Contents

Boss SY-1000 Reference Manual PDF

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1 of 99

Summary of Content for Boss SY-1000 Reference Manual PDF

Reference Manual

2019 Roland Corporation 02

2

Getting Ready . . . . . . . . . . . . . . . . . . . . . . . . 4

Connecting the Equipment . . . . . . . . . . . . 4 Turning the Power On/Off ([POWER] switch) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 Guitars (Basss) 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) . . . . . . . . . . . 13

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

Settings for the SY-1000 . . . . . . . . . . . . . . 20 Restoring the Factory Default 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

FX1FX3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 1BALANCER 3 . . . . . . . . . . . . 65 MAIN OUT/SUB OUT . . . . . . . . . . . . . . . . . . 65 MASTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 NORMAL INPUT . . . . . . . . . . . . . . . . . . . . . . . 66

CONTROL ASSIGN Parameters . . . . . . 67

CONTROL FUNCTION . . . . . . . . . . . . . . . . . 67 FUNCTION . . . . . . . . . . . . . . . . . . . . . . . . . . 67 MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Contents

Contents

3

PREFERENCE . . . . . . . . . . . . . . . . . . . . . . . . . 69 ASSIGN SETTING . . . . . . . . . . . . . . . . . . . . . . 70

ASSIGN 1ASSIGN 16 . . . . . . . . . . . . . . . . . 70 Virtual Expression Pedal System (Wave Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . 77

STRING1STRING6, STR HiCSTR LowB, STRING ALL, NORMAL IN . . . . . . . 77 INPUT SENS (Input Sens) . . . . . . . . . . . . . 77

PATCH MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 PATCH MIDI 1PATCH MIDI 4 . . . . . . . . . . 78

GUITAR TO MIDI/BASS TO MIDI . . . . . . . . 79 LED COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

[BANKI]/[BANKH] 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 BANK1BANK4 . . . . . . . 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) . . . . . . . . . . . . 93

Saving a Patch (PATCH WRITE) . . . . . . . . . 93 Exchanging Patches (PATCH EXCHANGE) . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Initializing Patches (PATCH INITIALIZE) . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Inserting a Patch (PATCH INSERT) . . . . . . 94

Connecting to a Computer . . . . . . . . . . 95

Installing the USB Driver . . . . . . . . . . . . . . 95 Using the SY-1000 as an Audio 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

4

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.

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.

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).

(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).

SEND/RETURN jacks

Indicator

Connect an external effect processor here.

GUITAR INPUT jack

Use this control if youre directly inputting a conventional guitar.

* The guitar connected to the GUITAR INPUT jack can only use a NORMAL PATCH.

* Use the PATCH TYPE parameter (p. 66) to switch to a NORMAL PATCH.

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.

Roland GK-3 users Roland V-Guitar GC-1 users

You must set this to the center (MIX) position!

Getting Ready

5

MIDI IN, MIDI OUT/THRU jacks

Connect an external MIDI device here.

For details, refer to MIDI (p. 89).

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 youre using headphones, dont connect anything to R/MONO jack.

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).

FS-5U x 1 FS-5U x 2 FS-7FS-6

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.

CTL 3 CTL 5

CTL 4 CTL 6

CTL 3 CTL 5

CTL 4

CTL 4

CTL 6

CTL 6 CTL 3

CTL 3CTL 5 CTL 5

Stereo 1/4 phone type

. /

1/4 phone type x 2

1/4 phone type

. /

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. MODE / POLARITY switch

FS-5U FS-6 FS-7

Stereo 1/4 phone type

. /

Stereo 1/4 phone type

Stereo 1/4 phone type

. /

Stereo 1/4 phone type

Ground Terminal

Connect this to an external earth or ground if necessary.

Getting Ready

6

Panel Descriptions

1

2

3

4 5 6

7 8 9

10

11 12

13

No. Name Explanation Page

1 Display Various information regarding the SY-1000 is indicated here. p. 11

2 [1][6] knobs Use this to select or edit the value of the parameter thats shown in the display. p. 12

3 [OUTPUT LEVEL] knob

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] button0HARDWARE SETTING0KNOB0OUTPUT LEVEL KNOB

4 [INST] button Specifies the sound of the INST (sound engine). p. 14

5 [EFFECTS] button Specifies the effect settings and the order in which effects are connected. p. 16

6 [CTL] button Accesses the CTL screen, where you can assign functions to the buttons and switches. p. 18

7 [EXIT] button Used to return previous screens and to undo operations.

8 [WRITE] button Use for storing settings in patches and executing operations. p. 19

9 [SYSTEM] button Used for making settings related to the SY-1000s operating p. 20

10 [K] [J] (PAGE) buttons This switches the screens displayed in the display. p. 11

11 BANK [I], BANK [H] switches Switch banks. p. 13

12 [CTL 1] [CTL 2] switches By default, the [CTL 1] and [CTL 2] switches control a function thats assigned by each patch.

13 [1][4] switches Switch patches.

Getting Ready

7

Selecting the Instrument (Guitar/Bass) to Use (MODE SETTING) Here you can select whether youre connecting a guitar or a bass to the SY-1000.

Choose GUITAR MODE (GUITAR) if youre using a guitar, or choose BASS MODE (BASS) if youre using a bass.

1 . Press the [SYSTEM] button.

2 . Use the [K] [J] (PAGE) buttons to access the MODE SETTING icon.

3 . Press the [2] knob. The message 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 . 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.

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.

3 . Press the [2] knob. The IN/OUT SETTING screen appears.

4 . Press the [3] knob or [4] knob. The MAIN OUT screen or SUB OUT screen appears.

5 . Press the [1] knob. The OUTPUT SELECT screen appears.

6 . Turn the [1] knob. Select the connected device (type of amp).

OUTPUT SELECT Explanation

LINE/PHONES Choose this setting if youre using headphones, or if the SY-1000 is connected to a keyboard amp, mixer, or digital recorder.

JC-120 RETURN Choose this setting if the SY-1000 is connected to the RETURN jack of the Roland JC-120 guitar amp.

JC-120 INPUT Choose this setting if the SY-1000 is connected to the guitar input jack of a JC- 120 guitar amp.

COMBO AMP 1 RETURN

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.

Getting Ready

8

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

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.

COMBO AMP 2 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 two speakers.

STACK AMP RETURN

Set this when connecting to the RETURN jack on a stack-type amp.

STACK AMP INPUT

Set this when connecting to the guitar input jack on a stack-type amp.

BASS AMP WITH TWEETER

Use this setting when connecting to a tweeter-equipped bass amp.

BASS AMP NO TWEETER

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 youll 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 dont 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 thats installed on your guitar (bass).

6 . If using GUITAR MODE, turn the [5] knob. If using BASS MODE, turn the [4] knob.

Getting Ready

9

GK PU TYPE

(GUITAR MODE) Explanation

GK-3 Choose this if youre using a Roland GK-3.

GK-2A Choose this if youre using a Roland GK-2A, or if youre using a (commercially available) guitar with a built-in divided pickup.

GC-1 Choose this if youre using a Roland V-Guitar GC-1.

PIEZO

Piezo Pickup

(flat response)

PIEZO F Fishman

PIEZO G Graph Tech

PIEZO L L.R. Baggs

PIEZO R RMC

GK PU TYPE

(BASS MODE) Explanation

GK-3B Choose this if youre using a GK-3B.

GK-2B Choose this if youre using a Roland GK-2B, or if youre using a (commercially available) bass with a built-in divided pickup.

PIEZO Piezo Pickup

(flat response)

PIEZO G Graph Tech

PIEZO R 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 dont 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 youve chosen piezo type, youll be able to make further adjustments to the tone quality of the high range and low range.

Specifying Your Guitars (Basss) Scale Length Specify your guitars (basss) scale length (the distance from the bridge to the nut).

Guitar

Bass

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 youre using GUITAR MODE, choose ST (648mm) for a standard Stratocaster type, or choose LP (628mm) for a Les Paul type.

If youre 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 thats installed on your bass.

MEMO If youve 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 thats installed.

For a 4-string bass

4STR-1

1st string

3rd string 2nd string

4th string

4STR-2 4STR-3 GK PU POSITION

For a 5-string bass

1st string

3rd string 2nd string

4th string Low B string

5STR-Lo1 GK PU POSITION 5STR-Hi15STR-Lo2 5STR-Hi2

1st string

3rd string 2nd string

4th string

High C string

For a 6-string bass

1st string

3rd string 2nd string

4th string Low B string

GK PU POSITION 6STR

High C string

Getting Ready

10

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.

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) youre 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 its somewhat greater than the recommendation.

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 Explanation

MULTI MODE You can play and tune six strings simultaneously.

* Setting available with GK PATCH.

SINGLE MODE 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 Value Explanation

PITCH 435445Hz

(default: 440Hz) Specifies the reference pitch.

OUTPUT

MUTE Sound will not be output while tuning.

BYPASS

While tuning, the sound from the GK IN connector/GUITAR INPUT jack will be output without change.

All INSTs and effects will be off.

THRU Allows you to tune while hearing the current INST and effect sound.

* Only for SINGLE MODE.

11

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 name

Patch number

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.

Screen 4

This screen shows how the INST and effects are connected (CHAIN).

About the Icons

Icon 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 BALANCER13 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 using a NORMAL PATCH (p. 13), this icon goes dark.

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).

Basic Operation

12

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)

Press operation

Turn operation

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 Turns INST1 on/off.

When off, the icon is shown in gray.

Press the [2] knob 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)

Press operation

Use the [6] knob to select

Use the [K] [J] (PAGE) buttons to switch

Turn operation

Operation Explanation

Turn the [1][5] knobs Changes the value of the setting for the parameter

Turn the [6] knob Selects the block to edit.

Press the [6] knob Shows a list with all parameters of the selected block.

Press the [K] [J] (PAGE) buttons

Switches the parameters to show.

Operating Example 3 (EFFECT Edit Screen)

Turn operation

Operation Explanation

Turn the [1][5] knobs Changes the value of the setting for the parameter

Turn the [6] knob Selects the block to edit.

Press the [6] knob Turns the selected block on/off.

Long-press the [6] knob Shows a list with all parameters of the selected block.

Turn the [6] knob while pressing it

Changes the position of the selected block.

MEMO To change a value in larger steps, turn a [1][5] knob while pressing it.

13

Types of Bank The SY-1000 has two types of bank.

Types of bank Explanation

Preset bank (P01P50)

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 dont 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 youre 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 name

Patch number

MEMO You can also change patches by turning [1] knob below the display.

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

INST2

INST3

NORMAL

FX1

EQ2 DLY1 SUB L/R

CMP DS AMP EQ1 NS FV1 DLY2

FX2

FX3

S/R

CHO

MST DLY REV FV2 DIV MIX MAIN L/R 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 (150) and number (14); the SY-1000 can store 200 patches. Bank 50

Bank 3 Bank 2

Bank 1

Patch 1 Patch 3Patch 2 Patch 4

[1][4] switch BANK [I], BANK [H] switch

14

Editing a Patch Heres 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.

The INST screen shows the INST TYPE for INST1INST3.

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 Turns INST1 on/off.

* When off, the icon is shown in gray.

Press the [2] knob 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.

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 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.

Editing a Patch

15

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.

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.

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.

Editing a Patch

16

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.

2 . Turn the [6] knob to select the block that you want to edit. The selected block is enclosed by a thick frame.

* 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 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.

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 [1][6] knobs to edit the parameter settings.

MEMO You can use the [K] [J] (PAGE) buttons to switch between the parameters.

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 INST13 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.

Editing a Patch

17

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 youre 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.

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.

Recalling a Saved Effect Variation

1 . Press the [EFFECTS] button.

2 . Use the [6] knob to choose the effect youre 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.

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.

Editing a Patch

18

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 (p. 5).

CTL3CTL6EXP1, EXP2

Built-in footswitches

1 . Press the [CTL] button. The CONTROL/ASSIGN screen appears.

2 . Press the [1] knob. The CONTROL FUNCTION screen appears.

3 . Turn the [1] knob to select the item that you want to set.

Turning the knob will move the selected item vertically.

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.

The ASSIGN MATRIX screen appears.

* 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] button0 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.

19

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 (U01-1U50-4). 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

Turn the [3] knob Selects the type of characters

Press the [3] knob Delete one character (delete)

Turn the [4] knob Switch uppercase/lowercase

Press the [4] knob Insert one space (insert)

Turn the [5] knob Changes the character

Turn the [6] knob Moves the cursor

4 . Press the [WRITE] button. The patch is written.

To cancel this procedure, press the [4] knob.

20

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.

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.

Restoring the Factory Default Settings (Factory Reset) Restoring the SY-1000s 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.

3 . Choose the type of settings to be restored to the factory default settings with knobs [1] and [6]. Knob Explanation

[1] Specifies FROM.

[6] Specifies TO.

Value Explanation

SYSTEM System parameter settings

U01-1U50-4 Settings for Patch Numbers

U01-1U50-4

VARIATION 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.

21

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

EQ2 DLY1 SUB L/R

CMP DS AMP EQ1 NS FV1 DLY2

FX2

FX3

S/R

CHO

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

EQ2 DLY1 SUB L/R

CMP DS AMP EQ1 NS FV1 DLY2

FX2

FX3

S/R

CHO

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 INST1INST3 blocks.

22

INST Parameters 1. Press the [INST] button.

The INST screen appears.

The INST screen shows the INST TYPE of INST1INST3.

MEMO 5 The parameters shown depend on the type of instrument that you select.

5 INST1INST3 are common parameters.

Availability of Functions for Each INST TYPE (GUITAR MODE) INST TYPE ALT. TUNE 12STR STR BEND STRING

LEVEL STRING

PAN AMP

Modeling NS EQ

DYNAMIC SYNTH ( ( ( (

OSC SYNTH ( ( ( (

GR-300 ( ( ( (

E.GUITAR ( ( ( ( ( *1 ( *1 ( ( ACOUSTIC ( ( ( ( ( *1 ( *1 ( ( E.BASS ( ( ( ( ( *1 ( *1 ( ( VIO GUITAR ( ( ( ( ( ( POLY FX ( ( ( ( (

*1 If AMP Modeling is ON, the PAN effect disappears.

Availability of Functions for Each INST TYPE (BASS MODE) INST TYPE ALT. TUNE 12STR STR BEND STR LEVEL STR PAN AMP

Modeling NS EQ

DYNAMIC SYNTH ( ( ( (

OSC SYNTH ( ( ( (

ANALOG GR ( ( ( (

E.BASS ( ( ( ( ( *1 ( *1 ( ( AC BASS ( ( ( ( ( *1 ( *1 ( ( E.GUITAR ( ( ( ( ( *1 ( *1 ( ( POLY FX ( ( ( ( (

*1 If AMP Modeling is ON, the PAN effect disappears.

23

INST Parameters > INST TYPE

INST TYPE Value Explanation

DYNAMIC SYNTH

This is a synthesizer that produces a sound that responds to the natural nuances of your performance.

OSC SYNTH This is a synthesizer that detects the pitch and attack information in the input sound and outputs signals produced by the built-in oscillator.

GR-300

*2

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.

ANALOG GR

*3

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.

E.GUITAR

*1 This provides a variety of electric guitar sounds.

ACOUSTIC

*1 *2 This provides a variety of acoustic guitar sounds.

AC BASS

*1 *3 This provides a variety of acoustic bass sounds.

E.BASS

*1 This provides a variety of electric bass sounds.

VIO GUITAR

*2 By adding overtones (harmonics), this provides a soft and distinctive tone.

POLY FX This is an effect processor that independently processes the signal of each string.

Parameters Common to Each INST TYPE (COMMON) Parameter Value Explanation

INST ON/OFF OFF, ON Instrument on/off

INST LEVEL 0100 Specifies the volume of the instrument.

NOR MIX SW OFF, ON Turns on/off the signal of the normal pickup.

NOR MIX LEVEL

*1 0200 Adjusts the volume of the

normal pickup.

STRING LEVEL6 STRING LEVEL1

*2

0100 Specifies the output level of each string.

STR LEVEL LowB

STR LEVEL 4th,

STR LEVEL 3rd,

STR LEVEL 2nd,

STR LEVEL 1st,

STR LEVEL HiC

*3

Parameter Value Explanation

STRING PAN 6 STRING PAN 1

*2

L50CENTER R50

Specifies the left/right pan of each string.

* The pan effect is canceled if a monaural effect is connected after the instrument.

STR PAN LowB

STR PAN 4th,

STR PAN 3rd,

STR PAN 2nd,

STR PAN 1st,

STR PAN HiC

*3

VARIATION PATCH, 0150

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 youre 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 LEVEL parameter (p. 23).

*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

OSC FILTER AMP

INST INST LEVEL

NOR MIX LEVEL

GK IN

Divided Pickup

Normal Pickup

GR-300, ANALOG GR, POLY FX

GR-300 ANALOG GR POLY FX

INST

INST LEVEL

NOR MIX LEVEL

GK IN

Divided Pickup

Normal Pickup

E.GUITAR, ACOUSTIC, AC BASS, E.BASS

E.GUITAR ACOUSTIC AC BASS

BASS

INST

INST LEVEL

NOR MIX LEVEL

GK IN

Divided Pickup

Normal Pickup

AMP Modeling

VIO GUITAR

GUITAR HARMO FILTER

INST INST LEVEL

NOR MIX LEVEL

GK IN

Divided Pickup

Normal Pickup

24

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 Value Explanation

ON/OFF OFF, ON Switches the alternate tuning function on/off.

TUNING TYPE

OPEN D, OPEN E, OPEN G, OPEN A

*1

Tuning that produces a major chord when you play the open strings.

DROP D DROP A

*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.

D-MODAL

*1

Tuning that drops the 6th, 2nd, and 1st string by a whole step to create an ethnic feel.

NASHVL

*1

Tuning that raises the 6th, 5th, 4th, and 3rd strings by one octave; like a 12-string guitars secondary strings by themselves.

-12+12 STEP Raises/lowers the tuning of all strings in semitone steps.

USER User tuning in which each string can be specified individually.

PITCH 6PITCH 1

*1 *3

-24+24 Specifies the amount of pitch shift in semitones for each string.

PITCH LowB,

PITCH 4th,

PITCH 3rd,

PITCH 2nd,

PITCH 1st,

PITCH HiC

*2 *3

FINE 6FINE 1

*1 *3

-50+50

Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is half a semitone up.

FINE LowB,

FINE 4th,

FINE 3rd,

FINE 2nd,

FINE 1st,

FINE HiC

*2 *3

Parameter Value Explanation

12STR SW

*4 OFF, ON

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.

12STR TYPE

*4

NORMAL The conventional tuning of a 12-string guitar.

USER A user tuning that specifies the pitch of each secondary string.

12STR PITCH 612STR PITCH 1

*1 *4 *5

-24+24 This sets the amount of pitch shift for secondary strings, in semitone steps.

12PITCH LowB,

12PITCH 4th,

12PITCH 3rd,

12PITCH 2nd,

12PITCH 1st,

12PITCH HiC

*2 *4 *5

12STR LEVEL 612STR LEVEL 1

*1 *4 *5

0100 Specifies the volume of the secondary strings.

12LEVEL LowB

12LEVEL 4th

12LEVEL 3rd

12LEVEL 2nd

12LEVEL 1st

12LEVEL HiC

*2 *4 *5

12STR FINE 612STR FINE 1

*1 *4 *5

-50+50

Finely adjusts the pitch of the secondary strings.

-50 is half a semitone down; +50 is half a semitone up.

12FINE LowB,

12FINE 4th,

12FINE 3rd,

12FINE 2nd,

12FINE 1st,

12FINE HiC

*2 *4 *5

12STR DELAY 612STR DELAY 1

*1 *4 *5

0ms100ms

Adjusts the time the sound of each secondary string is delayed relative to the respective main string.

12DELAY LowB,

12DELAY 4th,

12DELAY 3rd,

12DELAY 2nd,

12DELAY 1st,

12DELAY HiC

*2 *4 *5

STR BEND SW OFF, ON Turns the String Bend function on/off.

25

INST Parameters > DYNAMIC SYNTH Parameters

Parameter Value Explanation

BEND CONTROL 0100

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 DEPTH6BEND DEPTH1 (LowBHiC). Normally, this pitch bend is set to 0, and the setting 0100 assigned with Control Assign is used.

BEND DEPTH6BEND DEPTH1

*1

-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.

BEND DEPTH LowB,

BEND DEPTH 4th,

BEND DEPTH 3rd,

BEND DEPTH 2nd,

BEND DEPTH 1st,

BEND DEPTH HiC

*2

*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 In the OSC section you specify the waveform that is the basis of the synthesizer sound.

Parameter Value Explanation

WAVEFORM

Selects the waveform that is the basis of the sound.

SIN Sine wave

SAW Sawtooth wave

TRI Triangle wave

SQR Square wave

PWM Pulse wave (asymmetrical rectangular wave)

DETUNE SAW Two sawtooth waves of slightly different pitch

NOISE Noise

FEEDBACK OSC

*1

A sound containing high overtones similar to guitar feedback playing. Suitable for creating crisply aggressive tones that stand out.

SUPER SAW

*1

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.

INPUT

*2

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.

PITCH -24+24 Adjusts the pitch.

FINE -50+50 Specifies a finer adjustment than PITCH.

PULSE WIDTH

*3 0100

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.

PWM ENV ATTACK

*3 -50+50

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.

PITCH ENV DEPTH

*3 -50+50

Specifies the depth to which PWM is modulated by the dynamics of the input signal.

26

INST Parameters > DYNAMIC SYNTH Parameters

Parameter Value Explanation

DETUNE

*4 -50+50 Specifies the amount of detuning.

SHARPNESS

*5 0100

Specifies the frequency range of the noise that is heard. Larger values strengthen the sense of pitch.

FEEDBACK

*6 0100

Adjusts the amount of feedback. Larger values increase the amount of feedback, changing the volume of the harmonics.

HARMONICS

*6 0100 Specifies the tonal character of the

harmonics.

S-SAW DETUNE

*7 0100

Specifies the amount of pitch spread between the seven sawtooth waves that are layered within one oscillator.

P. ENV ATTACK -50+50

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.

P. ENV DEPTH -50+50 Specifies the depth to which pitch is modulated by the dynamics of the input signal.

P. BEND DEPTH -24+24 Specifies the depth of bend.

P. BEND CTL 0100 This parameter controls the bend.

Assign this when using a CTL pedal or EXP pedal to control bend.

SYNC SW

*8 *9 OFF, ON

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.

RING SW

*8 OFF, ON

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 Value Explanation

ON/OFF OFF, ON Switches filter on/off.

TYPE

Type of filter

LPF The region above the cutoff frequency will be cut, making the sound more mellow.

HPF The region below the cutoff frequency will be cut, emphasizing the high-frequency range.

BPF

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 -12 dB, -24 dB Selects the slope (steepness) of the

low-pass filter.

CUTOFF 0100 Adjusts the cutoff frequency.

RESONANCE 0100

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.

F. ENV ATTACK -50+50

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.

F. ENV DEPTH -50+50 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 Value Explanation

A. ENV ATTACK -50+50 Specifies how the dynamics of the

input signal controls the amp.

LOW CUT FLAT, 20.0 Hz16.0 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 Hz16.0 kHz, FLAT

Cuts the frequency region above the specified frequency. When FLAT is selected, the high cut filter will have no effect.

27

INST Parameters > DYNAMIC SYNTH Parameters

LFO1, LFO2 Here you can cyclically modulate the sound by applying vibrato to modulate the pitch or applying tremolo to modulate the volume.

Parameter Value Explanation

ON/OFF OFF, ON Turns the LFO1/LFO2 on/off.

SHAPE

Selects the waveform of LFO1 and LFO2.

SIN Sine wave

SAW UP Sawtooth wave

SAW DOWN Sawtooth wave (negative polarity)

TRI Triangle wave

SQR Square wave

RANDOM Random wave

S&H Sample and Hold

RATE

*3 0100, BPM `

Determines the speed of the LFO1/LFO2.

DYNAMIC DEPTH OFF, ON

Specifies whether the dynamics of the input signal controls the depth at which LFO1 and LFO2 are applied.

PITCH DEPTH 0100 Allows the LFO to modulate the pitch, producing a vibrato effect.

FILTER DEPTH 0100 Allows the LFO to modulate the FILTER CUTOFF (cutoff frequency).

AMP DEPTH 0100 Allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo effect.

PWM DEPTH

*1 0100 Adjusts the depth at which

PWM is modulated.

FADE TIME

*2 0100 Specifies the time until the LFO

reaches its maximum amplitude.

SYNC OFF, ON

If SYNC is ON, you can use the CONTROL FUNCTION parameter SYNC TRIG (p. 68) or the ASSIGN SETTING parameter SYNC RETRIGGER (p. 73) to retrigger the start timing of the LFO.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION1&2 PATCH, 0150

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 youre 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 (p. 66).

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 Value Explanation

VARIATION1&2 PATCH, 0150

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 youre creating sounds.

SEQUENCER 1, SEQUENCER 2 Parameter Value Explanation

ON/OFF OFF, ON Turns the SEQUENCER1/ SEQUENCER2 on/off.

SYNC OFF, ON

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 SYNC RETRIGGER (p. 73).

1SHOT OFF, ON

If this is on, the steps specified by the LOOP LENGTH of SEQUENCER1 and SEQUENCER2 will play only once.

TURBO OFF, ON If this is ON, operation is twice as fast as specified by RATE.

RATE

*1 0100, BPM `

Specifies the rate at which the sequence pattern of SEQUENCER1 or SEQUENCER2 repeats.

LOOP LENGTH 116

Specifies the length (number of steps) of SEQUENCER1 or SEQUENCER2 that is repeated.

TARGET Parameter Value Explanation

PITCH

*2 OFF, SEQ1, SEQ2

Specifies the SEQUENCER that is assigned to the OSC sections PITCH (p. 25).

CUTOFF OFF, SEQ1, SEQ2

Specifies the SEQUENCER that is assigned to the FILTER sections CUTOFF (p. 26).

LEVEL OFF, SEQ1, SEQ2

Specifies the SEQUENCER that is assigned to the INST COMMON sections INST LEVEL (p. 23).

*1 Refer to About effects when a note value is selected as a setting (p. 66).

*2 If the OSC sections WAVEFORM (p. 25) is set to INPUT, the PITCH does not change.

28

INST Parameters > DYNAMIC SYNTH Parameters

SEQ1, SEQ2

Parameter Value Explanation

PITCH STEP1 STEP 16 MAX

-24+24 Specify the width of PITCH change for each STEP.PITCH STEP1

STEP16 MIN

CUTOFF STEP1 STEP16 MAX

0100 Specify the width of CUTOFF change for each STEP.CUTOFF STEP1

STEP16 MIN

LEVEL STEP1 STEP16 MAX

0100 Specify the width of INST LEVEL change for each STEP.LEVEL STEP1

STEP16 MIN

STEP1STEP16 CURVE

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 5 6 7 8

STEP CURVE

PITCH MIN -12 -9 -6 -3 0 +3 +6 +9

PITCH MAX -9 -6 -3 0 +3 +6 +9 +12

Output example

0

+3

-3

-6

-9

-12

+6

+9

+12

ST EP

1

ST EP

2

ST EP

3

ST EP

4

ST EP

5

ST EP

6

ST EP

7

ST EP

8

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 Accesses the SEQUENCER1 and SEQUENCER2 VARIATION screen.

[2] knob Set the parameters of SEQUENCER1.

[4] knob Set the parameters of SEQUENCER2.

[6] knob Specify which sequencer controls PITCH, CUTOFF, and LEVEL.

4. Use the [K] [J] (PAGE) buttons to switch to the SEQUENCER1 or SEQUENCER2 screens.

Operation Explanation

Turn the [1] knob Switch the TARGET editing screen (PITCH, CUTOFF, LEVEL).

Press the [1] knob Switch the SEQ1 and SEQ2 screens.

Turn the [2] knob Specify the LOOP LENGTH (length of the sequencer loop).

Turn the [3] knob Specify the CURVE of the selected step.

Turn the [4] knob Adjust the MIN value of the parameter selected by the cursor.

Turn the [5] knob Adjust the MAX value of the parameter selected by the cursor.

Press the [5] knob Retrigger the LFO or SEQUENCER for which SYNC (p. 27) is ON.

Turn the [6] knob Select the step to edit.

Press the [6] knob 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).

29

INST Parameters > OSC SYNTH Parameters

LAYER Here you can specify the range of notes that are sounded. This is useful when layering multiple sounds together.

Parameter Value Explanation

L. FADE 160 Specifies the area over which the low range will fade out.

LOWER A0E6 Specifies the lowest note of the range that will sound.

UPPER A0E6 Specifies the highest note of the range that will sound.

U. FADE 160 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.

OSC SYNTH Parameters

OSC In the OSC section you specify the waveform that is the basis of the synthesizer sound.

Parameter Value Explanation

MODE

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.

DUAL OSC1 and OSC2 are used.

SYNC

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.

RING This is a ring modulator. It generates a complex waveform by multiplying OSC1 and OSC2.

WAVEFORM1

WAVEFORM2

Selects the waveform that is the basis of the sound.

SIN Sine wave

SAW Sawtooth wave

TRI Triangle wave

SQR Square wave

PWM Pulse wave (asymmetrical rectangular wave)

NOISE Noise

PITCH1

PITCH2 -24+24 Adjusts the pitch.

FINE1

FINE2 -50+50 Specifies a finer adjustment than

PITCH.

PULSE WIDTH1

PULSE WIDTH2

*1

0100 Specifies the pulse width.

PW MOD RATE1

PW MOD RATE2

*1

0100 Specifies the depth to which the LFO will modulate pulse width.

P. ENV ATTACK1

P. ENV ATTACK2

0100 Specifies the attack/decay time of the pitch envelope.

P. ENV DECAY1

P. ENV DECAY2 0100

P. ENV DEPTH1

P. ENV DEPTH2 0100 Specifies the depth to which the

envelope will modulate the pitch.

LEVEL1

LEVEL2 0100 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.

30

INST Parameters > OSC SYNTH Parameters

Parameter Value Explanation

CHROMATIC OFF, ON

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.

PORTA SW OFF, ON

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.

PORTA TIME 0100

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.

PORTA MODE

*2

Selects how portamento is applied.

MODE1 The portamento effect is applied starting at the final pitch sounded by each string.

MODE2

The portamento effect is applied starting at the final pitch sounded, regardless of the string that was played.

HOLD MODE

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 SETTING (p. 70).

MODE1 Notes that are newly played while Hold is on will also be held.

MODE2 Newly played notes are not accepted while Hold is on.

MODE3 While Hold is on, notes newly played on a string thats being held are accepted.

LOW VELO CUT OFF, 110

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 Value Explanation

ON/OFF OFF, ON Switches filter on/off.

TYPE

Type of filter

LPF The region above the cutoff frequency will be cut, making the sound more mellow.

HPF The region below the cutoff frequency will be cut, emphasizing the high-frequency range.

BPF

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 -12 dB, -24 dB Selects the slope (steepness) of the

low-pass filter.

CUTOFF 0100 Adjusts the cutoff frequency.

CUTOFF FOLLOW 0100

Specifies how the cutoff frequency will be affected by the note position.

RESONANCE 0100

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.

VELOCITY SENS -50+50

Specifies how the filter envelope depth is affected by your picking dynamics.

F. ENV ATTACK 0100

Specifies the attack/decay/sustain level/ release time of the filter envelope.

F. ENV DECAY 0100

F. ENV SUSTAIN 0100

F. ENV RELEASE 0100

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.

31

INST Parameters > OSC SYNTH Parameters

AMP In the AMP section you can modify the sound by changing its volume and dynamics.

Parameter Value Explanation

VELOCITY SENS 0100 Specifies the sensitivity to the strength at which you pick the string.

A. ENV ATTACK 0100

Specifies the attack/decay/ sustain level, and release time of the AMP.

A. ENV DECAY 0100

A. ENV SUSTAIN 0100

A. ENV RELEASE 0100

LOW CUT FLAT, 20.0 Hz16.0 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 Hz16.0 kHz, FLAT

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 Value Explanation

ON/OFF OFF, ON Turns the LFO1/LFO2 on/off.

SHAPE

Selects the waveform of LFO1 and LFO2.

SIN Sine wave

SAW UP Sawtooth wave

SAW DOWN Sawtooth wave (negative polarity)

TRI Triangle wave

SQR Square wave

RANDOM Random wave

S&H Sample and Hold

RATE

*1 0100, BPM `

Determines the speed of the LFO1/LFO2.

PITCH1 DEPTH

PITCH2 DEPTH 0100

Allows the LFO to modulate the pitch, producing a vibrato effect.

FILTER DEPTH 0100 Allows the LFO to modulate the FILTER CUTOFF (cutoff frequency).

AMP DEPTH 0100 Allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo effect.

DELAY TIME 0100 Specifies the time from when a note is played until the LFO begins to apply.

FADE TIME 0100 Specifies the time until the LFO reaches its maximum amplitude.

Parameter Value Explanation

SYNC OFF, ON

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 SYNC RETRIGGER (p. 73).

BPM 40250 Adjusts the BPM value for each patch.

VARIATION1&2 PATCH, 0150

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 youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

32

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 Value Explanation

MODE

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 0100 Adjusts the cutoff frequency at which the filter cuts off the sounds harmonic components.

RESONANCE 0100 Adjusts the amount of filter resonance (distinctiveness of the sound) used.

ENV MOD SW

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 Turns envelope modulation off.

ON

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.

INV

As opposed to the ON setting, this allows you to have the VCF cutoff frequency change from a low to high frequency each time the string is picked.

This produces a reverse wah-like effect, with the sound going from low frequencies to high.

ENV MOD SENS 0100

Adjusts the input sensitivity of the envelope modulation. As the value is raised, the change from the envelope modulation broadens with even weaker picking.

ENV MOD ATTACK 0100

Adjusts the attack time for the change in the envelope modulation produced by picking.

Raising the value slows the attack for this change.

PITCH SW

*1 OFF, A, B

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.

Parameter Value Explanation

FINE A

FINE B

*1

-50+50 This finely adjusts the pitch. -50 is half a semitone down; +50 is half a semitone up.

DUET SW

*1 OFF, ON

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-VCOs 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.

SWEEP SW

*1 OFF, ON

This is a Sweep function that smoothly changes the amount of shift when you use PITCH SW to vary the amount of pitch shift.

SWEEP RISE

*1 0100

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.

SWEEP FALL

*1 0100

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.

VIBRATO SW

*1 OFF, ON Allows you to apply electronic

vibrato to the hexa-VCO.

VIBRATO RATE

*1 0100 Adjusts the rate of the vibrato.

VIBRATO DEPTH

*1 0100 Adjusts the depth of the vibrato.

LOW CUT FLAT, 20.0 Hz16.0 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 Hz16.0 kHz, FLAT

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.

33

INST Parameters > E.GUITAR Parameters

E.GUITAR Parameters

GUITAR (In GUITAR MODE) Parameter Value Explanation

TYPE Select the electric guitar type TYPE (p. 33).

PU SELECT

Selects the pickup position.

REAR Rear pickup

R+C

*1 Rear and center pickups

CENTER

*1 Center pickup

C+F

*1 Center and front pickups

FRONT Front pickup

R+F

*2 Rear and front pickups

ALL

*3 All pickups

TONE TYPE

*4

MILD, STANDARD, BRIGHT1, BRIGHT2

Selects the fretless tone type.

SENS

*4 0100 This controls the input sensitivity.

DEPTH

*4 0100 This controls the volume of the

harmonics.

ATTACK

*4 0100 Adjusts the attack of the picking

sound.

RESONANCE

*4 0100 Adds a characteristically resonant

quality to the sound.

DIRECT LEVEL

*4 0100 Adjusts the volume of the direct

sound.

VOLUME 0100 Adjusts the volume. With a setting of 0, there will be no sound.

TONE 0100 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 Explanation

CLA-ST The sound of a Fender Stratocaster. Simulates the installation of three single-coil pickups (passive type).

MOD-ST This models a guitar with three EMG active single- coil pickups.

TE The sound of a Fender Telecaster. This models a guitar with two single-coil pickups.

Value Explanation

LP The sound of a Gibson Les Paul Standard. Simulates the installation of two humbucking pickups (passive type).

P-90

The sound of a Gibson Les Paul Junior. This provides two single-coil pickups of the type used on fixed- neck guitars and affectionately known as soap-bar or dog-ear pickups.

335 The sound of a Gibson ES-335 Dot. Typical semi- acoustic guitar with two humbucking pickups.

L4

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.

RICK This models a Rickenbacker 360. Semi-hollow body guitar with two unique single-coil pickups.

LIPS The sound of a Danelectro 56-U3. This models a guitar equipped with three pickups noted for their visual resemblance to lipstick tubes.

WIDE RANGE This produces the fat sound typical of a larger number of coil windings than on a conventional single-coil pickup.

BRIGHT HUM

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.

FRETLESS This models a fretless guitar.

GUITAR (In BASS MODE) Parameter Value Explanation

TYPE

Select the electric guitar type.

ST The sound of a Fender Stratocaster. Simulates the installation of three single-coil pickups (passive type).

LP

The sound of a Gibson Les Paul Standard. Simulates the installation of two humbucking pickups (passive type).

FRETLESS This models a fretless guitar.

PU SELECT

Selects the pickup position.

REAR Rear pickup

R+C

*1 Rear and center pickups

CENTER

*1 Center pickup

C+F

*1 Center and front pickups

FRONT Front pickup

R+F

*2 Rear and front pickups

TONE TYPE

*3

MILD, STANDARD, BRIGHT1, BRIGHT2

Selects the fretless tone type.

SENS

*3 0100 This controls the input sensitivity.

DEPTH

*3 0100 This controls the volume of the

harmonics.

34

INST Parameters > E.GUITAR Parameters

Parameter Value Explanation

ATTACK

*3 0100 Adjusts the attack of the picking

sound.

RESONANCE

*3 0100 Adds a characteristically resonant

quality to the sound.

DIRECT LEVEL

*3 0100 Adjusts the volume of the direct

sound.

VOLUME 0100 Adjusts the volume. With a setting of 0, there will be no sound.

TONE 0100 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 OFF, ON Turns the AMP on/off.

TYPE Select the amp type TYPE (p. 34).

GAIN 0120 Adjusts the distortion of the amp.

SAG -10+10 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 0100

Adjusts the volume of the entire preamp.

* Be careful not to raise the Level setting too high.

BASS 0100 Adjusts the tone for the low frequency range.

MIDDLE 0100 Adjusts the tone for the middle frequency range.

TREBLE 0100 Adjusts the tone for the high frequency range.

PRESENCE 0100 Adjusts the tone for the ultra high frequency range.

BRIGHT OFF, ON

Turns the bright setting on/ off.

* BRIGHT is valid for some of the amps in TYPE.

GAIN SW LOW, MIDDLE, HIGH

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.

SOLO SW OFF, ON The tone to one suitable for solos.

Parameter Value Explanation

SOLO LEVEL 0100 Adjusts the volume level when the SOLO SW is ON.

SP TYPE Select the speaker type SP TYPE (p. 35).

MIC TYPE This setting selects the simulated mic type MIC TYPE (p. 35).

MIC DISTANCE SHORT, MEDIUM, LONG

Simulates the distance between the mic and speaker.

The distance from the speakers is farther in the order of SHORT

MIC POSITION

This simulates the mic position.

CENTER Simulates the condition that the mic is set in the middle of the speaker cone.

1 cm10 cm

Simulates the condition that the mic is moved away from the center of the speaker cone.

MIC LEVEL 0100 Adjusts the volume of the mic.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

VARIATION PATCH, 0110

AMP settings can be saved/ loaded as ten different variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

These variations are shared with the AMP setting in EFFECT.

TYPE

Value Explanation

TRANSPARENT An amp with a broad frequency range and an extremely flat response.

NATURAL An unembellished, clean sound that minimizes the amps idiosyncrasies, such as its trebly character and boomy low end.

BOUTIQUE Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps.

SUPREME

Great-feeling crunch sound that responds to the nuances of your picking while taking advantage of the distinctive character of a 4x12 speaker cabinet.

MAXIMUM An amp that delivers the distinctively great response and tone of a vintage Marshall, while making it even higher gain.

JUGGERNAUT A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.

X-CRUNCH Crunch sound that uses MDP to deliver a crisp tone from all strings.

X-HI GAIN High-gain sound that uses MDP to obtain high- gain sound with a wide range and a great-feeling sense of separation.

35

INST Parameters > E.GUITAR Parameters

Value Explanation

X-MODDED Core sound that uses MDP to preserve the definition of the sound even with extreme gain.

JC-120 This models the sound of the Roland 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 This models the sound input to left input on a Matchless D/C-30.

BG COMBO This models the sound of the MESA/Boogie combo amp.

ORNG STACK 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.

CONCERT This models the Ampeg SVT.

SUPER FLAT A bass amp with flat response.

FLIP TOP Models the Ampeg B-15.

B MAN Models the Fender Bassman100.

BASS 360 Models the Acoustic 360.

SW-TOUR Models the SWR SM-400.

AC BASS An amp ideal for ACOUSTIC BASS.

GK BASS Models the Gallien-Krueger 800RB.

MARK Models the Markbass Little Mark III.

SP TYPE

Value Explanation

OFF Turns off the speaker simulator.

ORIGINAL This is the built-in speaker of the amp you selected with AMP TYPE.

1x8 This is a compact open-back speaker cabinet with one 8-inch speaker.

1x10 This is a compact open-back speaker cabinet with one 10-inch speaker.

1x12 This is a compact open-back speaker cabinet with one 12-inch speaker.

2x12 This is a general open-back speaker cabinet with two 12-inch speakers.

4x10 This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.

4x12 This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers.

8x12 This is a stack of two cabinets each with four 12-inch speakers.

B1x15 This is a compact open-back speaker cabinet for the bass guitar with one 15-inch speaker.

B1x18 This is a compact open-back speaker cabinet for the bass guitar with one 18-inch speaker.

Value Explanation

B2x15 This is a general open-back speaker cabinet for the bass guitar with two 15-inch speakers.

B4x10 This is a large speaker cabinet for bass, with four 10- inch speakers in a sealed design.

B8x10 This is a stack of two cabinets for bass, each with four 10-inch speakers.

MIC TYPE

Value Explanation

DYN57 This is the sound of the SHURE SM57. General dynamic mic used for instruments and vocals.

DYN421 This is the sound of the SENNHEISER MD-421. Dynamic mic with extended low end.

CND451 This is the sound of the AKG C451B. Small condenser mic for use with instruments.

CND87 This is the sound of the NEUMANN U87. Condenser mic with flat response.

FLAT 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 Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

THRESHOLD 0100

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.

RELEASE 0100 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 Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

LOW CUT FLAT, 20.0 Hz16.0 kHz

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.

36

INST Parameters > ACOUSTIC Parameters

Parameter Value Explanation

LOW-MID FREQ

20.0 Hz16.0 kHz

Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN.

LOW-MID Q 0.5, 1, 2, 4, 8, 16

Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ.

Higher values will narrow the area.

LOW-MID GAIN

-20 dB+20 dB

Adjusts the low-middle frequency range tone.

HIGH-MID FREQ

20.0 Hz16.0 kHz

Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN.

HIGH-MID Q 0.5, 1, 2, 4, 8, 16

Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ.

Higher values will narrow the area.

HIGH-MID GAIN

-20 dB+20 dB

Adjusts the low-middle frequency range tone.

HIGH GAIN -20 dB+20 dB

Adjusts the tone for the high frequency range.

HIGH CUT 20.0 Hz16.0 kHz, FLAT

Cuts the frequency region above the specified frequency. When FLAT is selected, the high cut filter will have no effect.

LEVEL -20 dB+20 dB

Adjusts the overall volume level of the equalizer.

ACOUSTIC Parameters

ACOUSTIC Parameter Value Explanation

TYPE Select the acoustic guitar type TYPE (p. 37).

BODY

*1 0100

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.

RESONANCE

*2 0100

Adjusts the body resonance. The resonation increases as the value is raised.

VOLUME 0100 Adjusts the volume. With a setting of 0, there will be no sound.

TONE -50+50 Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.

ATTACK

*3 0100

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.

SUSTAIN

*4 0100

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.

PU SELECT

*5

Selects the pickup position.

FRONT Front pickup

R+F Rear and front pickups

REAR Rear pickup

PIEZO Piezo pickup

SENS

*5 0100 Adjusts the input sensitivity.

COLOR

*5 0100 Adjusts the overall tone quality of

the sitar.

DECAY

*5 0100 Adjusts the time it takes following

the attack for the tone to change.

BUZZ

*5 0100

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.

37

INST Parameters > AC BASS Parameters

TYPE

TYPE Explanation

MA28 The sound of a Martin D-28. Older model known for its exquisitely balanced sound.

TRP-0 The sound of a Martin 000-28. This model features a full low-end resonance and crisp, distinct contour.

GB45 The sound of a Gibson J-45. This vintage model features a unique, seasoned tone with good response.

GB SML The sound of a Gibson B-25. Featuring a compact body, this vintage model is often used in blues.

GLD40 The sound of a Guild D-40. This model features warm resonance from the body along with a delicate string resonance.

NYLON This models a nylon-string guitar.

RESO This models a Dobro-type resonator guitar.

BANJO This models a conventional five-string banjo.

SITAR This models a Coral electric sitar. The sitars distinctive buzz and tonal change are modeled.

AMP (AMP Modeling) Refer to AMP (AMP Modeling) (p. 34).

NS Refer to NS (p. 35).

EQ Refer to EQ (p. 35).

AC BASS Parameters

AC BASS Parameter Value Explanation

VOLUME 0100 Adjusts the volume. With a setting of 0, there will be no sound.

BODY 0100

This sets the volume level of the resonant sound produced by the panels and cavity (the body resonation).

RESONANCE 0100 Adjusts the body resonance. The resonation increases as the value is raised.

SIZE -50+50

Specifies the size of the body. This modifies the resonant frequency to simulate changes in body size. A setting of 0 will produce a normal resonance.

ATTACK 0100

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.

BOTTOM 0100 This sets the volume level of string vibration.

BUZZ SENS 0100

This sets the sensitivity for the distinctive harmonics of an acoustic bass. Adjust this to match the velocity of fingering.

DECAY 0100 This sets the decay of the string vibration.

AMP (AMP Modeling) Refer to AMP (AMP Modeling) (p. 34).

NS Refer to NS (p. 35).

EQ Refer to EQ (p. 35).

38

INST Parameters > E.BASS Parameters

E.BASS Parameters

BASS (In GUITAR MODE) Parameter Value Explanation

TYPE

Type of Bass

JB The sound of a Fender Jazz Bass.

PB The sound of a Fender Precision Bass.

FRETLESS This models a fretless bass.

REAR VOLUME

*1 0100 Sets the volume of the rear pickup.

FRONT VOLUME

*1 0100 Sets the volume of the front pickup.

TONE TYPE

*2

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) The sound of the front pickup of a Jazz Bass.

PB The sound of a Precision Bass.

SENS

*2 0100 This controls the input sensitivity.

DEPTH

*2 0100 This controls the volume of the

harmonics.

ATTACK

*2 0100 Adjusts the attack of the picking

sound.

RESONANCE

*2 0100 Adds a characteristically resonant

quality to the sound.

DIRECT LEVEL

*2 0100 Adjusts the volume of the direct

sound.

VOLUME 0100 Adjusts the volume. With a setting of 0, there will be no sound.

TONE 0100 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 Value Explanation

TYPE Select the bass guitar type TYPE (p. 39).

MASTER VOLUME

*1 0100

Sets the overall bass volume level. With a setting of 0, there will be no sound.

REAR VOLUME

*1 0100 Sets the volume of the rear pickup.

FRONT VOLUME

*1 0100 Sets the volume of the front pickup.

REAR TONE

*2 0100 Adjusts the tone of the rear pickup.

FRONT TONE

*2 0100 Adjusts the tone of the front

pickup.

Parameter Value Explanation

TREBLE

*3 0100 Adjusts the tone for the high

frequency range.

BASS

*3 0100 Adjusts the tone for the low

frequency range.

PU SELECT

*4

Selects the pickup position.

REAR Use the rear pickup.

R+F Use both front and rear pickups.

FRONT Use the front pickup.

TREBLE ON

*5 OFF, ON Switches the rear pickup on/off.

BASS ON

*5 OFF, ON Switches the front pickup on/off.

RHYTHM/ SOLO

*5

Switches between rhythm and solo.

RHYTHM The volume will be set to 50.

SOLO The volume will be set to 100.

TONE TYPE

*6

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) The sound of the front pickup of a Jazz Bass.

PB The sound of a Precision Bass.

SENS

*6 0100 This controls the input sensitivity.

DEPTH

*6 0100 This controls the volume of the

harmonics.

ATTACK

*6 0100 Adjusts the attack of the picking

sound.

RESONANCE

*6 0100 Adds a characteristically resonant

quality to the sound.

DIRECT LEVEL

*6 0100 Adjusts the volume of the direct

sound.

VOLUME

*7 0100 Adjusts the volume. With a setting

of 0, there will be no sound.

TONE

*8 0100 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.

39

INST Parameters > VIO GUITAR Parameters

TYPE

Value Explanation

VINT JB This models a Fender Jazz Bass from the sixties.

JB This models a Fender Jazz Bass from the late seventies or later.

VINT PB This models a Fender Precision Bass from the early sixties.

PB This models a Fender Precision Bass from the late seventies or later.

M-MAN This models a Music Man StingRay Bass from the seventies.

RICK This models a Rickenbacker 4001.

T-BIRD This models a Gibson Thunderbird.

ACTIVE This models a typical bass equipped with active pickups.

VIOLIN This models a Hfner Violin Bass.

FRETLESS This models a fretless bass.

AMP (AMP Modeling) Refer to AMP (AMP Modeling) (p. 34).

NS Refer to NS (p. 35).

EQ Refer to EQ (p. 35).

VIO GUITAR Parameters

GUITAR Parameter Value Explanation

TYPE Select the electric guitar type TYPE (p. 33).

PU SELECT

Selects the pickup position.

REAR Rear pickup

R+C

*1 Rear and center pickups

CENTER

*1 Center pickup

C+F

*1 Center and front pickups

FRONT Front pickup

R+F

*2 Rear and front pickups

ALL

*3 All pickups

TONE TYPE

*4

MILD, STANDARD, BRIGHT1, BRIGHT2

Selects the fretless tone type.

SENS

*4 0100 This controls the input sensitivity.

DEPTH

*4 0100 This controls the volume of the

harmonics.

ATTACK

*4 0100 Adjusts the attack of the picking

sound.

RESONANCE

*4 0100 Adds a characteristically resonant

quality to the sound.

DIRECT LEVEL

*4 0100 Adjusts the volume of the direct

sound.

VOLUME 0100 Adjusts the volume. With a setting of 0, there will be no sound.

TONE 0100 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.

40

INST Parameters > VIO GUITAR Parameters

HARMO Here you can add overtones (harmonics) to the sound specified in the GUITAR block.

Parameter Value Explanation

PITCH -24+24

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.

GAIN 0100

Specifies the volume of the harmonics sound. Larger values increase the volume of the harmonics sound.

ATTACK 0100 Emphasizes the attack portion of the harmonics sound. Larger values emphasize the attack.

DIRECT LEVEL 0100 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 0100

Modifies the nuances of the overtones. Larger values increase the overtones, giving the sound more depth.

ATTACK 0100 Varies the nuances of the attack portion. Larger values emphasize the attack.

POWER BEND 0100

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.

SLIDE TIME 0100

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.

OCTAVE -1, 0, +1

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 0100 Modifies the nuances of the overtones. Larger values produce a more detailed sound.

TOUCH SENS 0100

Specifies how your playing dynamics on the guitar affect the tonal character. With larger values, stronger playing gives the sound more depth.

Parameter Value Explanation

LEAD EMPHASIS 0100

Emphasizes the sound when single notes are played.

With VIO guitar, single-note (single- string) 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.

NS Refer to NS (p. 35).

EQ Refer to EQ (p. 35).

41

INST Parameters > POLY FX Parameters

POLY FX Parameters

POLY FX

Parameter Value Explanation

TYPE

This selects the POLY FX type.

DISTORTION Distortion that allows chords to resonate clearly and beautifully

CRYSTAL A sound with a metallic resonance and a transparent character

RICH MOD 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 0100 Adjusts the input volume. BASS VOLUME

*2

GAIN

*1 0100 Adjusts the amount of distortion.

GAIN BALANCE

*1 -50+50

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.

COLOR

*2

0100 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.

TONE

*2 -50+50 Adjusts the brightness of the

sound.

FILTER MODE

*3

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.

Parameter Value Explanation

POLARITY

*3

Selects the direction in which the filter will change in response to the input.

DOWN The frequency of the filter will fall.

UP The frequency of the filter will rise.

SENS

*3 0100

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.

FREQUENCY

*3 0100 Adjusts the center frequency of

the Wah effect.

DECAY

*3 010 This sets the time needed for the

filter to finish its sweep.

PEAK

*3 0100

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.

TONE TYPE

*3

MILD, STANDARD, BRIGHT

Selects the tone type.

COMP SW

*3 OFF, ON Turns the compressor on/off.

COMP SUSTAIN

*3 0100 Larger values will result in longer

sustain.

COMP ATTACK

*3 0100

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 Refer to NS (p. 35).

42

EFFECT Parameters

FX1FX3 With FX1, FX2 and FX3, you can select the effect to be used from the following.

Parameter Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

TYPE 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.

p. 43

AUTO WAH This changes the filtering over a periodic cycle, providing an automatic wah effect.

p. 43

CHORUS In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.

p. 43

CLASSIC-VIBE

Although this resembles a phaser effect, it also provides a unique undulation that you cant get with a regular phaser.

p. 44

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.

p. 44

DEFRETTER This simulates a fretless guitar. p. 44

DEFRETTER BASS This simulates a fretless bass. p. 45

DELAY Adds delayed sound to the direct sound, giving more body to the sound or creating special effects.

p. 45

FLANGER The flanging effect gives a twisting, jet-airplane-like character to the sound.

p. 46 FLANGER BASS

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.

p. 46

GRAPHIC EQ This effect adjusts the tonal character. Seven frequency bands can be adjusted.

p. 47

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.

p. 47

HUMANIZER This can create human vowel-like sounds. p. 48

ISOLATOR An effect that cuts the sound of the specified region. p. 48

LIMITER Attenuates loud input levels to prevent distortion. p. 48

Value Explanation Page

LO-FI This deliberately degrades the audio quality to create a distinctive impression.

p. 48

OCTAVE This adds a note one octave lower and a note two octaves lower, creating a richer sound.

p. 49 OCTAVE BASS

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.

p. 49

PARAMETRIC EQ This effect adjusts the tonal character. Four frequency bands can be adjusted.

p. 49

PEDAL BEND This lets you use the pedal to get a pitch bend effect. p. 49

PHASER

By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.

p. 50

PITCH SHIFTER This effect changes the pitch of the original sound (up or down) within a range of two octaves.

p. 50

REVERB This effect adds reverberation to the sound. p. 51

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.

p. 51

ROTARY This produces an effect like the sound of a rotary speaker. p. 51

SITAR SIM This simulates the sound of the sitar. p. 52

SLICER

This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.

p. 52

SLOW GEAR This produces a volume-swell effect (violin-like sound). p. 52

SLOW GEAR BASS

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.

p. 52

TOUCH WAH You can produce a wah effect with the filter changing in response to the guitar (bass) level.

p. 53TOUCH WAH BASS

TREMOLO Tremolo is an effect that creates a cyclic change in volume. p. 53

VIBRATO This effect creates vibrato by slightly modulating the pitch. p. 53

WAH

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.

p. 54

43

EFFECT Parameters > FX1FX3

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 Value Explanation

TYPE

NATURAL A natural and uncolored sound.

WIDE Mellow sound that emphasizes the body resonance

BRIGHT Brilliant sound with an extended high-frequency range

RESONANCE 0100

Use this knob to adjust the balance between the body resonance effect of the acoustic guitar and the direct sound of the pickup.

TONE -50+50 Adjusts the tone.

LEVEL 0100 Specifies the volume of the effect.

VARIATION PATCH, 0110

AC RESONANCE settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

AUTO WAH This changes the filtering over a periodic cycle, providing an automatic wah effect.

Parameter Value Explanation

FILTER MODE

Selects the wah mode.

LPF Low pass filter. Passes only the low- frequency region.

BPF Band pass filter. Passes only the specified frequency region.

HPF High pass filter. Passes only the high-frequency region.

RATE

*1 0100, BPM `

Adjusts the frequency (speed) of the change.

DEPTH 0100 Adjusts the depth of the effect.

EFFECT LEVEL 0100 Adjusts the volume of the effect sound.

FREQUENCY 0100 Adjusts the center frequency of the Wah effect.

RESONANCE 0100 Adjusts the amount of wah effect applied in the range near the reference frequency.

WAVEFORM TRI, SINE Selects the type of wave.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

BPM 40250 Adjusts the BPM value for each patch.

Parameter Value Explanation

VARIATION PATCH, 0110

AUTO WAH settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

CHORUS In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.

Parameter Value Explanation

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 This is a stereo chorus effect that adds different chorus sounds to L channel and R channel.

DUAL This lets you apply chorus independently to the L and R channels.

RATE

*2 0100, BPM `

Adjusts the rate of the chorus effect.RATE 1

RATE 2

*1 *2

DEPTH

0100

Adjusts the depth of the chorus effect.

* To use it for doubling effect, set the value to 0.

DEPTH 1

DEPTH 2

*1

PRE-DELAY

0.0 ms40.0 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).

PRE-DELAY 1

PRE-DELAY 2

*1

EFFECT LEVEL

0100 Adjusts the volume of the effect sound.

EFFECT LEVEL 1

EFFECT LEVEL 2

*1

5 This effect sound is mono.

5 This effect sound is output with two channels.

5 These effects take a mono input and output it on two channels.

44

EFFECT Parameters > FX1FX3

Parameter Value Explanation

WAVEFORM TRI

Produces a typical chorus effect.

SINE

Produces a deeper sense of modulation.

WAVEFORM 1

WAVEFORM 2

*1

LOW CUT

FLAT, 20.0 Hz16.0 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.

LOW CUT 1

LOW CUT 2

*1

HIGH CUT

20.0 Hz16.0 kHz, FLAT

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.

HIGH CUT 1

HIGH CUT 2

*1

DIRECT LEVEL 0100

Adjusts the volume of the direct sound.

Setting this to 0 cuts the direct sound.

OUTPUT MODE

*1

MONO This setting is appropriate for mono output.

STEREO Produces a rich spaciousness when stereo output is used.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

CHORUS settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 (p. 66).

CLASSIC-VIBE Although this resembles a phaser effect, it also provides a unique undulation that you cant get with a regular phaser.

Parameter Value Explanation

RATE

*1 0100, BPM ` Adjusts the rate of the effect.

DEPTH 0100 Adjusts the depth of the effect. EFFECT LEVEL 0100 Adjusts the volume.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

CLASSIC-VIBE settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

COMPRESSOR This is an effect that produces a long sustain by evening out the volume level of the input signal.

Parameter Value Explanation

TYPE

BOSS COMP This models a BOSS CS-3.

Hi-BAND A compressor that adds an even stronger effect in the high end.

LIGHT A compressor with a light effect.

D-COMP This models a MXR DynaComp.

ORANGE This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.

FAT 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.

SUSTAIN 0100 Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

ATTACK 0100 Adjusts the strength of the attack when picking.

EFFECT LEVEL 0100 Adjusts the volume.

TONE -50+50 Adjusts the tone.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

VARIATION PATCH, 0110

COMPRESSOR settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

DEFRETTER This simulates a fretless guitar.

Parameter Value Explanation

SENS 0100 This controls the input sensitivity of the defretter.

DEPTH 0100 This controls the volume of the harmonics.

TONE -50+50 Adjusts the amount of blurring between the notes.

EFFECT LEVEL 0100 Adjusts the volume of the effect sound.

ATTACK 0100 Adjusts the attack of the picking sound.

RESONANCE 0100 Adds a characteristically resonant quality to the sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

VARIATION PATCH, 0110

DEFRETTER settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

45

EFFECT Parameters > FX1FX3

DEFRETTER BASS This simulates a fretless bass.

Parameter Value Explanation

SENS 0100 This controls the input sensitivity of the defretter.

ATTACK 0100 Adjusts the attack of the picking sound.

TONE -50+50 Adjusts the amount of blurring between the notes.

EFFECT LEVEL 0100 Adjusts the volume of the effect sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

VARIATION PATCH, 0110

DEFRETTER BASS settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

DELAY Adds delayed sound to the direct sound, giving more body to the sound or creating special effects.

Parameter Value Explanation

TYPE

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 1 ms2000 ms, BPM ` Adjusts the delay time.D1 TIME

D2 TIME

*2 *12

FEEDBACK

*3

0100

This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.

D1 FEEDBACK

D2 FEEDBACK

*2

EFFECT LEVEL

*4

0120 Adjusts the volume of the delay sound.

D1 EFFECT LEVEL

D2 EFFECT LEVEL

*2

HIGH CUT

*3 20.0 Hz16.0 kHz, FLAT

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.

D1 HIGH CUT

D2 HIGH CUT

*2

TAP TIME

*6 0100%

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%).

Parameter Value Explanation

MOD RATE

*7 0100 Adjusts the modulation rate of the

delay sound.

MOD DEPTH

*7 0100 Adjusts the modulation depth of the

delay sound.

TRIGGER

*8 OFF, ON If this is ON, the WARP effect is

applied.

MODE

*9

RISE0FALL Rotation stops when you switch TRIGGER from ON to OFF.

RISE0FADE 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 0100

This parameter adjusts the amount of time it is to take for the effect to transition to the maximum.

FALL TIME

*9 *10 0100

This parameter adjusts the amount of time it is to take for the effect to transition to the original.

FADE TIME

*9 *11 0100 Adjusts the fade-out time.

DIRECT LEVEL

*5 0100 Adjusts the volume of the direct

sound.

CARRY OVER OFF, ON Specifies whether the effect sound remains when you turn off the effect, or does not remain.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

DELAY settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 RISE0FALL.

*11 Valid when the MODE is set to RISE0FADE.

*12 Refer to About effects when a note value is selected as a setting (p. 66).

46

EFFECT Parameters > FX1FX3

TYPE

Value Explanation

STEREO1 The direct sound is output from the left channel, and the effect sound is output from the right channel.

STEREO2 This is a stereo-in/out delay.

PAN

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.

INPUT

OUTPUT R

OUTPUT L

FEEDBACK

TIME EFFECT LEVEL

DELAY

TAP TIME

DUAL-S This is a delay comprising two different delays connected in series.

DUAL-P This is a delay comprising two delays connected in parallel.

DUAL-L/R This delay lets you specify the L and R channels independently. Delay 1 goes to the left channel, Delay 2 to the right.

REVERSE This produces an effect where the sound is played back in reverse.

ANALOG This gives a mild analog delay sound.

TAPE This setting provides the characteristic wavering sound of the tape echo.

MOD A delay with a pleasant amount of modulation added.

WARP Produces a dream-like sound.

TWIST 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 Value Explanation

RATE

*1 0100, BPM `

This sets the rate of the flanging effect.

DEPTH 0100 Determines the depth of the flanging effect.

RESONANCE 0100

Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.

MANUAL 0100 Adjusts the center frequency at which to apply the effect.

SEPARATION 0100 Adjusts the diffusion. The diffusion increases as the value increases.

LOW CUT FLAT, 20.0 Hz16.0 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.

Parameter Value Explanation

HIGH CUT 20.0 Hz16.0 kHz, FLAT

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.

EFFECT LEVEL 0100 Adjusts the volume of the flanger.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

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 youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

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 Explanation

VOLUME MIN 0100 Sets the volume when the heel of the EXP Pedal is depressed.

VOLUME MAX 0100 Selects the volume when the toe of the EXP Pedal is depressed.

VOLUME CURVE

SLOW1, SLOW2, NORMAL, FAST

You can select how the actual volume changes relative to the amount the pedal is pressed.

NORMAL

SLOW 2

SLOW 1

FAST

When the pedal is fully raised

When the pedal is fully advanced

Volume

PEDAL POSITION 0100 Adjusts the volume.

VARIATION PATCH, 0110

FOOT VOLUME settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

The variations are common to FOOT VOLUME 1 and FOOT VOLUME 2.

47

EFFECT Parameters > FX1FX3

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

-20+20 dB Adjust the volume of each frequency band.

200 Hz

400 Hz

800 Hz

1.6 kHz

3.2 kHz

6.4 kHz

VARIATION PATCH, 0110

GRAPHIC EQ settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 guitars TONE knob and pickup type.

Parameter Value Explanation

VOICE

Selects the number of voices for the pitch shift sound.

1VOICE One-voice pitch-shifted sound output in mono.

2MONO Two-voice pitch-shifted sound (HR1, HR2) output in mono.

2STEREO Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels.

HR1:HARMONY

-2 oct+2 oct, USER

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.

HR2:HARMONY

*1

Parameter Value Explanation

KEY

C (Am)B (G#m)

The key setting corresponds to the key of the song (, ) as follows.

Major

Major

Minor

Minor

HR1:LEVEL 0100 Adjusts the volume of the

harmony sound.HR2:LEVEL

*1

HR1:PRE-DELAY

*2 0300 ms, BPM `

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.

HR2:PRE-DELAY

*1 *2

HR1:FEEDBACK 0100 Adjusts the feedback amount of the harmonist sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

HARMONIST settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 (p. 66).

USER SCALE

* Effective with USER selected for HARMONY parameter.

Parameter Value

C C CC C C

D D DD D D D D DD D D

E E EE E E E E EE E E

F F FF F F

F F FF F F G G GG G G

A A AA A A A A AA A A

B B BB B B B B BB B B

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.

48

EFFECT Parameters > FX1FX3

HUMANIZER This can create human vowel-like sounds.

Parameter Value Explanation

MODE

This sets the mode that switches the vowels.

PICKING

It changes from VOWEL1 to VOWEL2 along with the picking. The time spent for the change is adjusted with the rate.

AUTO By adjusting the rate and depth, two vowels (VOWEL1 and VOWEL2) can be switched automatically.

VOWEL1 a, e, i, o, u Selects the first vowel.

VOWEL2 a, e, i, o, u Selects the second vowel.

SENS

*1 0100

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 0100, BPM `

Adjusts the cycle for changing the two vowels.

DEPTH 0100 Adjusts the depth of the effect.

MANUAL

*2 0100

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.

EFFECT LEVEL 0100 Adjusts the volume.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

HUMANIZER settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 (p. 66).

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 0100, BPM ` Adjusts the rate of the modulation.

DEPTH 0100 Adjusts the depth of the modulation.

BAND LEVEL 0100 Specifies the amount to cut.

Parameter Value Explanation

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

ISOLATOR settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

LIMITER Attenuates loud input levels to prevent distortion.

Parameter Value Explanation

TYPE

Selects the limiter type.

BOSS LIMITER Selects a stereo limiter.

RACK 160D Models a dbx 160X.

VTG RACK U Models an UREI 1178.

THRESHOLD 0100

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

Selects the compression ratio used with signals in excess of the threshold level.

EFFECT LEVEL 0100 Adjusts the volume.

ATTACK 0100

Adjusts the strength of the attack when picking. Higher values result in sharper attack, creating a more clearly defined sound.

RELEASE 0100 Adjusts the release time.

VARIATION PATCH, 0110

LIMITER settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

LO-FI This deliberately degrades the audio quality to create a distinctive impression.

Parameter Value Explanation

BIT DEPTH OFF, 151 Specifies the bit depth.

SAMPLE RATE OFF, 1/21/32 Specifies the sample rate.

BALANCE D100:E0 D0:E100

Adjusts the volume balance between the direct sound and the effect sound.

49

EFFECT Parameters > FX1FX3

Parameter Value Explanation

VARIATION PATCH, 0110

LO-FI settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

OCTAVE/OCTAVE BASS This adds a note one octave lower and a note two octaves lower, creating a richer sound.

Parameter Value Explanation

-2OCT 0100 Adjusts the volume of the sound two octaves below.

-1OCT 0100 Adjusts the volume of the sound one octave below.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

VARIATION PATCH, 0110

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 youre 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 Explanation

TYPE AUTO

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 0100

Adjusts changes in volume level.

A higher value will steepen waves shape.

RATE

*1 *3 0100, BPM `

Adjusts the frequency (speed) of the change.

DEPTH

*1 0100 Adjusts the depth of the effect.

EFFECT LEVEL 0100 Adjusts the volume.

POSITION

*2 L50CENTER R50

Adjusts the volume balance between the left and right channels.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

PAN settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 (p. 66).

PARAMETRIC EQ You can adjust the tone character in four bands.

Parameter Value Explanation

LOW CUT FLAT, 20.0 Hz16.0 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.

LOW GAIN -20+20 dB Adjusts the tone for the low frequency range.

LOW-MID FREQ 20.0 Hz16.0 kHz

Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN.

LOW-MID Q 0.516

Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area.

LOW-MID GAIN -20+20 dB Adjusts the low-middle

frequency range tone.

HIGH-MID FREQ 20.0 Hz16.0 kHz

Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN.

HIGH-MID Q 0.516

Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area.

HIGH-MID GAIN -20+20 dB Adjusts the high-middle

frequency range tone.

HIGH GAIN -20+20 dB Adjusts the tone for the high frequency range.

HIGH CUT 20.0 Hz16.0 kHz, FLAT

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.

LEVEL -20+20 dB Adjusts the overall volume level of the equalizer.

VARIATION PATCH, 0110

PARAMETRIC EQ settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 Explanation

PITCH -24+24 This sets the pitch at the point where the EXP Pedal is all the way down.

PEDAL POSITION 0100

Adjusts the pedal position for pedal bend. This parameter is used after its been assigned to an expression pedal or similar controller.

50

EFFECT Parameters > FX1FX3

Parameter Value Explanation

EFFECT LEVEL 0100 Adjusts the volume of the pitch

bend sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct

sound.

VARIATION PATCH, 0110

PEDAL BEND settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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

4STAGE, 8STAGE, 12STAGE, BiPHASE

Selects the number of stages that the phaser effect will use.

RATE

*1 0100, BPM `

This sets the rate of the phaser effect.

DEPTH 0100 Determines the depth of the phaser effect.

RESONANCE 0100

Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.

MANUAL 0100 Adjusts the center frequency of the phaser effect.

STEP RATE

*1 OFF, 0100, BPM `

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.

EFFECT LEVEL 0100 Adjusts the volume of the phaser.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

PHASER settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

PITCH SHIFTER This effect changes the pitch of the original sound (up or down) within a range of two octaves.

Parameter Value Explanation

VOICE

Selects the number of voices for the pitch shift sound.

1VOICE One-voice pitch-shifted sound output in mono.

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

-24+24 Adjusts the amount of pitch shift (the amount of interval) in semitone steps.

PS2:PITCH

*1

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

PS1:MODE

Selection for the pitch shifter mode.

FAST, MEDIUM, SLOW

The response is slower in the order of FAST, MEDIUM and SLOW, but the modulation is lessened in the same order.

MONO

MONO is used for inputting single notes.

You may be unable to produce the intended effect when playing chords (two or more notes played simultaneously).

PS2:MODE

*1

PS1:FINE

-50+50

Make fine adjustments to the interval. The amount of the change in the FINE 100 is equivalent to that of the PITCH 1.

PS2:FINE

*1

PS1:PRE-DELAY

*2 0 ms300 ms, BPM `

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.

PS2:PRE-DELAY

*1 *2

PS1:LEVEL

0100 Adjusts the volume of the pitch shifter.PS2:LEVEL

*1

PS1:FEEDBACK 0100 Adjusts the feedback amount of the pitch shift sound.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

PITCH SHIFTER settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 (p. 66).

51

EFFECT Parameters > FX1FX3

REVERB This effect adds reverberation to the sound.

Parameter Value Explanation

TYPE

This selects the reverb type. Various different simulations of space are offered.

AMBIENCE

Simulates an ambience mic (off- mic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.

ROOM Simulates the reverberation in a small room. Provides warm reverberations.

HALL1 Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.

HALL2 Simulates the reverberation in a concert hall. Provides mild reverberations.

PLATE

Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.

SPRING This simulates the sound of a guitar amps built-in spring reverb.

MOD This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.

TIME 0.1 s10.0 s Adjusts the length (time) of reverberation.

PRE-DELAY 0 ms500 ms Adjusts the time until the reverb sound appears.

EFFECT LEVEL 0100 Adjusts the volume of the reverb sound.

LOW CUT FLAT, 20.0 Hz16.0 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.

HIGH CUT 20.0 Hz16.0 kHz, FLAT

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 110 Adjusts the density of the reverb sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

CARRY OVER OFF, ON Specifies whether the effect sound remains when you turn off the effect, or does not remain.

SPRING SENS

*1 0100

Adjusts the sensitivity of the spring effect. When the value is set higher, the effect is obtained even with a weak picking.

VARIATION PATCH, 0110

REVERB settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Valid when the TYPE is set to SPRING.

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 OFF, ON

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.

FREQUENCY 0100 Adjusts the frequency of the internal oscillator.

FREQ MOD RATE

*1

0100, BPM `

Adjusts the rate at which the internal oscillator is modulated.

FREQ MOD DEPTH 0100 Adjusts the depth to which the

internal oscillator is modulated.

EFFECT LEVEL 0100 Adjusts the volume of the effect sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

RING MOD settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

ROTARY This produces an effect like the sound of a rotary speaker.

Parameter Value Explanation

SPEED SELECT SLOW, FAST

This parameter changes the simulated speakers rotating speed (SLOW or FAST).

RATE SLOW

*1 0100, BPM `

This parameter adjusts the rotation speed when SPEED SELECT is set to SLOW.

RATE FAST

*1 0100, BPM `

This parameter adjusts the rotation speed when SPEED SELECT is set to FAST.

DEPTH 0100 Adjusts the amount of depth in the rotary effect.

RISE TIME 0100

This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from SLOW to FAST.

FALL TIME 0100

This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from FAST to SLOW.

EFFECT LEVEL 0100 Adjusts the volume.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

52

EFFECT Parameters > FX1FX3

Parameter Value Explanation

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

ROTARY settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

SITAR SIM This simulates the sound of the sitar.

Parameter Value Explanation

SENS 0100

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.

DEPTH 0100 This adjusts the amount of effect applied.

TONE -50+50 Adjusts the tone character.

The high end is boosted as the value increases.

EFFECT LEVEL 0100 Adjust the volume of the sitar sound.

RESONANCE 0100 This adjusts the undulation of the resonance.

BUZZ 0100

Adjusts the amount of characteristic buzz produced by the buzz bridge when the strings make contact with it.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

VARIATION PATCH, 0110

SITAR SIM settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

SLICER This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.

Parameter Value Explanation

PATTERN P1P20 Select the slice pattern (rhythm) that will be used to cut the sound.

RATE

*1 0100, BPM `

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.

Parameter Value Explanation

EFFECT LEVEL 0100 Adjusts the volume of the effect sound.

ATTACK 0100 Adjusts the volume of the attacks for the slice pattern (rhythm).

DUTY 199 Adjusts the duration of the sound for the slice pattern (rhythm).

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

SLICER settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

SLOW GEAR/SLOW GEAR BASS This produces a volume-swell effect (violin-like sound).

Parameter Value Explanation

SENS 0100

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.

RISE TIME 0100 Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.

LEVEL 0100 Adjusts the volume of the effect sound.

VARIATION PATCH, 0110

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 youre 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 Explanation

TRIGGER OFF, ON

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.

53

EFFECT Parameters > FX1FX3

Parameter Value Explanation

RISE TIME 0100 Adjusts how rapidly the Sound Hold sound is produced.

EFFECT LEVEL 0120 Adjusts the volume of the hold sound.

VARIATION PATCH, 0110

SOUND HOLD settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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

FILTER MODE

Selects the wah mode.

LPF Low pass filter. Passes only the low- frequency region.

BPF Band pass filter. Passes only the specified frequency region.

HPF High pass filter. Passes only the high-frequency region.

POLARITY

Selects the direction in which the filter will change in response to the input.

DOWN The frequency of the filter will fall.

UP The frequency of the filter will rise.

SENS 0100

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.

FREQUENCY 0100 Adjusts the center frequency of the Wah effect.

RESONANCE 0100

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.

DECAY 0100 Adjusts the rate at which the filter is moved.

EFFECT LEVEL 0100 Adjusts the volume of the effect sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

VARIATION PATCH, 0110

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 youre creating sounds.

TREMOLO Tremolo is an effect that creates a cyclic change in volume.

Parameter Value Explanation

WAVE SHAPE 0100 Adjusts changes in volume level. A higher value will steepen waves shape.

RATE

*1 0100, BPM `

Adjusts the frequency (speed) of the change.

DEPTH 0100 Adjusts the depth of the effect.

EFFECT LEVEL 0100 Adjusts the volume.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

TREMOLO settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

VIBRATO This effect creates vibrato by slightly modulating the pitch.

Parameter Value Explanation

RATE

*1 0100, BPM ` Adjusts the rate of the vibrato.

DEPTH 0100 Adjusts the depth of the vibrato.

TRIGGER OFF, ON This selects on/off of the vibrato.

RISE TIME 0100 This sets the time passing from the moment the Trigger is turned on until the set vibrato is obtained.

EFFECT LEVEL 0100 Adjusts the volume.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

VIBRATO settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

54

EFFECT Parameters > AMP (AMP Modeling)

WAH You can control the wah effect in real time by the expression pedal.

Parameter Value Explanation

TYPE

Selects the type of wah.

CRY WAH This models the sound of the CRY BABY wah pedal popular in the 70s.

VO WAH Models the VOX V846.

FAT WAH This is a wah sound featuring a bold tone.

LIGHT WAH This wah has a refined sound with no unusual characteristics.

7STRING WAH This expanded wah features a variable range compatible with seven-string and baritone guitars.

RESO WAH

This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters.

BASS WAH

This wah has been specially adapted for use in the bass registers. Inclusion of the low-frequency range in the wah sound produces a robust wah effect, with no dilution of the sound.

PEDAL POSITION 0100

Adjusts the position of the wah pedal.

* This parameter is used after its been assigned to an expression pedal or similar controller.

PEDAL MIN 0100 Selects the tone produced when the heel of the EXP Pedal is depressed.

PEDAL MAX 0100 Selects the tone produced when the toe of the EXP Pedal is depressed.

EFFECT LEVEL 0100 Adjusts the volume of the effect sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

VARIATION PATCH, 0110

WAH settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

AMP (AMP Modeling) Simulates the response of the preamp, the size of the speakers, and the type of cabinet.

Parameter Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

TYPE Selects the AMP type TYPE (p. 55).

GAIN 0120 Adjusts the distortion of the amp.

SAG -10+10 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 0100

Adjusts the volume of the entire preamp.

* Be careful not to raise the LEVEL setting too high.

BASS 0100 Adjusts the tone for the low frequency range.

MIDDLE 0100 Adjusts the tone for the middle frequency range.

TREBLE 0100 Adjusts the tone for the high frequency range.

PRESENCE 0100 Adjusts the tone for the ultra high frequency range.

BRIGHT OFF, ON Turns the bright setting on/off.

* BRIGHT is valid for some of the amps in TYPE.

GAIN SW LOW, MIDDLE, HIGH

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.

SOLO SW OFF, ON Switches the tone to one suitable for solos.

SOLO LEVEL 0100 Adjusts the volume level when the SOLO SW is ON.

SP TYPE This setting selects the simulated speaker type SP TYPE (p. 55).

MIC TYPE This setting selects the simulated mic type MIC TYPE (p. 55).

MIC DISTANCE SHORT, MEDIUM, LONG

Simulates the distance between the mic and speaker.

The distance from the speakers is farther in the order of SHORT

MIC POSITION

This simulates the mic position.

CENTER Simulates the condition that the mic is set in the middle of the speaker cone.

1 cm10 cm Simulates the condition that the mic is moved away from the center of the speaker cone.

MIC LEVEL 0100 Adjusts the volume of the mic.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

55

EFFECT Parameters > AMP (AMP Modeling)

Parameter Value Explanation

VARIATION PATCH, 0110

AMP Modeling settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 An amp with a broad frequency range and an extremely flat response. Good for acoustic guitar.

NATURAL An unembellished, clean sound that minimizes the amps idiosyncrasies, such as its trebly character and boomy low end.

BOUTIQUE Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps.

SUPREME

Great-feeling crunch sound that responds to the nuances of your picking while taking advantage of the distinctive character of a 4x12 speaker cabinet.

MAXIMUM An amp that delivers the distinctively great response and tone of a vintage Marshall, while making it even higher gain.

JUGGERNAUT A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.

X-CRUNCH Crunch sound that uses MDP to deliver a crisp tone from all strings.

X-HI GAIN High-gain sound that uses MDP to obtain high- gain sound with a wide range and a great-feeling sense of separation.

X-MODDED Core sound that uses MDP to preserve the definition of the sound even with extreme gain.

JC-120 This models the sound of the Roland 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 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 This models the sound input to left input on a Matchless D/C-30.

BG COMBO This models the sound of the MESA/Boogie combo amp.

ORNG STACK 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.

Value Explanation

CONCERT This models the Ampeg SVT.

SUPER FLAT A bass amp with flat response.

FLIP TOP Models the Ampeg B-15.

B MAN Models the Fender Bassman 100.

BASS 360 Models the Acoustic 360.

SW-TOUR Models the SWR SM-400.

AC BASS An amp ideal for ACOUSTIC BASS.

GK BASS Models the Gallien-Krueger 800RB.

MARK Models the Markbass Little Mark III.

SP TYPE Value Explanation

OFF This turns off the speaker simulator.

ORIGINAL This is the built-in speaker of the amp you selected with PREAMP TYPE.

1x8 This is a compact open-back speaker cabinet with one 8-inch speaker.

1x10 This is a compact open-back speaker cabinet with one 10-inch speaker.

1x12 This is a compact open-back speaker cabinet with one 12-inch speaker.

2x12 This is a general open-back speaker cabinet with two 12-inch speakers.

4x10 This is a large closed-back speaker cabinet with four 10-inch speakers.

4x12 This is a large closed-back speaker cabinet with four 12-inch speakers.

8x12 This is a stack of two cabinets each with four 12-inch speakers.

B1x15 This is a compact open-back speaker cabinet for the bass guitar with one 15-inch speaker.

B1x18 This is a compact open-back speaker cabinet for the bass guitar with one 18-inch speaker.

B2x15 This is a general open-back speaker cabinet for the bass guitar with two 15-inch speakers.

B4x10 This is a large closed-back speaker cabinet for the bass guitar with four 10-inch speakers.

B8x10 This is a stack of two cabinets for bass, each with four 10-inch speakers.

MIC TYPE Value Explanation

DYN57 This is the sound of the SHURE SM57. General dynamic mic used for instruments and vocals.

DYN421 This is the sound of the SENNHEISER MD-421. Dynamic mic with extended low end.

CND451 This is the sound of the AKG C451B. Small condenser mic for use with instruments.

CND87 This is the sound of the NEUMANN U87. Condenser mic with flat response.

FLAT 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).

56

EFFECT Parameters > CHORUS

CHORUS In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.

Parameter Value Explanation

ON/OFF OFF, ON 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 This is a stereo chorus effect that adds different chorus sounds to L channel and R channel.

DUAL This lets you apply chorus independently to the L and R channels.

RATE

*2 0100, BPM `

Adjusts the rate of the chorus effect.RATE 1

RATE 2

*1 *2

DEPTH

0100

Adjusts the depth of the chorus effect.

* To use it for doubling effect, set the value to 0.

DEPTH 1

DEPTH 2

*1

PRE-DELAY

0.0 ms40.0 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).

PRE-DELAY 1

PRE-DELAY 2

*1

EFFECT LEVEL

0100 Adjusts the volume of the effect sound.

EFFECT LEVEL 1

EFFECT LEVEL 2

*1

WAVEFORM TRI

Produces a typical chorus effect.

SINE

Produces a deeper sense of modulation.

WAVEFORM 1

WAVEFORM 2

*1

LOW CUT

FLAT, 20.0 Hz16.0 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.

LOW CUT 1

LOW CUT 2

*1

Parameter Value Explanation

HIGH CUT

20.0 Hz16.0 kHz, FLAT

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.

HIGH CUT 1

HIGH CUT 2

*1

DIRECT LEVEL 0100

Adjusts the volume of the direct sound.

Setting this to 0 cuts the direct sound.

OUTPUT MODE

*1

MONO This setting is appropriate for mono output.

STEREO Produces a rich spaciousness when stereo output is used.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

CHORUS settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

These variations are shared with the CHORUS setting in FX1FX3.

*1 Valid when the MODE is set to DUAL.

*2 Refer to About effects when a note value is selected as a setting (p. 66).

57

EFFECT Parameters > COMPRESSOR

COMPRESSOR This is an effect that produces a long sustain by evening out the volume level of the input signal.

Parameter Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

TYPE Selects the compressor type TYPE (p. 57).

SUSTAIN 0100 Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

ATTACK 0100 Adjusts the strength of the attack when picking.

EFFECT LEVEL 0100 Adjusts the volume.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

TONE -50+50 Adjusts the tone character.

VARIATION PATCH, 0110

COMPRESSOR settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

These variations are shared with the COMPRESSOR setting in FX1FX3.

TYPE Value Explanation

BOSS COMP This models a BOSS CS-3.

Hi-BAND A compressor that adds an even stronger effect in the high end.

LIGHT A compressor with a light effect.

D-COMP This models a MXR DynaComp.

ORANGE This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.

FAT 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.

DISTORTION This effect distorts the sound to create long sustain.

Parameter Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

TYPE Selects the DISTORTION type TYPE (p. 57).

DRIVE 0120 Adjusts the depth of distortion.

TONE -50+50 Adjusts the tone.

LEVEL 0100 Adjusts the volume of the effect sound.

BOTTOM -50+50

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.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

SOLO SW OFF, ON Switches the tone to one suitable for solos.

SOLO LEVEL 0100 Adjusts the volume level when the SOLO SW is ON.

VARIATION PATCH, 0110

DISTORTION settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

TYPE Value Explanation

MID BOOST This is a booster with unique characteristics in the midrange.

CLEAN BOOST 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 A lustrous crunch sound with an added element of amp distortion.

NATURAL OD This is an overdrive sound that provides distortion with a natural feeling.

WARM OD This is a warm overdrive.

FAT DS A distortion sound with thick distortion.

LEAD DS Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.

METAL DS This is a distortion sound that is ideal for performances of heavy riffs.

OCT FUZZ A fuzz sound with rich harmonic content.

A-DIST This uses MDP technology to obtain ideal distortion in all ranges of the guitar, from low to high.

X-OD This is an overdrive that uses MDP to obtain the distortion thats most appropriate in each pitch range.

X-DIST This is a distortion that uses MDP to obtain the distortion thats most appropriate in each pitch range.

58

EFFECT Parameters > EQ 1, EQ2

Value Explanation

BLUES OD This is a crunch sound of the BOSS BD-2.

This produces distortion that faithfully reproduces the nuances of picking.

OD-1 This models the sound of the BOSS OD-1.

This produces sweet, mild distortion. T-SCREAM This models an Ibanez TS-808.

TURBO OD This is the high-gain overdrive sound of the BOSS OD-2.

DIST This gives a basic, traditional distortion sound.

CENTA OD This models a KLON CENTAUR.

RAT This models a Proco RAT.

GUV DS This models a Marshall GUVNOR.

DIST+ This models the sound of the MXR DISTORTION+.

METAL ZONE This models the sound of the BOSS MT-2.

It produces a wide range of metal sounds, from old style to slash metal.

HM-2 This models the sound of the BOSS HM-2.

It produces distinctive cranked-up distortion sound with compression.

METAL CORE This models the sound of the BOSS ML-2.

It produces a sound that is ideal for high-speed metal riffs.

60S FUZZ This models a FUZZFACE.

It produces a fat fuzz sound. MUFF FUZZ This models an Electro-Harmonix Big Muff .

BASS OD Overdrive tuned especially for use with basses.

BASS DS Distortion tuned especially for use with basses.

BASS MT Wild, radical distortion sound.

BASS FUZZ Fuzz tuned especially for use with basses.

HI BAND DRIVE

With this effect, distortion is applied only to the high frequency sounds, and not to the sounds in the low frequency range. It is distinctive for producing a strong low-end even when intensely distorted.

X-BASS OD This effect uses MDP to provide ideal distortion in all pitch ranges of the bass, from low to high.

BASS DRV This models a TECH21 SANSAMP BASS DRIVER DI.

BASS 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 Turns this effect on/off.

LOW CUT FLAT, 20.0 Hz16.0 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.

LOW GAIN -20+20 dB Adjusts the tone for the low frequency range.

LOW-MID FREQ

20.0 Hz16.0 kHz

Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN.

LOW-MID Q 0.516

Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area.

LOW-MID GAIN -20+20 dB Adjusts the low-middle frequency

range tone.

HIGH-MID FREQ

20.0 Hz16.0 kHz

Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN.

HIGH-MID Q 0.516

Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area.

HIGH-MID GAIN -20+20 dB Adjusts the high-middle frequency

range tone.

HIGH GAIN -20+20 dB Adjusts the tone for the high frequency range.

HIGH CUT 20.0 Hz16.0 kHz, FLAT

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.

LEVEL -20+20 dB Adjusts the overall volume level of the equalizer.

VARIATION PATCH, 0110

EQ settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

These variations are shared with the PARAMETRIC EQ setting in FX1FX3.

59

EFFECT Parameters > MASTER DELAY

MASTER DELAY Adds delayed sound to the direct sound, giving more body to the sound or creating special effects.

Parameter Value Explanation

ON/OFF OFF, ON 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 1 ms2000 ms, BPM ` Adjusts the delay time.D1 TIME

D2 TIME

*2 *12

FEEDBACK

*3

0100

This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.

D1 FEEDBACK

D2 FEEDBACK

*2

EFFECT LEVEL

*4

0120 Adjusts the volume of the delay sound.

D1 EFFECT LEVEL

D2 EFFECT LEVEL

*2

HIGH CUT

*3 20.0 Hz16.0 kHz, FLAT

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.

D1 HIGH CUT

D2 HIGH CUT

*2

TAP TIME

*6 0100%

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 0100 Adjusts the modulation rate of the

delay sound.

MOD DEPTH

*7 0100 Adjusts the modulation depth of the

delay sound.

TRIGGER

*8 OFF, ON If this is ON, the WARP effect is

applied.

MODE

*9

RISE0FALL Rotation stops when you switch TRIGGER from ON to OFF.

RISE0FADE 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 0100

This parameter adjusts the amount of time it is to take for the effect to transition to the maximum.

FALL TIME

*9 *10 0100

This parameter adjusts the amount of time it is to take for the effect to transition to the original.

FADE TIME

*9 *11 0100 Adjusts the fade-out time.

Parameter Value Explanation

DIRECT LEVEL

*5 0100 Adjusts the volume of the direct

sound.

CARRY OVER OFF, ON Specifies whether the effect sound remains when you turn off the effect, or does not remain.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

DELAY settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

These variations are shared with the DELAY setting in FX1FX3.

*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 RISE0FALL.

*11 Valid when the MODE is set to RISE0FADE.

*12 Refer to About effects when a note value is selected as a setting (p. 66).

TYPE Value Explanation

STEREO1 The direct sound is output from the left channel, and the effect sound is output from the right channel.

STEREO2 This is a stereo-in/out delay.

PAN

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.

INPUT

OUTPUT R

OUTPUT L

FEEDBACK

TIME EFFECT LEVEL

DELAY

TAP TIME

DUAL-S This is a delay comprising two different delays connected in series.

DUAL-P This is a delay comprising two delays connected in parallel.

DUAL-L/R This delay lets you specify the L and R channels independently. Delay 1 goes to the left channel, Delay 2 to the right.

REVERSE This produces an effect where the sound is played back in reverse.

60

EFFECT Parameters > DELAY 1, DELAY 2

Value Explanation

ANALOG This gives a mild analog delay sound.

TAPE This setting provides the characteristic wavering sound of the tape echo.

MOD A delay with a pleasant amount of modulation added.

WARP Produces a dream-like sound.

TWIST 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 Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

TIME

*1 1 ms2000 ms, BPM ` Adjusts the delay time.

FEEDBACK 0100

This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.

EFFECT LEVEL 0120 Adjusts the volume of the delay sound.

HIGH CUT 20.0 Hz16.0 kHz, FLAT

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 0100 Adjusts the volume of the direct sound.

CARRY OVER OFF, ON Specifies whether the effect sound remains when you turn off the effect, or does not remain.

BPM 40250 Adjusts the BPM value for each patch.

VARIATION PATCH, 0110

DELAY settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

*1 Refer to About effects when a note value is selected as a setting (p. 66).

61

EFFECT Parameters > REVERB

REVERB This effect adds reverberation to the sound.

Parameter Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

TYPE

This selects the reverb type. Various different simulations of space are offered.

AMBIENCE

Simulates an ambience mic (off- mic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.

ROOM Simulates the reverberation in a small room. Provides warm reverberations.

HALL1 Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.

HALL2 Simulates the reverberation in a concert hall. Provides mild reverberations.

PLATE

Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.

SPRING This simulates the sound of a guitar amps built-in spring reverb.

MOD

This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.

TIME 0.1 s10.0 s Adjusts the length (time) of reverberation.

PRE-DELAY 0 ms500 ms Adjusts the time until the reverb sound appears.

EFFECT LEVEL 0100 Adjusts the volume of the reverb sound.

LOW CUT FLAT, 20.0 Hz16.0 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.

HIGH CUT 20.0 Hz16.0 kHz, FLAT

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 110 Adjusts the density of the reverb sound.

DIRECT LEVEL 0100 Adjusts the volume of the direct sound.

CARRY OVER OFF, ON Specifies whether the effect sound remains when you turn off the effect, or does not remain.

SPRING SENS

*1 0100

Adjusts the sensitivity of the spring effect. When the value is set higher, the effect is obtained even with a weak picking.

Parameter Value Explanation

VARIATION PATCH, 0110

REVERB settings can be saved/ loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

These variations are shared with the REVERB setting in FX1FX3.

*1 Valid when the TYPE is set to SPRING.

62

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 Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

THRESHOLD 0100

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 0100 Adjusts the time from when the noise suppressor begins to function until the noise level reaches 0.

DETECT

This controls the noise suppressor based on the volume level for the point specified in Detect.

GK INPUT

*1

Input volume from the GK IN jack.

* Set the GK SETTING parameter SENS (p. 83) appropriately.

NORMAL INPUT

Input volume from the GUITAR INPUT jack.

NS INPUT

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.

Spatial-type effect

NSDLY

INST1 OUT Specifies the output volume of the INST.INST2 OUT

INST3 OUT

VARIATION PATCH, 0110

NOISE SUPPRESSOR settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre 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 0100 Sets the volume when the heel of the EXP Pedal is depressed.

VOLUME MAX 0100 Selects the volume when the toe of the EXP Pedal is depressed.

VOLUME CURVE

SLOW1, SLOW2, NORMAL, FAST

You can select how the actual volume changes relative to the amount the pedal is pressed.

NORMAL

SLOW 2

SLOW 1

FAST

When the pedal is fully raised

When the pedal is fully advanced

Volume

PEDAL POSITION 0100 Adjusts the volume.

VARIATION PATCH, 0110

FOOT VOLUME settings can be saved/loaded as ten variations.

A saved VARIATION can be loaded into a different patch, which is convenient when youre creating sounds.

These variations are shared with the FOOT VOLUME setting in FX1FX3.

63

EFFECT Parameters > SEND/RETURN

SEND/RETURN You can connect an external effects processor between the SEND jack and RETURN jack, and use it as one of the SY-1000s effects processors.

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 Value Explanation

ON/OFF OFF, ON Turns on/off the SEND/RETURN.

MODE Selects the signal flow MODE (p. 63).

SEND LEVEL 0200 Adjusts the volume of the output to the external effects device.

RETURN LEVEL

*1 0200 Adjusts the volume of the input

from the external effects device.

ADJUST

*1 0100

Adjusts the phase between the SY-1000s internal processing and an external effect unit connected to the SEND/RETURN jacks.

PHASE NORMAL, INVERT

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 Explanation

NORMAL

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-1000s effect chain.

SEND RETURN

Value Explanation

DIRECT MIX

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-1000s 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-1000s effect chain in front of reverb or delay, this allows you to use the SEND jack as a dry out.

SEND

64

EFFECT Parameters > DIVIDER

DIVIDER This lets you branch channel A and channel B within the effect chain.

DIVIDER

MIXER

Parameter Value Explanation

MODE SINGLE Use only one channel, either A or

B.

DUAL Use the two channels A and B.

CH SELECT A, 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 100:00:100

Adjusts the volume balance of channels A and B.

* This is shown only if DIVIDER MODE is set to DUAL.

A:PAN L50R50 Adjusts the pan of channel A.

B:PAN L50R50 Adjusts the pan of channel B.

65

EFFECT Parameters > BALANCER 1BALANCER 3

BALANCER 1BALANCER 3 This adjusts the volume balance and panning for each of the routes INST1INST3 and NORMAL INPUT.

BALANCER 1 BALANCER 2 BALANCER 3

Parameter Value Explanation

A/B BALANCE 100:00:100 Adjusts the volume balance of channels A and B.

A:PAN L50R50 Adjusts the pan of channel A.

B:PAN L50R50 Adjusts the pan of channel B.

MAIN OUT/SUB OUT These are settings for the MAIN OUT and SUB OUT jacks.

Parameter Value Explanation

STEREO LINK OFF, ON

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.

66

EFFECT Parameters > MASTER

MASTER These settings are applied to the overall patch.

Parameter Value Explanation

PATCH LEVEL 0200 Adjusts the volume of the patch.

BPM 40250

Adjusts the BPM value for each patch.

* BPM (beats per minute) indicates the number of quarter note beats that occur each minute

KEY

C (Am)B (G#m)

This sets the key for the FX HARMONIST.

Major

Major

Minor

Minor

TEMPO HOLD OFF, ON Specifies whether the tempo (BPM) changes or is maintained when you switch patches.

PATCH TYPE GK, NORMAL Specifies whether this patch is for GK or NORMAL.

GK SET SYSTEM, SET1-SET10

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.

NORMAL SET SYSTEM, SET1-SET10

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. 81).

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 Value Explanation

ON/OFF OFF, ON Turns this effect on/off.

LEVEL 0200 Adjusts the volume of the normal guitar.

CABLE SIM

OFF, 1m/3ft, 3m/10ft, 5m/16ft, 7m/23ft, 9m/30ft, 12m/40ft

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.

67

CONTROL ASSIGN Parameters

CONTROL FUNCTION You can control the parameters of the SY-1000 by using the SY-1000s switches or externally-connected devices. Here you can make settings to specify which functions are controlled by which controllers.

FUNCTION

[BANKI], [BANKH], [1][4] switch, CTL1CTL6, CUR NUM, MANUAL1MANUAL4, GK SW1, GK SW2

Value Explanation

OFF No assignment.

BANK DOWN *1 Switches to the previous BANK number.

* This cannot be assigned to the [BANKH] or [1][4] switches.

BANK UP *1 Switches to the next BANK number.

* This cannot be assigned to the [BANKI] or [1][4] switches.

1 *1 Selects patch number 1.

* This can be assigned only to the [1] switch.

2 *1 Selects patch number 2.

* This can be assigned only to the [2] switch.

3 *1 Selects patch number 3.

* This can be assigned only to the [3] switch.

4 *1 Selects patch number 4.

* This can be assigned only to the [4] switch.

PATCH +1 *1 Switches to the next patch number.

PATCH -1 *1 Switches to the previous patch number.

LEVEL +10 Increases the patch volume level by 10 units.

LEVEL +20 Increases the patch volume level by 20 units.

LEVEL -10 Decreases the patch volume level by 10 units.

LEVEL -20 Decreases the patch volume level by 20 units.

BPM TAP Used for tap input of the MASTER BPM.

DLY1 TAP Used for tap input of the DELAY 1.

DLY2 TAP Used for tap input of the DELAY 2.

MST DLY TAP Used for tap input of the MASTER DELAY.

FX1 DLY TAP Used for tap input of the FX1 DELAY.

FX2 DLY TAP Used for tap input of the FX2 DELAY.

FX3 DLY TAP Used for tap input of the FX3 DELAY.

TUNER Switches the TUNER on and off.

MANUAL Switches the MANUAL on and off.

MANUAL/TUNER Turns MANUAL on/off when briefly pressed; turns TUNER on/off when long-pressed.

TUNER/MANUAL Turns TUNER on/off when briefly pressed; turns MANUAL on/off when long-pressed.

INST 1 Switches the INST1 on and off.

INST 2 Switches the INST2 on and off.

Value Explanation

INST 3 Switches the INST3 on and off.

INST ALL Switches INST1INST3 all on/off.

INST1 NOR MIX Switches the INST1 NORMAL MIX SW on and off.

INST2 NOR MIX Switches the INST2 NORMAL MIX SW on and off.

INST3 NOR MIX Switches the INST3 NORMAL MIX SW on and off.

NORMAL Switches the normal pickup signal on/off.

1:ALT TUNE *6 Switches INST1s ALT TUNE on/off.

2:ALT TUNE *6 Switches INST2s ALT TUNE on/off.

3:ALT TUNE *6 Switches INST3s ALT TUNE on/off.

ALL:ALT TUNE *6 Switches ALT TUNE on/off for all INST1 INST3.

1:12STR *6 Switches INST1s 12STR on/off.

2:12STR *6 Switches INST2s 12STR on/off.

3:12STR *6 Switches INST3s 12STR on/off.

ALL:12STR *6 Switches 12STR on/off for all INST1INST3.

1:STR BEND *6 Switches INST1s STR BEND on/off.

2:STR BEND *6 Switches INST2s STR BEND on/off.

3:STR BEND *6 Switches INST3s STR BEND on/off.

ALL:STR BEND *6 Switches STR BEND on/off for all INST1 INST3.

INST1 LFO1 *2 Switches INST1s LFO1 on/off.

INST1 LFO2 *2 Switches INST1s LFO2 on/off.

INST1 LFO1&2 *2 Switches LFO1 and LFO2 on/off for INST1.

INST2 LFO1 *2 Switches INST2s LFO1 on/off.

INST2 LFO2 *2 Switches INST2s LFO2 on/off.

INST2 LFO1&2 *2 Switches LFO1 and LFO2 on/off for INST2.

INST3 LFO1 *2 Switches INST3s LFO1 on/off.

INST3 LFO2 *2 Switches INST3s LFO2 on/off.

INST3 LFO1&2 *2 Switches LFO1 and LFO2 on/off for INST3.

INST ALL LFO *2 Switches all LFOs on/off for all INST1INST3.

INST1 SEQ1 *3 Switches INST1s SEQ1 on/off.

INST1 SEQ2 *3 Switches INST1s SEQ2 on/off.

INST1 SEQ1&2 *3 Switches SEQ1 and SEQ2 on/off for INST1.

INST2 SEQ1 *3 Switches INST2s SEQ1 on/off.

INST2 SEQ2 *3 Switches INST2s SEQ2 on/off.

INST2 SEQ1&2 *3 Switches SEQ1 and SEQ2 on/off for INST2.

INST3 SEQ1 *3 Switches INST3s SEQ1 on/off.

INST3 SEQ2 *3 Switches INST3s SEQ2 on/off.

INST3 SEQ1&2 *3 Switches SEQ1 and SEQ2 on/off for INST3.

INST ALL SEQ *3 Switches all SEQs on/off for all INST1INST3.

1:SEQ1 TRIG *3 Retriggers SEQ1 of INST1.

1:SEQ2 TRIG *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 Retriggers SEQ1 of INST3.

3:SEQ2 TRIG *3 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.

68

CONTROL ASSIGN Parameters > CONTROL FUNCTION

Value Explanation

1:SEQ1 TURBO *3 Switches INST1 SEQ1s TURBO on/off.

1:SEQ2 TURBO *3 Switches INST1 SEQ2s TURBO on/off.

1:SEQ1&2 TURBO *3 Switches SEQ1 and SEQ2 TURBO on/off for

INST1.

2:SEQ1 TURBO *3 Switches INST2 SEQ1s TURBO on/off.

2:SEQ2 TURBO *3 Switches INST2 SEQ2s TURBO on/off.

2:SEQ1&2 TURBO *3 Switches SEQ1 and SEQ2 TURBO on/off for

INST2.

3:SEQ1 TURBO *3 Switches INST3 SEQ1s TURBO on/off.

3:SEQ2 TURBO *3 Switches INST3 SEQ2s 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 INST1INST3.

INST1 HOLD *2 Switches INST1s HOLD on/off.

INST2 HOLD *2 Switches INST2s HOLD on/off.

INST3 HOLD *2 Switches INST3s HOLD on/off.

INST ALL HOLD *2 Switches HOLD on/off for all INST1INST3.

SYNC TRIG *2 Retriggers the SEQ and LFO whose SYNC is ON for INST1INST3.

1:PU SEL UP *4 *6 Switches the PU of INST1.

2:PU SEL UP *4 *6 Switches the PU of INST2.

3:PU SEL UP *4 *6 Switches the PU of INST3.

1:PU SEL DOWN *4 *6 Switches the PU of INST1.

2:PU SEL DOWN *4 *6 Switches the PU of INST2.

3:PU SEL DOWN *4 *6 Switches the PU of INST3.

INST1 AMP *5 *6 Switches INST1s AMP Modeling on/off.

INST2 AMP *5 *6 Switches INST2s AMP Modeling on/off.

INST3 AMP *5 *6 Switches INST3s AMP Modeling on/off.

INST1 AMP SOLO *5 *6

Switches AMP Modeling solo on/off for INST1.

INST2 AMP SOLO *5 *6

Switches AMP Modeling solo on/off for INST2.

INST3 AMP SOLO *5 *6

Switches AMP Modeling solo on/off for INST3.

FX1 Switches the FX1 on and off.

FX2 Switches the FX2 on and off.

FX3 Switches the FX3 on and off.

CMP Switches the COMPRESSOR on and off.

DS Switches the DISTORTION on and off.

DS SOLO Switches the DISTORTION SOLO on and off.

AMP Switches the AMP on and off.

AMP SOLO Switches the AMP SOLO on and off.

EQ 1 Switches the EQUALIZER 1 on and off.

EQ 2 Switches the EQUALIZER 2 on and off.

NS Switches the NOISE SUPRESSOR on and off.

DLY1 Switches the DELAY 1 on and off.

DLY2 Switches the DELAY 2 on and off.

Value Explanation

MST DLY Switches the MASTER DELAY on and off.

CHO Switches the CHORUS on and off.

REV Switches the REVERB on and off.

S/R Switches the SEND/RETURN on and off.

FX1 TRIGGER Switches the FX1 TRIGGER on and off.

FX2 TRIGGER Switches the FX2 TRIGGER on and off.

FX3 TRIGGER Switches the FX3 TRIGGER on and off.

MST DLY TRIGGER

Turns the trigger on/off when the MASTER DELAYs TYPE is WARP or TWIST.

DIV CH.SELECT Switches the DIVIDER channel select.

MIDI START Controls the Start/Stop of external MIDI devices (such as sequencers).

MMC PLAY Controls the Play/Stop of external MIDI devices (such as hard disk recorders).

*1 This cannot be assigned to CUR NUM and MANUAL1MANUAL4.

*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 Explanation

OFF No assignment.

FV1 Assigns FOOT VOLUME1.

FV2 Assigns FOOT VOLUME2.

FV1+TUNER Assigns FOOT VOLUME1. TUNER is displayed if the pedal is returned all the way.

FV2+TUNER Assigns FOOT VOLUME2. TUNER is displayed if the pedal is returned all the way.

FX1 PEDAL POS. *3 Assigns the PEDAL POSITION of FX1.

FX2 PEDAL POS. *3 Assigns the PEDAL POSITION of FX2.

FX3 PEDAL POS. *3 Assigns the PEDAL POSITION of FX3.

PATCH LEVEL100

Assigns the function of controlling PATCH LEVEL in the range 0100.

PATCH LEVEL200

Assigns the function of controlling PATCH LEVEL in the range 0200.

INST1 LEVEL Assigns the LEVEL of INST1.

INST2 LEVEL Assigns the LEVEL of INST2.

INST3 LEVEL Assigns the LEVEL of INST3.

INST ALL LEVEL Assigns the LEVEL of all INST1INST3.

INST1 CUTOFF *1 Assigns the CUTOFF of INST1.

INST2 CUTOFF *1 Assigns the CUTOFF of INST2.

69

CONTROL ASSIGN Parameters > CONTROL FUNCTION

Value Explanation

INST3 CUTOFF *1 Assigns the CUTOFF of INST3.

INST ALL CUTOFF *1 Assigns the CUTOFF of all INST1INST3.

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 INST1INST3.

1:GTR VOL *2 *4 Assigns the GUITAR (BASS) VOLUME of INST1.

2:GTR VOL *2 *4 Assigns the GUITAR (BASS) VOLUME of INST2.

3:GTR VOL *2 *4 Assigns the GUITAR (BASS) VOLUME of INST3.

ALL:GTR VOL *2 *4

Assigns the GUITAR (BASS) VOLUME of all INST1INST3.

1:NOR MIX 100

Assigns the function of controlling the NOR MIX LEVEL of INST1 in the range 0100.

1:NOR MIX 200

Assigns the function of controlling the NOR MIX LEVEL of INST1 in the range 0200.

2:NOR MIX 100

Assigns the function of controlling the NOR MIX LEVEL of INST2 in the range 0100.

2:NOR MIX 200

Assigns the function of controlling the NOR MIX LEVEL of INST2 in the range 0200.

3:NOR MIX 100

Assigns the function of controlling the NOR MIX LEVEL of INST3 in the range 0100.

3:NOR MIX 200

Assigns the function of controlling the NOR MIX LEVEL of INST3 in the range 0200.

ALL:NOR MIX 100

Assigns the function of controlling the NOR MIX LEVEL of INST1INSTS3 in the range 0100.

ALL:NOR MIX 200

Assigns the function of controlling the NOR MIX LEVEL of INST1INSTS3 in the range 0200.

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 Assigns PITCH BEND of DYNAMIC SYNTH for INST2.

3:DYNA BEND Assigns PITCH BEND of DYNAMIC SYNTH for INST3.

ALL:DYNA BEND

Assigns PITCH BEND of DYNAMIC SYNTH for all INST1INST3.

MIXER BAL Assigns the A/B BALANCE of MIXER.

BALANCER 1 Assigns the A/B BALANCE of BALANCER1.

BALANCER 2 Assigns the A/B BALANCE of BALANCER2.

BALANCER 3 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 Explanation

TOGGLE The setting is toggled On (maximum value) or Off (minimum value) with each press of the footswitch.

MOMENT The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed.

PREFERENCE Value Explanation

PATCH Different settings can be made independently for each patch.

SYSTEM The same settings will be shared by all patches.

70

CONTROL ASSIGN Parameters > ASSIGN SETTING

ASSIGN SETTING

ASSIGN 1ASSIGN 16 For each parameter, you can specify, in detail, which controller will control which parameter. You can create 16 sets of such assignments.

Parameter Value Explanation

SW OFF, ON Turns the ASSIGN 116 on/off.

TARGET This selects the parameter to be changed.

Refer to TARGET list (p. 71).

MIN *6

This sets the minimum value for the range in which the parameter can change.

The value differs depending on the parameter assigned for TARGET parameter.

MAX *6

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.

SOURCE *6 This selects the controller that will operate the parameter.

Refer to SOURCE list (p. 76).

MODE *6

MOMENT

The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed.

TOGGLE

The setting alternately switches to OFF (minimum value) and ON (maximum value) each time the footswitch is pressed.

ACT LOW 0126

You can set the controllable range for target parameters within the sources 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.

ACT HIGH 1127

RISE TIME *5 *6 *7

0100

Adjusts the time over which the target changes from minimum to maximum.

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.

FALL TIME *5 *6 *7

0100

Adjusts the time over which the target changes from maximum to minimum.

INPUT SENS 0100

Adjusts the input sensitivity when STRING1STRING6, STR HiCSTR LowB, STRING ALL, or NORMAL INPUT is selected as the SOURCE.

WAVE PEDAL FORM *1

SAW

TRI

SINE

Parameter Value Explanation

WAVE PEDAL RATE *4 0100, BPM

` Specifies the time for one cycle of the wave pedal.

MIDI CH *2 *3

SYSTEM

The message is transmitted on the MIDI channel specified by TX CHANNEL of MIDI SETTING (p. 89).

116 The message is transmitted on the specified MIDI channel.

MIDI CC# *2 0127 The message is transmitted using the specified controller number.

MIDI CC# MIN *2 0127 Selects the minimum value of the transmitted CC# message.

MIDI CC# MAX *2 0127 Selects the maximum value of

the transmitted CC# message.

MIDI PC# *3 1128 Specifies the program number that is transmitted.

MIDI PC# BANK MSB *3 OFF, 1127

Specifies the bank select MSB that is transmitted. If this is OFF, the bank select MSB is not transmitted.

MIDI PC# BANK LSB *3 OFF, 1127

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 (p. 66).

*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 STRING1STRING6, STR HiCSTR LowB, STRING ALL, NORMAL IN, or MIDI CC#.

71

CONTROL ASSIGN Parameters > ASSIGN SETTING

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

INST 1

INST 2

INST 3

ON/OFF

TYPE

LEVEL

NORMAL MIX SW

NORMAL MIX LEVEL

STRING LEVEL 6 *1

STRING LEVEL 5 *1

STRING LEVEL 4 *1

STRING LEVEL 3 *1

STRING LEVEL 2 *1

STRING LEVEL 1 *1

STR LEVEL LowB *2

STR LEVEL 4th *2

STR LEVEL 3rd *2

STR LEVEL 2nd *2

STR LEVEL 1st *2

STR LEVEL HiC *2

STRING PAN 6 *1

STRING PAN 5 *1

STRING PAN 4 *1

STRING PAN 3 *1

STRING PAN 2 *1

STRING PAN 1 *1

STR PAN LowB *2

STR PAN 4th *2

STR PAN 3rd *2

STR PAN 2nd *2

STR PAN 1st *2

STR PAN HiC *2

INST 1:ALT TUNE

INST 2:ALT TUNE

INST 3:ALT TUNE

ON/OFF

INST 1:ALT TUNE

INST 2:ALT TUNE

INST 3:ALT TUNE

TUNING TYPE

PITCH 6 *1

PITCH 5 *1

PITCH 4 *1

PITCH 3 *1

PITCH 2 *1

PITCH 1 *1

PITCH LowB *2

PITCH 4th *2

PITCH 3rd *2

PITCH 2nd *2

PITCH 1st *2

PITCH HiC *2

FINE 6 *1

FINE 5 *1

FINE 4 *1

FINE 3 *1

FINE 2 *1

FINE 1 *1

FINE LowB *2

FINE 4th *2

FINE 3rd *2

FINE 2nd *2

FINE 1st *2

FINE HiC *2

12STR SW

12STR TYPE

12STR PITCH 6 *1

12STR PITCH 5 *1

12STR PITCH 4 *1

12STR PITCH 3 *1

12STR PITCH 2 *1

12STR PITCH 1 *1

12STR PITCH LowB *2

12STR PITCH 4th *2

12STR PITCH 3rd *2

12STR PITCH 2nd *2

12STR PITCH 1st *2

12STR PITCH HiC *2

12STR FINE 6 *1

12STR FINE 5 *1

12STR FINE 4 *1

12STR FINE 3 *1

12STR FINE 2 *1

12STR FINE 1 *1

12STR FINE LowB *2

12STR FINE 4th *2

12STR FINE 3rd *2

12STR FINE 2nd *2

12STR FINE 1st *2

INST 1:ALT TUNE

INST 2:ALT TUNE

INST 3:ALT TUNE

12STR FINE HiC *2

12STR LEVEL 6 *1

12STR LEVEL 5 *1

12STR LEVEL 4 *1

12STR LEVEL 3 *1

12STR LEVEL 2 *1

12STR LEVEL 1 *1

12STR LEVEL LowB *2

12STR LEVEL 4th *2

12STR LEVEL 3rd *2

12STR LEVEL 2nd *2

12STR LEVEL 1st *2

12STR LEVEL HiC *2

12STR DELAY 6 *1

12STR DELAY 5 *1

12STR DELAY 4 *1

12STR DELAY 3 *1

12STR DELAY 2 *1

12STR DELAY 1 *1

12STR DELAY LowB *2

12STR DELAY 4th *2

12STR DELAY 3rd *2

12STR DELAY 2nd *2

12STR DELAY 1st *2

12STR DELAY HiC *2

STR BEND SW

BEND DEPTH 6 *1

BEND DEPTH 5 *1

BEND DEPTH 4 *1

BEND DEPTH 3 *1

BEND DEPTH 2 *1

BEND DEPTH 1 *1

BEND DEPTH LowB *2

BEND DEPTH 4th *2

BEND DEPTH 3rd *2

BEND DEPTH 2nd *2

BEND DEPTH 1st *2

BEND DEPTH HiC *2

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

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 *3

RING SW *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

72

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

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

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

*1

INST 1:ANALOG GR

INST 2:ANALOG GR

INST 3:ANALOG GR

*2

MODE

COMP SW

CUTOFF

RESONANCE

ENV MOD SW

ENV MOD SENS

ENV MOD ATTACK

PITCH SW

PITCH A

INST 1:GR-300

INST 2:GR-300

INST 3:GR-300

*1

INST 1:ANALOG GR

INST 2:ANALOG GR

INST 3:ANALOG GR

*2

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

INST 1:ACOUSTIC

INST 2:ACOUSTIC

INST 3:ACOUSTIC

*1

TYPE

BODY

ATTACK

PU SELECT

PU SELECT UP

PU SELECT DOWN

SENS

COLOR

DECAY

BUZZ

RESONANCE

SUSTAIN

VOLUME

TONE

INST 1:AC BASS

INST 2:AC BASS

INST 3:AC BASS

*2

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 *2

REAR TONE *2

FRONT TONE *2

TREBLE *2

BASS *2

PU SELECT *2

PU SELECT UP *2

PU SELECT DOWN *2

TREBLE ON *2

BASS ON *2

RHYTHM/SOLO *2

INST 1:VIO GUITAR:GUITAR

INST 2:VIO GUITAR:GUITAR

INST 3:VIO GUITAR:GUITAR

*1

TYPE

PU SELECT

PU SELECT UP

PU SELECT DOWN

TONE TYPE

SENS

DEPTH

ATTACK

RESONANCE

DIRECT LEVEL

VOLUME

TONE

73

CONTROL ASSIGN Parameters > ASSIGN SETTING

INST 1:VIO GUITAR:HARMO

INST 2:VIO GUITAR:HARMO

INST 3:VIO GUITAR:HARMO

*1

PITCH

GAIN

ATTACK

DIRECT LEVEL

INST 1:VIO GUITAR:FILTER

INST 2:VIO GUITAR:FILTER

INST 3:VIO GUITAR:FILTER

*1

OVERTONE

ATTACK

POWER BEND

SLIDE TIME

OCTAVE

COLOR

TOUCH SENS

LEAD EMPHASIS

INST 1:POLY FX

INST 2:POLY FX

INST 3:POLY FX

TYPE

GUITAR VOLUME *1

BASS VOLUME *2

GAIN

GAIN BALANCE

COLOR

TONE

FILTER MODE

POLARITY

SENS

FREQUENCY

DECAY

PEAK

TONE TYPE

COMP SW

COMP SUSTAIN

COMP ATTACK

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: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: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

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: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

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

74

CONTROL ASSIGN Parameters > ASSIGN SETTING

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

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: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: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:REVERB

FX2:REVERB

FX3:REVERB

TYPE

TIME

PRE-DELAY

EFFECT LEVEL

LOW CUT

HIGH CUT

DENSITY

DIRECT LEVEL

CARRY OVER

SPRING SENS

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

75

CONTROL ASSIGN Parameters > ASSIGN SETTING

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: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

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

AMP

ON/OFF

TYPE

GAIN

SAG

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

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

MASTER DELAY

ON/OFF

TYPE

TIME

FEEDBACK

EFFECT LEVEL

HIGH CUT

DIRECT LEVEL

TAP TIME

TRIGGER

CARRY OVER

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

76

CONTROL ASSIGN Parameters > ASSIGN SETTING

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

COMPRESSOR

ON/OFF

TYPE

SUSTAIN

ATTACK

EFFECT LEVEL

DIRECT LEVEL

TONE

SEND/RETURN

ON/OFF

MODE

SEND LEVEL

RETURN LEVEL

ADJUST

PHASE

DIVIDER

MODE

CH SELECT

MIXER

BALANCER 1

BALANCER 2

BALANCER 3

A/B BALANCE

A:PAN

B:PAN

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 Explanation

NUM1NUM4 Assigns the SY-1000s number [1][4] switch.

CUR NUM *3 Assigns the same number switch as the selected patch number.

BANK DOWN Assigns the SY-1000s [BANKI] switch.

BANK UP Assigns SY-1000s [BANKH] switch.

CTL1, CTL2 Assigns the SY-1000s [CTL1] or [CTL2] switch.

CTL3, CTL4 Assigns the external footswitch connected to the CTL3, 4/EXP1 jack.

CTL5, CTL6 Assigns the external footswitch connected to the CTL5, 6/EXP2 jack.

EXP1 Assigns the external expression pedal connected to the CTL3, 4/EXP1 jack.

EXP2 Assigns the external expression pedal connected to the CTL5, 6/EXP2 jack.

GK SW1, GK SW2 Assign the [S1] and [S2] switches of the divided pickup.

GK VOL Assigns the volume knob of the divided pickup.

WAVE PEDAL Assigns the wave pedal.

Refer to Virtual Expression Pedal System (Wave Pedal) (p. 77).

STRING1 STRING6, STRING ALL

*1

The assigned target parameter will change according to the input level.

STR HiCSTR LowB, STRING ALL

*2

NORMAL IN

CC#1CC#31, CC#64CC#95

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.

77

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 1ASSIGN 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.

Always changes in a fixed curve regardless of the actual pedal

STRING1STRING6, STR HiCSTR 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 Explanation

INPUT SENS 0100

Adjusts the input sensitivity when STRING1STRING6, STR HiCSTR LowB, STRING ALL, or NORMAL INPUT is selected as the SOURCE.

About the Range of a Targets Change The targets 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:

A llo

w ab

le

Pa ra

m et

er

Se tt

in gs

R an

ge

OFF ON

MAX

MIN

When using the expression pedal:

When the pedal is fully raised

When the pedal is fully advanced

A llo

w ab

le

Pa ra

m et

er

Se tt

in gs

R an

ge

0 127

MAX

MIN

When controlling the On/Off target with the expression pedal:

Value

ON

OFF

When the pedal is fully raised

When the pedal is advanced halfway

When the pedal is fully advanced

Degree to Which Expression Pedal Is Depressed

0 127

* 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 youve changed the target, be sure to recheck the minimum and maximum settings.

78

CONTROL ASSIGN Parameters > PATCH MIDI

About the Range of a Controllers 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

When the pedal is

fully raised

ACT LOW

ACT HIGH

When the pedal is fully advanced

0 127

A llo

w ab

le

Pa ra

m et

er

Se tt

in gs

R an

ge

40 80

MAX

MIN Degree to Which Expression Pedal Is Depressed

When the pedal is

fully raised ACT LOW

ACT HIGH

When the pedal is fully advanced

40 8060

Value

ON

OFF

Degree to Which Expression Pedal Is Depressed

0 127 Center Value

* 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 1PATCH MIDI 4 Parameter Value Explanation

CHANNEL (CH) OFF, 116

Specifies the transmit channel for MIDI messages.

If this is OFF, no MIDI message is transmitted.

PC# OFF, 1128

Specifies whether a program number is transmitted when you switch patches.

If this is OFF, no program number is transmitted.

BANK MSB

BANK LSB OFF, 1127

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.

CC1#

CC2# OFF, 1127

Specifies whether a control change is transmitted when you switch patches.

If this is OFF, no control change is transmitted.

CC1 VALUE

CC2 VALUE 0127 Specifies the value of the control

change.

79

CONTROL ASSIGN Parameters > GUITAR TO MIDI/BASS TO MIDI

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 Value Explanation

MODE

This sets the transmission mode for the MIDI messages.

MONO

In this mode, one channel per string is used, thus using a total of six channels. Since each string uses a different MIDI channel, you can select a different tone for each string, using string bending or continuously varying the pitch on a specific string; however, this requires use of a multitimbral sound module.

POLY

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.

ALT TUNE OFF, INST1, INST2, INST3

Specifies which ALT TUNE data of INST1INST3 is applied to GUITAR TO MIDI/BASS TO MIDI.

CHROMATIC

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

Normal Pitch Bend messages are output. The pitch varies continuously in keeping with the string bending or vibrato.

TYPE1

When the pitch changes, this setting applies the results of the pitch change information without stopping the note that is playing.

This produces a unique effect, whereby there is no attack sound when the pitches change, similar to slurring on a recorder.

TYPE2

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.

TYPE3

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.

Parameter Value Explanation

DYNAMICS 110

Adjusts the sensitivity of the tones volume (velocity) change.

The further you raise this setting, the more easy it becomes to produce higher values for velocity.

PLAY FEEL

By selecting the Play Feel setting thats appropriate for your guitar/bass playing technique, you can obtain more naturally expressive dynamics.

FEEL1 FEEL4

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.

NO DYNA In this mode, sounds are played at a fixed volume regardless of the picking strength.

LOW VELO CUT OFF, 110

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.

HOLD TYPE

This selects the way the Hold function works.

HOLD1

Note On messages are held when the Hold function is switched on with the controller.

If the Hold function remains on as you 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.

HOLD2

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.

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, Note On messages for strings other than the one already being held can be output, but they are not held.

CC1 SRC

CC2 SRC

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.

80

CONTROL ASSIGN Parameters > LED COLOR

Parameter Value Explanation

CC1 CC#

CC2 CC# OFF, #1#31, #64#95

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

OFF, 1127 This sets the Bank Select (MSB). *1

STR1 BANK MSBSTR6 BANK MSB

*2

HiC BANK MSBLoB BANK MSB

*2

BANK LSB

*1

OFF, 1127 This sets the Bank Select (LSB). *1

STR1 BANK LSBSTR6 BANK LSB

*2

HiC BANK LSBLoB BANK LSB

*2

PC

*1

OFF, 1128 This sets the Program Number. *1

STR1 PCSTR6 PC

*2

HiC PCLowB PC

*2

*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.

[BANKI]/[BANKH] switch, [CTL1]/[CTL2] switch, [1][4] switch, CUR NUM Parameter Value Explanation

OFF Refer to Value (p. 80).

Specifies the color of the LED when the switch is not pressed.

ON Refer to Value (p. 80).

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 Explanation

OFF The LED is not lit.

RED

BLUE

LIGHT BLUE

GREEN

YELLOW

WHITE

PURPLE

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 Explanation

PATCH Different settings can be made independently for each patch.

SYSTEM The same settings will be shared by all patches.

81

CONTROL MODE The control mode setting lets you choose how you want to operate the effects.

Value Explanation

MEMORY

This mode lets you recall and use the patches that are saved in the unit (Memory mode).

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 youve 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 Value Explanation

SETTING 110

Selects the GK SET used when EFFECTS parameters 0MASTER 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.

NAME Edits the name of the GK set (up to eight characters).

GK TYPE

*1

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.

GC-1 Choose this when using a Roland V-Guitar GC-1.

PIEZO

Piezo pickup

(Flat response)

PIEZO F Fishman

PIEZO G Graph Tech

PIEZO L L.R. Baggs

PIEZO R RMC

GK TYPE

*2

GK-3B Choose this if youre using a GK-3B.

GK-2B

Choose this when using a Roland GK-2B, or when using a bass (commercially available) with a built-in divided pickup.

PIEZO Piezo pickup

(Flat response)

PIEZO G Graph Tech

PIEZO R RMC

SCALE

*1 500660 mm, ST (648 mm), LP (628 mm)

Specify the scale length of the guitar youre using.

SCALE

*2

710940 mm, SHORT (760 mm), MEDIUM (812 mm), LONG JB/ PB (864 mm), EXTRA LONG (914 mm)

Specify the scale length of the bass youre using.

SYSTEM Parameters

82

SYSTEM Parameters > IN/OUT SETTING

Parameter Value Explanation

GK PU POSITION

*2

Specifies the position of the divided pickup.

Position for a 4-string bass.

4STR-1

1st string

3rd string 2nd string

4th string

4STR-2 4STR-3 GK PU POSITION

Position for a 5-string bass (Low BG).

Low B string

5STR-Lo1 GK PU POSITION 5STR-Lo2

1st string

3rd string 2nd string

4th string

Position for a 5-string bass (EHi C).

High C string

GK PU POSITION 5STR-Hi1 5STR-Hi2

1st string

3rd string 2nd string

4th string

Position for a 6-string bass. GK PU POSITION 6STR

High C string

Low B string

1st string

3rd string 2nd string

4th string

PU PHASE 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

PU DIRECTION

This sets the direction for the divided pickups installation.

NORMAL

The cable extends from the side of the 6th string. (GUITAR MODE)

The cable extends from the side of the basss bridge. (BASS MODE)

REVERSE

The cable extends from the side of the 1st string. (GUITAR MODE)

The cable extends from the side of the basss neck. (BASS MODE)

PIEZO TONE L

*3 -10 dB+10 dB Adjusts the low-frequency

range.

PIEZO TONE H

*3 -10 dB+10 dB Adjusts the high-frequency

range.

83

SYSTEM Parameters > IN/OUT SETTING

Parameter Value Explanation

SW POSITION NORMAL, REVERSE

Swaps the functions of the [S1] and [S2] buttons of the GK-3, GK-2A, GK-3B, or GK-2B.

NORMAL PU GAIN -20 dB+20 dB

Adjusts the input level of the normal pickup. When making this setting, set the GK pickups select switch to MIX.

DISTANCE 1 DISTANCE 6 10.030.0 mm Specifies the distance

between the divided pickup and the bridge.

* If the pickup type is set to GC-1 or one of the piezo- type pickups, this setting is not necessary.

DISTANCE HiC DISTANCE LowB

5.555.5 mm

SENS 1SENS 6

0100 Specifies the input sensitivity of the divided pickup.

SENS HiC+SENS LowB

*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 Explanation

SETTING 110

Selects the NORMAL SET used when EFFECTS parameters0MASTER 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 0100 Adjusts the strength of the attack when picking.

SUSTAIN 0100

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 Value Explanation

LEVEL 0100 Adjusts the volume.

SENS -50+50 Adjusts the overall input sensitivity.

LOW -50+50

Adjusts the sensitivity of the low- frequency 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.

HIGH -50+50

Adjusts the sensitivity of the high- frequency 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 high- frequency region.

MAIN OUT, SUB OUT

OUTPUT SELECT&LEVEL

Specify the device (amp) thats 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.

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SYSTEM Parameters > IN/OUT SETTING

Parameter Value Explanation

L:MAIN OUTPUT SELECT

R:MAIN OUTPUT SELECT

L:SUB OUTPUT SELECT

R:SUB OUTPUT SELECT

LINE/PHONES

Choose this setting if youre using headphones, or if the SY-1000 is connected to a keyboard amp, mixer, or digital recorder.

JC-120 RETURN

Choose this setting if the SY-1000 is connected to the RETURN jack of the Roland JC- 120 guitar amp.

JC-120 INPUT

Choose this setting if the SY-1000 is connected to the guitar input of a JC-120 guitar amp.

COMBO AMP 1 RETURN

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.

COMBO AMP 1 INPUT

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.

COMBO AMP 2 RETURN

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.

COMBO AMP 2 INPUT

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.

STACK AMP RETURN

Use this setting when connecting to the RETURN of a stack-type amp (in which the amp and speaker are in separate units).

STACK AMP INPUT

Use this setting when connecting to the guitar input of a stack-type amp (in which the amp and speaker are in separate units).

BASS AMP WITH TWEETER

Use this setting when connecting to a bass amp that has a tweeter.

BASS AMP NO 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

0200 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

FLAT, 20.0 Hz16.0 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.

L: LOW CUT

*2

R: LOW CUT

*2

LOW GAIN

*1

-20+20 dB Adjusts the tone for the low frequency range.

L: LOW GAIN

*2

R: LOW GAIN

*2

LOW-MID FREQ

*1

20.0 Hz16.0 kHz

Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN.

L: LOW-MID FREQ

*2

R: LOW-MID FREQ

*2

LOW-MID Q

*1

0.516

Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area.

L: LOW-MID Q

*2

R: LOW-MID Q

*2

LOW-MID GAIN

*1

-20+20 dB Adjusts the tone for the low- middle frequency range.

L: LOW-MID GAIN

*2

R: LOW-MID GAIN

*2

HIGH-MID FREQ

*1

20.0Hz 16.0kHz

Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN.

L: HIGH-MID FREQ

*2

R: HIGH-MID FREQ

*2

HIGH-MID Q

*1

0.516

Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area.

L: HIGH-MID Q

*2

R: HIGH-MID Q

*2

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SYSTEM Parameters > IN/OUT SETTING

Parameter Value Explanation

HIGH-MID GAIN

*1

-20+20 dB Adjusts the tone for the high-middle frequency range.

L: HIGH-MID GAIN

*2

R: HIGH-MID GAIN

*2

HIGH GAIN

*1

-20+20 dB Adjusts the tone for the high frequency range.

L: HIGH GAIN

*2

R: HIGH GAIN

*2

HIGH CUT

*1 20.0Hz 16.0kHz

FLAT

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.

L: HIGH CUT

*2

R: HIGH CUT

*2

*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 youre 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.

USB AUDIO Here you can make USB-related settings for when the SY-1000 is connected to a computer via USB.

Parameter Value Explanation

MAIN MIX LEVEL 0100

Adjusts the level of the sound that is input from the computer.

SUB MIX LEVEL 0100

Adjusts the level of the sound that is input from the computer.

IN LEVEL 0100 Adjusts the level of the sound that is input from the computer.

OUT LEVEL 0100 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

INST1, INST2, INST3, NORMAL IN, BALANCER1, BALANCER2, BALANCER3, MAIN OUT, SUB OUT, MAIN&SUB

This sets the point at which digital audio signals received via USB (from your computer) are connected within the SY-1000.

OUT POSITION

*2 *3

INST1, INST2, INST3, NORMAL IN, BALANCER1, BALANCER2, BALANCER3, MAIN OUT, SUB OUT

This specifies the point at which digital audio signals are taken from inside the SY-1000 and sent via USB (to your computer).

*1 INST1INST3, NORMAL IN, and BALANCER1BALANCER3 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 youve finished recording.

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SYSTEM Parameters > IN/OUT SETTING

AUDIO ROUTING Value Explanation

STANDARD

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-1000s OUTPUT.

The sound of only the SY-1000 is output from the SY-1000s USB port.

DIVIDED PU

NORMAL PU

PC OUT

PC GK 1-6 OUT

GK SETTING INST PC IN

MAIN OUT

SUB OUT

PC GK1-6 IN

USB OUT LEVEL

USB OUT POSITION

USB IN POSITION

EFFECTS CHAIN

MAIN OUT LEVELUSB MAIN MIX LEVEL

USB SUB MIX LEVEL SUB OUT LEVEL

MIX

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-1000s OUTPUT and from the USB port.

DIVIDED PU

NORMAL PU

PC OUT

PC GK 1-6 OUT

GK SETTING INST PC IN

MAIN OUT

SUB OUT

PC GK1-6 IN

USB OUT LEVEL

USB IN POSITION

EFFECTS CHAIN

MAIN OUT LEVELUSB MAIN MIX LEVEL

USB SUB MIX LEVEL SUB OUT LEVEL

USB OUT POSITION

RE-SYNTH1

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.

DIVIDED PU

NORMAL PU

PC OUT

PC GK 1-6 OUT

GK SETTING

INST PC IN

MAIN OUT

SUB OUT

EFFECTS CHAIN

MAIN OUT LEVEL

USB IN LEVEL

SUB OUT LEVEL

USB OUT LEVEL

USB IN POSITION

USB OUT POSITION

PC GK1-6 IN

RE-SYNTH2

Use this setting if the sound unprocessed by an INST and effects is being resynthesized while the computer plays a backing song.

DIVIDED PU

NORMAL PU

PC OUT

PC GK 1-6 OUT

GK SETTING

INST PC IN

MAIN OUT

SUB OUT

EFFECTS CHAIN

MAIN OUT LEVEL

SUB OUT LEVEL

USB OUT LEVEL

USB OUT POSITION

PC GK1-6 IN

USB IN POSITION

USB MAIN MIX LEVEL

USB SUB MIX LEVEL

Value Explanation

DIRECT OFF

Use this setting if you want the output processed by a plug-in effect on your DAW to be output to the SY-1000s OUTPUT.

Only the sound of the SY-1000 is output from the SY-1000s USB port.

DIVIDED PU

NORMAL PU

PC OUT

PC GK 1-6 OUT

GK SETTING INST PC IN

MAIN OUT

SUB OUT

PC GK1-6 IN

USB OUT LEVEL

USB OUT POSITION

USB IN POSITION

EFFECTS CHAIN

MAIN OUT LEVELUSB MAIN MIX LEVEL

USB SUB MIX LEVEL SUB OUT LEVEL

87

SYSTEM Parameters > HARDWARE SETTING

HARDWARE SETTING

KNOB SETTING Parameter Value Explanation

KNOB 1 KNOB 6

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.

KNOB LOCK OFF, ON If this is ON, knob operations in the Play screen will be disabled.

OUTPUT LEVEL KNOB

Selects the output(s) whose volume is adjusted by the OUTPUT LEVEL knob.

MAIN Adjusts only the level of the MAIN OUTPUT.

SUB Adjusts only the level of the SUB OUTPUT.

MAIN+SUB Simultaneously adjusts the level of both the MAIN OUTPUT and SUB OUTPUT.

KNOB 1KNOB 6

Category Parameter

PATCH PATCH SELECT

TUNER ON/OFF

MASTER BPM

KEY

PATCH LEVEL

CONTROL MODE CONTROL MODE

INPUT SETTING GK SET

NORMAL SET

OUTPUT SETTING

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 TOTAL REVERB LEVEL

TOTAL NS THRESHOLD

MAIN GLOBAL EQ L/S

MAIN GLOBAL EQ R

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

Category Parameter

SUB GLOBAL EQ L/S

SUB GLOBAL EQ R

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

USB AUDIO

MAIN MIX LEVEL

SUB MIX LEVEL

IN LEVEL

OUT LEVEL

AUDIO ROUTING

IN POSITION

OUT POSITION

GUITAR TO MIDI

*1 GUITAR TO MIDI SW

BASS TO MIDI

*2 BASS TO MIDI SW

*1 Setting available with GUITAR MODE.

*2 Setting available with BASS MODE.

ASSIGN HOLD Parameter Value Explanation

GK VOL HOLD

EXP1 HOLD

EXP2 HOLD

OFF

When you switch patches, the values of GK VOL, EXP1, and EXP2 are set to the values saved in the patch.

ON

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 previously- selected 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 Explanation

GROUND LIFT OFF, ON Turns GROUND LIFT on/off for the RETURN jack.

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SYSTEM Parameters > PLAY OPTION

OTHER Parameter Value Explanation

AUTO OFF

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 The power will not turn off automatically.

ON

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.

LCD CONTRAST 110 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 Value Explanation

BANK MODE

WAIT

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.

IMMED The patch switches instantly when a BANK pedal or any of the number pedals is pressed.

BANK EXTENT MIN

U01U50

P01P50 Sets the lower limit for the banks.

BANK EXTENT MAX

U01U50

P01P50 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.

89

SYSTEM Parameters > MIDI

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

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.

Outputting Performance Data

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 MIDI/BASS TO MIDI (p. 79).

Transmitting Data

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

Control change messages can be received from an external MIDI device. SY-1000 parameters can be controlled from an external MIDI device.

Receiving Data

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-1000s parameters can be changed in a single operation.

MIDI SETTING Parameter Value Explanation

RX CHANNEL This sets the MIDI channel used for receiving MIDI messages. Ch. 1 Ch. 16 Specifies the receive channel.

Parameter Value Explanation

OMNI MODE

This makes the settings for the channels used for MIDI information.

OFF Information is received on the channel specified by the RX CHANNEL setting.

ON Messages are received on all channels, regardless of the MIDI channel settings.

TX CHANNEL

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.

DEVICE ID This sets the MIDI Device ID used for transmitting and receiving Exclusive messages. 132 Sets the MIDI Device ID.

MIDI IN THRU

This specifies the connector from which to output the MIDI messages that are received at the MIDI IN connector. OFF MIDI messages are not transmitted.

MIDI OUT Messages are transmitted from the MIDI OUT connector.

USB OUT Messages are transmitted from the USB port.

USB/MIDI Messages are transmitted from the USB port and the MIDI OUT connector.

USB IN THRU

This specifies the connector from which to output the MIDI messages that are received at the USB port. OFF MIDI messages are not transmitted.

MIDI OUT Messages are transmitted from the MIDI OUT connector.

USB OUT Messages are transmitted from the USB port.

USB/MIDI Messages are transmitted from the USB port and the MIDI OUT connector.

90

SYSTEM Parameters > MIDI

Parameter Value Explanation

SYNC CLOCK

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 patchs BPM parameter (p. 66) is ignored. If you want this units 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

Operations are synchronized to MIDI clock messages received via MIDI or USB. However, operations are automatically synchronized to the SY-1000s internal Clock if the SY-1000 is unable to receive the external Clock.

INTERNAL Operations are synchronized to the SY-1000s internal Clock.

MIDI (AUTO)

Operations are synchronized to the MIDI Clock received via MIDI. However, operations are automatically synchronized to the SY-1000s internal Clock if the SY-1000 is unable to receive the external Clock.

USB (AUTO)

Operations are synchronized to the USB Clock received via USB. However, operations are automatically synchronized to the SY-1000s internal Clock if the SY-1000 is unable to receive the external Clock.

CLOCK OUT

Specifies whether MIDI clock will be output from the SY-1000. OFF MIDI clock is not output. ON MIDI clock is output.

PC OUT

This setting determines whether or not Program Change messages are output when the SY-1000s 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.

TX PC MAP

This sets the Program Change messages transmitted when patches are switched.

FIX

Regardless of the patch settings, Program Change messages predetermined for each patch number are sent.

PATCH MIDI

The MIDI messages specified by the PATCH MIDI settings of each patch are transmitted (including control change messages).

Parameter Value Explanation

RX PC MAP

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 BANK1BANK4 (p. 90).

FIX

Switch to the patch corresponding to the received program change message.

PROGRAM MAP BANK1BANK4 (p. 90) is ignored.

PROG The patch specified by PROGRAM MAP BANK1BANK4 (p. 90) will be selected.

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#

Specifies the controller number when transmitting pedal operations as control change messages.

OFF Control Change messages are not output.

CC#1CC#31, CC#64CC#95

Pedal operations are transmitted using the specified controller number.

PROGRAM MAP BANK1BANK4 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

PC#1PC#128 U01-1U50-4, P01-1P50-4

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 Explanation

FROM

TO

SYSTEM System parameter settings

U01-1U50-4 Settings for Patch Number U01-1 through U50-4

VARIATION Contents of the variation settings

TEMP Settings for the patch that is currently selected

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SYSTEM Parameters > TUNER

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 cant 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 Explanation

ON/OFF OFF, ON

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 Setting this to ON thins out the Pitch Bend messages and reduces the volume of MIDI data.

BEND RANGE 024 Specifies the maximum range of change for pitch bend messages.

BASIC CH 1-11 Specifies the MIDI transmit channel used by the GUITAR TO MIDI/BASS TO MIDI function.

PC MASK OFF, ON

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.

TUNER The SY-1000s 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 Value Explanation

TUNER MODE

MULTI MODE Allows you to tune six strings at the same time.

* Setting available with GK PATCH.

SINGLE MODE Allows you to tune by playing a single note on the specific string youre tuning.

PITCH 435445 Hz Specifies the reference pitch.

OUTPUT

MUTE Sound will not be output while tuning.

BYPASS

While tuning, the sound of the guitar being input to the SY-1000 will be output without change.

All INST and effects are off.

THRU

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.

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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 Explanation

FROM, TO

SYSTEM System parameter settings

U01-1U50-4 Settings for Patch Number U01-1 through U50-4

VARIATION Contents of the variation settings

MODE SETTING Here you can specify whether youre using the SY-1000 with a guitar connected or with a bass connected.

Choose GUITAR MODE (GUITAR) if youre using it with a guitar, or choose BASS MODE (BASS) if youre 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.

93

Saving a Sound (WRITE)

Saving a Patch (PATCH WRITE) If you save the INST settings and effect settings as a patch, youll 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.

2. Press the [1] knob to select WRITE (PATCH WRITE).

3. Use the [1] knob to select the save-destination (U01-1U50-4). 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 Selects the type of characters

Press the [3] knob Delete one character (delete)

Turn the [4] knob Switch uppercase/lowercase

Press the [4] knob Insert one space (insert)

Turn the [5] knob Changes the character

Turn the [6] knob Moves the cursor

4. Press the [WRITE] button to save. The patch is written.

If you decide to cancel the operation, press the [4] knob.

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.

* If you decide to cancel without exchanging, press the [EXIT] button a several times. Youll be returned to the Play screen.

5. Press the [WRITE] button once again. A confirmation message appears.

6. Press the [6] knob. The patches will be exchanged. If you decide to cancel the exchange operation, press the [5] knob.

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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 youve 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.

* If you decide to cancel without initializing, press the [EXIT] button a several times. Youll be returned to the Play screen.

* The patch type can also be switched even after initialization. For details, refer to the EFFECTS sections explanation of INPUT block PATCH TYPE (p. 66).

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.

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 inserting, press the [EXIT] button a several times. Youll be returned to the Play screen.

4. Press the [WRITE] button once again. A confirmation message appears.

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.

95

By connecting the SY-1000 to a computer via USB, you can do the following.

USB COMPUTER port

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.

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-1000s 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.

Making use of the SY-1000s 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

Connecting to a Computer

96

Troubleshooting

When Using the SY-1000 on Its Own Problem Items to check Action

No sound/Low volume

Is the [OUTPUT LEVEL] knob turned down completely? Adjust the knob to an appropriate setting.

Could the volume of the GK pickup be turned down? Raise the volume of the GK pickup to an appropriate level.

Could the select switch of the GK pickup be set to GUITAR? Set the switch of the GK pickup to MIX.

Could the PATCH LEVEL be turned down? Raise the PATCH LEVEL.

Are the SY-1000 and other devices connected properly? Check the connections with the other devices.

Is the power to the connected amp or mixer not turned on, or is the volume turned down? Check the settings for the connected device.

Is there a short in any connecting cable? Try replacing the connecting cable.

If there are no sounds through USB, are the [SYSTEM] - USB AUDIO settings correct? Adjust the settings to the appropriate values.

Volume is uneven among the strings

Was the GK pickup sensitivity setting adjusted correctly for each string? Perform the adjustment.

Is the GK pickup attached correctly? Refer to the manual of your GK pickup, and attach the GK pickup correctly.

When using the SY-1000s 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? Decrease the value.

Are any feedback values in the effect settings such as DELAY set too high? Decrease the value.

Patches not switching Is some screen other than the Play screen shown in the display?

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.

Knobs dont work Could the system parameter KNOB LOCK be ON? Turn the system parameter KNOB LOCK OFF.

Cant enter Tuner mode Could the system parameter BANKDOWN&UP SW (TUNER) be OFF?

Turn the system parameter BANKDOWN&UP SW (TUNER) ON.

97

Troubleshooting

When Connected to a MIDI Device or Computer Problem Items to check Action

The external sound module connected to the MIDI OUT connector does not sound

Do the MIDI channels of the transmitting and receiving devices match? Match the MIDI channels.

Could you have turned down the volume using the volume control of the GK pickup or the expression pedal? Raise the volume.

Only one string sounds on the external sound module (some strings do not sound)

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?

Use a sound module that supports multitimbral operation. Use the SY-1000 in Poly mode.

Pitch is incorrect (different than the guitar pitch)

Is the Bend Range of your external sound module set to +/- 24?

Set the Bend Range of your external sound module to +/- 24.

Is your guitar tuned accurately? Tune your guitar accurately.

When you view the note messages recorded in your sequencer, the pitches differ from what is actually sounded

The SY-1000 expresses the pitch as a combination of note data and pitchbend data. This means that if youre 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? Try replacing the MIDI cable.

Are the SY-1000 and the external MIDI device connected properly? Check the connection with the external MIDI device.

Are the MIDI channels matched? Check to confirm that both devices are set to the same MIDI channel.

If you are transmitting from the SY-1000, have the settings for transmission been made?

Check the Program Change message transmission ON/OFF setting and the settings for the controller number to be transmitted.

In CTL, check the GUITAR TO MIDI/BASS TO MIDI setting CHROMATIC.

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.

98

Block Diagram

When Using a GK PATCH

DIVIDED PU

NORMAL PU

GK IN

GUITAR INPUT

NORMAL

LEVEL

MIX LEVEL

NORMAL MIX LEVEL

NORMAL MIX LEVEL

LEVEL

LEVEL

NORMAL MIX SW

NORMAL MIX SW

NORMAL MIX SW

LEVEL

FX1

FX2

FX3

CMP DS AMP

EQ1

EQ2

NS FV1

DLY1

DLY2

MST DLY

CHO

REV

MAIN OUT

BALANCER 1

BALANCER 2

BALANCER 3

FV2

SUB OUT

EFFECTSINST

MIXER

SINGLE

DUAL

DIVIDER

PATCH LEVEL

GLOBAL MAIN

EQ

GLOBAL SUB EQ

OUTPUT MAIN

SELECT

SUB OUTPUT SELECT

-

PHASE SW

-

PHASE SW

-

B

C

D

F

G

H

I

J

A

EPHASE SW

NORMAL

INST1

INST2

INST3

ALT TUNE

ALT TUNE

ALT TUNE

NORMALCABLE SIM

GK SETTING

BALANCE

MAIN OUTPUT LEVEL

SUB OUTPUT LEVEL

S/R

-

PHASE SW SEND LEVEL

RETURN LEVEL

B

C

D

E

F

G

H

I

J

JI

A

IN LEVEL MAIN MIX LEVEL SUB MIX LEVEL

USB IN

INST1

INST2

INST3

NORMAL IN

BALANCER1

BALANCER2

BALANCER3

MAIN OUT

SUB OUT

MAIN & SUB

OUT LEVEL

USB OUT

INST1

INST2

INST3

NORMAL IN

BALANCER1

BALANCER2

BALANCER3

MAIN OUT

SUB OUT

PC GK 1-6 IN

PC GK 1-6 OUT

PC OUT

PC IN

USB

PC

(You can change the order in which the eects are connected)

SEND

RETURN

MAIN OUTPUT

SUB OUTPUT

99

Block Diagram

When Using a NORMAL PATCH

LEVEL

LEVEL

LEVEL

BALANCER 1

BALANCER 2

BALANCER 3

EFFECTSINST

PATCH LEVEL

-

PHASE SW

-

PHASE SW

MAIN OUTPUT LEVEL

SUB OUTPUT LEVEL

SEND LEVEL

RETURN LEVEL

USB IN

OUT LEVEL

USB OUT

USB

PC

(DYNAMIC SYNTH only)

NORMAL MIX LEVEL

NORMAL MIX LEVEL

NORMAL MIX LEVEL

INST1

INST2

INST3

(You can change the order in which the eects are connected)

FX1

FX2

FX3 EQ1

REV

B

C

D

F

EQ2 DLY1

MST DLY

MAIN OUT

FV2

SUB OUT

G

H

S/R

INST1

INST2

INST3

NORMAL IN

BALANCER1

BALANCER2

BALANCER3

MAIN OUT

SUB OUT

GLOBAL MAIN

EQ

GLOBAL SUB EQ

OUTPUT MAIN

SELECT

SUB OUTPUT SELECT

I

J

B

C

D

E

F

G

H

I

J

JI

A

IN LEVEL MAIN MIX LEVEL SUB MIX LEVEL

INST1

INST2

INST3

NORMAL IN

BALANCER1

BALANCER2

BALANCER3

MAIN OUT

SUB OUT

MAIN & SUB

PC GK 1-6 IN

PC GK 1-6 OUT

PC OUT

PC IN

SEND

RETURN

MAIN OUTPUT

SUB OUTPUT

-

PHASE SWDIVIDED PU

NORMAL PU

GK IN

GUITAR INPUT

LEVEL CMP DS AMP NS FV1

DLY2

CHO

MIXER

SINGLE

DUAL

DIVIDER

-

PHASE SW

NORMAL

Manualsnet FAQs

If you want to find out how the SY-1000 Boss works, you can view and download the Boss SY-1000 Reference Manual on the Manualsnet website.

Yes, we have the Reference Manual for Boss SY-1000 as well as other Boss manuals. All you need to do is to use our search bar and find the user manual that you are looking for.

The Reference Manual should include all the details that are needed to use a Boss SY-1000. Full manuals and user guide PDFs can be downloaded from Manualsnet.com.

The best way to navigate the Boss SY-1000 Reference Manual is by checking the Table of Contents at the top of the page where available. This allows you to navigate a manual by jumping to the section you are looking for.

This Boss SY-1000 Reference Manual consists of sections like Table of Contents, to name a few. For easier navigation, use the Table of Contents in the upper left corner.

You can download Boss SY-1000 Reference Manual free of charge simply by clicking the “download” button in the upper right corner of any manuals page. This feature allows you to download any manual in a couple of seconds and is generally in PDF format. You can also save a manual for later by adding it to your saved documents in the user profile.

To be able to print Boss SY-1000 Reference Manual, simply download the document to your computer. Once downloaded, open the PDF file and print the Boss SY-1000 Reference Manual as you would any other document. This can usually be achieved by clicking on “File” and then “Print” from the menu bar.