USER'S MANUAL

For
Firmware
V1.8

※
In the interest of product improvement, the specifications and/or the content of products (including but not limited to appearances, packaging design, manual content,
accessories, size, parameters and display screen), are subjectto change without prior notice. Please check with local supplier for exact o ers. Specifications and features
(including but not limited to appearances, colors and size) may vary by model owing to environmental factors, and all images are illustrative.
TABLE OF CONTENTS
WELCOME ···········1 and amp ···········16
ATTENTION ··········1 Connecting to your amp's
OVERVIEW ··········2 RETURN ···········17
PANEL INTRODUCTION·····3 Connecting your mixer,
GETTING STARTED·······4 interface, headphones, and
Play Mode··········4 other equipment ·······17
Edit Mode ··········5 Connecting to your computer
Navigating Patches······5 as an audio interface ·····18
Using The TUNER·······5 Using the AUX IN line·····18
Looper Function ·······6 EFFECT LIST ·········19
Drum Machine ········6 PRE ············19
EXP Pedal ··········6 DST ············21
Edit··············7 AMP ············23
Change E ect Module Position·7 NR ·············31
Stomp Mode ·········8 CAB ············31
Save Mode··········9 EQ ·············33
GLOBAL············9 MOD ············34
I/O ·············9 DELAY ···········35
Tap Tempo Mode ······10 REVERB ··········37
EXP Settings ········10 DRUM RHYTHM LIST ·····38
Calibrate ··········11 TROUBLESHOOTING ·····41
USB Audio ·········12 SPECIFICATION········41
Footswitch Mode ······13
Global EQ ··········13
Language··········14
Factory Reset ········15
About············15
SOFTWARE··········16
SUGGESTED SETUPS ·····16
Using with your instrument
 1
WELCOME
Thank you for purchasing a VALETON product.
Please read this manual carefully to get the most out of your GP-100.
Please keep this manual for future reference.

ATTENTION
Handling
·Do not get the unit wet. If liquid is spilled on the unit, shut it o immediately.
·Do not block any of the ventilation openings.
·Keep away from heat sources.
·Disconnect the unit during storms to prevent damage.
·Operation of this unit within significant electromagnetic fields should be avoided.

Connecting the power and input/output jacks

·Always turn OFF the power to the unit and all other equipment before connecting or disconnecting
any cables. Also make sure to disconnect all connection cables and the AC adapter before moving
the unit.

Cleaning
·Clean only with a dry cloth.

Alterations
·Do not open the unit.
·Do not attempt to service the unit yourself.
·Opening the chassis for any reason will void the manufacturer’s warranty.

AC Adapter Operation
·Always use a DC9V center negative 500mA AC adapter. Use of an adapter other than that
specified could damage the unit or cause malfunction and pose a safety hazard. Always connect the
AC adapter to an AC outlet that supplies the rated voltage required by the adapter.
·UNPLUG THE UNIT DURING LIGHTNING STORMS OR WHEN UNUSED FOR LONG PERIODS OF TIME.

Malfunction
If the unit should malfunction, disconnect the AC adapter and turn the power OFF immediately.
Then, disconnect all other connected cables.
Prepare information including the model name, serial number, specific symptoms related to the
malfunction, your name, address and telephone number and contact the store where you bought
the unit, or contact VALETON support ([email protected]) .

Thank you for choosing a VALETON product!

 2
OVERVIEW
The GP-100 is a compact, high performance guitar multi-e ects processor. It o ers a potent e ects
processing platform and complete feature set, so you can improve your skill and experiment with
di erent guitar e ects, all with one simple-to-use, portable device.

The GP-100 has 150 e ects to choose from and allows you to run 9 e ects simultaneously. It
provides an Expression Pedal which can be assigned to the e ect you want to control for real-time
e ect changes or master volume. The 99 included factory presets let you jump right in, and 99 user
presets allow you to store all your favorite e ects.

The built-in tuner gets your guitar in tune. The built-in drum machine and aux input jack set you up
to play along with a drum loop, metronome, or your favorite music.

Whether you're a beginner or an old guitar freak, the GP-100’s got it all to let you have at it!
 3
PANEL INTRODUCTION

1 2
3 4

7 5 6

8 8 8

10 10

1. LED Display 6. SAVE button

This display shows GP-100’s the patch Use this button to store, rename, and copy the
numbers, patch name, and other operation preset. Whenever a preset is modified, the
information. LCD display will show a “*” symbol to indicate
2. PARA knob (with enter button) that the parameter has been changed.
Turning or pressing this knob allows you to Confirm to save the changed parameter.
change menus and adjust parameters. 7. EXIT button
3. GLOBAL button In any menu, press this button to return to the
Press this button to enter the global setting main interface.
menu, where you can edit the global 8. Quick Access Knobs
parameters of the GP-100. Use to adjust parameters on the lower part of
4. DRUM button the screen. Each knob will vary in function
Press this button to play the drum. Hold this according to the parameter on the display.
button to enter the Drum Machine Edit menu, 9. Expression Pedal
where you can edit the drum parameters Use to control the parameter of one or several
(style, rhythm, and volume). In the Drum e ects, including output volume.
Machine Edit menu, press the DRUM button or 10.
[-]
Footswitch / [+] Footswitch
the PARA knob to turn the drum machine on / These footswitches are used for controlling
o . the tuner, preset scrolling, start/stop/record
5. EDIT button phrases, and other functions. Their function
In any menu, press this button to enter the will depend on the footswitch mode you are
Edit Settings menu. currently using.
 4
PANEL INTRODUCTION

11 12 12 13 14 15 16

11. INPUT Jack (phone, MP3 player) for practice and

1/4” mono audio jack, for connecting guitar. jamming.
12. OUTPUT L/OUTPUT R Jack 14. PHONES
1/4” TS output interfaces can be configured 1/8” TRS output for connecting headphones.
for mono or stereo operation. Use them to 15. USB
connect to a single guitar speaker, a pair of USB 2.0 Type-B connects to your computer
stereo guitar speakers, or directly to the input for use with GP-100 software, or as a USB
of a PA or recording device. audio interface.
13. AUX IN 16. Power Supply Connection
1/8” TRS input for connecting external devices Power supply input (9V DC center negative) .

GETTING STARTED
The GP-100 has two operation modes: Play Mode and Edit Mode.

Play Mode
GP-100 will be in play mode when first powered on. The LED screen shows the patch number (from
P01 to F99), master volume, patch volume, BPM, patch name and more. Play Mode allows you to
navigate presets using the PARA knob or footswitches.

H A. Patch No.
A B. Patch name
C. Foot switch mode
G I
B D. Master volume
E. Patch BPM
C F. Patch volume
G. EXP pedal state
H. Patch state
I. DRUM state
D E F
 5
GETTING STARTED
Edit Mode
Press PARA in the main interface or EDIT in any interface to enter EDIT mode. In this mode, you can
switch e ect types, edit e ect parameters, and change the order of e ect modules.

NOTE:
1. E ect settings changed in Edit Mode will need to be stored to a patch.
2. The exceptions are the Master Level and drum machine settings, which are global settings and are not
stored to patch.
3. Whenever you change the e ect settings of a stored preset, the “*” dot at the top of the screen lights up,
indicating the e ect setting has been changed from the previously stored value in the patch.
4. See “Editing Patch” for more information on storing a patch.

Navigating Patches
The GP-100 has two patch banks: the User patch bank, which appears in the LED display as P01 to
P99, and the Factory patch bank, which appears in the LED display as F01 to F99. From Play
Mode, step on the footswitche [-]/[+] or turn the PARA knob to change presets .

Using The TUNER

Press and hold both footswitches at any time to enter the tuner
mode.
In tuner mode, the LED screen will display the tuning interface.
When you pluck a string, the note will appear in the center. Left of
center is flat, and right of center is sharp.
As you tune your instrument towards the middle, the color of the
scale will change from red (out of tune) to yellow (near pitch) to
green (in tune).

Quick access knob 3 adjusts the pitch calibration (REF PITCH), ranging from 435Hz to 445Hz.
Standard pitch is set at 440Hz. Quick access knob 1 lets you select the tuner mode from Bypass (for
dry signal through), Thru (for e ect signal through) or Mute (for silent tuning).You can exit the tuner
either by pressing any footswitch or by pressing the EXIT button.
 6
GETTING STARTED
LOOPER Function
Simultaneously
hold two footswitches until the LOOPER menu
appears.
The progress bar at the top will be shown in red during
recording and overdubbing. It will be shown in blue in play
mode.
Quick access knob 1 adjusts the loop recording level from 0-99.
Quick access knob 2 selects between setting the loop before
(Pre) or after (Post) your e ects chain.
In Pre mode, the looper will record mono audio without any
e ects, up to 90 seconds.
In Post mode, the looper will record stereo audio with e ects, up to 45 seconds.
Quick access knob 3 adjusts the loop playback volume from 0-99.
NOTE:
You can exit the LOOPER by pressing the EXIT button. The function of the footswitches in this interface，
tap footswitch [-] to record / play/ overdub, tap footswitch [+] to stop, hold to clear.
Simultaneously hold two footswitchs to exit.

Drum Machine
Press the “DRUM” button in any interface to turn on the drum.
After the drum is turned on, a symbol will be displayed on the
right side of the main interface to show the drum machine is
active.
Press and hold the DRUM button to enter the drum menu.

Quick access knob 1 adjusts the DRUM style. Quick access

knob 2 adjusts the DRUM BPM from 40-250. Quick access
knob 3 adjusts the DRUM volume from 0-99. Turn the PARA
knob to switch the DRUM genre. Press the PARA button to
play/stop the drum.

EXP Pedal
You can use the built in expression pedal to control various
GP-100 parameters.
Some GP-100 preset patches have been set up to use the built
in expression pedal. These can be used without any further
setup. Refer to the expression pedal setting section to set the expression pedal.
To activate the built-in expression pedal, press the upper side of the pedal all the way down. When
the built-in expression pedal is on, an icon will show up on the Main Display screen to indicate it is on:

NOTE
The built-in expression pedal also functions when it is turned o . It controls the output volume or input
volume of the GP-100, depending on the where it is positioned in the e ect chain.
 7
EDIT
Turn the PARA knob or tap the footswitch to switch the patch.
Press the PARA button or EDIT button to enter the EDIT menu.
This menu is made of ten icon squares representing GP-100’s
nine e ects modules.
The default signal chain is ordered like this:
PRE (Pre-e ects) - DST (Overdrive/Distortion) - AMP (Amp
simulator) - NR (Noise reducer) - CAB (Cabinet simulator) - EQ
(Equalization) - MOD (Modulation) - DLY (Delay) - RVB
(Reverb).
You can arrange the e ect modules however you want.
When you open any e ect module, the corresponding icon lights up to indicate the current e ect
module is selected.
In the EDIT Menu, turn the PARA knob to select the e ect module you want to edit. The editable
parameters of the currently selected e ect module are displayed at the bottom of the screen;
di erent e ect modules have di erent parameters. You can use the three Quick adjust knobs to
adjust the parameters located directly above the knobs. A page number will appear at the top right
of the screen.
Some e ects have several parameters, but only three
parameters appear per page. Press the PARA knob button to
turn the page to view the other available parameters.

Change E ect Module Position

Press and hold the PARA button in the EDIT Menu to change
the position of the e ect module.

·Turn the PARA button to select the e ect module you want to move
·Turn the Quick adjust knob 1 to control the selected module on/o
·Turn Quick adjust knob 3 to move the selected module.
·Press the PARA button to return to the EDIT menu.

NOTE
Remember that turning the modules on/o and adjusting parameters will change the current patch. If you
switch patches or turn GP-100 o before saving your changes, the changes will be lost. Make sure to press
the SAVE button to save your settings.
Reminder: In some extreme cases the signal processor may become overloaded and display a “System
Overload” caution.
 8
EDIT
Stomp Mode

Select the footswitch mode in the GLOBAL menu to select

STOMP mode.

After selecting the STOMP mode, the function of the footswitch

[-]/[+] on the main interface will be changed to the information
of the current controllable module. Each footswitch can only
control 1-3 module switches.

In STOMP mode, press the PARA button or EDIT button to enter

the EDIT menu.

In STOMP mode, the tone editing operation is the same as in

PATCH mode. Only one foot switch control module selection
function is added:
There are two kinds of graphics “▲” “△” below the module
under this interface to indicate the module controlled by the
current footswitch [-]/[+]. Turn Quick adjust knob 2 to select
the module to be controlled by the footswitch. FS 1 refers to
the module controlled by the footswitch[-]. FT 2 refers to the
module controlled by the footswitch[+]. Selecting OFF means
it is not controlled.

NOTE
Remember that turning the modules on/o and adjusting parameters will change the current patch. If you
switch patches or turn GP-100 o before saving your changes, the changes will be lost. Make sure to press
the SAVE button to save your settings.
Reminder: In some extreme cases the signal processor may become overloaded and display a “System
Overload” caution.
 9
EDIT
Save Mode

In the SAVE menu, you can save the changes you make to your
e ects parameters, control information, and other editable
targets.
It is very important to save the changes you make to your tone
and control settings!
Turn the PARA knob to select the patch you want to save.

·Quick access knob 1 changes the characters. There are four types of characters: numbers, capital
letters, lowercase letters, and symbols (includes space).
·Quick access knob 2 changes the position of the cursor.
·Quick access knob 3 deletes left and right characters.
·Press the PARA button or SAVE button to confirm the save.
·Press the EXIT button to exit the SAVE menu.

GLOBAL
This menu is to present GP-100’s global functions, including
input level, output setting, tap tempo mode, EXP pedal
I/O settings, language, and footswitch mode. You can also return
to factory settings from this menu.
Global settings will a ect GP-100’s overall working status.
EXP
Setting
These will override any other settings made to your patches.
Input No
CAB No
CAB Any changes made in Global settings will be automatically
Level Mode(L) Mode(R)
saved and immediately operational.
OFF OFF
In the main menu, press GLOBAL to enter the global settings
menu.
Turn the PARA knob to select settings in the GLOBAL menu. You can use the three Quick adjust
knobs to adjust the parameters directly above the knobs. A page number will appear at the top right
of the screen. Press the PARA knob button to turn the page to view the other available parameters.

I/0

I/O This menu is to set up global input/output settings. Adjust the

optimal Input Level for the instrument or other sound source
EXP
Setting you’re using.
Adjustable range is from -20dB to +20dB.
Input No
CAB No
CAB
Level Mode(L) Mode(R) Default is set to 0dB.
OFF OFF
 10
GLOBAL

I/O No CAB Mode is for connecting to instrument amplifiers without

changing saved presets.
Turning this on will bypass the CAB module for GP-100’s L/R output
EXP
Setting channels ignoring preset settings. You can apply di erent settings
Input No
CAB No
CAB on L/R output channels for di erent scenarios.
Level Mode(L) Mode(R) Default is set to OFF.
OFF OFF

Tap Tempo Mode In this menu, you can decide whether you want all patches to
react and coordinate with Tap Tampo. This function ignores
the Sync settings in the stored patches, but does not a ect
I/O
the stored patches.
The Sync function of the PRE, MOD and DLY modules in all the
EXP
Setting patches can be a ected by Tap Tempo.
PRE MOD DLY After the synchronization is enabled, when you turn on Tap
Tempo, the Sync of the corresponding module will be opened.
CLOSE CLOSE CLOSE
You can control the time/speed value of the corresponding
module by Tap Tempo in any patch.
EXP Setting

I/O In this menu, you can control the settings of, or calibrate your
built-in expression pedal.
EXP
Setting
There are four options within this menu: Target, EXP Range,
Volume Range, and Calibrate.

·Target
Under the Target option, you can define the pedal’s control
target. You can set up a maximum of 3 e ects parameters for
the built-in expression pedal to control.
In the selection panel, Block X (X standing for 1-3 controllable
targets) represents the e ects module in play. FX X displays
the actual e ect name, and PARA X shows the e ect’s
controllable parameter.

Use Quick access knob 1 to select the module placement. Use Quick access knob 3 to select the
e ects parameter. Press the PARA button to flip through the panel. You can also turn the expression
pedal o by selecting OFF in the settings panel.
 11
GLOBAL
·EXP Range
Under the EXP Range option, you can arrange the expressison
pedal's expression range. There are 3 adjustable targets to
change these settings.
In the selection panel, MIN X (X standing for 1-3 controllable
targets) represents the lowest range value. This is the value
the pedal will have when pushed all the way up. MAX X
represents the highest range value, when the pedal is pushed
all the way down. The MIN and MAX range is 0-100, and the
MIN value can be greater than the MAX value.

·VOL Range
When the built in expression pedal is o , it continues to work
as a volume pedal. Under the VOL Range option, you can set
the volume pedal range and position. Just like in the EXP
Range section, the MIN and MAX range is 0-100, and the MIN
value can be greater than the MAX value.
In this menu you can set the position of the volume pedal in
the e ects chain. PRE means that the volume pedal is at the
front of the e ects chain (before the input level), and POST
means that the volume pedal is at the end of the e ects chain
(before the master volume).

Calibrate

The Calibrate option helps you calibrate your expression

pedal. It is important to calibrate the expression pedal if you
find the sweep has very little or too much change in the e ect
you’ve set.
Press the PARA button to enter the Calibrate menu.

Bring the pedal all the way up (back) and press the PARA
button to next step.
 12
GLOBAL

Then press the pedal all the way down (forward) Then, press the pedal toe down strongly and
and press the PARA button to next step. press the PARA button to next step.

If the pedal is successfully calibrated, the

following prompt will be displayed. Press the If pedal calibration fails, press the the PARA
PARA button to confirm the calibration and button to re-calibrate.
return to the previous menu.

USB Audio
This menu is to set up USB audio settings when using GP- 100
as a USB audio interface.
Rec Level range: -20dB to +20dB, default: 0dB
Monitor Level range: -20dB to +6dB, default: 0dB
The Rec Mode options allow you to select USB recording input
1/2
sources on left (L) and right (R) input channels. The selections
for these are same: dry signal (Dry) and wet signal (E ect).
When recording, adjust the optimal Rec Level and Monitor
Level according to the instrument or other devices you're
using.
 13
GLOBAL
Footswitch Mode
This menu is to set up the GP-100's footswitch mode.
Turn Quick adjust knob 2 to select the footswitch mode. You
can select footswitch mode as PATCH mode or STOMP mode.

NOTE
In both footswitch modes, press and hold footswitch [-] to turn
on/o Tap Tempo function, press and hold footswitch [+] to
switch footswitch mode.

Global EQ

USB
Audio
This menu is to control the global equalizer of the GP-100 in
Footswitch
Mode order to change the overall tone feel.
Global
EQ 1/5 This is the displayed menu:
L-CUT H-CUT
ON/OFF
FREQ FREQ
OFF OFF OFF

Global EQ contains Low Cut / High Cut, and 4 bands of parametric EQ. Every frequency band can be
freely adjusted based on your needs. There are total 6 of them.

Parameter Range Description

ON/OFF ON/OFF On/Off global EQ
OFF~20Hz~20000Hz
Low Cut High pass filter to cut off low frequency signals.
(Default: OFF)

20Hz~20000Hz~OFF
High Cut Low pass filter to cut off high frequency signals.
(Default: OFF)

20Hz~20000Hz
Band 1-4: 4 selectable
(Band 1-4’s default
peak filters used for Band 1-4
frequencies are accordingly To adjust the corresponding filter’s frequency.
overall or detailed Frequency
100Hz, 500Hz, 1000Hz and
frequency adjustment
5000Hz)
in the certain range,
Width. To adjust the width of the formant (slope of
including 3 available 0.1~10.0
Band 1-4 Q the filter), the larger the number, the steeper the
parameters: (Default: 0.7)
slope.
Frequency, Q and
Gain. Band 1-4 -20dB ~ +20dB
Adjust the filter gain
Gain (Default: 0dB)
 14
GLOBAL

Note:
 Please stay cautious when adjusting your global EQ to protect your hearing and device
 Global EQ won’t affect the USB audio output of the GP-100
 When a patch is using too many modules, or some modules are consumed with too much system resources
(such as reverb effect), the system may be overloaded after applying global EQ.

Language

This menu is to choose the GP-100's language.

Press the PARA button to enter the language settings menu.

Turn the PARA button to select the system languag, press the
PARA button to confirm the selection.

Press the PARA button again or press the EXIT button to

return to the previous menu.
 15
GLOBAL
Factory Reset

This menu is to perform a factory reset. Remember,

resetting the GP-100 will delete all of your saved changes
and personal settings. Once it is executed, it cannot be
undone, so please back up your settings before performing
a factory reset.

Press the PARA button to enter the factory reset menu.

Turn the PARA knob to select OK/Cancel to confirm or cancel

the factory reset. Press the PARA button to confirm select.
Selecting OK will initiate the factory reset. Selecting Cancel
will go back to the previous menu.

After starting the factory reset, this screen will appear

showing that the reset is in progress. Do not disconnect the
power supply while the reset is in progress. Disconnecting
the power supply may cause your GP-100 to malfunction.
When the factory reset is complete, press the PARA button
to return to the main menu.

About

The About option will show you information about GP-100’s

firmware.
1.8
 16
SOFTWARE
Connect GP-100 to your computer and access the free software to manage your GP-100 device, adjust tonal
settings, transfer files, update firmware, restore settings, and upload third party IR files. GP-100 software is
compatible with Windows and macOS platforms. Visit www.valeton.net/support to download the software for
free.

Suggested Setups
Here are some common setups to get the most out of GP-100.
Using with your instrument and amp
Plug your instrument into the GP-100 instrument INPUT jack, and run a cable (or two) from the OUTPUT(s) to
your amplifier(s). If you have one amp, run the cable from the left output.
For best results, turn o the AMP and CAB modules on GP-100.
 17
Suggested Setups
Connecting to your amp's RETURN
Connect the outputs to your amp’s FX Loop Return input. If you have one amp, run the cable from the left output.
For best results, turn o the CAB module on GP-100.

Connecting your mixer, interface, headphones, and other equipment

Connect GP-100’s outputs to your mixer or audio interface’s corresponding inputs. If you want to send a mono
signal out, use GP-100’s left output channel. To prevent damage to your equipment, make sure the mixer or
interface channel’s volume is muted before making ANY connections. Turn theGP-100 output volume all the
way down before connecting headphones to prevent harm to your ears. GP-100’s headphones out comes with
stereo sound.
For best results with headphones, turn on GP-100’s AMP and CAB modules.
 18
Suggested Setups
Connecting to your computer as an audio interface
Connect a USB cable (not included) from GP-100 to your computer. For PC systems, you’ll need to set up the
driver. GP-100 is plug and play for macOS. Run line out cables to your monitors, or use headphones.

Using the AUX IN line

Connect a male-to-male 1/8” stereo cable from your audio source (phone or MP3 player) to GP-100’s AUX IN
jack. This line will be una ected by GP-100’s internal e ects. Note: if you are running a mono line out, you will
only hear a mono version of your AUX source.
 19
EFFECT LIST
PRE
FX Title Description Parameters & Ranges Good For

Based on the legendary Ross™

Compressor. This is the originator of
the guitar compression e ect.
It brings the guitar compression e ect Sustain (0~99) Controls the compression amount
COMP Vintage
to the public and becomes an Output (0~99) Controls the e ect output volume
important element in the future.
It has a very natural and mellow
compression e ect.

Based on the Keeley ® C4 4-knob

Sustain (0~99) Controls the compression amount
compressor*. A recording studio -
Attack (0~99) Controls how soon the compressor
level compression e ect. Clear sense
COMP4 starts to process the signal Modern
of hierarchy, the right amount of high
Output (0~99) Controls the e ect output volume
frequency makes your guitar sound
Clip (0~99) Controls the input sensivity
brighter.

Based on famous Xotic ® EP Booster*

pedal. Provides +20DB of pure
Gain(0~99) Controls the e ect gain
Boost stimulation lift, strong low frequency, Modern
Bright(O /On) Switches extra brightness on/o
bright high frequency, making clear
sound more pleasant.

Body(0~99) Controls the body resonance

Top(0~99) Controls the upper harmonics
Acoustic guitar simulator designed VOL(0~99) Controls the e ect output
for guitars. Its prototype comes from Mode(STD, Jumbo, ENH, Piezo) Switches from 4 modes:
AC Sim Modern
a classic acoustic guitar analog STD: Simulates a standard acoustic guitar
stompbox. Jumbo: Simulates a jumbo acoustic guitar
ENH: Simulates an acoustic guitar with enhanced attack
Piezo: Simulates the sound of a piezo pickup

Control the wah sound by playing Sense (0~99) Controls the sensitivity
intensity. A wide range d envelope Range (0~99) Contols the filter center frequency range
Funk
T-WAH filter (a.k.a. touch wah) designed for Q (0~99) Controls the filter Q
Rock
guitarists and bassists that is touch- Mix (0~99) Controls the wet/dry signal ratio
sensitive and flexible. Mode (Guitar/Bass) Switches from guitar/bass modes

Depth (0~99) Controls the e ect depth

Rate (0.1~10Hz) Controls the e ect speed
Set the rate to make the wah pedal
VOL(0~99) Controls the e ect output
work regularly. Providing a variable Funk
A-WAH Low(0~99) Controls the filter low frequency range
auto wah e ect for both guitars and Rock
Q (0~99) Controls the filter Q
basses.
High (0~99) Controls the filter high frequency range
Sync (O /On) Switches Tap Tempo sync on/o

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 20
EFFECT LIST
PRE
FX Title Description Parameters & Ranges Good For

Based on legendary VOX ® V846*

wah pedal. The earliest wa-wah
pedal was originally designed to
allow the wind instrument passing
V-Wah through it to produce a more
emotionally expressive “wa-wah” Range(0~99) Controls the filter frequency range
sound. The amplitude is small and Q (0~99) Controls the filter Q
acts between medium and high VOL(0~99) Controls the e ect output
Vintage
frequency. To use expression pedal as a wah pedal, assign Range as
control target; you’ll hear the di erence by switching the
Based on legendary Dunlop ® pedal on and moving back and forth
CryBaby ® * wah pedal. The classic
60's traditional wha pedal, acting
C-Wah
between low and medium
frequency, moderate amplitude,
neutral timbre.

Low Oct (0~99) Controls the lower octave volume

OCTA Provides polyphonic octave e ect. High Oct (0~99) Controls the higher octave volume Vintage
Dry (0~99) Contols the dry signal level

H-Pitch(0~+24) Controls the lower pitch by half notes

L-Pitch(0~-24) Controls the higher pitch by half notes
Pitch Polyphonic pitch shifter/harmonizer. Dry(0~99) Controls the dry singal level Vintage
H-Vol(0~99) Controls the high pitch volume
L-Vol(0~99) Controls the low pitch volume

H-Pitch(0~+12) Controls the lower pitch by one notes

L-Pitch(0~-12) Controls the higher pitch by one notes
P-Bend Polyphonic pitch shifter/harmonizer. Wet(0~99) Controls the wet singal ratio Vintage
Dry(0~99) Controls the dry sing al ratio
Range(0~99) Controls the harmony e ect pitch range

Gain(0~00) Controls the gain amount

Vintage tape saturation simulater
Mix(0~99) Controls the wet/dry signal ratio
Saturate providing analog warmth and Vintage
Output (0~99) Controls the e ect output volume
natural distortion.
H-Cut(0~99) Controls the e ect high cut amount

Step 1/Step 2/Step 3/Step 4 (0~99)

Step A 4-step auto filter machine for Controls filter center frequency of 4 filters (steps)
Modern
Filter creating synth-like sounds. Rate(0.10~10.00Hz) Controls the e ect speed
Sync(On/O ) Switches Tap Tempo sync on/o

Mix(0~99) Contols the wet/dry signal ratio

A ring modulator for creating Freq(0~99) Controls the modulation frequency
Ring
intresting inharmonic frequency Fine(-50~0~+50) Fine tune the modulation frequency by
Mod
spectra (like bells and chimes). 1Hz
Tone(0~99) Controls the tone brightness

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 21
EFFECT LIST
DST
FX Title Description Parameters & Ranges Good For

Gain(0~99) Controls the gain amount

Tone(0~99) Controls the tone brigntness Blues
Based on Tube Screamer® Style overdrive pedal,
Scream OD VOL(0~99) Controls the e ect output volume Rock
with unique timbre characteristics.
Fat(O /On) Switches extra resonance on/o Metal
Air(O /On) Switches extra presence on/o
Gain(0~99) Controls the gain amount
VOL(0~99) Controls the e ect output volume
Based on a overdrive pedal using 12AX7 tube,
Tube Bass(0~99) Controls the low frequency
providing a very smooth overdrive and violin like Rock
Clipper amount
sustain, full of rich and sweet overtones.
Treble(0~99) Controls the high frequency
amount
Hermida® Zendrive® rose to fame because of its
tube-like tone. To get the perfect balance of Gain(0~99) Controls the gain amount
saturation and harmonics required to result in all Tone(0~99) Controls the tone brigntness
TaiChi OD of the 'in-tangibles' that make a pedal overdrive VOL(0~99) Controls the e ect output volume Rock
sound like a real amp overdrive. Things like touch Voice(0~99) Controls the upper harmonics
sensitivity and response to guitar tone and character
volume control changes.
This little yellow box has produced lots of great
soundings in countless classic studio albums.
Yeah, we’re talking the legendary MXR® M104
Gain(0~99) Controls the gain amount Rock
Plustortion Distortion +*, and this M104-based Plustortion.
VOL(0~99) Controls the e ect output volume Metal
The Plustortion recreated the Germanium-
powered soft clipping distortion, like what
Randy Rhoads and other hard rockers do!
Gain(0~99) Controls the gain amount
The Marshall® Guv'nor* was released in 1988 VOL(0~99) Controls the e ect output volume
and in production during 4 years. This Bass(0~99) Controls the low frequency
overdrive/distortion Made in England e ect amount
Chief Rock
replicates the classic tube Marshall® Amp sound Middle(0~99) Controls the mid frequency
into compact and solid state box featuring a amount
sustainable gain with a touch of compression. Treble(0~99) Controls the high frequency
amount

Based on legenary Ibanez ® TS-808 Tube

Screamer ® * overdrive pedal. Since it was first
shown to the world in 1979, TS808 has opened
up a new world. There are countless guitarists
Gain(0~99) Controls the gain amount Blues
who love it. It is a warm, delicate overdrive e ect.
Green OD Tone(0~99) Controls the tone brigntness Rock
Can be used as either an overdrive or a Boost, can
VOL(0~99) Controls the e ect output volume Metal
be used in a variety of musical styles.

Famous users: Stevie Ray Vaughan , Joe Satriani ,

Paul Gilbert, Andy Timmons , Kirk Hammett,
Steve Ray Vanghan , Michal Landau , U2
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 22
EFFECT LIST
DST
FX Title Description Parameters & Ranges Good For

Based on the legendary 2-knob yellow overdrive

pedal with thick. Artist of the 70's was mostly
using a fuzz distortion sound and the overdrive
produced by it was not typical. It was however
Yellow soon accepted as the new standard of guitar Gain(0~99) Controls the gain amount Blues
OD sound. It features an asymmetric circuit where VOL(0~99) Controls the e ect output volume Rock
the positive and negative halves of the
waveform isn't distorted equally. The sound is
therefore still close to the original even though
distortion have been added.

Based on the legendary 3-knob yellow overdrive

Gain(0~99) Controls the gain amount
pedal. The unique asymmetric overdrive e ect Blues
Super OD Tone(0~99) Controls the tone brightness
circuit adds warm and pleasant overdrive e ect Rock
VOL(0~99) Controls the e ect output volume
to the traditional guitar timbre.

Based on an legendary 3-knob Blues overdrive

pedal providing full-range overdriven sound.
Whether it's warm and natural overdrive or full Gain(0~99) Controls the gain amount
Blues
Blues OD open distortion, it gives your guitar the most Tone(0~99) Controls the tone brightness
Rock
expression, makes it easy to control the tone, VOL(0~99) Controls the e ect output volume
and allows for subtle variations in your personal
playing style.

Based on legendary Electro-Harmonix ®

Big Mu Pi®* fuzz/distortion pedal. It is very
Sustain(0~99) Controls the gain amount
individual, warm and thick sound wall, restless
Lazaro Tone(0~99) Controls the tone brightness Rock
but full of beauty.
VOL(0~99) Controls the e ect output volume
Famous users: Jimi Hendrix, Santana, Pink
Floyd, Jack White

Based on legendary Dallas-Arbiter ® Fuzz

Face ® * fuzz pedal. Dallas Arbiter conjured the
sound of rock and roll for half a century in 1966
Red with a few simple transistors. The sound of Fuzz Fuzz(0~100) Controls the gain amount
Rock
Haze Face was heavy and sharp, and its sound VOL(0~100) Controls the e ect output volume
influenced countless famous musicians.

Famous users: Jimi Hendrix, Santana, Pink

Floyd, Jack White

Based on legendary ProCo™ The Rat* distortion

(early LM308 OP-amp version). The Rat* has
come to life thanks to its wide range of Filter Gain(0~99) Controls the gain amount
knob, bright and compact sound head, full end Filter(0~99) Conterclockwize controls the
Darktale Rock
and strong plasticity, making it a favorite of tone brigntness
many musicians. VOL(0~99) Controls the e ect output volume

Famous users: Je Beck, Kurt Cobain

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 23
EFFECT LIST
DST
FX Title Description Parameters & Ranges Good For
Gain(0~99) Controls the gain amount
Tone(0~99) Controls the tone brightness
A simple and e ective distortion e ect for VOL(0~99) Controls the e ect output volume Blues
Flex OD
guitars and basses. Mode(Norm, Scoop, Edge) Selects from three Rock
sound characters
Blend(0~99) Controls the wet/dry signal ratio
It is based on a classic orange three-knob Gain(0~99) Controls the gain amount
Blues
SM Dist distortion e ector, which can be used to easily Tone(0~99) Controls the tone brightness
Rock
get the timbre characteristics of the 70s-80s. VOL(0~99) Controls the e ect output volume

Based on MI Audio ® Crunch Box ® * distortion

peal. Sensitive and exquisite distortion beast,
it satisfies all the passion of Ri and Solo. The Gain(0~99) Controls the gain amount
La Hard
response of each frequency band is balanced, Tone(0~99) Controls the tone brightness
Charger Rock
the dynamic feedback is faithful to the VOL(0~99) Controls the e ect output volume
fingertip, and the noise can be well controlled
even at high gain.

Based on a yellow bass overdrive pedal Gain(0~99) Controls the gain amount
with wide tonal range. It combines the original Blend(0~99) Controls the wet/dry signal ratio
Blues
bass sound with a unique overdrive e ect to VOL(0~99) Controls the e ect output volume
Bass Dist Rock
make a very good distortion e ect while Bass(0~99) Controls the low frequency amount
Metal
ensuring The original bass dynamic tone. It can Treble(0~99) Controls the high frequency
also be used as a pretty good boost. amount

Based on famous Xotic ® EP Booster* pedal.

Provides +20DB of pure stimulation lift, strong Gain(0~99) Controls the e ect gain
Boost Modern
low frequency, bright high frequency, making Bright(O /On) Switches extra brightness on/o
clear sound more pleasant.

AMP
FX Title Description Parameters & Ranges Good For

Based on Fender ® Tweed Deluxe*. This

amplifier with a dynamic range from clean to VOL(0~99) Controls the amp pre gain
Blues
Tweedy wild overdrive, from country rock to distortion, Tone (0~99) Controls the tone brightness
Jazz
®
the Fender Tweed Deluxe* has been a totem in Output (0~99) Controls the amp output volume
every style for more than 60 years.

Based on Fender ® ’59 Bassman ® *. The most VOL(0~99) Controls the amp pre gain
dramatic speaker in the history of Rock&Roll, PRES(0~100) Controls the amp presence
originally designed for bass, has become the Output(0~99) Controls the amp output volume
most classic guitar speaker. As clear as water, Bass(0~99) Controls the amp low frequency
Bellman Blues
Vacuum tube makes the sound more beautiful, response
59N Jazz
make musical instrument manufacturers are Middle(0~99) Controls the amp mid frequency
eager to imitate the product. response
Famous users: Stevie Ray Vaughan, Treble (0~99) Controls the amp high frequency
Kurt Cobain response

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 24
EFFECT LIST
AMP
FX Title Description Parameters & Ranges Good For

VOL(0~99) Controls the amp pre gain

Based on Fender ® ’ 65 Twin Reverb ® *. Output(0~99) Controls the amp output volume
Dark With a Stratocaster*, the classic sound Bass(0~99) Controls the amp low frequency response Blues
Twin can be easily restored in both country Middle(0~99) Controls the amp mid frequency response Jazz
jazz and rock music. Treble(0~99) Controls the amp high frequency response
Bright(O /On) Switches extra brightne

Based on Mesa/Boogie ® Lone

Star™(CH1). The pre-amp circuit has
extraordinary expressive power, the
Gain(0~99) Controls the amp pre gain
comprehensive timbre and intuitive
PRES(0~99) Controls the amp presence Blues
operation are indicative of
L-Star Master(0~99) Controls the amp output volume Rock
Mesa/Boogie ® 's far superior technical
CL Bass(0~99) Controls the amp low frequency response Country
capabilities.
An engaging and lively
Middle(0~99) Controls the amp mid frequency response Jazz
timbre experience.
It has a more
Treble(0~99) Controls the amp high frequency response
compressed, balanced, soft mid
frequency sound, and its high-
frequency like gorgeous bell.

Based on VOX ® AC30HW* (normal

channel). The symbolic clear sound and
warm and sharp overdrive, since the day
of its birth, has become the Shadows,
The Beatles, the Rolling Stones and
other group's favorite speaker. The
British band led the “British Invasion” VOL(0~99) Controls the amp pre gain
Blues
has made VOX ® speaker a household Cut(0~99) Counterclockwise controls the tone
Foxy Rock
name as a British rock icon. Even in hard brightness
30N Country
rock and British rock, Radiohead, Suede, Master(0~99) Controls the amp output volume
Jazz
Oasis and other super groups are Bright(O /On) Switches extra brightness on/o
preferred.

Famous users: The Shadows, The

Beatles,
The Rolling Stones, Radiohead, Suede,
Oasis

Based on Bogner ® Shiva* (20th

Anniversary version, Ch1. Modern Gain(0~99) Controls the amp pre gain
optimized circuit, with a double channel PRES(0~99) Controls the amp presence
Blues
BogSV treasure house of sound, excellent Master(0~99) Controls the amp output volume
Rock
CL circuit design makes it have high- Bass(0~99) Controls the amp low frequency response
Metal
frequency transparent and flexible low Treble(0~99) Controls the amp high frequency response
frequency, crystal clear sound, British Bright(O /On) Switches extra brightness on/o
higain compact and gorgeous.

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 25
EFFECT LIST
AMP
FX Title Description Parameters & Ranges Good For
Based on the legendary “Jazz Chorus”
solid state combo. When it came out in
VOL(0~99) Controls the amp output volume
1975, it is the first musical instrument
Bass(0~99) Controls the amp low frequency response
speaker equipped with Chorus e ect. It Rock
J-120 CL Middle(0~99) Controls the amp mid frequency response
was famous for its pure sound and Jazz
Treble(0~99) Controls the amp high frequency response
stereo chorus e ect.
Bright(0~99) Switches extra brightness on/o
Famous users: Metallica, The Smiths,
The Police, Aerosmith

Based Matchless™ Chieftain 212

Gain(0~99) Controls the amp pre gain
combo* (clean tone). MATCHLESS ® 's
PRES(0~99) Controls the amp presence
philosophy since its founding in 1989
Master(0~99) Controls the amp output volume Blues
Match CL has been to make as many top-notch,
Bass(0~99) Controls the amp low frequency response Rock
all-purpose speakers as possible. The
Middle(0~99) Controls the amp mid frequency response
crisp graininess and perfect dynamic
Treble(0~99) Controls the amp high frequency response
feedback will make your playing easy.

Based on Dr. Z ® Maz ³8 Sr.* combo

VOL(0~99) Controls the amp pre gain
(clean sound). With its varied sound,
Cut(0~99) Conterclockwise controls the tone brightness
wide frequency response and dynamic
Master(0~99) Controls the amp output volume Blues
Z38 CL range, it is not only an excellent single
Bass(0~99) Controls the amp low frequency response Rock
platform, but it can meet your needs
Middle(0~99) Controls the amp mid frequency response
whether you are a British or An
Treble(0~99) Controls the amp high freque
American fan.
Based on Grindrod ® Pendragon
Gain(0~99) Controls the amp pre gain
PG20C* (Normal channel, bright o ). If
VOL(0~99) Controls the amp output volume
Knights you're a big fan of British Blues
Bass(0~99) Controls the amp low frequency response
CL sound/overdrive, this is a sound you Rock
Middle(0~99) Controls the amp mid frequency response
can't miss. It can bring the pure British
Treble(0~99) Controls the amp high frequency respon
style, sound full of penetrating power.

Based on Bad Cat ® Hot Cat 30* (clean

channel). As the world's first use of
Class A circuit design guitar speakers, Gain(0~99) Controls the amp pre gain Blues
Bad-KT
the sound quality has been greatly PRES(0~99) Controls the amp presence Rock
CL
improved. It combines British and Master(0~99) Controls the amp output volume Metal
American styles, with rich harmonics
and su icient headroom.

Based on Marshall ® JTM45* (normal

channel). In 1962, Marshall ® VOL(0~99) Controls the amp pre gain
introduced the first guitar speakers PRES(0~99) Controls the amp presence
specifically designed for rock music, Output(0~99) Controls the amp output volume Blues
UK 45
and its powerful sound laid the Bass(0~99) Controls the amp low frequency response Rock
foundation for rock music. So its panel Middle(0~99) Controls the amp mid frequency response
material plexiglas as the most classic Treble(0~99) Controls the amp high frequency respons
1960s sound specific name--- Plexi.

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 26
EFFECT LIST
AMP
FX Title Description Parameters & Ranges Good For
Based on Marshall ® JMP50* (“Jump”
VOL 1(0~99) Controls the output volume of CH1
connection). Through the adjustment
PRES(0~99) Controls the amp presence
of JTM45*'s rectifier tube, the power
Output(0~99) Controls the amp output volume
was improved. In 1966, Marshall Blues
UK 50JP Bass(0~99) Controls the amp low frequency response
company launched JTM50*, and the Rock
Middle(0~99) Controls the amp mid frequency response
“Plexi” sound obtained utilizing the
Treble(0~99) Controls the amp high frequency response
overdrive by more people. The timbre
VOL 2(0~99) Controls the output volume of CH2
is more full compared to JTM45*.
Based on the famous “Brown Eye” UK-
style boutique amp head (BE channel).
Gain(0~99) Controls the amp pre gain
Improvement on Marshall ® Plexi*
PRES(0~99) Controls the amp presence
basis. It has smooth high frequency,
Master(0~99) Controls the amp output volume Blues
UK 800 tight low frequency and high
Bass(0~99) Controls the amp low frequency response Rock
frequency gain function. It can be used
Middle(0~99) Controls the amp mid frequency response
in many musical styles.
Treble(0~99) Controls the amp high frequency
Famous users: Kerry King, AC/DC, Zakk
Wylde
Based on the famous “Brown Eye” UK-
Gain(0~99) Controls the amp pre gain
style boutique amp head (BE channel).
PRES(0~99) Controls the amp presence
Improvement on Marshall ® Plexi*
Master(0~99) Controls the amp output volume Blues
Flagman basis. It has smooth high frequency,
Bass(0~99) Controls the amp low frequency response Rock
tight low frequency and high
Middle(0~99) Controls the amp mid frequency response
frequency gain function. It can be used
Treble(0~99) Controls the amp high frequency response
in many musical styles (BE channel) .

Gain(0~99) Controls the amp pre gain

Cut(0~99) Controls the amp presence
Based on Dr. Z ® Maz 38 Sr* combo Master(0~99) Controls the amp output volume Blues
Z38 OD
(dirty tone). Bass(0~99) Controls the amp low frequency response Rock
Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

Gain(0~99) Controls the amp pre gain

PRES(0~99) Controls the amp presence
Blues
BogSV Based on Bogner ® Shiva* (20th Master(0~99) Controls the amp output volume
Rock
OD Anniversary version, Ch2). Bass(0~99) Controls the amp low frequency response
Metal
Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

VOL(0~99) Controls the amp pre gain

PRES(0~100) Controls the amp presence
Bellman Based on Fender ® ’59 Bassman ® * Output(0~99) Controls the amp output volume Blues
59B (bright channel). Bass(0~99) Controls the amp low frequency response Jazz
Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 27
EFFECT LIST
AMP
FX Title Description Parameters & Ranges Good For

VOL(0~99) Controls the amp pre gain

Cut(0~99) Conterclockwise controls the tone brightness
Blues
Foxy Based on VOX ® AC30HW* (Top Boost Master(0~99) Controls the amp output volume
Rock
30TB channel). Bass(0~99) Controls the amp low frequency response
Country
Treble(0~99) Controls the amp high frequency response
Char(Cool/Hot) Selects from 2 gain ranges

Based on the Supro ® Dual-Tone

1624T* (CH1+2, dirty tone). In the mid
60’s , vintage 1624T amps have been
sought-after for decades because the
VOL 1(0~99) Controls the output volume of CH1
Dual-Tone’s volume knob is turned
Tone 1(0~99) Controls the tone brightness of CH1
SUPDual beyond noon, a fat and compressed Blues
VOL 2(0~99) Controls the output volume of CH2
OD clean tone evolves into an immediately Rock
Tone 2(0~99) Controls the tone brightness of CH2
recognizable grind that remains
Output(0~99) Controls the amp output volume
articulate and listenable even when
turned up to full blast.
Famous users: Jimi Hendrix,
Link Wray, David Bowie
Match Based on Matchless™ Chieftain 212 Gain(0~99) Controls the amp pre gain Blues
OD combo* (dirty tone). PRES(0~99) Controls the amp presence Rock
Solo100 Based on Soldano ® SLO100* (crunch Master(0~99) Controls the amp output volume
Bass(0~99) Controls the amp low frequency response Metal
OD channel)
Middle(0~99) Controls the amp mid frequency response
L-Star Based on Mesa/Boogie ® Lone
Treble(0~99) Controls the amp high frequency response Rock
OD Star(CH2).

Gain(0~99) Controls the amp pre gain

PRES(0~99) Controls the amp presence
Bad-KT Based on Bad Cat ® Hot Cat 30* Master(0~99) Controls the amp output volume
Rock
OD (overdrive channel). Bass(0~99) Controls the amp low frequency response
Edge(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

Based on Mesa/Boogie ® Mark II C+™

Mess2C+ (Lead channel) with 2 di erent Gain(0~99) Controls the amp pre gain
1 onboard switch combinations. In the PRES(0~99) Controls the amp presence
Blues
1980s, Mark II C + *established the Master(0~99) Controls the amp output volume
Rock
®
position of Mesa / Boogie metal style, Bass(0~99) Controls the amp low frequency response
Metal
Mess2C+ and its voice appeared in the albums of Middle(0~99) Controls the amp mid frequency response
2 Metallica and Dream Theater, and Treble(0~99) Controls the amp high frequency response
become a classic of American Higain.

Gain(0~99) Controls the amp pre gain

VOL(0~99) Controls the amp output volume
Knights Based on Grindrod ® Pendragon Blues
Bass(0~99) Controls the amp low frequency response
OD PG20C* (Drive channel). Rock
Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 28
EFFECT LIST
AMP
FX Title Description Parameters & Ranges Good For

Based on Diezel ® Vh4*. Born in Germany in

the 1990s, its timbre and multifunction have
Gain(0~99) Controls the amp pre gain
attracted countless guitar masters. The
PRES(0~99) Controls the amp presence
unique Modern Higain quickly conquered
Dizz VH Master(0~99) Controls the amp output volume Metal
many musicians.
Bass(0~99) Controls the amp low frequency
response
Famous users: Guns N’ Roses, Metallica, Korn,
Middle(0~99) Controls the amp mid frequency
Slipknot, Bon Jovi
response
Treble(0~99) Controls the amp high frequency
Based on ENGL ® Savage 120 E610*. Iconic
Eagle respons
Morden Higain, it is an indispensable part of Metal
120
heavy metal.

Gain(0~99) Controls the amp pre gain

Based on Peavey ® 5150 ® (LEAD channel). Master(0~99) Controls the amp output volume
Guitarist Eddie Van Halen, who began Bass(0~99) Controls the amp low frequency
working with Peavey ® in the 1980s, loved the response
EV 51 sound and took the album's title “5150” to the Middle(0~99) Controls the amp mid frequency Metal
world with its metallic sound. response
Treble(0~99) Controls the amp high frequency
response
Famous users: Eddie Van Halen PRES(0~99) Controls the amp presence

Based on Soldano ® SLO100* (overdrive

channel). Also from Eddie Van Hale's Brown
Solo100 Sound, Steve Vai's classic album “Passion &
Metal
LD Warfare” was recorded in SLO100*.

Famous users: Steve Vai, Mark Knopfler, Eric VOL(0~99) Controls the amp pre gain
Clapton, Gary Moore PRES(0~99) Controls the amp presence
Based on Mesa/Boogie ® Mark IV™ (Lead Master(0~99) Controls the amp output volume
channel). Based on the classic upgrade, it Bass(0~99) Controls the amp low frequency
Mess4 inherits the omnipotence of Mesa / Boogie ® , response
Middle(0~99) Controls the amp mid frequency Metal
LD with rich harmonics and sustain from the
voiceless tone to the sharp dark morden response
higain timbre. Treble(0~99) Controls the amp high frequency
response
Based on Mesa/Boogie ® Dual Rectifier ® . The
distortion of Rectifier ® series is warm, and
Mess
the distortion of Rectifier ® series is very Metal
DualV
wide, which is more thick and solid than
Mark ® .

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 29
EFFECT LIST
AMP
FX Title Description Parameters & Ranges Good For

Based on ENGL ® Powerball II Gain(0~99) Controls the amp pre gain

E645/2* (CH4). It can bring you PRES(0~99) Controls the amp presence
extremely compact low frequency, a Master(0~99) Controls the amp output volume
Power LD Metal
lot of gain and precise dynamic Bass(0~99) Controls the amp low frequency response
response, which is very suitable for Middle(0~99) Controls the amp mid frequency response
modern rock and metal music. Treble(0~99) Controls the amp high frequency response

Gain(0~99) Controls the amp pre gain

PRES(0~99) Controls the amp presence
Based on the famous“Brown Eye” Master(0~99) Controls the amp output volume Blues
Flagman+
UK-style boutique amp head. Bass(0~99) Controls the amp low frequency response Rock
Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

Based on Orange ® Rockerverb 100™*

(Dirty channel). Once launched, this
Gain(0~99) Controls the amp pre gain
amplifier has become a new favorite
Master(0~99) Controls the amp output volume Blues
of rock musicians. Its sound is unique,
Juice R100 Bass(0~99) Controls the amp low frequency response Rock
and its timbre can be controlled from
Middle(0~99) Controls the amp mid frequency response Metal
warm and sweet clear tone to heavy
Treble(0~99) Controls the amp high frequency response
music, which will bring surprise to the
performers.

Gain(0~99) Controls the amp pre gain

PRES(0~99) Controls the amp presence
Blues
Mess Based on Mesa/Boogie ® Dual Master(0~99) Controls the amp output volume
Rock
DualM Rectifier ®. Bass(0~99) Controls the amp low frequency response
Metal
Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

Based on Bogner ® Ecstasy*("Blue"

Gain(0~99) Controls the amp pre gain
channel, Vintage mode).
Ecstasy ®
PRES(0~99) Controls the amp presence
was born in 1992. Blue channel is
Master(0~99) Controls the amp output volume
Bog BlueV popular for its highly recognizable Metal
Bass(0~99) Controls the amp low frequency response
classic rock and roll sound. Its loud
Middle(0~99) Controls the amp mid frequency response
and handsome plexi voice has
Treble(0~99) Controls the amp high frequency response
extraordinary attainments.

Based on Bogner ® Ecstasy*("Blue" Gain(0~99) Controls the amp pre gain

channel, Modern mode).
The red PRES(0~99) Controls the amp presence
channel is known for its fiery high Master(0~99) Controls the amp output volume
Bog RedM Metal
gain distortion and the main timbre. It Bass(0~99) Controls the amp low frequency response
can show you from vintage overdrive Middle(0~99) Controls the amp mid frequency response
to modern higain. Treble(0~99) Controls the amp high frequency response

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 30
EFFECT LIST
AMP
FX Title Description Parameters & Ranges Good For
Gain(0~99) Controls the amp pre gain
Based on Ampeg ® SVT* bass amp. Bass(0~99) Controls the amp low frequency response
Launched in 1969, Ampeg SVT has Middle(0~99) Controls the amp mid frequency response
Classic
always been the most mainstream bass MRange(220Hz/450Hz/800Hz/1.6kHz/3kHz) Vintage
Bass
speaker, Have a strong ability to sound Selects from 5 mid frequency ranges
shape. Treble(0~99) Controls the amp high frequency response
Master(0~99) Controls the amp output volume
Based on Alembic™ F-2B* preamp. In the
1960s, inspired by the Fender ® speaker,
VOL(0~99) Controls the amp output volume
the circuit was transformed in an all-
Bright(O /On) Switches extra brightness on/o
round way, which brought the extremely
Bass Pre Bass(0~99) Controls the amp low frequency response Vintage
advanced adjustment mode at that time,
Middle(0~99) Controls the amp mid frequency response
which was loved by many musicians,
Treble(0~99) Controls the amp high frequency response
thus leaving a strong mark in the history
of rock music.
Based on Ampeg ® B-15* “Flip Top” bass
amp. The B-15* was conceived by
legendary Jess Oliver in 1958. It can be
Mini Bass seen from the early clubs to the world's Vintage
top studios. B-15* can be said to be a
landmark product that is hard to be
ignored. VOL(0~99) Controls the amp output volume
Based on vintage VOX ® * AC-100* bass Bass(0~99) Controls the amp low frequency response
amp. In 1963, the Beatles was in urgent Treble(0~99) Controls the amp high frequency response
need of a bass speaker with a volume
Foxy greater than that of the club's crazy
Vintage
Bass shouting, and the AC-100* came into
being. With 100W power and 4x12" box,
it has successfully become the most
representative bass voice in the 1960s.

VOL(0~99) Controls the amp pre gain

Based on Mesa/Boogie ® Bass 400* Master(0~99) Controls the amp output volume
Mess
amp. You can hear the sound of the Bass(0~99) Controls the amp low frequency response Vintage
Bass
early bass speakers in many albums. Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

VOL(0~99) Controls the output volume

Based on AER ® Colourizer 2* acoustic
Tone(0~99) Controls the tone brightness
preamp. Originated in Germany, it is a
Balance(0~99) Controls the tone control balance;
preamp designed for acoustic guitar
turn to 0 to disable tone control
AC Pre sound reinforcement. It will bring richer Classic
EQ Freq(0~99) Controls the EQ center frequency from
dynamics and overtones to your
90Hz to 1.6kHz
acoustic guitar, making the sound more
EQ Q(0~99) Controls the EQ bandwidth
three-dimensional and vivid.
EQ Gain(0~99) Controls the EQ boost/cut amount

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 31
EFFECT LIST
NR

FX Title Description Parameters & Ranges Good For

Based on the famous ISP ® Decimator™* noise

gate pedal. The Decimator features
improvements in the expander tracking with
their new Linearized Time Vector Processing™.
Gate 1 Thre(0~99) Controls the noise gate thre Modern
This novel improvement provides a more linear
release time-constant response for the
exponential release curve of the downward
expander.

Thre(0~99) Controls the noise gate threshold

Attack(0~99) Controls how fast the noise gate
Flexible noise gate with attack and release
Gate 2 start to process signal Modern
control
Rel(0~99) Controls the noise gate release time
when signal level reaches

CAB
FX Title Description Parameters & Ranges
Custom modified Fender ® * 2x12" cabinet.
TWD 2x12
The mid-range is very strong, suitable for playing clean tone and overdrive.
Vintage Fender ® ’65 Twin Reverb* 2x12" cabinet. It has a very retro tone, with
DarkTW 2x12
tight high frequencies, suitable for playing clean tone.
Mesa/Boogie ® Lonestar* 2x12" cabinet. The mid-frequency performance is
L-Star 2x12
outstanding, and it has excellent performance in clean and overdrive.
Two-Rock ® * 2x12" cabinet. The combination of mid-range and high-
2Rick 2x12
frequency makes it sound very warm.
Legendary “Jazz Chorus” 2x12" cabinet. The transparent and bright high-
J-120 2x12
frequency sound makes it very suitable for playing clean.
Marshall ® 2550* 2x12" cabinet.
UK-GN 2x12
Its overdrive tone is very suitable for rhythm guitars.
VOL (0~99) Controls
Fryette ® Deliverance* 2x12" cabinet. the output volume
Free 2x12
With gorgeous mid-to-high frequencies, suitable for clean and overdrive.
Marshall ® * 4x12" cabinet with Celestion ® G12T-75* speakers.
UK-75 4x12 The characteristics of low frequency and
high frequency make it full of Plexi flavor.

Vintage Marshall ® 4x12" cabinet with Celestion ® Greenback ® * speakers.

UK-GN 4x12 Four speakers in the same direction make the sound more concentrated and
the mid-range is more prominent, which is very suitable for rhythm guitars.
Marshall ® 1960AV* 4x12" cabinet. Emphasizes the shaping of mid-to-high
UK-LD 4x12
frequencies, which is very suitable for lead guitars.
1968 Marshall ® * 4x12" cabinet. Combining the advantages of 1960A and
UK-DK 4x12
1960B, each frequency band is very balanced and comprehensive.

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 32
EFFECT LIST
CAB
FX Title Description Parameters & Ranges
Custom modified Marshall ® * 4x12" cabinet. The powerful speakers can bring
UK-MD 4x12
you classic Marshall penetration and solidity.
Bogner ® Uberkab* 4x12" cabinet.
Pogner 4x12
The open cabinet makes its sound more flexible.
Diezel ® * 4x12" cabinet.
Dizz 4x12
Its high frequencies are very sharp and sound very aggressive.
ENGL ® * 4x12" cabinet. The balanced combination of each frequency band
Eagle 4x12
makes its sound very pleasant.
Peavey ® 6505* 4x12" cabinet. Its high frequency is very distinctive, making it
Ev51 4x12
sound very shocking.
Soldano ® * 4x12" caninet. Excellent mid-frequency is its characteristic, even if
Solo 4x12 many instruments are playing, it can also make your solo stand out from the
crowd.
Mesa/Boogie ® Road King ® * 4x12" cabinet. The semi-open design allows it to
US 4x12 have a wrapped low frequency while maintaining a transparent mid and high
frequency, which is an unmissable choice.
Mesa/Boogie ® Rectifier ® * 4x12" cabinet. This is a cabinet that pursues
Mess-D 4x12
comprehensiveness, and it can support both clean and heavy music.
Bogner ® Uberkab* 4x12" cabinet 2. The closed cabinet can provide deep and
U-ban 4x12
compact bass response, suitable for the need for more concentrated tone.
Orange ® PPC412* 4x12" cabinet. The closed cabinet brings richer details, the
VOL (0~99) Controls
Juice 4x12 flat frequency response makes it very versatile, and its crisp high frequency the output volume
can make the solo more prominent.
Vintage Hiwatt ® SE4123* 4x12" cabinet. Strong and tight sound, very suitable
H-Way 4x12
for modern, aggressive rock sound.
Bogner ® Shiva* 1x12" cabinet. The low frequency is fat and the high frequency
BogSV 1x12
is compact, suitable for high-gain rhythms.
Vintage Fender ® Vibrolux* 1x12" cabinet. Retro tone, clear mid to high
Dark 1x12
frequency, suitable for country music.
Morgan ® AC-20 Deluxe* 1x12 cabinet. It has very clear feedback and can
Regular 1x12
easily capture every movement of your fingertips.
Black Cat ® Hot Cat* 1x12" cabinet. The mid-frequency is as charming and
Bad-KT 1x12
humming, making the solo full of poetry.
Vintage VOX ® AC15* 1x12" cabinet. All frequency bands are very balanced, no
Foxy 1x12
matter clean or overdrive, it will give you an objective result.
1980's Mesa/Boogie ® * 1x12" cabinet. The mid-low frequency is very wrapped,
Studio 1x12 and the high-frequency sound is concentrated, suitable for solo with distorted
sound.
Supro ® * 1x6" cabinet with oval speaker. It has a unique taste in the overdrive
SUP 1x6
sound, suitable for blues music.
Vintage Fender ® Champ* 1x8" cabinet. The 8-inch speaker gives its tone a
TWD 1x8
unique sense of tension, which will surprise you when used in blues music.

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 33
EFFECT LIST
CAB
FX Title Description Parameters & Ranges

Vintage Fender ® Princeton* 1x10" cabinet. Suitable for warm and bright clean
TWD-P 1x10
sounds, and can keenly capture fingertip movements.

Fender ® '59 Bassman ® * 4x10" cabinet.

Bellman 4x10 Four 10-inch speakers give it plenty of high frequencies, making it very
suitable for country music and blues music.
MessBass Mesa/Boogie ® * 2x10" bass cabinet. The bass speakers with well-balanced
2x10 frequency bands can show the details of performance well.
SWR ® Workingman's* 4x10" bass cabinet. The gorgeous high frequencies can
Max 4x10
make the bass sound more impactful.
Ampeg ® SVT-410HE* 4x10" bass cabinet. The prominent high frequencies
Ameg 4x10
VOL (0~99) Controls
bring more string-touch sound to the bass.
the output volume
Ampeg SVT-810E* 8x10" bass cabinet. Eight 10-inch speakers give it a solid
Ameg 8x10
midrange, which can provide a strong and flexible tone for the bass.
Dreadnought guitar simulation. The bass is very strong and suitable for
D
playing and singing.
Simulates an OM type acoustic guitar.
OM
The mid frequency is better, suitable for solo.
Simulates a jumbo acoustic guitar. The huge body makes it resonate very well,
Jumbo
get your Elvis suit out of the closet!
Simulates a GA type acoustic guitar. Its sound is balanced and soft, suitable
GA
for guitar playing, and also very suitable for fingerstyle.

EQ
FX Title Description Parameters & Ranges

125Hz(-50~+50) Boosts/cuts the frequency band

400Hz(-50~+50) Boosts/cuts the frequency band
800Hz(-50~+50) Boosts/cuts the frequency band
Guitar EQ 1
1.6kHz(-50~+50) Boosts/cuts the frequency band
4kHz(-50~+50) Boosts/cuts the frequency band
VOL(0~99) Controls the output volume
Equalizer designed for guitars
50Hz(-50~+50) Boosts/cuts the frequency band
120Hz(-50~+50) Boosts/cuts the frequency band
400Hz(-50~+50) Boosts/cuts the frequency band
Guitar EQ 2
800Hz(-50~+50) Boosts/cuts the frequency band
4.5kHz(-50~+50) Boosts/cuts the frequency band
VOL(0~99) Controls the output volume

80Hz(-50~+50) Boosts/cuts the frequency band

Based on the 5-band EQ module on
240Hz(-50~+50) Boosts/cuts the frequency band
Mesa/Boogie®* amps, can easily
V-EQ 750Hz(-50~+50) Boosts/cuts the frequency band
realize the classic boogie V-shaped
2.2kHz(-50~+50) Boosts/cuts the frequency band
sound
6.6kHz(-50~+50) Boosts/cuts the frequency band

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 34
EFFECT LIST
MOD
FX Title Description Parameters & Ranges

Based on legendary Arion ® SCH-1* stereo chorus

pedal. Eric Clapton and Michael Landau used its Depth(0~99) Controls the chorus depth
sound to create the wonderful atmosphere of the Rate(0.10~10.00Hz) Controls the chorus speed
A-Chorus
80s! Whether it's the classic chorus e ect or the Tone(0~99) Controls the tone brightness
wonderful rotating speaker sound, you can easily Sync(O /On) Switches Tap Tempo sync on/o
get it.

Based on the legendary huge ensemble

Depth(0~99) Controls the chorus depth
chorus pedal born in late 1970s (chorus mode),
Rate(0.10~10.00Hz) Controls the chrous speed
G-Chorus producing rich, shimmering vintage analog chorus
VOL(0~99) Controls the e ect output volume
tone. Warm, rich, and dreamlike analog chorus
Sync(O /On) Switches Tap Tempo sync on/o
sound.

Depth(0~99) Controls the chorus depth

Classical bass chorus, most bass players in the early Rate(0.10~10.00Hz) Controls the chrous speed
B-Chorus
stage must choose fine works. Level(0~99) Controls the e ect output volume
Sync(O /On) Switches Tap Tempo sync on/o

Detune(-50 Cents~+50 Cents) Controls the detune

This is a detuning e ect that combines a slightly
amounts by 1 cent
Detune shifted signal with the original signal to create a
Wet(0~99) Controls the e ect output volume
chorus-like tone.
Dry(0~99) Controls the dry signal level

Depth(0~99) Controls the flanger depth

Rate(0.10~10.00Hz) Controls the e ect speed
Classic flanger e ect, producing rich and natural
Flanger Pre Delay (0~99) Controls the pre delay time
flanger tone.
FdBk (0~99) Controls the feedback amount
Sync (O /On) Switches Tap Tempo sync on/o

Depth(0~99) Controls the flanger depth

Based on a BBD-based blue vibrato pedal, producing
Vibrato Rate(0.10~10.00Hz) Controls the e ect speed
natural analog vibrato sound.
Sync (O /On) Switches Tap Tempo sync on/o

Based on legendary MXR ® M101 Phase 90*. Have

you heard the guitar sound in Eddie Van Halen's Rate(0.10~10.00Hz) Controls the phaser speed
Phaser
“Eruption”? That distorted tone with a sense of Sync (O /On) Switches Tap Tempo sync on/o
rotation is achived by the Phase 90.

Based on Voodoo Lab ® Micro Vibe*. Voodoo Lab

Micro Vibe has the same design as the original 1968
Depth(0~99) Controls the e ect depth
Uni-Vibe*. Jimi Hendrix and Stevie Ray Vaughan
Vibe Rate(0.10~10.00Hz) Controls the e ect speed
used these e ects extensively on their albums. The
Sync (O /On) Switches Tap Tempo sync on/o
Vibe e ect will bring about slight and regular pitch
changes.

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 35
EFFECT LIST
MOD
FX Title Description Parameters & Ranges

Based on legendary Demeter ® TRM-1Tremulator*,

o ering classical opto tremolo sound. In 1982, rock
Depth(0~99) Controls the flanger depth
pioneer Ry Cooder approached James Demeter to
Opto Trem Rate(0.10~10.00Hz) Controls the e ect speed
ask whether the tremolo sound of the Fender ® twin
Sync (O /On) Switches Tap Tempo sync on/o
series speakers could be made into a pedal e ect
device, and this classic e ect device was born.

Depth(0~99) Controls the tremolo depth

Sine tremolo waveforms and super wide tonal Rate(0.10~10.00Hz) Controls the tremolo speed
Sine Trem
range. VOL (0~99) Controls the e ect output volume
Sync (O /On) Switches Tap Tempo sync on/o

Depth (0~99) Controls the tremolo depth

Triangle Triangle tremolo waveforms and super wide tonal Rate(0.10~10.00Hz) Controls the tremolo speed
Trem range. VOL (0~99) Controls the e ect output volume
Sync (O /On) Switches Tap Tempo sync on/o

Depth (0~99) Controls the tremolo depth

Rate(0.10~10.00Hz) Controls the tremolo speed
Bias tremolo waveforms and super wide tonal VOL (0~99) Controls the e ect output volume
Bias Trem
range. Sync (O /On) Switches Tap Tempo sync on/o
Bias (0~99) Controls the waveform o set
amount

DELAY
FX Title Description Parameters & Ranges

Mix (0~99) Contols the wet/dry signal ratio

Time (20ms-4000ms) Controls the delay time
Based on the legendary 3-knob BBD analog
Sweet Fdbk (0~99) Controls the feedback amount
delay pedal with “REPEAT RATE” control
Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Controls the wet/dry signal ratio

Time (20ms-4000ms) Controls the delay time
P-Echo Produce pure, precised delay sound Fdbk (0~99) Controls the feedback amount
Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Controls the wet/dry signal ratio

Time (20ms-4000ms) Controls the delay time
M-Echo Simulates solid-state tape echo sound Fdbk (0~99) Controls the feedback amount
Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 36
EFFECT LIST
DELAY
FX Title Description Parameters & Ranges

Mix (0~99) Contols the wet/dry signal ratio

Fdbk (0~99) Controls the feedback amount
T-Echo Simulates tube-driven tape echo sound Time (20ms-4000ms) Controls the delay time
Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Contols the wet/dry signal ratio

Based on Maxon ® AD900 Analog
Time (20ms-4000ms) Controls the delay time
Delay*, providing warm,
999 Echo Fdbk (0~99) Controls the feedback amount
accurate delay sound
Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o
Famous Users: Pink Floyd

Mix (0~99) Contols the wet/dry signal ratio

Fdbk (0~99) Controls the feedback amount
Producing a special delay e ect with
Rev Echo Time (20ms-4000ms) Controls the delay time
reversed feedback
Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Contols the wet/dry signal ratio

Simulates the classic slapback echo Time (20ms-4000ms) Controls the delay time
Slapbk
e ect Fdbk (0~99) Controls the feedback amount
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Contols the wet/dry signal ratio

Fdbk (0~99) Controls the feedback amount
Reproduces the sound of a vintage Time (20ms-4000ms) Controls the delay time
Vin-Rack 1980's rack-mount delay machine with Mod (0~99) Controls the modulation amoun
slightly sample-reduced feedback Tone (0~99) Controls the modulation brightness
Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Contols the wet/dry signal ratio

Fdbk (0~99) Controls the feedback amount
Time (20ms-4000ms) Controls the delay time
Producing a delay e ect with sweeping S-Depth (0~100) Controls the sweeping depth
Swp Echo
filter modulated repeats S-Rate (0~100) Controls the sweeping speed
S-Sync (O /On) Switches sweeping Tap Tempo sync on/o
T-Sync (O /On) Switches delay Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Contols the wet/dry signal ratio

A ping-pong delay producing stereo Fdbk (0~99) Controls the feedback amount
Ping Pong feedbadk bounces back and forth Time (20ms-4000ms) Controls the delay time
between left and right channels Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 37
EFFECT LIST
DELAY
FX Title Description Parameters & Ranges

Mix (0~99) Contols the wet/dry signal ratio

Time (20ms-4000ms) Controls the delay time
A multi tap delay that Fdbk (0~99) Controls the feedback amount
M-Echo2
simulates Tone (0~99) Controls the e ect tone brightness
Sync (O /On) Switches Tap Tempo sync on/o
Trail (O /On) Switches e ect trail on/o

REVERB
FX Title Description Parameters & Ranges

Mix (0~99) Controls the wet/dry signal ratio

Simulates the Pre Delay (0ms-100ms) Controls the pre delay time
Room
spaciousness of a room Decay (0~100) Controls the reverb decay time
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Controls the wet/dry signal ratio

Simulates the
Pre Delay (0ms-100ms) Controls the pre delay time
Hall spaciousness of a
Decay (0~100) Controls the reverb decay time
performance hall
Trail (O /On) Switches e ect trail on/o

Mix (0~99) Controls the wet/dry signal ratio

Simulates the Pre Delay (0ms-100ms) Controls the pre delay time
Church
spaciousness of a church Decay (0~100) Controls the reverb decay time
Trail (O /On) Switches e ect trail on/o

Simulates the sound Mix (0~99) Controls the wet/dry signal ratio
character produced by Decay (0~99) Controls the reverb decay time
Plate
a vintage plate H-Damp (0~99) Controls the high cut amount
reverberator Trail (O /On) Switches e ect trail on/o

Simulates the sound Mix (0~99) Controls the wet/dry signal ratio
character produced by Decay (0~99) Controls the reverb decay time
Spring
a vintage spring Tone (0~99) Controls the e ect tone brightness
reverberator Trail (O /On) Switches e ect trail on/o

Special-tuned reverb Mix (0~99) Controls the wet/dry signal ratio

N-Star e ect with lush, bright Decay (0~99) Controls the reverb decay time
decays Trail (O /On) Switches e ect trail on/o

Special-tuned reverb Mix (0~99) Controls the wet/dry signal ratio

Deep Sea e ect with huge, deep Decay (0~99) Controls the reverb decay time
decays Trail (O /On) Switches e ect trail on/o

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.
 38
EFFECT LIST
REVERB
FX Title Description Parameters & Ranges

Mix (0~99) Controls the wet/dry signal ratio

Pre Delay (0ms-100ms) Controls the pre delay time
Produces a modulated
Decay (0~99) Controls the reverb decay time
Mod Verb reverb e ect that is lush
Lo End (-50~+50) Controls the e ect low frequency amount
and sweet
Hi End (-50~+50) Controls the e ect high frequency amount
Trail (O /On) Switches e ect trail on/o

Special-tuned reverb e ect Mix (0~99) Controls the wet/dry signal ratio
Clear Sky with liquid-like decays and Decay (0~99) Controls the reverb decay time
deep low ends Trail (O /On) Switches e ect trail on/o

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.
The trademarks were used merely to identify the sound character of the products.

DRUM RHYTHM LIST

Genre No. Type Time Signature Recommended Tempo
01 D&B 4/4 120BPM
02 Electro1 4/4 120BPM
03 Electro2 4/4 120BPM
04 Techno 4/4 120BPM
05 TripHop 4/4 120BPM
Electronic 06 E-Pop 4/4 120BPM
07 Break 3/4 120BPM
08 H-Hop1 4/4 120BPM
09 H-Hop2 4/4 120BPM
10 H-Hop3 4/4 120BPM
11 H-Hop4 4/4 120BPM
12 Prog 4/4 120BPM
13 Rock 1 4/4 120BPM
14 Rock 2 4/4 120BPM
15 Rock 3 4/4 120BPM
16 Surfin 4/4 120BPM
17 Shu le 4/4 120BPM
Rock 18 R'n'R 4/4 120BPM
19 Ballad 4/4 120BPM
20 SF3/4 3/4 120BPM
21 Rock5/4 5/4 120BPM
22 Classic 4/4 120BPM
23 SF4/4 4/4 120BPM
24 Garag 4/4 120BPM
 39
DRUM RHYTHM LIST
Genre No. Type Time Signature Recommended Tempo
25 Hard 1 4/4 120BPM
26 Hard 2 4/4 120BPM
27 Nu 1 4/4 120BPM
28 Nu 2 4/4 120BPM
29 Metal1 4/4 160BPM
30 Metal2 4/4 160BPM
31 Punk 1 4/4 160BPM
32 Punk 2 4/4 180BPM
33 Punk 3 4/4 220BPM
34 Punk 4 4/4 120BPM
Rock
35 Punk 5 4/4 120BPM
36 P Punk 1 4/4 120BPM
37 P Punk 2 4/4 120BPM
38 EMO 4/4 120BPM
39 Core 4/4 120BPM
40 Nwave 4/4 120BPM
41 P Rock 1 4/4 120BPM
42 P Rock 2 4/4 120BPM
43 P Rock 3 4/4 120BPM
44 Hard 3 4/4 120BPM
45 Funk 1 4/4 120BPM
46 Funk 2 4/4 120BPM
Funk
47 Funk 3 4/4 120BPM
48 Funk 4 4/4 120BPM
49 Pub 4/4 90BPM
50 Pop 1 4/4 80BPM
Pop
51 Pop 2 4/4 80BPM
52 Pop 3 4/4 80BPM
53 Blues 1 4/4 120BPM
54 Blues 2 4/4 120BPM
55 Blues 3 4/4 120BPM
Blues 56 B-grass 6/8 120BPM
57 Country 4/4 120BPM
58 Folk 4/4 120BPM
59 Blues 4 4/4 120BPM
60 Latin 1 4/4 160BPM
61 Latin 2 4/4 160BPM
World
62 Latin 3 4/4 160BPM
63 Pop 1 4/4 160BPM
 40
DRUM RHYTHM LIST
Genre No. Type Time Signature Recommended Tempo
64 Pop 2 4/4 160BPM
65 Bossa1 4/4 160BPM
66 Bossa2 4/4 160BPM
67 Beguine 4/4 160BPM
68 Mazuke 4/4 160BPM
69 Samba 4/4 160BPM
70 Army 4/4 160BPM
71 March 1 4/4 160BPM
72 March 2 4/4 160BPM
World 73 Musette 4/4 160BPM
74 NuAge1 4/4 120BPM
75 NuAge2 4/4 120BPM
76 Polka 4/4 120BPM
77 Tango 4/4 120BPM
78 Ska 4/4 120BPM
79 Waltz 4/4 120BPM
80 RAG1 3/4 120BPM
81 RAG2 4/4 120BPM
82 World 4/4 120BPM
83 Jazz 1 4/4 120BPM
84 Jazz 2 4/4 120BPM
85 Jazz 3 4/4 120BPM
86 Jazz 4 4/4 120BPM
Jazz
87 Funk1 4/4 120BPM
88 Funk2 4/4 120BPM
89 Funk3 4/4 120BPM
90 Fusion 4/4 120BPM
91 1/4 1/4 120BPM
92 2/4 2/4 120BPM
93 3/4 3/4 120BPM
94 4/4 4/4 120BPM
95 5/4 5/4 120BPM
Metro
96 6/4 6/4 120BPM
97 7/4 7/4 120BPM
98 6/8 6/8 120BPM
99 7/8 7/8 120BPM
100 9/8 9/8 120BPM
 41
TROUBLESHOOTING
Device Won’t Turn On
·Make sure the power supply is properly connected and the device is switched on.
·Check if the power adapter is working properly.
·Check if you’re using the correct power adapter.

No Sound Or Slight Sound

·Make sure your cables are connected properly.
·Make sure the volume knob is adjusted properly.
·When the expression pedal is used for volume control, check it’s position and volume settings.
·Check the e ects module volume settings.
·Check the patch volume settings.
·Make sure your input device is not muted.

Noise
·Make sure your cables are connected properly.
·Check your instrument output jack.
·Check if you’re using the correct power adapter.
·If the noise is coming from your instrument, try using the noise reduction module to adjust it.

Sound Problems
·Make sure your cables are connected properly.
·Check your instrument output jack.
·If you’re using an external expression pedal to control distortion or other similar parameters, check to see if
the expression pedal is set up properly.
·Check your e ects parameter setup. If e ects are set to extremes, GP-100 may only emit noise.

Problems With Expression Pedal

·Check your expression pedal on/o settings.
·Try calibrating the pedal.

SPECIFICATION
Technical Specifications
·A/D/A Converter: 24-bit high performance audio
·Sampling Frequency: 44.1 kHz
·SNR: 110dB
·Maximum Simultaneous E ects: 9
·Preset Memory: 99 User Presets/99 Factory Presets
·Looper: 90 seconds of record time
·Drum Machine: 100 Patterns
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SPECIFICATION
Analog Input Connections
·Guitar Input: 1/4" Unbalanced (TS)
·Input Impedance: 1M Ohms
·Aux Input: 1/8" Stereo (TRS)
·Aux Input Impedance: 10k Ohms

Analog Output Connections

·Left/Right Outputs: 1/4" Impedance Unbalanced(TS)
·Left/Right Output Impedance: 1k Ohms
·Headphone Output: 1/8" Stereo (TRS)
·Headphone Output Impedance: 47 Ohms

Digital Connections
·USB Port: USB 2.0 Type-B port

USB Recording Specification

·Sample Rate: 44.1 kHz
·Bit Depth: Supports 16-bit or 24-bit

Size and weight

·Dimensions: 198 mm(W) x 134 mm(D) x 28 mm(H)
·Unit Weight: 800g

Power
·Power Requirements: DC 9V, 500mA