Roland Cloud User’s Guide

This manual explains how to use tone files from Roland Cloud on the GAIA-2.
Refer to the “GAIA-2 Quick Start” and “GAIA-2 Reference Manual” (Roland website) as well.

© 2023 Roland Corporation 02

 Getting ready to use Roland Cloud
Updating the GAIA-2 to the latest version
You must update your GAIA-2 to the latest version to use tone files (*) from Roland Cloud.
Download the latest software from the website below, and follow the steps listed to update.

(*) Model Expansion: These are sound generator expansions (such as the JUPITER-8) that model Roland’s vintage synthesizers.
The SH-101 Model Expansion comes pre-installed by factory default on the GAIA-2.
Model Expansion Sound Pack: These are additional tones that are compatible with each Model Expansion. You can use
these tones when you’ve installed the appropriate Model Expansions.

https://roland.cm/gaia-2_dl
There are two ways to use the Model Expansions and Model Expansion Sound Packs.

Using Roland Cloud Manager Using Roland Cloud Connect (sold separately)
Roland Cloud Manager

Roland Cloud Connect app

Download

WC-1

USB MEMORY/
EXT DEVICE port USB MEMORY/
EXT DEVICE port

Use your computer to download the tone files from Roland Cloud Use Roland Cloud Connect (sold separately) and your smartphone
to Roland Cloud Manager. Use a USB flash drive to import these to import tone files into the GAIA-2.
tone files into the GAIA-2. ¹ Click here for details on Roland Cloud Connect.
¹ Click here for more information on Roland Cloud.
¹ Click here to download the Roland Cloud Manager app and * When using Roland Cloud Connect (sold separately), you can
Owner’s Manual. access tone files with a membership.

Initial settings and operations for

* You must purchase a Lifetime Key (a one-time purchase for
Roland Cloud Connect
permanent access to the file) if you want to use Roland Cloud
Click [here] for how to make the initial settings and operate
Manager.
Roland Cloud Connect.
* Files downloaded with only a Roland Cloud membership can’t
be loaded into the GAIA-2. Precautions when using Roland Cloud Connect
* You must use version 1.40 of the Roland Cloud Connect
app or later.
* When operating the Roland Cloud Connect app, set the
screen of the GAIA-2 to the TOP screen. This instrument
does not accept the app’s operations from any other
screen besides the TOP screen.

2
 Using Roland Cloud Manager
Here’s how to download and install the tone files using Roland Cloud Manager.

10. Specify the folder to which you want to download the

Installing Roland Cloud Manager contents, and close the dialog box.
The content files are downloaded into the folder that you specified on
your computer.
1. Download Roland Coud Manager from Roland Cloud
website to your computer.
Download the Roland Cloud Manager installer from the website shown
below.
https://roland.cm/RolandCloudManager
Downloading content files
2. Double-click the installer you downloaded to begin the 1. Launch Roland Cloud Manager.
installation.
Follow the onscreen instructions to install. 2. Click “Hardware Instruments” on the menu tab.
When you see the message “Installation has been completed ”, click the A list of hardware group appears at the top of the screen.
[Close] button.
3. On the hardware group tab, click “Synthesizers”.
3. Launch the Roland Cloud Manager that you’ve installed, A list of hardware appears on the left side of the screen.
and register an account.
Follow the onscreen instructions to register. 4. Click on “GAIA-2”.
The contents list appears.

5. Click the (Download) icon for the contents you wish

to download.
Purchasing a Lifetime Key for the contents A dialog box for specifying the download destination folder appears.
You must purchase a Lifetime Key by following the steps below to use paid
6. Specify the folder to which you want to download the
contents.
contents, and close the dialog box.
To use free contents, refer to “Downloading content files” on the next page.
The content files are downloaded into the folder that you specified on
your computer.
1. Launch Roland Cloud Manager.
2. Click “Hardware Instruments” on the menu tab.
A list of hardware group appears at the top of the screen. Saving tone files to a USB flash drive
3. On the hardware group tab, click “Synthesizers”. * If this is the first time you’re using the USB flash drive, format it
A list of hardware appears on the left side of the screen. on the GAIA-2.

4. Click on “GAIA-2”. 1. Have ready the tone files you want to add to the GAIA-2.
The contents list appears.
2. Connect a USB flash drive to your computer.
5. Click the (Add to cart) icon for the contents you wish
to purchase. 3. Save the tone files to the target directory of the USB flash
This adds the contents to your cart. drive.
Model Expansion (.exz): root directory
6. Click the (Move to cart) button at the top right- Model Expansion Sound Pack (.sdz): ROLAND/SOUND folder
hand part of the screen.
The cart screen appears. USB flash drive folder architecture

7. Check the contents onscreen, and click “Proceed to

Copy the Model Expansion
checkout”. files (.exz) to the root
A payment screen appears in your Web browser. Proceed to payment, directory.
and close your Web browser when you’re finished.

8. Return to the Roland Cloud Manager screen and click ROLAND

Copy the Model Expansion
“Accept” in the “Purchase Complete” dialog box. This Sound Pack files (.sdz)
closes the message. to the ROLAND/SOUND
SOUND
folder.
9. Click the (Download) icon for the contents you wish
to download.
A dialog box for specifying the download destination folder appears.
4. Remove the USB flash drive from your computer.

3
 Adding the tones to the GAIA-2 Importing a Model Expansion Sound Pack
Follow these steps to import and install the tones you’ve added, If the model for the Model Expansion Sound Pack you want to
according to their type. import is not installed, begin by installing the Model Expansion
¹ Ø “Installing the Model Expansion” for the corresponding model.
¹ Ø “Importing a Model Expansion Sound Pack”
1. Insert the USB flash drive to which you saved the tone
files into the USB MEMORY/EXT DEVICE port on the
GAIA-2.
Installing a Model Expansion
2. Press the [MENU] button.
To use a Model Expansion Sound Pack, you must install the
The MENU screen appears.
corresponding Model Expansion.
3. Use the [VALUE] knob to select “File”, and then press
1. Insert the USB flash drive to which you saved the tone [ENTER].
files into the USB MEMORY/EXT DEVICE port on the The FILE screen appears.
GAIA-2.
4. Use the [VALUE] knob to select “Import”, and then press
2. Turn the power on while holding down the [ENTER] [ENTER].
button. The IMPORT TONE screen appears.
The EXPANSION top screen appears. The folders and files on the USB flash drive are displayed.
Capacity used
List of Expansions already
installed EMPTY:
You can install new files.

FULL:
You cannot install new files.
You must first free up space on the
storage media to install new files.
Ø “Uninstalling a Model Expansion”
5. Use the [VALUE] knob to select the .sdz file to import, and
press [ENTER].
Uninstall Install The IMPORT TONE (SELECT SOURCE) screen appears.
[EXIT] button [ENTER]

3. Press [ENTER] to jump to the install screen.

4. Use the [VALUE] knob to select the file to install, and
press [ENTER].
A confirmation message appears.
To cancel, select CANCEL. 6. Select the tones you want to import by marking them.
* If this is the first time to install data, a screen appears that asks
you to register the user license. Operation Explanation
5. To execute, use the [VALUE] knob to select “OK”, and then Turn the Scrolls the screen up/down.
press [ENTER]. [VALUE] knob
* Never turn off the power or unplug the USB flash drive while Press the
“ÀÀ %” is shown in the display, which indicates that the a Adds a check mark to the tone.
write operation is in progress.
[MENU] button
Press the Moves to the next operation.
6. Turn the power back on once the tone data has been [ENTER]
installed.

4
7. Press [ENTER].
The IMPORT TONE (SELECT DESTINATION) screen appears. This is a list of User license
the user tones in the GAIA-2. The user license that you downloaded from Roland Cloud is linked
to the Model Expansion.
You can’t import or install Model Expansions for a different user
license into a single GAIA-2.

User A User A User B

EXM001 EXM002 EXM002
8. Select the user tones in the import destination by
marking them.
Operation Explanation
Turn the [VALUE] Scrolls the screen up/down.
knob
Press the Adds a check mark to the tone.
[MENU] button To import or install a Model Expansion associated with a user
Press the Moves to the next operation.
license that’s different from the user license registered on the
[ENTER] GAIA-2, follow the steps below to initialize the user license.
User A User B
¹ If a user tone named “INIT TONE” already exists in the import
destination, it is given priority and selected. EXM002 EXM002
¹ The selected user tone in the import destination is
overwritten. Be sure to check whether any tones you don’t
want to be overwritten are excluded before importing.

9. Press [ENTER]. Initialize

A confirmation message appears.
To cancel, select CANCEL.

10. Use the [VALUE] knob to select “OK”, and then press
[ENTER].
The sample is imported, and the unit returns to the IMPORT TONE screen.

Uninstalling a Model Expansion

1. Turn the power on while holding down the [ENTER]
button.
The EXPANSION top screen appears.

2. Use the [VALUE] knob to select the file you want to

uninstall, and press the [EXIT] button to jump to the
uninstall screen.
A confirmation message appears.
To cancel, select CANCEL.

3. To execute, use the [VALUE] knob to select “OK”, and then

press [ENTER].

5
 4. Use the [VALUE] knob to select the item, press the
Initializing a user license [ENTER] button to select or deselect the check boxes, and
Initializing the user license lets you install a Model Expansion that select only the Remove License check box.
was downloaded with a different user license.
* Any other Model Expansions that are already installed are
deleted.
* Never turn off the power or unplug the USB flash drive while
“ÀÀ %” is shown in the display, which indicates that the a
write operation is in progress.
* If you haven’t imported or installed a Model Expansion, the
1. Press the [MENU] button on the GAIA-2. Remove License check box is not shown.
* When you select check boxes other than Remove License and
2. Use the [VALUE] knob to select “Utility”, and then press then execute, all of the files corresponding to the check boxes
[ENTER]. you select are initialized. For details, refer to “Factory reset” in
The UTILITY screen appears. the GAIA-2 Reference Manual.

3. Use the [VALUE] knob to select “Factory”, and then press 5. Use the [VALUE] knob to select “Exec”, and then press
[ENTER]. [ENTER].
The FACTORY RESET screen appears. A confirmation message appears.
To cancel, select CANCEL.

6. To execute, use the [VALUE] knob to select “OK”, and then

press [ENTER].
The display indicates “Completed”.

7. Turn off the GAIA-2.

This initializes the user license.

8. Follow the steps in “Installing a Model Expansion” to

install the Model Expansion to the GAIA-2.

Error messages
Display Action
The USB flash drive cannot be recognized. Make sure that your USB flash drive is
USB Memory Not Ready! correctly inserted into the GAIA-2.
This is shown when there are no expansion files saved on the USB flash drive.
Expansion File Not Found!
Check that the file is correctly saved on the media, and that the file format is “.exz”.
This is shown when the selected file is not compatible with the GAIA-2 or if the
file is corrupted.
Incorrect File!
Check the compatible models of the source file you downloaded, and try
downloading again.
This is shown when the Model Expansion is already associated with a different
Incorrect License! Please Remove user license.
License To install, you must either use the file that’s associated with the same user license
as the Expansion file that’s already installed, or else initialize the user license.
This is shown when there is not enough free capacity to install the data.
Expansion Memory Full! In this case, you must first free up the storage by uninstalling existing Model
Expansions if you want to install new files.
This is shown when the Model Expansion has already been installed.
It has already been installed
You don’t need to reinstall in this case.

6
 Using Roland Cloud Connect (sold separately)

Enabling your Roland membership Installing Roland Cloud Connect

* You can do this on your computer or with your smartphone.
1. Use your smartphone to access the website shown below.
https://roland.cm/wc1app
Log in to Roland Cloud
Log in to Roland Cloud from the link shown below.
https://roland.cm/wc1rc

2. Open the “Roland Cloud Connect” product page for the

WC-1 dedicated app.

3. Install the app for iOS or Android.

If you already have an account you’re using for the
GAIA-2, make sure to use that account.
The contents (such as Model Expansions) that you download from
Roland Cloud are linked to your user license. For this reason, if
you perform the following steps with a different account without
Using Roland Cloud Connect
executing the “Remove License” command on the GAIA-2, you can’t
use the new contents. 1. Turn on the GAIA-2 and connect the WC-1 Wireless
For this reason, use caution if you have contents that are already Adapter.
installed.
2. Tap the “Roland Cloud Connect” app icon to launch the
app.
Creating a new Roland account * When the app launches, enable the Bluetooth® function and
If you don’t have a Roland account, click “Create account” to make location data when prompted to do so.
a new account.
3. Read the “Terms of Use” and tap “Agree”.
4. Input the e-mail address and password you registered for
your Roland account, and tap “Log In”.
Inputting your Roland Cloud Activation Key * After you’ve logged in to Roland Cloud Connect, you can view
Once you login to Roland Cloud, the “Membership Activation” the Roland Cloud Connect Owner’s Manual from “ ” Ó “Show
screen appears. online manual”.

5. Follow the onscreen instructions for setup.

1. Have the WC-1 Roland Cloud Activation Card ready that For details, refer to the Roland Cloud Connect Owner’s Manual.
came with the Roland Cloud Connect. Once the WC-1 is connected to the network (router) via Wi-Fi, the Wi-Fi
signal strength is shown in the display.
2. Input your Roland Cloud Activation Key, and click “Send”.
One year of Roland Cloud Pro membership is now added to the Roland
account you are logged in with.
* If you’re already enrolled in a membership plan, a license for
one year of Pro membership is added to your existing plan.
* After the one-year membership expires, the sound contents
you’ve installed cannot be accessed. To continue using the
contents, you must renew your membership.
See the Roland Cloud Connect Owner’s Manual for what to do
after the Roland Cloud Connect app home screen is shown.

7
 Your membership is not authenticated and the Model Expansions
Authenticating your membership you have installed via Roland Cloud Connect are disabled under
the following conditions.
You can keep using the Model Expansions that you install via
Roland Cloud Connect only if you periodically authenticate your When you have used the contents for 30 consecutive
membership. power cycles without authenticating your membership
Your membership is automatically authenticated when you Note that when the WC-1 is not correctly connected to the
connect the WC-1 Wireless Adapter to the GAIA-2. network (via router), authentication is not performed even if you
Connect the GAIA-2 to the WC-1 on a regular basis. connect the WC-1 to the GAIA-2.
You can check the authentication of your membership as follows. When your yearly Roland Cloud Pro membership has
From [MENU] Ó [UTILITY] Ó [Wi-Fi], the “Limit” value ended
To continue using the contents, you must enroll in a membership.
shows the number of power cycles remaining before
you can no longer use the Model Expansions you’ve When your membership contract has expired
installed.
Once your membership is authenticated, “---” is shown as the
“Limit”.
* Each time you turn the GAIA-2’s power on, this counts as one Parameters shown when connecting the WC-1
cycle. [MENU] Ó [UTILITY] Ó [Wi-Fi] Ó Wi-Fi ADAPTER INFO screen
This displays the connection status of the WC-1.
Parameter Explanation
Version WC-1 version
MAC MAC address
SSID SSID to which the unit connects
If you use this instrument 20 consecutive times without
authenticating your membership, the following
WC-1 operating status
message appears onscreen when you turn on the Setup Now setting up
Status
Connecting Now
power. connecting to the
Connect the WC-1 to authenticate your membership. network (router)
Active WC-1 can be used
The number of times you can power on this
unit before the Model Expansions you’ve
installed are disabled
* Once the limit reaches zero, your
membership is not authenticated and the
Limit Model Expansions you have installed are
If you use this instrument 30 consecutive times without disabled.
authenticating your membership, the following * After your membership is authenticated,
message is shown when you turn on the power, and the the remaining number of times is reset and
Model Expansions you’ve installed are disabled. shown as “---”.
Connect the WC-1 to authenticate your membership.
The tones you imported are reenabled once you authenticate. You can check the operating status of the WC-1 by looking at the
WC-1 operating status LED.
LED Explanation
Lit Connected to network
Blinks slowly Now detecting network
Blinks Cannot connect to the network (router)
* The WIRELESS ADAPTER parameters are shown only under the rapidly
following conditions.
¹ When the WC-1 is connected On the Wi-Fi ADAPTER INFO screen in [MENU] Ó [UTILITY] Ó [Wi-Fi],
¹ When you have installed a Model Expansion or other press [ENTER].
contents via membership
Parameter Explanation
RESET Initializes the WC-1.
* When you execute “RESET SETTINGS”, the
SETTINGS WC-1 is disconnected from the network.

8
 Selecting and editing tones
The basic operating method (editing, menus) for the Model Expansions is the same as for the GAIA-2 original sound module.
¹ You can use the sequencer, arpeggio, chord memory and motional pad in the same way as with the GAIA-2 original sound module.
¹ You can’t use the P-Mod/S-Mod, parameter assignment to the LFOs or the step LFO functionality.

Attribute (M: MODEL)

Group (A–H)
Bank number (1–8)
Tone number (1–8)
Model name

1
VALUE Select a tone (A1-1–H8-8)
SHIFT + Reload a tone
ENTER

1 MODEL Selects a model tone

2 SHIFT+ Selects the group (A–H)

1–8
3 1–8 Selects the bank number (1–8)
4 9–16 Selects the tone number (1–8)

Switching between models

TOP

1 Return to TOP screen

2 Long-press Jump to SELECT MODEL SHIFT+

MODEL screen MODEL

3 VALUE Selects the model

* If a model expansion has not been additionally installed,
only “SH-101” is shown.

4 ENTER Switch

9
Editing a tone
Editing, saving and performing other operations with tones works the same as with the original GAIA-2 sound modules.
For details, refer to the GAIA-2 Reference Manual (Roland website).

Checking the assignment information for a parameter

When editing a model tone, you can check the controller assignment information on the PANEL VIEW screen as you edit.

TOP

8 EXIT 1 ENTER Jump to SOUND screen

Controllers to which
2 VALUE Selects VIEW section parameters are
assigned

7 EXIT 3 ENTER Jump to PANEL VIEW Controllers to which

screen parameters are not
assigned
Controller is highlighted

4 VALUE or Knob
Switches to the assignment
information for the controller you
touched.
Controller assignment and * The view is not updated if a
value parameter is not assigned to
the controller you touched.

6 EXIT 5 ENTER Jump to EDIT screen 6 EXIT

Jumps to the corresponding EDIT
screen.

10
 Model expansion appendix
Tap (click) an icon to jump to the related model tone page.

JUPITER-8
Model Expansion

JUNO-106
Model Expansion

JX-8P
Model Expansion

11
JUPITER-8 Model Expansion
Panel parameters assignment list (JUPITER-8)

Parameter Assign
Panel Device Motion Assign X/Y CC Assign
[SHIFT] +
RATE LFO RATE µ 29
WAVE LFO WAVEFORM - 35
LFO1 DEPTH1 LFO MOD *1 µ 26
DEPTH2 FILTER MOD*1 µ 28
DEPTH3 ARP MOD STEP*1 µ 30
RATE LFO DELAY TIME µ 56
WAVE DEST SELECT - 59
DEPTH1 MODULATION MOD *2 µ 53
LFO2
DEPTH2 BEND PITCH *2 µ 55
DEPTH3 BEND FILTER *2 µ 57
DEPTH4 PORTA CRV *2 µ 58
OSC1
RANGE OSC1 RANGE - 102
PITCH PW MODE - 103
OSC2
WAVE OSC1 WAVEFORM - 104
SHAPE PULSE WIDTH MOD µ 105
RANGE OSC2 MODE - 111
PITCH OSC2 RANGE LOW FREQ µ 112
OSC3
WAVE OSC2 WAVEFORM - 113
SHAPE OSC2 FINE TUNE µ 114
OSC2 OSC1 LEVEL µ 17
OSC3 OSC2 LEVEL µ 18
MIXER XMOD CROSS MOD µ 52
ENV DEPTH PIT ENV DEPTH µ 22
SYNC/RING SYNC SWITCH - 25

*1: Select the target with the LFO 1 [ASSIGN] button, and adjust the intensity/depth with the [DEPTH] knob.
*2: Select the target with the LFO 2 [ASSIGN] button, and adjust the intensity/depth with the [DEPTH] knob.

12
 Parameter Assign
Panel Device Motion Assign X/Y CC Assign
[SHIFT] +
KEY FOLLOW FLT KEY FOLLOW - 82
ENV DEPTH FLT ENV DEPTH µ 81
A ENV1 ATTACK µ 83
D ENV1 DECAY µ 84
S ENV1 SUSTAIN - 85
FILTER R ENV1 RELEASE µ 86
DRIVE HPF µ 87
CUTOFF CUTOFF µ 3
RESONANCE RESONANCE µ 9
TYPE VINTAGE FLT TYPE - 108
SLOPE FILTER SLOPE - 109
LEVEL AMP LEVEL µ 110
TONE TONE µ 69
A ENV2 ATTACK µ 89
AMP
D ENV2 DECAY µ 90
S ENV2 SUSTAIN - 96
R ENV2 RELEASE µ 97
ON/OFF - 79
TYPE - -
MFX CTRL1 µ 12
CTRL2 µ 13
CTRL3 µ 14
CHORUS TYPE -
TYPE Switch - (95)
CTRL1 µ 44
REVERB/
DELAY
CTRL2 µ 45
LEVEL *3 µ 94
SEND *3 µ 91
MONO KEY MODE (MONO) *4 - 119
VOICE
PORTAMENTO PORTA TIME KEY MODE (UNISON) *4 µ 5, 92
VELOCITY - -
CHORD - -
HOLD - -
OCTAVE - -
OTHER TRANSPOSE - -
VOLUME - -
TEMPO - -
PITCH - -
MOD - 1
MOTIONAL X-ASSIGN - (106)
PAD Y-ASSIGN - (107)
ON ARP SW - 15
ARPEGGIO MODE MODE OCT RANGE - 70, 117
SCALE SCALE DURATION - 80, 116

*3: When you set the CONTROL parameter “REV/DLY Knob MODE” to “SEND”, the [LEVEL/SEND] knob operations are swapped.
*4: Confirm the KEY MODE by using the [MONO] button in combination with the [SHIFT] button + [PORTAMENTO] knob.

13
Parameter list (JUPITER-8)
TONE
JUPITER-8

Cell color Explanation

Blue Parameters that can be directly operated from the panel.
Green Parameters that can be directly operated from the panel (while the SHIFT button is pressed).
Orange Standard parameters that can be edited from the SOUND screen.

Parameter Value Explanation

OSC1
Uses the OSC2 waveform to change the frequency of OSC1. Higher values cause
CROSS MOD 0–10800 the sound of OSC1 to be more complex, allowing you to create metallic sounds
or sound effects.
OSC1 RANGE 16’, 8’, 4’, 2’ Specifies the octave of OSC1.
OSC1 TRI, SAW, PW, SQR Specifies the waveform that is the basis of the OSC1 sound.
WAVEFORM
This is oscillator sync. It produces a complex waveform by forcibly resetting
SYNC SWITCH OFF, ON OSC1 to the beginning of its cycle in synchronization with the cycle of OSC2.
OSC2
NORMAL, Selects whether OSC2 operates as NORMAL (in the audible frequency range) or
OSC2 MODE LOW FREQ as LFO (in the low frequency range).
LOW FREQ 0–127 Specifies the octave when OSC2 MODE is set to LOW FREQ.
OSC2 RANGE -12–+24 Specifies the OSC2 octave.
OSC2 FINE TUNE -50–+50 Specifies a fine adjustment to the pitch of OSC2.
OSC2 SINE, SAW, PW, Selects the fundamental waveform to use for OSC 2.
WAVEFORM NOISE
COMMON
Tempo 20.00–300.00 Sets the tempo of the tone (including the arpeggio, motion and sequencer).
BEND PITCH 0–1200 Specifies the range of pitch change produced by pitch bend.
BEND FILTER -63–0–+63 Specifies the range of filter change produced by pitch bend.
MODULATION -63–0–+63 Specifies the amount of LFO applied by modulation.
LFO
Turns portamento on/off. If this is on, the pitch will change smoothly from one
PORTA MODE OFF, ON note to the next-played note.
PORTA TIME 0–1023 Adjusts the time over which the portamento pitch change occurs.
Specifies the pitch change curve for portamento.
ORIGINAL Change according to the original curve of the model.
PORTA CRV LINEAR Change on a linear curve.
EXP1 Change in a non-linear curve (gentle slope).
EXP2 Change in a non-linear curve (steep slope).
Specifies how notes are sounded.
POLY Polyphonic
KEY MODE SOLO Monophonic
UNISON Unison
SL-UNISON Monophonic unison

14
Parameter Value Explanation
Sets how much aftertouch changes the LFO intensity.
AFT LFO -63–+63
This is only enabled for products with aftertouch.
Sets how much aftertouch changes the low-pass filter intensity.
AFT FREQ -63–+63
This is only enabled for keyboards with aftertouch.
Sets how much aftertouch changes the tone volume.
AFT LEVEL -63–+63
This is only enabled for keyboards with aftertouch.
Adjusts the slight pitch drift that occurs when notes are played on an analog
PITCH DRIFT 0–255 synthesizer.
PARAM OFF, ON If this is “ON”, the range of change for LFO RATE, CUTOFF, RESONANCE, and
EXPANSION FILTER ENV DEPTH is wider than on the original model.
CONDITION 0–100 Simulates the changes that occur as a unit ages.
Chord Switch OFF, ON Turns the chord memory function on/off.
When this is ON, the notes continue to ring out even after you take your hands
Hold Switch OFF, ON off the keyboard.
Selects the tone’s category.
Category
No Assign–Vocoder (*) The GAIA-2 does not have a built-in vocoder.
MIXER
OSC1 LEVEL 0–255 Adjusts the OSC1 volume balance.
OSC2 LEVEL 0–255 Adjusts the OSC2 volume balance.
OSC MODULATION
LFO MOD 0–100 Adjusts the depth at which the LFO modulates the OSC.
PIT ENV DEPTH -100–+100 Adjusts the depth at which the LFO modulates the ENV1.
DEST SELECT OSC1, BOTH, OSC2 Selects the OSC that is modulated by LFO MOD.
PULSE WIDTH PW MODE = MANUAL Adjusts the pulse width value.
0–127
MOD PW MODE = LFO/ENV Adjusts the depth of modulation.
Specifies the pulse width mode.
LFO The pulse width is affected by the LFO.
PW MODE
MANUAL The pulse width is affected by PULSE WIDTH MOD.
ENV The pulse width is affected by ENV.
LFO
LFO RATE 0–1023 Specifies the speed of the LFO cycle.
Adjusts the time from when a key is pressed until LFO modulation starts being
LFO DELAY TIME 0–1023 applied.
LFO SINE, SAW-DW, Selects the waveform of the LFO.
WAVEFORM SQR, S&H
FILTER
HPF 0–1023 Specifies the cutoff frequency of the high-pass filter.
VINTAGE FLT JP, M, S Selects one of three response curves, each modeling the LPF of an analog
TYPE synthesizer of the past.
Specifies the cutoff frequency of the low-pass filter. The frequency region above
CUTOFF 0–1023 the cutoff frequency is cut, producing a more mellow tonal character.
Boosts the region of the filter’s cutoff frequency. Higher values produce a
RESONANCE 0–1023 stronger result, giving the sound a distinctively synthesizer-like character.
FILTER SLOPE -12dB, -24dB Selects the type of slope for the low-pass filter.
Adjusts the amount by which the cutoff frequency is controlled by the
FLT ENV DEPTH -1023–+1023 envelope.
15
Parameter Value Explanation
FLT ENV MODE ENV1, ENV2 Selects the envelope that is used to control the cutoff frequency.
FILTER MOD 0–100 Adjusts the amount by which the LFO modulates the cutoff frequency.
FLT KEY Adjusts the amount by which the keyboard pitch affects the cutoff frequency
0–200 (key follow). With smaller values, the cutoff frequency becomes lower as you
FOLLOW play higher notes.
ENV1
ENV1 ATTACK 0–1023 Specifies the ENV1 Attack time.
ENV1 DECAY 0–1023 Specifies the ENV1 Decay time.
ENV1 SUSTAIN 0–1023 Specifies the ENV1 Sustain level.
ENV1 RELEASE 0–1023 Specifies the ENV1 Release time.
Specifies the ENV1 key follow. If key follow is on, ADR times become longer for
ENV1 KEY FLW lower notes and shorter for higher notes.
OFF, ON, INV
SW With the INV setting, lower notes produce shorter ADR times, and higher notes
produce longer ADR times.
AMP
AMP LEVEL 0–127 Adjusts the volume of the tone.
AMP TONE -63–0–+63 Adjusts the volume of the tone.
Uses the LFO to vary the AMP volume (tremolo effect). Higher values produce a
AMP MOD-STEP 0–3 greater effect.
ENV2
ENV2 ATTACK 0–1023 Specifies the ENV2 Attack time.
ENV2 DECAY 0–1023 Specifies the ENV2 Decay time.
ENV2 SUSTAIN 0–1023 Specifies the ENV2 Sustain level.
ENV2 RELEASE 0–1023 Specifies the ENV2 Release time.
ENV2 KEY FLW OFF, ON Specifies the ENV2 key follow. If key follow is on, ADR times become longer for
SW lower notes and shorter for higher notes.
CONTROL
Specifies the function assigned to the pedal connected to the PEDAL jack.
OFF, MODULATION, HOLD1, EXPRESSION, VOLUME, PAN,
Pedal Func BEND DOWN, BEND UP, HOLD SW, MONO SW,
MFX SW, CHO LEVEL, REV LEVEL, REV SEND, BEND MODE,
ARP SW, ARP SHUFFLE, ARP DURATION, START/STOP, TAP TEMPO, TONE DOWN, TONE UP
STANDARD,
Pedal Pole REVERSE Specifies the polarity of the pedal connected to the PEDAL jack.

Keyboard Specifies whether the velocity value changes according to the actual strength
REAL, FIXED of your playing (REAL) or is always a fixed velocity value regardless of how you
Velocity play (FIXED).
Key Fixed 1–127 Specifies the velocity value when Keyboard Velocity is “FIXED”.
Velocity
REV/DLY Knob LEVEL, SEND Switches the functions of the REVERB/DELAY [LEVEL] knob and the [SEND] knob
Mode (+ SHIFT operation).
This sets the routing for the MFX, CHO and REV/DLY.
FX Order MFX->CHO->REV, MFX->REV->CHO, CHO->MFX->REV, CHO->REV->MFX
REV->MFX->CHO, REV->CHO->MFX
The effect types you can select for MFX are based on the specifications of the Model Expansion (This differs from the specifications of
the GAIA-2’s original sound module). See the Roland Cloud User’s Guide for details on the MFX types you can select.
The parameters for CHO and REV are the same as for the original GAIA-2 sound module.
16
Tone list (JUPITER-8)
TONE LIST
JUPITER-8

* You may not be able to obtain the controller effect that you want with tones that use MFX Control.

No. Name Category MSB LSB PC

A1-1 Berlin Night Synth Pad/Str 97 64 1
A1-2 Dirty Little Pad Synth Pad/Str 97 64 2
A1-3 Metro Flute Synth Pad/Str 97 64 3
A1-4 Pluck Swell Synth Pad/Str 97 64 4
A1-5 Sweeping Pulse Synth Pad/Str 97 64 5
A1-6 Sweep JP Synth Pad/Str 97 64 6
A1-7 Sunbeams Synth Pad/Str 97 64 7
A1-8 Reso Drone Synth Pad/Str 97 64 8
A2-1 Reso Pad Synth Pad/Str 97 64 9
A2-2 Uni-Sync Synth Pad/Str 97 64 10
A2-3 Flange Pad /Mod Synth Pad/Str 97 64 11
A2-4 Fat 5 Fever Synth Pad/Str 97 64 12
A2-5 Thrift Store Synth Pad/Str 97 64 13
A2-6 Delicate Bells Synth Bellpad 97 64 14
A2-7 Bright Pad 1 Synth Pad/Str 97 64 15
A2-8 Bright Pad 2 Synth Pad/Str 97 64 16
A3-1 Bright Strings Synth Pad/Str 97 64 17
A3-2 Strings JP Synth Pad/Str 97 64 18
A3-3 Oct Pad Synth Pad/Str 97 64 19
A3-4 Retro Flute Synth Pad/Str 97 64 20
A3-5 Sqr Soft Pad Synth Pad/Str 97 64 21
A3-6 EPistle Synth Pad/Str 97 64 22
A3-7 Soft Saw Pad Synth Pad/Str 97 64 23
A3-8 PWM Stac Pad Synth Pad/Str 97 64 24
A4-1 ModLoop EP! Synth Pad/Str 97 64 25
A4-2 Soft Pad JP Synth Pad/Str 97 64 26
A4-3 Big Bite Pluck Synth PolyKey 97 64 27
A4-4 Fairy Tales Synth PolyKey 97 64 28
A4-5 Silk Stabber Synth PolyKey 97 64 29
A4-6 Soft Pluck Synth PolyKey 97 64 30
A4-7 Memories Pulsating 97 64 31
A4-8 Havana Pad Pulsating 97 64 32
A5-1 MW Studr Pulsating 97 64 33
A5-2 Zip Lock Pluck Pulsating 97 64 34
A5-3 Duster Pad Pulsating 97 64 35
A5-4 Sanctuary Pad Pulsating 97 64 36
A5-5 Slice Pad Pulsating 97 64 37
A5-6 Sqr Stac Pad Pulsating 97 64 38
17
No. Name Category MSB LSB PC
A5-7 Wah Pad Pulsating 97 64 39
A5-8 Synth Brass JP Synth Brass 97 64 40
A6-1 PWM Env Brass Synth Brass 97 64 41
A6-2 Future Brass Synth Brass 97 64 42
A6-3 Detuned Lead Synth Lead 97 64 43
A6-4 SBF Saw Lead Synth Lead 97 64 44
A6-5 Sync or Swim Synth Lead 97 64 45
A6-6 Sync Lead JP Synth Lead 97 64 46
A6-7 4th Stac Lead Synth Lead 97 64 47
A6-8 5th Dist Lead Synth Lead 97 64 48
A7-1 Solid Lead Lower Synth Lead 97 64 49
A7-2 Solid Lead Upper Synth Lead 97 64 50
A7-3 TB Squared Synth Lead 97 64 51
A7-4 Saw Lead Synth Lead 97 64 52
A7-5 European Lead Synth Lead 97 64 53
A7-6 Sqr Bend Lead Synth Lead 97 64 54
A7-7 Sine Pump Up Synth Lead 97 64 55
A7-8 Reso Choke Bass Synth Bass 97 64 56
A8-1 Polarity Bass Synth Bass 97 64 57
A8-2 Jumpah Synth Bass 97 64 58
A8-3 Tri Bass Synth Bass 97 64 59
A8-4 Gut Punch Bass Synth Bass 97 64 60
A8-5 Pulse Basser Synth Bass 97 64 61
A8-6 Bass Juice Synth Bass 97 64 62
A8-7 Basser PW Synth Bass 97 64 63
A8-8 8-Easy Synth Bass 97 64 64
B1-1 Burned Bass Synth Bass 97 64 65
B1-2 Tight Bass Synth Bass 97 64 66
B1-3 Saw Unison Bass Synth Bass 97 64 67
B1-4 Sqr Unison Bass Synth Bass 97 64 68
B1-5 Tri Looper Synth Pluck 97 64 69
B1-6 Sqr Seq Tone Synth Pluck 97 64 70
B1-7 XMod Spike Synth FX 97 64 71
B1-8 Low Freq Tone Synth FX 97 64 72
B2-1 NEG SYNC Synth Pad/Str 97 64 73
B2-2 NEG PLUCK Synth Pad/Str 97 64 74
B2-3 SYNC SWEEP Synth Pad/Str 97 64 75
B2-4 CARS SYNC Synth Pad/Str 97 64 76
B2-5 SYNC LEAD Synth Lead 97 64 77
B2-6 HONKY TONK Synth PolyKey 97 64 78
B2-7 HARP Synth PolyKey 97 64 79
B2-8 LO STRINGS Synth Pad/Str 97 64 80
B3-1 MID STRINGS Synth Pad/Str 97 64 81
B3-2 HI STRINGS Synth Pad/Str 97 64 82
18
No. Name Category MSB LSB PC
B3-3 MELLOW STRINGS Synth Pad/Str 97 64 83
B3-4 LO BRASS Synth Brass 97 64 84
B3-5 HI BRASS Synth Brass 97 64 85
B3-6 S&H BRASS Synth Brass 97 64 86
B3-7 SYNTH BRASS Synth Brass 97 64 87
B3-8 BELL ORGAN Synth PolyKey 97 64 88
B4-1 COMBO ORGAN Synth PolyKey 97 64 89
B4-2 PIPE ORGAN Synth PolyKey 97 64 90
B4-3 ELECTRIC ORGAN Synth PolyKey 97 64 91
B4-4 SOLO VOICE Synth Lead 97 64 92
B4-5 CHOIR VOICES Synth Pad/Str 97 64 93
B4-6 CHIME Synth Bellpad 97 64 94
B4-7 SOLAR WINDS Synth FX 97 64 95
B4-8 FUZZY FIFTHS Synth Lead 97 64 96
B5-1 DOWN FOURTH Synth Lead 97 64 97
B5-2 MELLOW BLIP Synth Pad/Str 97 64 98
B5-3 HARD BLIP Synth Pad/Str 97 64 99
B5-4 CLARINET Synth Lead 97 64 100
B5-5 FLUTE Synth Lead 97 64 101
B5-6 VIOLIN Synth Pad/Str 97 64 102
B5-7 CELLO Synth Pad/Str 97 64 103
B5-8 HARMONICA Synth Lead 97 64 104
B6-1 INIT TONE No Assign 97 64 105

19
JUNO-106 Model Expansion
Panel parameters assignment list (JUNO-106)

Parameter Assign
Panel Device Motion Assign X/Y CC Assign
[SHIFT] +
RATE LFO RATE µ 29
LFO1 DEPTH1 OSC LFO MOD *1 µ 26
DEPTH2 FILTER MOD *1 µ 28
RATE LFO DELAY TIME µ 56
DEPTH1 MODULATION LFO *2 µ 53
LFO2 DEPTH2 BEND PITCH *2 µ 55
DEPTH3 BEND FILTER *2 µ 57
DEPTH4 PORTA CRV *2 µ 58
OSC1
RANGE OSC RANGE - 102
OSC2 PITCH PW MODE - 103
SHAPE PULSE WIDTH MOD µ 105
OSC3 SHAPE NOISE LEVEL µ 114
OSC1 SUB LEVEL µ 16
MIXER OSC2 PW SWITCH µ 17
OSC3 SAW SWITCH µ 18
KEY FOLLOW FLT KEY FOLLOW - 82
ENV DEPTH FLT ENV DEPTH µ 81
A ENV ATTACK µ 83
D ENV DECAY µ 84
S ENV SUSTAIN - 85
FILTER
R ENV RELEASE µ 86
DRIVE HPF-STEP µ 87
CUTOFF CUTOFF µ 3
RESONANCE RESONANCE µ 9
TYPE VINTAGE FLT TYPE - 108
LEVEL AMP LEVEL µ 110
AMP TONE TONE µ 69
A AMP ENV SEL - 89

*1: Select the target with the LFO 1 [ASSIGN] button, and adjust the intensity/depth with the [DEPTH] knob.
*2: Select the target with the LFO 2 [ASSIGN] button, and adjust the intensity/depth with the [DEPTH] knob.

20
 Parameter Assign
Panel Device Motion Assign X/Y CC Assign
[SHIFT] +
ON/OFF - 79
TYPE - -
MFX CTRL1 µ 12
CTRL2 µ 13
CTRL3 µ 14
CHORUS TYPE -
TYPE Switch - (95)
CTRL1 µ 44
REVERB/
DELAY
CTRL2 µ 45
LEVEL *3 µ 94
SEND *3 µ 91
MONO KEY MODE (MONO) *4 - 119
VOICE
PORTAMENTO PORTA TIME KEY MODE (UNISON) *4 µ 5, 92
VELOCITY - -
CHORD - -
HOLD - -
OCTAVE - -
OTHER TRANSPOSE - -
VOLUME - -
TEMPO - -
PITCH - -
MOD - 1
MOTIONAL X-ASSIGN - (106)
PAD Y-ASSIGN - (107)
ON ARP SW - 15
ARPEGGIO MODE MODE OCT RANGE - 70, 117
SCALE SCALE DURATION - 80, 116

*3: When you set the CONTROL parameter “REV/DLY Knob MODE” to “SEND”, the [LEVEL/SEND] knob operations are swapped.
*4: Confirm the KEY MODE by using the [MONO] button in combination with the [SHIFT] button + [PORTAMENTO] knob.

21
Parameter list (JUNO-106)
TONE
JUNO-106

Cell color Explanation

Blue Parameters that can be directly operated from the panel.
Green Parameters that can be directly operated from the panel (while the SHIFT button is pressed).
Orange Standard parameters that can be edited from the SOUND screen.

Parameter Value Explanation

OSC
OSC RANGE 16’, 8’, 4’ Specifies the OSC octave.
OSC LFO MOD 0–100 Uses the LFO to vary the pitch (vibrato).
PULSE WIDTH PM MODE = LFO Adjusts the depth of modulation.
0–127
MOD PM MODE = MANUAL Adjusts the pulse width value.
LFO, Selects whether the pulse width is modulated by the LFO (LFO) or kept at the
PW MODE fixed value specified by PULSE WIDTH MOD (MANUAL).
MANUAL
COMMON
Tempo 20.00–300.00 Sets the tempo of the tone (including the arpeggio, motion and sequencer).
BEND PITCH 0–1200 Specifies the range of pitch change produced by pitch bend.
BEND FILTER -63–0–+63 Specifies the range of filter change produced by pitch bend.
MODULATION -63–0–+63 Specifies the amount of LFO applied by modulation.
LFO
Turns portamento on/off. If this is on, the pitch will change smoothly from one
PORTA MODE OFF, ON note to the next-played note.
PORTA TIME 0–1023 Adjusts the time over which the portamento pitch change occurs.
Specifies the pitch change curve for portamento.
ORIGINAL Change according to the original curve of the model.
PORTA CRV LINEAR Change on a linear curve.
EXP1 Change in a non-linear curve (gentle slope).
EXP2 Change in a non-linear curve (steep slope).
Specifies how notes are sounded.
POLY Polyphonic
KEY MODE SOLO Monophonic
UNISON Unison
SL-UNISON Monophonic unison
Sets how much aftertouch changes the LFO intensity.
AFT LFO -63–+63
This is only enabled for keyboards with aftertouch.
Sets how much aftertouch changes the low-pass filter intensity.
AFT FREQ -63–+63
This is only enabled for keyboards with aftertouch.
Sets how much aftertouch changes the tone volume.
AFT LEVEL -63–+63
This is only enabled for keyboards with aftertouch.
Adjusts the slight pitch drift that occurs when notes are played on an analog
PITCH DRIFT 0–255 synthesizer.
PARAM OFF, ON If this is “ON”, the range of change for LFO RATE, CUTOFF, RESONANCE, and
EXPANSION FILTER ENV DEPTH is wider than on the original model.
22
Parameter Value Explanation
CONDITION 0–100 Simulates the changes that occur as a unit ages.
Chord Switch OFF, ON Turns the chord memory function on/off.
While this is “ON”, the notes you play keep sounding even after you take your
Hold Switch OFF, ON fingers off the keyboard.
Selects the tone category.
Category
No Assign–Vocoder (*) The GAIA-2 does not have a built-in vocoder.
MIXER
PW SWITCH OFF, ON Turns the pulse wave on/off.
SAW SWITCH OFF, ON Turns the sawtooth wave on/off.
SUB LEVEL 0–255 Adjusts the volume of the sub oscillator.
NOISE LEVEL 0–255 Adjusts the volume of the noise.
LFO
LFO RATE 0–1023 Sets the speed of the LFO cycle.
Adjusts the time from when a key is pressed until LFO modulation starts being
LFO DELAY TIME 0–1023 applied.
FILTER
HPF-STEP 0–3 Sets the cutoff frequency of the high-pass filter in four steps.
VINTAGE FLT R, M, S Selects one of three response curves, each modeling the LPF of an analog
TYPE synthesizer of the past.
Specifies the cutoff frequency of the low-pass filter. The frequency region above
CUTOFF 0–1023 the cutoff frequency is cut, producing a more mellow tonal character.
Boosts the region of the filter’s cutoff frequency. Higher values produce a
RESONANCE 0–1023 stronger result, giving the sound a distinctively synthesizer-like character.
Adjusts the amount by which the cutoff frequency is controlled by the
FLT ENV DEPTH -1023–+1023 envelope.
FILTER MOD 0–100 Adjusts the amount by which the LFO modulates the cutoff frequency.
FLT KEY Adjusts the amount by which the keyboard pitch affects the cutoff frequency
0–200 (key follow). With smaller values, the cutoff frequency becomes lower as you
FOLLOW play higher notes.
ENV
ENV ATTACK 0–1023 Specifies the ENV Attack time.
ENV DECAY 0–1023 Specifies the ENV Decay time.
ENV SUSTAIN 0–1023 Specifies the ENV Sustain level.
ENV RELEASE 0–1023 Specifies the ENV Release time.
AMP
AMP LEVEL 0–127 Adjusts the volume of the tone.
AMP TONE -63–0–+63 Adjusts the tonal character of the tone.
ENV F&A, Specifies whether the volume is controlled by the ENV (ENV F&A) or by the gate
AMP ENV SEL signal (G-AMP).
G-AMP
CTRL
Specifies the function assigned to the pedal connected to the PEDAL jack.
OFF, MODULATION, HOLD1, EXPRESSION, VOLUME, PAN,
Pedal Func BEND DOWN, BEND UP, HOLD SW, MONO SW,
MFX SW, CHO LEVEL, REV LEVEL, REV SEND, BEND MODE,
ARP SW, ARP SHUFFLE, ARP DURATION, START/STOP, TAP TEMPO, TONE DOWN, TONE UP

23
Parameter Value Explanation
STANDARD,
Pedal Pole REVERSE Specifies the polarity of the pedal connected to the PEDAL jack.

Keyboard Specifies whether the velocity value changes according to the actual strength
REAL, FIXED of your playing (REAL) or is always a fixed velocity value regardless of how you
Velocity play (FIXED).
Key Fixed 1–127 Specifies the velocity value when Keyboard Velocity is “FIXED”.
Velocity
REV/DLY Knob LEVEL, SEND Switches the functions of the REVERB/DELAY [LEVEL] knob and the [SEND] knob
Mode (+ SHIFT operation).
This sets the routing for the MFX, CHO and REV/DLY.
MFX->CHO->REV
MFX->REV->CHO
FX Order CHO->MFX->REV
CHO->REV->MFX
REV->MFX->CHO
REV->CHO->MFX

24
Tone list (JUNO-106)
TONE LIST
JUNO-106

* You may not be able to obtain the controller effect that you want with tones that use MFX Control.

No. Name Category MSB LSB PC

A1-1 Heater Pad Synth Pad/Str 97 66 1
A1-2 CE-Drone Synth Pad/Str 97 66 2
A1-3 Saw Strings Synth Pad/Str 97 66 3
A1-4 PMW Crawler Synth Pad/Str 97 66 4
A1-5 Soft Pad Synth Pad/Str 97 66 5
A1-6 Tsukamu /Mod Synth Pad/Str 97 66 6
A1-7 Bright Pad Synth Pad/Str 97 66 7
A1-8 Hi Strings Synth Pad/Str 97 66 8
A2-1 Glorious Pad Synth Pad/Str 97 66 9
A2-2 Reso Swallow Synth Pad/Str 97 66 10
A2-3 Face Lift Synth Pad/Str 97 66 11
A2-4 Juno Sweeper Synth Pad/Str 97 66 12
A2-5 Reso Sweep Synth Pad/Str 97 66 13
A2-6 Sweep ReleasePd1 Synth Pad/Str 97 66 14
A2-7 Feels Pad Synth Pad/Str 97 66 15
A2-8 Kolibri Synth Pad/Str 97 66 16
A3-1 Somber Pulse Pad Synth Pad/Str 97 66 17
A3-2 Mr PWM Synth Pad/Str 97 66 18
A3-3 Sfz Swell Synth Pad/Str 97 66 19
A3-4 Seary Pad Synth Pad/Str 97 66 20
A3-5 Sweep ReleasePd2 Synth Pad/Str 97 66 21
A3-6 Gate Plucker Synth Pad/Str 97 66 22
A3-7 PWM Soft Pad Synth Pad/Str 97 66 23
A3-8 Ambient Pad Synth Pad/Str 97 66 24
A4-1 Noise Pad Synth Pad/Str 97 66 25
A4-2 m0t0n0v0 Synth Bellpad 97 66 26
A4-3 LFO Pad Synth Pad/Str 97 66 27
A4-4 Enchanted Synth PolyKey 97 66 28
A4-5 Oboete iru? Synth PolyKey 97 66 29
A4-6 Uganda Poly Synth PolyKey 97 66 30
A4-7 Ring Shorty Synth PolyKey 97 66 31
A4-8 Hard Pluck Synth PolyKey 97 66 32
A5-1 Bright Pluck Synth PolyKey 97 66 33
A5-2 Delay Pluck Synth PolyKey 97 66 34
A5-3 X-Gamer Pulsating 97 66 35
A5-4 Garage Sale Pulsating 97 66 36
A5-5 Wah LFO Pad Pulsating 97 66 37
A5-6 TheUnexplored EP Pulsating 97 66 38
25
No. Name Category MSB LSB PC
A5-7 Refuge Pad Pulsating 97 66 39
A5-8 Bright Brass Synth Brass 97 66 40
A6-1 Reso Soft Brass Synth Brass 97 66 41
A6-2 JUNO Lead 1 Synth Lead 97 66 42
A6-3 JUNO Lead 2 Synth Lead 97 66 43
A6-4 Sacred Lead Synth Lead 97 66 44
A6-5 Mr Sudz Lead Synth Lead 97 66 45
A6-6 Sir Wah Synth Lead 97 66 46
A6-7 Retroist Lead Synth Lead 97 66 47
A6-8 Noise Lead Synth Lead 97 66 48
A7-1 Big Boy Bass Synth Bass 97 66 49
A7-2 Crensaw Ld/Bs Synth Bass 97 66 50
A7-3 Revisit Bass Synth Bass 97 66 51
A7-4 Dizzy Bass Synth Bass 97 66 52
A7-5 Shaker Bass Synth Bass 97 66 53
A7-6 Bug Juice Bass Synth Bass 97 66 54
A7-7 Disto Click Bass Synth Bass 97 66 55
A7-8 Halo Rez Bass Synth Bass 97 66 56
A8-1 Bass Y’all Synth Bass 97 66 57
A8-2 Soft Subber Synth Bass 97 66 58
A8-3 Saw Fatty Synth Bass 97 66 59
A8-4 Low Boost Bass Synth Bass 97 66 60
A8-5 PWM+SubOSC Bass Synth Bass 97 66 61
A8-6 SubOSC Bass Synth Bass 97 66 62
A8-7 Ring My Wheel Bs Synth Bass 97 66 63
A8-8 Treat Bass Synth Bass 97 66 64
B1-1 Iron-8 Bass Synth Bass 97 66 65
B1-2 Seq Bass Synth Bass 97 66 66
B1-3 Sub Reso Bass Synth Bass 97 66 67
B1-4 Reso Seq Bs Synth Bass 97 66 68
B1-5 Fast Mod Pluck Synth Pluck 97 66 69
B1-6 Soft Pluck Synth Pluck 97 66 70
B1-7 Saw Seq Synth Pluck 97 66 71
B1-8 Sqr Seq Synth Pluck 97 66 72
B2-1 Big Wave Synth FX 97 66 73
B2-2 Console 80 FX Synth FX 97 66 74
B2-3 Synth Drum Synth FX 97 66 75
B2-4 BRASS Synth Brass 97 66 76
B2-5 MOVING STRINGS Synth Pad/Str 97 66 77
B2-6 BRASS & STRINGS Synth Pad/Str 97 66 78
B2-7 CHOIR Synth Pad/Str 97 66 79
B2-8 PIANO I Synth PolyKey 97 66 80
B3-1 ORGAN II Synth PolyKey 97 66 81

26
No. Name Category MSB LSB PC
B3-2 CELESTE Synth PolyKey 97 66 82
B3-3 ELECT. PIANO II Synth PolyKey 97 66 83
B3-4 STEEL DRUMS Synth PolyKey 97 66 84
B3-5 XYLOPHONE Synth PolyKey 97 66 85
B3-6 BRASS III Synth Brass 97 66 86
B3-7 STRINGS III Synth Pad/Str 97 66 87
B3-8 DARK PLUCK Synth PolyKey 97 66 88
B4-1 FUNKY I Synth PolyKey 97 66 89
B4-2 SYNTH BASS I Synth Bass 97 66 90
B4-3 LEAD I Synth Lead 97 66 91
B4-4 LEAD II Synth Lead 97 66 92
B4-5 FUNKY II Synth PolyKey 97 66 93
B4-6 SYNTH BASS II Synth Bass 97 66 94
B4-7 FUNKY III Synth PolyKey 97 66 95
B4-8 THUD WAH Synth Pad/Str 97 66 96
B5-1 GOING UP Synth FX 97 66 97
B5-2 SNARE DRUM Synth FX 97 66 98
B5-3 TOM TOMS Synth FX 97 66 99
B5-4 TIMPANI Synth FX 97 66 100
B5-5 SYNTH PAD Synth Pad/Str 97 66 101
B5-6 SWEEP I Synth Pad/Str 97 66 102
B5-7 PLUCK SWEEP Synth Pad/Str 97 66 103
B5-8 REPEATER Synth PolyKey 97 66 104
B6-1 DARK SYNTH PIANO Synth PolyKey 97 66 105
B6-2 WAH RELEASE Synth PolyKey 97 66 106
B6-3 RESONANCE FUNK Synth FX 97 66 107
B6-4 INIT TONE No Assign 97 66 108

27
JX-8P Model Expansion
Panel parameters assignment list (JX-8P)

Parameter Assign
Panel Device Motion Assign X/Y CC Assign
[SHIFT] +
RATE LFO RATE µ 29
WAVE LFO WAVEFORM - 35
LFO1 DEPTH1 OSC1 LFO MOD *1 µ 26
DEPTH2 OSC2 LFO MOD *1 µ 28
DEPTH3 FILTER MOD *1 µ 30
RATE LFO DELAY TIME µ 56
DEPTH1 MODULATION MOD *2 µ 53
LFO2
DEPTH2 BEND PITCH-STEP *2 µ 55
DEPTH3 PORTA CRV *2 µ 57
OSC1
RANGE OSC1 RANGE - 102
PITCH OSC1 TUNE µ 103
OSC2
WAVE OSC1 WAVEFORM - 104
SHAPE OSC1 PIT ENV µ 105
RANGE OSC2 RANGE - 111
PITCH OSC2 TUNE µ 112
OSC3
WAVE OSC2 WAVEFORM - 113
SHAPE OSC2 PIT ENV µ 114
OSC2 OSC1 LEVEL µ 17
OSC3 OSC2 LEVEL µ 18
MIXER XMOD OSC2 FINE TUNE µ 52
ENV DEPTH MIXER ENV DEPTH µ 22
SYNC/RING OSC2 MOD MODE - 25
KEY FOLLOW FLT KEY FOLLOW - 82
ENV DEPTH FLT ENV DEPTH µ 81
A ENV1 ATTACK µ 83
D ENV1 DECAY µ 84
S ENV1 SUSTAIN - 85
FILTER
R ENV1 RELEASE µ 86
DRIVE HPF-STEP µ 87
CUTOFF CUTOFF µ 3
RESONANCE RESONANCE µ 9
TYPE VINTAGE FLT TYPE - 108

*1: Select the target with the LFO 1 [ASSIGN] button, and adjust the intensity/depth with the [DEPTH] knob.
*2: Select the target with the LFO 2 [ASSIGN] button, and adjust the intensity/depth with the [DEPTH] knob.

28
 Parameter Assign
Panel Device Motion Assign X/Y CC Assign
[SHIFT] +
LEVEL AMP LEVEL µ 110
TONE TONE µ 69
A ENV2 ATTACK µ 89
AMP
D ENV2 DECAY µ 90
S ENV2 SUSTAIN - 96
R ENV2 RELEASE µ 97
ON/OFF - 79
TYPE - -
MFX CTRL1 µ 12
CTRL2 µ 13
CTRL3 µ 14
CHORUS TYPE -
TYPE Switch - (95)
CTRL1 µ 44
REVERB/
DELAY
CTRL2 µ 45
LEVEL *3 µ 94
SEND *3 µ 91
MONO KEY MODE (MONO) *4 - 119
VOICE
PORTAMENTO PORTA TIME KEY MODE (UNISON) *4 µ 5, 92
VELOCITY - -
CHORD - -
HOLD - -
OCTAVE - -
OTHER TRANSPOSE - -
VOLUME - -
TEMPO - -
PITCH - -
MOD - 1
MOTIONAL X-ASSIGN - (106)
PAD Y-ASSIGN - (107)
ON ARP SW - 15
ARPEGGIO MODE MODE OCT RANGE - 70, 117
SCALE SCALE DURATION - 80, 116

*3: When you set the CONTROL parameter “REV/DLY Knob MODE” to “SEND”, the [LEVEL/SEND] knob operations are swapped.
*4: Confirm the KEY MODE by using the [MONO] button in combination with the [SHIFT] button + [PORTAMENTO] knob.

29
Parameter list (JX-8P)
TONE
JX-8P

Cell color Explanation

Blue Parameters that can be directly operated from the panel.
Green Parameters that can be directly operated from the panel (while the SHIFT button is pressed).
Orange Standard parameters that can be edited from the SOUND screen.

Parameter Value Explanation

OSC1
OSC1 RANGE 16’, 8’, 4’, 2’ Specifies the octave of OSC1.
SAW,
OSC1 PULSE,
Selects the fundamental waveform to use for OSC 1.
WAVEFORM SQR,
NOISE
OSC1 TUNE -12–+12 Adjusts the OSC1 pitch.
OSC1 LFO MOD 0–100 Adjusts the depth to which LFO modulates OSC1.
Adjusts the depth to which the ENV specified by OSC ENV MODE affects the OSC1
OSC1 PIT ENV -100–+100 pitch envelope.
OSC2
OSC2 RANGE 16’, 8’, 4’, 2’ Specifies the OSC2 octave.
SAW,
OSC2 PULSE,
Selects the waveform that is the basis of the OSC2 sound.
WAVEFORM SQR,
NOISE
OFF,
OSC2 MOD SYNC, Selects the MOD MODE type (OFF, SYNC, X-MOD).
MODE
X-MOD
OSC2 TUNE -12–+12 Adjusts the OSC2 pitch.
OSC2 FINE TUNE -50–+50 Finely adjusts the OSC2 pitch.
OSC2 LFO MOD 0–100 Adjusts the depth to which the LFO modulates OSC2.
Adjusts the depth to which the ENV specified by OSC ENV MODE affects the OSC2
OSC2 PIT ENV -100–+100 pitch envelope.
COMMON
Tempo 20.00–300.00 Sets the tempo of the tone (including the arpeggio, motion and sequencer).
BEND PITCH- 2, 3, 4, 7 Specifies the range of pitch change produced by pitch bend in four levels: 2, 3, 4,
STEP or 7 semitones.
MODULATION -63–0–+63 Specifies the amount of LFO applied by modulation.
LFO
Turns portamento on/off. If this is on, the pitch will change smoothly from one
PORTA MODE OFF, ON note to the next-played note.
PORTA TIME 0–1023 Adjusts the time over which the portamento pitch change occurs.

30
Parameter Value Explanation
Specifies the pitch change curve for portamento.
ORIGINAL Change according to the original curve of the model.
PORTA CRV LINEAR Change on a linear curve.
EXP1 Change in a non-linear curve (gentle slope).
EXP2 Change in a non-linear curve (steep slope).
Specifies how notes are sounded.
POLY Polyphonic
KEY MODE SOLO Monophonic
UNISON Unison
SL-UNISON Monophonic unison
Sets how much aftertouch changes the LFO intensity.
AFT LFO -63–+63
This is only enabled for keyboards with aftertouch.
Sets how much aftertouch changes the low-pass filter intensity.
AFT FREQ -63–+63
This is only enabled for keyboards with aftertouch.
Sets how much aftertouch changes the tone volume.
AFT LEVEL -63–+63
This is only enabled for keyboards with aftertouch.
Adjusts the slight pitch drift that occurs when notes are played on an analog
PITCH DRIFT 0–255 synthesizer.
PARAM OFF, ON If this is “ON”, the range of change for LFO RATE, CUTOFF, RESONANCE, and FILTER
EXPANSION ENV DEPTH is wider than on the original model.
CONDITION 0–100 Simulates the changes that occur as a unit ages.
Chord Switch OFF, ON Sets whether the chord memory function is on or off.
While this is “ON”, the notes you play keep sounding even after you take your
Hold Switch OFF, ON fingers off the keyboard.
Selects the tone’s category.
Category
No Assign–Vocoder (*) The GAIA-2 does not have a built-in vocoder.
MIX
OSC1 LEVEL 0–255 Adjusts the OSC1 volume balance.
OSC2 LEVEL 0–255 Adjusts the OSC2 volume balance.
MIXER ENV 0–63 Adjusts the depth to which the envelope specified by MIXER ENV MODE controls
DEPTH the OSC2 level.
MIXER 0–3 Adjusts the sensitivity at which the velocity controls the depth of MIXER ENV.
DYNAMICS
MIXER ENV ENV1,
Selects the envelope that is used as MIXER ENV.
MODE ENV2
OENV
PITCH 0–3 Adjusts the sensitivity at which the velocity controls the depth of the pitch
DYNAMICS envelope.
ENV1,
OSC ENV MODE Selects the envelope that is used to control the OSC.
ENV2
LFO
LFO WAVEFORM SINE, SQR, S&H Selects the waveform of the LFO.
LFO RATE 0–1023 Specifies the speed of the LFO cycle.
Adjusts the time from when a key is pressed until LFO modulation starts being
LFO DELAY TIME 0–1023 applied.

31
Parameter Value Explanation
FILTER
HPF-STEP 0–3 Sets the cutoff frequency of the high-pass filter in four steps.
VINTAGE FLT R, M, S Selects the characteristics for change that emulates the LPFs of three vintage
TYPE analog synthesizer models.
Specifies the cutoff frequency of the low-pass filter. The frequency region above
CUTOFF 0–1023 the cutoff frequency is cut, producing a more mellow tonal character.
Boosts the region of the filter’s cutoff frequency. Higher values produce a stronger
RESONANCE 0–1023 result, giving the sound a distinctively synthesizer-like character.
Adjusts the amount by which the envelope selected by FLT ENV MODE controls
FLT ENV DEPTH -1023–+1023 the cutoff frequency.
FILTER MOD 0–100 Adjusts the amount by which the LFO modulates the cutoff frequency.
FLT KEY Adjusts the amount by which the keyboard pitch affects the cutoff frequency
0–200 (key follow). With smaller values, the cutoff frequency becomes lower as you play
FOLLOW higher notes.
FILTER 0–3 Adjusts the sensitivity at which velocity controls the depth of FILT ENV DEPTH.
DYNAMICS
FLT ENV MODE ENV1, ENV2 Selects the envelope that is used to control FILTER.
ENV1
ENV1 ATTACK 0–1023 Specifies the ENV1 Attack time.
ENV1 DECAY 0–1023 Specifies the ENV1 Decay time.
ENV1 SUSTAIN 0–1023 Specifies the ENV1 Sustain level.
ENV1 RELEASE 0–1023 Sets the ENV1 release time.
ENV1 KEY 0–3 Specifies the ENV1 key follow in four levels. With higher values, ADR times become
FOLLOW-S longer as you play lower on the keyboard, and shorter as you play higher.
AMP
AMP LEVEL 0–127 Adjusts the volume of the tone.
AMP TONE -63–0–+63 Adjusts the tonal character of the tone.
Selects whether the volume is controlled by ENV2 (ENV2) or stays at a fixed
AMP ENV SEL ENV2, G-ENV2 volume as long as the key is held down (G-ENV2).
AMP DYNAMICS 0–3 Adjusts the sensitivity at which velocity controls the AMP ENV depth.
ENV2
ENV2 ATTACK 0–1023 Specifies the ENV2 Attack time.
ENV2 DECAY 0–1023 Specifies the ENV2 Decay time.
ENV2 SUSTAIN 0–1023 Specifies the ENV2 Sustain level.
ENV2 RELEASE 0–1023 Specifies the ENV2 Release time.
ENV2 KEY 0–3 Specifies the ENV2 key follow in four levels. With higher values, ADR times become
FOLLOW-S longer as you play lower on the keyboard, and shorter as you play higher.
CTRL
Specifies the function assigned to the pedal connected to the PEDAL jack.
OFF, MODULATION, HOLD1, EXPRESSION, VOLUME, PAN,
Pedal Func BEND DOWN, BEND UP, HOLD SW, MONO SW,
MFX SW, CHO LEVEL, REV LEVEL, REV SEND, BEND MODE,
ARP SW, ARP SHUFFLE, ARP DURATION, START/STOP, TAP TEMPO, TONE DOWN, TONE UP
STANDARD,
Pedal Pole REVERSE Specifies the polarity of the pedal connected to the PEDAL jack.

32
Parameter Value Explanation
Keyboard Specifies whether the velocity value changes according to the actual strength of
REAL, FIXED your playing (REAL) or is always a fixed velocity value regardless of how you play
Velocity (FIXED).
Key Fixed 1–127 Specifies the velocity value when Keyboard Velocity is “FIXED”.
Velocity
REV/DLY Knob LEVEL, SEND Switches the functions of the REVERB/DELAY [LEVEL] knob and the [SEND] knob (+
Mode SHIFT operation).
This sets the routing for the MFX, CHO and REV/DLY.
MFX->CHO->REV
MFX->REV->CHO
FX Order CHO->MFX->REV
CHO->REV->MFX
REV->MFX->CHO
REV->CHO->MFX

33
Tone list (JX-8P)
TONE LIST
JX-8P

* You may not be able to obtain the controller effect that you want with tones that use MFX Control.

No. Name Category MSB LSB PC

A1-1 Mass-5 Synth Pad/Str 97 68 1
A1-2 Square Dimes Synth Pad/Str 97 68 2
A1-3 SaiYuSenJiKou Synth Pad/Str 97 68 3
A1-4 5th Synth 1 Synth Pad/Str 97 68 4
A1-5 Scorched Pad Synth Pad/Str 97 68 5
A1-6 Dynamic Lush Pad Synth Pad/Str 97 68 6
A1-7 Slow Atk Strings Synth Pad/Str 97 68 7
A1-8 Hollow Daddy Synth Pad/Str 97 68 8
A2-1 Hinode Synth Pad/Str 97 68 9
A2-2 Bowed Synth Synth Pad/Str 97 68 10
A2-3 Choir Pad Synth Pad/Str 97 68 11
A2-4 Ancient One Synth Pad/Str 97 68 12
A2-5 Soft Pad 1 Synth Pad/Str 97 68 13
A2-6 Poly JX Synth Pad/Str 97 68 14
A2-7 Clavcid! Synth Pad/Str 97 68 15
A2-8 Res-Plasto Synth Pad/Str 97 68 16
A3-1 Dyna Reso Synth Pad/Str 97 68 17
A3-2 Descender Pad Synth Pad/Str 97 68 18
A3-3 5th Synth 2 Synth Pad/Str 97 68 19
A3-4 Reso Sweep 1 Synth Pad/Str 97 68 20
A3-5 Reso Sweep 2 Synth Pad/Str 97 68 21
A3-6 Reso Sweep 3 Synth Pad/Str 97 68 22
A3-7 Severed Strings Synth Pad/Str 97 68 23
A3-8 Gross dude... Synth Pad/Str 97 68 24
A4-1 Mirror Pluck Synth Pad/Str 97 68 25
A4-2 Soft Pad 2 Synth Pad/Str 97 68 26
A4-3 Porto Strings Synth Pad/Str 97 68 27
A4-4 Dulci-Synth Synth Pad/Str 97 68 28
A4-5 Bend Pad Synth Pad/Str 97 68 29
A4-6 Bell Chorus Synth Bellpad 97 68 30
A4-7 Two Chimes Synth Bellpad 97 68 31
A4-8 Bright Keys Synth PolyKey 97 68 32
A5-1 Syniano EP Synth PolyKey 97 68 33
A5-2 Quiver Pulsating 97 68 34
A5-3 BC Pluck Pulsating 97 68 35
A5-4 Tremolo Synth Pulsating 97 68 36
A5-5 Rnd Filter Synth Pulsating 97 68 37
A5-6 JX Poly Brass Synth Brass 97 68 38
34
No. Name Category MSB LSB PC
A5-7 JX Powerbrass Synth Brass 97 68 39
A5-8 Polyheimer Synth Brass 97 68 40
A6-1 Bend Brass Synth Brass 97 68 41
A6-2 Velo Brass Synth Brass 97 68 42
A6-3 Velo Brassman Synth Brass 97 68 43
A6-4 Classic Poly JX Synth Brass 97 68 44
A6-5 Horn Pad Synth Brass 97 68 45
A6-6 Amazement Ld Synth Lead 97 68 46
A6-7 Square Bottom Synth Lead 97 68 47
A6-8 Miss Maiden Lead Synth Lead 97 68 48
A7-1 Sqr Lead Synth Lead 97 68 49
A7-2 Mod Bot Synth Lead 97 68 50
A7-3 X-Mod Lead Synth Lead 97 68 51
A7-4 8bit Lead Synth Lead 97 68 52
A7-5 Low Blow Synth Bass 97 68 53
A7-6 Bit Basher Synth Bass 97 68 54
A7-7 Delay Bass Synth Bass 97 68 55
A7-8 5th Stac Bass Synth Bass 97 68 56
A8-1 Dark Chorus Bass Synth Bass 97 68 57
A8-2 Velo Reso Bass Synth Bass 97 68 58
A8-3 Velo Filter Bass Synth Bass 97 68 59
A8-4 DoubleFilter Bs Synth Bass 97 68 60
A8-5 Sqr Pluck 1 Synth Pluck 97 68 61
A8-6 Sqr Pluck 2 Synth Pluck 97 68 62
A8-7 Velo Pluck Synth Pluck 97 68 63
A8-8 Toy Darts Synth Pluck 97 68 64
B1-1 Puny Pluck Synth Pluck 97 68 65
B1-2 Fat Fifth 2 Synth Pluck 97 68 66
B1-3 Vel Seq Tone Synth Pluck 97 68 67
B1-4 XMod Compu Synth FX 97 68 68
B1-5 Tech Chord Synth FX 97 68 69
B1-6 Synth Tom Synth FX 97 68 70
B1-7 Telephone Synth FX 97 68 71
B1-8 Noise Sweep Synth FX 97 68 72
B2-1 C5 FX Sweep Synth FX 97 68 73
B2-2 PIANO 1 Synth PolyKey 97 68 74
B2-3 PIANO 2 Synth PolyKey 97 68 75
B2-4 PIANO 3 Synth PolyKey 97 68 76
B2-5 LOW STRINGS Synth Pad/Str 97 68 77
B2-6 VOICES Synth Pad/Str 97 68 78
B2-7 ORGAN I Synth PolyKey 97 68 79
B2-8 ORGAN II Synth PolyKey 97 68 80
B3-1 SYNTH BASS Synth Bass 97 68 81

35
No. Name Category MSB LSB PC
B3-2 SOUNDTRACK Synth Pad/Str 97 68 82
B3-3 FAT FIFTH Synth Pad/Str 97 68 83
B3-4 TOMS Synth FX 97 68 84
B3-5 CLAV Synth PolyKey 97 68 85
B3-6 SQUARELEAD Synth Lead 97 68 86
B3-7 POLY BRASS Synth Brass 97 68 87
B3-8 SOFT BRASS Synth Brass 97 68 88
B4-1 STAB BRASS Synth Brass 97 68 89
B4-2 AGOGO BELL Synth FX 97 68 90
B4-3 PIANO 4 Synth PolyKey 97 68 91
B4-4 PIANO 5 Synth PolyKey 97 68 92
B4-5 STRINGBRASS Synth Brass 97 68 93
B4-6 STRINGS 1 Synth Pad/Str 97 68 94
B4-7 STRINGS 2 Synth Pad/Str 97 68 95
B4-8 CHOIR Synth Pad/Str 97 68 96
B5-1 MAY.S WIND Synth Pad/Str 97 68 97
B5-2 MARIMBA Synth Pluck 97 68 98
B5-3 HARPSICHORD Synth PolyKey 97 68 99
B5-4 XMAS BELL Synth Bellpad 97 68 100
B5-5 VIBES Synth Bellpad 97 68 101
B5-6 UPRIGHT BASS Synth Bass 97 68 102
B5-7 LOG DRUM Synth Pluck 97 68 103
B5-8 MALLET Synth Pluck 97 68 104
B6-1 POLY SYNTH Synth Pad/Str 97 68 105
B6-2 INIT TONE No Assing 97 68 106

36
MFX parameters assignment list (common to all Model Expansions)
MFX CTRL1 MFX CTRL2 MFX CTRL3
MFX Type
Parameter Parameter Parameter
Equalizer Mid1 Freq Mid1 Gain Mid1 Q

Mid-Side EQ M Mid2G M HighG S HighG

Spectrum Band1 Band3 Band8

Isolator Low Level Mid Level High Level

Low Boost Boost Freq Boost Gain Level

SuperFilter Cutoff Resonance Rate *1

MM Filter Type Tone Color

Filter
Step Filter Rate *1 Attack Reso

Enhancer Sens High Gain Mix

Exciter Band2 Gain Band3 Gain Level

Auto Wah Rate *1 Depth Phase

Humanizer Rate *1 Vowel1 Vowel2

Side Band Filter Band Interval Band Width Balance

Resonator Root Chord Bright

Phaser Mode Rate *1 Depth

Small Phaser Rate *1 Color Low Gain

Script 90 High Gain Speed Depth

Phaser Script 100 Resonance Rate *1 Mix

Step Phaser Manual Rate *1 S.Rate *1

M StagePhsr Rate *1 Resonance Mix

Inf Phaser Speed Resonance Mix

Flanger Rate *1 Depth Feedback

Flanger SBF-325 Rate *1 Depth Manual

StepFlanger S.Rate *1 Depth Balance

Chorus Rate *1 Depth Balance

Hexa-Chorus Rate *1 Depth Balance

Trem Chorus C.Rate *1 T.Rate *1 Balance

Chorus Space-D Rate *1 Depth Balance

CE-1 Intensity Low Gain High Gain

SDD-320 Mode Low Gain High Gain

JUNO Chorus Mode Noise Lv Balance

Ring Mod Frequency Sens Balance

Tremolo Rate *1 Depth Low Gain

Modulation
Auto Pan Mod Wave Rate *1 Depth

Slicer Rate *1 Attack Shuffle

37
 MFX CTRL1 MFX CTRL2 MFX CTRL3
MFX Type
Parameter Parameter Parameter
Rotary Speed Tw Level Separation

VK Rotary Speed Brake Spread

Modulation Scatter Type Depth Scatter Switch

To-Gu-Ro Depth Rate *1 Resonance

Downer Depth Rate *1 Filter

Overdrive Drive Tone AmpType

Distortion Drive Tone AmpType

T-Scream Distortion Tone Level

Fuzz Drive Tone Level

Fattener Odd Level Even Level Level

Drive/Amp
HMS Distort Dist Level —

Saturator Drive Post3 Frq Post3 Gain

W Saturator Drive Low Gain Balance

Gt Amp Sim Drive Master Direct Level

EP Amp Sim Speaker Speed *1 Depth

Speaker Sim Type Mic Level Direct Lv

Compressor Threshold Attack Post Gain

M/S Comp M Thres S Thres Level

Limiter Threshold Release Post Gain

Comp/Limiter
Sustainer Sustain Attack Post Gain

Transient Attack Release Out Gain

Gate Threshold Hold Release

Delay Feedback HF Damp Balance

Mod Delay Feedback Rate *1 Balance

2Tap PanDly D.Time(ms) *1 Delay Fbk Balance

3Tap PanDly C Feedback HF Damp Balance

4Tap PanDly Dly1 Fbk HF Damp Balance

Delay MultiTapDly Dly1 Fbk HF Damp Balance

ReverseDly RDly Fbk Dly3 Fbk Balance

TimeCtrlDly D.Time *1 Feedback Balance

Tape Echo Repeat Rate Intensity Echo Level

M/S Delay MD Level SD Level Level

DJFX Looper Length Speed Loop Sw

Looper BPM Looper Length On Timing Lenth

38
 MFX CTRL1 MFX CTRL2 MFX CTRL3
MFX Type
Parameter Parameter Parameter
LOFI Comp LoFi Type Cutoff Balance

Lo-fi Bit Crusher Sample Rate Bit Down Filter

Phonograph Frequency Range Total NZ Lev Total W/F

Pitch Shifter Coarse Feedback Balance

Pitch 2Voice Pitch Shifter P1 Coarse P2 Coarse Balance

OD Ó Chorus OD Drive C.Rate *1 Cho Bal

OD Ó Flanger OD Drive F.Rate *1 Flg Bal

OD Ó Delay OD Drive Delay Fbk Dly Bal

DS Ó Chorus Dist Drive C.Rate *1 Cho Bal

DS Ó Flanger Dist Drive F.Rate *1 Flg Bal

DS Ó Delay Dist Drive Delay Fbk Dly Bal

OD/DS Ó T.Wah Drive TWah Sens TWah Bal

OD/DS Ó A.Wah Drive AWRate *1 AWah Depth

Gt Ó Chorus Drive C.Rate Cho Depth

Gt Ó Flanger Drive F.Rate Flg Depth

Gt Ó Phaser Drive P.Rate Phs Depth

Combination Gt Ó Delay Drive Dly Time Dly Bal

EP Ó Tremolo T.Speed *1 Trm Depth OD Drive

EP Ó Chorus C.Rate *1 Cho Depth OD Drive

EP Ó Flanger F.Rate *1 Flg Depth OD Drive

EP Ó Phaser P.Rate *1 Phs Depth OD Drive

EP Ó Delay D.Time *1 Delay Fbk Dly Bal

Enhncr Ó Cho Enh Sens C.Rate *1 Cho Depth

Enhncr Ó Fl Enh Sens F.Rate *1 Flg Depth

Enhncr Ó Dly Enh Sens D.Time *1 Dly Bal

Chorus Ó Dly C.Rate *1 Delay Fbk Dly Bal

Flanger Ó Dly F.Rate *1 Delay Fbk Dly Bal

Chorus Ó Fl C.Rate *1 F.Rate *1 Flg Bal

JD Multi DS Drive PH Mix EH Mix

*1 When Rate Sync Switch is ON, the Rate changes depending on the note you play. LFO assign is disabled.
When Rate Sync Switch is OFF, the Rate changes in Hz or in msec.

MFX Common Parameters

Parameter Value Explanation
Type Selects the MFX type.
Switch OFF, ON Switches the MFX on/off.

39
 MFX List

00 Thru

Filter

01 Equalizer
This is a four-band stereo equalizer (low, mid x 2, high).
4-Band
L in L out
EQ

4-Band
R in R out
EQ

Parameter Value Explanation

20, 25, 31, 40, 50, 63, 80,
Low Freq 100, 125, 160, 200, 250, Frequency of the low range
315, 400 [Hz]
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600,
Mid1 Freq 2000, 2500, 3150, 4000, Frequency of the middle range 1
5000, 6300, 8000 [Hz]
Mid1 Gain -15–+15 [dB] Gain of the middle range 1
Width of the middle range 1.
Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0
Set a higher value for Q to narrow the range to be affected.
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, Frequency of the middle range 2
Mid2 Freq 2000, 2500, 3150, 4000,
5000, 6300, 8000 [Hz]
Mid2 Gain -15–+15 [dB] Gain of the middle range 2
Width of the middle range 2.
Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0
Set a higher value for Q to narrow the range to be affected.
2000, 2500, 3150, 4000,
HighFreq 5000, 6300, 8000, 10000, Frequency of the high range
12500, 16000 [Hz]
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

02 Mid-Side EQ (Mid-Side Equalizer)

This effect allows the left/right signals that have similar phase to be tonally adjusted in a different way than the left/right signals that
have different phase.
Mid
5-Band
L in L out
LR EQ MS
Ò Ò
MS 5-Band LR
R in R out
Side EQ

Parameter Value Explanation

Switches whether to apply tonal adjustment to left/right input signals
M EQ Switch OFF, ON whose phase is similar (in phase).

40
 MFX List
Parameter Value Explanation
M In G -12.00–+12.00 [dB] Volume of left/right input signals whose phase is similar (in phase)
20, 25, 31, 40, 50, 63, 80,
M Low F 100, 125, 160, 200, 250, Frequency of the low range
315, 400 [Hz]
M Low G -12.00–+12.00 [dB] Amount of boost/cut for the low-frequency range
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600,
M Mid1 F 2000, 2500, 3150, 4000, Frequency of the middle range 1
5000, 6300, 8000 [Hz]
M Mid1G -12.00–+12.00 [dB] Gain of the middle range 1
Width of the middle range 1.
M Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0
Set a higher value for Q to narrow the range to be affected.
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, Frequency of the middle range 2
M Mid2 F 2000, 2500, 3150, 4000,
5000, 6300, 8000 [Hz]
M Mid2G -12.00–+12.00 [dB] Gain of the middle range 2
Width of the middle range 2.
M Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0
Set a higher value for Q to narrow the range to be affected.
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, Frequency of the middle range 3
M Mid3 F 2000, 2500, 3150, 4000,
5000, 6300, 8000 [Hz]
M Mid3G -12.00–+12.00 [dB] Gain of the middle range 3
Width of the middle range 3.
M Mid3 Q 0.5, 1.0, 2.0, 4.0, 8.0
Set a higher value for Q to narrow the range to be affected.
2000, 2500, 3150, 4000,
M High F 5000, 6300, 8000, 10000, Frequency of the high range
12500, 16000 [Hz]
M HighG -12.00–+12.00 [dB] Amount of boost/cut for the high-frequency range
Switches whether to apply tonal adjustment to left/right input signals
S EQ Switch OFF, ON whose phase is distant (reverse phase).
S In G -12.00–+12.00 [dB] Volume of left/right signals whose phase is distant (reverse phase)
20, 25, 31, 40, 50, 63, 80,
S Low F 100, 125, 160, 200, 250, Frequency of the low range
315, 400 [Hz]
S Low G -12.00–+12.00 [dB] Amount of boost/cut for the low-frequency range
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, Frequency of the middle range 1
S Mid1 F 2000, 2500, 3150, 4000,
5000, 6300, 8000 [Hz]
S Mid1G -12.00–+12.00 [dB] Gain of the middle range 1
Width of the middle range 1.
S Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0
Set a higher value for Q to narrow the range to be affected.
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, Frequency of the middle range 2
S Mid2 F 2000, 2500, 3150, 4000,
5000, 6300, 8000 [Hz]
S Mid2G -12.00–+12.00 [dB] Gain of the middle range 2

41
 MFX List
Parameter Value Explanation
Width of the middle range 2.
S Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0
Set a higher value for Q to narrow the range to be affected.
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, Frequency of the middle range 3
S Mid3 F 2000, 2500, 3150, 4000,
5000, 6300, 8000 [Hz]
S Mid3G -12.00–+12.00 [dB] Gain of the middle range 3
Width of the middle range 3.
S Mid3 Q 0.5, 1.0, 2.0, 4.0, 8.0
Set a higher value for Q to narrow the range to be affected.
2000, 2500, 3150, 4000,
S High F 5000, 6300, 8000, 10000, Frequency of the high range
12500, 16000 [Hz]
S HighG -12.00–+12.00 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

03 Spectrum
This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies.

L in Spectrum L out

R in Spectrum R out

Parameter Value Explanation

Band1
Band2
Band3
Band4
-15–+15 [dB] Gain of each frequency band
Band5
Band6
Band7
Band8
Simultaneously adjusts the width of the adjusted ranges for all the
Q 0.5, 1.0, 2.0, 4.0, 8.0 frequency bands.
Level 0–127 Output Level

42
 MFX List

04 Isolator
This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying
ranges.
Low
L in Isolator L out
Boost

Low
R in Isolator R out
Boost

Parameter Value Explanation

Low Level -60–+4 [dB] These boost and cut each of the High, Middle, and Low frequency ranges.
Mid Level -60–+4 [dB] At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input
High Level -60–+4 [dB] level of the sound.
Turns the Anti-Phase function on and off for the Low frequency ranges.
Low AP Sw OFF, ON When turned on, the counter-channel of stereo sound is inverted and
added to the signal.
Adjusts the level settings for the Low frequency ranges.
Low AP Lv 0–127 Adjusting this level for certain frequencies allows you to lend emphasis to
specific parts (This is effective only for stereo source.).
Mid AP Sw OFF, ON Settings of the Anti-Phase function for the Middle frequency ranges.
Mid AP Lv 0–127 The parameters are the same as for the Low frequency ranges.
Turns Low Booster on/off.
Boost Sw OFF, ON
This emphasizes the bottom to create a heavy bass sound.
Increasing this value gives you a heavier low end.
Boost Lv 0–127 Depending on the Isolator and filter settings this effect may be hard to
distinguish.
Level 0–127 Output Level

05 Low Boost
Boosts the volume of the lower range, creating powerful lows.
Low 2-Band
L in L out
Boost EQ

Low 2-Band
R in R out
Boost EQ

Parameter Value Explanation

50, 56, 63, 71, 80, 90, 100,
Boost Freq 112, 125 [Hz] Center frequency at which the lower range will be boosted
Boost Gain 0–+12 [dB] Center frequency at which the lower range will be boosted
Boost Wid WIDE, MID, NARROW Width of the lower range that will be boosted
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

43
 MFX List

06 SuperFilter
This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.
Super
L in L out
Filter

Super
R in R out
Filter

Parameter Value Explanation

Filter type.
Frequency range that will pass through each filter.
LPF:Frequencies below the cutoff
Type LPF, BPF, HPF, NOTCH
BPF:Frequencies in the region of the cutoff
HPF:Frequencies above the cutoff
NOTCH:Frequencies other than the region of the cutoff
The slope of the filter (attenuation characteristics; amount of attenuation
per octave).
Slope -12, -24, -36 [dB] -12 dB:Gentle
-24 dB:Steep
-36 dB:Extremely steep
Cutoff frequency of the filter.
Cutoff 0–127
Increasing this value will raise the cutoff frequency.
Filter resonance level.
Resonance 0–100
Increasing this value will emphasize the region near the cutoff frequency.
Gain 0–+12 [dB] Amount of boost for the filter output
Mod Sw OFF, ON On/off switch for cyclic change
How the cutoff frequency will be modulated.
TRI: Triangle wave
SQR: Square wave
TRI, SQR, SIN, SAW1, SAW2
SIN: Sine wave
Mod Wave SAW1: Sawtooth wave (upward)
SAW2: Sawtooth wave (downward)
SAW1 SAW2

If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate Sync OFF, ON
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Speed at which the cutoff frequency will change This is effective if Mod
Attack 0–127 Wave is SQR, SAW1, or SAW2.
Level 0–127 Output Level

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07 MM Filter (Multi-mode Filter)

This is a filter that is adjusted for effective use in a DJ performance.

L in Multimode L out
Filter

Multimode
R in R out
Filter

Parameter Value Explanation

Filter type.
Type LPF/HPF, LPF, HPF, BPF LPF/HPF: The filter type is automatically switched according to the Filter
Tone parameter value.
Tone 0–255 Frequency at which the filter operates
Filter resonance level.
Color 0–255 Higher values more strongly emphasize the region of the operating
frequency.
The slope of the filter (attenuation characteristics; amount of attenuation
per octave).
Slope -12, -24, -36 [dB] -12 dB:Gentle
-24 dB:Steep
-36 dB:Extremely steep
Gain 0–+12 [dB] Amount of boost for the filter output
Level 0–127 Output Level

08 Step Filter
This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change.
Step
L in L out
Filter

Step
R in R out
Filter

Parameter Value Explanation

Step 1–16 0–127 Cutoff frequency at each step
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
Note 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Attack 0–127 Speed at which the cutoff frequency changes between steps
Frequency range that will pass through each filter
LPF:Frequencies below the cutoff
Type LPF, BPF, HPF, NOTCH BPF:Frequencies in the region of the cutoff
HPF:Frequencies above the cutoff
NOTCH:Frequencies other than the region of the cutoff
The slope of the filter (attenuation characteristics; amount of attenuation
per octave).
Slope -12, -24, -36 [dB] -12 dB:Gentle
-24 dB:Steep
-36 dB:Extremely steep
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Parameter Value Explanation
Filter resonance level.
Reso 0–127
Increasing this value will emphasize the region near the cutoff frequency.
Gain 0–+12 [dB] Amount of boost for the filter output
Level 0–127 Output Level

09 Enhancer
Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

2-Band
L in Enhancer L out
EQ
Mix

2-Band
R in Enhancer R out
EQ
Mix

Parameter Value Explanation

Sens 0–127 Sensitivity of the enhancer
Mix 0–127 Level of the overtones generated by the enhancer
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

10 Exciter
This adds dynamics to the sound, by dynamically bringing up the high end using a split-band compressor.
Low
L in L out

Channel Mid
Compressor
Divider
High
Compressor

Low
R in R out

Channel Mid
Compressor
Divider
High
Compressor

Parameter Value Explanation

Raises the midrange frequency levels when they fall below the specified
Band2 Thres -80.0–0.0 [dB] amount.
Band2 Gain 0–+24 [dB] Sets how much to raise the levels when the midrange volume is low.
Raises the high-end frequency levels when they fall below the specified
Band3 Thres -80.0–0.0 [dB] amount.
Sets how much to raise the levels when the high-end frequency volume is
Band3 Gain 0–+24 [dB] low.
Split1 Freq 2000–5000 [Hz] Frequency at which the low and midrange frequencies are split
Split2 Freq 3000–10000 [Hz] Frequency at which the midrange and high-end frequencies are split
Level 0–127 Output Level
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11 Auto Wah
Cyclically controls a filter to create cyclic change in timbre.
Auto 2-Band
L in L out
Wah EQ

Auto 2-Band
R in R out
Wah EQ

Parameter Value Explanation

Filter type.
Mode LPF, BPF LPF:The wah effect will be applied over a wide frequency range.
BPF:The wah effect will be applied over a narrow frequency range.
Manual 0–127 Center frequency at which the wah effect is applied
Width of the frequency region at which the wah effect is applied.
Peak 0–127
Increasing this value will make the frequency region narrower.
Sens 0–127 Sensitivity with which the filter is modified
Direction in which the filter will move.
Polarity UP, DOWN UP:The filter will change toward a higher frequency.
DOWN:The filter will change toward a lower frequency.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth at which the wah effect is modulated
Adjusts the degree of phase shift of the left and right sounds when the
Phase 0–180 [deg] wah effect is applied.
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

12 Humanizer
Adds a vowel character to the sound, making it similar to a human voice.

L in L out
Pan L
2-Band
Overdrive Formant
EQ
Pan R
R in R out

Parameter Value Explanation

Drive Sw OFF, ON Overdrive on/off
Drive 0–127 Degree of distortion. Also changes the volume.
Vowel1 a, e, i, o, u Vowel 1
Vowel2 a, e, i, o, u Vowel 2
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency at which the two vowels switch

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Parameter Value Explanation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Effect depth
LFO reset on/off.
In Sync Sw OFF, ON Determines whether the LFO for switching the vowels is reset by the input
signal (ON) or not (OFF).
InSyncThres 0–127 Volume level at which reset is applied
Point at which Vowel 1/2 switch
0–49: Vowel 1 will have a longer duration.
Manual 0–100
50: Vowel 1 and 2 will be of equal duration.
51–100: Vowel 2 will have a longer duration.
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Pan L64–63R Stereo location of the output sound
Level 0–127 Output Level

13 Side Band Filter

A sideband filter that lets specific frequency components pass through.
Side
Band
Filter Gain Balance/W
L in L out
Balance/D

R in R out
Balance/D
Side
Band
Filter Gain Balance/W

Parameter Value Explanation

Sets the band interval.
Band Interval 0–100 Larger values produce wider band intervals, and the frequency of each
band increases.
Sets the bandwidth.
Band Width 0–100 Larger values produce a narrower bandwidth, which further isolates the
specific frequency components that pass through the filter.
Volume balance between the sound that is sent through the sideband
Balance D100:0W–D0:100W filter (W) and the sound that is not sent through the sideband filter (D).
SBF1, SBF2, SBF3, SBF4,
Type SBF5, SBF6 Sets the range in which the filter works.
Gain -INF, 0–+18 [dB] Output gain for the sound that passes through the sideband filter
Level 0–127 Output Level

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14 Resonator
This effect uses “Karplus-Strong synthesis”, which is often used in physical modeling of sounds. This lets you alter the sound with a
maximum of six “resonators” that match different keys or chords.

L in L out

Balance/D

Low Cut Delay1

Pan Balance/W
Feedback

Delay6
Balance/W
Pan
Feedback

Balance/D

R in R out

Parameter Value Explanation

Root C-1–G9 Fundamental tone (root)
Bright 0–100 Brilliance
Feedback 0–99 [%] Amount of resonator sound fed back to the input
Composite notes (chord) to resonate
Chord
Root, Oct, UpDn, P5, m3, m5, m7, m7oct, m0, m11, M3, M5, M7, M7oct, M9, M11
Panning 0–100 Panning for the resonator
Adjusts the amount of feedback according to the input level.
Env Mod Depth 0–100 Larger values increase the amount of feedback according to the input
level.
Volume balance between the sound that is sent through the resonator (W)
Balance D100:0W–D0:100W and the sound that is not sent through the resonator (D).
Low Cut The base frequency used to cut the low-band audio of the resonator input sound (FLAT: no cut).
Frequency FLAT, 20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800 [Hz]
Level 0–127 Output Level

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Phaser

15 Phaser
This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

2-Band
L in Phaser L out
EQ
Mix

2-Band
R in Phaser R out
EQ
Mix

Parameter Value Explanation

4-STAGE, 8-STAGE,
Mode 12-STAGE Number of stages in the phaser
Manual 0–127 Adjusts the basic frequency from which the sound will be modulated.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Selects whether the left and right phase of the modulation will be the
same or the opposite.
INVERSE:Left/right phases inverted
Polarity INVERSE, SYNCHRO When using a mono source, this spreads the sound.
SYNCHRO: Left/right phases synchronized
Select this when inputting a stereo source.
Resonance 0–127 Amount of feedback
Adjusts the proportion of the phaser sound that is fed back into the effect
Feedback -98–+98 [%] (Negative values invert the phase).
Mix 0–127 Level of the phase-shifted sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

16 Small Phaser
This simulates an analog phaser of the past. It is particularly suitable for electric piano.
2-Band
L in Phaser L out
EQ

2-Band
R in Phaser R out
EQ

Parameter Value Explanation

Rate 0–100 Frequency of modulation
Color 1, 2 Modulation character
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range

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Parameter Value Explanation
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

17 Script 90
This simulates a different analog phaser than Small Phaser.
It is particularly suitable for electric piano.
2-Band
L in Phaser L out
EQ

2-Band
R in Phaser R out
EQ

Parameter Value Explanation

Speed 0–100 Speed of modulation
Depth 0–127 Depth of modulation
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

18 Script 100
This simulates an analog phaser of the past.

L in Phaser L out

R in Phaser R out

Parameter Value Explanation

Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Duty -50–50 Adjusts the ratio of speeds at which the modulation rises or falls.
Min 0–100 Lower limit reached by modulation
Max 0–100 Upper limit reached by modulation
Applies modulation according to the value of the Manual parameter,
Manual Sw OFF, ON rather than modulating automatically.
Manual 0–100 Adjusts the basic frequency from which the sound will be modulated.
Resonance 0–66 Amount of feedback
Mix 0–127 Level of the phase-shifted sound
Level 0–127 Output Level

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19 Step Phaser
This is a stereo phaser. The phaser effect will be varied gradually.

Step 2-Band
L in L out
Phaser EQ
Mix

Step 2-Band
R in R out
Phaser EQ
Mix

Parameter Value Explanation

4-STAGE, 8-STAGE,
Mode 12-STAGE Number of stages in the phaser
Manual 0–127 Adjusts the basic frequency from which the sound will be modulated.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Selects whether the left and right phase of the modulation will be the
same or the opposite.
INVERSE:Left/right phases inverted
Polarity INVERSE, SYNCHRO When using a mono source, this spreads the sound.
SYNCHRO: Left/right phases synchronized
Select this when inputting a stereo source.
Resonance 0–127 Amount of feedback
Adjusts the proportion of the phaser sound that is fed back into the effect.
Feedback -98–+98 [%] (Negative values invert the phase.)
S Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
S.Rate 0.10–20.00 [Hz] Rate of the step-wise change in the phaser effect
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
S.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Mix 0–127 Level of the phase-shifted sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

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20 M StagePhsr (Multi Stage Phaser)

Extremely high settings of the phase difference produce a deep phaser effect.

L in L out
Multi Pan L
2-Band
Stage
EQ
Phaser Mix Pan R
R in R out

Parameter Value Explanation

4-STAGE, 8-STAGE,
Mode 12-STAGE, 16-STAGE, Number of stages in the phaser
20-STAGE, 24-STAGE
Manual 0–127 Adjusts the basic frequency from which the sound will be modulated.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
Note 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Resonance 0–127 Amount of feedback
Mix 0–127 Level of the phase-shifted sound
Pan L64–63R Stereo location of the output sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

21 Inf Phaser (Infinite Phaser)

A phaser that continues raising/lowering the frequency at which the sound is modulated.

L in L out
Pan L
Infinite 2-Band
Phaser EQ
Pan R
R in R out

Parameter Value Explanation

Mode 1–4 Higher values will produce a deeper phaser effect.
Speed at which to raise or lower the frequency at which the sound is
Speed -100–+100 modulated (+: upward / -: downward).
Resonance 0–127 Amount of feedback
Mix 0–127 Level of the phase-shifted sound
Pan L64–63R Stereo location of the output sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

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Flanger

22 Flanger
This is a stereo flanger. (The left/right phases of the LFO are synchronized.)
It produces a metallic resonance that rises and falls like a jet airplane taking off or landing.
A filter is provided so that you can adjust the timbre of the flanged sound.
Balance D
2-Band
L in L out
EQ
Flanger Balance W

Feedback
Feedback

Flanger Balance W
2-Band
R in R out
EQ
Balance D

Parameter Value Explanation

Filter type.
OFF: No filter is used
Type OFF, LPF, HPF
LPF: Cuts the frequency range above the Cutoff Freq
HPF: Cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Cutoff
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]
Adjusts the delay time from the direct sound until the flanger sound is
Pre Delay 0.0–100 [ms] heard.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Phase 0–180 [deg] Spatial spread of the sound
Adjusts the proportion of the flanger sound that is fed back into the effect.
Feedback -98–+98 [%] (Negative values invert the phase.)
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the flanger sound (W)
Level 0–127 Output Level

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23 SBF-325 (Flanger)
This effect reproduces Roland’s SBF-325 analog flanger.
It provides three types of flanging effect (which adds a metallic resonance to the original sound) and a chorus-type effect.

L in L out
SBF-325
R in R out

Parameter Value Explanation

Types of flanging effect
FL1 A typical mono flanger
Mode FL2 A stereo flanger that preserves the stereo positioning of the original sound
FL3 A cross-mix flanger that produces a more intense effect
CHO A chorus effect
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.02–5.00 [Hz] Modulation frequency of the flanger effect
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Modulation depth of the flanger effect
Manual 0–127 Center frequency at which the flanger effect is applied
Amount by which the flanging effect is boosted.
Feedback 0–127
If Mode is CHO, this setting is ignored.
Phase of the right channel modulation.
Normally, you will leave this at Normal (NORM).
RMod Phase NORM, INV
If you specify Inverted (INV), the modulation (upward/downward
movement) of the right channel is inverted.
L Phase NORM, INV Phase when mixing the flanging sound with the original sound
NORM: normal phase
R Phase NORM, INV
INV: inverse phase
Level 0–127 Output Level

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24 StepFlanger
This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a
note-value of a specified tempo.
Balance D
2-Band
L in L out
EQ
Step
Balance W
Flanger
Feedback
Feedback

Step
Balance W
Flanger
2-Band
R in R out
EQ
Balance D

Parameter Value Explanation

Filter type.
OFF: No filter is used
Type OFF, LPF, HPF
LPF: Cuts the frequency range above the Cutoff Freq
HPF: Cuts the frequency range below the Cutoff Freq
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, Basic frequency of the filter
Cutoff 2000, 2500, 3150, 4000,
5000, 6300, 8000 [Hz]
Adjusts the delay time from the direct sound until the flanger sound is
Pre Delay 0.0–100 [ms] heard.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Phase 0–180 [deg] Spatial spread of the sound
Adjusts the proportion of the flanger sound that is fed back into the effect.
Feedback -98–+98 [%] (Negative values invert the phase.)
S.Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
S.Rate 0.10–20.00 [Hz] Rate (period) of pitch change
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
S.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the flanger sound (W)
Level 0–127 Output Level

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Chorus

25 Chorus
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.
Balance D
2-Band
L in L out
EQ
Chorus
Balance W

Balance W
Chorus
2-Band
R in R out
EQ
Balance D

Parameter Value Explanation

Filter type.
OFF: No filter is used
Type OFF, LPF, HPF
LPF: Cuts the frequency range above the Cutoff Freq
HPF: Cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Cutoff
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]
Adjusts the delay time from the direct sound until the chorus sound is
Pre Delay 0.0–100 [ms] heard.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Phase 0–180 [deg] Spatial spread of the sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the chorus sound (W)
Level 0–127 Output Level

26 Hexa-Chorus
Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.
Balance D
L in L out

Balance W
Hexa
Chorus Balance W

R in R out
Balance D

Parameter Value Explanation

Adjusts the delay time from the direct sound until the chorus sound is
Pre Delay 0.0–100 [ms] heard.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.

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Parameter Value Explanation
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
PreDly Dev 0–20 Adjusts the differences in Pre Delay between each chorus sound.
Depth Dev -20–+20 Adjusts the difference in modulation depth between each chorus sound.
Adjusts the difference in stereo location between each chorus sound.
0:All chorus sounds will be in the center.
Pan Dev 0–20
20:Each chorus sound will be spaced at 60 degree intervals relative to the
center.
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the chorus sound (W)
Level 0–127 Output Level

27 Trem Chorus (Tremolo Chorus)

This is a chorus effect with added Tremolo (cyclic modulation of volume).
Balance D

L in L out

Balance W
Tremolo
Chorus Balance W

R in R out
Balance D

Parameter Value Explanation

Adjusts the delay time from the direct sound until the chorus sound is
Pre Delay 0.0–100 [ms] heard.
Cho Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
C.Rate 0.05–10.00 [Hz] Modulation frequency of the chorus effect
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
C.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Cho Depth 0–127 Modulation depth of the chorus effect
Trm Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
T.Rate 0.05–10.00 [Hz] Modulation frequency of the tremolo effect
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
T.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Trm Separate 0–127 Depth of the tremolo effect
Trm Phase 0–180 [deg] Spread of the tremolo effect
Volume balance between the direct sound (D) and the tremolo chorus
Balance D100:0W–D0:100W sound (W)
Level 0–127 Output Level

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28 Space-D
This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent
chorus effect.
Balance D
2-Band
L in L out
EQ
Space D
Balance W

Balance W
Space D
2-Band
R in R out
EQ
Balance D

Parameter Value Explanation

Adjusts the delay time from the direct sound until the chorus sound is
Pre Delay 0.0–100 [ms] heard.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Phase 0–180 [deg] Spatial spread of the sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the chorus sound (W)
Level 0–127 Output Level

29 CE-1 (Chorus)
This models the classic BOSS CE-1 chorus effect unit.
It provides a chorus sound with a distinctively analog warmth.
2-Band
L in L out
EQ
CE-1
2-Band
R in R out
EQ

Parameter Value Explanation

Intensity 0–127 Chorus depth
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

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30 SDD-320 (DIMENSION D)
This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.
2-Band
L in L out
EQ
SDD-320
2-Band
R in R out
EQ

Parameter Value Explanation

Mode 1, 2, 3, 4, 1+4, 2+4, 3+4 Switches the mode.
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

31 JUNO Chorus (JUNO-106 Chorus)

This models the chorus effects of the Roland JUNO-106.

L in L out

Chorus

R in R out

Noise
Generator

Parameter Value Explanation

I, II, I+II, JX I, JX II, III, I+III, Type of Chorus.
Mode II+III, I+II+III I+II: The state where both buttons are pressed at the same time.
Noise Lv 0–127 Volume of the noise produced by chorus
Balance D100:0W–D0:100W Volume balance between the dry sound (D) and effect sound (W)
Level 0–127 Output Level

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Modulation

32 Ring Mod (Ring modulator)

This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the
modulation frequency in response to changes in the volume of the sound sent into the effect.
Ring 2-Band
L in L out
Mod EQ

Ring 2-Band
R in R out
Mod EQ

Parameter Value Explanation

Frequency 0–127 Adjusts the frequency at which modulation is applied.
Sens 0–127 Adjusts the amount of frequency modulation applied.
Determines whether the frequency modulation moves towards higher
frequencies or lower frequencies.
Polarity UP, DOWN UP:The filter will change toward a higher frequency.
DOWN:The filter will change toward a lower frequency.
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0–127 Output Level

33 Tremolo
Cyclically changes the volume.
2-Band
L in Tremolo L out
EQ

2-Band
R in Tremolo R out
EQ

Parameter Value Explanation

Modulation Wave.
TRI: Triangle wave SAW1 SAW2
R R
TRI, SQR, SIN, SAW1, SAW2, SQR: Square wave
Mod Wave TRP SIN: Sine wave
L L
SAW1/2: Sawtooth wave
TRP: Trapezoidal wave
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of the change
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth to which the effect is applied
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

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34 Auto Pan
Cyclically modulates the stereo location of the sound.
Auto 2-Band
L in L out
Pan EQ

Auto 2-Band
R in R out
Pan EQ

Parameter Value Explanation

Modulation Wave of panning.
TRI: Triangle wave SAW1 SAW2
R R
TRI, SQR, SIN, SAW1, SAW2, SQR: Square wave
Mod Wave TRP SIN: Sine wave
SAW1/2: Sawtooth wave L L

TRP: Trapezoidal wave

Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of the change
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth to which the effect is applied
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

35 Slicer
By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing
phrase. This is especially effective when applied to sustain-type sounds.

L in Slicer L out

R in Slicer R out

Parameter Value Explanation

Step 1–16 0–127 Level at each step
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Rate at which the 16-step sequence will cycle
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Attack 0–127 Sets the speed at which the sound level changes between steps.
Sets whether to restart the step sequence from the beginning according
In Sync Sw OFF, ON to the presence of input sound (ON) or not (OFF).
InSyncThres 0–127 Sets the volume at which an input sound is detected.

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Parameter Value Explanation
Sets the manner in which the volume changes as one step progresses to
the next.
LEGATO:The change in volume from one step’s level to the next remains
unaltered. If the level of a following step is the same as the one preceding
Mode LEGATO, SLASH it, there is no change in volume.
SLASH:The level is momentarily set to 0 before progressing to the level of
the next step.
This change in volume occurs even if the level of the following step is the
same as the preceding step.
Sets the timing at which the volume changes to that of the even-
Shuffle 0–127 numbered steps (step 2, step 4, step 6...).
The higher the value, the later the beat progresses.
Level 0–127 Sets the output volume.

36 Rotary
This simulates a classic rotary speaker of the past.
Since the operation of the high-frequency and low-frequency rotors can be specified independently, the distinctive modulation can be
reproduced realistically. This is most effective on organ patches.

L in L out

Rotary

R in R out

Parameter Value Explanation

Simultaneously switch the rotational speed of the low frequency rotor and
high frequency rotor.
Speed SLOW, FAST SLOW:Slows down the rotation to the Slow Rate.
FAST:Speeds up the rotation to the Fast Rate.
Wf Slow 0.05–10.00 [Hz] Slow speed (SLOW) of the low frequency rotor
Wf Fast 0.05–10.00 [Hz] Fast speed (FAST) of the low frequency rotor
Adjusts the time it takes the low frequency rotor to reach the newly
Wf Accel 0–15 selected speed when switching from fast to slow (or slow to fast) speed.
Lower values will require longer times.
Wf Level 0–127 Volume of the low frequency rotor
Tw Slow 0.05–10.00 [Hz]
Tw Fast 0.05–10.00 [Hz] Settings of the high frequency rotor.
Tw Accel 0–15 The parameters are the same as for the low frequency rotor
Tw Level 0–127
Separation 0–127 Spatial dispersion of the sound
Level 0–127 Output Level

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37 VK Rotary
This type provides modified response for the rotary speaker, with the low end boosted further.
This effect features the same specifications as the VK-7’s built-in rotary speaker.
2-Band
L in L out
EQ

Rotary

2-Band
R in R out
EQ

Parameter Value Explanation

Rotational speed of the rotating speaker.
Speed SLOW, FAST SLOW: Slow
FAST: Fast
Switches the rotation of the rotary speaker.
Brake OFF, ON When this is turned on, the rotation will gradually stop. When it is turned
off, the rotation will gradually resume.
Wf Slow 0.05–10.00 [Hz] Low-speed rotation speed of the woofer
Wf Fast 0.05–10.00 [Hz] High-speed rotation speed of the woofer
Adjusts the rate at which the woofer rotation speeds up when the rotation
Wf Trs Up 0–127 is switched from Slow to Fast.
Adjusts the rate at which the woofer rotation speeds up when the rotation
Wf Trs Dw 0–127 is switched from Fast to Slow.
Wf Level 0–127 Volume of the woofer
Tw Slow 0.05–10.00 [Hz]
Tw Fast 0.05–10.00 [Hz]
Settings of the tweeter.
Tw Trs Up 0–127
The parameters are the same as for the woofer.
Tw Trs Dw 0–127
Tw Level 0–127
Sets the rotary speaker stereo image. The higher the value set, the wider
Spread 0–10 the sound is spread out.
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level
OD Switch OFF, ON Overdrive on/off
Overdrive input level.
OD Gain 0–127
Higher values will increase the distortion.
OD Drive 0–127 Degree of distortion
OD Level 0–127 Volume of the overdrive

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38 Scatter
This effect swaps the sound played back by a loop in steps, altering its playback direction and gate length. This produces a digital groove
feel to the loop playback.

Scatter
Scatter Sw Balance/W
L in L out
Balance/D

R in R out
Balance/D
Scatter
Scatter Sw Balance/W

Parameter Value Explanation

Type 1–10 Scatter type
10, 20, 30, 40, 50, 60, 70,
Depth 80, 90, 100 Scatter depth
Scatter Switch OFF, ON Scatter effect on/off
Speed SINGLE, DOUBLE Scatter speed
Volume balance between the sound that is sent through the scatter (W)
Balance D100:0W–D0:100W and the sound that is not sent through the scatter (D).
Level 0–127 Output Level

39 To-Gu-Ro
This gives the sound an undulating effect, based on the image of a coiled-up snake.
To-Gu-
L in L out
Ro

To-Gu-
R in R out
Ro

Parameter Value Explanation

Depth 0–100 Degree to which the playback speed should be slowed down
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of the change
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Filter resonance level.
Resonance 0–100 Increasing the value further emphasizes the effect, for a more unusual
sound.
Filter Mod 0–100 Amount of high-range frequency attenuation according to the playback
Depth speed
Amp Mod 0–100 Amount of attenuation according to the playback speed
Depth
Play/stop.
Hold Switch OFF, ON
When this is ON, the playback speed is near zero.
Level 0–127 Output Level

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40 Downer
Cyclically slows down the playback speed of the sound.

L in Downer L out

R in Downer R out

Parameter Value Explanation

Depth 0–100 Degree to which the playback speed should be slowed down
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of the change
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
The degree of attenuation of the filter’s high-frequency range.
Filter 0–100
Larger values increase the high-frequency range attenuation.
Corrects the sound for changes in pitch.
Pitch Switch OFF, ON When this is turned ON, pitches that were lowered due to the change in
speed are converted to their original pitch.
Filter resonance level.
Resonance 0–100 Increasing the value further emphasizes the effect, for a more unusual
sound.
Level 0–127 Output Level

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Drive / Amp

41 Overdrive
This is an overdrive that provides heavy distortion.
L in L out
Pan L
Amp 2-Band
Overdrive
Simulator EQ
Pan R
R in R out

Parameter Value Explanation

Degree of distortion.
Drive 0–127
Also changes the volume.
Tone 0–127 Sound quality of the Overdrive effect
Amp Switch OFF, ON Turns the Amp Simulator on/off.
Type of guitar amp.
SMALL: Small amp
SMALL, BUILT-IN, 2-STACK, BUILT-IN:Single-unit type amp
AmpType 3-STACK
2-STACK:Large double stack-type amp
3-STACK:Large triple stack-type amp
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Pan L64–63R Stereo location of the output sound
Level 0–127 Output Level

42 Distortion
Produces a more intense distortion than Overdrive.

L in L out
Pan L
Amp 2-Band
Distortion
Simulator EQ
Pan R
R in R out

Parameter Value Explanation

Degree of distortion.
Drive 0–127
Also changes the volume.
Tone 0–127 Sound quality of the Overdrive effect
Amp Switch OFF, ON Turns the Amp Simulator on/off.
Type of guitar amp.
SMALL: Small amp
SMALL, BUILT-IN, 2-STACK, BUILT-IN:Single-unit type amp
AmpType 3-STACK
2-STACK:Large double stack-type amp
3-STACK:Large triple stack-type amp
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Pan L64–63R Stereo location of the output sound
Level 0–127 Output Level
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43 T-Scream
This models a classic analog overdrive. It is distinctive in adding an appropriate amount of overtones without muddying the sound.

L in Distortion Tone L out

R in Distortion Tone R out

Parameter Value Explanation

Degree of distortion.
Distortion 0–127
Also changes the volume.
Tone 0–127 Tonal character of the overdrive
Level 0–127 Output Level

44 Fuzz
Adds overtones and intensely distorts the sound.
Pre Post Tone
L in Overdrive Control L out
Filter Filter

Pre Post Tone

R in Overdrive Control R out
Filter Filter

Parameter Value Explanation

Degree of distortion.
Drive 0–127
Also changes the volume.
Tone 0–100 Sound quality of the Overdrive effect
Level 0–127 Output Level

45 Fattener
This effect applies distinctive distortion, adding overtones to give more depth to the sound.

L in L out
Odd
Overtone
Generator
Even
Overtone
Generator

Even
Overtone
Generator
Odd
Overtone
Generator
R in R in

Parameter Value Explanation

Odd Level 0–400 [%] Raising the value adds odd-order overtones.
Even Level 0–400 [%] Raising the value adds even-order overtones.
Level 0–127 Output Level

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46 HMS Distort (HMS Distortion)

This is a distortion-type effect that models the vacuum tube amp section of a rotary speaker of the past.

L in L out
Tube
Model
Distortion
R in R out

Parameter Value Explanation

Dist 0–127 Strength of distortion
Level 0–127 Output Level

47 Saturator
This effect combines overdrive and filter.
Balance D

Pre Post
L in Overdrive L out
Filter Filter1-3
Balance W

Pre Post
R in Overdrive R out
Filter Filter1-3

Balance D

Parameter Value Explanation

Types of filter that precedes the distortion processing.
THRU: No filter is applied
LPF: A filter that passes the sound below the specified frequency
Pre Type THRU, LPF, HPF, LSV, HSV
HPF:A filter that passes the sound above the specified frequency
LSV: A filter that boosts/cuts the sound below the specified frequency
HSV:A filter that boosts/cuts the sound above the specified frequency
Pre Freq 20–16000 [Hz] Frequency at which the pre-distortion filter operates
Pre Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut
Drive 0.0–48.0 [dB] Strength of distortion
Post1 Type THRU, LPF, HPF, LSV, HSV Type of filter 1 which follows the distortion processing
Post1Frq 20–16000 [Hz] Frequency at which post-distortion filter 1 operates
Post1Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut
Post2 Type THRU, LPF, HPF, LSV, HSV Type of filter 2 which follows the distortion processing
Post2Frq 20–16000 [Hz] Frequency at which post-distortion filter 2 operates
Post2Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut
Type of filter 3 which follows the distortion processing.
THRU: No filter is applied
LPF: A filter that passes the sound below the specified frequency
Post3 Type THRU, LPF, HPF, BPF, PKG
HPF: A filter that passes the sound above the specified frequency
BPF: A filter that passes only the specified frequency
PKG: A filter that boosts/cuts the specified frequency
Post3Frq 20–16000 [Hz] Frequency at which post-distortion filter 3 operates

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Parameter Value Explanation
Post3Gain -24.0–+24.0 [dB] For the PKG type, the amount of boost/cut
Post3 Q 0.5–16.0 Width of the frequency range affected by the filter
Adjust this value so that the sound is not made louder when distortion is
Sense -60.0–0.0 [dB] applied.
PostGain -48.0–+12.0 [dB] Gain following distortion processing
Balance D100:0W–D0:100W Volume balance between the dry sound (D) and effect sound (W)
Level 0–127 Output Level

48 W Saturator (Worm Saturator)

This is a variety of saturator, and is distinctive for its warmer sound.
Balance D

Low/ Pre Post

L in Overdrive L out
High Filter Filter1-3
Balance W

Low/ Pre Post

R in Overdrive R out
High Filter Filter1-3

Balance D

Parameter Value Explanation

Input filter (low range).
LowFreq 20–16000 [Hz]
Boosts/cuts the sound below the specified frequency.
Input filter (low range).
LowGain -24.0–+24.0 [dB]
Amount of boost/cut
The input filter (high frequency) slope (attenuation characteristics or
amount of attenuation per octave).
Hi Slope THRU, -12dB, -24dB THRU:No attenuation
-12 dB:Gentle
-24 dB:Steep
Input filter (high range).
Hi Freq 20–16000 [Hz]
Boosts/cuts the sound above the specified frequency.
Types of filter that precedes the distortion processing.
THRU: No filter is applied
LPF: A filter that passes the sound below the specified frequency
Pre1 Type THRU, LPF, HPF, LSV, HSV
HPF: A filter that passes the sound above the specified frequency
LSV: A filter that boosts/cuts the sound below the specified frequency
HSV: A filter that boosts/cuts the sound above the specified frequency
Pre1Freq 20–16000 [Hz] Frequency at which the pre-distortion filter operates
Pre1Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut
Drive 0.0–48.0 [dB] Strength of distortion
Post1 Type THRU, LPF, HPF, LSV, HSV Type of filter 1 which follows the distortion processing
Post1Frq 20–16000 [Hz] Frequency at which post-distortion filter 1 operates
Post1Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut
Post2 Type THRU, LPF, HPF, LSV, HSV Type of filter 2 which follows the distortion processing
Post2Frq 20–16000 [Hz] Frequency at which post-distortion filter 2 operates
Post2Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut
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Parameter Value Explanation
Type of filter 3 which follows the distortion processing.
THRU: No filter is applied
LPF: A filter that passes the sound below the specified frequency
Post3 Type THRU, LPF, HPF, BPF, PKG
HPF: A filter that passes the sound above the specified frequency
BPF: A filter that passes only the specified frequency
PKG: A filter that boosts/cuts the specified frequency
Post3Frq 20–16000 [Hz] Frequency at which post-distortion filter 3 operates
Post3Gain -24.0–+24.0 [dB] For the PKG type, the amount of boost/cut
Post3 Q 0.5–16.0 Width of the frequency range affected by the filter
Adjust this value so that the sound is not made louder when distortion is
Sense -60.0–0.0 [dB] applied.
PostGain -48.0–+12.0 [dB] Gain following distortion processing
Balance D100:0W–D0:100W Volume balance between the dry sound (D) and effect sound (W)
Level 0–127 Output Level

49 Gt Amp Sim (Guitar Amp Simulator)

This is an effect that simulates the sound of a guitar amplifier.

L in L out
Pan L
Pre Amp Speaker
Pan R
R in R out

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/off.
JC-120 This models the sound of the Roland JC-120.
CLEAN TWIN This models a Fender Twin Reverb.
This models the sound input to left input on a Matchless D/C-30.
MATCH DRIVE
A simulation of the latest tube amp widely used in styles from blues and rock.
This models the lead sound of the MESA/ Boogie combo amp.
BG LEAD
The sound of a tube amp typical of the late ’70s to ’80s.
This models the sound input to Input I on a Marshall 1959. This is a trebly sound
MS1959I suited to hard rock.
MS1959II This models the sound input to Input II on a Marshall 1959.
ATyp
A model of the Marshall 1959 sound, with inputs I and II connected in parallel.
MS1959I+II Offers a sound with a more emphasized low-end than MS1959I.
SLDN LEAD This models a Soldano SLO-100. This is the typical sound of the eighties.
METAL 5150 This models the lead channel of a Peavey EVH 5150.
METAL LEAD This is distortion sound that is ideal for performances of heavy riffs.
OD-1 This models the sound of the BOSS OD-1. This produces sweet, mild distortion.
OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.
DISTORTION This gives a basic, traditional distortion sound.
FUZZ A fuzz sound with rich harmonic content.
Drive 0–127 Volume and amount of distortion of the amp
Master 0–127 Volume of the entire pre-amp

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Parameter Value Explanation

LOW, MIDDLE,
Gain Amount of pre-amp distortion
HIGH
Bass 0–127
Middle 0–127 Tone of the bass/mid/treble frequency range
Treble 0–127
Presence 0–127 Tone for the ultra-high frequency range
Turning this “On” produces a sharper and brighter sound.
Bright OFF, ON This parameter applies to the “JC-120”, “CLEAN TWIN”, “MATCH DRIVE”, and
“BG LEAD” Pre Amp Types.
Selects whether the sound will be sent through the speaker simulation (ON) or
Speaker Sw OFF, ON not (OFF)
Diameter (in inches) and number Mic
Cabinet of the speaker
small open-back
SMALL 1 10 dynamic
enclosure
small open-back
SMALL 2 10 dynamic
enclosure
MIDDLE open back enclosure 12 x 1 dynamic
JC-120 open back enclosure 12 x 2 dynamic
BUILT-IN 1 open back enclosure 12 x 2 dynamic
BUILT-IN 2 open back enclosure 12 x 2 condenser
STyp BUILT-IN 3 open back enclosure 12 x 2 condenser
BUILT-IN 4 open back enclosure 12 x 2 condenser
BUILT-IN 5 open back enclosure 12 x 2 condenser
BG STACK 1 sealed enclosure 12 x 2 condenser
BG STACK 2 large sealed enclosure 12 x 2 condenser
MS STACK 1 large sealed enclosure 12 x 4 condenser
MS STACK 2 large sealed enclosure 12 x 4 condenser
METAL STACK large double stack 12 x 4 condenser
2-STACK large double stack 12 x 4 condenser
3-STACK large triple stack 12 x 4 condenser
Adjusts the location of the microphone that is recording the sound of the
speaker.
Mic Setting 1–3
This can be adjusted in three steps, with the microphone becoming more distant
in the order of 1, 2, and 3.
Mic Level 0–127 Volume of the microphone
Direct Level 0–127 Volume of the direct sound
Pan L64–63R Stereo location of the output sound
Level 0–127 Output Level

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50 EP Amp Sim (RD EP Amp Simulator)

This is an effect that was developed for the RD series SuperNATURAL E.Piano.
L in L out

Bass/
Overdrive Speaker Tremolo
Treble

R in R out

Parameter Value Explanation

Bass -50–+50 Amount of low-frequency boost/cut
Treble -50–+50 Amount of high-frequency boost/cut
Tremolo Sw OFF, ON Tremolo on/off
OLDCASE MO A standard electric piano sound of the early 70s (mono)
OLDCASE ST A standard electric piano sound of the early 70s (stereo)
Type NEWCASE A standard electric piano sound of the late 70s and early 80s
DYNO A classic modified electric piano
WURLY A classic electric piano of the ’60s
Speed Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Speed 0.05–10.00 [Hz] Rate of the tremolo effect
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Speed Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of the tremolo effect
Shape 0–20 Adjusts the waveform of the tremolo.
AMP OFF, ON Turns the speaker and distortion on/off
LINE, OLD, NEW, WURLY, Type of speaker. If LINE is selected, the sound will not be sent through the
Speaker TWIN speaker simulation.
Degree of distortion.
Drive 0–127
Also changes the volume.
Level 0–127 Output Level

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51 Speaker Sim (Speaker Simulator)

Simulates the speaker type and mic settings used to record the speaker sound.

L in Speaker L out

R in Speaker R out

Parameter Value Explanation

Diameter (in inches) and number of Mic
Cabinet the speaker
small open-back
SMALL 1 10 dynamic
enclosure
small open-back
SMALL 2 10 dynamic
enclosure
open back
MIDDLE 12 x 1 dynamic
enclosure
open back
JC-120 12 x 2 dynamic
enclosure
open back
BUILT-IN 1 12 x 2 dynamic
enclosure
open back
BUILT-IN 2 12 x 2 condenser
enclosure
open back
Type BUILT-IN 3 12 x 2 condenser
enclosure
open back
BUILT-IN 4 12 x 2 condenser
enclosure
open back
BUILT-IN 5 12 x 2 condenser
enclosure
BG STACK 1 sealed enclosure 12 x 2 condenser
large sealed
BG STACK 2 12 x 2 condenser
enclosure
large sealed
MS STACK 1 12 x 4 condenser
enclosure
large sealed
MS STACK 2 12 x 4 condenser
enclosure
METAL STACK large double stack 12 x 4 condenser
2-STACK large double stack 12 x 4 condenser
3-STACK large triple stack 12 x 4 condenser
Adjusts the location of the microphone that is recording the sound of the
speaker.
Mic Setting 1–3
This can be adjusted in three steps, with the microphone becoming more distant
in the order of 1, 2, and 3.
Mic Level 0–127 Volume of the microphone
Direct Lv 0–127 Volume of the direct sound
Level 0–127 Output Level

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Comp / Limiter

52 Compressor
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.
2-Band
L in Compressor L out
EQ

2-Band
R in Compressor R out
EQ

Parameter Value Explanation

Attack 0–124 Sets the speed at which compression starts
Adjusts the time after the signal volume falls below the Threshold Level
Release 0–124 until compression is no longer applied.
Threshold -60–0 [dB] Adjusts the volume at which compression begins
This function smooths out the sonic transition, from when the
compression is not engaged until when the compression begins.
Knee 0–30 [dB]
This gradually applies compression from just before the Threshold point.
Higher values produce a smoother transition.
1:1, 1.5:1, 2:1, 4:1, 16:1,
Ratio INF:1 Compression ratio
Post Gain 0–+18 [dB] Level of the output sound
Level 0–127 Output Level

53 M/S Comp (Mid-Side Compressor)

This effect allows the left/right signals that have similar phase to be adjusted to a different sense of volume than the left/right signals
that have different phase.
Mid
L in Compressor L out
LR MS
Ò Ò
MS LR
R in Compressor R out
Side

Parameter Value Explanation

Switches whether to adjust the sense of volume for left/right input signals
M Comp Sw OFF, ON whose phase is similar (in phase).
M Attack 0–124 Sets the speed at which compression starts
Adjusts the time after the signal volume falls below the M Thres Level until
M Release 0–124 compression is no longer applied.
M Thres -60–0 [dB] Adjusts the volume at which compression begins
This function smooths out the sonic transition, from when the
compression is not engaged until when the compression begins.
M Knee 0–30 [dB]
This gradually applies compression from just before the M Thres point.
Higher values produce a smoother transition.
1:1, 1.5:1, 2:1,
M Ratio Compression ratio
4:1, 16:1, INF:1
M Gain 0–+18 [dB] Level of the output sound
Switches whether to adjust the sense of volume for left/right input signals
S Comp Sw OFF, ON whose phase is distant (reverse phase).
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Parameter Value Explanation
S Attack 0–124 Sets the speed at which compression starts
Adjusts the time after the signal volume falls below the S Thres Level until
S Release 0–124 compression is no longer applied.
S Thres -60–0 [dB] Adjusts the volume at which compression begins
This function smooths out the sonic transition, from when the
compression is not engaged until when the compression begins.
S Knee 0–30 [dB]
This gradually applies compression from just before the S Thres point.
Higher values produce a smoother transition.
1:1, 1.5:1, 2:1, 4:1, 16:1,
S Ratio INF:1 Compression ratio
S Gain 0–+18 [dB] Level of the output sound
Level 0–127 Output Level

54 Limiter
Compresses signals that exceed a specified volume level, preventing distortion from occurring.
2-Band
L in Limiter L out
EQ

2-Band
R in Limiter R out
EQ

Parameter Value Explanation

Adjusts the time after the signal volume falls below the Threshold Level
Release 0–127 until compression is no longer applied.
Threshold 0–127 Adjusts the volume at which compression begins
Ratio 1.5:1, 2:1, 4:1, 100:1 Compression ratio
Post Gain 0–+18 [dB] Level of the output sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

55 Sustainer
By compressing loud input and boosting low input, this effect keeps the volume consistent to produce a sustain effect without
distortion.
2-Band
L in Sustainer L out
EQ

2-Band
R in Sustainer R out
EQ

Parameter Value Explanation

Adjusts the range in which a low input signal is boosted to a consistent
Sustain 0–127 volume.
Higher values produce longer sustain.
Attack 0–127 Time until the volume is compressed
Release 0–127 Time until compression is removed

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Parameter Value Explanation
Post Gain -15–+15 [dB] Level of the output sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

56 Transient
This effect lets you control the way in which the sound attacks and decays.

L in L out

Envelope
Controller

R in R out

Parameter Value Explanation

Character of the attack.
Attack -50–+50 Higher values make the attack more aggressive; lower values make the
attack milder.
Character of the decay.
Release -50–+50 Higher values make the sound linger; lower values make the sound cutoff
quickly.
Out Gain -24–+12 [dB] Output gain
Sens LOW, MID, HIGH Quickness with which the attack is detected
Level 0–127 Output Level

57 Gate
Cuts the reverb’s delay according to the volume of the sound sent into the effect. Use this when you want to create an artificial-sounding
decrease in the reverb’s decay.

L in Gate L out

R in Gate R out

Parameter Value Explanation

Threshold 0–127 Volume level at which the gate begins to close
Type of gate.
GATE: The gate will close when the volume of the original sound
Mode GATE, DUCK decreases, cutting the original sound.
DUCK (Duking): The gate will close when the volume of the original
sound increases, cutting the original sound.
Attack 0–127 Adjusts the time it takes for the gate to fully open after being triggered.
Adjusts the time it takes for the gate to start closing after the source sound
Hold 0–127 falls beneath the Threshold.
Release 0–127 Adjusts the time it takes the gate to fully close after the hold time.
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0–127 Output Level
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Delay

58 Delay
This is a stereo delay.
When Feedback Mode is NORMAL: When Feedback Mode is CROSS:

Balance D Balance D
2-Band 2-Band
L in L out L in L out
EQ EQ
Delay Balance W Delay Balance W

Feedback Feedback
Feedback Feedback

Delay Balance W Delay Balance W

2-Band 2-Band
R in R out R in R out
EQ EQ
Balance D Balance D

Parameter Value Explanation

Dly L Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
DL.Time 1–1300 Adjusts the time until the left delay sound is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
DLTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly R Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
DR.Time 1–1300 Adjusts the time until the right delay sound is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
DRTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Phase L NORMAL, INVERSE Phase of left and right delay sound.
NORMAL: Non-inverted
Phase R NORMAL, INVERSE
INVERSE: Inverted
Selects the way in which delay sound is fed back into the effect. (See the
Fbk Mode NORMAL, CROSS figures above.)
Adjusts the proportion of the delay sound that is fed back into the effect.
Feedback -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
HF Damp
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0–127 Output Level

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59 Mod Delay (Modulation Delay)

Adds modulation to the delayed sound.
When Feedback Mode is NORMAL: When Feedback Mode is CROSS:
Balance D Balance D
2-Band 2-Band
L in L out L in L out
EQ EQ
Delay Modulation Balance W Delay Modulation
Balance W

Feedback Feedback
Feedback Feedback
Balance W
Delay Modulation Balance W Delay Modulation
2-Band 2-Band
R in R out R in R out
EQ EQ
Balance D Balance D

Parameter Value Explanation

Dly L Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
DL.Time 1–1300 Adjusts the time until the left delay sound is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
DLTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly R Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
DR.Time 1–1300 Adjusts the time until the right delay sound is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
DRTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Selects the way in which delay sound is fed back into the effect. (See the
Fbk Mode NORMAL, CROSS figures above.)
Adjusts the proportion of the delay sound that is fed back into the effect.
Feedback -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
HF Damp
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Depth 0–127 Depth of modulation
Phase 0–180 [deg] Spatial spread of the sound
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0–127 Output Level

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60 2Tap PanDly (2 Tap Pan Delay)

Balance D
L in L out

Delay 1 Balance W

Double
Tap Delay

Feedback Delay 2 Balance W

R in R out
Balance D

Parameter Value Explanation

Delay Sync OFF, ON If this is ON, the delay synchronizes with the tempo.
D.Time (ms) 1–2600 Adjusts the time until the second delay sound is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D.Time (Nt) Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
Delay Fbk -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
Dly HF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Dly1 Pan L64–63R Adjusts the stereo location of delay 1.
Dly2 Pan L64–63R Adjusts the stereo location of delay 2.
Dly1 Lv 0–127 Adjusts the volume of delay 1.
Dly2 Lv 0–127 Adjusts the volume of delay 2.
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Volume balance between the sound that is sent through the delay (W)
Balance D100:0W–D0:100W and the sound that is not sent through the delay (D)
Level 0–127 Output Level

61 3Tap PanDly (3 Tap Pan Delay)

Produces three delay sounds; center, left and right.
Balance D
2-Band
L in L out
EQ
Balance W
Left Tap

Triple Tap
Center Tap
Delay

Feedback Right Tap

Balance W
2-Band
R in R out
EQ
Balance D

Parameter Value Explanation

Dly L Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.

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Parameter Value Explanation
DL.Time 1–2600 Adjusts the time until the left delay sound is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
DLTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly R Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
DR.Time 1–2600 Adjusts the time until the right delay sound is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
DRTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly C Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
DC.Time 1–2600 Adjusts the time until the center delay sound is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
DCTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
C Feedback -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
HF Damp
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Left Lv 0–127
Right Lv 0–127 Volume of each delay sound
Center Lv 0–127
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0–127 Output Level

62 4Tap PanDly (4 Tap Pan Delay)

This effect has four delays.
Balance D
L in L out

Feedback Delay 1 Balance W

2 3
Delay 2
Quadruple 1 4
Tap Delay
Delay 3
L R
Delay 4 Balance W

R in R out
Balance D

Parameter Value Explanation

Dly1 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
D1.Time 1–2600 Adjusts the time from the original sound until delay 1 sounds is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D1Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly2 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
D2.Time 1–2600 Adjusts the time from the original sound until delay 2 sounds is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D2Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
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Parameter Value Explanation
Dly3 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
D3.Time 1–2600 Adjusts the time from the original sound until delay 3 sounds is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D3Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly4 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
D4.Time 1–2600 Adjusts the time from the original sound until delay 4 sounds is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D4Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
Dly1 Fbk -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
HF Damp
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Dly1 Lv 0–127
Dly2 Lv 0–127
Volume of each delay
Dly3 Lv 0–127
Dly4 Lv 0–127
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0–127 Output Level

63 MultiTapDly (Multi Tap Delay)

This effect has four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set
the panning and level of each delay sound.
Balance D
2-Band
L in L out
EQ
Feedback Delay 1 Balance W
Delay 2
Multi Tap
Delay
Delay 3
Delay 4 Balance W
2-Band
R in R out
EQ
Balance D

Parameter Value Explanation

Dly1 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
D1.Time 1–2600 Adjusts the time from the original sound until delay 1 sounds is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D1Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly2 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
D2.Time 1–2600 Adjusts the time from the original sound until delay 2 sounds is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D2Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly3 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.

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Parameter Value Explanation
D3.Time 1–2600 Adjusts the time from the original sound until delay 3 sounds is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D3Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly4 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
D4.Time 1–2600 Adjusts the time from the original sound until delay 4 sounds is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D4Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
Dly1 Fbk -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
HF Damp
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Dly1 Pan L64–63R
Dly2 Pan L64–63R
Stereo location of Delays 1–4
Dly3 Pan L64–63R
Dly4 Pan L64–63R
Dly1 Lv 0–127
Dly2 Lv 0–127
Volume of each delay
Dly3 Lv 0–127
Dly4 Lv 0–127
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0–127 Output Level

64 Reverse Dly (Reverse Delay)

This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the
reverse delay.

L in 2-Band L out
EQ

Rev
D1
Rev.
Delay
Delay
Feedback
D3 D2

R in 2-Band R out
EQ

Parameter Value Explanation

Threshold 0–127 Volume at which the reverse delay will begin to be applied
RDly Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when sound is input into the reverse delay until the delay
RD.Time 1–1300 sound is heard

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Parameter Value Explanation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
RD.Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Proportion of the delay sound that is to be returned to the input of the
RDly Fbk -98–+98 [%] reverse delay. (Negative values invert the phase.)
Frequency at which the high-frequency content of the reverse-delayed sound will be cut (BYPASS: no
cut)
RDly HF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
RDly Pan L64–63R Panning of the reverse delay sound
RDly Level 0–127 Volume of the reverse delay sound
Dly1 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when sound is input into the tap delay until the delay
D1.Time 1–1300 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D1Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly2 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when sound is input into the tap delay until the delay
D2.Time 1–1300 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D2Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Dly3 Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when sound is input into the tap delay until the delay
D3.Time 1–1300 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D3Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Proportion of the delay sound that is to be returned to the input of the tap
Dly3 Fbk -98–+98 [%] delay. (Negative values invert the phase.)
Frequency at which the hi-frequency content of the tap delay sound will be cut (BYPASS: no cut)
Dly HF 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Dly1 Pan L64–63R
Panning of the tap delay sounds
Dly2 Pan L64–63R
Dly1 Lv 0–127
Volume of the tap delay sounds
Dly2 Lv 0–127
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0–127 Output Level

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65 TimeCtrlDly (Time Control Delay)

A stereo delay in which the delay time can be varied smoothly.
Balance D
2-Band
L in L out
EQ
Time Ctrl
Delay Balance W

Feedback
Feedback

Time Ctrl
Balance W
Delay
2-Band
R in R out
EQ
Balance D

Parameter Value Explanation

Delay Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when the original sound is heard to when the delay
D.Time 1–1300 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D.Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Speed at which the current delay time changes to the specified delay
Acceleration 0–15 time when you change the delay time. The speed of the pitch change will
change simultaneously with the delay time.
Adjusts the proportion of the delay sound that is fed back into the effect.
Feedback -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
HF Damp
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0–127 Output Level

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66 Tape Echo
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.
Direct Level
L in L out

Echo Level
Tape
Echo Echo Level

R in R out
Direct Level

Parameter Value Explanation

Combination of playback heads to use.
Select from three different heads with different delay times.
S, M, L, S+M, S+L, M+L,
Mode S+M+L S: short
M: middle
L: long
Tape speed.
Repeat Rate 0–127
Increasing this value will shorten the spacing of the delayed sounds.
Intensity 0–127 Amount of delay repeats
Bass -15–+15 [dB] Boost/cut for the lower range of the echo sound
Treble -15–+15 [dB] Boost/cut for the upper range of the echo sound
Head S Pan L64–63R
Head M Pan L64–63R Independent panning for the short, middle, and long playback heads
Head L Pan L64–63R
Amount of tape-dependent distortion to be added.
Distortion 0–5 This simulates the slight tonal changes that can be detected by signal-
analysis equipment. Increasing this value will increase the distortion.
Speed of wow/flutter (complex variation in pitch caused by tape wear and
Wf Rate 0–127 rotational irregularity)
Wf Depth 0–127 Depth of wow/flutter
Echo Level 0–127 Volume of the echo sound
Direct Lv 0–127 Volume of the original sound
Level 0–127 Output Level

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67 M/S Delay (Mid-Side Delay)

This effect applies different amounts of delay to left/right signals of similar phase and differing phase.
Mid Multi-
L in Tap L out
LR Delay MS
Ò Ò
MS Multi- LR
R in Tap R out
Side Delay

Parameter Value Explanation

MD Level 0–127 Delay volume of left/right input signals whose phase is similar (in phase)
Delay divisions for the input signals whose left/right phase is similar (in
MD Mode 2TAP, 3TAP, 4TAP phase)
MD Tm Sync OFF, ON If this is ON, the delay synchronizes with the tempo.
Delay time from when the original sound is heard to when the delay
MD.Time 1–1300 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
MDTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
MD Feedback -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
MD HFDamp
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
MD1 Pan L64–63R Panning of the first delay sound
MD2 Pan L64–63R Panning of the second delay sound
MD3 Pan L64–63R Panning of the third delay sound
MD4 Pan L64–63R Panning of the fourth delay sound
Delay volume of left/right input signals whose phase is distant (reverse
SD Level 0–127 phase)
Delay divisions for the input signals whose left/right phase is distant
SD Mode 2TAP, 3TAP, 4TAP (reverse phase)
SD Tm Sync OFF, ON If this is ON, the delay synchronizes with the tempo.
Delay time from when the original sound is heard to when the delay
SD Time 1–1300 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
SDTime Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
SD Feedback -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
SD HFDamp
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
SD1 Pan L64–63R Panning of the first delay sound
SD2 Pan L64–63R Panning of the second delay sound
SD3 Pan L64–63R Panning of the third delay sound
SD4 Pan L64–63R Panning of the fourth delay sound
Level 0–127 Output Level

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Looper

68 DJFX Looper
Loops a short portion of the input sound. You can vary the playback direction and playback speed of the input sound to add turntable-
type effects.

Speed
Speed
L in Delay
Delay Control
Control L out

R in Delay
Delay Speed
Speed R out
Control
Control

Parameter Value Explanation

Length 230–12 (not straight) Length of the loop
Playback direction and playback speed.
- direction:Reverse playback
Speed -1.00–+1.00 + direction:Normal playback
0:Stop playback
As the value moves away from 0, the playback speed becomes faster.
If you turn this on while the sound is heard, the sound at that point will be
looped. Turn this off to cancel the loop.
Loop Sw OFF, ON
If the effect is recalled with this ON, this parameter must be turned OFF
and then turned ON again in order to make the loop operate.
Level 0–127 Output Level

69 BPM Looper
Loops a short portion of the input sound. This can automatically turn the loop on/off in synchronization with the rhythm.

L out
L in Delay

Loop Sw
Control

R in Delay
R out

Parameter Value Explanation

Length 230–12 (not straight) Specifies the length of the loop.
Rate Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Rate 0.05–10.00 [Hz] Cycle at which the loop automatically turns on/off
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
Rate Note Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Specifies the timing within the cycle at which the loop automatically starts
Timing 1–8 (which step of the eight timing divisions at which the sound is heard)
Specifies the length at which the loop automatically ends within the cycle
Lenth 1–8 (the number of times that the 1/8-length of sound is heard)

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Parameter Value Explanation
If this is AUTO, the loop automatically turns on/off in synchronization with
the rhythm.
Loop Mode OFF, AUTO, ON
If the effect is recalled with this ON, this parameter must first be set to
something other than ON in order to make the loop operate.
Level 0–127 Output Level

Lo-fi

70 LOFI Comp (Lo-Fi Compressor)

Degrades the sound quality.
2-Band
L in Compressor Lo-Fi L out
EQ

2-Band
R in Compressor Lo-Fi R out
EQ

Parameter Value Explanation

Selects the type of filter applied to the sound before it passes through the
Lo-Fi effect.
Pre Filter 1–6 1: Compressor off
2–6: Compressor on
Degrades the sound quality. The sound quality grows poorer as this value
LoFi Type 1–9 is increased.
Selects the type of filter applied to the sound after it passes through the
Lo-Fi effect.
Post Filter OFF, LPF, HPF OFF: No filter is used
LPF: Cuts the frequency range above the Cutoff Freq
HPF: Cuts the frequency range below the Cutoff Freq
Cutoff 200–8000 [Hz] Basic frequency of the Post Filter
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0–127 Output Level

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71 Bit Crusher
Produces an extreme lo-fi effect.
Bit 2-Band
L in L out
Crusher EQ

Bit 2-Band
R in R out
Crusher EQ

Parameter Value Explanation

Sample Rate 0–127 Adjusts the sample rate.
Bit Down 0–20 Adjusts the bit depth.
Filter 0–127 Adjusts the filter depth.
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

72 Phonograph
Recreates the sound of an analog record being played on a record player. This lets you simulate the unique noises produced when a
record is played, as well as the variations that occur when the record spins.
Balance D
L in L out
Phonograph
Balance W

Balance W
Phonograph

R in R out
Balance D

Parameter Value Explanation

Signal Dist 0–127 Sets the amount of distortion.
Sets the frequency characteristics of the playback system.
Frequency 0–127
Range Smaller values create the feeling of an older system with narrow frequency
bands.
Sets the turntable rotation speed.
Disc Type LP, EP, SP
This has an effect on the scratch noise cycle.
Scratch NZ Lev 0–127 Sets the volume of noise created by scratches in the record.
Dust NZ Lev 0–127 Sets the volume of noise created by dust on the record.
Hiss NZ Lev 0–127 Sets the volume of continuous hiss noise.
Total NZ Lev 0–127 Sets the volume of noise overall.
Wow 0–127 Sets the amount of variation in record spin (long cycle).
Flutter 0–127 Sets the amount of variation in record spin (short cycle).
Random 0–127 Sets the amount of non-cyclical variation in record spin.
Total W/F 0–127 Sets the volume of variation in record spin overall.
Sets the volume balance between the original sound (D) and the effect
Balance D100:0W–D0:100W sound (W).
Level 0–127 Sets the output volume.

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Pitch

73 PitchShiftr (Pitch Shifter)

A stereo pitch shifter.
2-Band
L in L out
EQ
Pitch
Shifter

Pitch
Shifter
2-Band
R in R out
EQ

Parameter Value Explanation

Coarse -24–+12 [sem] Adjusts the pitch of the pitch shifted sound in semitone steps.
Fine -100–+100 Adjusts the pitch of the pitch shifted sound in 2-cent steps.
Delay Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Adjusts the delay time from the direct sound until the pitch shifted sound
D.Time 1–1300 is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D.Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the pitch shifted sound that is fed back into the
Feedback -98–+98 [%] effect. (Negative values invert the phase.)
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Volume balance between the direct sound (D) and the pitch shifted sound
Balance D100:0W–D0:100W (W)
Level 0–127 Output Level

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74 2V PShifter (2 Voice Pitch Shifter)

Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the
original sound.
Balance D
2-Band
L in L out
EQ
Level 1 Pan 1 L Balance W
Pan 1 R
2 Voice
Pitch
Shifter
Pan 2 L

Pan 2 R Balance W
Level 2
2-Band
R in R out
EQ
Balance D

Parameter Value Explanation

P1Coarse -24–+12 [sem] Adjusts the pitch of Pitch Shift 1 in semitone steps.
P1 Fine -100–+100 Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.
P1 Dly Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Adjusts the delay time from the direct sound until the Pitch Shift 1 sound
P1D.Time 1–1300 is heard.
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
P1DRate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the pitch shifted sound that is fed back into the
P1 Feedback -98–+98 [%] effect. (Negative values invert the phase.)
P1 Pan L64–63R Stereo location of the Pitch Shift 1 sound
P1 Level 0–127 Volume of the Pitch Shift 1 sound
P2Coarse -24–+12 [sem]
P2 Fine -100–+100
P2 Dly Sync OFF, ON
P2D.Time 1–1300 Settings of the Pitch Shift 2 sound.
P2DRate Nt Note The parameters are the same as for the Pitch Shift 1 sound.
P2 Feedback -98–+98 [%]
P2 Pan L64–63R
P2 Level 0–127
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Volume balance between the direct sound (D) and the pitch shifted sound
Balance D100:0W–D0:100W (W)
Level 0–127 Output Level

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Combination
75 OD Ó Chorus (Overdrive Ó Chorus)
Balance D
L in L out
Balance W
Overdrive Chorus
Balance W

R in R out
Balance D

Parameter Value Explanation

OD Drive 0–127 Degree of distortion. Also changes the volume.
OD Pan L64–63R Stereo location of the overdrive sound
Adjusts the delay time from the direct sound until the chorus sound is
Cho PreDly 0.0–100 [ms] heard.
Cho Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
C.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
C.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Cho Depth 0–127 Depth of modulation
Volume balance between the sound that is sent through the chorus (W)
Cho Bal D100:0W–D0:100W and the sound that is not sent through the chorus (D).
Level 0–127 Output Level

76 OD Ó Flanger (Overdrive Ó Flanger)

Balance D
L in L out
Feedback
Balance W
Overdrive Flanger
Balance W

R in R out
Balance D

Parameter Value Explanation

OD Drive 0–127 Degree of distortion. Also changes the volume.
OD Pan L64–63R Stereo location of the overdrive sound
Adjusts the delay time from the direct sound until the flanger sound is
Flg PreDly 0.0–100 [ms] heard.
Flg Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
F.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8.,
F.Rate Nt Note 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Flg Depth 0–127 Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the
Flg Fbk -98–+98 [%] effect. (Negative values invert the phase.)
Volume balance between the sound that is sent through the flanger (W)
Flg Bal D100:0W–D0:100W and the sound that is not sent through the flanger (D).
Level 0–127 Output Level
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77 OD Ó Delay (Overdrive Ó Delay)

Balance D
L in L out
Balance W
Overdrive Delay
Balance W
Feedback
R in R out
Balance D

Parameter Value Explanation

OD Drive 0–127 Degree of distortion. Also changes the volume.
OD Pan L64–63R Stereo location of the overdrive sound
Delay Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when the original sound is heard to when the delay
D.Time 1–2600 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D.Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
Delay Fbk -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
Dly HF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Volume balance between the sound that is sent through the delay (W)
Dly Bal D100:0W–D0:100W and the sound that is not sent through the delay (D)
Level 0–127 Output Level

78 DS Ó Chorus (Distortion Ó Chorus)

Balance D
L in L out
Balance W
Distortion Chorus
Balance W

R in R out
Balance D

Parameter Value Explanation

Dist Drive 0–127 Degree of distortion. Also changes the volume.
Dist Pan L64–63R Stereo location of the overdrive sound
Adjusts the delay time from the direct sound until the chorus sound is
Cho PreDly 0.0–100 [ms] heard.
Cho Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
C.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
C.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Cho Depth 0–127 Depth of modulation
Volume balance between the sound that is sent through the chorus (W)
Cho Bal D100:0W–D0:100W and the sound that is not sent through the chorus (D).
Level 0–127 Output Level
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79 DS Ó Flanger (Distortion Ó Flanger)

Balance D
L in L out
Feedback
Balance W
Distortion Flanger
Balance W

R in R out
Balance D

Parameter Value Explanation

Dist Drive 0–127 Degree of distortion. Also changes the volume.
Dist Pan L64–63R Stereo location of the overdrive sound
Flg PreDly 0.0–100 [ms] Adjusts the delay time from the direct sound until the flanger sound is heard.
Flg Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
F.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T,
F.Rate Nt Note 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Flg Depth 0–127 Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect.
Flg Fbk -98–+98 [%] (Negative values invert the phase.)
Volume balance between the sound that is sent through the flanger (W) and
Flg Bal D100:0W–D0:100W the sound that is not sent through the flanger (D).
Level 0–127 Output Level

80 DS Ó Delay (Distortion Ó Delay)

Balance D
L in L out
Balance W
Distortion Delay
Balance W
Feedback
R in R out
Balance D

Parameter Value Explanation

Dist Drive 0–127 Degree of distortion. Also changes the volume.
Dist Pan L64–63R Stereo location of the overdrive sound
Delay Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when the original sound is heard to when the delay sound is
D.Time 1–2600 heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T,
D.Time Nt Note 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
Delay Fbk -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
Dly HF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Volume balance between the sound that is sent through the delay (W) and
Dly Bal D100:0W–D0:100W the sound that is not sent through the delay (D)
Level 0–127 Output Level
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81 OD/DS Ó T.Wah (Overdrive/Distortion Ó Touch Wah)

L in L out
Pan L
Overdrive/ Amp Touch 2-Band
Distortion Simulator Wah EQ
Pan R
R in R out

Parameter Value Explanation

Drive Switch OFF, ON Turns overdrive/distortion on/off
D.Type OVERDRIVE, DISTORTION Type of distortion
Drive 0–127 Degree of distortion. Also changes the volume.
Tone 0–127 Sound quality of the Overdrive effect
Amp Switch OFF, ON Turns the Amp Simulator on/off.
Type of guitar amp.
SMALL: Small amp
SMALL, BUILT-IN, 2-STACK, BUILT-IN:Single-unit type amp
AmpType 3-STACK
2-STACK:Large double stack amp
3-STACK:Large triple stack amp
TWah Switch OFF, ON Wah on/off
Filter type.
TWah Mode LPF, BPF LPF:The wah effect will be applied over a wide frequency range.
BPF:The wah effect will be applied over a narrow frequency range.
Direction in which the filter will move.
TWah Polar DOWN, UP DOWN:The filter will change toward a lower frequency.
UP:The filter will change toward a higher frequency.
TWah Sens 0–127 Sensitivity with which the filter is modified
TWah Manual 0–127 Center frequency at which the wah effect is applied
Width of the frequency region at which the wah effect is applied.
TWah Peak 0–127
Increasing this value will make the frequency region narrower.
Volume balance between the sound that is sent through the wah (W) and
TWah Bal D100:0W–D0:100W the sound that is not sent through the wah (D).
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

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82 OD/DS Ó A.Wah (Overdrive/Distortion Ó Auto Wah)

L in L out
Pan L
Overdrive/ Amp Auto 2-Band
Distortion Simulator Wah EQ
Pan R
R in R out

Parameter Value Explanation

Drive Switch OFF, ON Turns overdrive/distortion on/off
D.Type OVERDRIVE, DISTORTION Type of distortion
Drive 0–127 Degree of distortion. Also changes the volume.
Tone 0–127 Sound quality of the Overdrive effect
Amp Switch OFF, ON Turns the Amp Simulator on/off.
Type of guitar amp.
SMALL: Small amp
SMALL, BUILT-IN, 2-STACK, BUILT-IN:Single-unit type amp
AmpType 3-STACK
2-STACK:Large double stack amp
3-STACK:Large triple stack amp
AWah Switch OFF, ON Wah on/off
Filter type.
AWah Mode LPF, BPF LPF:The wah effect will be applied over a wide frequency range.
BPF:The wah effect will be applied over a narrow frequency range.
AWah Manual 0–127 Center frequency at which the wah effect is applied
Width of the frequency region at which the wah effect is applied.
AWah Peak 0–127
Increasing this value will make the frequency region narrower.
AWah Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
AWRate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
AWRate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
AWah Depth 0–127 Depth at which the wah effect is modulated
Volume balance between the sound that is sent through the wah (W) and
AWah Bal D100:0W–D0:100W the sound that is not sent through the wah (D).
Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range
High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range
Level 0–127 Output Level

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83 Gt Ó Chorus (Guitar Amp Simulator Ó Chorus)

Balance D
L in L out
Balance W
Pre
Speaker Chorus
Amp
Balance W

R in R out
Balance D

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/off.
Type of guitar amp
JC-120 This models the sound of the Roland JC-120.
CLEAN TWIN This models a Fender Twin Reverb.
This models the sound input to left input on a Matchless D/C-30.
MATCH DRIVE
A simulation of the latest tube amp widely used in styles from blues and rock.
This models the lead sound of the MESA/ Boogie combo amp.
BG LEAD
The sound of a tube amp typical of the late ’70s to ’80s.
This models the sound input to Input I on a Marshall 1959.
MS1959I
This is a trebly sound suited to hard rock.
MS1959II This models the sound input to Input II on a Marshall 1959.
ATyp
A model of the Marshall 1959 sound, with inputs I and II connected in parallel.
MS1959I+II Offers a sound with a more emphasized low-end than MS1959I.
SLDN LEAD This models a Soldano SLO-100. This is the typical sound of the eighties.
METAL 5150 This models the lead channel of a Peavey EVH 5150.
METAL LEAD This is distortion sound that is ideal for performances of heavy riffs.
This models the sound of the BOSS OD-1.
OD-1
This produces sweet, mild distortion.
OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.
DISTORTION This gives a basic, traditional distortion sound.
FUZZ A fuzz sound with rich harmonic content.
Drive 0–127 Volume and amount of distortion of the amp
Master 0–127 Volume of the entire pre-amp
LOW, MIDDLE,
Gain Amount of pre-amp distortion
HIGH
Bass 0–127
Middle 0–127 Tone of the bass/mid/treble frequency range
Treble 0–127
Selects whether the sound will be sent through the speaker simulation (ON) or not
Speaker Sw OFF, ON (OFF)

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Parameter Value Explanation
Diameter (in inches) and number
Cabinet Mic
of the speaker
SMALL 1 small open-back enclosure 10 dynamic
SMALL 2 small open-back enclosure 10 dynamic
MIDDLE open back enclosure 12 x 1 dynamic
JC-120 open back enclosure 12 x 2 dynamic
BUILT-IN 1 open back enclosure 12 x 2 dynamic
BUILT-IN 2 open back enclosure 12 x 2 condenser
BUILT-IN 3 open back enclosure 12 x 2 condenser
STyp BUILT-IN 4 open back enclosure 12 x 2 condenser
BUILT-IN 5 open back enclosure 12 x 2 condenser
BG STACK 1 sealed enclosure 12 x 2 condenser
BG STACK 2 large sealed enclosure 12 x 2 condenser
MS STACK 1 large sealed enclosure 12 x 4 condenser
MS STACK 2 large sealed enclosure 12 x 4 condenser
METAL STACK large double stack 12 x 4 condenser
2-STACK large double stack 12 x 4 condenser
3-STACK large triple stack 12 x 4 condenser
Chorus Sw OFF, ON Chorus on/off
Cho PreDly 0.0–100 [ms] Adjusts the delay time from the direct sound until the chorus sound is heard.
C.Rate 0.05–10.00 [Hz] Frequency of modulation
Cho Depth 0–127 Depth of modulation
D100:0W– Volume balance between the sound that is sent through the chorus (W) and the
Cho Bal D0:100W sound that is not sent through the chorus (D).
Level 0–127 Output Level

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84 Gt Ó Flanger (Guitar Amp Simulator Ó Flanger)

Balance D
L in L out
Feedback
Balance W
Pre
Speaker Flanger
Amp
Balance W

R in R out
Balance D

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/off.
Type of guitar amp
JC-120 This models the sound of the Roland JC-120.
CLEAN TWIN This models a Fender Twin Reverb.
This models the sound input to left input on a Matchless D/C-30.
MATCH DRIVE
A simulation of the latest tube amp widely used in styles from blues and rock.
This models the lead sound of the MESA/ Boogie combo amp.
BG LEAD
The sound of a tube amp typical of the late ’70s to ’80s.
This models the sound input to Input I on a Marshall 1959.
MS1959I
This is a trebly sound suited to hard rock.
MS1959II This models the sound input to Input II on a Marshall 1959.
ATyp
A model of the Marshall 1959 sound, with inputs I and II connected in parallel.
MS1959I+II Offers a sound with a more emphasized low-end than MS1959I.
SLDN LEAD This models a Soldano SLO-100. This is the typical sound of the eighties.
METAL 5150 This models the lead channel of a Peavey EVH 5150.
METAL LEAD This is distortion sound that is ideal for performances of heavy riffs.
This models the sound of the BOSS OD-1.
OD-1
This produces sweet, mild distortion.
OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.
DISTORTION This gives a basic, traditional distortion sound.
FUZZ A fuzz sound with rich harmonic content.
Drive 0–127 Volume and amount of distortion of the amp
Master Lv 0–127 Volume of the entire pre-amp
LOW, MIDDLE,
Gain HIGH Amount of pre-amp distortion
Bass 0–127
Middle 0–127 Tone of the bass/mid/treble frequency range
Treble 0–127
Selects whether the sound will be sent through the speaker simulation (ON) or not
Speaker Sw OFF, ON (OFF)

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Parameter Value Explanation
Diameter (in inches) and number
Cabinet Mic
of the speaker
SMALL 1 small open-back enclosure 10 dynamic
SMALL 2 small open-back enclosure 10 dynamic
MIDDLE open back enclosure 12 x 1 dynamic
JC-120 open back enclosure 12 x 2 dynamic
BUILT-IN 1 open back enclosure 12 x 2 dynamic
BUILT-IN 2 open back enclosure 12 x 2 condenser
BUILT-IN 3 open back enclosure 12 x 2 condenser
STyp BUILT-IN 4 open back enclosure 12 x 2 condenser
BUILT-IN 5 open back enclosure 12 x 2 condenser
BG STACK 1 sealed enclosure 12 x 2 condenser
BG STACK 2 large sealed enclosure 12 x 2 condenser
MS STACK 1 large sealed enclosure 12 x 4 condenser
MS STACK 2 large sealed enclosure 12 x 4 condenser
METAL STACK large double stack 12 x 4 condenser
2-STACK large double stack 12 x 4 condenser
3-STACK large triple stack 12 x 4 condenser
Flg Switch OFF, ON Flanger on/off
Flg PreDly 0.0–100 [ms] Adjusts the delay time from the direct sound until the flanger sound is heard.
F.Rate 0.05–10.00 [Hz] Frequency of modulation
Flg Depth 0–127 Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect.
Flg Fbk -98–+98 [%] (Negative values invert the phase.)
D100:0W– Volume balance between the sound that is sent through the flanger (W) and the
Flg Bal D0:100W sound that is not sent through the flanger (D).
Level 0–127 Output Level

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85 Gt Ó Phaser (Guitar Amp Simulator Ó Flanger)

L in L out

Pre
Speaker Phaser
Amp
Mix
Resonance
R in R out

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/off.
Type of guitar amp
JC-120 This models the sound of the Roland JC-120.
CLEAN TWIN This models a Fender Twin Reverb.
This models the sound input to left input on a Matchless D/C-30.
MATCH DRIVE
A simulation of the latest tube amp widely used in styles from blues and rock.
This models the lead sound of the MESA/ Boogie combo amp.
BG LEAD
The sound of a tube amp typical of the late ’70s to ’80s.
This models the sound input to Input I on a Marshall 1959.
MS1959I
This is a trebly sound suited to hard rock.
MS1959II This models the sound input to Input II on a Marshall 1959.
ATyp
A model of the Marshall 1959 sound, with inputs I and II connected in parallel.
MS1959I+II Offers a sound with a more emphasized low-end than MS1959I.
SLDN LEAD This models a Soldano SLO-100. This is the typical sound of the eighties.
METAL 5150 This models the lead channel of a Peavey EVH 5150.
METAL LEAD This is distortion sound that is ideal for performances of heavy riffs.
This models the sound of the BOSS OD-1.
OD-1
This produces sweet, mild distortion.
OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.
DISTORTION This gives a basic, traditional distortion sound.
FUZZ A fuzz sound with rich harmonic content.
Drive 0–127 Volume and amount of distortion of the amp
Master 0–127 Volume of the entire pre-amp
LOW, MIDDLE,
Gain Amount of pre-amp distortion
HIGH
Bass 0–127
Middle 0–127 Tone of the bass/mid/treble frequency range
Treble 0–127
Selects whether the sound will be sent through the speaker simulation (ON) or not
Speaker Sw OFF, ON (OFF)

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Parameter Value Explanation
Diameter (in inches) and number
Cabinet Mic
of the speaker
SMALL 1 small open-back enclosure 10 dynamic
SMALL 2 small open-back enclosure 10 dynamic
MIDDLE open back enclosure 12 x 1 dynamic
JC-120 open back enclosure 12 x 2 dynamic
BUILT-IN 1 open back enclosure 12 x 2 dynamic
BUILT-IN 2 open back enclosure 12 x 2 condenser
BUILT-IN 3 open back enclosure 12 x 2 condenser
STyp BUILT-IN 4 open back enclosure 12 x 2 condenser
BUILT-IN 5 open back enclosure 12 x 2 condenser
BG STACK 1 sealed enclosure 12 x 2 condenser
BG STACK 2 large sealed enclosure 12 x 2 condenser
MS STACK 1 large sealed enclosure 12 x 4 condenser
MS STACK 2 large sealed enclosure 12 x 4 condenser
METAL STACK large double stack 12 x 4 condenser
2-STACK large double stack 12 x 4 condenser
3-STACK large triple stack 12 x 4 condenser
Phaser Sw OFF, ON Phaser on/off
P. Rate 0.05–10.00 [Hz] Frequency of modulation
Phs Manual 0–127 Adjusts the basic frequency from which the sound will be modulated.
Phs Depth 0–127 Depth of modulation
Phs Reso 0–127 Amount of feedback
Phs Mix 0–127 Level of the phase-shifted sound
Level 0–127 Output Level

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86 Gt Ó Delay (Guitar Amp Simulator Ó Delay)

Balance D
L in L out
Balance W
Pre
Speaker Delay
Amp
Balance W
Feedback
R in R out
Balance D

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/off.
Type of guitar amp
JC-120 This models the sound of the Roland JC-120.
CLEAN TWIN This models a Fender Twin Reverb.
This models the sound input to left input on a Matchless D/C-30.
MATCH DRIVE
ATyp A simulation of the latest tube amp widely used in styles from blues and rock.
This models the lead sound of the MESA/ Boogie combo amp.
BG LEAD
The sound of a tube amp typical of the late ’70s to ’80s.
This models the sound input to Input I on a Marshall 1959.
MS1959I
This is a trebly sound suited to hard rock.
MS1959II This models the sound input to Input II on a Marshall 1959.
The sound of connecting inputs I and II of the guitar amp in parallel, creating a
MS1959I+II sound with a stronger low end than I.
SLDN LEAD This models a Soldano SLO-100. This is the typical sound of the eighties.
METAL 5150 This models the lead channel of a Peavey EVH 5150.
ATyp METAL LEAD This is distortion sound that is ideal for performances of heavy riffs.
This models the sound of the BOSS OD-1.
OD-1
This produces sweet, mild distortion.
OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.
DISTORTION This gives a basic, traditional distortion sound.
FUZZ A fuzz sound with rich harmonic content.
Drive 0–127 Volume and amount of distortion of the amp
Master 0–127 Volume of the entire pre-amp
LOW, MIDDLE,
Gain Amount of pre-amp distortion
HIGH
Bass 0–127
Middle 0–127 Tone of the bass/mid/treble frequency range
Treble 0–127
Selects whether the sound will be sent through the speaker simulation (ON) or not
Speaker Sw OFF, ON (OFF)

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Parameter Value Explanation
Diameter (in inches) and number
Cabinet Mic
of the speaker
SMALL 1 small open-back enclosure 10 dynamic
SMALL 2 small open-back enclosure 10 dynamic
MIDDLE open back enclosure 12 x 1 dynamic
JC-120 open back enclosure 12 x 2 dynamic
BUILT-IN 1 open back enclosure 12 x 2 dynamic
BUILT-IN 2 open back enclosure 12 x 2 condenser
BUILT-IN 3 open back enclosure 12 x 2 condenser
STyp BUILT-IN 4 open back enclosure 12 x 2 condenser
BUILT-IN 5 open back enclosure 12 x 2 condenser
BG STACK 1 sealed enclosure 12 x 2 condenser
BG STACK 2 large sealed enclosure 12 x 2 condenser
MS STACK 1 large sealed enclosure 12 x 4 condenser
MS STACK 2 large sealed enclosure 12 x 4 condenser
METAL STACK large double stack 12 x 4 condenser
2-STACK large double stack 12 x 4 condenser
3-STACK large triple stack 12 x 4 condenser
Delay Sw OFF, ON Delay on/off
Dly Time 1–1300 Delay time from when the original sound is heard to when the delay sound is heard
Adjusts the proportion of the delay sound that is fed back into the effect. (Negative
Delay Fbk -98–+98 [%] values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
Dly HF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
D100:0W– Volume balance between the sound that is sent through the delay (W) and the
Dly Bal D0:100W sound that is not sent through the delay (D)
Level 0–127 Output Level

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87 EP Ó Tremolo (EP Amp Simulator Ó Tremolo)

L in L out

EP Amp Speaker Tremolo

R in R out

Parameter Value Explanation

Type of amp
OLDCASE A standard electric piano sound of the early 70s
Type
NEWCASE A standard electric piano sound of the late 70s and early 80s
WURLY A standard electric piano sound of the 60s
Bass -50–+50 Amount of low-frequency boost/cut
Treble -50–+50 Amount of high-frequency boost/cut
Tremolo Sw OFF, ON Tremolo on/off
Tremolo Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
T.Speed 0.05–10.00 [Hz] Rate of the tremolo effect
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
T.Spd Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Trm Depth 0–127 Depth of the tremolo effect
Trm Duty -10–+10 Adjusts the duty cycle of the LFO waveform used to apply tremolo.
LINE, OLD, NEW, WURLY, Type of speaker. If LINE is selected, the sound will not be sent through the
Sp Type TWIN speaker simulation.
OD Switch OFF, ON Overdrive on/off
OD Gain 0–127 Overdrive input level
Degree of distortion.
OD Drive 0–127
Also changes the volume.
Level 0–127 Output Level

88 EP Ó Chorus (EP Amp Simulator Ó Chorus)

Balance D
L in L out
Balance W
EP
Speaker Chorus
Amp
Balance W

R in R out
Balance D

Parameter Value Explanation

Type of amp
Type OLDCASE A standard electric piano sound of the early 70s
NEWCASE A standard electric piano sound of the late 70s and early 80s
Bass -50–+50 Amount of low-frequency boost/cut
Treble -50–+50 Amount of high-frequency boost/cut
Cho Switch OFF, ON Chorus on/off
Adjusts the delay time from the direct sound until the chorus sound is
Cho PreDly 0.0–100 [ms] heard.
Cho Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
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Parameter Value Explanation
C.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
C.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Cho Depth 0–127 Depth of modulation
Volume balance between the sound that is sent through the chorus (W)
Cho Bal D100:0W–D0:100W and the sound that is not sent through the chorus (D).
LINE, OLD, NEW, WURLY, Type of speaker. If LINE is selected, the sound will not be sent through the
Sp Type TWIN speaker simulation.
OD Switch OFF, ON Overdrive on/off
OD Gain 0–127 Overdrive input level
Degree of distortion.
OD Drive 0–127
Also changes the volume.
Level 0–127 Output Level

89 EP Ó Flanger (EP Amp Simulator Ó Flanger)

Balance D
L in L out
Feedback
Balance W
EP
Speaker Flanger
Amp
Balance W

R in R out
Balance D

Parameter Value Explanation

Type of amp
Type OLDCASE A standard electric piano sound of the early 70s
NEWCASE A standard electric piano sound of the late 70s and early 80s
Bass -50–+50 Amount of low-frequency boost/cut
Treble -50–+50 Amount of high-frequency boost/cut
Flg Switch OFF, ON Flanger on/off
Adjusts the delay time from the direct sound until the flanger sound is
Flg PreDly 0.0–100 [ms] heard.
Flg Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
F.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
F.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Flg Depth 0–127 Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect.
Flg Fbk -98–+98 [%] (Negative values invert the phase.)
Volume balance between the sound that is sent through the flanger (W)
Flg Bal D100:0W–D0:100W and the sound that is not sent through the flanger (D).
Type of speaker.
LINE, OLD, NEW, WURLY,
Sp Type TWIN If LINE is selected, the sound will not be sent through the speaker
simulation.
OD Switch OFF, ON Overdrive on/off
OD Gain 0–127 Overdrive input level
OD Drive 0–127 Degree of distortion. Also changes the volume.
Level 0–127 Output Level
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90 EP Ó Phaser (EP Amp Simulator Ó Phaser)

L in L out

EP
Speaker Phaser
Amp
Mix
Resonance
R in R out

Parameter Value Explanation

Type of amp
Type OLDCASE A standard electric piano sound of the early 70s
NEWCASE A standard electric piano sound of the late 70s and early 80s
Bass -50–+50 Amount of low-frequency boost/cut
Treble -50–+50 Amount of high-frequency boost/cut
Phs Switch OFF, ON Phaser on/off
Phs Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
P.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
P. Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Phs Manual 0–127 Adjusts the basic frequency from which the sound will be modulated.
Phs Depth 0–127 Depth of modulation
Phs Reso 0–127 Amount of feedback
Phs Mix 0–127 Level of the phase-shifted sound
Type of speaker.
LINE, OLD, NEW, WURLY,
Sp Type TWIN If LINE is selected, the sound will not be sent through the speaker
simulation.
OD Switch OFF, ON Overdrive on/off
OD Gain 0–127 Overdrive input level
OD Drive 0–127 Degree of distortion. Also changes the volume.
Level 0–127 Output Level

91 EP Ó Delay (EP Amp Simulator Ó Delay)

Balance D
L in L out
Balance W
Time
EP
Speaker Ctrl
Amp
Delay Balance W
Feedback
R in R out
Balance D

Parameter Value Explanation

Type of amp
Type OLDCASE A standard electric piano sound of the early 70s
NEWCASE A standard electric piano sound of the late 70s and early 80s
Bass -50–+50 Amount of low-frequency boost/cut
Treble -50–+50 Amount of high-frequency boost/cut
Dly Switch OFF, ON Delay on/off
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Parameter Value Explanation
Delay Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when the original sound is heard to when the delay
D.Time 1–1300 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D.Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Speed at which the current delay time changes to the specified delay time
when you change the delay time.
Dly Accel 0–15
The speed of the pitch change will change simultaneously with the delay
time.
Adjusts the proportion of the delay sound that is fed back into the effect.
Delay Fbk -98–+98 [%] (Negative values invert the phase.)
Frequency at which the high-frequency portion of the delay sound will be cut (BYPASS: no cut)
Dly HF 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Volume balance between the sound that is sent through the delay (W)
Dly Bal D100:0W–D0:100W and the sound that is not sent through the delay (D)
Type of speaker.
LINE, OLD, NEW, WURLY,
Sp Type TWIN If LINE is selected, the sound will not be sent through the speaker
simulation.
OD Switch OFF, ON Overdrive on/off
OD Gain 0–127 Overdrive input level
Degree of distortion
OD Drive 0–127
Also changes the volume.
Level 0–127 Output Level

92 Enhncr Ó Cho (Enhancer Ó Chorus)

Balance D
L in Enhancer L out
Mix Balance W
Chorus
Balance W

R in Enhancer R out
Mix Balance D

Parameter Value Explanation

Enh Sens 0–127 Sensitivity of the enhancer
Enh Mix 0–127 Level of the overtones generated by the enhancer
Adjusts the delay time from the direct sound until the chorus sound is
Cho PreDly 0.0–100 [ms] heard.
Cho Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
C.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
C.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Cho Depth 0–127 Depth of modulation
Volume balance between the sound that is sent through the chorus (W)
Cho Bal D100:0W–D0:100W and the sound that is not sent through the chorus (D).
Level 0–127 Output Level

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93 Enhncr Ó Fl (Enhancer Ó Flanger)

Balance D
L in Enhancer L out
Mix Feedback Balance W
Flanger
Balance W

R in Enhancer R out
Mix Balance D

Parameter Value Explanation

Enh Sens 0–127 Sensitivity of the enhancer
Enh Mix 0–127 Level of the overtones generated by the enhancer
Flg PreDly 0.0–100 [ms] Adjusts the delay time from the direct sound until the flanger sound is heard.
Flg Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
F.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T,
F.Rate Nt Note 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Flg Depth 0–127 Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect.
Flg Fbk -98–+98 [%] (Negative values invert the phase.)
Volume balance between the sound that is sent through the flanger (W) and
Flg Bal D100:0W–D0:100W the sound that is not sent through the flanger (D).
Level 0–127 Output Level

94 Enhncr Ó Dly (Enhancer Ó Delay)

Balance D
L in Enhancer L out
Mix Balance W
Delay
Balance W
Feedback
R in Enhancer R out
Mix Balance D

Parameter Value Explanation

Enh Sens 0–127 Sensitivity of the enhancer
Enh Mix 0–127 Level of the overtones generated by the enhancer
Delay Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
D.Time 1–2600 Delay time from when the original sound is heard to when the delay sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4, 1/2T, 1/4., 1/2,
D.Time Nt Note 1T, 1/2., 1, 2T, 1., 2
-98–+98 [%] Adjusts the proportion of the delay sound that is fed back into the effect. (Negative
Delay Fbk values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
Dly HF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
D100:0W– Volume balance between the sound that is sent through the delay (W) and the sound
Dly Bal D0:100W that is not sent through the delay (D)
Level 0–127 Output Level
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95 Chorus Ó Dly (Chorus Ó Delay)

Balance D Balance D
L in L out
Balance W
Balance W
Chorus Delay
Balance W
Balance W Feedback
R in R out
Balance D Balance D

Parameter Value Explanation

Adjusts the delay time from the direct sound until the chorus sound is
Cho PreDly 0.0–100 [ms] heard.
Cho Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
C.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
C.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Cho Depth 0–127 Depth of modulation
Cho Bal D100:0W–D0:100W Volume balance between the direct sound (D) and the chorus sound (W)
Delay Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when the original sound is heard to when the delay
D.Time 1–2600 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D.Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
Delay Fbk -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
Dly HF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Volume balance between the sound that is sent through the delay (W)
Dly Bal D100:0W–D0:100W and the sound that is not sent through the delay (D)
Level 0–127 Output Level

96 Flanger Ó Dly (Flanger Ó Delay)

Balance D Balance D
L in L out
Feedback Balance W
Balance W
Flanger Delay
Balance W Balance W
Feedback
R in R out
Balance D Balance D

Parameter Value Explanation

Adjusts the delay time from the direct sound until the flanger sound is
Flg PreDly 0.0–100 [ms] heard.
Flg Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
F.Rate 0.05–10.00 [Hz] Frequency of modulation
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
F.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Flg Depth 0–127 Depth of modulation
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Parameter Value Explanation
Adjusts the proportion of the flanger sound that is fed back into the effect.
Flg Fbk -98–+98 [%] (Negative values invert the phase.)
Flg Bal D100:0W–D0:100W Volume balance between the direct sound (D) and the flanger sound (W)
Delay Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
Delay time from when the original sound is heard to when the delay
D.Time 1–2600 sound is heard
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
D.Time Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Adjusts the proportion of the delay sound that is fed back into the effect.
Delay Fbk -98–+98 [%] (Negative values invert the phase.)
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to
filter out any high frequencies, set this parameter to BYPASS.
Dly HF
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
[Hz]
Volume balance between the sound that is sent through the delay (W)
Dly Bal D100:0W–D0:100W and the sound that is not sent through the delay (D)
Level 0–127 Output Level

97 Chorus Ó Fl (Chorus Ó Flanger)

Balance D Balance D
L in L out
Balance W Feedback
Balance W
Chorus Flanger
Balance W
Balance W
R in R out
Balance D Balance D

Parameter Value Explanation

Adjusts the delay time from the direct sound until the chorus sound is
Cho PreDly 0.0–100 [ms] heard.
Cho Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
C.Rate 0.05–10.00 [Hz] Modulation frequency of the chorus effect
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
C.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Cho Depth 0–127 Modulation depth of the chorus effect
Cho Bal D100:0W–D0:100W Volume balance between the direct sound (D) and the chorus sound (W)
Adjusts the delay time from the direct sound until the flanger sound is
Flg PreDly 0.0–100 [ms] heard.
Flg Sync OFF, ON If this is ON, the rate synchronizes with the tempo of the rhythm.
F.Rate 0.05–10.00 [Hz] Modulation frequency of the flanger effect
1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T, 1/8., 1/4,
F.Rate Nt Note 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2
Flg Depth 0–127 Modulation depth of the flanger effect
Adjusts the proportion of the flanger sound that is fed back into the effect.
Flg Fbk -98–+98 [%] (Negative values invert the phase.)
Volume balance between the sound that is sent through the flanger (W)
Flg Bal D100:0W–D0:100W and the sound that is not sent through the flanger (D).
Level 0–127 Output Level

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98 JD Multi
Recreates the effects included in group A of the JD-800.

L in L out

Distortion Phaser Spectrum Enhancer

R in R out

Parameter Value Explanation

DS - PH - SP - EN
DS - PH - EN - SP
DS - SP - PH - EN
DS - SP - EN - PH
DS - EN - PH - SP
DS - EN - SP - PH
PH - DS - SP - EN
PH - DS - EN - SP
PH - SP - DS - EN
PH - SP - EN - DS
Selects the connection order of the effects.
PH - EN - DS - SP
DS: Distortion
PH - EN - SP - DS
Seq PH: Phaser
SP - DS - PH - EN
SP: Spectrum
SP - DS - EN - PH
EN: Enhancer
SP - PH - DS - EN
SP - PH - EN - DS
SP - EN - DS - PH
SP - EN - PH - DS
EN - DS - PH - SP
EN - DS - SP - PH
EN - PH - DS - SP
EN - PH - SP - DS
EN - SP - DS - PH
EN - SP - PH - DS
DS Switch OFF, ON Turns the distortion on/off.
Sets the type of distortion.
MELLOW DRV Softer distortion with a slightly darker sound.
OVERDRIVE Distortion that resembles a vacuum tube amp being driven.
CRY DRV Distortion that emphasizes the high end.
DS Type
MELLOW DST Gives the feeling of distortion playing through a large amp.
LIGHT DST Strong distortion with a bright sound.
FAT DIST Thick distortion that emphasizes the low and high ends.
FUZZ DIST Distortion that’s even more powerful that FAT DIST.
DS Drive 0–100 Sets the amount of distortion.
DS Level 0–100 Sets the distortion output level.
PH Switch OFF, ON Turns the phaser on/off.

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Parameter Value Explanation
Sets the basic frequency from which the sound is modulated with the
PH Manual 50 [Hz]–15.0 [kHz] phaser effect.
PH Rate 0.1–10.0 [Hz] Sets the cycle of the phaser modulation.
PH Depth 0–100 Sets the depth of the phaser modulation.
Sets the amount of feedback for the phaser. Increasing the value creates a
PH Resonance 0–100 more unusual sound.
PH Mix 0–100 Sets the level of the phase-shifted sound.
SP Switch OFF, ON Turns the spectrum on/off.
SP Band Ctrl1 -15–+15 [dB] Sets the gain (amount of boost/cut) in the 250 Hz range.
SP Band Ctrl2 -15–+15 [dB] Sets the gain (amount of boost/cut) in the 500 Hz range.
SP Band Ctrl3 -15–+15 [dB] Sets the gain (amount of boost/cut) in the 1000 Hz range.
SP Band Ctrl4 -15–+15 [dB] Sets the gain (amount of boost/cut) in the 2000 Hz range.
SP Band Ctrl5 -15–+15 [dB] Sets the gain (amount of boost/cut) in the 4000 Hz range.
SP Band Ctrl6 -15–+15 [dB] Sets the gain (amount of boost/cut) in the 8000 Hz range.
SP Width 1–5 Sets the bandwidth for changing the levels, common to all bands.
EH Switch OFF, ON Turns the enhancer on/off.
EH Sens 0–100 Sets how easily the enhancer effect is applied.
Sets the ratio at which the harmonics generated by the enhancer are
EH Mix 0–100 mixed with the original sound.
Pan L64–63R Changes the pan.
Level 0–127 Sets the output volume.

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