using headphones, or if the SY-1000 is connected to a keyboard amp, mixer, or digital recorder.
Choose this setting if the SY-1000 is connected to the RETURN jack of the Roland
JC-120 guitar amp.
Choose this setting if the SY-1000 is connected to the guitar input jack of a JC-
120 guitar amp.
Choose this setting if the SY-1000 is connected to the RETURN jack of a combo type amp (with amp and speaker in a single unit) equipped with one speaker.
7
8
Getting Ready
OUTPUT SELECT Explanation
COMBO AMP 1
INPUT
Choose this setting if the SY-1000 is connected to the guitar input jack of a combo type amp (with amp and speaker in a single unit) equipped with one speaker.
COMBO AMP 2
RETURN
COMBO AMP 2
INPUT
Choose this setting if the SY-1000 is connected to the RETURN jack of a combo type amp (with amp and speaker in a single unit) equipped with two speakers.
Choose this setting if the SY-1000 is connected to the guitar input jack of a combo type amp (with amp and speaker in a single unit) equipped with two speakers.
Set this when connecting to the RETURN jack on a stack-type amp.
STACK AMP
RETURN
STACK AMP
INPUT
BASS AMP WITH
TWEETER
BASS AMP NO
TWEETER
Set this when connecting to the guitar input jack on a stack-type amp.
Use this setting when connecting to a tweeter-equipped bass amp.
Use this setting when connecting to a bass amp that has no tweeter. The high-frequency range is adjusted.
7 .
Press the [EXIT] button.
You return to the Play screen.
Making Pickup Settings (GK SETTING)
Make settings for the divided pickup in order to ensure that you’ll always be playing the SY-1000 in the optimal state.
The SY-1000 can save ten types of these settings (GK SETTING).
Here we explain the example of saving pickup settings in SETTING:
[1].
MEMO
The GK SETTING is saved even when the power is turned off. You don’t need to make this setting again each time you perform.
1 .
Press the [SYSTEM] button.
2 .
Use the [
K
] [
J
] (PAGE) buttons to access the “IN/
OUT SETTING” icon.
3 .
Press the [2] knob.
The IN/OUT SETTING screen appears.
4 .
Press the [1] knob.
The GK SETTING screen appears.
5 .
Turn the [1] knob to select SETTING: [1].
The pickup settings will be saved in SETTING: [1].
MEMO
Pickup settings are automatically saved in the number (SETTING: [1]–
[10]) that you selected in step 5.
Specifying the Pickup Type
Choose the type of pickup that’s installed on your guitar (bass).
6 .
If using GUITAR MODE, turn the [5] knob.
If using BASS MODE, turn the [4] knob.
GK PU TYPE
(GUITAR MODE)
GK-3
Explanation
GK-2A
GC-1
PIEZO
PIEZO F
PIEZO G
PIEZO L
PIEZO R
Choose this if you’re using a Roland GK-3.
Choose this if you’re using a Roland GK-2A, or if you’re using a (commercially available) guitar with a built-in divided pickup.
Choose this if you’re using a Roland V-Guitar
GC-1.
(flat response)
Piezo
Pickup
Fishman
Graph Tech
L.R. Baggs
RMC
GK PU TYPE
(BASS MODE)
GK-3B
Explanation
GK-2B
PIEZO
PIEZO G
PIEZO R
Choose this if you’re using a GK-3B.
Choose this if you’re using a Roland GK-2B, or if you’re using a (commercially available) bass with a built-in divided pickup.
(flat response)
Piezo
Pickup
Graph Tech
RMC
MEMO
5 A piezo pickup is a type of pickup that is mounted on the bridge of the guitar, and uses a piezoelectric element to detect the vibrations of the strings.
5 If you don’t know the type of your piezo pickup, try selecting different choices while you play your guitar, and choose the setting that produces the most natural sound.
5 If you’ve chosen piezo type, you’ll be able to make further adjustments to the tone quality of the high range and low range.
Specifying Your Guitar’s (Bass’s) Scale Length
Specify your guitar’s (bass’s) scale length (the distance from the bridge to the nut).
Guitar
4STR-2 4STR-3
Getting Ready
7 .
If using GUITAR MODE, turn the [6] knob.
If using BASS MODE, turn the [5] knob.
Specify the length that is correct for your guitar (bass).
If you’re using GUITAR MODE, choose “ST (648mm)” for a standard
Stratocaster type, or choose “LP (628mm)” for a Les Paul type.
If you’re using BASS MODE, For a standard Jazz Bass type or
Precision Bass type, choose “LONG JB/PB (864 mm).”
MEMO
This parameter is not shown if GK PU TYPE is set to “Roland V-Guitar
GC-1.”
Specifying the Pickup Position (BASS MODE
Only)
Specify the position of the divided pickup that’s installed on your bass.
MEMO
If you’ve installed a divided pickup on your guitar, proceed to step 9
“Specifying the Distance from the Bridge” (p. 10) (this step is not
needed).
8 .
Turn the [6] knob
Specify the GK PU POSITION according to the position of the divided pickup that’s installed.
For a 4-string bass
GK PU
POSITION 4STR-1
1st string
2nd string
3rd string
4th string
For a 5-string bass
GK PU
POSITION 5STR-Lo1 5STR-Lo2
1st string
2nd string
3rd string
4th string
Low B string
1st string
2nd string
3rd string
4th string
5STR-Hi1 5STR-Hi2
For a 6-string bass
GK PU
POSITION
High C string
1st string
2nd string
3rd string
4th string
Low B string
6STR
Bass
9
Getting Ready
Specifying the Distance from the Bridge
For each string, specify the distance from the bridge to the center of the pickup.
9 .
Use the [
K
] [
J
] (PAGE) buttons to access the
DISTANCE screen.
10 .
Turn the [1]–[6] knobs.
Specify the distance from the bridge to the center of the pickup.
MEMO
This setting is not needed if GK PU TYPE is “Roland V-Guitar GC-1” or if you selected a piezo type pickup.
Adjusting the Pickup Sensitivity
The volume will differ if the distances between each string and the divided pickup are different. Specify the sensitivity of the pickup to compensate for this volume difference.
11 .
Use the [
K
] [
J
] (PAGE) buttons to access the SENS screen.
Tuning the Guitar (TUNER)
Tune the guitar (bass).
The SY-1000 is equipped with a conventional monophonic tuner which lets you tune your instrument one string at a time (SINGLE
MODE), and a polyphonic tuner which lets you play and tune all of your open strings simultaneously (MULTI MODE).
1 .
Press the BANK [
I
] switch and BANK [
H
] switch simultaneously.
The TUNER screen appears.
2 .
Use the [
K
] [
J
] (PAGE) buttons to select the tuner mode.
TUNER MODE
MULTI MODE
SINGLE MODE
Explanation
You can play and tune six strings simultaneously.
* Setting available with GK PATCH.
You can play one individual string to tune that string.
3 .
Play an open string, and tune it so that only the center indicator in the screen is lit.
Making Tuner Settings
These settings specify how the tuner operates.
Parameter
PITCH
Value
435–445Hz
(default: 440Hz)
Explanation
Specifies the reference pitch.
MUTE
Sound will not be output while tuning.
OUTPUT
BYPASS
THRU
While tuning, the sound from the GK IN connector/GUITAR
INPUT jack will be output without change.
All INSTs and effects will be off.
Allows you to tune while hearing the current INST and effect sound.
* Only for SINGLE MODE.
12 .
While playing the strings strongly, turn the [1]–[6] knobs so that the level meters reach the triangular marks.
MEMO
Depending on the guitar (bass) you’re using, the level meter might reach full-scale even if the sensitivity is at minimum. If this is the case, adjust the distance between the divided pickup and the string so it’s somewhat greater than the recommendation.
10
Basic Operation
Here we explain how you can use the buttons and knobs to operate the SY-1000, and how to switch screens.
Display (Play Screen)
The screen that appears after you start the SY-1000 is called the “play screen.”
Screen 1
This screen shows the bank number and patch number in especially large characters.
Bank number Patch number
About the Icons
Icon
Patch name
Screen 2
This screen shows the bank number, patch number, and patch name.
Screen 3
This screen shows the functions that are assigned to the pedal switches of the unit.
Explanations
Indicates the input level of the GK IN connector.
* When using a NORMAL PATCH (p.
13), this indicates the level of the
guitar signal.
Indicates the output level of the MAIN
OUTPUT jacks and SUB OUTPUT jacks.
Indicates the input level of the
RETURN jack.
* Shown in the EFFECTS edit screen.
Indicates the output level of the SEND jack.
* Shown in the EFFECTS edit screen.
Indicates the output level of the selected effect block.
* Shown in the EFFECTS edit screen.
Indicates BALANCER1–3 and MIXER
BALANCE.
* Shown in the EFFECTS edit screen.
Indicates the BPM.
Blinks in time with the BPM.
Shown when a GK PATCH (p. 13) is
selected.
When the screen contains multiple pages, this indicates the position of the current page.
Indicates the page to which you navigate using the [ K ] [ J ] (PAGE) buttons (edit screen).
Screen 4
This screen shows how the INST and effects are connected (CHAIN).
11
Basic Operation
Screen Operations
In the play screen, you can turn or press the [1]–[6] knobs to adjust the parameters that are shown in the lower part of the display.
Operating Example 1 (INST Screen)
Operating Example 3 (EFFECT Edit Screen)
Turn operation
Press operation
Turn operation
Operation
Turn the [1] knob
Press the [1] knob
Turn the [2] knob
Press the [2] knob
Explanation
Changes the INST TYPE of INST1.
Accesses a screen where you can switch the INST TYPE variation of
INST1.
Turns INST1 on/off.
When off, the icon is shown in gray.
Accesses the edit screen for INST1.
MEMO
As for INST1, you can operate INST2 with the [3] knob and [4] knob, and operate INST3 with the [5] knob and [6] knob.
Operating Example 2 (INST Edit Screen)
Use the [6] knob to select
Operation
Turn the [1]–[5] knobs
Turn the [6] knob
Press the [6] knob
Long-press the [6] knob
Turn the [6] knob while pressing it
Explanation
Changes the value of the setting for the parameter
Selects the block to edit.
Turns the selected block on/off.
Shows a list with all parameters of the selected block.
Changes the position of the selected block.
MEMO
To change a value in larger steps, turn a [1]–[5] knob while pressing it.
Turn operation Use the [ K ] [ J ] (PAGE) buttons to switch
Press operation
Operation
Turn the [1]–[5] knobs
Turn the [6] knob
Press the [6] knob
Press the [ K ] [ J ] (PAGE) buttons
Explanation
Changes the value of the setting for the parameter
Selects the block to edit.
Shows a list with all parameters of the selected block.
Switches the parameters to show.
12
Switching Patches (Tone)
The Structure and Patches of the SY-1000
The SY-1000 consists of three sound engines (the INST blocks) and effects whose connections you are free to change (the FX block).
INST1 FX1
S/R
INST2 FX2
EQ2 DLY1 SUB L/R
INST3 FX3
MST DLY REV FV2 DIV MIX MAIN L/R
NORMAL CMP DS AMP EQ1 NS FV1 CHO DLY2
MST
The INST settings together with the combination of effects are collectively called a “patch.”
A set of four patches is called a “bank.”
Patches are managed by their bank (1–50) and number (1–4); the SY-1000 can store 200 patches.
Bank 50
Bank 3
Bank 2
Bank 1
Patch 1 Patch 2 Patch 3
[1]–[4] switch
Patch 4
BANK [ I ], BANK [ H ] switch
Types of Bank
The SY-1000 has two types of bank.
Types of bank Explanation
Preset bank
(P01–P50)
Cannot be overwritten, however, you can write a preset patch into the User bank, modify the settings to your needs and store your modified version in the User bank.
User bank (U01–
U50)
Can be overwritten.
Types of Patch
The SY-1000 has two types of patch.
Types of patch Explanation
GK PATCH
Patches for a guitar (bass) that uses a divided pickup.
If these patches are selected, the display shows the GK icon .
NORMAL PATCH
Patches for a conventional guitar (bass) that is connected to the GUITAR INPUT. These can be used even if you don’t have a divided pickup.
You can also use these patches with the conventional guitar (bass) signal (normal pickup) that is routed through the divided pickup.
If you’re using NORMAL PATCH, the GK icon goes dark.
* DYNAMIC SYNTH is the only INST TYPE that can be selected for a NORMAL PATCH.
* Use the “PATCH TYPE” (p. 66) parameter to
switch to a NORMAL PATCH.
Selecting a Patch
When you switch patches, the tonal character changes.
BANK [ I ] [ H ] switches
[1]–[4] switches
1 .
Use the BANK [
I
] [
H
] switches to select a bank.
2 .
Use the [1]–[4] switches to select a patch within the selected bank.
Bank number Patch number
Patch name
MEMO
You can also change patches by turning [1] knob below the display.
13
Editing a Patch
Here’s how to create a patch by editing the parameters of the INST blocks and the effect block, and combining them.
Changing the INST
1 .
Press the [INST] button.
The INST screen appears.
Editing the INST
You can edit each INST in detail.
Here we explain using the example of the DYNAMIC SYNTH screen of
INST1.
1 .
In the INST screen, press the [2] knob.
The INST1 screen appears.
* The screen differs depending on the INST TYPE.
2 .
Turn the [6] knob to select the block that you want to edit.
The INST screen shows the INST TYPE for INST1–INST3.
2 .
Turn the [1]–[6] knobs.
Operation Explanation
Turn the [1] knob Changes the INST TYPE of INST1.
Press the [1] knob
Accesses a screen where you can switch the INST TYPE variation of
INST1.
Turn the [2] knob
Press the [2] knob
Turns INST1 on/off.
* When off, the icon is shown in gray.
Accesses the edit screen for INST1.
MEMO
As for INST1, you can operate INST2 with the [3] knob and [4] knob, and operate INST3 with the [5] knob and [6] knob.
The selected block is shown in white.
3 .
Turn the [1]–[5] knobs to edit the setting of the parameter.
MEMO
5 To change a value in larger steps, turn a knob while pressing it.
5 You can use the [ K ] [ J ] (PAGE) buttons to switch between the parameters.
5 The number of parameters and pages differ depending on the block you edit.
5 In the edit screen, you can press the [INST] button to switch to the edit screen of another INST.
Viewing All Parameters While You Edit
You can also edit while viewing a list of all parameters for the selected block.
1 .
In the edit screen, press the [6] knob.
Shows a list with all parameters of the selected block.
2 .
Turn the [1]–[6] knobs to edit the setting of the parameter.
MEMO
You can use the [ K ] [ J ] (PAGE) buttons to switch between the parameters.
14
Saving the Edited INST Settings
(VARIATION)
Your preferred settings for each instrument can be saved as a
“VARIATION.” Since a variation can also be used from another patch, it is convenient for sound design.
Here we explain using the example of the DYNAMIC SYNTH screen of
INST1.
1 .
In the INST screen, press the [1] knob.
The VARIATION screen appears.
Editing a Patch
Recalling a Saved INST Variation
1 .
In the INST screen, press any one of the knobs [1]
(INST1), [3] (INST2), or [5] (INST3).
The VARIATION screen appears.
2 .
Turn the [6] knob to select a variation.
You can also audition the sound while selecting a variation.
3 .
Press the [5] knob to recall the selected variation.
MEMO
From the INST edit screen, you can also access the variation screen using the following methods.
1 . In the edit screen, select the “COMMON” block.
2 . Use the [ J ] (PAGE) button to move to the last page.
3 . Press the [5] knob.
2 .
Press the [2] knob.
The VARIATION WRITE screen appears.
3 .
Turn the [1] knob to select the save-destination number.
4 .
Use the [3]–[6] knobs to specify the variation name.
5 .
Press the [WRITE] button.
The variation is saved.
To cancel this procedure, press the [4] knob.
15
Editing a Patch
Editing the Effects
You can edit the effect settings, and change the order of blocks such as output and send/return (the effect chain).
Basic Operation for Effect Editing
1 .
Press the [EFFECTS] button.
The edit screen (effect chain) appears.
Editing While Viewing All Parameters
You can also edit while viewing a list of all parameters for the selected block.
1 .
In the edit screen, long-press the [6] knob.
Shows a list with all parameters of the selected block.
2 .
Turn the [6] knob to select the block that you want to edit.
The selected block is enclosed by a thick frame.
2 .
Turn the [1]–[6] knobs to edit the parameter settings.
MEMO
You can use the [ K ] [ J ] (PAGE) buttons to switch between the parameters.
* By pressing the [6] knob you can turn the selected effect on/off.
Effects that are off are shown in gray. When the effect is turned on, it is shown in white.
Off On
3 .
Use knobs [1]–[5] to adjust the parameters that are shown below the screen.
Use the [ K ] [ J ] (PAGE) buttons to switch
Changing the Effect Order
By moving blocks such as effects, output, and send/return, you can freely change the order in which the effects are placed, or arrange them in parallel.
MEMO
5 You can change the order of the INST1–3 blocks and the NORMAL block.
5 The MST (MASTER) block cannot be moved.
1 .
Press the [EFFECTS] button.
The effect chain is shown.
2 .
Use the [6] knob to select the block that you want to move.
3 .
While pressing the [6] knob, turn it left or right.
The selected block moves left or right.
Use the [ K ] [ J ] (PAGE) buttons to switch between the parameters that you want to edit. The current page is indicated in the lower center of the screen.
* To change a value in larger steps, turn a knob while pressing it.
* The number of parameters and pages differ depending on the effect.
16
Saving the Edited Effect Settings
(VARIATION)
Your preferred settings for each effect can be saved as a “VARIATION.”
Since a variation can also be used from another patch, it is convenient for sound design.
1 .
Press the [EFFECTS] button.
2 .
Use the [6] knob to choose the effect you’re going to edit.
3 .
Use the [
K
] [
J
] (PAGE) buttons to move to the last page.
Editing a Patch
Recalling a Saved Effect Variation
1 .
Press the [EFFECTS] button.
2 .
Use the [6] knob to choose the effect you’re going to edit.
3 .
Use the [
K
] [
J
] (PAGE) buttons to move to the last page.
4 .
Press the [5] knob.
The VARIATION screen appears.
4 .
Press the [5] knob.
The VARIATION screen appears.
5 .
Turn the [6] knob to select a variation.
You can also audition the sound while selecting a variation.
6 .
Press the [5] knob to recall the selected variation.
5 .
Press the [2] knob.
The VARIATION WRITE screen appears.
6 .
Turn the [1] knob to select the save-destination number.
7 .
Use knobs [3]–[6] to name the VARIATION.
8 .
Press the [WRITE] button.
The variation is saved.
To cancel this procedure, press the [4] knob.
17
Editing a Patch
Assigning Functions to the Foot Switches and Expression Pedal
A variety of functions can be assigned to each of the top panel footswitches, and expression pedals or footswitches that are connected to the rear panel CTL3, 4/EXP1 jack and CTL5, 6/EXP2 jack
Turning the knob will move the selected item vertically.
Built-in footswitches
EXP1, EXP2 CTL3–CTL6
1 .
Press the [CTL] button.
The CONTROL/ASSIGN screen appears.
The settings of the selected item can now be edited.
4 .
Turn knobs [2]–[6] to edit the value of the item selected for each switch.
MEMO
5 You can use the [ K ] [ J ] (PAGE) buttons to switch between the parameters.
5 The footswitch and expression pedal functions must be specified for each patch; however, if you set PREFERENCE to SYSTEM, all patches will use those functions in common.
Making Assignments from the Effect Edit
Screen (Quick Assign)
In the effect edit screen (p. 16), you can select an effect parameter
and assign that parameter to the switch of your choice.
1 .
Press the [EFFECTS] button.
2 .
Turn the [6] knob to select the block that you want to edit.
3 .
Long-press the [1]–[5] knobs for the parameter that you want to assign.
2 .
Press the [1] knob.
The CONTROL FUNCTION screen appears.
The ASSIGN MATRIX screen appears.
3 .
Turn the [1] knob to select the item that you want to set.
* You can also access the ASSIGN MATRIX screen in the same way
from the all-parameter list screen (p. 14). You can also access it
by selecting the [CTL] button 0 “ASSIGN SETTING.”
4 .
Press the [1] knob to turn the SW on.
5 .
Turn knobs [2]–[6] to edit parameters.
If necessary, use the [ K ] [ J ] (PAGE) buttons to switch between pages of settings.
Use SOURCE to specify the pedal or MIDI message that you will operate.
18
Saving a Patch
The INST settings and the combination of effects can be saved in a patch, and recalled at any time.
If you select a different patch or turn off the power after editing the settings, edited settings will be lost. If you want to keep the data, you must save it.
1 .
Press the [WRITE] button.
2 .
Press the [1] knob to select “WRITE” (PATCH WRITE).
3 .
Use the [1] knob to select the save-destination
(U01-1–U50-4).
You can use knobs [3]–[6] to edit the name.
Editing a name
To edit the patch name, use the [6] knob to move the cursor and use the [5] knob to change the character.
Operation Explanation
Selects the type of characters Turn the [3] knob
Press the [3] knob
Turn the [4] knob
Press the [4] knob
Turn the [5] knob
Turn the [6] knob
Delete one character (delete)
Switch uppercase/lowercase
Insert one space (insert)
Changes the character
Moves the cursor
4 .
Press the [WRITE] button.
The patch is written.
To cancel this procedure, press the [4] knob.
19
Settings for the Entire SY-1000 (System Parameters)
Settings for the SY-1000
Here you can make settings that are common to the entire SY-1000
(system parameters).
For details on each parameter, refer to “SYSTEM Parameters” (p. 81).1
1 .
Press the [SYSTEM] button.
Restoring the Factory Default Settings (Factory
Reset)
Restoring the SY-1000’s settings to their original factory default settings is referred to as “Factory Reset.”
Not only can you return all of the settings to the values in effect when the SY-1000 was shipped from the factory, you can also specify the items to be reset.
* When you execute “Factory Reset,” the settings you made will be lost. Save the data you need to your computer using the dedicated software.
1 .
Press the [SYSTEM] button.
2 .
Use the [
K
] [
J
] (PAGE) buttons to select “FACTORY
RESET.”
MEMO
You can use the [ K ] [ J ] (PAGE) buttons to see additional items.
2 .
Press a [1]–[6] knob to select the item that you want to edit.
A sub-menu appears.
3 .
Once again press a [1]–[6] knob to select the item that you want to edit.
4 .
Use knobs [1]–[6] to select parameters or edit the values.
MEMO
The method of selecting parameters and editing their value will differ depending on the item.
3 .
Choose the type of settings to be restored to the factory default settings with knobs [1] and [6].
Knob Explanation
[1]
[6]
Specifies FROM.
Specifies TO.
Value
SYSTEM
U01-1–U50-4
VARIATION
Explanation
System parameter settings
Settings for Patch Numbers
U01-1–U50-4
Settings for VARIATION
4 .
Press the [WRITE] button.
Press the [6] knob to execute the factory reset.
To cancel factory reset, press the [5] knob.
Once the Factory Reset is complete, you are returned to the Play screen.
Turning Off the Auto Off Function
The SY-1000 can turn off its power automatically. The power will turn off automatically when 10 hours have passed since you last played or operated the unit. The display will show a message approximately 15 minutes before the power turns off.
With the factory settings, this function is turned “ON” (power-off in 10 hours). If you want to have the power remain on all the time, turn it
“OFF.”
1 .
Press the [SYSTEM] button.
2 .
Choose “HARDWARE SETTING”
0
“OTHER.”
3 .
Use the [1] knob to select “OFF.”
4 .
Press the [EXIT] button a number of times to return to the play screen.
20
The Internal Structure of the SY-1000
INST (Instrument) Block
This is the sound engine section that generates sound based on the performance data from the divided pickup and the audio input from the guitar (bass).
This can produce a variety of tones, synthesizers such as DYNAMIC SYNTH and the POLY FX which can apply effects independently to each string.
The SY-1000 lets you freely specify and combine three INST blocks.
INST1
INST2
INST3
NORMAL
FX1
FX2
FX3
CMP
S/R
DS AMP EQ1
EQ2
NS
DLY1 SUB L/R
FV1 CHO DLY2
MST DLY REV FV2 DIV MIX MAIN L/R MST
EFFECT (Effects) Block
The SY-1000 is equipped with high-quality effects.
You can change the order in which the effects are connected.
You are also free to select the signals that are output from the MAIN OUTPUT jacks and the SUB OUTPUT jacks.
INST1
INST2
INST3
NORMAL
FX1
FX2
FX3
CMP
S/R
DS AMP EQ1
EQ2
NS
DLY1 SUB L/R
FV1 CHO DLY2
MST DLY REV FV2 DIV MIX MAIN L/R MST
MEMO
5 In order to distinguish between the divided pickup and the conventional pickup installed on your guitar (bass), this manual uses the term
“normal pickup” when referring to the conventional pickup of your guitar (bass).
5 The sound of the normal pickup directly connected to the GUITAR INPUT jack or the sound of the normal pickup routed through the divided pickup is input to the NORMAL block. You can mix this into the INST1–INST3 blocks.
21
INST Parameters
1.
Press the [INST] button.
The INST screen appears.
The INST screen shows the INST TYPE of INST1–INST3.
MEMO
5 The parameters shown depend on the type of instrument that you select.
5 INST1–INST3 are common parameters.
Availability of Functions for Each INST TYPE (GUITAR MODE)
INST TYPE
DYNAMIC SYNTH
OSC SYNTH
GR-300
E.GUITAR
ACOUSTIC
E.BASS
VIO GUITAR
POLY FX
ALT. TUNE
(
(
(
(
(
(
(
(
12STR
–
(
(
(
–
–
–
–
STR BEND
(
(
(
(
(
(
(
(
STRING
LEVEL
(
(
(
(
(
(
(
(
STRING
PAN
(
(
(
( *1
( *1
( *1
(
(
AMP
Modeling
–
–
–
( *1
( *1
( *1
–
–
*1 If AMP Modeling is ON, the PAN effect disappears.
Availability of Functions for Each INST TYPE (BASS MODE)
INST TYPE
DYNAMIC SYNTH
OSC SYNTH
ANALOG GR
E.BASS
AC BASS
E.GUITAR
POLY FX
ALT. TUNE
(
(
(
(
(
(
(
12STR
–
–
–
(
(
(
–
STR BEND STR LEVEL STR PAN
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
( *1
( *1
( *1
(
AMP
Modeling
–
–
–
( *1
( *1
( *1
–
*1 If AMP Modeling is ON, the PAN effect disappears.
NS
–
–
–
(
(
(
(
(
NS
–
–
–
(
(
(
(
EQ
–
–
–
(
(
(
(
–
EQ
–
–
–
(
(
(
–
22
E.GUITAR
*1
ACOUSTIC
*1 *2
AC BASS
*1 *3
E.BASS
*1
VIO GUITAR
*2
POLY FX
INST TYPE
Value
DYNAMIC
SYNTH
OSC SYNTH
GR-300
*2
ANALOG GR
*3
Explanation
This is a synthesizer that produces a sound that responds to the natural nuances of your performance.
This is a synthesizer that detects the pitch and attack information in the input sound and outputs signals produced by the built-in oscillator.
This models the Roland GR-300, the famed analog polyphonic guitar synthesizer of yesteryear.
It provides hexa-distortion, with a hexa-VCO and
VCF (variable frequency filter) that generates independent pitch-shiftable sawtooth waves for the six strings, letting you enjoy analog synthesizer sounds that reflect the nuances of your guitar performance.
This is the sound of a vintage analog polyphonic bass synthesizer. It provides hexa-distortion, with a hexa-VCO and VCF (variable frequency filter) that generates independent pitch-shiftable sawtooth waves for the six strings, letting you enjoy analog synthesizer sounds that reflect the nuances of your bass performance.
This provides a variety of electric guitar sounds.
This provides a variety of acoustic guitar sounds.
This provides a variety of acoustic bass sounds.
This provides a variety of electric bass sounds.
By adding overtones (harmonics), this provides a soft and distinctive tone.
This is an effect processor that independently processes the signal of each string.
Parameters Common to Each INST TYPE
(COMMON)
Parameter
INST ON/OFF
INST LEVEL
NOR MIX SW
Value
OFF, ON
0–100
OFF, ON
0–200
Explanation
Instrument on/off
Specifies the volume of the instrument.
Turns on/off the signal of the normal pickup.
Adjusts the volume of the normal pickup.
NOR MIX LEVEL
*1
STRING LEVEL6–
STRING LEVEL1
*2
STR LEVEL LowB
STR LEVEL 4th,
STR LEVEL 3rd,
STR LEVEL 2nd,
STR LEVEL 1st,
STR LEVEL HiC
*3
0–100
Specifies the output level of each string.
INST Parameters > INST TYPE
Parameter
STRING PAN 6–
STRING PAN 1
*2
STR PAN LowB
STR PAN 4th,
STR PAN 3rd,
STR PAN 2nd,
STR PAN 1st,
STR PAN HiC
*3
Value Explanation
L50–CENTER–
R50
Specifies the left/right pan of each string.
* The pan effect is canceled if a monaural effect is connected after the instrument.
VARIATION PATCH, 01–50
You can save and load 50 variations for each TYPE.
(COMMON parameters and
ALT TUNE parameters are excepted.)
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 If the INST TYPE is E.GUITAR, ACOUSTIC, AC BASS, or E.BASS, the signal that passes through NOR MIX LEVEL is mixed directly
before AMP Modeling. Refer to “Signal flow for the NOR MIX
*2 Valid in the GUITAR MODE.
*3 Valid in the BASS MODE.
Signal flow for the NOR MIX LEVEL parameter
The flow of the signal that passes through the NOR MIX LEVEL depends on the INST TYPE.
DYNAMIC SYNTH, OSC SYNTH
GK IN
Divided Pickup
INST
OSC FILTER AMP
INST LEVEL
NOR MIX LEVEL
Normal Pickup
GR-300, ANALOG GR, POLY FX
GK IN
Divided Pickup
INST
GR-300
ANALOG GR
POLY FX
INST LEVEL
NOR MIX LEVEL
Normal Pickup
E.GUITAR, ACOUSTIC, AC BASS, E.BASS
GK IN
Divided Pickup
INST
E.GUITAR
ACOUSTIC
AC BASS
BASS
NOR MIX LEVEL
AMP
Modeling
Normal Pickup
VIO GUITAR
GK IN
Divided Pickup
INST
GUITAR
Normal Pickup
HARMO
INST LEVEL
FILTER
INST LEVEL
NOR MIX LEVEL
23
PITCH 6–PITCH 1
*1 *3
PITCH LowB,
PITCH 4th,
PITCH 3rd,
PITCH 2nd,
PITCH 1st,
PITCH HiC
*2 *3
FINE 6–FINE 1
*1 *3
FINE LowB,
FINE 4th,
FINE 3rd,
FINE 2nd,
FINE 1st,
FINE HiC
*2 *3
INST Parameters > INST TYPE
Parameters Common to Each INST TYPE (ALT
TUNE)
Without changing the tuning of the guitar (bass) on which the divided pickup is installed, you can instantly switch to a variety of other tunings.
By using the ALT TUNE function for each INST, you can simultaneously play a 6-string guitar and a 12-string guitar, create harmonies by yourself, or play rich unison sounds.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Switches the alternate tuning function on/off.
OPEN D, OPEN
E, OPEN G,
OPEN A
*1
Tuning that produces a major chord when you play the open strings.
TUNING TYPE
DROP D–
DROP A
*1
D-MODAL
*1
NASHVL
*1
DROP-D is a tuning in which only the 6th string is dropped to D. The other tunings are the variations that are transposed downward parallel to Drop
D.
Tuning that drops the 6th,
2nd, and 1st string by a whole step to create an ethnic feel.
Tuning that raises the 6th,
5th, 4th, and 3rd strings by one octave; like a 12-string guitar’s secondary strings by themselves.
USER
-24–+24
-50–+50
User tuning in which each string can be specified individually.
Specifies the amount of pitch shift in semitones for each string.
Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is half a semitone up.
Parameter
12STR SW
*4
Value
OFF, ON
NORMAL
12STR TYPE
*4
USER
12STR PITCH
6–12STR PITCH 1
*1 *4 *5
12PITCH LowB,
12PITCH 4th,
12PITCH 3rd,
12PITCH 2nd,
12PITCH 1st,
12PITCH HiC
*2 *4 *5
12STR LEVEL
6–12STR LEVEL 1
*1 *4 *5
12LEVEL LowB
12LEVEL 4th
12LEVEL 3rd
12LEVEL 2nd
12LEVEL 1st
12LEVEL HiC
*2 *4 *5
12STR FINE 6–12STR
FINE 1
*1 *4 *5
12FINE LowB,
12FINE 4th,
12FINE 3rd,
12FINE 2nd,
12FINE 1st,
12FINE HiC
*2 *4 *5
12STR DELAY
6–12STR DELAY 1
*1 *4 *5
12DELAY LowB,
12DELAY 4th,
12DELAY 3rd,
12DELAY 2nd,
12DELAY 1st,
12DELAY HiC
*2 *4 *5
STR BEND SW
-24–+24
0–100
-50–+50
0ms–100ms
OFF, ON
Explanation
Turn this on if you want the sound of a 12-string guitar.
This changes the sound of a regular six-string guitar to that of a twelve-string guitar featuring secondary strings.
The conventional tuning of a 12-string guitar.
A user tuning that specifies the pitch of each secondary string.
This sets the amount of pitch shift for secondary strings, in semitone steps.
Specifies the volume of the secondary strings.
Finely adjusts the pitch of the secondary strings.
-50 is half a semitone down;
+50 is half a semitone up.
Adjusts the time the sound of each secondary string is delayed relative to the respective main string.
Turns the String Bend function on/off.
24
Parameter
BEND CONTROL
Value
0–100
Explanation
Setting this to 0 makes for no shift in pitch by bend, and setting it to 100 produces shifting according to the settings for BEND
DEPTH6–BEND DEPTH1
(LowB–HiC). Normally, this pitch bend is set to 0, and the setting 0–100 assigned with Control Assign is used.
BEND DEPTH6–BEND
DEPTH1
*1
BEND DEPTH LowB,
BEND DEPTH 4th,
BEND DEPTH 3rd,
BEND DEPTH 2nd,
BEND DEPTH 1st,
BEND DEPTH HiC
*2
-24–+24
This sets the amount of pitch shift in each string when the BEND CONTROL is set to 100.
The amount of pitch shift from the current pitch is set in semitone increments.
*1 Valid in the GUITAR MODE.
*2 Valid in the BASS MODE.
*3 Valid when the TUNING TYPE is set to USER.
*4 Valid when the INST TYPE is set to E.GUITAR, E.BASS, ACOUSTIC, or AC BASS.
*5 Valid when the 12STR TYPE is set to USER.
DYNAMIC SYNTH Parameters
OSC
INST Parameters > DYNAMIC SYNTH Parameters
In the OSC section you specify the waveform that is the basis of the synthesizer sound.
Parameter Value Explanation
Selects the waveform that is the basis of the sound.
SIN
SAW
TRI
SQR
PWM
Sine wave
Sawtooth wave
Triangle wave
Square wave
Pulse wave (asymmetrical rectangular wave)
WAVEFORM
PITCH
FINE
PULSE WIDTH
*3
PWM ENV
ATTACK
*3
PITCH ENV
DEPTH
*3
NOISE
FEEDBACK
OSC
*1
SUPER SAW
*1
INPUT
*2
-24–+24
-50–+50
0–100
-50–+50
-50–+50
Noise
A sound containing high overtones similar to guitar feedback playing.
Suitable for creating crisply aggressive tones that stand out.
The sound of seven sawtooth waves playing simultaneously.
Pitch-shifted sounds are added to the center sound. This is appropriate when creating rich sounds such as strings.
The input signal is used without modification.
When using a GK PATCH
The signal of the divided pickup is used.
When using a NORMAL PATCH
The signal of the normal pickup is used.
Adjusts the pitch.
Specifies a finer adjustment than
PITCH.
Specifies the pulse width. This specifies the width of the upper portion of the rectangular wave as a percentage of the overall cycle.
Smaller values produce a narrower pulse, approaching a square wave
(pulse width = 50%).
Larger values widen the pulse, producing a more distinctive sound.
Uses the dynamics of the input signal to control the pulse width of PWM.
Values in the positive direction speed up the release of the pulse width, and values in the negative direction slow down the attack of the pulse width.
Specifies the depth to which PWM is modulated by the dynamics of the input signal.
25
INST Parameters > DYNAMIC SYNTH Parameters
Parameter
DETUNE
*4
SHARPNESS
*5
FEEDBACK
*6
HARMONICS
*6
S-SAW
DETUNE
*7
P. ENV ATTACK
P. ENV DEPTH
P. BEND
DEPTH
P. BEND CTL
SYNC SW
*8 *9
RING SW
*8
Value
-50–+50
0–100
0–100
0–100
0–100
-50–+50
-50–+50
-24–+24
0–100
OFF, ON
OFF, ON
Explanation
Specifies the amount of detuning.
Specifies the frequency range of the noise that is heard. Larger values strengthen the sense of pitch.
Adjusts the amount of feedback.
Larger values increase the amount of feedback, changing the volume of the harmonics.
Specifies the tonal character of the harmonics.
Specifies the amount of pitch spread between the seven sawtooth waves that are layered within one oscillator.
Uses the dynamics of the input signal to control the pitch.
Values in the positive direction speed up the pitch release, and values in the negative direction slow down the pitch attack.
Specifies the depth to which pitch is modulated by the dynamics of the input signal.
Specifies the depth of bend.
This parameter controls the bend.
Assign this when using a CTL pedal or EXP pedal to control bend.
Switches oscillator sync on/off.
If this is ON, it generates a complex waveform by forcibly resetting
INST2 and INST3 to the beginning of their cycle in synchronization with the INST1 frequency.
Switches the ring modulator on/off.
If this is on, the signals of INST1 and INST2 (or INST1 and INST3) are multiplied with each other to produce a complex waveform.
*1 Setting available with GK PATCH.
*2 If INPUT is selected as WAVEFORM, there are no editable parameters in the OSC block.
*3 Valid when the WAVEFORM is set to PWM.
*4 Valid when the WAVEFORM is set to DETUNE SAW.
*5 Valid when the WAVEFORM is set to NOISE.
*6 Valid when the WAVEFORM is set to FEEDBACK OSC.
*7 Valid when the WAVEFORM is set to SUPER SAW.
*8 Valid only when the INST1 TYPE (p. 23) is set to DYNAMIC
SYNTH.
*9 Valid when the WAVEFORM is set to other than NOISE or INPUT.
FILTER
Sound consists of numerous overtones at various frequencies. By using a filter to pass or cut the overtones of specific frequency regions, you can modify the brightness of the sound.
In the FILTER section you can modify the brightness of the sound by changing the type of filter and applying various changes to the output waveform.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Switches filter on/off.
Type of filter
TYPE
LPF
HPF
BPF
The region above the cutoff frequency will be cut, making the sound more mellow.
The region below the cutoff frequency will be cut, emphasizing the high-frequency range.
It passes only the range of frequencies in the region of the cutoff frequency, cutting the other frequencies.
PKG
Boosts the range of frequencies in the region of the cutoff frequency.
LADDER LPF A ladder-type low-pass filter.
LADDER HPF A ladder-type high-pass filter.
SLOPE
*1
CUTOFF 0–100
RESONANCE
F. ENV ATTACK
F. ENV DEPTH
0–100
-50–+50
-50–+50
Adjusts the cutoff frequency.
Resonance emphasizes the sound in the region of the filter cutoff frequency.
Increasing the resonance setting will increase this emphasis, producing a distinctive sound that is characteristic of synthesizers.
Specifies how the dynamics of the input signal controls the filter.
Values in the positive direction speed up the filter release. Values in the negative direction slow down the filter attack.
Specifies the depth to which the filter is modulated by the dynamics of the input signal.
*1 Valid when the TYPE is set to LPF, HPF, BPF, PKG.
AMP
In the AMP section you can modify the sound by changing its volume and dynamics.
Parameter
A. ENV
ATTACK
Value
-50–+50
Explanation
Specifies how the dynamics of the input signal controls the amp.
LOW CUT
FLAT, 20.0
Hz–16.0 kHz
Cuts the frequency region below the specified frequency. When FLAT is selected, the low cut filter will have no effect.
HIGH CUT
20.0 Hz–16.0 kHz, FLAT
Cuts the frequency region above the specified frequency. When FLAT is selected, the high cut filter will have no effect.
26
LFO1, LFO2
Here you can cyclically modulate the sound by applying vibrato to modulate the pitch or applying tremolo to modulate the volume.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Turns the LFO1/LFO2 on/off.
Selects the waveform of LFO1 and LFO2.
SHAPE
SIN
SAW UP
SAW DOWN
Sine wave
Sawtooth wave
Sawtooth wave (negative polarity)
Triangle wave TRI
SQR
RANDOM
S&H
Square wave
Random wave
Sample and Hold
RATE
*3
0–100, BPM
ΠР`
Determines the speed of the
LFO1/LFO2.
DYNAMIC DEPTH
PITCH DEPTH
FILTER DEPTH
AMP DEPTH
OFF, ON
0–100
0–100
0–100
Specifies whether the dynamics of the input signal controls the depth at which LFO1 and LFO2 are applied.
Allows the LFO to modulate the pitch, producing a vibrato effect.
Allows the LFO to modulate the FILTER CUTOFF (cutoff frequency).
Allows the LFO to modulate the
AMP LEVEL (volume), producing a tremolo effect.
PWM DEPTH
*1
FADE TIME
*2
0–100
0–100
Adjusts the depth at which
PWM is modulated.
Specifies the time until the LFO reaches its maximum amplitude.
SYNC
BPM
VARIATION1&2
OFF, ON
40–250
PATCH, 01–50
If SYNC is ON, you can use the
CONTROL FUNCTION parameter
ASSIGN SETTING parameter
retrigger the start timing of the
LFO.
Adjusts the BPM value for each patch.
LFO1 and LFO2 settings can be saved/loaded as 50 different variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Valid when the WAVEFORM (p. 25) in the OSC section is set to
PWM.
*2 Valid when the DYNAMIC DEPTH is ON.
*3 Refer to “About effects when a note value is selected as a setting”
INST Parameters > DYNAMIC SYNTH Parameters
SEQ
This is a step sequencer function with up to 16 steps. You can create complex changes by combining steps with a different envelope at each step.
COMMON
Parameter
VARIATION1&2
Value
PATCH, 01–50
Explanation
SEQUENCER1, SEQUENCER2, and TARGET settings can be saved/loaded as 50 different variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
SEQUENCER 1, SEQUENCER 2
Parameter Value
ON/OFF
SYNC
1SHOT
TURBO
RATE
*1
LOOP
LENGTH
OFF, ON
OFF, ON
OFF, ON
OFF, ON
0–100, BPM
ΠР`
1–16
Explanation
Turns the SEQUENCER1/
SEQUENCER2 on/off.
Specifies whether the start timing of the LFO for which SYNC is ON is synchronized with the SEQUENCER.
The start timing is retriggered using the CONTROL FUNCTION
parameter SYNC TRIG (p. 68) or
the ASSIGN SETTING parameter
If this is on, the steps specified by the LOOP LENGTH of SEQUENCER1 and SEQUENCER2 will play only once.
If this is ON, operation is twice as fast as specified by RATE.
Specifies the rate at which the sequence pattern of SEQUENCER1 or SEQUENCER2 repeats.
Specifies the length (number of steps) of SEQUENCER1 or
SEQUENCER2 that is repeated.
TARGET
Parameter
PITCH
*2
CUTOFF
LEVEL
Value
OFF, SEQ1,
SEQ2
OFF, SEQ1,
SEQ2
OFF, SEQ1,
SEQ2
Explanation
Specifies the SEQUENCER that is assigned to the OSC section’s PITCH
Specifies the SEQUENCER that is assigned to the FILTER section’s
Specifies the SEQUENCER that is assigned to the INST COMMON
*1 Refer to “About effects when a note value is selected as a setting”
*2 If the OSC section’s WAVEFORM (p. 25) is set to INPUT, the
PITCH does not change.
27
INST Parameters > DYNAMIC SYNTH Parameters
SEQ1, SEQ2
Parameter
PITCH STEP1–
STEP 16 MAX
PITCH STEP1–
STEP16 MIN
CUTOFF STEP1–
STEP16 MAX
CUTOFF STEP1–
STEP16 MIN
LEVEL STEP1–
STEP16 MAX
LEVEL STEP1–
STEP16 MIN
STEP1–STEP16
CURVE
Value
-24–+24
0–100
0–100
Explanation
Specify the width of PITCH change for each STEP.
Specify the width of CUTOFF change for each STEP.
Specify the width of INST LEVEL change for each STEP.
Specify the curve of change for each step of
SEQUENCER1 and SEQUENCER2.
About SEQUENCER
If you make eight steps of sequence settings with STEP CURVE, PITCH
MIN, and PITCH MAX set as shown in the table below, the output will be as indicated by the graph.
Example of an eight-step sequence
STEP 1 2 3 4
STEP
CURVE
PITCH
MIN
PITCH
MAX
-12
-9
-9
-6
-6
-3
-3
0
5 6 7
0
+3
+3
+6
+6
+9
8
+9
+12
Output example
+12
+9
+6
+3
0
-3
-6
-9
-12
About STEP CURVE
STEP CURVE provides a choice of the following 13 types.
Editing the sequencer
1.
Turn the [6] knob to select “SEQ.”
2.
Press the [6] knob.
The SEQUENCE COMMON screen appears.
3.
Specify how SEQUENCER1 and SEQUENCER2 operate.
Knob Explanation
[1] knob
[2] knob
[4] knob
[6] knob
Accesses the SEQUENCER1 and
SEQUENCER2 VARIATION screen.
Set the parameters of SEQUENCER1.
Set the parameters of SEQUENCER2.
Specify which sequencer controls
PITCH, CUTOFF, and LEVEL.
4.
Use the [
K
] [
J
] (PAGE) buttons to switch to the
SEQUENCER1 or SEQUENCER2 screens.
Operation
Turn the [1] knob
Press the [1] knob
Turn the [2] knob
Turn the [3] knob
Turn the [4] knob
Turn the [5] knob
Press the [5] knob
Turn the [6] knob
Press the [6] knob
Explanation
Switch the TARGET editing screen
(PITCH, CUTOFF, LEVEL).
Switch the SEQ1 and SEQ2 screens.
Specify the LOOP LENGTH (length of the sequencer loop).
Specify the CURVE of the selected step.
Adjust the MIN value of the parameter selected by the cursor.
Adjust the MAX value of the parameter selected by the cursor.
Retrigger the LFO or SEQUENCER for
Select the step to edit.
Switch the sequencer on/off.
* If a parameter to be controlled (PITCH, CUTOFF, LEVEL) is not assigned to the sequencer, these settings have no effect (they are shown in gray).
* Settings of steps that are beyond the value specified by LENGTH have no effect (they are shown in gray).
28
LAYER
Here you can specify the range of notes that are sounded. This is useful when layering multiple sounds together.
Parameter
L. FADE
Value
1–60
Explanation
Specifies the area over which the low range will fade out.
LOWER
UPPER
U. FADE
A0–E6
A0–E6
1–60
Specifies the lowest note of the range that will sound.
Specifies the highest note of the range that will sound.
Specifies the area over which the high range will fade out.
* Valid when the WAVEFORM (p. 25) in the OSC section is set to
other than INPUT.
INST Parameters > OSC SYNTH Parameters
OSC SYNTH Parameters
OSC
PITCH1
PITCH2
FINE1
FINE2
PULSE WIDTH1
PULSE WIDTH2
*1
PW MOD
RATE1
PW MOD
RATE2
*1
P. ENV
ATTACK1
P. ENV
ATTACK2
P. ENV DECAY1
P. ENV DECAY2
P. ENV DEPTH1
P. ENV DEPTH2
LEVEL1
LEVEL2
In the OSC section you specify the waveform that is the basis of the synthesizer sound.
Parameter Value Explanation
This creates the waveform that determines the character of the sound, and also specifies the pitch.
There are two oscillators (OSC1 and OSC2).
SINGLE Only OSC1 is used.
MODE
DUAL
SYNC
OSC1 and OSC2 are used.
This is oscillator sync. It generates a complex waveform by forcibly resetting OSC2 to the beginning of its cycle in synchronization with the OSC1 frequency.
WAVEFORM1
WAVEFORM2
RING
This is a ring modulator. It generates a complex waveform by multiplying OSC1 and OSC2.
Selects the waveform that is the basis of the sound.
SIN
SAW
TRI
SQR
PWM
NOISE
Sine wave
Sawtooth wave
Triangle wave
Square wave
Pulse wave (asymmetrical rectangular wave)
Noise
-24–+24
-50–+50
0–100
0–100
0–100
0–100
0–100
0–100
Adjusts the pitch.
Specifies a finer adjustment than
PITCH.
Specifies the pulse width.
Specifies the depth to which the
LFO will modulate pulse width.
Specifies the attack/decay time of the pitch envelope.
Specifies the depth to which the envelope will modulate the pitch.
Specifies the volume of the oscillator.
MONO/POLY
SW
MONO, POLY
If this is set to MONO, only a single note will sound even if you play a chord.
29
INST Parameters > OSC SYNTH Parameters
Parameter
CHROMATIC
PORTA SW
PORTA TIME
PORTA MODE
*2
HOLD MODE
LOW VELO CUT
Value
OFF, ON
Explanation
Turn this “ON” if you want to play tones in semitone increments.
If this is “ON,” the pitch will change in semitone steps even when you bend notes.
OFF, ON
0–100
Specifies whether portamento is applied.
When this is set to ON, you can create a smooth change in pitch from one note to the next.
Specifies the time required for the pitch change when using portamento.
Larger values lengthen the time during which the pitch of the next note is reached.
Selects how portamento is applied.
MODE1
The portamento effect is applied starting at the final pitch sounded by each string.
MODE2
MODE1
The portamento effect is applied starting at the final pitch sounded, regardless of the string that was played.
Specifies the operation of the Hold function using
CONTROL FUNCTION and ASSIGN FUNCTION.
* In order to use the Hold function, make settings
for “CONTROL FUNCTION” (p. 67) and “ASSIGN
Notes that are newly played while
Hold is on will also be held.
MODE2
MODE3
OFF, 1–10
Newly played notes are not accepted while Hold is on.
While Hold is on, notes newly played on a string that’s being held are accepted.
Adjust this if simply touching a string causes a note to be unintentionally triggered. Raising this value will make it more difficult to trigger notes.
*1 Valid when the WAVEFORM1 or WAVEFORM2 is set to PWM.
*2 Valid when the MONO/POLY SW is set to POLY.
FILTER
Sound consists of numerous overtones at various frequencies. By using a filter to pass or cut the overtones of specific frequency regions, you can modify the brightness of the sound.
In the FILTER section you can modify the brightness of the sound by changing the type of filter and applying various changes to the output waveform.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Switches filter on/off.
Type of filter
TYPE
LPF
HPF
BPF
The region above the cutoff frequency will be cut, making the sound more mellow.
The region below the cutoff frequency will be cut, emphasizing the high-frequency range.
It passes only the range of frequencies in the region of the cutoff frequency, cutting the other frequencies.
PKG
Boosts the range of frequencies in the region of the cutoff frequency.
LADDER LPF A ladder-type low-pass filter.
LADDER HPF A ladder-type high-pass filter.
SLOPE
*1
CUTOFF 0–100
CUTOFF
FOLLOW
RESONANCE
VELOCITY
SENS
0–100
0–100
-50–+50
Adjusts the cutoff frequency.
Specifies how the cutoff frequency will be affected by the note position.
Resonance emphasizes the sound in the region of the filter cutoff frequency.
Increasing the resonance setting will increase this emphasis, producing a distinctive sound that is characteristic of synthesizers.
Specifies how the filter envelope depth is affected by your picking dynamics.
F. ENV ATTACK 0–100
F. ENV DECAY 0–100
F. ENV
SUSTAIN
0–100
F. ENV
RELEASE
0–100
Specifies the attack/decay/sustain level/ release time of the filter envelope.
F. ENV DEPTH -50–+50
Specifies the depth and direction of the cutoff frequency change.
Higher values make the cutoff frequency move upward.
Lower values make the cutoff frequency move downward.
*1 Valid when the TYPE is set to LPF, HPF, BPF, or PKG.
30
AMP
In the AMP section you can modify the sound by changing its volume and dynamics.
Parameter
VELOCITY SENS
Value
0–100
Explanation
Specifies the sensitivity to the strength at which you pick the string.
A. ENV ATTACK
A. ENV DECAY
0–100
0–100
A. ENV SUSTAIN 0–100
Specifies the attack/decay/ sustain level, and release time of the AMP.
A. ENV RELEASE 0–100
LOW CUT
HIGH CUT
FLAT, 20.0
Hz–16.0 kHz
20.0 Hz–16.0 kHz, FLAT
Cuts the frequency region below the specified frequency.
When FLAT is selected, the low cut filter will have no effect.
Cuts the frequency region above the specified frequency.
When FLAT is selected, the high cut filter will have no effect.
LFO1, LFO2
Here you can cyclically modulate the sound by applying vibrato to modulate the pitch or applying tremolo to modulate the volume.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Turns the LFO1/LFO2 on/off.
Selects the waveform of LFO1 and LFO2.
SIN Sine wave
SHAPE
SAW UP
SAW DOWN
Sawtooth wave
Sawtooth wave (negative polarity)
TRI
SQR
RANDOM
S&H
Triangle wave
Square wave
Random wave
Sample and Hold
RATE
*1
0–100, BPM
ΠР`
Determines the speed of the
LFO1/LFO2.
PITCH1 DEPTH
PITCH2 DEPTH
FILTER DEPTH
0–100
0–100
Allows the LFO to modulate the pitch, producing a vibrato effect.
Allows the LFO to modulate the FILTER CUTOFF (cutoff frequency).
AMP DEPTH
DELAY TIME
FADE TIME
0–100
0–100
0–100
Allows the LFO to modulate the
AMP LEVEL (volume), producing a tremolo effect.
Specifies the time from when a note is played until the LFO begins to apply.
Specifies the time until the LFO reaches its maximum amplitude.
INST Parameters > OSC SYNTH Parameters
Parameter
SYNC
BPM
VARIATION1&2
Value
OFF, ON
40–250
PATCH, 01–50
Explanation
Specifies whether the start timing of the LFO for which
SYNC is ON is synchronized with the SEQUENCER.
The start timing is retriggered using the CONTROL FUNCTION
Adjusts the BPM value for each patch.
LFO1 and LFO2 settings can be saved/loaded as 50 different variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
31
INST Parameters > GR-300 (In GUITAR MODE) / ANALOG GR (In BASS MODE) Parameters
GR-300 (In GUITAR MODE) / ANALOG GR
(In BASS MODE) Parameters
GR-300/ANALOG GR
Parameter
MODE
Value Explanation
Specifies whether to sound the hexa-VCO
(sawtooth wave), the hexa-distortion (square wave), or both.
VCO Only the hexa-VCO will sound.
V+D
The hexa-VCO and hexa-distortion will sound together.
DIST Only the hexa-distortion will sound.
COMP SW
*1
OFF, ON
If this is “ON,” the decay time of the hexa-VCO will be extended.
CUTOFF
RESONANCE
0–100
0–100
Adjusts the cutoff frequency at which the filter cuts off the sound’s harmonic components.
Adjusts the amount of filter resonance (distinctiveness of the sound) used.
This automatically changes the VCF cutoff frequency according to the amplitude of the string vibration. This allows you to change the tone with a wah-like effect each time you pick a string.
OFF
ENV MOD SW
ENV MOD
SENS
ENV MOD
ATTACK
PITCH SW
*1
ON
INV
0–100
0–100
OFF, A, B
Turns envelope modulation off.
This causes the VCF cutoff frequency to change from a high to low frequency each time the string is picked.
This produces a wah-like effect, with the sound going from high frequencies to low.
As opposed to the ON setting, this allows you to have the VCF cutoff frequency change from a low to high frequency each time the string is picked.
This produces a reverse wah-like effect, with the sound going from low frequencies to high.
Adjusts the input sensitivity of the envelope modulation. As the value is raised, the change from the envelope modulation broadens with even weaker picking.
Adjusts the attack time for the change in the envelope modulation produced by picking.
Raising the value slows the attack for this change.
This setting allows you to switch
A, B and OFF the pitch shift, which enables the pitch of the HEXA-VCO sound to shift in response.
* Pitch shift applies only to the hexa-VCO; it does not apply to hexa-distortion.
PITCH A
PITCH B
*1
-12–+12
This sets the amount of shift in pitch from the original sound in semitone increments.
32
Parameter
FINE A
FINE B
*1
DUET SW
*1
SWEEP SW
*1
SWEEP RISE
*1
SWEEP FALL
*1
Value
-50–+50
OFF, ON
OFF, ON
0–100
0–100
Explanation
This finely adjusts the pitch. -50 is half a semitone down; +50 is half a semitone up.
If this is “ON,” a sawtooth wave at the same pitch as the original sound will be added to the hexa-
VCO, making the sound richer.
MEMO
By setting the hexa-VCO’s pitch shift to a PITCH setting such as
+/-12 (an octave up/down), +/- 7
(a perfect fifth), or +/-5 (a perfect fourth), you can create thick, synthesizer-like sounds.
By setting PITCH FINE to about “+/-
5” to slightly skew the pitch shift of the hexa-VCO, you can give the sound greater depth.
This is a Sweep function that smoothly changes the amount of shift when you use PITCH SW to vary the amount of pitch shift.
Adjusts the amount of time for the pitch to shift when the PITCH
SW parameter is switched and the sound changes to a higher pitch.
If this is “0,” the change will occur instantly; higher values produce slower change.
Adjusts the amount of time for the pitch to shift when the PITCH
SW parameter is switched and the sound changes to a lower pitch.
If this is “0,” the change will occur instantly; higher values produce slower change.
Allows you to apply electronic vibrato to the hexa-VCO.
VIBRATO SW
*1
VIBRATO RATE
*1
VIBRATO
DEPTH
*1
OFF, ON
0–100
0–100
LOW CUT
HIGH CUT
Adjusts the rate of the vibrato.
Adjusts the depth of the vibrato.
FLAT, 20.0
Hz–16.0 kHz
20.0 Hz–16.0 kHz, FLAT
Cuts the frequency region below the specified frequency. When FLAT is selected, the low cut filter will have no effect.
Cuts the frequency region above the specified frequency. When FLAT is selected, the high cut filter will have no effect.
*1 Valid when the MODE is set to VCO or V+D.
E.GUITAR Parameters
GUITAR (In GUITAR MODE)
Parameter
TYPE
PU SELECT
TONE TYPE
*4
Value Explanation
Select the electric guitar type “TYPE” (p. 33).
Selects the pickup position.
REAR Rear pickup
R+C
*1
CENTER
*1
Rear and center pickups
Center pickup
C+F
*1
FRONT
R+F
*2
ALL
*3
MILD,
STANDARD,
BRIGHT1,
BRIGHT2
Center and front pickups
Front pickup
Rear and front pickups
All pickups
Selects the fretless tone type.
SENS
*4
DEPTH
*4
ATTACK
*4
RESONANCE
*4
DIRECT LEVEL
*4
VOLUME
TONE
0–100
0–100
0–100
0–100
0–100
0–100
0–100
This controls the input sensitivity.
This controls the volume of the harmonics.
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
Adjusts the volume. With a setting of 0, there will be no sound.
Adjusts the tone of the body. The standard value is 100; lowering the value creates a softer tone.
*1 Valid when the TYPE is set to CLA-ST, MOD-ST, or LIPS.
*2 Valid when the TYPE is set to TE, LP, P-90, 335, L4, RICK, WIDE
RANGE, or BRIGHT HUM.
*3 Valid when the TYPE is set to LIPS.
*4 Valid when the TYPE is set to FRETLESS.
TYPE
Value
CLA-ST
MOD-ST
TE
Explanation
The sound of a Fender Stratocaster. Simulates the installation of three single-coil pickups (passive type).
This models a guitar with three EMG active singlecoil pickups.
The sound of a Fender Telecaster. This models a guitar with two single-coil pickups.
INST Parameters > E.GUITAR Parameters
Value
LP
P-90
335
L4
RICK
LIPS
WIDE RANGE
BRIGHT HUM
FRETLESS
Explanation
The sound of a Gibson Les Paul Standard. Simulates the installation of two humbucking pickups (passive type).
The sound of a Gibson Les Paul Junior. This provides two single-coil pickups of the type used on fixedneck guitars and affectionately known as soap-bar or dog-ear pickups.
The sound of a Gibson ES-335 Dot. Typical semiacoustic guitar with two humbucking pickups.
The sound of a Gibson L-4 CES. Acoustic body guitar suited for jazz.
Equipped with two humbucking pickups and strung with flat wound strings.
This models a Rickenbacker 360. Semi-hollow body guitar with two unique single-coil pickups.
The sound of a Danelectro 56-U3. This models a guitar equipped with three pickups noted for their visual resemblance to lipstick tubes.
This produces the fat sound typical of a larger number of coil windings than on a conventional single-coil pickup.
A conventional humbucking pickup places two coils side by side, causing the high frequencies to be canceled; however, this model produces a tone that preserves these high frequencies while retaining the characteristics of a humbucking pickup.
This models a fretless guitar.
GUITAR (In BASS MODE)
Parameter
TYPE
PU SELECT
TONE TYPE
*3
Value Explanation
Select the electric guitar type.
ST
LP
FRETLESS
The sound of a Fender Stratocaster.
Simulates the installation of three single-coil pickups (passive type).
The sound of a Gibson Les Paul
Standard. Simulates the installation of two humbucking pickups
(passive type).
This models a fretless guitar.
Selects the pickup position.
REAR Rear pickup
R+C
*1
CENTER
*1
Rear and center pickups
Center pickup
C+F
*1
FRONT
R+F
*2
MILD,
STANDARD,
BRIGHT1,
BRIGHT2
Center and front pickups
Front pickup
Rear and front pickups
Selects the fretless tone type.
SENS
*3
DEPTH
*3
0–100
0–100
This controls the input sensitivity.
This controls the volume of the harmonics.
33
INST Parameters > E.GUITAR Parameters
Parameter
ATTACK
*3
RESONANCE
*3
DIRECT LEVEL
*3
VOLUME
Value
0–100
0–100
0–100
0–100
TONE 0–100
Explanation
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
Adjusts the volume. With a setting of 0, there will be no sound.
Adjusts the tone of the body. The standard value is 100; lowering the value creates a softer tone.
*1 Valid when the TYPE is set to ST.
*2 Valid when the TYPE is set to LP.
*3 Valid when the TYPE is set to FRETLESS.
AMP (AMP Modeling)
(When E.GUITAR, ACOUSTIC, AC BASS, or E.BASS is selected)
Parameter Value Explanation
ON/OFF
TYPE
OFF, ON Turns the AMP on/off.
Select the amp type “TYPE” (p. 34).
GAIN
SAG
0–120
-10–+10
Adjusts the distortion of the amp.
Adjusts the amount by which compression changes in response to the power amp.
RESONANCE -10–+10
Adjusts the amount by which dynamics is affected by the interaction between the power amp and the speaker transformer.
LEVEL
BASS
MIDDLE
TREBLE
PRESENCE
BRIGHT
GAIN SW
SOLO SW
0–100
0–100
0–100
0–100
0–100
OFF, ON
LOW, MIDDLE,
HIGH
OFF, ON
Adjusts the volume of the entire preamp.
* Be careful not to raise the
Level setting too high.
Adjusts the tone for the low frequency range.
Adjusts the tone for the middle frequency range.
Adjusts the tone for the high frequency range.
Adjusts the tone for the ultra high frequency range.
Turns the bright setting on/ off.
* BRIGHT is valid for some of the amps in TYPE.
Provides for selection from three levels of distortion:
LOW, MIDDLE, and HIGH.
Distortion will successively increase for settings of LOW,
MIDDLE and HIGH.
* The sound of each Type is created on the basis of the level of MIDDLE.
The tone to one suitable for solos.
34
Parameter
SOLO LEVEL
SP TYPE
MIC TYPE
MIC DISTANCE
MIC POSITION
MIC LEVEL
DIRECT LEVEL
VARIATION
Value
0–100
Explanation
Adjusts the volume level when the SOLO SW is ON.
Select the speaker type “SP TYPE” (p. 35).
This setting selects the simulated mic type “MIC
SHORT, MEDIUM,
LONG
Simulates the distance between the mic and speaker.
The distance from the speakers is farther in the order of
SHORT<MEDIUM<LONG.
This simulates the mic position.
CENTER
Simulates the condition that the mic is set in the middle of the speaker cone.
1 cm–10 cm
Simulates the condition that the mic is moved away from the center of the speaker cone.
0–100
0–100
PATCH, 01–10
Adjusts the volume of the mic.
Adjusts the volume of the direct sound.
AMP settings can be saved/ loaded as ten different variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the AMP setting in
EFFECT.
TYPE
Value
TRANSPARENT
NATURAL
BOUTIQUE
SUPREME
MAXIMUM
JUGGERNAUT
X-CRUNCH
X-HI GAIN
Explanation
An amp with a broad frequency range and an extremely flat response.
An unembellished, clean sound that minimizes the amp’s idiosyncrasies, such as its trebly character and boomy low end.
Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps.
Great-feeling crunch sound that responds to the nuances of your picking while taking advantage of the distinctive character of a 4x12” speaker cabinet.
An amp that delivers the distinctively great response and tone of a vintage Marshall, while making it even higher gain.
A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.
Crunch sound that uses MDP to deliver a crisp tone from all strings.
High-gain sound that uses MDP to obtain highgain sound with a wide range and a great-feeling sense of separation.
SP TYPE
Value
OFF
ORIGINAL
1x8”
1x10”
1x12”
2x12”
4x10”
4x12”
8x12”
B1x15”
B1x18”
Value
X-MODDED
Explanation
Core sound that uses MDP to preserve the definition of the sound even with extreme gain.
This models the sound of the Roland JC-120.
JC-120
TWIN COMBO This models a Fender Twin Reverb.
DELUXE COMBO This models a Fender Deluxe Reverb.
TWEED COMBO This models a Fender Bassman 4 x 10” Combo.
DIAMOND AMP Models the VOX AC30.
BRIT STACK This models a Marshall 1959.
RECTI STACK
Models the sound of the Channel 2 MODERN
Mode on the MESA/Boogie DUAL Rectifier.
MATCH COMBO
BG COMBO
ORNG STACK
This models the sound input to left input on a
Matchless D/C-30.
This models the sound of the MESA/Boogie combo amp.
This models the dirty channel of an ORANGE
ROCKERVERB.
BGNR UB METAL
This models the sound that models the high-gain channel of a Bogner Uberschall.
NATURAL BASS Uncolored clean sound for bass.
X-DRIVE BASS
High-gain sound for bass, using MDP to provide wide range and a good-sounding sense of separation.
This models the Ampeg SVT.
CONCERT
SUPER FLAT
FLIP TOP
B MAN
A bass amp with flat response.
Models the Ampeg B-15.
BASS 360
SW-TOUR
AC BASS
GK BASS
MARK
Models the Fender Bassman100.
Models the Acoustic 360.
Models the SWR SM-400.
An amp ideal for ACOUSTIC BASS.
Models the Gallien-Krueger 800RB.
Models the Markbass Little Mark III.
Explanation
Turns off the speaker simulator.
This is the built-in speaker of the amp you selected with AMP TYPE.
This is a compact open-back speaker cabinet with one 8-inch speaker.
This is a compact open-back speaker cabinet with one 10-inch speaker.
This is a compact open-back speaker cabinet with one 12-inch speaker.
This is a general open-back speaker cabinet with two 12-inch speakers.
This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.
This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers.
This is a stack of two cabinets each with four 12-inch speakers.
This is a compact open-back speaker cabinet for the bass guitar with one 15-inch speaker.
This is a compact open-back speaker cabinet for the bass guitar with one 18-inch speaker.
Value
B2x15”
B4x10”
B8x10”
INST Parameters > E.GUITAR Parameters
Explanation
This is a general open-back speaker cabinet for the bass guitar with two 15-inch speakers.
This is a large speaker cabinet for bass, with four 10inch speakers in a sealed design.
This is a stack of two cabinets for bass, each with four 10-inch speakers.
MIC TYPE
Value
DYN57
DYN421
CND451
CND87
FLAT
Explanation
This is the sound of the SHURE SM57. General dynamic mic used for instruments and vocals.
This is the sound of the SENNHEISER MD-421.
Dynamic mic with extended low end.
This is the sound of the AKG C451B. Small condenser mic for use with instruments.
This is the sound of the NEUMANN U87. Condenser mic with flat response.
Simulates a mic with perfectly flat response.
Produces a sonic image close to that of listening to the sound directly from the speakers (on site).
NS
(When E.GUITAR, ACOUSTIC, AC BASS, E.BASS, VIO GUITAR, or POLY FX is selected)
This effect reduces the noise and hum picked up by guitar pickups.
Since it suppresses the noise in synchronization with the envelope of the guitar sound (the way in which the guitar sound decays over time), it has very little effect on the guitar sound, and does not harm the natural character of the sound.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Turns this effect on/off.
THRESHOLD
RELEASE
0–100
0–100
Adjust this parameter as appropriate for the volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise level is low, a lower setting is appropriate.
Adjust this value until the decay of the guitar sound is as natural as possible.
Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”
EQ
(When E.GUITAR, ACOUSTIC, AC BASS, E.BASS, or VIO GUITAR is selected)
Adjusts the tone. This is a parametric EQ that lets you adjust four separate frequency ranges.
Parameter
ON/OFF
LOW CUT
Value
OFF, ON
FLAT, 20.0
Hz–16.0 kHz
Explanation
Turns this effect on/off.
Sets the frequency at which the low cut filter begins to take effect. When
FLAT is selected, the low cut filter will have no effect.
LOW GAIN
-20 dB–+20 dB
Adjusts the tone for the low frequency range.
35
INST Parameters > ACOUSTIC Parameters
Parameter
LOW-MID
FREQ
LOW-MID Q
LOW-MID
GAIN
HIGH-MID
FREQ
HIGH-MID Q
HIGH-MID
GAIN
HIGH GAIN
HIGH CUT
LEVEL
Value
20.0 Hz–16.0 kHz
0.5, 1, 2, 4,
8, 16
-20 dB–+20 dB
20.0 Hz–16.0 kHz
0.5, 1, 2, 4,
8, 16
-20 dB–+20 dB
-20 dB–+20 dB
20.0 Hz–16.0 kHz, FLAT
-20 dB–+20 dB
Explanation
Specifies the center of the frequency range that will be adjusted by the
LOW-MID GAIN.
Adjusts the width of the area affected by the EQ centered at the
LOW-MID FREQ.
Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
Specifies the center of the frequency range that will be adjusted by the
HIGH-MID GAIN.
Adjusts the width of the area affected by the EQ centered at the
HIGH-MID FREQ.
Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
Adjusts the tone for the high frequency range.
Cuts the frequency region above the specified frequency. When FLAT is selected, the high cut filter will have no effect.
Adjusts the overall volume level of the equalizer.
ACOUSTIC Parameters
ACOUSTIC
Parameter
TYPE
BODY
*1
RESONANCE
*2
VOLUME
TONE
ATTACK
*3
SUSTAIN
*4
PU SELECT
*5
Value Explanation
Select the acoustic guitar type “TYPE” (p. 37).
0–100
Adjusts the body resonation.
Raising the value produces more of a sense of the guitar body in the sound. Lower the value in conditions where feedback is prone to occur.
0–100
0–100
Adjusts the body resonance. The resonation increases as the value is raised.
Adjusts the volume. With a setting of 0, there will be no sound.
-50–+50
0–100
0–100
Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.
Specifies the strength of the attack when you pluck the string strongly.
As this setting is increased, the attack will be sharper, and the sound will be crisper.
You can specify how the resulting volume will be affected by changes
(loud/soft dynamics) in the guitar string vibrations that are input.
Adjusts the range (time) over which low-level signals are boosted.
Larger values will result in longer sustain.
Selects the pickup position.
FRONT Front pickup
R+F
REAR
PIEZO
Rear and front pickups
Rear pickup
Piezo pickup
SENS
*5
COLOR
*5
DECAY
*5
BUZZ
*5
0–100
0–100
0–100
0–100
Adjusts the input sensitivity.
Adjusts the overall tone quality of the sitar.
Adjusts the time it takes following the attack for the tone to change.
Adjusts the amount of characteristic buzz produced by the buzz bridge when the strings make contact with it.
*1 Valid when the TYPE is set to other than RESO or BANJO.
*2 Valid when the TYPE is set to RESO or BANJO.
*3 Valid when the TYPE is set to NYLON, BANJO, or SITAR.
*4 Valid when the TYPE is set to RESO.
*5 Valid when the TYPE is set to SITAR.
36
TYPE
TYPE
MA28
TRP-0
GB45
GB SML
GLD40
NYLON
RESO
BANJO
SITAR
Explanation
The sound of a Martin D-28. Older model known for its exquisitely balanced sound.
The sound of a Martin 000-28. This model features a full low-end resonance and crisp, distinct contour.
The sound of a Gibson J-45. This vintage model features a unique, seasoned tone with good response.
The sound of a Gibson B-25. Featuring a compact body, this vintage model is often used in blues.
The sound of a Guild D-40. This model features warm resonance from the body along with a delicate string resonance.
This models a nylon-string guitar.
This models a Dobro-type resonator guitar.
This models a conventional five-string banjo.
This models a Coral electric sitar. The sitar’s distinctive buzz and tonal change are modeled.
AMP (AMP Modeling)
Refer to “AMP (AMP Modeling)” (p. 34).
NS
EQ
INST Parameters > AC BASS Parameters
AC BASS Parameters
AC BASS
Parameter
VOLUME
BODY
RESONANCE 0–100
SIZE
ATTACK
BOTTOM
BUZZ SENS
DECAY
Value
0–100
0–100
-50–+50
0–100
0–100
0–100
0–100
Explanation
Adjusts the volume. With a setting of 0, there will be no sound.
This sets the volume level of the resonant sound produced by the panels and cavity (the body resonation).
Adjusts the body resonance. The resonation increases as the value is raised.
Specifies the size of the body. This modifies the resonant frequency to simulate changes in body size. A setting of 0 will produce a normal resonance.
Specifies the strength of the attack when you pluck the string strongly.
The higher the value you set, the greater the intensity of the sound produced when the strings are played. The attack of the body sound will increase as well.
This sets the volume level of string vibration.
This sets the sensitivity for the distinctive harmonics of an acoustic bass. Adjust this to match the velocity of fingering.
This sets the decay of the string vibration.
AMP (AMP Modeling)
Refer to “AMP (AMP Modeling)” (p. 34).
NS
EQ
37
INST Parameters > E.BASS Parameters
E.BASS Parameters
BASS (In GUITAR MODE)
Parameter Value
Type of Bass
JB
Explanation
TYPE
PB
The sound of a Fender Jazz Bass.
The sound of a Fender Precision
Bass.
This models a fretless bass.
TONE TYPE
*2
FRETLESS
REAR VOLUME
*1
FRONT
VOLUME
*1
0–100
0–100
Sets the volume of the rear pickup.
Sets the volume of the front pickup.
Selects the fretless tone type.
JB (REAR)
JB (R+F)
The sound of the rear pickup of a
Jazz Bass.
The sound of the rear pickup and front pickup of a Jazz Bass.
JB (FRONT)
PB
The sound of the front pickup of a
Jazz Bass.
The sound of a Precision Bass.
SENS
*2
DEPTH
*2
ATTACK
*2
RESONANCE
*2
DIRECT LEVEL
*2
VOLUME
TONE
0–100
0–100
0–100
0–100
0–100
0–100
0–100
This controls the input sensitivity.
This controls the volume of the harmonics.
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
Adjusts the volume. With a setting of 0, there will be no sound.
Adjusts the tone of the body.
*1 Valid when the TYPE is set to JB.
*2 Valid when the TYPE is set to FRETLESS.
BASS (In BASS MODE)
Parameter
TYPE
MASTER
VOLUME
*1
REAR VOLUME
*1
FRONT
VOLUME
*1
REAR TONE
*2
FRONT TONE
*2
38
Value Explanation
Select the bass guitar type “TYPE” (p. 39).
0–100
Sets the overall bass volume level.
With a setting of 0, there will be no sound.
0–100
0–100
0–100
0–100
Sets the volume of the rear pickup.
Sets the volume of the front pickup.
Adjusts the tone of the rear pickup.
Adjusts the tone of the front pickup.
Parameter
TREBLE
*3
BASS
*3
PU SELECT
*4
Value
0–100
Explanation
Adjusts the tone for the high frequency range.
0–100
Adjusts the tone for the low frequency range.
Selects the pickup position.
REAR
R+F
FRONT
Use the rear pickup.
Use both front and rear pickups.
Use the front pickup.
TREBLE ON
*5
BASS ON
*5
RHYTHM/
SOLO
*5
TONE TYPE
*6
OFF, ON
OFF, ON
SENS
*6
DEPTH
*6
ATTACK
*6
RESONANCE
*6
DIRECT LEVEL
*6
VOLUME
*7
TONE
*8
0–100
0–100
0–100
0–100
0–100
0–100
0–100
Switches the rear pickup on/off.
Switches the front pickup on/off.
Switches between rhythm and solo.
RHYTHM
SOLO
The volume will be set to 50.
The volume will be set to 100.
Selects the fretless tone type.
JB (REAR)
The sound of the rear pickup of a
Jazz Bass.
JB (R+F)
The sound of the rear pickup and front pickup of a Jazz Bass.
JB (FRONT)
PB
The sound of the front pickup of a
Jazz Bass.
The sound of a Precision Bass.
This controls the input sensitivity.
This controls the volume of the harmonics.
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
Adjusts the volume. With a setting of 0, there will be no sound.
Adjusts the tone of the body.
*1 Valid when the TYPE is set to VINT JB, JB, RICK, T-BIRD, ACTIVE, or
VIOLIN.
*2 Valid when the TYPE is set to RICK.
*3 Valid when the TYPE is set to M-MAN or ACTIVE.
*4 Valid when the TYPE is set to RICK.
*5 Valid when the TYPE is set to VIOLIN.
*6 Valid when the TYPE is set to FRETLESS.
*7 Valid when the TYPE is set to VINT PB, PB, M-MAN, or FRETLESS.
*8 Valid when the TYPE is set to VINT JB, JB, VINT PB, PB, T-BIRD, or
FRETLESS.
TYPE
Value
VINT JB
JB
VINT PB
PB
M-MAN
RICK
T-BIRD
ACTIVE
VIOLIN
FRETLESS
Explanation
This models a Fender Jazz Bass from the sixties.
This models a Fender Jazz Bass from the late seventies or later.
This models a Fender Precision Bass from the early sixties.
This models a Fender Precision Bass from the late seventies or later.
This models a Music Man StingRay Bass from the seventies.
This models a Rickenbacker 4001.
This models a Gibson Thunderbird.
This models a typical bass equipped with active pickups.
This models a Höfner Violin Bass.
This models a fretless bass.
AMP (AMP Modeling)
Refer to “AMP (AMP Modeling)” (p. 34).
NS
EQ
INST Parameters > VIO GUITAR Parameters
VIO GUITAR Parameters
GUITAR
Parameter
TYPE
PU SELECT
TONE TYPE
*4
SENS
*4
DEPTH
*4
ATTACK
*4
RESONANCE
*4
DIRECT LEVEL
*4
VOLUME
0–100
0–100
0–100
0–100
0–100
0–100
TONE
Value Explanation
Select the electric guitar type “TYPE” (p. 33).
Selects the pickup position.
REAR Rear pickup
R+C
*1
CENTER
*1
Rear and center pickups
Center pickup
C+F
*1
FRONT
R+F
*2
ALL
*3
MILD,
STANDARD,
BRIGHT1,
BRIGHT2
Center and front pickups
Front pickup
Rear and front pickups
All pickups
Selects the fretless tone type.
0–100
This controls the input sensitivity.
This controls the volume of the harmonics.
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
Adjusts the volume. With a setting of 0, there will be no sound.
Adjusts the tone of the body. The standard value is 100; lowering the value creates a softer tone.
*1 Valid when the TYPE is set to CLA-ST, MOD-ST, or LIPS.
*2 Valid when the TYPE is set to TE, LP, P-90, RICK, 335, L4, WIDE
RANGE, or BRIGHT HUM.
*3 Valid when the TYPE is set to LIPS.
*4 Valid when the TYPE is set to FRETLESS.
39
INST Parameters > VIO GUITAR Parameters
HARMO
Here you can add overtones (harmonics) to the sound specified in the
GUITAR block.
Parameter
PITCH
GAIN
Value
-24–+24
0–100
Explanation
Specifies the pitch of the harmonics in semitone units. A setting of -24 produces a sound two octaves below, and a setting of +24 produces a sound two octaves above. With a setting of 0, a harmonics sound at the same pitch as the original sound is heard.
Specifies the volume of the harmonics sound. Larger values increase the volume of the harmonics sound.
ATTACK
DIRECT LEVEL
0–100
0–100
Emphasizes the attack portion of the harmonics sound. Larger values emphasize the attack.
Adjusts the volume of the direct sound. Larger values increase the volume of the direct sound.
FILTER
Here you can use a filter to add depth to the sound and shape the tonal character.
Parameter Value Explanation
OVERTONE 0–100
Modifies the nuances of the overtones. Larger values increase the overtones, giving the sound more depth.
ATTACK
POWER BEND
SLIDE TIME
OCTAVE
0–100
0–100
0–100
-1, 0, +1
Varies the nuances of the attack portion. Larger values emphasize the attack.
Increasing this value will darken the sound. At the same time, the tone and volume will vary more easily in response to pitch change such as when using the vibrato arm.
Larger values lengthen the time over which the tone changes from one note to the next on each string, producing an effect of smooth change between notes. At the same time, it tends to suppress the attack.
Adjusts the center frequency of the filter. A setting of 0 is the normal state, and a setting of -1 applies the filter at a frequency one octave below. A setting of +1 applies the filter at a frequency one octave above.
COLOR
TOUCH SENS
0–100
0–100
Modifies the nuances of the overtones. Larger values produce a more detailed sound.
Specifies how your playing dynamics on the guitar affect the tonal character. With larger values, stronger playing gives the sound more depth.
Parameter Value
LEAD
EMPHASIS
0–100
NS
EQ
40
Explanation
Emphasizes the sound when single notes are played.
With VIO guitar, single-note (singlestring) playing produces a lower output than when chords are played. Lead emphasis prevents this.
Larger values boost the volume level of single notes. With a setting of 0, single notes are not emphasized.
POLY FX Parameters
POLY FX
Parameter
TYPE
Value Explanation
This selects the POLY FX type.
DISTORTION
CRYSTAL
RICH MOD
Distortion that allows chords to resonate clearly and beautifully
A sound with a metallic resonance and a transparent character
Rich and spacious modulation sound
SLOW PAD
Deep, fantasy-like pad-type sound
TOUCH WAH
You can produce a wah effect with the filter changing in response to the input level.
GUITAR
VOLUME
*2
BASS VOLUME
*2
GAIN
*1
0–100
0–100
GAIN
BALANCE
*1
COLOR
*2
TONE
*2
FILTER MODE
*3
Adjusts the input volume.
Adjusts the amount of distortion.
-50–+50
0–100
Adjusts the distortion balance between the low and high strings.
Positive values make the lower strings distort more.
Negative values make the higher strings distort more.
Specifies the amount of the effect. The effect differs depending on the selected TYPE.
DISTORTION:
Adjusts the amount of separation for chords. Higher settings produce chords less muddy.
CRYSTAL:
Adjusts the tone for the high frequency range.
Higher settings make the tonal character more metallic.
RICH MODULATION:
Adjusts the depth of the effect. Higher settings make the modulation effect stronger.
SLOW PAD:
Adjusts the strength of the attack. Higher settings strengthen the attack.
-50–+50
Adjusts the brightness of the sound.
Selects the wah mode.
LPF
Low pass filter. Creates a wah effect over a wide frequency range.
BPF
Band pass filter. Creates a wah effect in a narrow frequency range.
INST Parameters > POLY FX Parameters
Parameter
POLARITY
*3
SENS
*3
FREQUENCY
*3
DECAY
*3
PEAK
*3
TONE TYPE
*3
COMP SW
*3
COMP
SUSTAIN
*3
OFF, ON
0–100
COMP ATTACK
*3
0–100
Value Explanation
Selects the direction in which the filter will change in response to the input.
DOWN
UP
The frequency of the filter will fall.
The frequency of the filter will rise.
0–100
Specifies the sensitivity with which the filter moves in the direction specified by the
POLARITY setting.
Higher values will result in a stronger response. With a setting of 0, the strength of picking will have no effect.
0–100
Adjusts the center frequency of the Wah effect.
0–10
0–100
This sets the time needed for the filter to finish its sweep.
Adjusts the way in which the wah effect applies to the area around the center frequency.
Higher values will produce a stronger tone which emphasizes the wah effect more.
With a value of 50, a standard wah sound will be produced.
MILD,
STANDARD,
BRIGHT
Selects the tone type.
Turns the compressor on/off.
Larger values will result in longer sustain.
Adjusts the strength of the picking attack when the strings are played.
*1 Valid when the TYPE is set to DISTORTION.
*2 Valid when the TYPE is set to other than TOUCH WAH.
*3 Valid when the TYPE is set to TOUCH WAH.
NS
41
EFFECT Parameters
FX1–FX3
With FX1, FX2 and FX3, you can select the effect to be used from the following.
Parameter
ON/OFF
TYPE
Value
OFF, ON
Explanation
Turns this effect on/off.
Refer to FX1/FX2/FX3 TYPE
FX1/FX2/FX3 TYPE
This is a list of the effects that can be selected for FX1/FX2/FX3.
Value Explanation Page
AC RESONANCE
This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.
AUTO WAH
CHORUS
This changes the filtering over a periodic cycle, providing an automatic wah effect.
In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.
CLASSIC-VIBE
FOOT VOLUME
GRAPHIC EQ
HARMONIST
Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.
COMPRESSOR
This is an effect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion.
DEFRETTER
FLANGER BASS
This simulates a fretless guitar.
DEFRETTER BASS This simulates a fretless bass.
DELAY
Adds delayed sound to the direct sound, giving more body to the sound or creating special effects.
FLANGER The flanging effect gives a twisting, jet-airplane-like character to the sound.
This is a volume control effect.
Typically, you will operate this using an expression pedal connected to the
CTL3,4/EXP1 jack or the CTL5,6/EXP2 jack.
This effect adjusts the tonal character.
Seven frequency bands can be adjusted.
Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales.
HUMANIZER
ISOLATOR
LIMITER
This can create human vowel-like sounds.
An effect that cuts the sound of the specified region.
Attenuates loud input levels to prevent distortion.
Value
LO-FI
OCTAVE
OCTAVE BASS
PAN
PARAMETRIC EQ
PEDAL BEND
PHASER
PITCH SHIFTER
REVERB
RING MOD
ROTARY
SITAR SIM
SLICER
SLOW GEAR
SLOW GEAR BASS
SOUND HOLD
TOUCH WAH
TOUCH WAH
BASS
TREMOLO
VIBRATO
WAH
Explanation
This deliberately degrades the audio quality to create a distinctive impression.
This adds a note one octave lower and a note two octaves lower, creating a richer sound.
With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an effect that makes the guitar sound appear to fly back and forth between the speakers.
This effect adjusts the tonal character.
Four frequency bands can be adjusted.
Page
This lets you use the pedal to get a pitch bend effect.
By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.
This effect changes the pitch of the original sound (up or down) within a range of two octaves.
This effect adds reverberation to the sound.
This creates a bell-like sound by ringmodulating the guitar sound with the signal from the internal oscillator.
The sound can be unmusical and lack distinctive pitches.
This produces an effect like the sound of a rotary speaker.
This simulates the sound of the sitar.
This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.
This produces a volume-swell effect
(“violin-like” sound).
You can have sound played on the guitar be held continuously. This effect allows you to perform the melody in the upper registers while holding a note in the lower registers.
You can produce a wah effect with the filter changing in response to the guitar (bass) level.
Tremolo is an effect that creates a cyclic change in volume.
This effect creates vibrato by slightly modulating the pitch.
You can control the wah effect in real time by the expression pedal connected to the CTL 3, 4/EXP 1 jack or CTL 5, 6/EXP 2 jack.
42
EFFECT Parameters > FX1–FX3
5
5
5
This effect sound is mono.
This effect sound is output with two channels.
These effects take a mono input and output it on two channels.
AC RESONANCE
This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.
Parameter
TYPE
Value
NATURAL
WIDE
BRIGHT
Explanation
A natural and uncolored sound.
Mellow sound that emphasizes the body resonance
Brilliant sound with an extended high-frequency range
RESONANCE
TONE
LEVEL
VARIATION
0–100
-50–+50
0–100
PATCH, 01–10
Use this knob to adjust the balance between the body resonance effect of the acoustic guitar and the direct sound of the pickup.
Adjusts the tone.
Specifies the volume of the effect.
AC RESONANCE settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
AUTO WAH
This changes the filtering over a periodic cycle, providing an automatic wah effect.
Parameter Value Explanation
Selects the wah mode.
FILTER MODE
LPF
BPF
HPF
Low pass filter. Passes only the lowfrequency region.
Band pass filter. Passes only the specified frequency region.
High pass filter. Passes only the high-frequency region.
RATE
*1
DEPTH
EFFECT LEVEL
0–100, BPM
ΠР`
0–100
0–100
Adjusts the frequency (speed) of the change.
Adjusts the depth of the effect.
Adjusts the volume of the effect sound.
FREQUENCY
RESONANCE
WAVEFORM
DIRECT LEVEL
BPM
0–100
0–100
TRI, SINE
0–100
40–250
Adjusts the center frequency of the
Wah effect.
Adjusts the amount of wah effect applied in the range near the reference frequency.
Selects the type of wave.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
Parameter
VARIATION
Value
PATCH, 01–10
Explanation
AUTO WAH settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
CHORUS
RATE
*2
RATE 1
RATE 2
*1 *2
DEPTH
DEPTH 1
DEPTH 2
*1
In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.
Parameter
MODE
Value Explanation
Selection for the chorus mode.
MONO
STEREO1
This chorus effect outputs the same sound from both L channel and R channel.
This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the effect sound output in the R channel.
STEREO2
DUAL
This is a stereo chorus effect that adds different chorus sounds to L channel and R channel.
This lets you apply chorus independently to the L and R channels.
0–100, BPM
ΠР`
0–100
Adjusts the rate of the chorus effect.
Adjusts the depth of the chorus effect.
* To use it for doubling effect, set the value to 0.
PRE-DELAY
PRE-DELAY 1
PRE-DELAY 2
*1
0.0 ms–40.0 ms
Adjusts the time needed for the effect sound to be output after the direct sound has been output. By setting a longer pre delay time, you can obtain an effect that sounds like more than one sound is being played at the same time (doubling effect).
EFFECT LEVEL
EFFECT LEVEL
1
EFFECT LEVEL
2
*1
0–100
Adjusts the volume of the effect sound.
43
EFFECT Parameters > FX1–FX3
Parameter
WAVEFORM
Value
TRI
WAVEFORM 1
WAVEFORM 2
*1
SINE
Explanation
Produces a typical chorus effect.
Produces a deeper sense of modulation.
LOW CUT
LOW CUT 1
LOW CUT 2
*1
HIGH CUT
HIGH CUT 1
HIGH CUT 2
*1
FLAT, 20.0
Hz–16.0 kHz
20.0 Hz–16.0 kHz, FLAT
This sets the frequency at which the low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
DIRECT LEVEL
OUTPUT
MODE
*1
BPM
VARIATION
0–100
MONO
STEREO
40–250
PATCH, 01–10
Adjusts the volume of the direct sound.
Setting this to 0 cuts the direct sound.
This setting is appropriate for mono output.
Produces a rich spaciousness when stereo output is used.
Adjusts the BPM value for each patch.
CHORUS settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Valid when the MODE is set to DUAL.
*2 Refer to “About effects when a note value is selected as a setting”
CLASSIC-VIBE
Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.
Parameter Value
RATE
*1
DEPTH
0–100, BPM
ΠР`
0–100
EFFECT LEVEL 0–100
Explanation
Adjusts the rate of the effect.
Adjusts the depth of the effect.
Adjusts the volume.
BPM
VARIATION
40–250
PATCH, 01–10
Adjusts the BPM value for each patch.
CLASSIC-VIBE settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
COMPRESSOR
This is an effect that produces a long sustain by evening out the volume level of the input signal.
Parameter Value Explanation
BOSS COMP This models a BOSS CS-3.
Hi-BAND
LIGHT
A compressor that adds an even stronger effect in the high end.
A compressor with a light effect.
TYPE
D-COMP
ORANGE
This models a MXR DynaComp.
This is modeled on the sound of the
Dan Armstrong ORANGE SQUEEZER.
SUSTAIN
ATTACK
EFFECT LEVEL
TONE
DIRECT LEVEL
VARIATION
FAT
MILD
0–100
0–100
0–100
-50–+50
0–100
PATCH, 01–10
When applied heavily, this compressor effect provides a fat tone with a boosted midrange.
When applied heavily, this compressor effect produces a sweet tone with the high end cut.
Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.
Adjusts the strength of the attack when picking.
Adjusts the volume.
Adjusts the tone.
Adjusts the volume of the direct sound.
COMPRESSOR settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
DEFRETTER
This simulates a fretless guitar.
Parameter Value
SENS
DEPTH
TONE
EFFECT LEVEL
ATTACK
RESONANCE
DIRECT LEVEL
VARIATION
0–100
0–100
-50–+50
0–100
0–100
0–100
0–100
PATCH, 01–10
Explanation
This controls the input sensitivity of the defretter.
This controls the volume of the harmonics.
Adjusts the amount of blurring between the notes.
Adjusts the volume of the effect sound.
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
DEFRETTER settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
44
DEFRETTER BASS
This simulates a fretless bass.
Parameter Value
SENS
ATTACK
TONE
EFFECT LEVEL
DIRECT LEVEL
VARIATION
0–100
0–100
-50–+50
0–100
0–100
PATCH, 01–10
Explanation
This controls the input sensitivity of the defretter.
Adjusts the attack of the picking sound.
Adjusts the amount of blurring between the notes.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
DEFRETTER BASS settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
DELAY
Adds delayed sound to the direct sound, giving more body to the sound or creating special effects.
Parameter
TYPE
Value Explanation
Selects the delay type “TYPE” (p. 46).
* The stereo effect is canceled if a mono effect or
AMP Modeling is connected after a stereo delay effect.
TIME
*1 *12
D1 TIME
D2 TIME
*2 *12
FEEDBACK
*3
D1 FEEDBACK
D2 FEEDBACK
*2
EFFECT LEVEL
*4
D1 EFFECT
LEVEL
D2 EFFECT
LEVEL
*2
HIGH CUT
*3
D1 HIGH CUT
D2 HIGH CUT
*2
1 ms–2000 ms, BPM
0–100
0–120
` – Œ
20.0 Hz–16.0 kHz, FLAT
Adjusts the delay time.
This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.
Adjusts the volume of the delay sound.
This sets the frequency at which the high cut filter begins to take effect.
When FLAT is selected, the high cut filter will have no effect.
TAP TIME
*6
0–100%
Adjusts the delay time of the right channel delay. This setting adjusts the R channel delay time relative to the L channel delay time
(considered as 100%).
EFFECT Parameters > FX1–FX3
Parameter
MOD RATE
*7
MOD DEPTH
*7
TRIGGER
*8
MODE
*9
TRIGGER
*9
RISE TIME
*9
Value
0–100
0–100
OFF, ON
RISE
RISE
0
0
OFF, ON
0–100
FALL
FADE
Explanation
Adjusts the modulation rate of the delay sound.
Adjusts the modulation depth of the delay sound.
If this is ON, the WARP effect is applied.
Rotation stops when you switch
TRIGGER from ON to OFF.
When you switch TRIGGER from
ON to OFF, fade-out occurs while continuing the rotation.
The TWIST effect is applied when you turn this ON.
This parameter adjusts the amount of time it is to take for the effect to transition to the maximum.
This parameter adjusts the amount of time it is to take for the effect to transition to the original.
FALL TIME
*9 *10
0–100
FADE TIME
*9 *11
DIRECT LEVEL
*5
0–100
0–100
Adjusts the fade-out time.
CARRY OVER
BPM
VARIATION
OFF, ON
40–250
PATCH, 01–10
Adjusts the volume of the direct sound.
Specifies whether the effect sound remains when you turn off the effect, or does not remain.
Adjusts the BPM value for each patch.
DELAY settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the
MASTER DELAY setting.
*1 Valid when the TYPE is set to other than DUAL-S, DUAL-P, DUAL
L/R, or TWIST.
*2 Valid when the TYPE is set to DUAL-S, DUAL-P, or DUAL L/R.
*3 Valid when the TYPE is set to other than DUAL-S, DUAL-P, DUAL
L/R, WARP or TWIST.
*4 Valid when the TYPE is set to other than DUAL-S, DUAL-P, or DUAL
L/R.
*5 Valid when the TYPE is set to other than WARP or TWIST.
*6 Valid when the TYPE is set to PAN.
*7 Valid when the TYPE is set to MOD.
*8 Valid when the TYPE is set to WARP.
*9 Valid when the TYPE is set to TWIST.
*10 Valid when the MODE is set to RISE 0 FALL.
*11 Valid when the MODE is set to RISE 0 FADE.
*12 Refer to “About effects when a note value is selected as a setting”
45
EFFECT Parameters > FX1–FX3
TYPE
Value
STEREO1
STEREO2
PAN
Explanation
The direct sound is output from the left channel, and the effect sound is output from the right channel.
This is a stereo-in/out delay.
This delay is specifically for stereo output. This allows you to obtain the tap delay effect that divides the delay time, then deliver them to L and R channels.
TAP TIME
OUTPUT R
EFFECT LEVEL
INPUT
DELAY
TIME
OUTPUT L
DUAL-S
DUAL-P
DUAL-L/R
REVERSE
ANALOG
TAPE
MOD
WARP
TWIST
FEEDBACK
This is a delay comprising two different delays connected in series.
This is a delay comprising two delays connected in parallel.
This delay lets you specify the L and R channels independently. Delay 1 goes to the left channel,
Delay 2 to the right.
This produces an effect where the sound is played back in reverse.
This gives a mild analog delay sound.
This setting provides the characteristic wavering sound of the tape echo.
A delay with a pleasant amount of modulation added.
Produces a dream-like sound.
Produces an aggressive sense of rotation.
Using this in conjunction with distortion will produce an even wilder sense of rotation.
FLANGER/FLANGER BASS
The flanging effect gives a twisting, jet-airplane-like character to the sound.
Parameter
RATE
*1
Value
0–100, BPM
ΠР`
Explanation
This sets the rate of the flanging effect.
DEPTH
RESONANCE
0–100
0–100
Determines the depth of the flanging effect.
Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.
MANUAL
SEPARATION
LOW CUT
0–100
0–100
FLAT, 20.0
Hz–16.0 kHz
Adjusts the center frequency at which to apply the effect.
Adjusts the diffusion. The diffusion increases as the value increases.
This sets the frequency at which the low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect.
46
Parameter
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
BPM
VARIATION
Value
20.0 Hz–16.0 kHz, FLAT
0–100
0–100
40–250
PATCH, 01–10
Explanation
This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
Adjusts the volume of the flanger.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
FLANGER and FLANGER BASS settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
FOOT VOLUME
This is a volume control effect.
Typically, you will operate this using an expression pedal connected to the CTL3,4/EXP1 jack or the CTL5,6/EXP2 jack.
Parameter Value
VOLUME MIN
VOLUME MAX
0–100
0–100
Explanation
Sets the volume when the heel of the EXP Pedal is depressed.
Selects the volume when the toe of the EXP Pedal is depressed.
You can select how the actual volume changes relative to the amount the pedal is pressed.
Volume
VOLUME
CURVE
PEDAL
POSITION
VARIATION
SLOW1,
SLOW2,
NORMAL,
FAST
FAS
T
NO
RM
AL
SLO
W
2
SLO
W
1
When the pedal is fully raised
When the pedal is fully advanced
0–100
PATCH, 01–10
Adjusts the volume.
FOOT VOLUME settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
The variations are common to FOOT
VOLUME 1 and FOOT VOLUME 2.
GRAPHIC EQ
You can adjust the tone character in seven bands.
Parameter Value Explanation
LEVEL -20–+20 dB
Adjusts the overall volume level of the equalizer.
100 Hz
200 Hz
400 Hz
800 Hz
1.6 kHz
3.2 kHz
6.4 kHz
-20–+20 dB
Adjust the volume of each frequency band.
VARIATION PATCH, 01–10
GRAPHIC EQ settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
HARMONIST
Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales.
* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to mute all the other strings and play only one note at a time.
* When you are to play the next string while a certain sound is still playing, mute the previous sound and then play the next one with a clear attack. If the unit cannot detect the attack, it may not sound correctly.
* The sensitivity may vary according to the guitar’s TONE knob and pickup type.
Parameter Value Explanation
Selects the number of voices for the pitch shift sound.
1VOICE One-voice pitch-shifted sound output in mono.
VOICE 2MONO
HR1:HARMONY
HR2:HARMONY
*1
2STEREO
-2 oct–+2 oct,
USER
Two-voice pitch-shifted sound
(HR1, HR2) output in mono.
Two-voice pitch-shifted sound
(HR1, HR2) output through left and right channels.
This determines the pitch of the sound added to the input sound, when you are making a harmony.
It allows you to set it by up to
2 octaves higher or lower than the input sound. When the scale is set to USER, this parameter sets the user scale number to be used.
EFFECT Parameters > FX1–FX3
Parameter
KEY
Value
C (Am)–B
(G#m)
Major
Minor
Major
Explanation
The key setting corresponds to the key of the song ( ¾ , ² ) as follows.
HR1:LEVEL
HR2:LEVEL
*1
HR1:PRE-DELAY
*2
HR2:PRE-DELAY
*1 *2
HR1:FEEDBACK 0–100
DIRECT LEVEL
BPM
VARIATION
Minor
0–100
0–300 ms,
BPM `
0–100
40–250
– Œ
PATCH, 01–10
Adjusts the volume of the harmony sound.
Adjusts the time from when the direct sound is heard until the harmonist sounds are heard.
Normally you can leave this set at 0 ms.
Adjusts the feedback amount of the harmonist sound.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
HARMONIST settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Valid when the VOICE is set to 2MONO or 2STEREO.
*2 Refer to “About effects when a note value is selected as a setting”
USER SCALE
* Effective with USER selected for HARMONY parameter.
Parameter
E ²
E
F
F ¾
C
D ²
D
G
A ²
A
B ²
B
Value
C– C–C– C– C
D ² – D ² –D ² – D ² – D ²
D– D–D– D– D
E ² – E ² –E ² – E ² – E ²
E– E–E– E– E
F– F–F– F– F
F ¾ – F ¾ –F ¾ – F ¾ – F
G– G–G– G– G
A ² – A ² –A ² – A ² – A ²
A– A–A– A– A
B ² – B ² –B ² – B ² – B ²
B– B–B– B– B
¾
The minus (-) and plus (+) symbols indicate sounds above or below the specified original note.
Triangles next to the note names indicate octaves.
One downward-pointing triangle indicates a note one octave below the note displayed; two triangles indicates a two-octave drop.
One upward-pointing triangle indicates a note one octave above the note displayed; two triangles indicates a two-octave rise.
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EFFECT Parameters > FX1–FX3
HUMANIZER
This can create human vowel-like sounds.
Parameter Value Explanation
This sets the mode that switches the vowels.
MODE
VOWEL1
VOWEL2
SENS
*1
PICKING
AUTO a, e, i, o, u a, e, i, o, u
0–100
It changes from VOWEL1 to VOWEL2 along with the picking. The time spent for the change is adjusted with the rate.
By adjusting the rate and depth, two vowels (VOWEL1 and VOWEL2) can be switched automatically.
Selects the first vowel.
Selects the second vowel.
Adjusts the sensitivity of the
HUMANIZER.
When it is set to a lower value, no effect of the humanizer is obtained with weaker picking, while stronger picking produces the effect. When it is set to a higher value, the effect of the humanizer can be obtained whether the picking is weak or strong.
RATE
*3
DEPTH
0–100, BPM
ΠР`
0–100
Adjusts the cycle for changing the two vowels.
MANUAL
*2
EFFECT LEVEL
0–100
0–100
Adjusts the depth of the effect.
This determines the point where the two vowels are switched. When it is set to 50, VOWEL1 and VOWEL2 are switched in the same length of time.
When it is set to lower than 50, the time for VOWEL1 is shorter. When it is set to higher than 50, the time for
VOWEL1 is longer.
Adjusts the volume.
BPM
VARIATION
40–250
PATCH, 01–10
Adjusts the BPM value for each patch.
HUMANIZER settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Setting available when MODE is set to PICKING.
*2 Setting available when MODE is set to AUTO.
*3 Refer to “About effects when a note value is selected as a setting”
ISOLATOR
An effect that cuts the sound of the specified region.
Parameter Value Explanation
BAND
LOW, MIDDLE,
HIGH
Selects the frequency region to cut.
RATE
*1
0–100, BPM
ΠР`
Adjusts the rate of the modulation.
DEPTH
BAND LEVEL
0–100
0–100
Adjusts the depth of the modulation.
Specifies the amount to cut.
48
Parameter
BPM
VARIATION
Value
40–250
PATCH, 01–10
Explanation
Adjusts the BPM value for each patch.
ISOLATOR settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
LIMITER
Attenuates loud input levels to prevent distortion.
Parameter Value Explanation
Selects the limiter type.
TYPE
BOSS LIMITER Selects a stereo limiter.
RACK 160D Models a dbx 160X.
THRESHOLD
VTG RACK U Models an UREI 1178.
0–100
Adjust this as appropriate for the input signal. When the input signal level exceeds this threshold level, compression will be applied.
RATIO
1:1, 1.2:1,
1.4:1, 1.6:1,
1.8:1, 2:1,
2.3:1, 2.6:1,
3:1, 3.5:1, 4:1,
5:1, 6:1, 8:1,
10:1, 12:1,
20:1, INF:1
EFFECT LEVEL 0–100
Selects the compression ratio used with signals in excess of the threshold level.
Adjusts the volume.
ATTACK
RELEASE
0–100
0–100
Adjusts the strength of the attack when picking. Higher values result in sharper attack, creating a more clearly defined sound.
Adjusts the release time.
VARIATION PATCH, 01–10
LIMITER settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
LO-FI
This deliberately degrades the audio quality to create a distinctive impression.
Parameter
BIT DEPTH
Value
OFF, 15–1
Explanation
Specifies the bit depth.
SAMPLE RATE OFF, 1/2–1/32 Specifies the sample rate.
BALANCE
D100:E0–
D0:E100
Adjusts the volume balance between the direct sound and the effect sound.
Parameter
VARIATION
Value
PATCH, 01–10
Explanation
LO-FI settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
OCTAVE/OCTAVE BASS
This adds a note one octave lower and a note two octaves lower, creating a richer sound.
Parameter
-2OCT
Value
0–100
Explanation
Adjusts the volume of the sound two octaves below.
-1OCT 0–100
Adjusts the volume of the sound one octave below.
DIRECT LEVEL
VARIATION
0–100
PATCH, 01–10
Adjusts the volume of the direct sound.
OCTAVE and OCTAVE BASS settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
PAN
With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an effect that makes the guitar sound appear to fly back and forth between the speakers.
Parameter Value
TYPE
AUTO
Explanation
Varies the volume level on the left and right according to the settings for
WAVE SHAPE, RATE, and DEPTH.
MANUAL
Output uses the volume balance set with POSITION.
WAVE
SHAPE
*1
RATE
*1 *3
DEPTH
*1
EFFECT
LEVEL
POSITION
*2
BPM
0–100
0–100, BPM
Œ –
R50
`
0–100
0–100
L50–CENTER–
40–250
Adjusts changes in volume level.
A higher value will steepen wave’s shape.
Adjusts the frequency (speed) of the change.
Adjusts the depth of the effect.
Adjusts the volume.
Adjusts the volume balance between the left and right channels.
VARIATION PATCH, 01–10
Adjusts the BPM value for each patch.
PAN settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Setting available when TYPE is set to AUTO.
*2 Setting available when TYPE is set to MANUAL.
*3 Refer to “About effects when a note value is selected as a setting”
EFFECT Parameters > FX1–FX3
PARAMETRIC EQ
You can adjust the tone character in four bands.
Parameter Value Explanation
LOW CUT
LOW GAIN
LOW-MID
FREQ
FLAT, 20.0
Hz–16.0 kHz
-20–+20 dB
20.0 Hz–16.0 kHz
This sets the frequency at which the low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect.
Adjusts the tone for the low frequency range.
Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN.
LOW-MID Q
LOW-MID
GAIN
HIGH-MID
FREQ
HIGH-MID Q
HIGH-MID
GAIN
HIGH GAIN
0.5–16
-20–+20 dB
20.0 Hz–16.0 kHz
0.5–16
-20–+20 dB
-20–+20 dB
Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN.
Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area.
Adjusts the high-middle frequency range tone.
Adjusts the tone for the high frequency range.
HIGH CUT
LEVEL
VARIATION
20.0 Hz–16.0 kHz,
FLAT
-20–+20 dB
PATCH, 01–10
This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
Adjusts the overall volume level of the equalizer.
PARAMETRIC EQ settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the EQ1 and EQ2 block setting.
PEDAL BEND
This lets you use the pedal to get a pitch bend effect.
Typically, you will operate this using an expression pedal connected to the CTL3,4/EXP1 jack or the CTL5,6/EXP2 jack.
* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.
Parameter Value
PITCH
PEDAL
POSITION
-24–+24
0–100
Explanation
This sets the pitch at the point where the EXP Pedal is all the way down.
Adjusts the pedal position for pedal bend. This parameter is used after it’s been assigned to an expression pedal or similar controller.
49
EFFECT Parameters > FX1–FX3
Parameter
EFFECT
LEVEL
DIRECT
LEVEL
Value
0–100
0–100
VARIATION PATCH, 01–10
Explanation
Adjusts the volume of the pitch bend sound.
Adjusts the volume of the direct sound.
PEDAL BEND settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
PHASER
By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.
Parameter Value Explanation
TYPE
RATE
*1
4STAGE,
8STAGE,
12STAGE,
BiPHASE
0–100, BPM
ΠР`
Selects the number of stages that the phaser effect will use.
DEPTH
RESONANCE
MANUAL
STEP RATE
*1
EFFECT LEVEL
DIRECT LEVEL
BPM
VARIATION
0–100
0–100
0–100
OFF, 0–100,
BPM Œ
0–100
0–100
40–250
– `
PATCH, 01–10
This sets the rate of the phaser effect.
Determines the depth of the phaser effect.
Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.
Adjusts the center frequency of the phaser effect.
This sets the cycle of the step function that changes the rate and depth. When it is set to a higher value, the change will be finer. Set this to “Off” when not using the
Step function.
Adjusts the volume of the phaser.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
PHASER settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
PITCH SHIFTER
This effect changes the pitch of the original sound (up or down) within a range of two octaves.
Parameter Value Explanation
Selects the number of voices for the pitch shift sound.
1VOICE One-voice pitch-shifted sound output in mono.
VOICE 2MONO Two-voice pitch-shifted sound
(PS1, PS2) output in mono.
2STEREO
Two-voice pitch-shifted sound
(PS1, PS2) output through left and right channels.
PS1:PITCH
PS2:PITCH
*1
-24–+24
Adjusts the amount of pitch shift (the amount of interval) in semitone steps.
DIRECT LEVEL
PS1:MODE
PS2:MODE
*1
0–100
Adjusts the volume of the direct sound.
Selection for the pitch shifter mode.
FAST,
MEDIUM,
SLOW
MONO
The response is slower in the order of FAST, MEDIUM and
SLOW, but the modulation is lessened in the same order.
MONO is used for inputting single notes.
You may be unable to produce the intended effect when playing chords (two or more notes played simultaneously).
PS1:FINE
PS2:FINE
*1
PS1:PRE-DELAY
*2
PS2:PRE-DELAY
*1 *2
PS1:LEVEL
PS2:LEVEL
*1
0–100
PS1:FEEDBACK 0–100
-50–+50
0 ms–300 ms,
BPM ` – Œ
Make fine adjustments to the interval. The amount of the change in the FINE 100 is equivalent to that of the PITCH 1.
Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard.
Normally you can leave this set at 0ms.
Adjusts the volume of the pitch shifter.
BPM
VARIATION
40–250
PATCH, 01–10
Adjusts the feedback amount of the pitch shift sound.
Adjusts the BPM value for each patch.
PITCH SHIFTER settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Valid when the VOICE is set to 2MONO or 2STEREO.
*2 Refer to “About effects when a note value is selected as a setting”
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REVERB
This effect adds reverberation to the sound.
Parameter Value Explanation
This selects the reverb type. Various different simulations of space are offered.
AMBIENCE
Simulates an ambience mic (offmic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.
TYPE
ROOM
HALL1
HALL2
PLATE
Simulates the reverberation in a small room. Provides warm reverberations.
Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
Simulates the reverberation in a concert hall. Provides mild reverberations.
Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.
TIME
SPRING
MOD
0.1 s–10.0 s
This simulates the sound of a guitar amp’s built-in spring reverb.
This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.
Adjusts the length (time) of reverberation.
PRE-DELAY
EFFECT LEVEL
LOW CUT
HIGH CUT
DENSITY
DIRECT LEVEL
CARRY OVER
SPRING SENS
*1
VARIATION
0–100
FLAT, 20.0
Hz–16.0 kHz
20.0 Hz–16.0 kHz, FLAT
1–10
0–100
OFF, ON
0–100
PATCH, 01–10
Adjusts the volume of the reverb sound.
This sets the frequency at which the low cut filter begins to take effect.
When FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect.
When FLAT is selected, the high cut filter will have no effect.
Adjusts the density of the reverb sound.
Adjusts the volume of the direct sound.
Specifies whether the effect sound remains when you turn off the effect, or does not remain.
Adjusts the sensitivity of the spring effect. When the value is set higher, the effect is obtained even with a weak picking.
REVERB settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Valid when the TYPE is set to SPRING.
EFFECT Parameters > FX1–FX3
RING MOD
This creates a bell-like sound by ring-modulating the guitar sound with the signal from the internal oscillator. The sound can be unmusical and lack distinctive pitches.
Parameter Value Explanation
INTELLIGENT
FREQUENCY
OFF, ON
0–100
If this is ON, the oscillator frequency changes according to the pitch of the input sound, producing a pitched sound. In this case, the expected effect does not occur if the pitch of the guitar sound is not detected correctly. We recommend that you use this with single-note playing.
Adjusts the frequency of the internal oscillator.
FREQ MOD
RATE
*1
FREQ MOD
DEPTH
EFFECT LEVEL
0–100, BPM
ΠР`
0–100
0–100
Adjusts the rate at which the internal oscillator is modulated.
Adjusts the depth to which the internal oscillator is modulated.
Adjusts the volume of the effect sound.
DIRECT LEVEL
BPM
VARIATION
0–100
40–250
PATCH, 01–10
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
RING MOD settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
ROTARY
This produces an effect like the sound of a rotary speaker.
Parameter
SPEED
SELECT
RATE SLOW
*1
RATE FAST
*1
DEPTH
RISE TIME
FALL TIME
EFFECT LEVEL
DIRECT LEVEL
Value
SLOW, FAST
0–100, BPM
ΠР`
0–100, BPM
ΠР`
0–100
0–100
0–100
0–100
0–100
Explanation
This parameter changes the simulated speaker’s rotating speed
(SLOW or FAST).
This parameter adjusts the rotation speed when SPEED SELECT is set to
“SLOW.”
This parameter adjusts the rotation speed when SPEED SELECT is set to
“FAST.”
Adjusts the amount of depth in the rotary effect.
This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from
“SLOW” to “FAST.”
This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from
“FAST” to “SLOW.”
Adjusts the volume.
Adjusts the volume of the direct sound.
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EFFECT Parameters > FX1–FX3
Parameter
BPM
VARIATION
Value
40–250
PATCH, 01–10
Explanation
Adjusts the BPM value for each patch.
ROTARY settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
SITAR SIM
This simulates the sound of the sitar.
Parameter Value Explanation
SENS
DEPTH
0–100
0–100
Adjusts the sensitivity of the sitar.
When it is set to a lower value, no effect of the sitar is obtained with weaker picking, while stronger picking produces the effect. When it is set to a higher value, the effect of the sitar can be obtained whether the picking is weak or strong.
This adjusts the amount of effect applied.
TONE
EFFECT LEVEL
RESONANCE
-50–+50
0–100
0–100
Adjusts the tone character.
The high end is boosted as the value increases.
Adjust the volume of the sitar sound.
This adjusts the undulation of the resonance.
BUZZ
DIRECT LEVEL
VARIATION
0–100
0–100
PATCH, 01–10
Adjusts the amount of characteristic buzz produced by the “buzz bridge” when the strings make contact with it.
Adjusts the volume of the direct sound.
SITAR SIM settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
SLICER
This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.
Parameter Value Explanation
PATTERN P1–P20
Select the slice pattern (rhythm) that will be used to cut the sound.
RATE
*1
0–100, BPM
ΠР`
Adjust the rate at which the sound will be cut.
TRIGGER OFF, ON
When you switch this from OFF to ON, the slice pattern (rhythm) returns to its beginning.
* Patches are written with the
TRIGGER parameter set to Off.
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Parameter
EFFECT LEVEL
ATTACK
DUTY
DIRECT LEVEL
BPM
VARIATION
Value
0–100
0–100
1–99
0–100
40–250
PATCH, 01–10
Explanation
Adjusts the volume of the effect sound.
Adjusts the volume of the attacks for the slice pattern (rhythm).
Adjusts the duration of the sound for the slice pattern (rhythm).
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
SLICER settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
SLOW GEAR/SLOW GEAR BASS
This produces a volume-swell effect (“violin-like” sound).
Parameter Value Explanation
SENS
RISE TIME
LEVEL
VARIATION
0–100
0–100
0–100
PATCH, 01–10
Adjusts the sensitivity of the slow gear. When it is set to a lower value, the effect of the slow gear can be obtained only with a stronger picking, while no effect is obtained with a weaker picking. When the value is set higher, the effect is obtained even with a weak picking.
Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.
Adjusts the volume of the effect sound.
SLOW GEAR and SLOW GEAR BASS settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
SOUND HOLD
You can have sound played on the guitar be held continuously. This effect allows you to perform the melody in the upper registers while holding a note in the lower registers.
* This function will not work properly when two or more notes are played simultaneously.
Parameter Value
TRIGGER OFF, ON
Explanation
Switches the hold sound on and off.
Normally, this is controlled with the
CTL pedals.
5 It is assumed that this parameter will be assigned to the footswitch.
5 Patches are written with the
TRIGGER parameter set to Off.
Parameter
RISE TIME
EFFECT LEVEL
VARIATION
Value
0–100
0–120
PATCH, 01–10
Explanation
Adjusts how rapidly the Sound Hold sound is produced.
Adjusts the volume of the hold sound.
SOUND HOLD settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
TOUCH WAH/TOUCH WAH BASS
You can produce a wah effect with the filter changing in response to the guitar/bass level.
Parameter Value Explanation
Selects the wah mode.
LPF
Low pass filter. Passes only the lowfrequency region.
FILTER MODE
BPF
Band pass filter. Passes only the specified frequency region.
HPF
High pass filter. Passes only the high-frequency region.
Selects the direction in which the filter will change in response to the input.
POLARITY
DOWN The frequency of the filter will fall.
UP
SENS
FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT LEVEL
VARIATION
0–100
0–100
0–100
0–100
0–100
0–100
PATCH, 01–10
The frequency of the filter will rise.
Specifies the sensitivity with which the filter moves in the direction specified by the POLARITY setting.
Higher values will result in a stronger response. With a setting of
0, the strength of picking will have no effect.
Adjusts the center frequency of the
Wah effect.
Adjusts the amount of wah effect applied in the range near the reference frequency.
Higher values will produce a stronger tone which emphasizes the wah effect more. With a value of 50, a standard wah sound will be produced.
Adjusts the rate at which the filter is moved.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
TOUCH WAH and TOUCH WAH
BASS settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
EFFECT Parameters > FX1–FX3
TREMOLO
Tremolo is an effect that creates a cyclic change in volume.
Parameter Value Explanation
WAVE SHAPE 0–100
Adjusts changes in volume level.
A higher value will steepen wave’s shape.
RATE
*1
DEPTH
0–100, BPM
ΠР`
0–100
EFFECT LEVEL 0–100
Adjusts the frequency (speed) of the change.
Adjusts the depth of the effect.
Adjusts the volume.
DIRECT LEVEL
BPM
VARIATION
0–100
40–250
PATCH, 01–10
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
TREMOLO settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
VIBRATO
This effect creates vibrato by slightly modulating the pitch.
Parameter Value Explanation
RATE
*1
DEPTH
TRIGGER
RISE TIME
EFFECT LEVEL
0–100, BPM
ΠР`
0–100
OFF, ON
0–100
0–100
Adjusts the rate of the vibrato.
Adjusts the depth of the vibrato.
This selects on/off of the vibrato.
This sets the time passing from the moment the Trigger is turned on until the set vibrato is obtained.
Adjusts the volume.
DIRECT LEVEL 0–100
Adjusts the volume of the direct sound.
BPM
VARIATION
40–250
PATCH, 01–10
Adjusts the BPM value for each patch.
VIBRATO settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
53
EFFECT Parameters > AMP (AMP Modeling)
WAH
You can control the wah effect in real time by the expression pedal.
Parameter Value Explanation
Selects the type of wah.
CRY WAH
This models the sound of the CRY
BABY wah pedal popular in the ‘70s.
VO WAH
TYPE
FAT WAH
LIGHT WAH
7STRING WAH
Models the VOX V846.
This is a wah sound featuring a bold tone.
This wah has a refined sound with no unusual characteristics.
This expanded wah features a variable range compatible with seven-string and baritone guitars.
PEDAL
POSITION
PEDAL MIN
PEDAL MAX
EFFECT LEVEL
DIRECT LEVEL
VARIATION
RESO WAH
BASS WAH
0–100
0–100
0–100
0–100
0–100
PATCH, 01–10
This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters.
This wah has been specially adapted for use in the bass registers.
Inclusion of the low-frequency range in the wah sound produces a robust wah effect, with no dilution of the sound.
Adjusts the position of the wah pedal.
* This parameter is used after it’s been assigned to an expression pedal or similar controller.
Selects the tone produced when the heel of the EXP Pedal is depressed.
Selects the tone produced when the toe of the EXP Pedal is depressed.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
WAH settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
AMP (AMP Modeling)
Simulates the response of the preamp, the size of the speakers, and the type of cabinet.
Parameter
ON/OFF
TYPE
GAIN
Value
OFF, ON
Explanation
Turns this effect on/off.
Selects the AMP type “TYPE” (p. 55).
0–120
SAG -10–+10
Adjusts the distortion of the amp.
Adjusts the amount by which compression changes in response to the power amp.
RESONANCE -10–+10
Adjusts the amount by which dynamics is affected by the interaction between the power amp and the speaker transformer.
LEVEL
BASS
MIDDLE
TREBLE
PRESENCE
BRIGHT
GAIN SW
SOLO SW
SOLO LEVEL
0–100
0–100
0–100
0–100
0–100
OFF, ON
LOW, MIDDLE,
HIGH
OFF, ON
0–100
Adjusts the volume of the entire preamp.
* Be careful not to raise the LEVEL setting too high.
Adjusts the tone for the low frequency range.
Adjusts the tone for the middle frequency range.
Adjusts the tone for the high frequency range.
Adjusts the tone for the ultra high frequency range.
Turns the bright setting on/off.
* BRIGHT is valid for some of the amps in TYPE.
Provides for selection from three levels of distortion: LOW,
MIDDLE, and HIGH. Distortion will successively increase for settings of
LOW, MIDDLE and HIGH.
* The sound of each Type is created on the basis that the Gain is set to
MIDDLE.
Switches the tone to one suitable for solos.
Adjusts the volume level when the
SOLO SW is ON.
SP TYPE
MIC TYPE
MIC DISTANCE
MIC POSITION
MIC LEVEL
DIRECT LEVEL
This setting selects the simulated speaker type “SP
This setting selects the simulated mic type “MIC
SHORT,
MEDIUM,
LONG
Simulates the distance between the mic and speaker.
The distance from the speakers is farther in the order of
SHORT<MEDIUM<LONG.
This simulates the mic position.
CENTER
1 cm–10 cm
0–100
0–100
Simulates the condition that the mic is set in the middle of the speaker cone.
Simulates the condition that the mic is moved away from the center of the speaker cone.
Adjusts the volume of the mic.
Adjusts the volume of the direct sound.
54
Parameter
VARIATION
Value
PATCH, 01–10
Explanation
AMP Modeling settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
The variations are common to AMP
Modeling (when E.GUITAR, E.BASS,
ACOUSTIC, or AC BASS is selected) within the INST.
TYPE
Value Explanation
TRANSPARENT
NATURAL
An amp with a broad frequency range and an extremely flat response. Good for acoustic guitar.
An unembellished, clean sound that minimizes the amp’s idiosyncrasies, such as its trebly character and boomy low end.
BOUTIQUE
SUPREME
MAXIMUM
JUGGERNAUT
X-CRUNCH
X-HI GAIN
X-MODDED
Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps.
Great-feeling crunch sound that responds to the nuances of your picking while taking advantage of the distinctive character of a 4x12” speaker cabinet.
An amp that delivers the distinctively great response and tone of a vintage Marshall, while making it even higher gain.
A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.
Crunch sound that uses MDP to deliver a crisp tone from all strings.
High-gain sound that uses MDP to obtain highgain sound with a wide range and a great-feeling sense of separation.
Core sound that uses MDP to preserve the definition of the sound even with extreme gain.
JC-120
TWIN COMBO
This models the sound of the Roland JC-120.
This models a Fender Twin Reverb.
DELUXE COMBO This models a Fender Deluxe Reverb.
TWEED COMBO This models a Fender Bassman 4x10” Combo.
DIAMOND AMP This models a VOX AC30.
BRIT STACK This models a Marshall 1959.
RECTI STACK
Models the sound of the Channel 2 MODERN
Mode on the MESA/Boogie DUAL Rectifier.
MATCH COMBO
BG COMBO
ORNG STACK
BGNR UB METAL
This models the sound input to left input on a
Matchless D/C-30.
This models the sound of the MESA/Boogie combo amp.
This models the dirty channel of an ORANGE
ROCKERVERB.
This models the sound that models the high-gain channel of a Bogner Uberschall.
NATURAL BASS Uncolored clean sound for bass.
X-DRIVE BASS
High-gain sound for bass, using MDP to provide wide range and a good-sounding sense of separation.
Value
CONCERT
SUPER FLAT
FLIP TOP
B MAN
BASS 360
SW-TOUR
AC BASS
GK BASS
MARK
EFFECT Parameters > AMP (AMP Modeling)
Explanation
This models the Ampeg SVT.
A bass amp with flat response.
Models the Ampeg B-15.
Models the Fender Bassman 100.
Models the Acoustic 360.
Models the SWR SM-400.
An amp ideal for ACOUSTIC BASS.
Models the Gallien-Krueger 800RB.
Models the Markbass Little Mark III.
SP TYPE
Value
OFF
ORIGINAL
1x8”
1x10”
1x12”
2x12”
4x10”
4x12”
8x12”
B1x15”
B1x18”
B2x15”
B4x10”
B8x10”
Explanation
This turns off the speaker simulator.
This is the built-in speaker of the amp you selected with PREAMP TYPE.
This is a compact open-back speaker cabinet with one 8-inch speaker.
This is a compact open-back speaker cabinet with one 10-inch speaker.
This is a compact open-back speaker cabinet with one 12-inch speaker.
This is a general open-back speaker cabinet with two 12-inch speakers.
This is a large closed-back speaker cabinet with four
10-inch speakers.
This is a large closed-back speaker cabinet with four
12-inch speakers.
This is a stack of two cabinets each with four 12-inch speakers.
This is a compact open-back speaker cabinet for the bass guitar with one 15-inch speaker.
This is a compact open-back speaker cabinet for the bass guitar with one 18-inch speaker.
This is a general open-back speaker cabinet for the bass guitar with two 15-inch speakers.
This is a large closed-back speaker cabinet for the bass guitar with four 10-inch speakers.
This is a stack of two cabinets for bass, each with four 10-inch speakers.
MIC TYPE
Value
DYN57
DYN421
CND451
CND87
FLAT
Explanation
This is the sound of the SHURE SM57. General dynamic mic used for instruments and vocals.
This is the sound of the SENNHEISER MD-421.
Dynamic mic with extended low end.
This is the sound of the AKG C451B. Small condenser mic for use with instruments.
This is the sound of the NEUMANN U87. Condenser mic with flat response.
Simulates a mic with perfectly flat response.
Produces a sonic image close to that of listening to the sound directly from the speakers (on site).
55
EFFECT Parameters > CHORUS
CHORUS
In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Turns this effect on/off.
MODE
Selection for the chorus mode.
MONO
This chorus effect outputs the same sound from both L channel and R channel.
STEREO1
This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the effect sound output in the R channel.
STEREO2
DUAL
This is a stereo chorus effect that adds different chorus sounds to L channel and R channel.
This lets you apply chorus independently to the L and R channels.
RATE
*2
RATE 1
RATE 2
*1 *2
0–100, BPM
ΠР`
Adjusts the rate of the chorus effect.
DEPTH
DEPTH 1
DEPTH 2
*1
0–100
Adjusts the depth of the chorus effect.
* To use it for doubling effect, set the value to 0.
PRE-DELAY
PRE-DELAY 1
PRE-DELAY 2
*1
0.0 ms–40.0 ms
Adjusts the time needed for the effect sound to be output after the direct sound has been output. By setting a longer pre delay time, you can obtain an effect that sounds like more than one sound is being played at the same time (doubling effect).
EFFECT LEVEL
EFFECT LEVEL
1
EFFECT LEVEL
2
*1
0–100
Adjusts the volume of the effect sound.
WAVEFORM
Produces a typical chorus effect.
TRI
WAVEFORM 1
WAVEFORM 2
*1
SINE
LOW CUT
LOW CUT 1
LOW CUT 2
*1
FLAT, 20.0
Hz–16.0 kHz
Produces a deeper sense of modulation.
This sets the frequency at which the low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect.
Parameter
HIGH CUT
HIGH CUT 1
HIGH CUT 2
*1
Value
20.0 Hz–16.0 kHz, FLAT
Explanation
This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
DIRECT LEVEL
OUTPUT
MODE
*1
BPM
VARIATION
0–100
MONO
STEREO
40–250
PATCH, 01–10
Adjusts the volume of the direct sound.
Setting this to 0 cuts the direct sound.
This setting is appropriate for mono output.
Produces a rich spaciousness when stereo output is used.
Adjusts the BPM value for each patch.
CHORUS settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the CHORUS setting in FX1–FX3.
*1 Valid when the MODE is set to DUAL.
*2 Refer to “About effects when a note value is selected as a setting”
56
COMPRESSOR
This is an effect that produces a long sustain by evening out the volume level of the input signal.
Parameter
ON/OFF
TYPE
Value
OFF, ON
Explanation
Turns this effect on/off.
Selects the compressor type “TYPE” (p. 57).
SUSTAIN
ATTACK
0–100
0–100
Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.
Adjusts the strength of the attack when picking.
EFFECT LEVEL 0–100
DIRECT LEVEL
TONE
VARIATION
0–100
-50–+50
PATCH, 01–10
Adjusts the volume.
Adjusts the volume of the direct sound.
Adjusts the tone character.
COMPRESSOR settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the
COMPRESSOR setting in FX1–FX3.
TYPE
Value Explanation
BOSS COMP This models a BOSS CS-3.
Hi-BAND
LIGHT
D-COMP
A compressor that adds an even stronger effect in the high end.
A compressor with a light effect.
ORANGE
FAT
This models a MXR DynaComp.
This is modeled on the sound of the Dan Armstrong
ORANGE SQUEEZER.
When applied heavily, this compressor effect provides a fat tone with a boosted midrange.
MILD
When applied heavily, this compressor effect produces a sweet tone with the high end cut.
EFFECT Parameters > COMPRESSOR
DISTORTION
This effect distorts the sound to create long sustain.
Parameter
ON/OFF
TYPE
DRIVE
TONE
Value
OFF, ON
Explanation
Turns this effect on/off.
Selects the DISTORTION type “TYPE” (p. 57).
0–120
-50–+50
Adjusts the depth of distortion.
Adjusts the tone.
LEVEL
BOTTOM
DIRECT LEVEL
SOLO SW
0–100
-50–+50
0–100
OFF, ON
Adjusts the volume of the effect sound.
Adjusts the tone for the low frequency range. Turning this to the left (counterclockwise) produces a sound with the low end cut; turning it to the right boosts the low end in the sound.
Adjusts the volume of the direct sound.
Switches the tone to one suitable for solos.
SOLO LEVEL
VARIATION
0–100
PATCH, 01–10
Adjusts the volume level when the
SOLO SW is ON.
DISTORTION settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
TYPE
Value
A-DIST
X-OD
X-DIST
Explanation
MID BOOST
CLEAN BOOST
This is a booster with unique characteristics in the midrange.
This not only functions as a booster, but also produces a clean tone that has punch even when used alone.
TREBLE BOOST This is a booster that has bright characteristics.
CRUNCH
NATURAL OD
WARM OD
FAT DS
A lustrous crunch sound with an added element of amp distortion.
This is an overdrive sound that provides distortion with a natural feeling.
This is a warm overdrive.
LEAD DS
METAL DS
OCT FUZZ
A distortion sound with thick distortion.
Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.
This is a distortion sound that is ideal for performances of heavy riffs.
A fuzz sound with rich harmonic content.
This uses MDP technology to obtain ideal distortion in all ranges of the guitar, from low to high.
This is an overdrive that uses MDP to obtain the distortion that’s most appropriate in each pitch range.
This is a distortion that uses MDP to obtain the distortion that’s most appropriate in each pitch range.
57
EFFECT Parameters > EQ 1, EQ2
Value
BLUES OD
OD-1
T-SCREAM
TURBO OD
DIST
CENTA OD
RAT
GUV DS
DIST+
METAL ZONE
HM-2
METAL CORE
’60S FUZZ
MUFF FUZZ
BASS OD
BASS DS
BASS MT
BASS FUZZ
HI BAND DRIVE
X-BASS OD
BASS DRV
BASS DI
Explanation
This is a crunch sound of the BOSS BD-2.
This produces distortion that faithfully reproduces the nuances of picking.
This models the sound of the BOSS OD-1.
This produces sweet, mild distortion.
This models an Ibanez TS-808.
This is the high-gain overdrive sound of the BOSS
OD-2.
This gives a basic, traditional distortion sound.
This models a KLON CENTAUR.
This models a Proco RAT.
This models a Marshall GUV’NOR.
This models the sound of the MXR DISTORTION+.
This models the sound of the BOSS MT-2.
It produces a wide range of metal sounds, from old style to slash metal.
This models the sound of the BOSS HM-2.
It produces distinctive cranked-up distortion sound with compression.
This models the sound of the BOSS ML-2.
It produces a sound that is ideal for high-speed metal riffs.
This models a FUZZFACE.
It produces a fat fuzz sound.
This models an Electro-Harmonix Big Muff π.
Overdrive tuned especially for use with basses.
Distortion tuned especially for use with basses.
Wild, radical distortion sound.
Fuzz tuned especially for use with basses.
With this effect, distortion is applied only to the high frequency sounds, and not to the sounds in the low frequency range. It is distinctive for producing a strong low-end even when intensely distorted.
This effect uses MDP to provide ideal distortion in all pitch ranges of the bass, from low to high.
This models a TECH21 SANSAMP BASS DRIVER DI.
This models a MXR Bass D.I.+.
EQ 1, EQ2
You can adjust the tone character in four bands.
Parameter Value Explanation
ON/OFF OFF, ON
LOW CUT
FLAT, 20.0
Hz–16.0 kHz
Turns this effect on/off.
This sets the frequency at which the low cut filter begins to take effect.
When FLAT is selected, the low cut filter will have no effect.
LOW GAIN
LOW-MID
FREQ
LOW-MID Q
LOW-MID
GAIN
HIGH-MID
FREQ
HIGH-MID Q
HIGH-MID
GAIN
-20–+20 dB
20.0 Hz–16.0 kHz
0.5–16
-20–+20 dB
20.0 Hz–16.0 kHz
0.5–16
-20–+20 dB
Adjusts the tone for the low frequency range.
Specifies the center of the frequency range that will be adjusted by the
LOW-MID GAIN.
Adjusts the width of the area affected by the EQ centered at the
LOW-MID FREQ. Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
Specifies the center of the frequency range that will be adjusted by the
HIGH-MID GAIN.
Adjusts the width of the area affected by the EQ centered at the
HIGH-MID FREQ. Higher values will narrow the area.
Adjusts the high-middle frequency range tone.
HIGH GAIN
HIGH CUT
LEVEL
VARIATION
-20–+20 dB
20.0 Hz–16.0 kHz, FLAT
-20–+20 dB
PATCH, 01–10
Adjusts the tone for the high frequency range.
This sets the frequency at which the high cut filter begins to take effect.
When FLAT is selected, the high cut filter will have no effect.
Adjusts the overall volume level of the equalizer.
EQ settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the
PARAMETRIC EQ setting in FX1–FX3.
58
MASTER DELAY
Adds delayed sound to the direct sound, giving more body to the sound or creating special effects.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Turns this effect on/off.
TYPE
Selects the DELAY type “TYPE” (p. 59).
* The stereo effect is canceled if a mono effect or
AMP Modeling is connected after a stereo delay effect.
TIME
*1 *12
D1 TIME
D2 TIME
*2 *12
FEEDBACK
*3
D1 FEEDBACK
D2 FEEDBACK
*2
EFFECT LEVEL
*4
D1 EFFECT
LEVEL
D2 EFFECT
LEVEL
*2
HIGH CUT
*3
D1 HIGH CUT
D2 HIGH CUT
*2
1 ms–2000 ms, BPM
0–100
0–120
20.0 Hz–16.0 kHz, FLAT
` – Œ
Adjusts the delay time.
This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.
Adjusts the volume of the delay sound.
This sets the frequency at which the high cut filter begins to take effect.
When FLAT is selected, the high cut filter will have no effect.
TAP TIME
*6
0–100%
Adjusts the delay time of the right channel delay. This setting adjusts the R channel delay time relative to the L channel delay time
(considered as 100%).
MOD RATE
*7
MOD DEPTH
*7
TRIGGER
*8
0–100
0–100
OFF, ON
Adjusts the modulation rate of the delay sound.
Adjusts the modulation depth of the delay sound.
If this is ON, the WARP effect is applied.
MODE
*9
RISE
RISE
0
0
FALL
FADE
Rotation stops when you switch
TRIGGER from ON to OFF.
When you switch TRIGGER from
ON to OFF, fade-out occurs while continuing the rotation.
TRIGGER
*9
OFF, ON
The TWIST effect is applied when you turn this ON.
RISE TIME
*9
FALL TIME
*9 *10
0–100
0–100
This parameter adjusts the amount of time it is to take for the effect to transition to the maximum.
This parameter adjusts the amount of time it is to take for the effect to transition to the original.
FADE TIME
*9 *11
0–100 Adjusts the fade-out time.
EFFECT Parameters > MASTER DELAY
Parameter
DIRECT LEVEL
*5
CARRY OVER
BPM
VARIATION
Value
0–100
OFF, ON
40–250
PATCH, 01–10
Explanation
Adjusts the volume of the direct sound.
Specifies whether the effect sound remains when you turn off the effect, or does not remain.
Adjusts the BPM value for each patch.
DELAY settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the
DELAY setting in FX1–FX3.
*1 Valid when the TYPE is set to other than DUAL-S, DUAL-P, DUAL
L/R, or TWIST.
*2 Valid when the TYPE is set to DUAL-S, DUAL-P, or DUAL L/R.
*3 Valid when the TYPE is set to other than DUAL-S, DUAL-P, DUAL
L/R, WARP or TWIST.
*4 Valid when the TYPE is set to other than DUAL-S, DUAL-P, or DUAL
L/R.
*5 Valid when the TYPE is set to other than WARP or TWIST.
*6 Valid when the TYPE is set to PAN.
*7 Valid when the TYPE is set to MOD.
*8 Valid when the TYPE is set to WARP.
*9 Valid when the TYPE is set to TWIST.
*10 Valid when the MODE is set to RISE 0 FALL.
*11 Valid when the MODE is set to RISE 0 FADE.
*12 Refer to “About effects when a note value is selected as a setting”
TYPE
Value
STEREO1
STEREO2
PAN
Explanation
The direct sound is output from the left channel, and the effect sound is output from the right channel.
This is a stereo-in/out delay.
This delay is specifically for stereo output. This allows you to obtain the tap delay effect that divides the delay time, then deliver them to L and R channels.
TAP TIME
OUTPUT R
EFFECT LEVEL
INPUT
DELAY
TIME
OUTPUT L
DUAL-S
DUAL-P
DUAL-L/R
REVERSE
FEEDBACK
This is a delay comprising two different delays connected in series.
This is a delay comprising two delays connected in parallel.
This delay lets you specify the L and R channels independently. Delay 1 goes to the left channel,
Delay 2 to the right.
This produces an effect where the sound is played back in reverse.
59
EFFECT Parameters > DELAY 1, DELAY 2
Value
ANALOG
TAPE
MOD
WARP
TWIST
Explanation
This gives a mild analog delay sound.
This setting provides the characteristic wavering sound of the tape echo.
A delay with a pleasant amount of modulation added.
Produces a dream-like sound.
Produces an aggressive sense of rotation.
Using this in conjunction with distortion will produce an even wilder sense of rotation.
DELAY 1, DELAY 2
Adds delayed sound to the direct sound, giving more body to the sound or creating special effects.
Parameter
ON/OFF
TIME
*1
Value
OFF, ON
1 ms–2000 ms, BPM ` – Œ
Explanation
Turns this effect on/off.
Adjusts the delay time.
FEEDBACK 0–100
This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.
EFFECT LEVEL
HIGH CUT
DIRECT LEVEL
0–120
20.0 Hz–16.0 kHz, FLAT
0–100
Adjusts the volume of the delay sound.
This sets the frequency at which the high cut filter begins to take effect.
When FLAT is selected, the high cut filter will have no effect.
Adjusts the volume of the direct sound.
CARRY OVER
BPM
VARIATION
OFF, ON
40–250
PATCH, 01–10
Specifies whether the effect sound remains when you turn off the effect, or does not remain.
Adjusts the BPM value for each patch.
DELAY settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Refer to “About effects when a note value is selected as a setting”
60
REVERB
This effect adds reverberation to the sound.
Parameter
ON/OFF
TYPE
Value
OFF, ON
Explanation
Turns this effect on/off.
This selects the reverb type. Various different simulations of space are offered.
AMBIENCE
Simulates an ambience mic (offmic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.
ROOM
HALL1
HALL2
PLATE
Simulates the reverberation in a small room. Provides warm reverberations.
Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
Simulates the reverberation in a concert hall. Provides mild reverberations.
Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.
TIME
PRE-DELAY
EFFECT LEVEL
LOW CUT
HIGH CUT
SPRING
MOD
0.1 s–10.0 s
0 ms–500 ms
0–100
FLAT, 20.0
Hz–16.0 kHz
20.0 Hz–16.0 kHz, FLAT
This simulates the sound of a guitar amp’s built-in spring reverb.
This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.
Adjusts the length (time) of reverberation.
Adjusts the time until the reverb sound appears.
Adjusts the volume of the reverb sound.
This sets the frequency at which the low cut filter begins to take effect.
When FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect.
When FLAT is selected, the high cut filter will have no effect.
DENSITY
DIRECT LEVEL
CARRY OVER
SPRING SENS
*1
1–10
0–100
OFF, ON
0–100
Adjusts the density of the reverb sound.
Adjusts the volume of the direct sound.
Specifies whether the effect sound remains when you turn off the effect, or does not remain.
Adjusts the sensitivity of the spring effect. When the value is set higher, the effect is obtained even with a weak picking.
EFFECT Parameters > REVERB
Parameter
VARIATION
Value
PATCH, 01–10
Explanation
REVERB settings can be saved/ loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the
REVERB setting in FX1–FX3.
*1 Valid when the TYPE is set to SPRING.
61
EFFECT Parameters > NOISE SUPPRESSOR
NOISE SUPPRESSOR
This effect reduces the noise and hum picked up by guitar pickups.
Since it suppresses the noise in synchronization with the envelope of the guitar sound (the way in which the guitar sound decays over time), it has very little effect on the guitar sound, and does not harm the natural character of the sound.
Parameter
ON/OFF
THRESHOLD
Value
OFF, ON
0–100
Explanation
Turns this effect on/off.
Adjust this parameter as appropriate for the volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise level is low, a lower setting is appropriate.
Adjust this value until the decay of the guitar sound is as natural as possible.
* High settings for the threshold parameter may result in there being no sound when you play with your guitar volume turned down.
RELEASE
DETECT
0–100
Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”
This controls the noise suppressor based on the volume level for the point specified in Detect.
GK INPUT
*1
NORMAL
INPUT
NS INPUT
Input volume from the GK IN jack.
* Set the GK SETTING parameter
Input volume from the GUITAR
INPUT jack.
Noise suppressor input volume.
* When connected as illustrated below, and you want to prevent a spatial-type effects sound (such as a delay sound) from being eradicated by the NS, you should set DETECT to “NS INPUT.”
DLY
Spatial-type effect
NS
INST1 OUT
INST2 OUT
INST3 OUT
Specifies the output volume of the
INST.
VARIATION PATCH, 01–10
NOISE SUPPRESSOR settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
*1 Setting available with GK PATCH.
FOOT VOLUME 1, FOOT VOLUME 2
This is a volume control effect.
Normally, this is controlled with the expression pedal connected to the CTL 3, 4/EXP 1 jack or CTL 5, 6/EXP 2 jack.
Parameter Value Explanation
VOLUME MIN
VOLUME MAX
0–100
0–100
Sets the volume when the heel of the EXP Pedal is depressed.
Selects the volume when the toe of the EXP Pedal is depressed.
You can select how the actual volume changes relative to the amount the pedal is pressed.
Volume
VOLUME
CURVE
PEDAL
POSITION
VARIATION
SLOW1,
SLOW2,
NORMAL,
FAST
FAS
T
NO
RM
AL
SLO
W
2
SLO
W
1
When the pedal is fully raised
When the pedal is fully advanced
0–100
PATCH, 01–10
Adjusts the volume.
FOOT VOLUME settings can be saved/loaded as ten variations.
A saved VARIATION can be loaded into a different patch, which is convenient when you’re creating sounds.
These variations are shared with the
FOOT VOLUME setting in FX1–FX3.
62
SEND/RETURN
You can connect an external effects processor between the SEND jack and RETURN jack, and use it as one of the SY-1000’s effects processors.
EFFECT Parameters > SEND/RETURN
Value
DIRECT MIX
Explanation
The input to SEND/RETURN within the effect chain will be output to the SEND jack, and the input from the RETURN jack and the input to SEND/
RETURN (the direct sound) will be mixed and output following SEND/RETURN.
Use this when you want to mix the SY-1000’s effects sounds together with the external effects device applied to it.
SEND RETURN
BRANCH OUT
The input to SEND/RETURN within the effect chain will be output to the SEND jack. The input from the
RETURN jack will be ignored.
For example, by placing SEND/RETURN in the
SY-1000’s effect chain in front of reverb or delay, this allows you to use the SEND jack as a dry out.
SEND
The sound that is input to SEND/RETURN within the effect chain will be output to the SEND jack. The sound that is input via the RETURN jack will be input to SEND/RETURN within the effect chain.
Parameter
ON/OFF
MODE
Value
OFF, ON
Explanation
Turns on/off the SEND/RETURN.
Selects the signal flow “MODE” (p. 63).
SEND LEVEL 0–200
Adjusts the volume of the output to the external effects device.
RETURN
LEVEL
*1
0–200
Adjusts the volume of the input from the external effects device.
ADJUST
*1
PHASE
0–100
NORMAL,
INVERT
Adjusts the phase between the
SY-1000’s internal processing and an external effect unit connected to the SEND/RETURN jacks.
Specifies the phase of the signal that is output from the SEND jack.
*1 You can adjust this if the MODE parameter is set to NORMAL or
DIRECT MIX.
MODE
Value
NORMAL
Explanation
The input to SEND/RETURN within the effect chain will be output to the SEND jack, and the input from the RETURN jack will be output following SEND/
RETURN.
Use this setting if you want to connect an external effects processor in series within the SY-1000’s effect chain.
SEND RETURN
63
EFFECT Parameters > DIVIDER
DIVIDER
This lets you branch channel “A” and channel “B” within the effect chain.
DIVIDER
Parameter
MODE
CH SELECT
Value
SINGLE
DUAL
A, B
MIXER
Explanation
Use only one channel, either “A” or
“B.”
Use the two channels “A” and “B.”
Selects the channel to use.
* Setting available when MODE is set to SINGLE.
MIXER
This merges the signals that were branched using DIVIDER.
Parameter Value Explanation
A/B BALANCE 100:0–0:100
Adjusts the volume balance of channels “A” and “B.”
* This is shown only if DIVIDER
MODE is set to “DUAL.”
A:PAN
B:PAN
L50–R50
L50–R50
Adjusts the pan of channel “A.”
Adjusts the pan of channel “B.”
64
BALANCER 1–BALANCER 3
This adjusts the volume balance and panning for each of the routes
INST1–INST3 and NORMAL INPUT.
BALANCER 1 BALANCER 2 BALANCER 3
EFFECT Parameters > BALANCER 1–BALANCER 3
MAIN OUT/SUB OUT
These are settings for the MAIN OUT and SUB OUT jacks.
Parameter
STEREO LINK
Value
OFF, ON
Explanation
If this is OFF, L and R can be independently positioned in the chain; if this is ON, they are positioned as a set (stereo).
L:PHASE
R:PHASE
NORMAL,
INVERT
Specify the phase of the output signal.
Parameter Value
A/B BALANCE 100:0–0:100
A:PAN
B:PAN
L50–R50
L50–R50
Explanation
Adjusts the volume balance of channels “A” and “B.”
Adjusts the pan of channel “A.”
Adjusts the pan of channel “B.”
65
EFFECT Parameters > MASTER
MASTER
These settings are applied to the overall patch.
Parameter Value
PATCH LEVEL 0–200
BPM 40–250
Explanation
Adjusts the volume of the patch.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
C (Am)–B
(G#m)
This sets the key for the FX
HARMONIST.
Major
KEY
Minor
Major
Minor
TEMPO HOLD OFF, ON
PATCH TYPE GK, NORMAL
GK SET
NORMAL SET
SYSTEM,
SET1-SET10
SYSTEM,
SET1-SET10
Specifies whether the tempo (BPM) changes or is maintained when you switch patches.
Specifies whether this patch is for
GK or NORMAL.
Selects which GK setting to use when playing the GK PATCH.
If you select SYSTEM, the GK setting selected by the system parameter
GK SET is used.
Selects which NORMAL setting to use when playing a NORMAL PATCH.
If you select SYSTEM, the NORMAL setting selected by the system parameter NORMAL SET is used.
MEMO
For details on the GK settings parameter, refer to “GK SETTING” (p.
About effects when a note value is selected as a setting
* When you specify a note value as the setting for a parameter
(such as a RATE parameter in INST or EFFECTS), this specifies the length (time) of one note. Since this time is calculated based on the “BPM” (tempo) of the MASTER block, you can easily design the sound to match the tempo of the song.
* If the note length (time) specified for a RATE or DELAY TIME parameter is longer than the allowable range of the setting, a time that is 1/2 or 1/4 of the specified time is assigned.
NORMAL INPUT
These are the settings for the normal (conventional) guitar signal that is input to the GUITAR INPUT jack.
Parameter
ON/OFF
Value
OFF, ON
Explanation
Turns this effect on/off.
LEVEL
CABLE SIM
0–200
OFF, 1m/3ft,
3m/10ft,
5m/16ft,
7m/23ft,
9m/30ft,
12m/40ft
Adjusts the volume of the normal guitar.
Since the guitar signal that is detected by the divided pickup passes through an active buffer and is connected via a cable approximately 20 cm (7”) long, it will have less high-frequency attenuation. For this reason, the high-frequency range will be different than when you perform using a conventional guitar cable.
By setting this parameter to the length of the guitar cable that you typically use, you can compensate for the difference in tonal character between the sound of the divided pickup and the normal guitar sound.
If you connect a conventional guitar to the GUITAR INPUT jack, set this
“OFF.”
PHASE
NORMAL,
INVERT
Specifies the phase of the normal pickup signal.
66
CONTROL ASSIGN Parameters
CONTROL FUNCTION
You can control the parameters of the SY-1000 by using the
SY-1000’s switches or externally-connected devices. Here you can make settings to specify which functions are controlled by which controllers.
FUNCTION
[BANK
I
], [BANK
H
], [1]–[4] switch, CTL1–CTL6,
CUR NUM, MANUAL1–MANUAL4, GK SW1, GK SW2
Value
OFF
BANK DOWN
BANK UP
1
2
3
4
PATCH +1
PATCH -1
LEVEL +10
LEVEL +20
LEVEL -10
LEVEL -20
BPM TAP
DLY1 TAP
DLY2 TAP
MST DLY TAP
FX1 DLY TAP
FX2 DLY TAP
FX3 DLY TAP
TUNER
MANUAL
MANUAL/TUNER
TUNER/MANUAL
INST 1
INST 2
*1
*1
*1
*1
Explanation
No assignment.
Switches to the previous BANK number.
* This cannot be assigned to the [BANK H ] or
[1]–[4] switches.
Switches to the next BANK number.
* This cannot be assigned to the [BANK I ] or
[1]–[4] switches.
Selects patch number 1.
* This can be assigned only to the [1] switch.
Selects patch number 2.
* This can be assigned only to the [2] switch.
*1
Selects patch number 3.
* This can be assigned only to the [3] switch.
*1
Selects patch number 4.
* This can be assigned only to the [4] switch.
*1 Switches to the next patch number.
*1 Switches to the previous patch number.
Increases the patch volume level by 10 units.
Increases the patch volume level by 20 units.
Decreases the patch volume level by 10 units.
Decreases the patch volume level by 20 units.
Used for tap input of the MASTER BPM.
Used for tap input of the DELAY 1.
Used for tap input of the DELAY 2.
Used for tap input of the MASTER DELAY.
Used for tap input of the FX1 DELAY.
Used for tap input of the FX2 DELAY.
Used for tap input of the FX3 DELAY.
Switches the TUNER on and off.
Switches the MANUAL on and off.
Turns MANUAL on/off when briefly pressed; turns TUNER on/off when long-pressed.
Turns TUNER on/off when briefly pressed; turns MANUAL on/off when long-pressed.
Switches the INST1 on and off.
Switches the INST2 on and off.
Value
INST 3
INST ALL
INST1 NOR MIX
INST2 NOR MIX
Explanation
Switches the INST3 on and off.
Switches INST1–INST3 all on/off.
Switches the INST1 NORMAL MIX SW on and off.
Switches the INST2 NORMAL MIX SW on and off.
INST3 NOR MIX
Switches the INST3 NORMAL MIX SW on and off.
NORMAL
1:ALT TUNE
2:ALT TUNE
3:ALT TUNE
ALL:ALT TUNE
1:12STR
2:12STR
3:12STR
ALL:12STR
1:STR BEND
2:STR BEND
3:STR BEND
ALL:STR BEND
Switches the normal pickup signal on/off.
*6 Switches INST1’s ALT TUNE on/off.
*6 Switches INST2’s ALT TUNE on/off.
*6 Switches INST3’s ALT TUNE on/off.
*6
Switches ALT TUNE on/off for all INST1–
INST3.
*6 Switches INST1’s 12STR on/off.
*6 Switches INST2’s 12STR on/off.
*6 Switches INST3’s 12STR on/off.
*6 Switches 12STR on/off for all INST1–INST3.
*6 Switches INST1’s STR BEND on/off.
*6 Switches INST2’s STR BEND on/off.
*6 Switches INST3’s STR BEND on/off.
*6
Switches STR BEND on/off for all INST1–
INST3.
*2 Switches INST1’s LFO1 on/off.
*2 Switches INST1’s LFO2 on/off.
*2 Switches LFO1 and LFO2 on/off for INST1.
*2 Switches INST2’s LFO1 on/off.
INST1 LFO1
INST1 LFO2
INST1 LFO1&2
INST2 LFO1
INST2 LFO2
INST2 LFO1&2
INST3 LFO1
INST3 LFO2
INST3 LFO1&2
INST ALL LFO
INST1 SEQ1
INST1 SEQ2
INST1 SEQ1&2
*2 Switches INST2’s LFO2 on/off.
*2 Switches LFO1 and LFO2 on/off for INST2.
*2 Switches INST3’s LFO1 on/off.
*2 Switches INST3’s LFO2 on/off.
*2 Switches LFO1 and LFO2 on/off for INST3.
*2 Switches all LFOs on/off for all INST1–INST3.
*3 Switches INST1’s SEQ1 on/off.
*3 Switches INST1’s SEQ2 on/off.
*3 Switches SEQ1 and SEQ2 on/off for INST1.
INST2 SEQ1
INST2 SEQ2
INST2 SEQ1&2
INST3 SEQ1
INST3 SEQ2
*3 Switches INST2’s SEQ1 on/off.
*3 Switches INST2’s SEQ2 on/off.
*3 Switches SEQ1 and SEQ2 on/off for INST2.
*3 Switches INST3’s SEQ1 on/off.
*3 Switches INST3’s SEQ2 on/off.
INST3 SEQ1&2
INST ALL SEQ
1:SEQ1 TRIG
1:SEQ2 TRIG
*3 Switches SEQ1 and SEQ2 on/off for INST3.
*3 Switches all SEQs on/off for all INST1–INST3.
*3 Retriggers SEQ1 of INST1.
*3 Retriggers SEQ2 of INST1.
1:SEQ1&2 TRIG *3 Retriggers SEQ1 and SEQ2 for INST1.
2:SEQ1 TRIG *3 Retriggers SEQ1 of INST2.
2:SEQ2 TRIG *3 Retriggers SEQ2 of INST2.
2:SEQ1&2 TRIG *3 Retriggers SEQ1 and SEQ2 for INST2.
3:SEQ1 TRIG
3:SEQ2 TRIG
*3
*3
Retriggers SEQ1 of INST3.
Retriggers SEQ2 of INST3.
3:SEQ1&2 TRIG *3 Retriggers SEQ1 and SEQ2 for INST3.
ALL:SEQ TRIG *3
Retriggers all SEQs on/off for all INST1–
INST3.
67
CONTROL ASSIGN Parameters > CONTROL FUNCTION
FX1
FX2
FX3
CMP
DS
DS SOLO
AMP
AMP SOLO
EQ 1
EQ 2
NS
DLY1
DLY2
68
Value Explanation
1:SEQ1 TURBO *3 Switches INST1 SEQ1’s TURBO on/off.
1:SEQ2 TURBO *3 Switches INST1 SEQ2’s TURBO on/off.
1:SEQ1&2
TURBO
*3
Switches SEQ1 and SEQ2 TURBO on/off for
INST1.
2:SEQ1 TURBO *3 Switches INST2 SEQ1’s TURBO on/off.
2:SEQ2 TURBO *3 Switches INST2 SEQ2’s TURBO on/off.
2:SEQ1&2
TURBO
*3
Switches SEQ1 and SEQ2 TURBO on/off for
INST2.
3:SEQ1 TURBO *3 Switches INST3 SEQ1’s TURBO on/off.
3:SEQ2 TURBO *3 Switches INST3 SEQ2’s TURBO on/off.
3:SEQ1&2
TURBO
*3
Switches SEQ1 and SEQ2 TURBO on/off for
INST3.
ALL:SEQ TURBO *3
Switches all TURBO of SEQs on/off for all
INST1–INST3.
INST1 HOLD
INST2 HOLD
INST3 HOLD *2 Switches INST3’s HOLD on/off.
INST ALL HOLD *2 Switches HOLD on/off for all INST1–INST3.
SYNC TRIG
*2 Switches INST1’s HOLD on/off.
*2 Switches INST2’s HOLD on/off.
*2
Retriggers the SEQ and LFO whose SYNC is
ON for INST1–INST3.
1:PU SEL UP
2:PU SEL UP
3:PU SEL UP
*4
*6
*4
*6
*4
*6
Switches the PU of INST1.
Switches the PU of INST2.
Switches the PU of INST3.
Switches the PU of INST1.
Switches the PU of INST2.
INST1 AMP
INST2 AMP
INST3 AMP
Switches the PU of INST3.
*5
*6
*5
*6
*5
*6
Switches INST1’s AMP Modeling on/off.
Switches INST2’s AMP Modeling on/off.
Switches INST3’s AMP Modeling on/off.
Switches AMP Modeling solo on/off for
INST1.
Switches AMP Modeling solo on/off for
INST2.
Switches AMP Modeling solo on/off for
INST3.
Switches the FX1 on and off.
Switches the FX2 on and off.
Switches the FX3 on and off.
Switches the COMPRESSOR on and off.
Switches the DISTORTION on and off.
Switches the DISTORTION SOLO on and off.
Switches the AMP on and off.
Switches the AMP SOLO on and off.
Switches the EQUALIZER 1 on and off.
Switches the EQUALIZER 2 on and off.
Switches the NOISE SUPRESSOR on and off.
Switches the DELAY 1 on and off.
Switches the DELAY 2 on and off.
Value
MST DLY
CHO
REV
S/R
FX1 TRIGGER
FX2 TRIGGER
FX3 TRIGGER
MST DLY
TRIGGER
DIV CH.SELECT
MIDI START
MMC PLAY
Explanation
Switches the MASTER DELAY on and off.
Switches the CHORUS on and off.
Switches the REVERB on and off.
Switches the SEND/RETURN on and off.
Switches the FX1 TRIGGER on and off.
Switches the FX2 TRIGGER on and off.
Switches the FX3 TRIGGER on and off.
Turns the trigger on/off when the MASTER
DELAY’s TYPE is WARP or TWIST.
Switches the DIVIDER channel select.
Controls the Start/Stop of external MIDI devices (such as sequencers).
Controls the Play/Stop of external MIDI devices (such as hard disk recorders).
*1 This cannot be assigned to CUR NUM and MANUAL1–MANUAL4.
*2 Valid when the INST TYPE is set to DYNAMIC SYNTH or OSC
SYNTH.
*3 Valid when the INST TYPE is set to DYNAMIC SYNTH.
*4 Valid when the INST TYPE is set to E.GTR, ACOUSTIC (SITAR), or
VIO GUITAR.
*5 Valid when the INST TYPE is set to E.GTR, ACOUSTIC, AC BASS, or
E.BASS.
*6 Setting available with GK PATCH.
MEMO
CUR NUM is valid when the CONTROL MODE (p. 81) is set to
MEMORY.
GK VOL, EXP1, EXP 2
Value
OFF
FV1
FV2
FV1+TUNER
FV2+TUNER
FX1 PEDAL
POS.
FX2 PEDAL
POS.
FX3 PEDAL
POS.
PATCH
LEVEL100
PATCH
LEVEL200
INST1 LEVEL
INST2 LEVEL
INST3 LEVEL
INST ALL
LEVEL
INST1
CUTOFF
INST2
CUTOFF
Explanation
No assignment.
Assigns FOOT VOLUME1.
Assigns FOOT VOLUME2.
Assigns FOOT VOLUME1. TUNER is displayed if the pedal is returned all the way.
Assigns FOOT VOLUME2. TUNER is displayed if the pedal is returned all the way.
*3 Assigns the PEDAL POSITION of FX1.
*3 Assigns the PEDAL POSITION of FX2.
*3 Assigns the PEDAL POSITION of FX3.
Assigns the function of controlling PATCH LEVEL in the range 0–100.
Assigns the function of controlling PATCH LEVEL in the range 0–200.
Assigns the LEVEL of INST1.
Assigns the LEVEL of INST2.
Assigns the LEVEL of INST3.
Assigns the LEVEL of all INST1–INST3.
*1 Assigns the CUTOFF of INST1.
*1 Assigns the CUTOFF of INST2.
CONTROL ASSIGN Parameters > CONTROL FUNCTION
Value
INST3
CUTOFF
INST ALL
CUTOFF
*1
*1
Explanation
Assigns the CUTOFF of INST3.
Assigns the CUTOFF of all INST1–INST3.
INST1 RESO *1 Assigns the RESONANCE of INST1.
INST2 RESO *1 Assigns the RESONANCE of INST2.
INST3 RESO *1 Assigns the RESONANCE of INST3.
INST ALL
RESO
*1 Assigns the RESONANCE of all INST1–INST3.
1:GTR VOL
*2
*4
Assigns the GUITAR (BASS) VOLUME of INST1.
2:GTR VOL
3:GTR VOL
*2
*4
*2
*4
Assigns the GUITAR (BASS) VOLUME of INST2.
Assigns the GUITAR (BASS) VOLUME of INST3.
Assigns the GUITAR (BASS) VOLUME of all
INST1–INST3.
Assigns the function of controlling the NOR MIX
LEVEL of INST1 in the range 0–100.
1:NOR MIX
100
1:NOR MIX
200
2:NOR MIX
100
2:NOR MIX
200
3:NOR MIX
100
Assigns the function of controlling the NOR MIX
LEVEL of INST1 in the range 0–200.
Assigns the function of controlling the NOR MIX
LEVEL of INST2 in the range 0–100.
Assigns the function of controlling the NOR MIX
LEVEL of INST2 in the range 0–200.
Assigns the function of controlling the NOR MIX
LEVEL of INST3 in the range 0–100.
3:NOR MIX
200
ALL:NOR MIX
100
ALL:NOR MIX
200
Assigns the function of controlling the NOR MIX
LEVEL of INST3 in the range 0–200.
Assigns the function of controlling the NOR MIX
LEVEL of INST1–INSTS3 in the range 0–100.
Assigns the function of controlling the NOR MIX
LEVEL of INST1–INSTS3 in the range 0–200.
1:STR BEND *4 Assigns the STR BEND CONTROL of INST1.
2:STR BEND *4 Assigns the STR BEND CONTROL of INST2.
3:STR BEND *4 Assigns the STR BEND CONTROL of INST3.
ALL:STR
BEND
*4
Assigns the STR BEND CONTROL of all INST1–
INST3.
1:DYNA BEND
Assigns PITCH BEND of DYNAMIC SYNTH for
INST1.
2:DYNA BEND
3:DYNA BEND
ALL:DYNA
BEND
MIXER BAL
BALANCER 1
BALANCER 2
BALANCER 3
Assigns PITCH BEND of DYNAMIC SYNTH for
INST2.
Assigns PITCH BEND of DYNAMIC SYNTH for
INST3.
Assigns PITCH BEND of DYNAMIC SYNTH for all
INST1–INST3.
Assigns the A/B BALANCE of MIXER.
Assigns the A/B BALANCE of BALANCER1.
Assigns the A/B BALANCE of BALANCER2.
Assigns the A/B BALANCE of BALANCER3.
*1 Valid when the INST TYPE is set to DYNAMIC SYNTH, OSC SYNTH, or GR-300.
*2 Valid when the INST TYPE is set to E.GUITAR, ACOUSTIC, AC BASS, or E.BASS.
*3 Valid for the PEDAL POSITION parameters of PEDAL BEND, WAH, and FOOT VOLUME respectively.
*4 Setting available with GK PATCH.
MODE
Value
TOGGLE
MOMENT
Explanation
The setting is toggled On (maximum value) or Off
(minimum value) with each press of the footswitch.
The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed.
PREFERENCE
Value
PATCH
SYSTEM
Explanation
Different settings can be made independently for each patch.
The same settings will be shared by all patches.
69
CONTROL ASSIGN Parameters > ASSIGN SETTING
ASSIGN SETTING
ASSIGN 1–ASSIGN 16
For each parameter, you can specify, in detail, which controller will control which parameter. You can create 16 sets of such assignments.
Parameter
SW
Value Explanation
TARGET
MIN
MAX
SOURCE
MODE
ACT LOW
ACT HIGH
RISE TIME
FALL TIME
INPUT SENS
*6
*6
*6
*6
*5
*6
*7
*5
*6
*7
OFF, ON Turns the ASSIGN 1–16 on/off.
This selects the parameter to be changed.
Refer to “TARGET list” (p. 71).
This sets the minimum value for the range in which the parameter can change.
The value differs depending on the parameter assigned for TARGET parameter.
This sets the maximum value for the range in which the parameter can change. The value differs depending on the parameter assigned for TARGET parameter.
This selects the controller that will operate the parameter.
Refer to “SOURCE list” (p. 76).
MOMENT
TOGGLE
The normal state is Off
(minimum value), with the switch On (maximum value) only while the footswitch is depressed.
The setting alternately switches to OFF (minimum value) and
ON (maximum value) each time the footswitch is pressed.
0–126
1–127
You can set the controllable range for target parameters within the source’s operational range.
Target parameters are controlled within the range set with ACT LOW and ACT HIGH.
You should normally set ACT
LOW to 0 and ACT HIGH to 127.
0–100
0–100
0–100
Adjusts the time over which the target changes from minimum to maximum.
Adjusts the time over which the target changes from maximum to minimum.
Set this to zero if you want the value to change immediately, such as for a parameter that turns a value on/ off or for tap input.
Adjusts the input sensitivity when STRING1–STRING6, STR
HiC–STR LowB, STRING ALL, or
NORMAL INPUT is selected as the SOURCE.
SAW
WAVE PEDAL
FORM
*1 TRI
SINE
70
Parameter
WAVE PEDAL
RATE
*4
Value
0–100, BPM
ΠР`
MIDI CH
MIDI CC#
*2
*3
*2
MIDI CC# MIN *2
MIDI CC#
MAX
MIDI PC#
MIDI PC#
BANK MSB
MIDI PC#
BANK LSB
*2
*3
*3
*3
SYSTEM
1–16
0–127
0–127
0–127
1–128
OFF, 1–127
OFF, 1–127
Explanation
Specifies the time for one cycle of the wave pedal.
The message is transmitted on the MIDI channel specified by
The message is transmitted on the specified MIDI channel.
The message is transmitted using the specified controller number.
Selects the minimum value of the transmitted CC# message.
Selects the maximum value of the transmitted CC# message.
Specifies the program number that is transmitted.
Specifies the bank select MSB that is transmitted. If this is
OFF, the bank select MSB is not transmitted.
Specifies the bank select LSB that is transmitted. If this is
OFF, the bank select LSB is not transmitted.
*1 Valid when the SOURCE is set to WAVE PEDAL.
*2 Valid when the TARGET is set to MIDI CC#.
*3 Valid when the TARGET is set to MIDI PC#.
*4 Refer to “About effects when a note value is selected as a setting”
*5 Valid when the SOURCE is set to other than EXP1, EXP2, GK VOL, or WAVE PEDAL.
*6 Valid when the TARGET is set to other than BPM TAP, DLY1 TAP,
DLY2 TAP, MST DLY TAP, FX1 DLY TAP, FX2 DLY TAP, FX3 DLY TAP, PU
SELECT UP, PU SELECT DOWN, SEQ RETRIGGER, SYNC RETRIGGER, or MIDI PC#.
*7 Valid when the SOURCE is set to other than STRING1–STRING6,
STR HiC–STR LowB, STRING ALL, NORMAL IN, or MIDI CC#.
12STR PITCH 4th
12STR PITCH 3rd
12STR PITCH 2nd
12STR PITCH 1st
12STR PITCH HiC
12STR FINE 6
12STR FINE 5
12STR FINE 4
12STR FINE 3
12STR FINE 2
12STR FINE 1
12STR FINE LowB
12STR FINE 4th
12STR FINE 3rd
12STR FINE 2nd
12STR FINE 1st
FINE 5
FINE 4
FINE 3
FINE 2
FINE 1
FINE LowB
FINE 4th
FINE 3rd
FINE 2nd
FINE 1st
FINE HiC
12STR SW
12STR TYPE
12STR PITCH 6
12STR PITCH 5
12STR PITCH 4
12STR PITCH 3
12STR PITCH 2
12STR PITCH 1
12STR PITCH LowB
INST 1:ALT TUNE
INST 2:ALT TUNE
INST 3:ALT TUNE
TUNING TYPE
PITCH 6
PITCH 5
PITCH 4
PITCH 3
PITCH 2
PITCH 1
PITCH LowB
PITCH 4th
PITCH 3rd
PITCH 2nd
PITCH 1st
PITCH HiC
FINE 6
*1
*1
*1
*2
*2
*1
*1
*1
*2
*2
*2
*2
*2
*1
*1
*2
*2
*2
*2
*2
*1
*1
*1
*1
TARGET list
TUNER
TUNER
MASTER
BPM
KEY
PATCH LEVEL
TAP
BPM TAP
DLY1 TAP
DLY2 TAP
MST DLY TAP
FX1 DLY TAP
FX2 DLY TAP
FX3 DLY TAP
STR LEVEL HiC
STRING PAN 6
STRING PAN 5
STRING PAN 4
STRING PAN 3
STRING PAN 2
STRING PAN 1
STR PAN LowB
STR PAN 4th
STR PAN 3rd
STR PAN 2nd
STR PAN 1st
STR PAN HiC
INST 1
INST 2
INST 3
ON/OFF
TYPE
LEVEL
NORMAL MIX SW
NORMAL MIX LEVEL
STRING LEVEL 6
STRING LEVEL 5
STRING LEVEL 4
STRING LEVEL 3
STRING LEVEL 2
STRING LEVEL 1
STR LEVEL LowB
STR LEVEL 4th
STR LEVEL 3rd
STR LEVEL 2nd
STR LEVEL 1st
INST 1:ALT TUNE
INST 2:ALT TUNE
INST 3:ALT TUNE
ON/OFF
CONTROL ASSIGN Parameters > ASSIGN SETTING
*2
*2
*2
*2
*1
*1
*1
*1
*1
*1
*2
*2
*2
*2
*2
*2
*1
*1
*2
*2
*1
*1
*1
*1
*2
*1
*1
*1
*1
*2
*2
*2
*2
*1
*1
*1
*1
*1
*1
*2
*2
*2
*2
*1
*1
*2
*2
INST 1:ALT TUNE
INST 2:ALT TUNE
INST 3:ALT TUNE
12STR FINE HiC
12STR LEVEL 6
12STR LEVEL 5
12STR LEVEL 4
12STR LEVEL 3
12STR LEVEL 2
12STR LEVEL 1
12STR LEVEL LowB
12STR LEVEL 4th
12STR LEVEL 3rd
12STR LEVEL 2nd
12STR LEVEL 1st
12STR LEVEL HiC
12STR DELAY 6
12STR DELAY 5
12STR DELAY 4
12STR DELAY 3
12STR DELAY 2
12STR DELAY 1
12STR DELAY LowB
12STR DELAY 4th
12STR DELAY 3rd
12STR DELAY 2nd
12STR DELAY 1st
12STR DELAY HiC
STR BEND SW
BEND DEPTH 6
BEND DEPTH 5
BEND DEPTH 4
BEND DEPTH 3
BEND DEPTH 2
BEND DEPTH 1
BEND DEPTH LowB
BEND DEPTH 4th
BEND DEPTH 3rd
BEND DEPTH 2nd
BEND DEPTH 1st
BEND DEPTH HiC
BEND CONTROL
INST 1:DYNAMIC SYNTH:OSC
INST 2:DYNAMIC SYNTH:OSC
INST 3:DYNAMIC SYNTH:OSC
WAVEFORM
PITCH
FINE
PULSE WIDTH
PWM ENV ATTACK
PITCH ENV DEPTH
DETUNE
SHARPNESS
*1
*1
*1
*2
*2
*1
*1
*1
*2
*2
*2
*2
*2
*2
*2
*2
*2
*2
*1
*1
*1
*1
*1
*2
*1
*1
*1
*2
*2
*2
*2
*2
*2
*1
*1
*1
*1
INST 1:DYNAMIC SYNTH:OSC
INST 2:DYNAMIC SYNTH:OSC
INST 3:DYNAMIC SYNTH:OSC
FEEDBACK
HARMONICS
S-SAW DETUNE
P. ENV ATTACK
P. ENV DEPTH
P. BEND DEPTH
P. BEND CTL
SYNC SW
RING SW
*3
*3
INST 1:DYNAMIC SYNTH:FILTER
INST 2:DYNAMIC SYNTH:FILTER
INST 3:DYNAMIC SYNTH:FILTER
ON/OFF
TYPE
SLOPE
CUTOFF
RESONANCE
FLT ENV ATTACK
FLT ENV DEPTH
INST 1:DYNAMIC SYNTH:AMP
INST 2:DYNAMIC SYNTH:AMP
INST 3:DYNAMIC SYNTH:AMP
A.ENV ATTACK
LOW CUT
HIGH CUT
INST 1:DYNAMIC SYNTH:LFO1
INST 2:DYNAMIC SYNTH:LFO1
INST 3:DYNAMIC SYNTH:LFO1
INST 1:DYNAMIC SYNTH:LFO2
INST 2:DYNAMIC SYNTH:LFO2
INST 3:DYNAMIC SYNTH:LFO2
ON/OFF
SHAPE
RATE
DYNAMIC DEPTH
PITCH DEPTH
FILTER DEPTH
AMP DEPTH
PWM DEPTH
FADE TIME
INST 1:DYNAMIC SYNTH:SEQ
COMMON
INST 2:DYNAMIC SYNTH:SEQ
COMMON
INST 3:DYNAMIC SYNTH:SEQ
COMMON
PITCH TARGET
CUTOFF TARGET
LEVEL TARGET
71
CONTROL ASSIGN Parameters > ASSIGN SETTING
INST 1:DYNAMIC SYNTH:SEQ1
INST 2:DYNAMIC SYNTH:SEQ1
INST 3:DYNAMIC SYNTH:SEQ1
INST 1:DYNAMIC SYNTH:SEQ2
INST 2:DYNAMIC SYNTH:SEQ2
INST 3:DYNAMIC SYNTH:SEQ2
ON/OFF
SYNC
LOOP LENGTH
RATE
1 SHOT
TURBO
INST 1:DYNAMIC SYNTH:LAYER
INST 2:DYNAMIC SYNTH:LAYER
INST 3:DYNAMIC SYNTH:LAYER
L.FADE
LOWER
UPPER
U.FADE
INST 1:OSC SYNTH:OSC
INST 2:OSC SYNTH:OSC
INST 3:OSC SYNTH:OSC
MODE
WAVEFORM1
PITCH 1
FINE 1
PULSE WIDTH 1
PW MOD RATE 1
P.ENV ATTACK 1
P.ENV DECAY 1
P.ENV DEPTH 1
LEVEL 1
WAVEFORM 2
PITCH 2
FINE 2
PULSE WIDTH 2
PW MOD RATE 2
P.ENV ATTACK 2
P.ENV DECAY 2
P.ENV DEPTH 2
LEVEL 2
MONO/POLY SW
CHROMATIC
PORTA SW
PORTA TIME
PORTA MODE
HOLD MODE
LOW VELO CUT
INST 1:OSC SYNTH:FILTER
INST 2:OSC SYNTH:FILTER
INST 3:OSC SYNTH:FILTER
ON/OFF
TYPE
72
INST 1:OSC SYNTH:LFO1
INST 2:OSC SYNTH:LFO1
INST 3:OSC SYNTH:LFO1
INST 1:OSC SYNTH:LFO2
INST 2:OSC SYNTH:LFO2
INST 3:OSC SYNTH:LFO2
ON/OFF
SHAPE
RATE
PITCH1 DEPTH
PITCH2 DEPTH
FILTER DEPTH
AMP DEPTH
DELAY TIME
FADE TIME
INST 1:GR-300
INST 2:GR-300
INST 3:GR-300
INST 1:ANALOG GR
INST 2:ANALOG GR
INST 3:ANALOG GR
MODE
COMP SW
CUTOFF
RESONANCE
ENV MOD SW
ENV MOD SENS
ENV MOD ATTACK
PITCH SW
PITCH A
INST 1:OSC SYNTH:FILTER
INST 2:OSC SYNTH:FILTER
INST 3:OSC SYNTH:FILTER
SLOPE
CUTOFF
CUTOFF FELLOW
RESONANCE
VELOCITY SENS
F.ENV ATTACK
F.ENV DECAY
F.ENV SUSTAIN
F.ENV RELEASE
F.ENV DEPTH
INST 1:OSC SYNTH:AMP
INST 2:OSC SYNTH:AMP
INST 3:OSC SYNTH:AMP
VELOCITY SENS
A.ENV ATTACK
A.ENV DECAY
A.ENV SUSTAIN
A.ENV RELEASE
LOW CUT
HIGH CUT
*1
*2
INST 1:ACOUSTIC
INST 2:ACOUSTIC
INST 3:ACOUSTIC
TYPE
BODY
ATTACK
PU SELECT
PU SELECT UP
PU SELECT DOWN
SENS
COLOR
DECAY
BUZZ
RESONANCE
SUSTAIN
VOLUME
TONE
INST 1:GR-300
INST 2:GR-300
INST 3:GR-300
INST 1:ANALOG GR
INST 2:ANALOG GR
INST 3:ANALOG GR
FINE A
PITCH B
FINE B
DUET SW
SWEEP SW
SWEEP RISE
SWEEP FALL
VIBRATO SW
VIBRATO RATE
VIBRATO DEPTH
LOW CUT
HIGH CUT
INST 1:E.GTR
INST 2:E.GTR
INST 3:E.GTR
TYPE
PU SELECT
PU SELECT UP
PU SELECT DOWN
TONE TYPE
SENS
DEPTH
ATTACK
RESONANCE
DIRECT LEVEL
VOLUME
TONE
*1
*2
*1
INST 1:AC BASS
INST 2:AC BASS
INST 3:AC BASS
VOLUME
BODY
RESONANCE
SIZE
ATTACK
BOTTOM
BUZZ SENS
DECAY
INST 1:E.BASS
INST 2:E.BASS
INST 3:E.BASS
TYPE
REAR VOLUME
FRONT VOLUME
TONE TYPE
SENS
DEPTH
ATTACK
RESONANCE
DIRECT LEVEL
VOLUME
TONE
MASTER VOLUME
REAR TONE
FRONT TONE
TREBLE
BASS
PU SELECT
PU SELECT UP
PU SELECT DOWN
TREBLE ON
BASS ON
RHYTHM/SOLO
INST 1:VIO GUITAR:GUITAR
INST 2:VIO GUITAR:GUITAR
INST 3:VIO GUITAR:GUITAR
TYPE
PU SELECT
PU SELECT UP
PU SELECT DOWN
TONE TYPE
SENS
DEPTH
ATTACK
RESONANCE
DIRECT LEVEL
VOLUME
TONE
*2
*2
*2
*2
*2
*2
*2
*2
*2
*2
*2
*2
*1
INST 1:AMP
INST 2:AMP
INST 3:AMP
ON/OFF
TYPE
GAIN
SAG
RESONANCE
LEVEL
BASS
MIDDLE
TREBLE
PRESENCE
BRIGHT
GAIN SW
INST 1:POLY FX
INST 2:POLY FX
INST 3:POLY FX
TYPE
GUITAR VOLUME
BASS VOLUME
GAIN
GAIN BALANCE
COLOR
TONE
FILTER MODE
POLARITY
SENS
FREQUENCY
DECAY
PEAK
TONE TYPE
COMP SW
COMP SUSTAIN
COMP ATTACK
INST 1:VIO GUITAR:HARMO
INST 2:VIO GUITAR:HARMO
INST 3:VIO GUITAR:HARMO
PITCH
GAIN
ATTACK
DIRECT LEVEL
INST 1:VIO GUITAR:FILTER
INST 2:VIO GUITAR:FILTER
INST 3:VIO GUITAR:FILTER
OVERTONE
ATTACK
POWER BEND
SLIDE TIME
OCTAVE
COLOR
TOUCH SENS
LEAD EMPHASIS
*1
*1
*1
*2
INST 1:AMP
INST 2:AMP
INST 3:AMP
SOLO SW
SOLO LEVEL
SP TYPE
MIC TYPE
MIC DISTANCE
MIC POSITION
MIC LEVEL
DIRECT LEVEL
INST 1:NS
INST 2:NS
INST 3:NS
ON/OFF
THRESHOLD
RELEASE
INST 1:EQ
INST 2:EQ
INST 3:EQ
ON/OFF
LOW CUT
LOW GAIN
LOW-MID FREQ
LOW-MID Q
LOW-MID GAIN
HIGH-MID FREQ
HIGH-MID Q
HIGH-MID GAIN
HIGH GAIN
HIGH CUT
LEVEL
INST:CONTROL
INST1 HOLD
INST2 HOLD
INST3 HOLD
INST ALL HOLD
INST1 SEQ1 RETRIGGER
INST1 SEQ2 RETRIGGER
INST1 SEQ1&2 RETRIGGER
INST2 SEQ1 RETRIGGER
INST2 SEQ2 RETRIGGER
INST2 SEQ1&2 RETRIGGER
INST3 SEQ1 RETRIGGER
INST3 SEQ2 RETRIGGER
INST3 SEQ1&2 RETRIGGER
INST ALL SEQ RETRIGGER
SYNC RETRIGGER
NORMAL
ON/OFF
LEVEL
CABLE SIM
NORMAL
PHASE SW
FX1
FX2
FX3
ON/OFF
TYPE
FX1:CHORUS
FX2:CHORUS
FX3:CHORUS
MODE
RATE
DEPTH
PRE-DELAY
EFFECT LEVEL
WAVEFORM
LOW CUT
HIGH CUT
DIRECT LEVEL
RATE1
DEPTH1
PRE-DELAY1
EFFECT LEVEL1
WAVEFORM1
LOW CUT1
HIGH CUT1
RATE2
DEPTH2
PRE-DELAY2
EFFECT LEVEL2
WAVEFORM2
LOW CUT2
HIGH CUT2
OUTPUT MODE
FX1:AC RESONANCE
FX2:AC RESONANCE
FX3:AC RESONANCE
TYPE
RESONANCE
TONE
LEVEL
FX3:AUTO WAH
FX3:AUTO WAH
FX3:AUTO WAH
FILTER MODE
RATE
DEPTH
EFFECT LEVEL
FREQUENCY
RESONANCE
WAVEFORM
DIRECT LEVEL
CONTROL ASSIGN Parameters > ASSIGN SETTING
FX1:DELAY
FX2:DELAY
FX3:DELAY
TYPE
TIME
FEEDBACK
EFFECT LEVEL
HIGH CUT
DIRECT LEVEL
TAP TIME
TRIGGER
CARRY OVER
FX1:DELAY:DUAL
FX2:DELAY:DUAL
FX3:DELAY:DUAL
D1 TIME
D1 FEEDBACK
D1 HIGH CUT
D1 EFFECT LEVEL
FX1:CLASSIC-VIBE
FX2:CLASSIC-VIBE
FX3:CLASSIC-VIBE
RATE
DEPTH
EFFECT LEVEL
FX1:COMPRESSOR
FX2:COMPRESSOR
FX3:COMPRESSOR
TYPE
SUSTAIN
ATTACK
EFFECT LEVEL
DIRECT LEVEL
TONE
FX1:DEFRETTER
FX2:DEFRETTER
FX3:DEFRETTER
SENS
DEPTH
TONE
EFFECT LEVEL
ATTACK
RESONANCE
DIRECT LEVEL
FX1:DEFRETTER BASS
FX2:DEFRETTER BASS
FX3:DEFRETTER BASS
SENS
TONE
EFFECT LEVEL
ATTACK
DIRECT LEVEL
73
CONTROL ASSIGN Parameters > ASSIGN SETTING
FX1:GRAPHIC EQ
FX2:GRAPHIC EQ
FX3:GRAPHIC EQ
100 Hz
200 Hz
400 Hz
800 Hz
1.6 kHz
3.2 kHz
6.4 kHz
LEVEL
FX1:HARMONIST
FX2:HARMONIST
FX3:HARMONIST
VOICE
HR1:HARMONY
HR2:HARMONY
HR1:LEVEL
HR1:PRE-DELAY
HR1:FEEDBACK
DIRECT LEVEL
HR2:LEVEL
HR2:PRE-DELAY
FX1:HUMANIZER
FX2:HUMANIZER
FX3:HUMANIZER
MODE
VOWEL1
VOWEL2
SENS
RATE
DEPTH
MANUAL
EFFECT LEVEL
FX1:ISOLATOR
FX2:ISOLATOR
FX3:ISOLATOR
BAND
RATE
DEPTH
BAND LEVEL
FX1:LIMITER
FX2:LIMITER
FX3:LIMITER
TYPE
THRESHOLD
RATIO
EFFECT LEVEL
ATTACK
RELEASE
FX1:DELAY:DUAL
FX2:DELAY:DUAL
FX3:DELAY:DUAL
D2 TIME
D2 FEEDBACK
D2 HIGH CUT
D2 EFFECT LEVEL
FX1:DELAY: MOD
FX2:DELAY: MOD
FX3:DELAY: MOD
MOD RATE
MOD DEPTH
FX1:DELAY:TWIST
FX2:DELAY:TWIST
FX3:DELAY:TWIST
MODE
RISE TIME
FALL TIME
FADE TIME
FX1:FLANGER
FX2:FLANGER
FX3:FLANGER
RATE
DEPTH
RESONANCE
MANUAL
SEPARATION
LOW CUT
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
FX1:FLANGER BASS
FX2:FLANGER BASS
FX3:FLANGER BASS
RATE
DEPTH
RESONANCE
MANUAL
SEPARATION
LOW CUT
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
FX1:FOOT VOLUME
FX2:FOOT VOLUME
FX3:FOOT VOLUME
VOLUME MIN
VOLUME MAX
VOLUME CURVE
PEDAL POSITION
74
FX1:LO-FI
FX2:LO-FI
FX3:LO-FI
BIT DEPTH
SAMPLE RATE
BALANCE
FX1:OCTAVE
FX2:OCTAVE
FX3:OCTAVE
-2OCT
-1OCT
DIRECT LEVEL
FX1:OCTAVE BASS
FX2:OCTAVE BASS
FX3:OCTAVE BASS
-2OCT
-1OCT
DIRECT LEVEL
FX1:PAN
FX2:PAN
FX3:PAN
TYPE
WAVE SHAPE
RATE
DEPTH
EFFECT LEVEL
POSITION
FX1:PARAMETRIC EQ
FX2:PARAMETRIC EQ
FX3:PARAMETRIC EQ
LOW CUT
LOW GAIN
LOW-MID FREQ
LOW-MID Q
LOW-MID GAIN
HIGH-MID FREQ
HIGH-MID Q
HIGH-MID GAIN
HIGH GAIN
HIGH CUT
LEVEL
FX1:PEDAL BEND
FX2:PEDAL BEND
FX3:PEDAL BEND
PITCH
PEDAL POSITION
EFFECT LEVEL
DIRECT LEVEL
FX1:PHASER
FX2:PHASER
FX3:PHASER
TYPE
FX1:PHASER
FX2:PHASER
FX3:PHASER
RATE
DEPTH
RESONANCE
MANUAL
STEP RATE
EFFECT LEVEL
DIRECT LEVEL
FX1:REVERB
FX2:REVERB
FX3:REVERB
TYPE
TIME
PRE-DELAY
EFFECT LEVEL
LOW CUT
HIGH CUT
DENSITY
DIRECT LEVEL
CARRY OVER
SPRING SENS
FX1:PITCH SHIFTER
FX2:PITCH SHIFTER
FX3:PITCH SHIFTER
VOICE
PS1:PITCH
PS2:PITCH
DIRECT LEVEL
PS1:MODE
PS1:FINE
PS1:PRE-DELAY
PS1:LEVEL
PS1:FEEDBACK
PS2:MODE
PS2:FINE
PS2:PRE-DELAY
PS2:LEVEL
FX1:RING MOD
FX2:RING MOD
FX3:RING MOD
INTELLIGENT
FREQUENCY
FREQ MOD RATE
FREQ MOD DEPTH
EFFECT LEVEL
DIRECT LEVEL
FX1:ROTARY
FX2:ROTARY
FX3:ROTARY
SPEED SELECT
FX1:ROTARY
FX2:ROTARY
FX3:ROTARY
RATE SLOW
RATE FAST
DEPTH
RISE TIME
FALL TIME
EFFECT LEVEL
DIRECT LEVEL
FX1:SITAR SIM
FX2:SITAR SIM
FX3:SITAR SIM
SENS
DEPTH
TONE
EFFECT LEVEL
RESONANCE
BUZZ
DIRECT LEVEL
FX1:SLICER
FX2:SLICER
FX3:SLICER
PATTERN
RATE
TRIGGER
EFFECT LEVEL
ATTACK
DUTY
DIRECT LEVEL
FX1:SLOW GEAR
FX2:SLOW GEAR
FX3:SLOW GEAR
SENS
RISE TIME
EFFECT LEVEL
FX1:SLOW GEAR BASS
FX2:SLOW GEAR BASS
FX3:SLOW GEAR BASS
SENS
RISE TIME
EFFECT LEVEL
FX1:SOUND HOLD
FX2:SOUND HOLD
FX3:SOUND HOLD
TRIGGER
RISE TIME
EFFECT LEVEL
FX1:TOUCH WAH
FX2:TOUCH WAH
FX3:TOUCH WAH
FILTER MODE
FX1:TREMOLO
FX2:TREMOLO
FX3:TREMOLO
WAVE SHAPE
RATE
DEPTH
EFFECT LEVEL
DIRECT LEVEL
FX1:VIBRATO
FX2:VIBRATO
FX3:VIBRATO
RATE
DEPTH
TRIGGER
RISE TIME
EFFECT LEVEL
DIRECT LEVEL
FX1:WAH
FX2:WAH
FX3:WAH
TYPE
PEDAL POSITION
PEDAL MIN
PEDAL MAX
EFFECT LEVEL
DIRECT LEVEL
FX1:TOUCH WAH
FX2:TOUCH WAH
FX3:TOUCH WAH
POLARITY
SENS
FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT LEVEL
FX1:TOUCH WAH BASS
FX2:TOUCH WAH BASS
FX3:TOUCH WAH BASS
FILTER MODE
POLARITY
SENS
FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT LEVEL
AMP
ON/OFF
TYPE
GAIN
SAG
DISTORTION
ON/OFF
TYPE
DRIVE
TONE
LEVEL
BOTTOM
DIRECT LEVEL
SOLO SW
SOLO LEVEL
EQ1
EQ2
ON/OFF
LOW CUT
LOW GAIN
LOW-MID FREQ
LOW-MID Q
LOW-MID GAIN
HIGH-MID FREQ
HIGH-MID Q
HIGH-MID GAIN
HIGH GAIN
HIGH CUT
LEVEL
AMP
RESONANCE
LEVEL
BASS
MIDDLE
TREBLE
PRESENCE
BRIGHT
GAIN SW
SOLO SW
SOLO LEVEL
SP TYPE
MIC TYPE
MIC DISTANCE
MIC POSITION
MIC LEVEL
DIRECT LEVEL
MASTER DELAY
ON/OFF
TYPE
TIME
FEEDBACK
EFFECT LEVEL
HIGH CUT
DIRECT LEVEL
TAP TIME
TRIGGER
CARRY OVER
CONTROL ASSIGN Parameters > ASSIGN SETTING
MASTER DELAY:DUAL
D1 TIME
D1 FEEDBACK
D1 HIGH CUT
D1 EFFECT LEVEL
D2 TIME
D2 FEEDBACK
D2 HIGH CUT
D2 EFFECT LEVEL
MASTER DELAY: MOD
MOD RATE
MOD DEPTH
MASTER DELAY:TWIST
MODE
RISE TIME
FALL TIME
FADE TIME
DELAY1
DELAY2
ON/OFF
TIME
FEEDBACK
EFFECT LEVEL
HIGH CUT
DIRECT LEVEL
CARRY OVER
REVERB
ON/OFF
TYPE
TIME
PRE-DELAY
EFFECT LEVEL
LOW CUT
HIGH CUT
DENSITY
DIRECT LEVEL
CARRY OVER
SPRING SENS
NOISE SUPPRESSOR
ON/OFF
THRESHOLD
RELEASE
DIRECT
FOOT VOLUME1
FOOT VOLUME2
VOLUME MIN
VOLUME MAX
VOLUME CURVE
PEDAL POSITION
75
COMPRESSOR
ON/OFF
TYPE
SUSTAIN
ATTACK
EFFECT LEVEL
DIRECT LEVEL
TONE
SEND/RETURN
ON/OFF
MODE
SEND LEVEL
RETURN LEVEL
ADJUST
PHASE
CHORUS
ON/OFF
MODE
RATE
DEPTH
PRE-DELAY
EFFECT LEVEL
WAVEFORM
LOW CUT
HIGH CUT
DIRECT LEVEL
RATE1
DEPTH1
PRE-DELAY1
EFFECT LEVEL1
WAVEFORM1
LOW CUT1
HIGH CUT1
RATE2
DEPTH2
PRE-DELAY2
EFFECT LEVEL2
WAVEFORM2
LOW CUT2
HIGH CUT2
OUTPUT MODE
DIVIDER
MODE
CH SELECT
MIXER
BALANCER 1
BALANCER 2
BALANCER 3
A/B BALANCE
A:PAN
B:PAN
CONTROL ASSIGN Parameters > ASSIGN SETTING
MAIN OUT
MAIN OUT PHASE
MAIN OUT R PHASE
SUB OUT
SUB OUT PHASE
SUB OUT R PHASE
MIDI
MIDI CC#
MIDI PC#
*1 Setting available with GUITAR
MODE.
*2 Setting available with BASS
MODE.
*3 Setting available with INST2 and INST3.
SOURCE list
Value
NUM1–NUM4
CUR NUM
BANK DOWN
BANK UP
CTL1, CTL2
CTL3, CTL4
CTL5, CTL6
EXP1
EXP2
GK SW1, GK SW2
GK VOL
WAVE PEDAL
STRING1–
STRING6, STRING
ALL
STR HiC–STR
LowB, STRING
ALL
NORMAL IN
CC#1–CC#31,
CC#64–CC#95
*1
*2
*3
Explanation
Assigns the SY-1000’s number [1]–[4] switch.
Assigns the same number switch as the selected patch number.
Assigns the SY-1000’s [BANK I ] switch.
Assigns SY-1000’s [BANK H ] switch.
Assigns the SY-1000’s [CTL1] or [CTL2] switch.
Assigns the external footswitch connected to the CTL3, 4/EXP1 jack.
Assigns the external footswitch connected to the CTL5, 6/EXP2 jack.
Assigns the external expression pedal connected to the CTL3, 4/EXP1 jack.
Assigns the external expression pedal connected to the CTL5, 6/EXP2 jack.
Assign the [S1] and [S2] switches of the divided pickup.
Assigns the volume knob of the divided pickup.
Assigns the wave pedal.
Refer to “Virtual Expression Pedal System
The assigned target parameter will change according to the input level.
Assigns the Control Change messages from an external MIDI device.
*1 Setting available with GUITAR MODE.
*2 Setting available with BASS MODE.
*3 Setting available when CONTROL MODE (p. 81) is MEMORY.
76
CONTROL ASSIGN Parameters > Virtual Expression Pedal System (Wave Pedal)
Virtual Expression Pedal System (Wave
Pedal)
By assigning a desired parameter to the virtual expression pedal, you can produce an effect as though you were operating a physical expression pedal to change the volume or tone quality in real time.
The virtual expression pedal system can be specified as a SOURCE for
ASSIGN 1–ASSIGN 16.
Wave pedal
If SOURCE is set to “WAVE PEDAL,” the virtual expression pedal will cyclically modify the parameter specified by TARGET in a fixed wave form.
About the Range of a Target’s Change
The target’s value changes between MIN (the minimum value) and MAX (the maximum value).
When using an external footswitch, or other controller that acts as an on/off switch, “Min” is selected with Off (CLOSED), and
“Max” is selected with On (OPEN).
When using an external expression pedal or other controller that generates a consecutive change in the value, the value of the setting changes accordingly, within the range set by the minimum and maximum values. Also, when the target is of an on/off type, the median value of the received data is used as the dividing line in determining whether to switch it on or off.
When using the footswitch:
MAX
Always changes in a fixed curve regardless of the actual pedal
STRING1–STRING6, STR HiC–STR LowB,
STRING ALL, NORMAL IN
The parameter set as the target changes in response to the input level.
MEMO
If you want to adjust the input sensitivity, set the INPUT SENS.
INPUT SENS (Input Sens)
Parameter Value
INPUT SENS 0–100
Explanation
Adjusts the input sensitivity when
STRING1–STRING6, STR HiC–STR LowB,
STRING ALL, or NORMAL INPUT is selected as the SOURCE.
MIN
OFF
When using the expression pedal:
ON
MAX
MIN
0
When the pedal is fully raised
127
When the pedal is fully advanced
When controlling the On/Off target with the expression pedal:
Value
ON
OFF
0
When the pedal is fully raised
When the pedal is advanced halfway
127
Degree to Which
Expression Pedal
Is Depressed
When the pedal is fully advanced
* The range that can be selected changes according to the target setting.
* When the “minimum” is set to a higher value than the
“maximum,” the change in the parameter is reversed.
* The values of settings can change if the target is changed after the “minimum” and “maximum” settings have been made. If you’ve changed the target, be sure to recheck the
“minimum” and “maximum” settings.
77
CONTROL ASSIGN Parameters > PATCH MIDI
About the Range of a Controller’s Change
This sets the operational range within which the value of the setting changes when an expression pedal or other controller that changes the value consecutively is used as the source. If the controller is moved outside the operational range, the value does not change, it stops at “minimum” or “maximum.”
(Example) With ACT LOW: 40, ACT HIGH: 80
MAX
MIN
Value
ON
0
When the pedal is fully raised
40
ACT
LOW
80
ACT
HIGH
Degree to Which
Expression Pedal
Is Depressed
127
When the pedal is fully advanced
OFF
0
When the pedal is
40 60
Center
80
Value
ACT
HIGH
127
Degree to Which
Expression Pedal
Is Depressed
When the pedal is fully advanced
* When using a footswitch or other on/off switching controller as the source, leave these at “ACT LOW: 0” and “ACT HIGH:
127.” With certain settings, the value may not change.
PATCH MIDI
When you change patches, a program number and bank select messages are transmitted to an external MIDI device.
* If the “MIDI SETTING” parameter “TX PC MAP” is set to FIX, the
PATCH MIDI function will not operate. Set the parameter to “PATCH
MIDI.”
PATCH MIDI 1–PATCH MIDI 4
Parameter Value
CHANNEL
(CH)
PC#
BANK MSB
BANK LSB
CC1#
CC2#
CC1 VALUE
CC2 VALUE
OFF, 1–16
OFF, 1–128
OFF, 1–127
OFF, 1–127
0–127
Explanation
Specifies the transmit channel for
MIDI messages.
If this is OFF, no MIDI message is transmitted.
Specifies whether a program number is transmitted when you switch patches.
If this is OFF, no program number is transmitted.
Specifies whether bank select messages are transmitted when you switch patches.
* It is not possible to transmit only
BANK LSB.
* Not transmitted if PC# is OFF.
* It is not possible to transmit only bank select. Bank select is always transmitted in conjunction with program numbers.
Specifies whether a control change is transmitted when you switch patches.
If this is OFF, no control change is transmitted.
Specifies the value of the control change.
78
GUITAR TO MIDI/BASS TO MIDI
These parameters are set for each individual patch with the GUITAR TO
MIDI/BASS TO MIDI function.
For details on GUITAR TO MIDI/BASS TO MIDI function parameters that affect the entire SY-1000, refer to SYSTEM parameters.
Parameter
MODE
ALT TUNE
Value Explanation
This sets the transmission mode for the MIDI messages.
MONO
POLY
In this mode, one channel per string is used, thus using a total of six channels. Since each string uses a different MIDI channel, you can select a different tone for each string, using string bending or continuously varying the pitch on a specific string; however, this requires use of a multitimbral sound module.
In this mode, the messages for all six strings are transmitted over a single channel. While transmitting the
MIDI messages for all of the strings over one channel does simplify the settings needed for the sound module, it does impose certain limitations; for example, permitting only one tone to be selected for all of the strings.
OFF, INST1,
INST2, INST3
Specifies which ALT TUNE data of
INST1–INST3 is applied to GUITAR TO
MIDI/BASS TO MIDI.
When you use CHROMATIC, the pitch changes of the MIDI messages that are transmitted when you gradually change the pitch of your guitar or bass
(e.g., by bending a string) will be in semitone steps.
OFF
TYPE1
Normal Pitch Bend messages are output. The pitch varies continuously in keeping with the string bending or vibrato.
When the pitch changes, this setting applies the results of the pitch change information without stopping the note that is playing.
This produces a unique effect, whereby there is no attack sound when the pitches change, similar to slurring on a recorder.
CHROMATIC
TYPE2
TYPE3
When the pitch changes, the SY-1000 retriggers the sound at the changed pitch, producing pitch changes only at the semitone increments.
As a result, the attack sound plays each time the pitch changes.
The attenuation of the string vibration following the moment the string is played is reflected in the gradual fading of the retriggered sound.
As with CHROMATIC TYPE 2, sounds are retriggered at the changed pitch, expressing the pitch changes only in semitones. However, the difference is that even if the string vibration is decreasing, the retriggered note will be the same strength as when you first played the string.
CONTROL ASSIGN Parameters > GUITAR TO MIDI/BASS TO MIDI
Parameter
DYNAMICS
PLAY FEEL
LOW VELO
CUT
HOLD TYPE
CC1 SRC
CC2 SRC
Value
1–10
Explanation
Adjusts the sensitivity of the tone’s volume (velocity) change.
The further you raise this setting, the more easy it becomes to produce higher values for velocity.
By selecting the Play Feel setting that’s appropriate for your guitar/bass playing technique, you can obtain more naturally expressive dynamics.
FEEL1–
FEEL4
NO DYNA
FEEL1 is the mode that gives sounds the broadest variation in volume based on the picking dynamics. As the setting number is increased, it becomes easier to produce high volume sounds even with weaker picking. This allows you to play with consistent volume, whether you tap the strings or use rough picking.
In this mode, sounds are played at a fixed volume regardless of the picking strength.
OFF, 1–10
Adjust this if simply touching a string causes a note to be unintentionally triggered.
Raising this value will make it more difficult to trigger notes.
This selects the way the Hold function works.
HOLD1
HOLD2
HOLD3
Note On messages are held when the
Hold function is switched on with the controller.
If the Hold function remains on as you continue to play the strings, each successive Note On message is held, and when a Note message is already being played from the same string, the previous Note message is canceled, and the next Note On message is held. This allows you to prevent any interruption in the sounds, even sounds from releasing the strings over the frets.
Note On messages are held when the
Hold function is switched on with the controller.
However, subsequent Note On messages are not output if you continue to play the instrument with the Hold effect left on.
Note On messages are held when the
Hold function is switched on with the controller.
If the Hold function remains on as you continue to play the strings,
Note On messages for strings other than the one already being held can be output, but they are not held.
GK VOL, GK
SW1, GK
SW2, CTL1,
CTL2, CTL3,
CTL4, CTL5,
CTL6, EXP1,
EXP2
You can output the actions of the controllers specified with SRC as
Control Change messages.
79
CONTROL ASSIGN Parameters > LED COLOR
Parameter
CC1 CC#
CC2 CC#
Value
OFF, #1–#31,
#64–#95
Explanation
This sets the Control Change number to be output.
When the MODE is set to POLY, messages are output only over the
BASIC CH; when this is set to MONO, the messages are output over the six channels starting from the BASIC CH.
BANK MSB
*1
STR1 BANK
MSB–STR6
BANK MSB
*2
HiC BANK
MSB–LoB
BANK MSB
*2
BANK LSB
*1
STR1 BANK
LSB–STR6
BANK LSB
*2
HiC BANK
LSB–LoB
BANK LSB
*2
PC
*1
STR1 PC–STR6
PC
*2
HiC PC–LowB
PC
*2
OFF, 1–127 This sets the Bank Select (MSB). *1
OFF, 1–127 This sets the Bank Select (LSB). *1
OFF, 1–128 This sets the Program Number. *1
*1 Setting available with MODE set to POLY.
*2 Setting available with MODE set to MONO. This can be specified for each string.
LED COLOR
You can specify the color of the LED for each footswitch.
[BANK
I
]/[BANK
H
] switch, [CTL1]/[CTL2] switch, [1]–[4] switch, CUR NUM
Parameter Explanation
OFF
ON
Value
Refer to
Refer to
Specifies the color of the LED when the switch is not pressed.
Specifies the color of the LED when the switch is pressed.
* CUR NUM indicates the number of the currently selected patch
(current number).
Value
Value
OFF
RED
BLUE
LIGHT BLUE
GREEN
YELLOW
WHITE
PURPLE
Explanation
The LED is not lit.
Specify the color of LED illumination.
AUTO
The illumination behavior and color that are appropriate for the footswitch function will be specified.
If “ON” is set to AUTO, the OFF setting is ignored.
AUTO RED
AUTO BLUE
AUTO LIGHT BLUE
AUTO GREEN
AUTO YELLOW
AUTO WHITE
AUTO PURPLE
The illumination behavior that is appropriate for the footswitch function will be specified. You can specify the color.
If “ON” is set to AUTO, the OFF setting is ignored.
PREFERENCE
Value
PATCH
SYSTEM
Explanation
Different settings can be made independently for each patch.
The same settings will be shared by all patches.
80
SYSTEM Parameters
CONTROL MODE
The control mode setting lets you choose how you want to operate the effects.
Value Explanation
This mode lets you recall and use the patches that are saved in the unit (Memory mode).
MEMORY Use the [1]–[4] switches to switch patches.
* Even in memory mode, you can select functions other than patch recall.
MANUAL
This mode lets you use the [1]–[4] switches to operate the functions that are assigned to them by each patch or by the settings for the entire system
(Manual mode).
When you select manual mode, a portion of the
PLAY screen changes.
IN/OUT SETTING
GK SETTING
Here you can make settings for the divided pickup to ensure that the
SY-1000 will always play optimally.
These settings must be made when you newly attach a divided pickup to a guitar (or a bass), or when you’ve adjusted the height of the divided pickup.
The SY-1000 can save ten sets of these settings (GK SETTING).
If you save the GK SETTING parameters for each of your guitars
(basses), you can quickly recall the appropriate settings when you connect a different guitar (bass).
The GK SETTING parameters are saved even when you turn off the power. You need not make the settings each time you play the instrument.
Parameter
SETTING
NAME
GK TYPE
*1
GK TYPE
*2
SCALE
*1
SCALE
*2
Value
1–10
GC-1
Explanation
Selects the GK SET used when EFFECTS parameters
0 MASTER parameters GK
SET is set to “SYSTEM.”
The various parameters specified in GK SETTING are saved in the GK SET number that you select here.
Edits the name of the GK set (up to eight characters).
GK-3
Choose this when using a
Roland GK-3.
GK-2A
Choose this when using a Roland GK-2A, or when using a guitar (commercially available) with a built-in divided pickup.
Choose this when using a
Roland V-Guitar GC-1.
PIEZO
PIEZO F
PIEZO G
PIEZO L
PIEZO R
GK-3B
GK-2B
PIEZO
PIEZO G
PIEZO R
Piezo pickup
(Flat response)
Fishman
Graph Tech
L.R. Baggs
RMC
Choose this if you’re using a GK-3B.
Choose this when using a Roland GK-2B, or when using a bass (commercially available) with a built-in divided pickup.
(Flat response)
Piezo pickup
Graph Tech
RMC
Specify the scale length of the guitar you’re using.
500–660 mm, ST (648 mm), LP (628 mm)
710–940 mm, SHORT
(760 mm), MEDIUM
(812 mm), LONG JB/
PB (864 mm), EXTRA
LONG (914 mm)
Specify the scale length of the bass you’re using.
81
SYSTEM Parameters > IN/OUT SETTING
Parameter Value Explanation
Specifies the position of the divided pickup.
Position for a 4-string bass.
GK PU
POSITION 4STR-1 4STR-2 4STR-3
1st string
2nd string
3rd string
4th string
GK PU
POSITION
*2
PU PHASE
Position for a 5-string bass (Low B–G).
GK PU
POSITION 5STR-Lo1 5STR-Lo2
1st string
2nd string
3rd string
4th string
Low B string
Position for a 5-string bass (E–Hi C).
GK PU
POSITION 5STR-Hi1 5STR-Hi2
High C string
1st string
2nd string
3rd string
4th string
Position for a 6-string bass.
GK PU
POSITION 6STR
High C string
1st string
2nd string
3rd string
4th string
Low B string
NORMAL, INVERSE
This sets the phase for the divided pickup and normal pickup.
Set this to “NORMAL,” and if the low-frequency range is cut, set this to “INVERSE.”
Parameter Value Explanation
This sets the direction for the divided pickup’s installation.
The cable extends from the side of the 6th string.
(GUITAR MODE)
PU
DIRECTION
NORMAL
The cable extends from the side of the bass’s bridge.
(BASS MODE)
The cable extends from the side of the 1st string.
(GUITAR MODE)
REVERSE
The cable extends from the side of the bass’s neck.
(BASS MODE)
PIEZO TONE L
*3
PIEZO TONE H
*3
-10 dB–+10 dB
-10 dB–+10 dB
Adjusts the low-frequency range.
Adjusts the high-frequency range.
82
Parameter Value
SW POSITION NORMAL, REVERSE
NORMAL PU
GAIN
DISTANCE 1–
DISTANCE 6
-20 dB–+20 dB
10.0–30.0 mm
Explanation
Swaps the functions of the
[S1] and [S2] buttons of the GK-3, GK-2A, GK-3B, or
GK-2B.
Adjusts the input level of the normal pickup. When making this setting, set the
GK pickup’s select switch to
“MIX.”
Specifies the distance between the divided pickup and the bridge.
DISTANCE
HiC–
DISTANCE
LowB
5.5–55.5 mm
* If the pickup type is set to
“GC-1” or one of the piezotype pickups, this setting is not necessary.
SENS 1–SENS
6
SENS
HiC–+SENS
LowB
0–100
Specifies the input sensitivity of the divided pickup.
*1 Setting available with GUITAR MODE.
*2 Setting available with BASS MODE.
*3 Setting available when GK PU TYPE is PIEZO type.
NORMAL SETTING
You can save ten types of settings for your conventional guitar (bass) as a NORMAL SETTING.
The NORMAL SETTING parameters are saved even when you turn off the power. You need not make the settings each time you play the instrument.
These settings are for the signal that is input to INST (DYNAMIC
SYNTH), and apply to a NORMAL PATCH.
Parameter Value
SETTING 1–10
Explanation
Selects the NORMAL
SET used when EFFECTS parameters 0 MASTER parameters
NORMAL SET is set to “SYSTEM.”
The various parameters specified in NORMAL SETTING are saved in the NORMAL SET number that you select here.
NAME
Edits the name of the NORMAL set (up to eight characters).
COMPRESSOR
SW
OFF, ON Turns the compressor on/off.
ATTACK
SUSTAIN
0–100
0–100
Adjusts the strength of the attack when picking.
Adjusts the range (time) during which the decaying sound of the guitar/bass is amplified to a constant volume.
Larger values will result in longer sustain.
Parameter
LEVEL
SENS
LOW
HIGH
Value
0–100
-50–+50
-50–+50
-50–+50
SYSTEM Parameters > IN/OUT SETTING
Explanation
Adjusts the volume.
Adjusts the overall input sensitivity.
Adjusts the sensitivity of the lowfrequency region. Increase this setting if you want to make the low-frequency region thicker.
Decrease this setting if you want to make the low-frequency region clearer.
Adjusts the sensitivity of the highfrequency region. Increase this setting if you want more volume in the high-frequency region, such as when soloing.
Decrease this setting if you want to restrain the volume of the highfrequency region.
MAIN OUT, SUB OUT
OUTPUT SELECT&LEVEL
Specify the device (amp) that’s connected to the MAIN OUTPUT, SUB
OUTPUT jacks.
Parameter Value Explanation
STEREO LINK OFF, ON
If this is ON, the L and R settings are made at the same time.
83
SYSTEM Parameters > IN/OUT SETTING
Parameter
L:MAIN OUTPUT
SELECT
R:MAIN OUTPUT
SELECT
L:SUB OUTPUT
SELECT
R:SUB OUTPUT
SELECT
Value
LINE/PHONES
JC-120 RETURN
JC-120 INPUT
COMBO AMP 1
RETURN
COMBO AMP 1
INPUT
COMBO AMP 2
RETURN
COMBO AMP 2
INPUT
STACK AMP
RETURN
STACK AMP
INPUT
BASS AMP
WITH TWEETER
BASS AMP NO
TWEETER
Explanation
Choose this setting if you’re using headphones, or if the
SY-1000 is connected to a keyboard amp, mixer, or digital recorder.
Choose this setting if the
SY-1000 is connected to the
RETURN jack of the Roland JC-
120 guitar amp.
Choose this setting if the
SY-1000 is connected to the guitar input of a JC-120 guitar amp.
Use this setting when connecting to the RETURN of a combo-type guitar amp (in which the amp and speakers are in a single unit) equipped with one speaker.
Use this setting when connecting to the guitar input of a combo-type amp (in which the amp and speakers are in a single unit) equipped with one speaker.
Use this setting when connecting to the RETURN of a combo-type amp (in which the amp and speakers are in a single unit) equipped with two speakers.
Use this setting when connecting to the guitar input of a combo-type amp (in which the amp and speakers are in a single unit) equipped with two speakers.
Use this setting when connecting to the RETURN of a stack-type amp (in which the amp and speaker are in separate units).
Use this setting when connecting to the guitar input of a stack-type amp (in which the amp and speaker are in separate units).
Use this setting when connecting to a bass amp that has a tweeter.
Use this setting when connecting to a bass amp that does not have a tweeter. The high-frequency range will be corrected.
L:MAIN OUTPUT
LEVEL
R:MAIN OUTPUT
LEVEL
L:SUB OUTPUT
LEVEL
R:SUB OUTPUT
LEVEL
0–200 Adjusts the output level.
GLOBAL EQ
This adjusts the tone of the OUTPUT regardless of the equalizer on/ off settings of individual patches.
Parameter Value Explanation
STEREO LINK OFF, ON
If this is ON, the L and R settings are made at the same time.
LOW CUT
*1
L: LOW CUT
*2
R: LOW CUT
*2
LOW GAIN
*1
L: LOW GAIN
*2
R: LOW GAIN
*2
LOW-MID FREQ
*1
L: LOW-MID FREQ
*2
R: LOW-MID FREQ
*2
LOW-MID Q
*1
L: LOW-MID Q
*2
R: LOW-MID Q
*2
LOW-MID GAIN
*1
L: LOW-MID GAIN
*2
R: LOW-MID GAIN
*2
HIGH-MID FREQ
*1
L: HIGH-MID FREQ
*2
R: HIGH-MID FREQ
*2
HIGH-MID Q
*1
L: HIGH-MID Q
*2
R: HIGH-MID Q
*2
FLAT, 20.0
Hz–16.0 kHz
-20–+20 dB
20.0 Hz–16.0 kHz
0.5–16
-20–+20 dB
20.0Hz–
16.0kHz
0.5–16
This sets the frequency at which the low cut filter begins to take effect. When
FLAT is selected, the low cut filter will have no effect.
Adjusts the tone for the low frequency range.
Specifies the center of the frequency range that will be adjusted by the LOW-MID
GAIN.
Adjusts the width of the area affected by the EQ centered at the LOW-MID
FREQ. Higher values will narrow the area.
Adjusts the tone for the lowmiddle frequency range.
Specifies the center of the frequency range that will be adjusted by the HIGH-MID
GAIN.
Adjusts the width of the area affected by the EQ centered at the HIGH-MID
FREQ. Higher values will narrow the area.
84
Parameter
HIGH-MID GAIN
*1
L: HIGH-MID GAIN
*2
R: HIGH-MID GAIN
*2
HIGH GAIN
*1
L: HIGH GAIN
*2
R: HIGH GAIN
*2
HIGH CUT
*1
L: HIGH CUT
*2
R: HIGH CUT
*2
Value
-20–+20 dB
-20–+20 dB
20.0Hz–
16.0kHz
FLAT
Explanation
Adjusts the tone for the high-middle frequency range.
Adjusts the tone for the high frequency range.
This sets the frequency at which the high cut filter begins to take effect. When
FLAT is selected, the high cut filter will have no effect.
*1 Valid when the STEREO LINK is set to ON.
*2 Valid when the STEREO LINK is set to OFF.
TOTAL
These parameters control the threshold level of the noise suppressor used by each patch, the overall reverb level, and the overall output.
This does not affect the settings of each patch.
Parameter Value Explanation
TOTAL REVERB
LEVEL
0%–200%
Adjusts the reverb level specified for each patch.
It is useful to adjust the reverb level appropriately for the space in which you’re performing. This does not affect the settings of each patch.
* If you want to use the settings specified for each patch, set this to 100%.
TOTAL NS
THRESHOLD
-20 dB–+20 dB
Control the threshold level of the noise suppressor used by each patch.
It is effective to adjust this when you switch to connecting a different guitar, or according to the amount of noise in the performance venue.
This does not affect the settings of each patch.
* If you want to use the settings specified for each patch, set this to 0 dB.
SYSTEM Parameters > IN/OUT SETTING
USB AUDIO
Here you can make USB-related settings for when the SY-1000 is connected to a computer via USB.
Parameter
MAIN MIX
LEVEL
SUB MIX
LEVEL
IN LEVEL
OUT LEVEL
Value
0–100
0–100
0–100
0–100
Explanation
Adjusts the level of the sound that is input from the computer.
Adjusts the level of the sound that is input from the computer.
Adjusts the level of the sound that is input from the computer.
Adjusts the level of the sound that is ouput to the computer.
AUDIO
ROUTING
*1 *2
Specifies the routing for USB audio. You can record the sound of the SY-1000 into your DAW, play back the recorded sound from your DAW and monitor it on the SY-1000, or re-synth your recording.
Refer to “AUDIO ROUTING” (p. 86).
IN POSITION
*1
OUT
POSITION
*2 *3
INST1, INST2,
INST3, NORMAL
IN, BALANCER1,
BALANCER2,
BALANCER3, MAIN
OUT, SUB OUT,
MAIN&SUB
INST1, INST2,
INST3, NORMAL
IN, BALANCER1,
BALANCER2,
BALANCER3, MAIN
OUT, SUB OUT
This sets the point at which digital audio signals received via USB (from your computer) are connected within the SY-1000.
This specifies the point at which digital audio signals are taken from inside the
SY-1000 and sent via USB
(to your computer).
*1 INST1–INST3, NORMAL IN, and BALANCER1–BALANCER3 are valid when the AUDIO ROUTING is set to RE-SYNTH1. And, MAIN OUT,
SUB OUT, and MAIN&SUB are valid when the AUDIO ROUTING is set to other than RE-SYNTH1.
*2 When the AUDIO ROUTING is set to MIX, only MAIN OUT and SUB
OUT are valid.
*3 NORMAL IN is valid when the AUDIO ROUTING is set to
STANDARD or DIRECT OFF.
What is resynthesis?
This is a technique in which the original sound unprocessed by an
INST or effects is recorded into your DAW, and then you later use the
INST sounds and effects to design your sound. This gives you the freedom to change the sound after you’ve finished recording.
85
SYSTEM Parameters > IN/OUT SETTING
AUDIO ROUTING
Value Explanation
Use this setting if you want to play your guitar while playing back a backing song from your computer.
The sound of the SY-1000 and the backing from your computer are mixed and output from the SY-1000’s
OUTPUT.
The sound of only the SY-1000 is output from the
SY-1000’s USB port.
PC GK1-6 IN
STANDARD
USB OUT
POSITION
DIVIDED PU GK SETTING INST PC IN
EFFECTS
CHAIN USB OUT LEVEL
NORMAL PU
MIX
PC GK 1-6 OUT
PC OUT USB MAIN MIX LEVEL
USB IN
POSITION
USB SUB MIX LEVEL
MAIN OUT LEVEL
MAIN OUT
SUB OUT
SUB OUT LEVEL
Use this setting if you want to play your guitar while playing back a song from your computer.
The sound of the SY-1000 and the backing are mixed and output from the SY-1000’s OUTPUT and from the USB port.
PC GK1-6 IN
DIVIDED PU GK SETTING
NORMAL PU
INST
EFFECTS
CHAIN
USB OUT
POSITION
USB OUT LEVEL
PC IN
RE-SYNTH2
PC GK 1-6 OUT
PC OUT USB MAIN MIX LEVEL
USB IN
POSITION
USB SUB MIX LEVEL
MAIN OUT LEVEL
MAIN OUT
SUB OUT
SUB OUT LEVEL
Use this setting if the sound unprocessed by an INST and effects is being played back from the computer and input to the SY-1000 for resynthesis.
PC GK1-6 IN
RE-SYNTH1
DIVIDED PU GK SETTING
USB OUT
POSITION
NORMAL PU INST PC IN
EFFECTS
CHAIN USB OUT LEVEL
USB IN
POSITION
PC GK 1-6 OUT
PC OUT
USB IN LEVEL
MAIN OUT LEVEL
MAIN OUT
SUB OUT
SUB OUT LEVEL
Use this setting if the sound unprocessed by an
INST and effects is being resynthesized while the computer plays a backing song.
PC GK1-6 IN
DIVIDED PU GK SETTING
NORMAL PU INST
EFFECTS
CHAIN
USB OUT
POSITION
USB OUT LEVEL
PC IN
PC GK 1-6 OUT
PC OUT
USB MAIN MIX LEVEL
USB IN
POSITION
USB SUB MIX LEVEL
MAIN OUT LEVEL
MAIN OUT
SUB OUT
SUB OUT LEVEL
Value
DIRECT OFF
Explanation
Use this setting if you want the output processed by a plug-in effect on your DAW to be output to the
SY-1000’s OUTPUT.
Only the sound of the SY-1000 is output from the
SY-1000’s USB port.
PC GK1-6 IN
USB OUT
POSITION
DIVIDED PU GK SETTING
NORMAL PU
INST
EFFECTS
CHAIN
USB OUT LEVEL
PC IN
PC GK 1-6 OUT
PC OUT
USB MAIN MIX LEVEL
USB IN
POSITION
USB SUB MIX LEVEL
MAIN OUT LEVEL
MAIN OUT
SUB OUT
SUB OUT LEVEL
86
HARDWARE SETTING
KNOB SETTING
Parameter
KNOB 1–
KNOB 6
KNOB LOCK
Value Explanation
Here you can assign the desired parameters to the
[1]–[6] knobs in the Play screen.
* The settings you make here are only for the knobs in the Play screen.
OFF, ON
If this is ON, knob operations in the
Play screen will be disabled.
Selects the output(s) whose volume is adjusted by the OUTPUT LEVEL knob.
OUTPUT
LEVEL KNOB
MAIN
SUB
MAIN+SUB
Adjusts only the level of the MAIN
OUTPUT.
Adjusts only the level of the SUB
OUTPUT.
Simultaneously adjusts the level of both the MAIN OUTPUT and SUB
OUTPUT.
KNOB 1–KNOB 6
Category
PATCH
TUNER
MASTER
CONTROL MODE
INPUT SETTING
OUTPUT SETTING
TOTAL
MAIN GLOBAL EQ L/S
MAIN GLOBAL EQ R
Parameter
PATCH SELECT
ON/OFF
BPM
KEY
PATCH LEVEL
CONTROL MODE
GK SET
NORMAL SET
MAIN OUTPUT-L LEVEL
MAIN OUTPUT-R LEVEL
MAIN OUTPUT-L SELECT
MAIN OUTPUT-R SELECT
SUB OUTPUT-L LEVEL
SUB OUTPUT-R LEVEL
SUB OUTPUT-L SELECT
SUB OUTPUT-R SELECT
TOTAL REVERB LEVEL
TOTAL NS THRESHOLD
LOW CUT
LOW GAIN
LOW-MID FREQ
LOW-MID Q
LOW-MID GAIN
HIGH-MID FREQ
HIGH-MID Q
HIGH-MID GAIN
HIGH GAIN
HIGH CUT
SYSTEM Parameters > HARDWARE SETTING
Category
SUB GLOBAL EQ L/S
SUB GLOBAL EQ R
USB AUDIO
Parameter
LOW CUT
LOW GAIN
LOW-MID FREQ
LOW-MID Q
LOW-MID GAIN
HIGH-MID FREQ
HIGH-MID Q
HIGH-MID GAIN
HIGH GAIN
HIGH CUT
MAIN MIX LEVEL
SUB MIX LEVEL
IN LEVEL
OUT LEVEL
AUDIO ROUTING
IN POSITION
OUT POSITION
GUITAR TO MIDI SW
GUITAR TO MIDI
*1
BASS TO MIDI
*2
BASS TO MIDI SW
*1 Setting available with GUITAR MODE.
*2 Setting available with BASS MODE.
ASSIGN HOLD
Parameter Value
OFF
GK VOL HOLD
EXP1 HOLD
EXP2 HOLD
ON
Explanation
When you switch patches, the values of GK VOL, EXP1, and EXP2 are set to the values saved in the patch.
When you switch patches, the values of the parameters assigned to GK VOL, EXP1, and EXP2 maintain their values if the parameters have the same assignments as in the previously-selected patch.
For example, if the EXP1 parameter was “FV1” both for the current patch and for the previouslyselected patch, the value of EXP1 is maintained even when you switch patches. (The FV1 value saved in the newly-selected patch is ignored.)
GROUND LIFT
Parameter Value
GROUND LIFT OFF, ON
Explanation
Turns GROUND LIFT on/off for the
RETURN jack.
87
SYSTEM Parameters > PLAY OPTION
OTHER
Parameter
AUTO OFF
LCD
CONTRAST
Value Explanation
The SY-1000 can turn off its power automatically. If you want to have the power remain on all the time, turn it “OFF.”
* With the factory settings, this function is turned
“ON.”
* When the power is turned off, any settings you were editing will be lost. You must save settings that you want to keep.
OFF
ON
1–10
The power will not turn off automatically.
The power will turn off automatically when 10 hours have passed since you last played or operated the unit.
The display will show a message approximately 15 minutes before the power turns off.
Here you can adjust the brightness of the characters in the display.
PLAY OPTION
Here you can specify how the pedals will work during performance.
Parameter
BANK MODE
Value
WAIT
IMMED
Explanation
When you press a bank pedal to switch banks, the indication in the display will change but the patch does not yet change at this time.
When you press a number pedal, the bank and number are finalized, and the next patch is selected.
The patch switches instantly when a BANK pedal or any of the number pedals is pressed.
BANK EXTENT
MIN
BANK EXTENT
MAX
U01–U50
P01–P50
U01–U50
P01–P50
Sets the lower limit for the banks.
Sets the upper limit for the banks.
BANK DOWN
& UP SW
OFF, TUNER
Turns on/off the function that switches to the TUNER when the
BANK [ I ] and BANK [ H ] switches are pressed simultaneously.
88
MIDI
On the SY-1000, you can use MIDI to perform the following operations.
Operations from the SY-1000
What you can do Explanation
Transmit program change messages
When you select a patch on the SY-1000, the program change message specified by the
PATCH MIDI setting or the program change message corresponding to the selected patch number is transmitted. The external MIDI device that receives this program change message will switch to the corresponding settings.
Transmit control change messages
Outputting
Performance
Data
Transmitting
Data
Operations of the [CTL1] or [CTL2] switch, a foot switch or expression pedal connected to the
CTL3,4/EXP1 or CTL5,6/EXP2 jack, the [S1] or [S2] buttons of the divided pickup, or the GK volume are transmitted as control change messages.
These messages can control parameters on an external MIDI device.
Performance data of the guitar (bass) is transmitted as note messages and bend messages. You can use this to play a connected synthesizer sound module.
For detailed information, refer to “GUITAR TO
Parameter settings stored in the SY-1000 can be transmitted as exclusive messages to another
MIDI device. This allows you to give another
SY-1000 the identical settings and to save parameter settings to MIDI sequencers and other such devices.
Operations from an External MIDI Device
What you can do Explanation
Switching Patch
Numbers
Program change messages can be received from an external MIDI device. SY-1000 patches can be switched from an external MIDI device.
Receive control change messages
Receiving Data
Control change messages can be received from an external MIDI device. SY-1000 parameters can be controlled from an external MIDI device.
The SY-1000 can receive data that is transmitted from another SY-1000 unit, or data that was saved on a MIDI sequencer. All of the SY-1000’s parameters can be changed in a single operation.
MIDI SETTING
Parameter
RX CHANNEL
Value Explanation
This sets the MIDI channel used for receiving MIDI messages.
Ch. 1– Ch. 16 Specifies the receive channel.
SYSTEM Parameters > MIDI
Parameter
OMNI MODE
TX CHANNEL
DEVICE ID
MIDI IN THRU
USB IN THRU
Value Explanation
This makes the settings for the channels used for
MIDI information.
OFF
ON
Information is received on the channel specified by the RX
CHANNEL setting.
Messages are received on all channels, regardless of the MIDI channel settings.
Sets the MIDI channel used for transmitting MIDI messages.
Ch. 1– Ch. 16. Specifies the transmit channel.
RX
Transmits on the same channel as the RX CHANNEL.
This sets the MIDI Device ID used for transmitting and receiving Exclusive messages.
1–32 Sets the MIDI Device ID.
This specifies the connector from which to output the MIDI messages that are received at the MIDI IN connector.
OFF
MIDI OUT
MIDI messages are not transmitted.
Messages are transmitted from the
MIDI OUT connector.
USB OUT
USB/MIDI
MIDI OUT
Messages are transmitted from the
USB port.
Messages are transmitted from the USB port and the MIDI OUT connector.
This specifies the connector from which to output the MIDI messages that are received at the USB port.
OFF MIDI messages are not transmitted.
Messages are transmitted from the
MIDI OUT connector.
USB OUT
USB/MIDI
Messages are transmitted from the
USB port.
Messages are transmitted from the USB port and the MIDI OUT connector.
89
SYSTEM Parameters > MIDI
Parameter
SYNC CLOCK
CLOCK OUT
PC OUT
TX PC MAP
Value Explanation
This setting determines the basis used for synchronizing the timing for effect modulation rates and other time-based parameters.
* If SYNC CLOCK is set to AUTO, MIDI (AUTO), or USB (AUTO), and an external MIDI device is connected, this unit synchronizes to the tempo of the external MIDI device. In this case, the patch’s
BPM parameter (p. 66) is ignored. If you want
this unit’s BPM setting to be the reference (i.e., if you want to enable the BPM parameter), set SYNC
CLOCK to “INTERNAL.”
* When synchronizing performances to the MIDI
Clock signal from an external MIDI device, timing problems in the performance may occur due to errors in the MIDI Clock.
AUTO
INTERNAL
Operations are synchronized to
MIDI clock messages received via
MIDI or USB. However, operations are automatically synchronized to the SY-1000’s internal Clock if the
SY-1000 is unable to receive the external Clock.
Operations are synchronized to the
SY-1000’s internal Clock.
MIDI (AUTO)
USB (AUTO)
Operations are synchronized to the MIDI Clock received via
MIDI. However, operations are automatically synchronized to the SY-1000’s internal Clock if the
SY-1000 is unable to receive the external Clock.
Operations are synchronized to the USB Clock received via
USB. However, operations are automatically synchronized to the SY-1000’s internal Clock if the
SY-1000 is unable to receive the external Clock.
Specifies whether MIDI clock will be output from the SY-1000.
OFF
ON
MIDI clock is not output.
MIDI clock is output.
This setting determines whether or not Program
Change messages are output when the SY-1000’s patches are switched.
OFF
MIDI messages for PATCH MIDI are not transmitted (PATCH MIDI control change messages are not transmitted either).
ON
Transmit program change messages.
This sets the Program Change messages transmitted when patches are switched.
FIX
PATCH MIDI
Regardless of the patch settings,
Program Change messages predetermined for each patch number are sent.
The MIDI messages specified by the
PATCH MIDI settings of each patch are transmitted (including control change messages).
Parameter
RX PC MAP
NUM1 CC#
NUM2 CC#
NUM3 CC#
NUM4 CC#
BANK DOWN
CC#
BANK UP CC#
CTL1 CC#
CTL2 CC#
CTL3 CC#
CTL4 CC#
CTL5 CC#
CTL6 CC#
EXP1 CC#
EXP2 CC#
GK VOL CC#
GK SW1 CC#
GK SW2 CC#
Value Explanation
When the SY-1000 receives a program change message, you can specify whether the SY-1000 switches to the patch corresponding to the received program change message or to the patch
specified by the “PROGRAM MAP BANK1–BANK4”
FIX
Switch to the patch corresponding to the received program change message.
PROG
The patch specified by “PROGRAM
be selected.
Specifies the controller number when transmitting pedal operations as control change messages.
OFF
Control Change messages are not output.
CC#1–CC#31,
CC#64–CC#95
Pedal operations are transmitted using the specified controller number.
PROGRAM MAP BANK1–BANK4
When switching patches using Program Change messages transmitted by an external MIDI device, you can freely set the correspondence between Program Change messages received by the
SY-1000 and the patches to be switched to.
Parameter Value Explanation
This sets the patch number
(U01-1 through P50-4) for the corresponding Program Change messages.
BULK DUMP
By transmitting exclusive data, you can send the same settings to another SY-1000 unit, or save effect settings on your MIDI sequencer.
Parameter Value
SYSTEM
Explanation
System parameter settings
FROM
TO VARIATION
TEMP
Contents of the variation settings
Settings for the patch that is currently selected
90
MEMO
If you are using the Bulk Dump function to send the same settings to another SY-1000 unit, set both units to the same MODE.
You can’t perform a bulk dump between two SY-1000 units whose
MODE differs (one SY-1000 operating in GUITAR MODE and another
SY-1000 operating in BASS MODE).
GUITAR TO MIDI/BASS TO MIDI
Parameter Value
ON/OFF OFF, ON
Explanation
Switches on/off the GUITAR TO
MIDI/BASS TO MIDI function.
If this is OFF, no MIDI messages related to GUITAR TO MIDI/BASS TO
MIDI are transmitted.
HOLD CTL
GK SW1, GK
SW2, CTL1,
CTL2, CTL3,
CTL4, CTL5,
CTL6
This setting determines the controller used for the HOLD function.
BEND THIN OFF, ON
BEND RANGE 0–24
BASIC CH
PC MASK
1-11
OFF, ON
Setting this to ON thins out the
Pitch Bend messages and reduces the volume of MIDI data.
Specifies the maximum range of change for pitch bend messages.
Specifies the MIDI transmit channel used by the GUITAR TO MIDI/BASS
TO MIDI function.
When set to ON, the Bank Select messages and Program Change messages used for the GUITAR TO
MIDI/BASS TO MIDI function are not transmitted when patches are changed.
SYSTEM Parameters > TUNER
TUNER
The SY-1000’s tuner function provides two modes: single mode
(SINGLE MODE) lets you tune one string at a time, and multi mode
(MULTI MODE) can detect the pitch of six strings simultaneously.
In the TUNER screen, you can use the [ K ] [ J ] (PAGE) buttons to switch modes.
TUNER MODE
Parameter
TUNER MODE
PITCH
OUTPUT
Value
MULTI MODE
SINGLE MODE
435–445 Hz
MUTE
BYPASS
THRU
Explanation
Allows you to tune six strings at the same time.
* Setting available with GK PATCH.
Allows you to tune by playing a single note on the specific string you’re tuning.
Specifies the reference pitch.
Sound will not be output while tuning.
While tuning, the sound of the guitar being input to the SY-1000 will be output without change.
All INST and effects are off.
Allows you to tune while outputting the sound of the current patch.
* If ALT TUNE is on, the sound processed by the ALT TUNE effect is output.
91
SYSTEM Parameters > FACTORY RESET
FACTORY RESET
Initializes the SY-1000 to its factory-set condition.
MEMO
Only the currently selected mode is initialized. (If you execute Factory
Reset while in GUITAR MODE, the settings of BASS MODE are not initialized.)
Parameter Value
SYSTEM
Explanation
System parameter settings
FROM, TO
VARIATION Contents of the variation settings
MODE SETTING
Here you can specify whether you’re using the SY-1000 with a guitar connected or with a bass connected.
Choose GUITAR MODE (GUITAR) if you’re using it with a guitar, or choose BASS MODE (BASS) if you’re using it with a bass.
MEMO
5 With the factory settings, this is set to “GUITAR.”
5 The SY-1000 starts up in the selected mode until you switch the mode again.
5 Some parameters are shown differently depending on the selected mode.
5 Patches are saved independently for GUITAR MODE and for BASS
MODE.
92
Saving a Sound (WRITE)
Saving a Patch (PATCH WRITE)
If you save the INST settings and effect settings as a patch, you’ll be able to recall them whenever you like.
If you select a different patch or turn off the power after editing the settings, edited settings will be lost. If you want to keep the data, you must save it.
1.
Press the [WRITE] button.
Exchanging Patches (PATCH EXCHANGE)
On the SY-1000, you can “swap” or exchange the positions of two
User patches.
1.
Select the exchange source patch.
2.
Press the [WRITE] button.
3.
Press the [2] knob to select “EXCHANGE” (PATCH
EXCHANGE).
4.
Use the [1] knob to select the other user patch that you want to exchange.
2.
Press the [1] knob to select “WRITE” (PATCH WRITE).
* If you decide to cancel without exchanging, press the [EXIT] button a several times. You’ll be returned to the Play screen.
5.
Press the [WRITE] button once again.
A confirmation message appears.
3.
Use the [1] knob to select the save-destination
(U01-1–U50-4).
You can use the [3]–[6] knobs to edit the name.
Editing a name
To edit the patch name, use the [6] knob to move the cursor and use the [5] knob to change the character.
Controller Function
Turn the [3] knob
Press the [3] knob
Turn the [4] knob
Press the [4] knob
Turn the [5] knob
Turn the [6] knob
Selects the type of characters
Delete one character
(delete)
Switch uppercase/lowercase
Insert one space (insert)
Changes the character
Moves the cursor
6.
Press the [6] knob.
The patches will be exchanged. If you decide to cancel the exchange operation, press the [5] knob.
4.
Press the [WRITE] button to save.
The patch is written.
If you decide to cancel the operation, press the [4] knob.
93
Saving a Sound (WRITE)
Initializing Patches (PATCH INITIALIZE)
You can return (initialize) a User patch to its original factory settings.
This is convenient when you want to create a new patch from scratch.
CAUTION
Any tone settings you’ve stored in a patch are lost once the initialization is executed.
1.
Press the [WRITE] button.
2.
Press the [3] knob to select “INITIALIZE” (PATCH
INITIALIZE).
3.
Use the [1] knob to select the user patch that you want to initialize. Use the [2] knob to select the type of patch.
Inserting a Patch (PATCH INSERT)
You can insert a patch into any position of the user patches.
For example, if you insert patch U01-1 at U02-1, patch U02-1 and subsequent patches are shifted (renumbered) backward by one.
(Patch U02-1 becomes U02-2.)
CAUTION
When you execute the insert operation, the last user patch (U50-4) is deleted.
1.
Press the [WRITE] button.
2.
Press the [4] knob to select “INSERT” (PATCH
INSERT).
3.
Use the [1] knob to select the insert-destination user patch.
* If you decide to cancel without initializing, press the [EXIT] button a several times. You’ll be returned to the Play screen.
* The patch type can also be switched even after initialization. For details, refer to the EFFECTS section’s explanation of INPUT block
4.
Press the [WRITE] button once again.
A confirmation message appears.
* If you decide to cancel without inserting, press the [EXIT] button a several times. You’ll be returned to the Play screen.
4.
Press the [WRITE] button once again.
A confirmation message appears.
5.
Press the [6] knob.
The patch will be initialized. If you decide to cancel the initialize operation, press the [5] knob.
5.
Press the [6] knob.
The patch is inserted at the specified position. If you decide to cancel the insert operation, press the [5] knob.
94
Connecting to a Computer
By connecting the SY-1000 to a computer via USB, you can do the following.
USB COMPUTER port
Using the SY-1000 as an Audio Interface
You can record the sound of the SY-1000 on your computer, or have sound from your computer be output from the SY-1000’s MAIN
OUTPUT jacks or SUB OUTPUT jacks.
* For details of the audio signal flow when connected via USB and instructions on how to make settings, refer to “SY-1000 Parameter
Guide” (PDF file).
* Refer to the instruction manual for the software you are using to learn how to switch the input source of the software.
5 Transmit and receive digital audio signals and MIDI messages between the computer and the SY-1000.
5 Edit and manage patches using the dedicated software
5 Download patches from our dedicated BOSS TONE CENTRAL
(http://bosstonecentral.com/) website
& http://bosstonecentral.com/
Installing the USB Driver
You must install the USB driver before connecting to a computer.
Please download the USB driver from the website shown below.
Install this special driver before making a USB connection. For further details, refer to the Readme.htm file that comes with the download.
https://www.boss.info/global/support/
The program you need to use, and the steps you need to take to install the USB driver will differ depending on your computer setup, so please carefully read and refer to the Readme.htm file that comes with the download.
Making use of the SY-1000’s dedicated software
Download the dedicated tool from the BOSS website. For details on how to use the software, refer to the Readme.htm file that comes with the download.
https://www.boss.info/global/support/
Using the dedicated software allows you to do the following:
5 Easily download patches from our BOSS TONE CENTRAL website.
5 Edit patch settings
5 Name patches
5 Organize patches in order and switch them around
5 Back up patches and system settings, and return to the backed up settings
95
Troubleshooting
When Using the SY-1000 on Its Own
Problem
No sound/Low volume
Volume is uneven among the strings
Items to check
Is the [OUTPUT LEVEL] knob turned down completely?
Could the volume of the GK pickup be turned down?
Action
Adjust the knob to an appropriate setting.
Raise the volume of the GK pickup to an appropriate level.
Could the select switch of the GK pickup be set to
“GUITAR”?
Could the PATCH LEVEL be turned down?
Are the SY-1000 and other devices connected properly?
Is the power to the connected amp or mixer not turned on, or is the volume turned down?
Is the GK pickup attached correctly?
Set the switch of the GK pickup to “MIX.”
Raise the PATCH LEVEL.
Check the connections with the other devices.
Check the settings for the connected device.
Is there a short in any connecting cable?
If there are no sounds through USB, are the [SYSTEM] - USB
AUDIO settings correct?
Was the GK pickup sensitivity setting adjusted correctly for each string?
Try replacing the connecting cable.
Adjust the settings to the appropriate values.
Perform the adjustment.
Refer to the manual of your GK pickup, and attach the GK pickup correctly.
When using the SY-1000’s expression pedal, the result is different for each patch
The effect produced using the expression pedal is different for each sound (patch).
Check the effect of each patch beforehand.
Oscillation occurs
Are any gain values or volume-related parameter values in the effect settings set too high?
Are any feedback values in the effect settings such as
DELAY set too high?
Decrease the value.
Decrease the value.
Patches not switching
Knobs don’t work
Can’t enter Tuner mode
Is some screen other than the Play screen shown in the display?
Could the system parameter KNOB LOCK be “ON”?
Could the system parameter BANKDOWN&UP SW (TUNER) be “OFF”?
With the SY-1000, you cannot switch patches in any screen other than the Play screen. Press the [EXIT] button one or more times to return to the Play screen.
Turn the system parameter KNOB LOCK “OFF.”
Turn the system parameter BANKDOWN&UP SW
(TUNER) “ON.”
96
Troubleshooting
When Connected to a MIDI Device or Computer
Problem
The external sound module connected to the MIDI OUT connector does not sound
Only one string sounds on the external sound module
(some strings do not sound)
Pitch is incorrect (different than the guitar pitch)
Items to check
Do the MIDI channels of the transmitting and receiving devices match?
Could you have turned down the volume using the volume control of the GK pickup or the expression pedal?
Could you be using Mono mode to transmit from the
SY-1000 to a sound module that is unable to receive six
MIDI channels simultaneously?
Is the Bend Range of your external sound module set to
+/- 24?
Is your guitar tuned accurately?
When you view the note messages recorded in your sequencer, the pitches differ from what is actually sounded
Action
Match the MIDI channels.
Raise the volume.
Use a sound module that supports multitimbral operation. Use the SY-1000 in Poly mode.
Set the Bend Range of your external sound module to +/- 24.
Tune your guitar accurately.
The SY-1000 expresses the pitch as a combination of note data and pitchbend data. This means that if you’re looking only at the note data, the pitches may appear different than what you played.
Check the pitchbend data.
MIDI messages not being transmitted/received
Pitch does not change smoothly
Could there be a short in the MIDI cable?
Are the SY-1000 and the external MIDI device connected properly?
Try replacing the MIDI cable.
Check the connection with the external MIDI device.
Are the MIDI channels matched?
If you are transmitting from the SY-1000, have the settings for transmission been made?
In CTL, check the GUITAR TO MIDI/BASS TO MIDI setting
CHROMATIC.
Check to confirm that both devices are set to the same MIDI channel.
Check the Program Change message transmission
ON/OFF setting and the settings for the controller number to be transmitted.
If this is set to “TYPE2” or “TYPE3,” pitch bend data will not be output, and the pitch will change in semitone steps. Set the CHROMATIC setting to “OFF” or “TYPE1.”
97
Block Diagram
When Using a GK PATCH
GK IN
DIVIDED
PU
NORMAL
PU
GUITAR
INPUT
PHASE SW
-
GK
SETTING
A
INST
INST1
ALT
TUNE
NORMAL
MIX SW
INST2
ALT
TUNE
NORMAL
MIX SW
INST3
ALT
TUNE
NORMAL
MIX SW
CABLE
SIM
E
NORMAL
LEVEL
NORMAL
B
NORMAL
MIX LEVEL
LEVEL
NORMAL
MIX LEVEL
LEVEL
C
D
NORMAL
MIX LEVEL
LEVEL
EFFECTS (You can change the order in which the effects are connected)
BALANCER 1
FX1
F BALANCER 2
REV
FX2
G
EQ2 DLY1 FV2
BALANCER 3
FX3
CMP
EQ1
DS AMP NS FV1
DIVIDER
SINGLE
CHO
MIXER
BALANCE
DLY2
DUAL
H
MST
DLY
S/R
SUB
OUT
PHASE SW
-
SEND LEVEL
RETURN LEVEL
PHASE SW
-
PATCH LEVEL
PHASE SW
-
GLOBAL
MAIN
EQ
GLOBAL
SUB
EQ
INST1
INST2
INST3
NORMAL IN
BALANCER1
BALANCER2
BALANCER3
MAIN OUT
SUB OUT
OUT LEVEL
A
INST1
INST2
INST3
NORMAL IN
BALANCER1
BALANCER2
BALANCER3
MAIN OUT
SUB OUT
MAIN & SUB I J
J
I
H
E
F
G
B
C
D
I
MAIN
OUTPUT
SELECT
MAIN OUTPUT
LEVEL
J
SUB
OUTPUT
SELECT
SUB OUTPUT
LEVEL
IN LEVEL
MAIN MIX LEVEL
SUB MIX LEVEL
USB
SEND
RETURN
MAIN OUTPUT
SUB OUTPUT
PC
PC GK 1-6 IN
PC GK 1-6 OUT
PC OUT
PC IN
USB OUT USB IN
98
Block Diagram
When Using a NORMAL PATCH
GK IN
DIVIDED
PU
NORMAL
PU
GUITAR
INPUT
PHASE SW
-
GK
SETTING
A
INST (DYNAMIC SYNTH only)
INST1
NORMAL
MIX LEVEL
LEVEL
B
C
INST2
NORMAL
MIX LEVEL
LEVEL
D
INST3
NORMAL
MIX LEVEL
LEVEL
CABLE
SIM
E
NORMAL
LEVEL
NORMAL
EFFECTS (You can change the order in which the effects are connected)
BALANCER 1
FX1
F BALANCER 2
REV
FX2
G
EQ2 DLY1 FV2
BALANCER 3
FX3 EQ1
DIVIDER
SINGLE
CHO
MIXER
BALANCE
-
PHASE SW SEND LEVEL
H
MST
DLY
S/R
SUB
OUT
MAIN
OUT
RETURN LEVEL
PHASE SW
-
PATCH LEVEL
PHASE SW
-
CMP DS AMP NS FV1
GLOBAL
MAIN
EQ
GLOBAL
SUB
EQ
DLY2
DUAL
INST1
INST2
INST3
NORMAL IN
BALANCER1
BALANCER2
BALANCER3
MAIN OUT
SUB OUT
OUT LEVEL
A
INST1
INST2
INST3
NORMAL IN
BALANCER1
BALANCER2
BALANCER3
MAIN OUT
SUB OUT
MAIN & SUB I J
J
I
H
E
F
G
B
C
D
I
MAIN
OUTPUT
SELECT
MAIN OUTPUT
LEVEL
J
SUB
OUTPUT
SELECT
SUB OUTPUT
LEVEL
IN LEVEL
MAIN MIX LEVEL
SUB MIX LEVEL
USB
SEND
RETURN
MAIN OUTPUT
SUB OUTPUT
PC
PC GK 1-6 IN
PC GK 1-6 OUT
PC OUT
PC IN
USB OUT USB IN
99
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