* Parameters marked by an "*" in front of the screen parameter name can be controlled by an external device such as an expression pedal. 

These algorithms can be selected for an insert effect if "2in2outx2" is selected for "SelectEffType". They can also be selected for a master effect or a final effect.

This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls.

This hall-type reverb simulates the reverberation of larger

halls and stadiums, and creates a smooth release.

This plate reverb simulates warm (dense) reverberation.

This plate reverb simulates dry (light) reverberation.

5: RV5: Reverb Room

This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room.

This room-type reverb emphasizes the early reflections that make the sound brighter.

This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves.

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

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

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

This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies delay to the sound only when you input signals at a

high velocity or only when the volume level is low.

This stereo delay effect pans the delay sound left and right using the LFO.

This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread

to the sound by offsetting the phase of the left and right LFOs from each other.

This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. This is a stereo effect, and you can control the spaciousness of the sound by offsetting the

phase of the left and right LFOs from each other.

This effect causes the pitch of the input signal to shimmer. You can use an expression pedal etc. to gradually increase or decrease the shimmering speed.

This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left

and right.

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

crossing over each other by turns, or chasing each other.

This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the

left, right, and center.

This effect compresses the input signal to regulate the level and give a "punchy" effect. It is useful for guitar, piano, and drum sounds. This is a stereo compressor. You can link left

and right channels, or use each channel separately.

The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals.

The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered. This effect is a stereo

limiter. You can link left and right channels, or use each channel individually.

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

mid range, and high range in a different way from the EQ.

This effect mutes the input signal if its level is lower than the specified level. It also reverses the on and off operation of the gate, and uses Note On and Off messages to turn the gate on

and off.

This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence.

This effect creates a rough sound like a cheap sampler by lowering the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing).

This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4.

This effect simulates the "Doppler effect" of a moving sound with a changing pitch, similar to the siren of an passing ambulance. Mixing the effect sound with the dry sound will create a unique chorus effect.

This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable.

This effect gives the input signal a character similar to a human voice. It can create the impression of a talking guitar or synthesizer.

When a stereo music source is input to this effect, parts that are panned to the center (such as vocals and lead guitar) will be erased. In addition, you can control the pitch.

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Effects GT1–VO2 are multi-effects for guitar/bass/vocal, and contain three to five effects connected in series.

The chain structure of each multi-effect is shown below.

For an explanation of the parameters of each effect in the chain, refer to "Effects within multi-effect programs GT1–VO2, and their parameters" on the following page.

Here are explanations of the parameters of each effect in the multi-effect chains listed above.

This effect distorts the input sound

This effect suppresses noise.

This produces a wah effect. It can be controlled using an expression pedal.

This effect simulates the acoustical characteristics of a guitar amp. Even if you are recording your instrument via a direct-box, you can produce a realistic sound as though a guitar amp

were actually being used.

This effect simulates the acoustical characteristics and cabinet resonances of a guitar amp speaker cabinet. The "AmpSimulator" is ideal for direct recording.

This effect simulates the tone control section of a guitar amp. It allows you to adjust the character of the vacuum tubes.

This effect attenuates unwanted sibilants in a vocal signal.

This effect gives a sense of pitch movement and depth to the sound. Adjusting the delay time will change the effect significantly.

The chain structure of each multi-effect is shown below. For an explanation of the parameters of each effect in the chain, refer to "Effects within multi-effect programs MM1–MM33, and their parameters" beginning on the following page.

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These algorithms can be selected as an insert effect if "1in1outx8" is selected for "SelectEffType." Different insert effects can be used on each of eight channels/tracks.

Effects MN1–MN11 are monaural type effects.

The parameters are the same as for ODHIG.

The parameters are the same as for Comp2.

The parameters are the same as for Limitr.

The parameters are the same as for Excit2.

The parameters are the same as for Mt.Dly.

The parameters are the same as for ChFl2.

The parameters are the same as for Phaser.

This effect makes the sound tighter and improves the dynamic range and S/N ratio by compressing signals that are below a specified level.

Select the parameter that will be controlled by an expression pedal or an external MIDI controller, and specify the range of parameter values for control.

1.  As explained in "Controlling an effect from an external

device", make settings for "Device" etc. and select

an effect program that provides a wah.

2.  Press the "(EffectIcon)" button for "Cntrl," and set

"Param" to "Wah." 

3.  Press the "(EffectIcon)" button for "Wah," and set "Mode"

to "Pedal.

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