User Manual

For Firmware V1.6.0

※ 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 subject to change without prior notice. Please check with local supplier for exact offers. 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.
 Contents
Welcome·········································· 1 Effect List····································· 24
Attention·········································· 1 PRE···········································································24
Overview········································· 2 WAH·········································································29
Panel Introduction··························· 3 DST···········································································30
AMP········································································· 37
Getting Started······························· 4
NR·············································································· 51
Screen Introduction························· 5
CAB···········································································52
Main Display Screen·········································5
EQ··············································································54
TUNER·······································································5
MOD·········································································55
LOOPER····································································6
DLY··········································································· 60
DRUM·········································································6
RVB··········································································65
MIDI Device Control Functions (MIDI) ���� 7
VOL···········································································67
EXP Pedal································································8
Drum Rhythm List························· 68
Patch Setting·································· 8
MIDI Control Information List �� 71
Edit Menu································································8
Troubleshooting ···························· 73
Editing a Module·················································9
Managing the Signal Chain···························9 Technical Specifications················· 74
Patch Settings······················································9
Save Menu····························································· 11
Global Settings································11
Input/Output························································ 12
USB Audio····························································· 12
Footswitch···························································· 13
EXP Calibrate······················································14
EXP 2 / Footswitch·········································· 15
MIDI··········································································· 15
Display·····································································16
Auto CAB Match ··············································· 17
Global EQ······························································· 17
About·······································································18
Compatible software····················· 20
Application Scenarios····················· 21
With full-range speaker devices··············21
With guitar amps (INPUT jack)··················21
With guitar amps (using FX Loop to pre-
position the GP-200)·····································22
With guitar amps (using FX Loop to
post-position the GP-200)·························22
With guitar amps (using FX Loop to run
the 4 cable method)·······································23
Audio Studio (for livestreaming)·············23
Welcome 1

Welcome
Thank you for purchasing a VALETON product.
We know it might be tedious but please read this manual carefully to get the most out of your GP-
200.
Please keep this manual for future reference.

Attention
Handling
• Do not get the unit wet. If liquid is spilled on the unit, shut it off immediately.
• Do not block any jack of the unit.
• 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.
• Operation of this unit within significant electromagnetic fields should be avoided.

AC Adapter Operation
• Always use a DC9V center negative 1000mA 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 malfunctioned, 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(service@valeton.net)
Thank you for choosing a VALETON product!
Overview 2

Overview
Inspired by the craftsmanship in making GP-100, Valeton strives for a higher goal and presents
GP-200, the new-gen HD modeling multi-effects processor, declaring an unprecedented
upgrade in order to bring you a better sonic experience. With the aim of creating the ultimately
heartfelt partner on stage, GP-200 comprehensively enhances features that matter, including
more footswitches and I/Os, larger display screen and more user-friendly buttons and knobs,
freely adjustable FX loop, as well as 11 freely movable effect modules and more than 240 patches
from world-renowned classic amplifiers, cabinets and stompboxes.

Apart from that, GP-200 offers 180-second looper and 100 high quality drum machines,
external MIDI device control interface, with the additional function as an audio interface compatible
with multiple platforms (Windows/Mac/iOS/Android) to accompany the editor software of
Windows/Mac and ASIO, escorting immeasurable convenience to your songwriting, practice and
recording.
Panel Introduction 3

Panel Introduction

4 5 6 7 12
1
8 8 8
2 3
8 8 8
9
10 10 10

11 11 11 11

11 11 11 11

1. LCD Display button again to store the changed parameter.

4.3” color LCD shows GP-200’s patch numbers, Hold for quick saving in same slot with same
patch name, and other operation information. name.
2. PARA Knob (with enter button) 8. AMP Knobs
Turn to select menus and adjust parameters Control the AMP module in real time just like a
3. MASTER Knob real amp.
Turn to control GP-200’s main output volume. 9. Module Buttons
4. BACK Button Press to enter the Edit Settings menu of module,
Press to return to the previous page, hold to hold for module on/off.
return to the main display screen. 10. Quick Access Knobs
5. GLOBAL Button Turn to adjust parameters on the lower part
Press to enter the Global Setting menu, where of the screen. Each knob will vary in function
you can edit the global parameters of the GP- according to the parameter on the display.
200. 11. 8 Footswitches
6. DRUM Button Use to change patches, turn on/off effects, set
Press to play the drum. Hold to enter the Drum tap tempo, etc.
Machine Edit menu, where you can edit the 12. Expression Pedal
drum parameters (style, rhythm, volume). Use to control one or several parameters of
7. SAVE Button selected module(s).
Whenever a patch is modified, the main
display will show a symbol to indicate that the
parameter has been changed. Use SAVE button
to store, rename, or copy the patch. Press SAVE
Getting Started 4

18 20 23 24
13 14 15 16 16 17 17 19 19 21 21 22

13. EXP/FS Jack the XLR line will be grounded normally.

1/4” TRS input, for connecting an external 19. BALANCED OUTPUT (L for mono
expression pedal/footswitch controller. output)
14. INPUT Jack Use balanced XLR cables to connect to your
1/4” Mono input connection for guitar or other studio gear, mixer, PA, or FRFR speaker(s).
instruments. When using a single amp or speaker, connect
15. AUX IN Jack only the L (MONO) jack.
1/8” TRS input for connecting an audio player 20. PHONES Jack
and playing along (or recording). 1/8” TRS output for connecting headphones.
16. FX LOOP (SEND/RETURN) Jack 21. MIDI Jacks
These 1/4” jacks can be used as FX loop for Connect an external MIDI device here.
inserting external stompboxes into your tone. 22. USB Jack
17. UNBALANCED OUTPUT (L for mono By connecting USB 2.0 Type-C to Mac and
output) Windows computers, GP-200 also functions
Use 1/4” TS jacks cables to connect to your guitar as a high quality audio interface with Direct
amp, full rang flat response (FRFR) speaker(s), or Injection (DI), Re-amping and MIDI functionality
other playback system. built right in.
When using a single amp or speaker, connect 23. POWER Switch
only the L (MONO) jack. Turn the power on.
18. GND/LIFT Switch 24. DC 9V Jack
Toggle off (up) the GND/LIFT switch to LIFT to Power Requirements: DC 9V, 1000mA, center
cut off the ground connection of the two XLR negative.

connectors (Ground Lift) to avoid noise caused

by the Ground Loop. Toggle on (down) to GND,

Getting Started
1. Connect your device: Plug your guitar into the GP-200’s INPUT jack, and run a cable from the
UNBALANCED OUTPUT L (MONO) to your amp.
Please remember:
• Keep your amp volume down.
• Connect your cable to the amp’s FX Loop Return if it has one. For connection methods, please
check Page 19 “Application Scenarios”.
Screen Introduction 5

2. Turn the GP-200 MASTER knob all the way down, then connect the power supply and turn on
the GP-200.
3. Tune your strings: Press and hold footswitch TAP (HOLD FOR TUNER) to enter Tuner interface.
Pluck each string and tune it until the pitch reaches the middle of the screen and turns green.
When all strings are tuned, follow the onscreen instruction to exit the tuner.

Select a patch
GP-200 includes 256 patches, with the first 100 (01-A~25-D) containing default factory parameters.
When performing a factory reset, you can separately reset these 100 patches to the default values.
Tap footswitch A, B, C, D, choose a patch you like. Tap footswitch BANK- to move back through the
banks, and tap footswitch BANK+ to move forward through the banks. When you switch a BANK,
the LED ring on footswitch A, B, C, D will light up to indicate the patch if you want to select one.

Screen Introduction
Main Display Screen
Main Display Screen is the home page displayed right after the power is turned on. You can directly
see the key information and settings of the current patch.

A. Patch number F. EXP pedal state

B. Patch name G. Patch state
C. Patch volume H. DRUM state
monitor I. Current footswitch
D. Patch BPM setting
E. Patch volume J. Quick adjust paras

TUNER
Hold the [TAP] footswitch to activate the tuner mode.

TUNER
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
Mode Pitch
instrument towards the middle, the color of the
Mute scale will change from red (out of tune) to yellow
Mode Back Pitch - Pitch + (near pitch) to green (in tune).

• Turn Quick Access Knob 1 or tap footswitch A to select the work mode of the tuner:
Screen Introduction 6

- Thru: Your tune will be normal.

- Bypass: Effect chain will be bypassed, and you will only hear the dry guitar input sound.
- Mute: There will be no output.
• Turn Quick Access Knob 3 or tap footswitch C and D to change the standard A’s frequency ranged
from 432Hz to 447Hz, with default set to 440Hz.
• Tap other footswitches or click BACK to return back to the Main Display screen.

LOOPER
In the Main Display screen, hold [Ctrl] footswitch to enter Looper.

Turning PARA knob on this page to

switch current patch, clicking PARA knob
to access more options. When double
options are provided in the footswitch
function display, the left corresponds to
tap and the right corresponds to hold.
• Rec VOL: Change the recording volume of the looper;
• Pre/Post: Change the position of the looper in the effects chain, when setting to “Post”, the
recording time will be cut to half.
• Play VOL: Change the volume of the looper when playing back;
• Recording Time: When “Undo/Redo” are not required, you can select up to 180s recording time.
• Sync*: Synchronize the drumbeat to the timeline of the looper. When activating the looper and
playing the drum, the audio will adjust in a brief period of time to match with the drumbeat.
• Auto Rec: Turn on/off the auto-recording, when activating auto-recording, the GP-200 will not
immediately start to record until certain level of input signal is perceived.
Footswitches function differently in the LOOPER interface than in the Home Screen, and their
default function

FS 1 FS 2 FS 3 FS 4 FS 5 FS 6 FS 7 FS 8
Footswitch
[-] [+] [CTRL] [TAP] [A] [B] [C] [D]

Tap 1/2 Speed DRUM Tap Tempo Undo Record/ Stop

Function Bank Back
Hold Reverse / Tuner Redo Playback Clear

*Note:
Sync requires the margin of error to be under 50ms, otherwise the sync would not function
normally.

DRUM
Press the “DRUM” button to turn on the drum, hold it to enter the DRUM menu.
Screen Introduction 7

DRUM
Genre Style
Rock Classic Rock 1
ON Funk Classic Rock 2 Turn PARA to switch genres, click PARA to switch
Blues Classic Rock 3
Pop Classic Rock 4 Genre and Style.
Jazz Classic Rock 5
Electronic Classic Rock 6 GP-200 includes 100 drum patterns (check the
World Hard Rock 1
Metro Hard Rock 2 Drum Patterns list for details)
BPM Volume Sync
ON

• Turn Quick Access Knob 1 to change the tempo of the drum, ranged from 40-250 BPM.
• Turn Quick Access Knob 2 to change the volume of the drum, ranged from 0-100;
• Turn Quick Access Knob 3 to synchronize the drum tempo with the patch tempo.
• Click “Back” button to exit Drum menu.

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.

MIDI Device Control Functions (MIDI)

In a default footswitch setting, you can enter the MIDI control interface by pressing the footswitch
7+8 simultaneously.
This interface can control the external MIDI devices and adjust the settings of the plugins when
using the MIDI learn function in the DAW
All 8 MIDI switches and 1 MIDI pedal are ready to use in this interface.
The icon will light blue when the corresponding
the footswitch/pedal is pressed.

The display of all three groups of MIDI information

of your current footswitch/pedal.

The corresponding parameters of your current

MIDI setting group.

Each footswitch can have three groups of MIDI information.

CH 1/2/3: default is off, adjustable from 1-16
CMD 1/2/3: range from CC0~CC127~PC. (CC: ControlChange)/(PC: ProgramChange)
DATA 1/2/3: adjust the parameter of CC/PC in CMD 1/2/3
GP-200 supports two types of MIDI messages (CC/PC), the parameters in DATA 1/2/3 will vary
based on the type of MIDI function you intend to use.

Note:
Only in this interface for using GP-200 to control external MIDI devices.
Patch Setting 8

EXP Pedal
When the built-in expression pedal is on, an icon will show up on the Main Display screen at the top
left to indicate the mode it is on:
You can use a built-in expression pedal offering two
modes to control various parameters in real time.
Press the pedal all the way forward to switch A/B
mode.
Some GP-200 patches have been set up to use
the built-in expression pedal. These can be used
without any further set up;
Refer to the expression pedal setting section to
customize the expression pedal settings.

Patch Setting
Edit Menu
Click PARA to enter Edit Menu.
Patch VOL： 50 EXP 1: A
Showing the current patch number and name
Patch Settings
BPM: 120 EXP 2: ON

The complete signal chain simulation of the

GP-200. You can directly view all 11 modules’
sequence and on/off status based on the color
of the icons. Shaded dark indicates off and
Press PARA exposed bright indicates on.
ON/OFF Current Effect
ON Mess4 LD 3
The default sequence of the signal chain is: PRE
- WAH - DST - AMP - NR - CAB - EQ - MOD - DLY
- RVB - VOL. You can freely move and adjust the
effects sequence to create your own ideal tones.
In Quick Access display area, you can check the
currently loaded effect’s status.

Note:
Please remember to save after editing your parameters.
A “*” sign with patch name indicates that the parameters of current patch is changed. If without
saving, the change will be removed by changing the patch.
Patch Setting 9

Editing a Module
Choose a module in the Edit Menu using PARA knob and click it to see all effects listed in this
module.

Patch Settings
Patch VOL: 50 EXP 1: A
All effects in the module are listed on the right
BPM: 120 EXP 2: ON
of the screen, turn PARA knob and click to
switch effects.
ON

Click PARA knob to access more options.

For specific parameter settings, please check

Page 20 “Effect List”.

Managing the Signal Chain

After choosing a module in the Edit Menu, you can hold PARA to enter the Manage Signal Chain
menu:
In this menu, turn PARA knob to select the
module you want to move.
Manage Signal Chain
• Quick Access Knob 1 controls the on/off of
the selected module;
• Quick Access Knob 2 controls moving the
selected module;
• Quick Access Knob 3 offers a Mute Mode
ON/OFF
Move It
Mute
(only applicable in this menu) to avoid
ON OFF

possible noise when moving the effect

module.
Press and hold PARA or click BACK to return to the Edit Menu.

Note:
In some extreme cases the signal processor may become overloaded and display a “System
Overload” message. Please try other effects combos instead.
Keep in mind that turning the modules on/off and adjusting parameters will change the current
patch. If you switch patches or turn GP-200 off before saving your changes, the changes will be
lost. Make sure to press the SAVE button to save your settings.
In EDIT Menu, footswitches function the same as in the Main Display screen.

Patch Settings
Patch Settings is referred to functional settings that can be independently saved in different
patches. It offers settings to CTRL, footswitches, Quick Access Knobs, patch volume, patch pan,
patch tempo(BPM) and so on.
When the icon selects patch settings, use the quick access knobs to adjust patch volume, patch pan
and patch tempo(BPM).
Patch Setting 10

Patch VOL： 50 EXP 1: A

Patch Settings
BPM：120 EXP 2: ON

Knob 1-3
EXP Settings
CTRL Settings
FX Loop

Module 1 Para 1
Boost
PRE Gain

• Knob 1-3: To use the Quick Access Knobs for adjusting effect parameters of the selected patch.
• EXP Settings: Settings of the selected patch’s expression pedal, including EXP 1A, EXP 1B and
EXP 2. Every pedal mode can simultaneously control up to 3 effect parameters with max/min
value settings. EXP 2 means external pedals, you can use them through Global Settings.

Note:
EXP pedal-related parameters are regarded as module parameters, and no save reminder will be
shown up.

• CTRL Settings: You can assign the on/off of one or multiple modules, and there are totally 8
CTRLs available. When used with “Global Settings”, you’re able to control multiple modules’ on/
off in one patch, making you feel like playing with the stompbox matrix.

• FX Loop: the FX Loop settings in the current

patch. Blue arrow the signal is sent from
here. Purple arrow the signal is returned here.
The Send/Return nodes can be freely moved in
the effect chain.

Send Position Return Position Send Level

Note:
5 7
The return node can’t be placed in front of the
Return Level Parallel/Series send node to avoid the squealing sound.
Parallel

Parallel/Series illustrates how the effects loop is connected to the signal chain.
• When set to Parallel, the returned signal from external effect chains will mix with the AMP
module and be sent to the latter signals in the signal chain.
• When set to Series, internal effect chain will be temporarily paused, only signals from external
effect chains will be sent to the latter signals in the signal chain. In this situation, if the effect loop
interface is not connected to the any other effect unit, the GP-200 output will remain silent.
Global Settings 11

Save Menu
In the Save menu, you can save the changes you make to your effects parameters, control
information, and other editable targets.
When pressing SAVE button, the interface will enter Save Menu, choose a slot via rotating and
pressing PARA. Press it to enter Rename Menu.
Hold SAVE to jump renaming and position change and save directly.

SAVE

In the Rename Menu, you can manage your editing through PARA knob or 3 Quick Access Knobs.
Quick Access Knob 1: There are 4 types of characters to choose from: Uppercase, lowercase,
numbers and symbols (including space).
Quick Access Knob 2: Switch the position of the icon.
Quick Access Knob 3: Delete the icon targeted character.
When finishing, press SAVE to make sure you saved.
Click BACK to exit editing and return to the previous menu.
Remember to save after finishing the editing.

Global Settings
Global Settings, unlike previous ones, will affect the whole status of the GP-200 and not change
when the patch has changed. All the settings will immediately function when editing is finished.
There are input/output, USB Audio, footswitch/EXP pedal, language and more in this menu, as well
as factory reset.

Rotate PARA knob to move the cursor

GLOBAL SETTINGS Page progress bar, click PARA to turn pages

Input/Output USB Audio

Footswitch EXP Calibrate

Currently selected submenu. The options displayed
EXP 2/Footswitch

Display Auto CAB Match

will change when you click in different menu items.
Input Mode
E. GT
Input Level
0dB
No CAB Mode(L)
OFF
There will be buttons in some submenus, click
PARA to continue
Use Quick Access Knob 1-3 to operate the
displayed options in the submenu at the button
screen
Global Settings 12

Input/Output
This option is to adjust input/output related parameters.

• Input Mode: to adjust the impedance, including acoustic GLOBAL SETTINGS

Input/Output USB Audio
guitars, electric guitars and line in.
- Acoustic guitar: Impedance set to 4.7MΩ, used to connect
Footswitch EXP Calibrate

EXP 2/Footswitch
acoustic guitars or piezoelectric pickups.
- Electric guitar: Impedance set to 1MΩ, used to connect
Display Auto CAB Match

Input Mode Input Level No CAB Mode(L)

electric guitars and bass guitars with pickups. E. GT 0dB OFF

- Line in: Impedance set to 10kΩ, used to connect

synthesizers and more analog audio devices.
- The default option is set to electric guitar.
• Input Level: Ranged from -20dB to +20dB with default value set to 0dB, you can adjust the
value to get the best experience based on varied instruments.
• No CAB mode(L/R): By activating no CAB mode on Mono left or right, you can get the audio
effect where there is no CAB module simulation in the analog output. The default is off.

USB Audio
This is to adjust related settings when using the GP-200 as a USB audio interface.

• Rec Level: To control the master volume of the output when GLOBAL SETTINGS
Input/Output USB Audio
recording, ranged from -20dB to +20dB. The default is 0dB.
Footswitch EXP Calibrate
• Rec Mode Left/Right: GP-200 has a USB stereo analog
EXP 2/Footswitch
output channel. When choosing Dry, the corresponding
Display Auto CAB Match
output channel will send out direct signals; when choosing
Rec Level Rec Mode(L) Rec Mode(R)

Wet, the corresponding output channel will send out signals 0dB Wet Wet

with effects. This function can easily achieve “monitor wet,

record dry”. The default is wet.
• AUX To USB: When activating, audios from AUX IN can be recorded in USB devices. This means,
when using GP-200 for livestreaming, you can mix the audios from AUX IN with effects from the
GP-200, and send out to the streaming device through USB output.
• Monitor Level: To control the volume of playback through USB, ranged from -20dB to +20dB.
The default is 0dB.
• USB mode: switch to a multi-channel output. Legacy mode: switch to this mode for a 2x2
USB audio without MIDI function, this mode is compatible with the OTG function of most
phones(connection to GP-200 software will be lost). Normal mode: switch to this mode for a 6 x
4 USB audio with MIDI function, this mode is compatible with using this device as a soundcard.

Using GP-200 as an audio interface

When used as a USB audio interface, the GP-200 will be recognized by the system as a 6-in/4-out
USB device. Here we will show you how to use this function through listing two scenarios.
Global Settings 13

Scene 1: Using the built-in re-amp function in the DAW to record or adjust the tone
1. Set the Mono L and Mono R’s output to “Dry” in the Global Settings-USB Audio
2. In the DAW, create two new Tracks A and B, and import/record a dry guitar Track in A
3. Set Track A output to Output 3-4, set Track B input to Input 3-4, keep Track B’s monitoring off
4. Play the dry track in DAW, and now you can hear the effect sound of the processed dry track file
in GP-200
5. Activate “Record” in Track B on the recording software, then you’ll get to record the Track with
effect after re-amp on Track B.
Scene 2: Using LOOPBACK function to record, combining the audio from multiple sources on your
computer
1. In the DAW, create a new stereo audio track
2. Set the input to Input 5-6
3. Start recording in the DAW
4. By playing other audio sources on your computer, you can record them in the track now

Footswitch
This is for choosing footswitch modes and corresponding function settings.

Quick Access Knob 1 is to choose Bank Select Mode.

GLOBAL SETTINGS
This setting simultaneously affect internal and
Input/Output USB Audio
external footswitches and offers two modes: Initial
Footswitch EXP Calibrate
and Wait.
Initial: When switching banks, the patches will roll EXP 2/Footswitch

immediately. Display Auto CAB Match

Wait: The default mode. When switching banks, the Bank Sel Mode
Setting
Wait
patches will NOT roll immediately, instead, you will
need to enable footswitch functions and select a confirmed patch number. After that, the patches
will switch.
Quick Access Knob 2 is to enter Footswitch Setting (See picture below).
There are 3 footswitch modes: Patch mode, Stomp
Footswitch mode and User mode. In each mode, all options are
Patch Stomp User

FS 1 FS 2 FS 3 FS 4
the same with varied default settings. All functions
Tap BANK- BANK+ TAP
will work immediately when selected and presented.
Hold BANK- BANK+ LOOPER TUNER
Footswitch Footswitch
FS 5 FS 6 FS 7 FS 8 All changes will be saved automatically.
Patch Stomp User Patch Stomp User
You can also click PARA to enter Footswitch
Tap
FS 1 FS 2 FS 3 FS 4 FS 5 FS 6 FS 7 FS 8
Hold None None None None
Tap
Setting, and assign tap and hold functions for each
Tap BANK- BANK+ TAP
Hold BANK- BANK+ LOOPER TUNER Hold None None None None
Page
FS 5 FS 6 FS 7 Single FS
FS 8 footswitch. By fast-selecting
FS 1 + 5 FS 5 +which
6 footswitch
FS 6 + 7 to
FS 7+8
Tap

Hold None None None None

assign functions, tap
None
the corresponding
None None
footswitch.
None

Reset

Tap Hold Page

Reset
BANK- BANK- Single FS

• Turn Quick Access Knob 1 to select tap functions We have a reset option in every mode to
• Turn Quick Access Knob 2 to select hold functions perform a factory reset for all footswitches.
• Turn Quick Access Knob 3 to turn pages between
single FS and dual FS settings.
Global Settings 14

Footswitch functions include:

Function Description Function Description

Bank Enter bank selecting menu DRUM Play/stop the drum
Load the latter adjacent Load the latter adjacent
Bank+ Drum Patch+
bank drum patch
Load the former adjacent Load the former adjacent
Bank- Drum Patch-
bank drum patch
Load the latter adjacent Switch between A/B of
Patch+ EXP 1 A/B
patch EXP 1
Load the former adjacent Enter the MIDI function
Patch- MIDI
patch interface
A Load the A patch TUNER Enter the tuner
B Load the B patch Execute CTRL 1 - 8’s
CTRL 1 ~ 8
C Load the C patch function
D Load the D patch Tap Tempo Use Tap Tempo
LOOPER Enter the Looper

EXP Calibrate
The EXP Calibrate helps you calibrate your expression pedal. It is important to do so if you find the
sweep has very little or too much change in the effect you’ve set.

GLOBAL SETTINGS EXP Calibrate

Input/Output USB Audio

Footswitch EXP Calibrate

Lift the pedal
EXP 2/Footswitch fully up towards heel.
Display Auto CAB Match

EXP 1 CURVE
EXP 1 EXP 2
Log Press PARA to continue.

As shown, turn Quick Access Knob 1 or 2 to Lift your pedal all the way up, and click PARA to
calibrate EXP pedal 1 or 2. Knob 3 can select continue.
the curve of EXP 1: Line, Expo, Log.

EXP Calibrate EXP Calibrate

Lift the pedal

Press strongly.
fully down towards toe.

Press PARA to continue. Press PARA to continue.

Press the pedal all the way down, and click Press the front side strongly, and click
PARA to continue. PARA to continue.
Global Settings 15

EXP Calibrate EXP Calibrate

Complete! Failed!

Press PARA to continue. Press PARA to continue.

If successfully calibrated, the screen will If not, the screen will display as so. Please
display as so. try to repeat the process.You can also click
BACK to return to the previous menu.

EXP 2 / Footswitch
GLOBAL SETTINGS
Input/Output USB Audio
This menu is to adjust parameters related to external
devices through EXP/FS input.
Footswitch EXP Calibrate
You need to set up for the type of the external
EXP 2/Footswitch
devices. If it is an external pedal, it is called EXP 2,
Display Auto CAB Match and you’ll need to manage the parameters in “Patch
Mode Settings – EXP Settings”; if it is a single footswitch or
EXP
dual footswitch, the options in the Quick Access menu
will help you set up.

MIDI
GLOBAL SETTINGS This menu is to set up MIDI messages, including MIDI
Input/Output
In Source, Input Channel (DIN), Input Channel (USB),
USB Audio
Output Channel (DIN), Output Channel (USB), Clock
Footswitch EXP Calibrate
Source, Clock Out (DIN) and Clock Out (USB).
EXP 2/Footswitch

Display Auto CAB Match • MIDI In Source: Control where the MIDI message is
MIDI In Source Input Ch(DIN) Input Ch(USB) coming from.
Mixed Omni Omni
• Input Channel (DIN), Input Channel (USB), Output
Channel (DIN), Output Channel (USB): For setting up the channel of the USB input and the MIDI
messages’ input and output
• Clock Source: For choosing the source of the MIDI clock.
• Clock Out (DIN), Clock Out (USB): To control whether the MIDI OUT and USB will send out MIDI
clock messages. Use this to set your GP-200 as the main clock for all MIDI devices.
Global Settings 16

Parameters Range Description

DIN Only Only receiving MIDI messages from the MIDI IN.
MIDI In Source USB Only Only receiving MIDI messages from the USB.
Mixed Receiving from both the MIDI IN and the USB.
Input Channel (DIN)
Input Channel
Omni ~ 1 ~ 16
(USB) For setting up the channel of the USB input and the MIDI
Output Channel (The default
messages’ input and output
(DIN) setting is Omni)
Output Channel
(USB)
Internal Only receiving from the internal clock
Only receiving the clock messages When “Din Only” , “USB
DIN Only
from the MIDI IN Only” or “External” is
Only receiving the clock messages selected, the internal
USB Only
from the USB clock will not work and
Clock Source Only receiving from the external the Tap Tempo will not
External
clock function
Receiving clock messages from the internal clock, MIDI In
Mixed and USB. If using different clock sources simultaneously,
(Default) then the last message type the GP-200 receives will cover
previous ones
Clock Out (DIN) ON/OFF When turned ON, this unit will negate all input signals;
(The default is Additionally, when your Clock Source is set to “DIN Only” or
Clock Out (USB)
OFF) “USB Only”, this unit will not send out MIDI clock messages.

Display
GLOBAL SETTINGS
This menu is to adjust parameters and settings of the
EXP 2/ Footswitch displayed factors.
Display Auto CAB Match • Brightness: For adjusting screen brightness
• Display Time: The time GP-200 needs to enter sleep
Global EQ About
mode.
Factory Reset
• Language: For choosing your system language.
Brightness Display Time Language • Display Mode: Personalize the important
information displayed in the main interface.
50 Always English

Switch between these modes according to your

Display Mode
preferences.
Footswitch

- Footswitch: the current setting of the footswitch.

- Patch: magnify the patch names and numbers.
- Signal chain: display the current signal chain and the module’s status.
Global Settings 17

01 -A
It's GP-200
Patch

01- A It's GP-200

Footswitch

Signal chain

Auto CAB Match

This is to turn on/off the correlation status of the AMP module and the CAB module.

GLOBAL SETTINGS
EXP 2/ Footswitch

Display Auto CAB Match

Global EQ About

Factory Reset

ON/OFF
ON

When turned ON, the effects in the CAB module will correspondingly change with the effects in the
AMP module.

Global EQ
This menu is to control the global equalizer of the GP-200 in order to change the overall tone feel.
This is the displayed menu:

GLOBAL SETTINGS Global EQ

EXP 2/ Footswitch

Display Auto CAB Match

Global EQ About

Factory Reset

Band 4 Freq Band 4 Q Band 4 Gain

Press PARA to continue.

Global EQ contains Low Cut / High Cut, and 4 bands of parametric EQ. Every frequency band can be
freely turned on/off based on your needs. There are total 6 of them.
Global Settings 18

Parameter Range Description

ON/OFF ON/OFF On/Off global EQ
Adjust the master volume of the
Level 0~100(Default: 50)
global equalizer
OFF~20Hz~20000Hz High pass filter to cut off low
Low Cut
(Default: OFF) frequency signals.
20Hz~20000Hz~OFF Low pass filter to cut off high
High Cut
(Default: 20000Hz) frequency signals.
Band 1-4: 4 20Hz~20000Hz
selectable peak Band 1-4 (Band 1-4’s default frequencies To adjust the corresponding
filters used for Frequency are accordingly 100Hz, 500Hz, filter’s frequency.
overall or detailed 1000Hz and 5000Hz)
frequency Width. To adjust the width of the
adjustment 0.1~10.0 formant (slope of the filter), the
Band 1-4 Q
in the certain (Default: 0.71) larger the number, the steeper
range, including the slope.
3 available
parameters: Band 1-4 -20dB ~ +20dB
Adjust the filter gain
Frequency, Q and Gain (Default: 0dB)
Gain.

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-200
• 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.

About
This menu is to check the firmware and hardware version.

GLOBAL SETTINGS
EXP 2/ Footswitch

Display Auto CAB Match

Global EQ About

Factory Reset

Firmware Version V1.6.0

©Valeton All Rights Reserved
Global Settings 19

Factory Reset
This menu is to perform a factory reset. Remember, resetting the GP-200 will delete all of your
saved changes and personal settings. Once it is executed, it cannot be undone. Please back up your
settings before performing a factory reset.

GLOBAL SETTINGS Factory Reset

EXP 2/ Footswitch
Choose an option
Display Auto CAB Match
Reset global settings only

Global EQ About Reset factory patches(01-A~25~D)

Reset all data(All user data will be lost)
Factory Reset

Press PARA to enter.

To improve the precision of factory reset function, the GP-200 provides 3 types of factory reset.
When clicking PARA to enter the menu, the screen will display with 3 options:
• Reset global settings only
• Reset factory patches (01-A~25-D)
• Reset all data (All user data will be lost)
When selecting one of them, there will be another window for confirming. When clicking OK, the
factory reset will be performed. When clicking Cancel, it will return to the global settings menu.

Factory Reset Factory Reset

!
This will reset the global settings to default. Resetting in progress
Do you still want to continue? Please do not shut down!

CANCEL OK
30%

After the factory reset is performed, the screen will display this window to indicate it is now on
factory resetting.
Please remember, never turn off the power when performing the factory reset, otherwise the GP-
200 may malfunction.
When it is all set, the screen will suggest the resetting is complete. Click OK to return to the Main
Display menu.

Note:
To maintain the capability for interaction, factory reset won’t affect the language you have
chosen.
Compatible software 20

Compatible software
When you connect your GP-200 with the PC/Mac, you can use the free GP-200 software to
manage multiple functions, including adjusting tones, import/export patches, firmware upgrade,
loading 3rd party IRs and more. The GP-200 software supports both Windows and MacOS
platforms. Please download the software at www.valeton.net/support.

Note:
Before connecting the computer, make sure that it is set to “Normal” under “GLOBAL SETTINGS -
USB Audio - USB Mode”
Application Scenarios 21

Application Scenarios
In this section, we will introduce the connection methods of GP-200 in common usage scenarios.
With full-range speaker devices
Full-range devices include audio interface, studio monitor, PA system, headphones etc. In this
scenario, the output jack or headphone jack of the GP-200 can be connected according to the
need of subsequent devices. The balanced and unbalanced output signals are the same, and the
balanced output is more suitable for long-distance signal transmission.
If there is only one speaker, please select the L (MONO) first.
To get the best tonal performance, keep the AMP and CAB modules ON and keep the “No CAB”
mode off.

With guitar amps (INPUT jack)

In this scenario, directly connect the GP-200’s UNBALANCED OUTPUT to the guitar amp’s INPUT.
If only one amp is available, please select the L (MONO) first.
To get the best tonal performance, keep the AMP and CAB modules off to avoid adverse effects on
the tone.
Application Scenarios 22

With guitar amps (using FX Loop to pre-position the GP-200)

In this scenario, connect the GP- 200’s UNBALANCED OUTPUT to a guitar amp’s RETURN.
This way, by bypassing the preamp and using the power amp of the guitar amp to pair with dozens
of refined effects in the AMP module, you’ll get the more realistic sound.
If only one amp is available, please select the L (MONO) first.
To get the best tone performance, keep the CAB module off or turn on the “No CAB” mode to avoid
adverse effects on the tone.

With guitar amps (using FX Loop to post-position the GP-200)

In this scenario, all modules before the AMP (including the AMP module) will be muted, and the
effect chain after the AMP module will be applied between the preamp and the power amp. In
default setting, RETURN node is after AMP Module.
In order to get the best tone performance, keep the CAB module off or turn on the “No CAB” mode
to avoid adverse effects on the tone.
In addition, you need to pay attention to the GP-200’s patch volume monitor, if you hear the “clip”
sound, please reduce the input volume in the “Global - Input/Output”, or adjust the input to Line to
try get the more ideal tone.
Application Scenarios 23

With guitar amps (using FX Loop to run the 4 cable method)

This method will split the GP-200’s effect chain into two parts (as shown below). It allows you to
place the GP-200’s PRE and DST modules before the preamp, while placing the EQ, MOD, DLY and
RVB modules between the preamp and the power amp.
In order to get the best tone performance, please keep the AMP and CAB modules off to avoid any
adverse effect on the tone.
Also note that please set the FX Loop at Series mode in the “Patch Settings - FX Loop - Parallel/
Series” to “Series”.

INPUT

SEND RETURN

Audio Studio (for livestreaming)

In this scenario, the GP-200 will be functioned as an audio interface for a computer or a cell phone.
Use the supplied USB cable to connect to the computer; if connecting to a cell phone, an additional
OTG adapter cable may be required. When under Windows system prior to Windows 10, it needs
to be used with the ASIO driver available for downloading on the Valeton official website; while
on MacOS, iOS, Android and Windows system after Windows 10, it can be easily plugged in and
played. The input signal (INPUT) and the auxiliary input signal (AUX IN)* of the GP-200 can be used
by all the devices connected to the USB.
*Please make sure the “Global - USB Audio- AUX IN USB” function is enabled.
Effect List 24

Effect List
PRE
FX Title Type Description Parameter Description
Based on the legendary Ross™
Compressor. This is the originator
of the guitar compression effect.
Sustain: Controls the compression
It brings the guitar compression
COMP Comp amount
effect to the public and becomes
Volume: Controls the effect output
an important element in the future.
It has a very natural and mellow
compression effect.
Sustain: Controls the compression
Based on the Keeley ® C4 4-knob amount
compressor*. A recording studio - Attack: Controls how soon the
level compression effect.Clear sense compressor starts to process the
COMP4 Comp
of hierarchy, the right amount of high signal
frequency makes your guitar sound Volume: Controls the effect output
brighter. Clipping: Controls the input
sensitivity
Threshold: Controls the compression
trigger level
Ratio: Controls the amount of
compression when the compressor is
triggered
Volume: Controls the output volume/
makeup amount
Attack: Controls how soon the
Flexible, fully adjustable compressor
S-Comp Comp compressor starts to process the
effect
signal
Release: Controls how soon the
compressor starts to release the
signal level back to normal after the
level drops below the threshold
Blend: Controls the wet/dry signal
ratio
Tone: Controls the effect tone
Based on the legendary MXR®
M133 Micro Amp2 pedal. Providing
Micro Boost Boost up to 20dB of gain, the Micro Boost Gain: Controls the gain amount
elevates your amp sound without
changing its tonal character.
Based on famous Xotic® AC
Gain: Controls the gain amount
Booster* pedal, It is a beautiful
Volume: Controls the effect output
AC Boost Boost smooth sounding drive/boost pedal
Bass/Treble: 2-band EQ that controls
that it perfect for giving your tube
the effect tone
amp a bit of extra grunt.
*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
Effect List 25

PRE
FX Title Type Description Parameter Description
Any guitarist can benefit from the
Xotic® BB Preamp* overdrive pedal.
The pedal works equally well for Gain: Controls the distortion amount
getting thick and creamy overdrive Volume: Controls the effect output
B-Boost Boost
tones with great sustain as it does Bass/Treble: 2-band EQ that controls
for pushing the clean front end of an the effect tone
already driven amp with up to 30dB
of boost.
Based famous on Xotic® RC
Booster* provides you with super-
transparent 20dB boost without
altering your carefully crafted tone.
And it offers an added gain channel
for extra fatness. Take advantage
Gain: Controls the gain amount
of the +/-15dB range on the treble
Volume: Controls the effect output
P-Boost Boost and bass EQ controls, and imbue
Bass/Treble: 2-band EQ that controls
your guitar sound with unbelievable
the effect tone
harmonic complexity. The EQ
controls also compensate for the
extra bass boominess the volume
boost may cause and are great for
matching the response for multiple
guitars.
Based famous on Fortin®Grind*. It
gives you up to +20dB of boost that
will tighten up and add aggression
to any tube or solid-state amplifier.
14 Boost Boost Gain: Controls the gain amount
The GRIND’s surprising low noise
floor and high input Z lets every
nuance of instrument character
come through unaltered.
Volume: Controls the effect output
This is a clean boost and pre-amp Bass/Treble: 2-band EQ that controls
FAT BB Boost with a switchable low-cut filter and the effect tone
separate bass and treble controls. Low Cut: Switches the low cut filter
(-6dB/oct @200Hz) on/off
Volume: Controls the effect output/
Based on famous Xotic® EP boost amount
Booster* pedal. Provides +20DB +3dB: Selects the minimum boost
Boost Boost of pure stimulation lift, strong low amount from 0dB (off) to +3dB (on)
frequency, bright high frequency, Bright: Selects the sound character
making clear sound more pleasant. from vintage (Bright off) to flat
(Bright on)
*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
Effect List 26

PRE
FX Title Type Description Parameter Description
The Ibanez® Tube Screamer® is
synonymous with the transparent
overdrive tone used by many of
today's top guitarists. The TS9 pedal Gain: Controls the overdrive amount
OD 9 OD boosts the guitar signal enough to Tone: Controls the effect tone
drive the preamp stage of your amp, Volume: Controls the effect output
giving a very natural-sounding and
pure overdrive and crisp rhythm
crunch.
Artist of the 70's was mostly
using a fuzz distortion sound and
the overdrive produced by it was
not typical. It was however soon
accepted as the new standard
Gain: Controls the overdrive amount
of guitar sound. It features an
Yellow OD OD Volume: Controls the effect output
asymmetric circuit where 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 Klon®
Centaur*, this overdrive model gives
you an authentic amp-in-a-box feel Gain: Controls the gain amount
Penesas OD with full, rich sound character that is Tone: Controls the effect tone
not harsh or boomy at all. Turn Gain Volume: Controls the effect output
knob to minimum you get a superb
clean boost.
The unique asymmetric overdrive
Gain: Controls the overdrive amount
effect circuit adds warm and
Super OD OD Tone: Controls the effect tone
pleasant overdrive effect to the
Volume: Controls the effect output
traditional guitar timbre.
Whether it's warm and natural
overdrive or full open distortion,
it gives your guitar the most Gain: Controls the distortion amount
Blues OD OD expression, makes it easy to control Tone: Controls the effect tone
the tone, and allows for subtle Volume: Controls the effect output
variations in your personal playing
style.
Designed for acoustic instruments,
bringing you a Shape: Controls the detailed effect
AC Refiner Acoustic
more natural "woody" acoustic character
sound
*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
Effect List 27

PRE
FX Title Type Description Parameter Description
Body: Controls the “body resonance”
(low frequency response)
Top: Controls the upper harmonics
(high frequency response)
Volume: Controls the effect output
level
Mode: Selects from 4 different sound
characters:
Acoustic guitar simulator designed
Standard: Simulates the tonal
for guitars. Its prototype comes
AC Sim Acoustic characteristics of a standard acoustic
from a classic acoustic guitar analog
guitar
stompbox.
Jumbo: Simulates the tonal
characteristics of a jumbo acoustic
guitar
Enhanced: Simulates the tonal
characteristics of an acoustic guitar
with enhanced attack
Piezo: Simulates the sound of a
piezo pickup
Sens: Controls the effect sensitivity
Control the wah sound by playing Range: Controls the frequency range
intensity.A wide range d envelope of the filter
T-Wah Filter filter (a.k.a. touch wah) designed Q: Controls the sharpness of the filter
for guitarists and bassists that is Mix: Controls the wet/dry signal ratio
touch-sensitive and flexible Mode: Selects from two modes:
Guitar/Bass
Depth: Controls the effect depth
Rate: Controls the effect speed
Volume: Controls the output level
Set the rate to make the wah pedal Low: Controls the bottom point of
Auto work regularly. Providing a variable center frequency (low freq)
A-WAH
Filter auto wah effect for both guitars and High: Controls the top point of center
basses. frequency (high freq)
Q: Controls the sharpness of the filter
Sync: Switches Tap Tempo sync on/
off
Step 1-4: Controls the filter center
frequency of each step
A 4-step auto filter machine for
Step Filter Filter Rate: Controls the sequencing speed
creating synth-like sounds
Sync: Switches Tap Tempo sync on/
off
Oct 1: Controls the volume of lower
octave (1 oct down)
OCTA Pitch Provides polyphonic octave effect. Oct 2: Controls the volume of higher
octave (1 oct up)
Dry: Controls the dry signal level
*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
Effect List 28

PRE
FX Title Type Description Parameter Description
Low/Hi Pitch: Controls the low/high
pitch shifting range by semitones
Pitch Pitch Polyphonic pitch shifter/harmonizer. Dry: Controls the dry signal level
Low/High Volume: Controls the low/
high pitch volume
Low/Hi Pitch: Controls the low/high
pitch shifting range by semitones
Wet: Controls the wet signal level
P-Bend Pitch Polyphonic pitch shifter/harmonizer.
Dry: Controls the dry signal level
Range: Controls the pitch range of
harmony effect
Range: Controls the pitch shifting
range
Based on classic Whammy®*
Harmony: Switches Harmony
monophonic pitch shifter pedal.
mode (dry and wet signals output
Hammy Pitch Assign the Position parameter to
simultaneously) on/off
expression pedal, then move the
Volume: Controls the effect output
pedal to get the effect.
volume
Position: Control the changes in pitch
Mix: Controls the wet/dry signal ratio
of the effect
Key: Selects the chord key according
This model is a monophonic single
to your music
voice automatic harmonizer with
Mode: Selects the scale mode
Harmonizer 1 Pitch max. one octave pitch shifting range.
according to your music
Detailed Key, Scale and Interval
Interval: Selects the interval between
settings can bring you lots of fun.
wet and dry signal
Smooth Mode: Switch on to get a
smooth note transition
Mix: Controls the wet/dry signal ratio
of the effect
Key: Selects the chord key according
This model is a monophonic dual
to your music
voice automatic harmonizer with
Mode: Selects the scale mode
Harmonizer 2 Pitch max. one octave pitch shifting range.
according to your music
Detailed Key, Scale and Interval
Interval 1/2: Selects the interval
settings can bring you lots of fun.
between wet and dry signal
Smooth Mode: Switch on to get a
smooth note transition
Mix: Controls the wet/dry signal ratio
Freq: Controls the overall modulation
A ring modulator for creating
frequency
Ring Mod Special intresting inharmonic frequency
Fine: Fine tune the modulation
spectra (like bells and chimes.
frequency by +/- 50Hz
Tone: Controls the effect tone
*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
Effect List 29

PRE
FX Title Type Description Parameter Description
Saturation: Controls the effect gain
Mix: Controls the effect wet/dry
signal ratio
Vintage tape saturation simulater
Volume: Controls the effect output
Saturate Special providing analog warmth and
volume
natural distortion.
Mix: Controls the wet/dry signal ratio
High Cut: Cuts the effect high
frequency signal
Attack: Controls how fast the effect
This is an auto swell effect with
swells
two parameters that are easy to
Auto Swell Special the input signal
understand and use. It can make the
Curve: Selects the volume swell curve
guitar sound like a violin.
(Line, Exp, Log)
This is a freeze effect that can
freeze the sound for a short period
of time before the effect is activated
and make it play in a loop. The
Volume: Controls the effect output
Activate parameter can be assigned
Hold Special volume
to the expression pedal to activate
Activate: Switches the effect on/off
and deactivate the effect; You can
also turn on the Activate parameter
and use CTRL to directly control the
On/Off of the effect module.
This is a freeze effect that can
freeze the sound at the moment of
Volume: Controls the effect output
activation and keep it playing when
volume
the effect is activated. The Activate
Attack: Controls how fast the effect
parameter can be assigned to the
Freeze Special volume fades in
expression pedal to activate and
Release: Controls how fast the effect
deactivate the effect; You can also
volume fades out
turn on the Activate parameter and
Activate: Switches the effect on/off
use CTRL to directly control the On/
Off of the effect module.
*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

WAH
FX Title Type Description Parameter Description
Based on legendary VOX®
V846* wah pedal. The earliest
Range: Controls the wah filter frequency range
wa-wah pedal was originally
Q: Controls the wah resonance (filter Q)
designed to allow the wind
Volume: Controls the effect output
instrument passing through it
V-Wah Wah When using the EXP pedal as a wah pedal,
to produce a more emotionally
remember to first assign the position
expressive "wa-wah" sound.
parameters, then turn on and press the pedal
The amplitude is small and acts
to get the effect.
between medium and high
frequency.
*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
Effect List 30

WAH
FX Title Type Description Parameter Description
Range: Controls the wah filter frequency range
Based on legendary Dunlop®
Q: Controls the wah resonance (filter Q)
CryBaby®* wah pedal. The
Volume: Controls the effect output
classic 60's traditional wha
C-Wah Wah When using the EXP pedal as a wah pedal,
pedal, acting between low and
remember to first assign the position
medium frequency, moderate
parameters, then turn on and press the pedal
amplitude, neutral timbre.
to get the effect.
Range: Controls the wah filter frequency range
Q: Controls the wah resonance (filter Q)
Based on John Petrucci's rack
Volume: Controls the effect output
wah settings, this Cry Baby®
EQ: Switches built-in EQ on/off
P-Wah Wah Wah features Volume, Q, and six
When using the EXP pedal as a wah pedal,
EQ controls for ultimate tonal
remember to first assign the position
control over your wah sound.
parameters, then turn on and press the pedal
to get the effect.
Classic wah tone. Just press Range: Controls the wah filter frequency range
down and feel the vocal sweep Q: Controls the wah resonance (filter Q)
and lush harmonics from the Volume: Controls the effect output
S-Wah Wah
wah's classic era. Its like keeping When using the EXP pedal as a wah pedal,
a tiny jimi hendrix in your remember to first assign the position
pocket. parameters, then turn on and press the pedal
B-Wah Wah Wah designed for basses to get the effect.
Based on classic Whammy®* Range: Controls the pitch shifting range
monophonic pitch shifter pedal. Harmony: Switches Harmony mode (dry and
Hammy Pitch Assign the Position parameter wet signals output simultaneously) on/off
to expression pedal, then move Volume: Controls the effect output volume
the pedal to get the effect. Position: Control the changes in pitch
*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

DST
FX Title Type Description Parameter Description
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 who love it. It is a warm,
delicate overdrive effect.Can be Gain: Controls the overdrive amount
Green OD OD used as either an overdrive or a Tone: Controls the effect tone
Boost, can be used in a variety of Volume: Controls the effect output
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
Effect List 31

DST
FX Title Type Description Parameter Description
The Ibanez® Tube Screamer® is
synonymous with the transparent
overdrive tone used by many of
today's top guitarists. The TS9 pedal Gain: Controls the overdrive amount
OD 9 OD boosts the guitar signal enough to Tone: Controls the effect tone
drive the preamp stage of your amp, Volume: Controls the effect output
giving a very natural-sounding and
pure overdrive and crisp rhythm
crunch.
Artist of the 70's was mostly
using a fuzz distortion sound and
the overdrive produced by it was
not typical. It was however soon
accepted as the new standard
Gain: Controls the overdrive amount
of guitar sound. It features an
Yellow OD OD Volume: Controls the effect output
asymmetric circuit where 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 Klon®
Centaur*, this overdrive model gives
you an authentic amp-in-a-box feel Gain: Controls the gain amount
Penesas OD with full, rich sound character that is Tone: Controls the effect tone
not harsh or boomy at all. Turn Gain Volume: Controls the effect output
knob to minimum you get a superb
clean boost.
The Providence® SOV-2 Stampede
OD pedal is designed to deliver
natural overdrive without obscuring
the inherent characteristics and tone
of the guitar being used. It features
a special bipolar power supply
Gain: Controls the overdrive amount
that powers the internal circuitry
Swarm OD Tone: Controls the effect tone
with boosted voltage, providing a
Volume: Controls the effect output
wider dynamic range than possible
with conventional 9-volt powered
overdrives. For singing lead tones
and solid, chunky rhythms, there’s
nothing like the SOV-2 Stampede
OD.
The unique asymmetric overdrive
Gain: Controls the overdrive amount
effect circuit adds warm and
Super OD OD Tone: Controls the effect tone
pleasant overdrive effect to the
Volume: Controls the effect output
traditional guitar timbre.
*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
Effect List 32

DST
FX Title Type Description Parameter Description
Gain: Controls the overdrive amount
Based on Tube Screamer® Style Volume: Controls the effect output
Scream OD OD overdrive pedal, with unique timbre Tone: Controls the effect tone
characteristics. Fat: Switches extra resonance on/off
Air: Switches extra presence on/off
Whether it's warm and natural
overdrive or full open distortion,
it gives your guitar the most Gain: Controls the distortion amount
Blues OD OD expression, makes it easy to control Tone: Controls the effect tone
the tone, and allows for subtle Volume: Controls the effect output
variations in your personal playing
style.
Fulltone® OCD* sounds like finding
the “sweet spot” on your favorite Gain: Controls the distortion amount
amp. It produces overdriven Tone: Controls the effect tone
tones that sound warm and full, Volume: Controls the effect output
with genuine tube-like response. Mode: Selects from two different
Force OD
There’s no shortage of usable drive, sound characters: HP (High Peak mode
meaning it dynamically ramps up with more bottom end and distortion),
overdriven grit from dirty overtones LP (Low Peak mode without changing
to saturated distortion in the smooth your original tone)
range of its drive control.
The Marshall® BluesBreaker* is a
low-gain pedal with exceptional
Gain: Controls the distortion amount
transparent tone. Moderate
Blues Volume: Controls the effect output
OD overdrive and subtle boost are the
Master Bass/Middle/Treble: 3-band EQ that
strong points, though it can get as
controls the effect tone
well emphatic with a cranked up
tube amp.
The EQ stage is extremely wide,
offering treble, mid and bass
shaping options and the gain stage
goes from clean to a well driven
Gain: Controls the distortion amount
plexi kind of tone and that is also
Master OD OD Tone: Controls the effect tone
where its magic lies.
Volume: Controls the effect output
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
Effect List 33

DST
FX Title Type Description Parameter Description
Hermida® Zendrive® rose to fame
because of its tube-like tone. To get
the perfect balance of saturation Gain: Controls the overdrive amount
and harmonics required to result in Tone: Controls the effect tone
TaiChi OD OD all of the 'in-tangibles' that make Volume: Controls the effect output
a pedal overdrive sound like a real Voice: Controls the upper harmonics
amp overdrive. Things like touch character
sensitivity and response to guitar
tone and volume control changes.
Paul Cochrane® Timmy* overdrive
Gain: Controls the distortion amount
was one of the original boutique
Volume: Controls the effect output
overdrive pedals, generating a
Timmy OD OD Bass/Middle/Treble: 3-band EQ that
dedicated following based on its
controls the effect tone
open, un-compressed drive tone and
Mode(I,II,III): Distortion type selection
good EQ options.
Gain: Controls the overdrive amount
Horizon Devices® Precision Drive* Tone: Controls the effect tone
overdrive. Perfect modern metal rig Volume: Controls the effect output
Precise OD OD with precise tonal carving controls. Attack (1, 2, 3, 4, 5, 6): Overdrive type
The built-in noise gate ensures the selection
cleanness and clarity of tone. Gate: Controls the built-in noise gate
threshold
Based on Analog.Man™ Prince of Gain: Controls the gain amount
Tone* Overload effect, multi-mode Tone: Tone: Controls the effect tone
Empire OD OD
selection, large tone adjustment Volume: Controls the effect output
range to suit different scenes. Mode: Select from 3 different modes
Based on legendary Electro-
Harmonix®Big Mu Pi®*fuzz/
distortion pedal. It is very individual, Sustain: Controls the gain amount
Lazaro Fuzz warm and thick sound wall, restless Tone: Controls the effect tone
but full of beauty. Volume: Controls the effect output
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
with a few simple transistors. The Fuzz: Controls the gain amount
Red Haze Fuzz
sound of Fuzz Face was heavy and Volume: Controls the effect output
sharp, and its sound influenced
countless famous musicians.
Famous users: Jimi Hendrix,
Santana, Pink Floyd, Jack White
*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
Effect List 34

DST
FX Title Type Description Parameter Description
For fans of the aggressive
germanium fuzz tones that could
be wrought from those early units,
there’s nothing quite like the Sola
Sound® Tone Bender*. The Tone
Bender’s circuit became massively
Fuzz: Controls the gain amount
Sora Fuzz Fuzz popular, and over the following
Volume: Controls the effect output
years its design rapidly evolved,
making for a tangled and winding
history that is intertwined with
some of the most formative music
made in the U.K. from the mid 1960s
to the early ’70s.
This little yellow box has produced
lots of great soundings in countless
classic studio albums. Yeah, we’re
talking the legendary MXR® M104
Distortion +*, and this M104- Gain: Controls the distortion amount
Plustortion Distortion
based Plustortion. The Plustortion Volume: Controls the effect output
recreated the Germanium-powered
soft clipping distortion, like what
Randy Rhoads and other hard
rockers do!
It is based on a classic orange three-
Gain: Controls the distortion amount
knob distortion effector, which can
SM Dist Distortion Tone: Controls the effect tone
be used to easily get the timbre
Volume: Controls the effect output
characteristics of the 70s-80s.
Based on legendary ProCo™ The
Rat* distortion (early LM308 OP-
amp version). The Rat* has come to
Gain: Controls the distortion amount
life thanks to its wide range of Filter
Filter: Counterclockwise controls the
Darktale Distortion knob, bright and compact sound
effect tone
head, full end and strong plasticity,
Volume: Controls the effect output
making it a favorite of many
musicians.
Famous users: Je Beck, Kurt Cobain
The Marshall® Guv'nor* was
released in 1988 and in production
during 4 years. This overdrive/ Gain: Controls the distortion amount
distortion Made in England effect Volume: Controls the effect output
Chief Distortion
replicates the classic tube Marshall® Bass/Middle/Treble: 3-band EQ that
Amp sound into compact and solid controls the effect tone
state box featuring a sustainable
gain with a touch of compression.
*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
Effect List 35

DST
FX Title Type Description Parameter Description
The Marshall Shredmaster Distortion
guitar effect pedal delivers face-
Gain: Controls the distortion amount
melting distortion and that tone
Master Volume: Controls the effect output
Distortion you can only get out of a Marshall.
Dist Bass/Contour/Treble: 3-band EQ that
The pedal offers treble, bass, and
controls the effect tone
contour knobs to tweak, twist, and
deliver an unbelievable performance.
Based on MI Audio® Crunch Box®*
distortion peal. Sensitive and
exquisite distortion beast, it satisfies
all the passion of Riff and Solo.The Gain: Controls the distortion amount
La Charger Distortion response of each frequency band Tone: Controls the effect tone
is balanced, the dynamic feedback Volume: Controls the effect output
is faithful to the fingertip, and the
noise can be well controlled even at
high gain.
Gain: Controls the gain amount
Tone: Controls the effect tone
Based on the
Volume: Controls the effect output
Suhr® Riot Distortion™* pedal,Three
Mode: Selects from three different
knobs and a tone selection switch,
Revolt Distortion sound
easy to use, large adjustable range
characters:
is very suitable for a variety of
-I: Neutral sound
playing scenes.
-II: A tighter, more aggressive sound
- III: A smoother, warmer sound
Gain: Controls the gain amount
This model is based on a famous dirt Volume: Controls the effect output
box recreating, perfect reproduction Bass/Treble: 2-band EQ that controls
of modern British high-gain timbre, the
Flagman
Distortion rich tunability, intuitive operation effect tone
Dist
to provide the perfect boost to your Presence: Controls the effect
music. headroom
Tight: Controls the low bottom
resonance
Gain: Controls the overdrive amount
Tone: Controls the effect tone
Volume: Controls the effect output
A simple and effective distortion Mode: Selects from 3 different sound
Flex OD Bass Drive
effect for guitars and basses. characters: Normal (neutral sound),
Scoop (mid-scooped sound), Edge
(edgy sound)
Blend: Controls the wet/dry signal ratio
*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
Effect List 36

DST
FX Title Type Description Parameter Description
This is an overload effect device
specially designed for bass. It
Gain: Controls the distortion amount
combines the original bass sound
Blend: Controls the wet/dry signal ratio
with a unique overdrive effect to
Bass OD Bass Drive Volume: Controls the effect output
make a very good distortion effect
Bass/Treble: 2-band EQ that controls
while ensuring The original bass
the effect tone
dynamic tone. It can also be used as
a pretty good boost.
Based on the Darkglass® Microtubes
Gain: Controls the distortion amount
B7K*. Takes the powerful dynamic
Blend: Controls the wet/dry signal ratio
saturation circuit and adds a four-
Volume: Controls the effect output
Bass band equalizer and a balanced line
Black Bass Low/Lo-mid/Hi-mid/Treble: 2-band EQ
Preamp driver for even greater versatility.
that controls the effect tone
Designed for both studio and live
Attack(Cut,Boost,Flat): Controls the
use, it will take your direct sound to
effect high frequency tone
a whole new level.
Gain: Controls the gain amount
Based on the famous Aguilar®
Master: Controls the effect output
Tone Hammer* Front effect, with
Bass/Middle/Treble: 3-band EQ that
two sounds
Bass Bass controls
Color, three-stage equalization and
Hammer Preamp the effect tone
mid-frequency sweep frequency
Mid Freq: Controls the range of middle
regulation, high timbre regulation, is
frequency
a good shape for timbre.
Drive: Turn on for extra gain stage
Based on the legendary MXR®
M133 Micro Amp2 pedal. Providing
Micro
Boost up to 20dB of gain, the Micro Boost Gain: Controls the gain amount
Boost
elevates your amp sound without
changing its tonal character.
Based on famous Xotic® AC
Gain: Controls the gain amount
Booster* pedal, It is a beautiful
Volume: Controls the effect output
AC Boost Boost smooth sounding drive/boost pedal
Bass/Treble: 2-band EQ that controls
that it perfect for giving your tube
the effect tone
amp a bit of extra grunt.
Any guitarist can benefit from the
Xotic® BB Preamp* overdrive pedal.
The pedal works equally well for Gain: Controls the distortion amount
getting thick and creamy overdrive Volume: Controls the effect output
B-Boost Boost
tones with great sustain as it does Bass/Treble: 2-band EQ that controls
for pushing the clean front end of an the effect tone
already driven amp with up to 30dB
of boost.
*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
Effect List 37

DST
FX Title Type Description Parameter Description
Based famous on Xotic® RC
Booster* provides you with super-
transparent 20dB boost without
altering your carefully crafted tone.
And it offers an added gain channel
for extra fatness. Take advantage
Gain: Controls the gain amount
of the +/-15dB range on the treble
Volume: Controls the effect output
P-Boost Boost and bass EQ controls, and imbue
Bass/Treble: 2-band EQ that controls
your guitar sound with unbelievable
the effect tone
harmonic complexity. The EQ
controls also compensate for the
extra bass boominess the volume
boost may cause and are great for
matching the response for multiple
guitars.
Based famous on Fortin®Grind*. It
gives you up to +20dB of boost that
will tighten up and add aggression
to any tube or solid-state amplifier.
14 Boost Boost Gain: Controls the gain amount
The GRIND’s surprising low noise
floor and high input Z lets every
nuance of instrument character
come through unaltered.
Volume: Controls the effect output
This is a clean boost and pre-amp Bass/Treble: 2-band EQ that controls
FAT BB Boost with a switchable low-cut filter and the effect tone
separate bass and treble controls. Low Cut: Switches the low cut filter
(-6dB/oct @200Hz) on/off
Volume: Controls the effect output/
Based on famous Xotic® EP boost amount
Booster* pedal. Provides +20DB +3dB: Selects the minimum boost
Boost Boost of pure stimulation lift, strong low amount from 0dB (off) to +3dB (on)
frequency, bright high frequency, Bright: Selects the sound character
making clear sound more pleasant. from vintage (Bright off) to flat (Bright
on)
*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

AMP
FX Title Type Description Parameter Description
Based on Fender® Tweed Deluxe*.
This amplifier with a dynamic range Gain: Controls the gain amount (pre
from clean to wild overdrive, from gain)
Tweedy Clean country rock to distortion, the Tone: Controls the effect tone
Fender® Tweed Deluxe* has been a Volume: Controls the output volume
totem in every style for more than 60 (post gain)
years.
*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
Effect List 38

AMP
FX Title Type Description Parameter Description
Based on Fender® ’59 Bassman®*.
The most dramatic speaker in the
history of Rock&Roll, originally Gain: Controls the gain amount (pre
designed for bass, has become the gain)
most classic guitar speaker.As clear Presence: Controls the effect
as water, Vacuum tubemakes the headroom
Bellman 59N Clean
sound more beautiful,make musical Volume: Controls the output volume
instrument manufacturers are eager (post gain)
to imitate the product. Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Famous users: Stevie Ray Vaughan,
Kurt Cobain
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Bellman 59B Drive Based on Fender® ’59 Bassman®*.
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
gain)
Based on Fender® ’65 Twin Volume: Controls the output volume
Reverb®*. With a Stratocaster*, the (post gain)
Dark Twin Clean
classic sound can be easily restored Bass/Middle/Treble: 3-band EQ that
in both country jazz and rock music. controls the effect tone
Bright: Switches extra brightness on/
off
Great clean tones are possible, but
the versatile "sweet distortion" is
Gain: Controls the gain amount (pre
what so many guitarists appreciate
gain)
and love with the Deluxe. Therefore
Volume: Controls the output volume
the amp is the number 1 for many
Dark DLX Clean (post gain)
blues musicians, as well as for
Bass/Treble: 2-band EQ that controls
modern super guitarrists. The
the effect tone
fender-typical spring reverb and a
tube vibrato effect allow even more
"vintage"- sound variants.
The original (6G16 circuit) Vibroverb
was introduced in February 1963.
The speaker lineup and the output Gain: Controls the gain amount (pre
transformer were based on the gain)
Fender Super amp of the time and the Volume: Controls the output volume
circuit based on the Fender Vibrolux (post gain)
Dark Vibra Clean
of the time. The 40-watt amplifier Bass/Treble: 2-band EQ that controls
boasted two channels (NORMAL the effect tone
and BRIGHT). Both channels had Bright: Switches extra brightness on/
VOLUME, TREBLE and BASS controls; off
the single-control REVERB affected
only the BRIGHT channel.
*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
Effect List 39

AMP
FX Title Type Description Parameter Description
Gain: Controls the gain amount (pre
Fender® Silverface Twin Reverb* gain)
amplifiers were built between 1967 Volume: Controls the output volume
Silver Twin Clean
and 1981. It makes the sound of (post gain)
history. Bass/Treble: 2-band EQ that controls
the effect tone
Based on the Supro®Dual-Tone
1624T* (CH1, clean tone). In the mid
60’s , vintage 1624T amps have been
Gain: Controls the gain amount (pre
sought-after for decades because
gain)
the Dual-Tone’s volume knob is
SUPDual CL Clean Volume: Controls the output volume
turned beyond noon, a fat and
(post gain)
compressed clean tone evolves into
Tone: Controls the effect tone
an immediately recognizable grind
that remains articulate and listenable
even when turned up to full blast.
Based on the Supro®Dual-Tone
1624T* (CH1+2, dirty tone). In the
mid 60’s , vintage 1624T amps have
Gain 1/2: Controls the effect gain
been sought-after for decades
amount
because the Dual-Tone’s volume knob
SUPDual OD Drive Tone 1/2: Controls the effect tone
is turned beyond noon, a fat and
Volume: Controls the effect output
compressed clean tone evolves into
and gain amount
an immediately recognizable grind
that remains articulate and listenable
even when turned up to full blast.
Based on vintage VOX®* AC-100*
bass amp. In 1963, the Beatles was in Gain: Controls the effect gain amount
urgent need of a bass speaker with a Tone: Controls the effect tone
volume greater than that of the club's Volume: Controls the effect output
Foxy 15TB Clean crazy shouting, and the AC-100* came and gain amount
into being. With 100W power and Bass/Treble: 2-band EQ that controls
4x12 "box, it has successfully become the effect tone
the most representative bass voice in
the 1960s.
Based on VOX® AC30HW* (normal
channel). The symbolic clear sound
and warm and sharp overdrive, since Gain: Controls the gain amount (pre
the day of its birth, has become the gain)
Shadows, The Beatles, the Rolling Volume: Controls the output volume
Stones and other group's favorite (post gain)
Foxy 30N Clean
speaker. The British band led the Tone cut: Counterclockwise controls
"British Invasion" has made VOX® the effect tone
speaker a household name as a Bright: Switches extra brightness on/
British rock icon.Even in hard rock and off
British rock, Radiohead, Suede, Oasis
and other super groups are preferred.
*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
Effect List 40

AMP
FX Title Type Description Parameter Description
Gain: Controls the gain amount (pre
gain)
Tone cut: Counterclockwise controls
the effect tone
Volume: Controls the output volume
Based on VOX® AC30HW* (normal
Foxy 30TB Drive (post gain)
channel).
Bass/Treble: 2-band EQ that controls
the effect tone
Char: Selects from two sound
characters: Cool (lower gain)/Hot
(higher gain)
Based on the legendary “Jazz Chorus” Gain: Controls the effect gain/output
solid state combo. When it came amount
out in 1975, it is the first musical Bright: Switches extra presence on/
J-120 CL Clean
instrument speaker equipped with off
Chorus effect. It was famous for its Bass/Middle/Treble: 3-band EQ that
pure sound and stereo chorus effect. controls the effect tone
Based Matchless™ Chieftain 212 Gain: Controls the gain amount (pre
combo* (clean tone). MATCHLESS®'s gain)
philosophy since its founding in 1989 Presence: Controls the effect
has been to make as many top-notch, headroom
Match CL Clean
all-purpose speakers as possible.The Volume: Controls the output volume
crisp graininess and perfect dynamic (post gain)
feedback will make your playing Bass/Middle/Treble: 3-band EQ that
easy. controls the effect tone
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
Based Matchless™ Chieftain 212 headroom
Match OD Drive
combo* (overdrive tone). Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Based on Mesa/Boogie® Lone
Star™*(CH1). The pre-amp circuit has
Gain: Controls the gain amount (pre
extraordinary expressive power,
gain)
the comprehensive timbre and
Presence: Controls the effect
intuitive operation are indicative
headroom
L-Star CL Clean of Mesa/Boogie®'s far superior
Volume: Controls the output volume
technical capabilities.An engaging
(post gain)
and lively timbre experience.It has
Bass/Middle/Treble: 3-band EQ that
a more compressed, balanced, soft
controls the effect tone
mid frequency sound, and its high-
frequency like gorgeous bell.
*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
Effect List 41

AMP
FX Title Type Description Parameter Description
Input: Controls the gain amount (pre
gain)
Gain: Controls the effect drive amount
Presence: Controls the effect
Based on Mesa/Boogie® Lone
L-Star OD Drive headroom
Star™(CH2).
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
Based on Bogner ® Shiva* (20th
gain)
Anniversary version, Ch1. Modern
Presence: Controls the effect
optimized circuit, with a double
headroom
channel treasure house of sound,
Volume: Controls the output volume
BogSV CL Clean excellent circuit design makes it have
(post gain)
high-frequency transparent and
Bass/Treble: 2-band EQ that controls
flexible low frequency, crystal clear
the effect tone
sound, British higain compact and
Bright: Switches extra brightness on/
gorgeous.
off
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
Based on Bogner ® Shiva* (20th headroom
BogSV OD Drive
Anniversary version, Ch2. Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
gain)
Bogner® XTC blue channel is popular
Presence: Controls the effect
for its highly recognizable classic rock
headroom
Bog BlueV Drive and roll sound. Its loud and handsome
Volume: Controls the output volume
plexi voice has extraordinary
(post gain)
attainments.
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
gain)
Bogner® XTC blue channel is popular
Presence: Controls the effect
for its highly recognizable classic rock
headroom
Bog BlueM Drive and roll sound. Its loud and handsome
Volume: Controls the output volume
plexi voice has extraordinary
(post gain)
attainments.
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
*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
Effect List 42

AMP
FX Title Type Description Parameter Description
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
The Bogner® XTC red channel
headroom
Bog RedV Hi Gain is known for its fiery high gain
Volume: Controls the output volume
distortion and the main timbre.
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
The Bogner® XTC red channel
headroom
Bog RedM Hi Gain is known for its fiery high gain
Volume: Controls the output volume
distortion and the main timbre.
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the output volume (pre
Based on Dr. Z® Maz 38 Sr.* combo
gain)
(clean sound). With its varied
Tone cut: Counterclockwise controls
sound, wide frequency response
the effect tone
Z38 CL Clean and dynamic range, it is not only an
Volume: Controls the output volume
excellent single platform, but it can
(post gain)
meet your needs whether you are a
Bass/Middle/Treble: 3-band EQ that
British or An American fan.
controls the effect tone
Gain: Controls the output volume (pre
gain)
Tone cut: Counterclockwise controls
Based on Dr. Z® Maz 38 Sr.* combo the effect tone
Z38 OD Drive
(clean sound). Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Based on Grindrod® Pendragon Gain: Controls the gain amount (pre
PG20C* (Normal channel, bright off). gain)
If you're a big fan of British sound/ Volume: Controls the effect output
Knights CL Clean
overdrive, this is a sound you can't (post gain)
miss.It can bring the pure British Bass/Middle/Treble: 3-band EQ that
style, sound full of penetrating power. controls the effect tone
Based on Grindrod® Pendragon Gain: Controls the gain amount (pre
PG20C* (Normal channel, bright on). gain)
If you're a big fan of British sound/ Volume: Controls the effect output
Knights CL+ Clean
overdrive, this is a sound you can't (post gain)
miss.It can bring the pure British Bass/Middle/Treble: 3-band EQ that
style, sound full of penetrating power. controls the effect tone
*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
Effect List 43

AMP
FX Title Type Description Parameter Description
Based on Grindrod® Pendragon Gain: Controls the gain amount (pre
PG20C* (Drive channel). If you're a gain)
big fan of British sound/overdrive, Volume: Controls the effect output
Knights OD Drive
this is a sound you can't miss.It can (post gain)
bring the pure British style, sound full Bass/Middle/Treble: 3-band EQ that
of penetrating power. controls the effect tone
Based on Bad Cat® Hot Cat 30* (clean
Gain: Controls the gain amount (pre
channel). As the world's first use of
gain)
Class A circuit design guitar speakers,
Presence: Controls the effect
Bad-KT CL Clean the sound quality has been greatly
headroom
improved.It combines British and
Volume: Controls the output volume
American styles, with rich harmonics
(post gain)
and sufficient headroom.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Based on Bad Cat® Hot Cat 30* Volume: Controls the output volume
Bad-KT OD Drive
(overdrive channel). (post gain)
Edge: Controls the high and high-mid
tone character
Bass/Treble: 2-band EQ that controls
the effect tone
Based on Soldano® SLO100* (clean
channel). Also from Eddie Van Halen's
Solo100 CL Clean Brown Sound, Steve Vai's classic
album “Passion & Warfare” was
Gain: Controls the gain amount (pre
recorded in SLO100*.
gain)
Based on Soldano® SLO100* (crunch
Solo100 OD Drive Presence: Controls the effect
channel).
headroom
Based on Soldano® SLO100*
Volume: Controls the output volume
(overdrive channel). Also from Eddie
(post gain)
Van Hale's Brown Sound, Steve Vai's
Bass/Middle/Treble: 3-band EQ that
classic album “Passion & Warfare”
Solo100 LD Hi Gain controls the effect tone
was recorded in SLO100*.
Famous users: Steve Vai, Mark
Knopfler, Eric Clapton, Gary Moore
Based on Marshall® JTM45*
Gain: Controls the gain amount (pre
(normal channel). In 1962, Marshall®
gain)
introduced the first guitar speakers
Presence: Controls the effect
specifically designed for rock music,
headroom
UK 45 Drive and its powerful sound laid the
Volume: Controls the output volume
foundation for rock music. So its
(post gain)
panel material plexiglas as the most
Bass/Middle/Treble: 3-band EQ that
classic 1960s sound specific name---
controls the effect tone
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
Effect List 44

AMP
FX Title Type Description Parameter Description
Based on Marshall® JTM45* . In 1962, Gain: Controls the gain amount (pre
Marshall® introduced the first guitar gain)
speakers specifically designed for Presence: Controls the effect
rock music, and its powerful sound headroom
UK 45+ Drive
laid the foundation for rock music. So Volume: Controls the output volume
its panel material plexiglas as the (post gain)
most classic 1960s sound specific Bass/Middle/Treble: 3-band EQ that
name--- Plexi. controls the effect tone
Based on Marshall® JTM45* . In 1962, Gain: Controls the gain amount (pre
Marshall® introduced the first guitar gain)
speakers specifically designed for Presence: Controls the effect
rock music, and its powerful sound headroom
UK 45JP Drive
laid the foundation for rock music. So Volume: Controls the output volume
its panel material plexiglas as the (post gain)
most classic 1960s sound specific Bass/Middle/Treble: 3-band EQ that
name--- Plexi. controls the effect tone
Based on Marshall® JMP50* ("Jump" Gain: Controls the gain amount (pre
connection). Through the adjustment gain)
of JTM45*'s rectifier tube, the power Presence: Controls the effect
was improved. In 1966, Marshall headroom
UK 50 Drive
company launched JTM50*, and the Volume: Controls the output volume
"Plexi" sound obtained utilizing the (post gain)
overdrive by more people. The timbre Bass/Middle/Treble: 3-band EQ that
is more full compared to JTM45*. controls the effect tone
Based on Marshall® JMP50* ("Jump" Gain: Controls the gain amount (pre
connection). Through the adjustment gain)
of JTM45*'s rectifier tube, the power Presence: Controls the effect
was improved. In 1966, Marshall headroom
UK 50+ Drive
company launched JTM50*, and the Volume: Controls the output volume
"Plexi" sound obtained utilizing the (post gain)
overdrive by more people. The timbre Bass/Middle/Treble: 3-band EQ that
is more full compared to JTM45*. controls the effect tone
Based on Marshall® JMP50* ("Jump" Gain 1/2: Controls the gain amount
connection). Through the adjustment (pre gain)
of JTM45*'s rectifier tube, the power Presence: Controls the effect
was improved. In 1966, Marshall headroom
UK 50JP Drive
company launched JTM50*, and the Volume: Controls the output volume
"Plexi" sound obtained utilizing the (post gain)
overdrive by more people. The timbre Bass/Middle/Treble: 3-band EQ that
is more full compared to JTM45*. controls the effect tone
*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
Effect List 45

AMP
FX Title Type Description Parameter Description
The 1959HWTM is a line right back to
Gain: Controls the gain amount (pre
the celebrated era of the mid to late
gain)
1960s, the original was born when
Presence: Controls the effect
Pete Townshend asked Jim Marshall
headroom
UK SLP Drive if he could make it louder. This re-
Volume: Controls the output volume
issue delivers that classic Marshall
(post gain)
tone with the same overdrive and
Bass/Middle/Treble: 3-band EQ that
crunch, using the authentic parts and
controls the effect tone
methods to construct.
Based on Marshall® JCM800*. In
Gain: Controls the gain amount (pre
1981, the JCM800* quickly became
gain)
the rock and metal sound of the '80s
Presence: Controls the effect
with its excellent higain sound.The
headroom
UK 800 Drive founders named it after their own
Volume: Controls the output volume
license plate number, inheriting and
(post gain)
continuing the legend of Plexi*.
Bass/Middle/Treble: 3-band EQ that
Famous users: Kerry King, AC/DC,
controls the effect tone
Zakk Wylde
The JCM900 is the evolution of the
JCM800® adding another channel, Gain: Controls the gain amount (pre
two reverb options and two gain gain)
features. Tube Set consists of 3 Presence: Controls the effect
x 12AX7 preamp tubes, and 4 x headroom
UK 900 Hi Gain
6L6/5881 power tubes. Volume: Controls the output volume
Known for its tone and workhorse (post gain)
roadworthiness, the JCM900 has Bass/Middle/Treble: 3-band EQ that
many fans due to its feature set and controls the effect tone
versatility.
Gain: Controls the gain amount (pre
Based on the famous“Brown Eye”UK-
gain)
style boutique amp head (BE
Presence: Controls the effect
channel). Improvement on Marshall®
headroom
Flagman 1 Drive Plexi* basis. It has smooth high
Volume: Controls the output volume
frequency, tight low frequency and
(post gain)
high frequency gain function. It can
Bass/Middle/Treble: 3-band EQ that
be used in many musical styles.
controls the effect tone
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
Based on the famous“Brown Eye”UK-
headroom
Flagman 2 Drive style boutique amp head (BE
Volume: Controls the output volume
channel).
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
*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
Effect List 46

AMP
FX Title Type Description Parameter Description
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
Based on the famous“Brown Eye”UK-
headroom
Flagman+ 1 Hi Gain style boutique amp head (HBE
Volume: Controls the output volume
channel).
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
Based on the famous“Brown Eye”UK-
headroom
Flagman+ 2 Hi Gain style boutique amp head (HBE
Volume: Controls the output volume
channel).
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Based on Mesa/Boogie® Mark II
Gain: Controls the gain amount (pre
C+™ (Lead channel) with 2 different
gain)
onboard switch combinations. In the
Presence: Controls the effect
1980s, Mark II C + *established the
headroom
Mess2C+ 1 Drive position of Mesa / Boogie® metal
Volume: Controls the output volume
style, and its voice appeared in the
(post gain)
albums of Metallica and Dream
Bass/Middle/Treble: 3-band EQ that
Theater, and become a classic of
controls the effect tone
American Higain.
Based on Mesa/Boogie® Mark II
Gain: Controls the gain amount (pre
C+™ (Lead channel) with 2 different
gain)
onboard switch combinations. In the
Presence: Controls the effect
1980s, Mark II C + *established the
headroom
Mess2C+ 2 Drive position of Mesa / Boogie® metal
Volume: Controls the output volume
style, and its voice appeared in the
(post gain)
albums of Metallica and Dream
Bass/Middle/Treble: 3-band EQ that
Theater, and become a classic of
controls the effect tone
American Higain.
Based on Mesa/Boogie® Mark II
Gain: Controls the gain amount (pre
C+™ (Lead channel) with 2 different
gain)
onboard switch combinations. In the
Presence: Controls the effect
1980s, Mark II C + *established the
headroom
Mess 2C+ 3 Drive position of Mesa / Boogie® metal
Volume: Controls the output volume
style, and its voice appeared in the
(post gain)
albums of Metallica and Dream
Bass/Middle/Treble: 3-band EQ that
Theater, and become a classic of
controls the effect tone
American Higain.
*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
Effect List 47

AMP
FX Title Type Description Parameter Description
Gain: Controls the gain amount (pre
Based on Mesa/Boogie® Mark
gain)
IV™ (Lead channel). Based on the
Presence: Controls the effect
classic upgrade, it inherits the
headroom
Mess4 LD Hi Gain omnipotence of Mesa / Boogie®,
Volume: Controls the output volume
with rich harmonics and sustain from
(post gain)
the voiceless tone to the sharp dark
Bass/Middle/Treble: 3-band EQ that
morden higain timbre.
controls the effect tone
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
Based on Mesa/Boogie® Mark IV™ headroom
Mess4 LD 2 Hi Gain
(Lead 2 channel). Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
Based on Mesa/Boogie® Mark IV™ headroom
Mess4 LD 3 Hi Gain
(Lead 3 channel). Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
Based on Mesa/Boogie Dual gain)
Rectifier(Vintage mode). The Presence: Controls the effect
distortion of Rectifier series is warm, headroom
Mess DualV Hi Gain
and the distortion of Rectifier series Volume: Controls the output volume
is very wide, which is more thick and (post gain)
solid than Mark. Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gain: Controls the gain amount (pre
Based on Mesa/Boogie Dual gain)
Rectifier(Modern mode). The Presence: Controls the effect
distortion of Rectifier series is warm, headroom
Mess DualM Hi Gain
and the distortion of Rectifier series Volume: Controls the output volume
is very wide, which is more thick and (post gain)
solid than Mark. Bass/Middle/Treble: 3-band EQ that
controls the effect tone
*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
Effect List 48

AMP
FX Title Type Description Parameter Description
Based on Orange® AD30™* (Dirty
channel). This is an amp head with
pure tube sound in the classic Class A Gain: Controls the gain amount (pre
circuit (with 4 El84 amp tubes), which gain)
guarantees harmonious sounds with Volume: Controls the output volume
Juice30 OD Drive
an impressive spectrum. The "TC" (post gain)
stands for "twin channel", where Bass/Middle/Treble: 3-band EQ that
a lead channel available, ensuring controls the effect tone
sustain rich sounds even at lowest
volume.
Based on Orange® Rockerverb 100™* Gain: Controls the gain amount (pre
(Dirty channel). Once launched, this gain)
amplifier has become a new favorite Volume: Controls the output volume
of rock musicians. Its sound is unique, (post gain)
Juice R100 Hi Gain
and its timbre can be controlled from Bass/Middle/Treble: 3-band EQ that
warm and sweet clear tone to heavy controls the effect tone
music, which will bring surprise to the Bright: Switches extra brightness on/
performers. off
Based on Peavey® 5150® (LEAD Gain: Controls the gain amount (pre
channel). Guitarist Eddie Van Halen, gain)
who began working with Peavey® in Presence: Controls the effect
the 1980s, loved the sound and took headroom
EV 51 Hi Gain
the album's title "5150" to the world Volume: Controls the output volume
with its metallic sound. (post gain)
Bass/Middle/Treble: 3-band EQ that
Famous users: Eddie Van Halen
controls the effect tone
ENGL® Savage 120 Amplifier
embodies ENGL’s rich legacy
of creating metal machines for
Gain: Controls the gain amount (pre
delivering truly punishing tones, with
gain)
clear dynamics and tremendous sonic
Presence: Controls the effect
variety.
headroom
Eagle 120 Hi Gain This incredible tonal flexibility comes
Volume: Controls the output volume
from the 4 channel layout of the
(post gain)
amp, with a dedicated Clean channel,
Bass/Middle/Treble: 3-band EQ that
two separate Crunch channels, and
controls the effect tone
a super-saturated Lead channel, all
supported by two discrete EQs and a
wide selection of additional features.
*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
Effect List 49

AMP
FX Title Type Description Parameter Description
ENGL® Savage 120 Amplifier
embodies ENGL’s rich legacy
of creating metal machines for
Gain: Controls the gain amount (pre
delivering truly punishing tones, with
gain)
clear dynamics and tremendous sonic
Presence: Controls the effect
variety.
headroom
Eagle 120+ Hi Gain This incredible tonal flexibility comes
Volume: Controls the output volume
from the 4 channel layout of the
(post gain)
amp, with a dedicated Clean channel,
Bass/Middle/Treble: 3-band EQ that
two separate Crunch channels, and
controls the effect tone
a super-saturated Lead channel, all
supported by two discrete EQs and a
wide selection of additional features.
Gain: Controls the gain amount (pre
Based on ENGL® Powerball II gain)
E645/2* (CH4). It can bring you Presence: Controls the effect
extremely compact low frequency, headroom
Power LD Hi Gain
a lot of gain and precise dynamic Volume: Controls the output volume
response, which is very suitable for (post gain)
modern rock and metal music. Bass/Middle/Treble: 3-band EQ that
controls the effect tone

Based on Diezel® VH4*. Born in

Germany in the 1990s, its timbre Gain: Controls the gain amount (pre
and multifunction have attracted gain)
Dizz VH Hi Gain countless guitar masters.The unique
Presence: Controls the effect
Modern Higain quickly conquered headroom
many musicians. Volume: Controls the output volume
(post gain)
Dizz VH S Hi Gain Famous users: Guns N’ Roses, Bass/Middle/Treble: 3-band EQ that
METALLICA, KORN, Slipknot, BON controls the effect tone
Dizz VH+ Hi Gain JOVI
Dizz VH+ S Hi Gain
Gain: Controls the gain amount
Midrange: Selects the center
Based on Ampeg® SVT* bass amp.
frequency of Midrange control:
Launched in 1969, Ampeg SVT has
220Hz/450Hz /800Hz/1.6kHz/3kHz
Classic Bass Bass always been the most mainstream
Volume: Controls the output volume
bass speaker, Have a strong ability to
(post gain)
sound shape.
Bass/Midrange/Treble: 3-band EQ that
controls the effect tone
*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
Effect List 50

AMP
FX Title Type Description Parameter Description
Based on vintage VOX®* AC-100*
bass amp. In 1963, the Beatles was in
urgent need of a bass speaker with a
Volume: Controls the effect gain/
volume greater than that of the club's
output amount
Foxy Bass Bass crazy shouting, and the AC-100* came
Bass/Treble: 2-band EQ that controls
into being. With 100W power and
the effect tone
4x12 "box, it has successfully become
the most representative bass voice in
the 1960s.
Gain: Controls the gain amount
Based on Mesa/Boogie® Bass 400* Volume: Controls the output volume
Mess Bass Bass amp. You can hear the sound of the (post gain)
early bass speakers in many albums. Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Based on Ampeg® B-15* "Flip Top”
bass amp. The B-15* was conceived
Volume: Controls the effect gain/
by legendary Jess Oliver in 1958. It
output amount
Mini Bass Bass can be seen from the early clubs to
Bass/Treble: 2-band EQ that controls
the world's top studios. B-15* can be
the effect tone
said to be a landmark product that is
hard to be ignored.
Based on Alembic™ F-2B* preamp.In
the 1960s, inspired by the Fender®
Volume: Controls the effect gain/
speaker, the circuit was transformed
output amount
in an all-round way, which brought
Bright: Switches extra brightness on/
Bass Pre Bass the extremely advanced adjustment
off
mode at that time, which was loved
Bass/Middle/Treble: 3-band EQ that
by many musicians, thus leaving a
controls the effect tone
strong mark in the history of rock
music.
Volume: Controls the effect gain/
output amount
Based on AER® Colourizer 2* acoustic
Tone: Controls the brightness
preamp. Originated in Germany, it
Balance: Controls the tone control
is a preamp designed for acoustic
balance; set to 0 to disable tone
guitar sound reinforcement. It will
AC Pre Acoustic control
bring richer dynamics and overtones
EQ Freq: Controls the EQ center
to your acoustic guitar, making the
frequency from 90Hz to 1.6kHz
sound more three-dimensional and
EQ Q: Controls the EQ bandwidth
vivid.
EQ Gain: Controls the EQ boost/cut
amount; set to 50 to keep neutral
*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
Effect List 51

AMP
FX Title Type Description Parameter Description
Volume: Controls the effect gain/
output amount
Based on AER® Colourizer 2* acoustic
Tone: Controls the brightness
preamp. Originated in Germany, it
Balance: Controls the tone control
is a preamp designed for acoustic
balance; set to 0 to disable tone
guitar sound reinforcement. It will
AC Pre 2 Acoustic control
bring richer dynamics and overtones
EQ Freq: Controls the EQ center
to your acoustic guitar, making the
frequency from 680Hz to 11kHz
sound more three-dimensional and
EQ Q: Controls the EQ bandwidth
vivid.
EQ Gain: Controls the EQ boost/cut
amount; set to 50 to keep neutral
*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

NR
FX Title Type Description Parameter Description
Based on famous ISP®Decimator™*
noise gate pedal. The Decimator
features improvements in the
expander tracking with their new
Linearized Time Vector Processing™. Threshold: Controls the gate trigger
Gate 1 Gate
This novel improvement provides a level
more linear release time-constant
response for the exponential
release curve of the downward
expander.
Threshold: Controls the gate trigger
level
Attack: Controls how soon the gate
Flexible noise gate with attack and
Gate 2 Gate starts to process the signal
release control.
Release: Controls the noise fade-out
duration time after the level drops
below the threshold
Attack: Controls how fast the effect
This is an auto swell effect with
swells
two parameters that are easy to
Auto Swell Special the input signal
understand and use. It can make
Curve: Selects the volume swell curve
the guitar sound like a violin.
(Line, Exp, Log)
*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
Effect List 52

CAB
FX Title Type Description Parameter Description
Supro®* 1x6" cabinet with oval
SUP ZEP 1 x 6”
speaker
TWD CP 1 x 8” Vintage Fender® Champ* 1x8" cabinet
Vintage Fender® Princeton* 1x10"
TWD PRC 1 x 10”
cabinet
A custom Fender® Tweed* 2x10"
TWD SUP 2 x 10”
cabinet
TWD LUX 1 x 12” Fender® Tweed Deluxe* 1x12" cabinet

Dark LUX 1 x 12” Vintage Fender® Deluxe* 1x12" cabinet

Vintage Fender® Vibrolux* 1x12"
Dark VIT 1 x 12”
cabinet
Vintage Fender® ’65 Twin Reverb*
Dark Twin 2 x 12”
2x12" cabinet
Custom modified Fender®* 2x12"
Dark CS 2 x 12”
cabinet
Vintgae Fender® "Piggyback"
Bellman 1 2 x 12”
Bassman®* 2x12" cabinet
Bellman 2 4 x 10” Fender® '59 Bassman®* 4x10" cabinet
Volume: Controls effect output
J-120 2 x 12” Legendary "Jazz Chorus" 2x12" cabinet volume
Low Cut: Highpass filter, cut off
UK G12 1 x 12” Marshall®* 1x12" cabinet the low-frequency signal below
UK GRN 1 2 x 12” Marshall® 2550* 2x12" cabinet the selected
Hi Cut: Lowpass filter, cut off the
UK LD 4 x 12” Marshall® 1960AV* 4x12" cabinet high-frequency signal above the
68 Marshall® Basketweave* 4x12" selected
UK TD 4 x 12”
cabinet
Custom modified Marshall®* 4x12"
UK MD 4 x 12”
cabinet
Vintage Marshall® 4x12" cabinet with
UK GRN 2 4 x 12”
Celestion® Greenback®* speakers
Marshall®* 4x12" cabinet with
UK 75 4 x 12”
Celestion® G12T-75* speakers
UK Dark 4 x 12” 1968 Marshall®* 4x12" cabinet

FOXY 1 1 x 12” Vintage VOX® AC15* 1x12" cabinet

FOXY 2 2 x 12” Vintage VOX® AC30* 2x12" cabinet

ROUT 1 x 12” Carr® Rambler* 1x12" cabinet

BogSV 1 x 12” Bogner® Shiva* 1x12" cabinet

Bad-KT 1 x 12” Black Cat® Hot Cat* 1x12" cabinet

Match 2 x 12” Matchless® Chieftain* 2x12" cabinet

TOM OPEN 1 x 12” Swart® Atomic Space* 1x12" cabinet

*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
Effect List 53

CAB
FX Title Type Description Parameter Description
ACE 1 x 12” Morgan® AC-20 Deluxe* 1x12" cabinet
Mesa/Boogie® Rectifier®* 4x12"
Mess 4 x 12”
cabinet
Mesa/Boogie® Lonestar* 1x12"
D STAR 1 x 12”
cabinet
Mesa/Boogie® Lonestar* 2x12"
SUP Star 2 x 12”
cabinet
US STO 1 x 12” 1980's Mesa/Boogie®* 1x12" cabinet

BOUTI 2 x 12” A unique custom 2x12" cabinet

SUP 2 x 12” Supro® 1624T* 2x12" cabinet

MATT TWD 2 x 12” Matchless®* 2x12" cabinet

Freed 2 x 12” Fryette® Deliverance* 2x12" cabinet

DB Rock 2 x 12” Two-Rock®* 2x12" cabinet

A custom 2x12" cabinet with
Blue SK 2 x 12”
Celestion® Alnico Blue* speakers
EV 4 x 12” Peavey® 6505* 4x12" cabinet Volume: Controls effect output
Bog 4 x 12” Bogner®* 4x12" cabinet volume
Low Cut: Highpass filter, cut off
Eagle 4 x 12” ENGL®* 4x12" cabinet the low-frequency signal below
Uban 4 x 12” Bogner® Uberkab* 4x12" cabinet the selected
Hi Cut: Lowpass filter, cut off the
Solo 4 x 12” Soldano®* 4x12" caninet high-frequency signal above the
Juice 4 x 12” Orange® PPC412* 4x12" cabinet selected

Vintage Hiwatt® SE4123* 4x12"

H-WAY 4 x 12”
cabinet
Way 4 x 12” Vintage WEM®* 4x12" cabinet

Dumb 4 x 12” Dumble®* 4x12" cabinet

Dizz 4 x 12” Diezel®* 4x12" cabinet

Hughes & Kettner® Triamp* 4x12"
TRP 4 x 12”
cabinet
Mesa/Boogie® Road King®* 4x12"
King 4 x 12”
cabinet
ADM 1 1 x 15” David Eden®* 1x15" bass cabinet

ADM 2 4 x 10” David Eden®* 4x10" bass cabinet

Workman 1 1 x 15” SWR®* 1x15" bass cabinet

SWR® Workingman's* 4x10" bass
Workman 2 4 x 10”
cabinet
US BASS 2 x 10” Mesa/Boogie®* 2x10" bass cabinet
*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
Effect List 54

CAB
FX Title Type Description Parameter Description
MATT 2 x 10” Mark Bass®* 4x10" bass cabinet

F-TOP 1 x 15” Ampeg® PF-115HE* 1x15" bass cabinet

Ampeg® SVT-410HE* 4x10" bass
AMPG 1 4 x 10”
cabinet
AMPG 2 8 x 10” Ampeg SVT-810E* 8x10" bass cabinet

HACK 4 x 12” Hartke®* 4x12" bass cabinet

AC Acoustic Dreadnought guitar simulation 1

Volume: Controls effect output
AC Dream Acoustic Dreadnought guitar simulation 2 volume
Low Cut: Highpass filter, cut off
OM Acoustic Simulates an OM type acoustic guitar
the low-frequency signal below
JUMBO Acoustic Simulates a jumbo acoustic guitar the selected
Simulates the iconic "H-Bird" acoustic Hi Cut: Lowpass filter, cut off the
Bird Acoustic high-frequency signal above the
guitar
selected
GA Acoustic Simulates a GA type acoustic guitar

Classic AC Acoustic Simulates a classical guitar

Mandolin Acoustic Simulates a mandolon

Fretless Bass Acoustic Simulates a fretless acoustic bass

Double Bass Acoustic Simulates a double bass

User IR 1~20
User IR 1~20 User IR
IR WAV (44kHz/1024 sample rate)
*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

EQ
FX Title Type Description Parameter Description
Band 1: 125Hz
Band 2: 400Hz
Band 3: 800Hz
Equalizer designed for
Guitar EQ 1 EQ Band 4: 1.6kHz
guitars
Band 5: 4kHz
Use the five bands above to control the EQ level.
Volume: Controls the output level
Band 1: 100Hz
Band 2: 500Hz
Band 3: 1kHz
Equalizer designed for
Guitar EQ 2 EQ Band 4: 3kHz
guitars
Band 5: 6kHz
Use the five bands above to control the EQ level.
Volume: Controls the output level
*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
Effect List 55

EQ
FX Title Type Description Parameter Description
Band 1: 33Hz
Band 2: 150Hz
Band 3: 600Hz
Equalizer designed for
Bass EQ 1 EQ Band 4: 2kHz
basses
Band 5: 8kHz
Use the five bands above to control the EQ level.
Volume: Controls the output level
Band 1: 50Hz
Band 2: 120Hz
Band 3: 400Hz
Equalizer designed for
Bass EQ 2 EQ Band 4: 800Hz
basses
Band 5: 4.5kHz
Use the five bands above to control the EQ level.
Volume: Controls the output level
Based on the 5-band Band 1: 80Hz
EQ module on Mesa/ Band 2: 240Hz
Boogie®* amps, Band 3: 750Hz
Mess EQ EQ
can easily realize Band 4: 2.2kHz
the classic boogie Band 5: 6.6kHz
V-shaped sound Use the five bands above to control the EQ level.
Band 1: 31Hz
Band 2: 63Hz
Band 3: 125Hz
Band 4: 250Hz
Band 5: 500Hz
10-band graphic Band 6: 1kHz
Hyper EQ EQ EQ suitable for any Band 7: 2kHz
instrument Band 8: 4kHz
Band 9: 8kHz
Band 10: 16kHz
Use the ten bands above to control the EQ level by
±12dB.
Volume: Controls the output level
*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

MOD
FX Title Type Description Parameter Description
Based on the legendary huge
ensemble
chorus pedal born in late 1970s Depth: Controls the chorus depth
(chorus mode), producing rich, Rate: Controls the chorus rate
G-Chorus Chorus
shimmering vintage analog Volume: Controls the effect level
chorus tone. Warm, rich, and Sync: Switches Tap Tempo sync on/off
dreamlike analog chorus
sound.
*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
Effect List 56

MOD
FX Title Type Description Parameter Description
Based on a legendary 4-button
purple stereo chorus pedal,
Mode: Select from 4 different chorus
C-Chorus Chorus providing detailed rich chorus
modes
tone that expands sonic
dimensions
Depth: Controls the vibrato depth
Based on the famous ensemble Rate: Controls the vibrato rate
B-Chorus Chorus
chorus unit tuned for bassists Volume: Controls the effect level
Sync: Switches Tap Tempo sync on/off
Mix: Controls the wet/dry signal ratio
A multi-dimensional chorus
Rate: Controls the chorus speed
pedal producing rich
Filter: Controls the effect tone
M-Chorus Chorus surrounding chorus sound,
Depth L/C/R: Controls the chorus depth of
better playing with stereo
left/right/center channels
sound systems
Sync: Switches Tap Tempo sync on/off
Depth: Controls the flanger depth
Rate: Controls the flanger speed
Classic flanger effect,
Pre Delay: Controls the pre delay time
Jet Flanger producing rich and natural
Feedback: Controls the amount of
flanger tone.
feedback
Sync: Switches Tap Tempo sync on/off
Depth: Controls the flanger depth
Rate: Controls the flanger speed
Classic flanging effect tuned Pre Delay: Controls the pre delay time
B-Jet Flanger
for basses Feedback: Controls the amount of
feedback
Sync: Switches Tap Tempo sync on/off
Depth: Controls the flanger depth
Rate: Controls the flanger speed
A flanger with negative
Pre Delay: Controls the pre delay time
N-Jet Flanger feedback, producing
Feedback: Controls the amount of
"underwater" style sound
feedback
Sync: Switches Tap Tempo sync on/off
Flg Depth: Controls the flanger depth
Flg Rate: Controls the flanger speed
Feedback: Controls the flanger feedback
amount
Combines flanger and tremolo Trm Depth: Controls the tremolo depth
Trem Jet Flanger
in one Trm Rate: Controls the tremolo speed
Flg Sync: Switches flanger Tap Tempo sync
on/off
Trm Sync: Switches tremolo Tap Tempo
sync on/off
Based on a BBD-based blue Depth: Controls the vibrato depth
V-Roto Vibrato vibrato pedal, producing Rate: Controls the vibrato rate
natural analog vibrato sound Sync: Switches Tap Tempo sync on/off
*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
Effect List 57

MOD
FX Title Type Description Parameter Description
Based on the legendary huge
Depth: Controls the vibrato depth
ensemble chorus pedal born
Rate: Controls the vibrato rate
G-Roto Vibrato in late 1970s (vibrato mode),
Volume: Controls the effect output
producing rich, shimmering
Sync: Switches Tap Tempo sync on/off
vintage analog vibrato tone
Depth: Controls the vibrato depth
A classic vibrato effect with Rate: Controls the vibrato speed
Vibrato Vibrato
wide adjustable range Volume: Controls the effect level
Sync: Switches Tap Tempo sync on/off
This is a special vibrato effect
with dynamic depth control,
which lets you create touch-
sensitive pitch modulation.
Use the Rate knob to control
the modulation speed; use
the Sens knob to fine tune the
Sens: Controls the effect sensitivity
sensitivity.
Vibrato T Vibrato Rate: Controls the vibrato speed
You can use Tap Tempo
Output: Controls the effect level
function to control the effect
Sync: Switches Tap Tempo sync on/off
speed by turning on the Sync
switch. When the Sync switch
is on, turn the Rate knob to
set a proper tap divide value.
The default value is 1/4 (no
division).
Based on legendary MXR®
M101 Phase 90*. Have you
heard the guitar sound in Eddie
Rate: Controls the vibrato speed
O-Phase Phaser Van Halen's "Eruption"? That
Sync: Switches Tap Tempo sync on/off
distorted tone with a sense of
rotation is realized by Phase
90.
Based on a BBD-based green Depth: Controls the phaser depth
G-Phase Phaser phase pedal, producing natural Rate: Controls the phaser speed
analog phase sound Sync: Switches Tap Tempo sync on/off
The Electro Harmonix Small
Stone was one of the first
phasers available in the 70's
and can be heard on countless
Rate: Controls the phaser speed
recordings. As the competitors
Sync: Switches Tap Tempo sync on/off
S-Phase Phaser of that time, it comes with a
Char: Selects from two sound characters:
control (rate, the speed of the
Warm/Sharp
effect) and the intensity can
be modified with a switch -
the sound is just right for most
applications.
*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
Effect List 58

MOD
FX Title Type Description Parameter Description
Pan Depth: Controls the tremolo depth
(using mono output) or panning depth
(using stereo output)
Pan Rate: Controls the tremolo speed
(using mono output) or panning speed
A special, subtle phaser
(using stereo output)
Pan Phase Phaser combines tremolo/pan
Phaser Depth: Controls the phaser depth
variations
Phaser Rate: Controls the phaser speed
Phs Sync: Switches phaser Tap Tempo
sync on/off
Pan Sync: Switches tremolo/pan Tap
Tempo sync on/off
Based on Voodoo Lab® Micro
Vibe*. Voodoo Lab Micro
Vibe has the same design as
the original 1968 Uni-Vibe*.
Depth: Controls the effect depth
Jimi Hendrix and Stevie Ray
M-Vibe Phaser Rate: Controls the effect speed
Vaughan used these effects
Sync: Switches Tap Tempo sync on/off
extensively in their albums.
The Vibe effect will bring
about slight and regular pitch
changes.
The Shin-Ei Uni-Vibe is a
classic phase shifter(chorus)
effect made famous by Jimi
Hendrix, David Gilmour, Robin
Trower and many more. The Depth: Controls the effect depth
rich “chorus” effect that Rate: Controls the effect speed
it’s famous for has become Volume: Controls the effect output
Vibe Phaser
a staple in a classic rock Mode: Select from 2 different vibe modes:
guitarist’s rig. While the Uni- Chorus and Vibrato
Vibe’s construction is closely Sync: Switches Tap Tempo sync on/off
copied by many companies,
many players confirm that
there’s just nothing like the
real thing!
Based on legendary Demeter®
TRM-1Tremulator*,offering
classical opto tremolo sound. In
1982, rock pioneer Ry Cooder
Depth: Controls the tremolo depth
approached James Demeter to
O-Trem Tremolo Rate: Controls the tremolo speed
ask whether the tremolo sound
Sync: Switches Tap Tempo sync on/off
of the Fender® twin series
speakers could be made into
a pedal effect device, and this
classic effect device was born.
*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
Effect List 59

MOD
FX Title Type Description Parameter Description
Depth: Controls the effect depth
Sine tremolo waveforms and Rate: Controls the effect speed
Sine Trem Tremolo
super wide tonal range. Volume: Controls the effect output
Sync: Switches Tap Tempo sync on/off
Depth: Controls the effect depth
Rate: Controls the effect speed
Bias tremolo waveforms and Volume: Controls the effect output
Bias Trem Tremolo
super wide tonal range Sync: Switches Tap Tempo sync on/off
Bias: Adjust the offset change of the
waveform
This is a detuning effect that
Dry/Wet: Controls the dry/wet signal level
combines a slightly shifted
Detune Pitch Detune: Controls the detune amount from
signal with the original signal
-50 to +50 cents
to create a chorus-like tone.
Mix: Controls the wet/dry signal ratio of
the effect
Krush: Controls the sample rate of the
Provides bitcrushing/sample effect
Bit Smash Special reducing effect with musical Bit: Controls the bit resolution of the effect
fashion Hi Cut: Controls the cutoff frequency of
the high cut filter
Lo Cut: Controls the cutoff frequency of
the low cut filter
This is an auto swell effect
Attack: Controls how fast the effect swells
with two parameters that are
the input signal
Auto Swell Special easy to understand and use. It
Curve: Selects the volume swell curve
can make the guitar sound like
(Line, Exp, Log)
a violin.
This is a freeze effect that
can freeze the sound for a
short period of time before the
effect is activated and make
it play in a loop. The Activate
parameter can be assigned Volume: Controls the effect output volume
Hold Special
to the expression pedal to Activate: Switches the effect on/off
activate and deactivate the
effect; You can also turn on the
Activate parameter and use
CTRL to directly control the
On/Off of the effect module.
*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
Effect List 60

MOD
FX Title Type Description Parameter Description
This is a freeze effect that
can freeze the sound at the
moment of activation and keep
it playing when the effect Volume: Controls the effect output volume
is activated. The Activate Attack: Controls how fast the effect
parameter can be assigned volume fades in
Freeze Special
to the expression pedal to Release: Controls how fast the effect
activate and deactivate the volume fades out
effect; You can also turn on the Activate: Switches the effect on/off
Activate parameter and use
CTRL to directly control the
On/Off of the effect module.
*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

DLY
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Time: Controls the delay time of left channel
This is a stereo analog delay
Time R%: Controls the delay time of right
model that captures the
channel
sound of a BBD based analog
BBD Delay S Delay (time ratio of left channel)
delay machine that is warm,
Spread: Controls the effect stereo width
smooth, rounded due to the
Level: Controls the effect output
limitation of BBD chips.
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Time: Controls the delay time of left channel
This model is a stereo digital Time R%: Controls the delay time of right
delay that channel
Digital Delay S Delay produces a pure clean delay (time ratio of left channel)
sound, clear Spread: Controls the effect stereo width
and accurate. Level: Controls the effect output
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
*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
Effect List 61

DLY
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Time: Controls the delay time of left channel
Time R%: Controls the delay time of right
channel (time
Back in the old days, ratio of left channel)
producers and engineers Spread: Controls the effect stereo width
created delay and echo Wow & Flutter: Controls the delay pitch/speed
effects using tape machines. variation
Tape Delay S Delay
That sweet, space-like echo amount caused by malfunctioning tape/motor
tone is still popular today, Age: Selects from 3 tone variations
especially among psychedelic Spread: Controls the effect stereo width
musicians. Scrape: Controls the tape scratch amount
Drive: Controls the delay distortion amount
Level: Controls the effect output
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
This model is a multi-tap delay Time: Controls the delay time
that brings you expanded Level: Controls the effect output
Ambience 1 Delay sound spaciousness. 1, 2 Mod: Controls the effect modulation
stands for different tonal amount
variations Tone: Controls the effect tone
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Produce pure, precised delay Time: Controls the delay time
Ambience 2 Delay
sound Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Produciing warm delay sound Time: Controls the delay time
Pure Delay
with analog feel Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Simulates solid-state tape Time: Controls the delay time
Analog Delay
echo sound Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
*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
Effect List 62

DLY
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
A ping-pong delay producing Feedback: Controls the amount of feedback
stereo feedbadk bounces Time: Controls the delay time
Tape Delay
back and forth between left Sync: Switches Tap Tempo sync on/off
and right channels Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the delay wet/dry signal ratio
Feedback: Controls the amount of feedback
Simulates the classic slapback
Ping Pong Delay Time: Controls the delay time
echo effect
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Time: Controls the delay time
Sweep Depth: Controls the sweep filter depth
Producing a delay effect with Sweep Rate: Controls the sweep filter speed
Slapback Delay sweeping filter Swp Sync: Switches sweep filter Tap Tempo
modulated repeats sync on/off
Time Sync: Switches delay Tap Tempo sync on/
off
Trail: Switched effect trail on/off when the
effect is bypassed
Dly Mix: Controls the delay wet/dry signal ratio
Feedback: Controls the amount of feedback
Time: Controls the delay time
Ring Mix: Controls the ring mod wet/dry signal
Producing a delay effect with ratio
Sweep Echo Delay
ring modulated repeats Freq: Controls the ring mod frequency
Tone: Controls the ring mod tone
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Simulates tube-driven tape Time: Controls the delay time
Ring Echo Delay
echo sound Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
*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
Effect List 63

DLY
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Time: Controls the delay time
Time: Controls the delay time
Tone: Controls the effect tone
Mode: Selects from 12 different head variations:
1: Single head, same as ordinary delays
2: Head 1 & 2
3: Head 2 & 3
A multi tap delay that 4: Head 3 & 4
Tube Delay simulates a huge 5: Head 1 & 3
4-head tape echo machine 6: Head 2 & 4
7: Head 1 & 4
8: Head 1, 2 & 3
9: Head 2, 3 & 4
10: Head 1, 2 & 4
11: Head 1, 3 & 4
12: Head 1, 2, 3 & 4
Sync: Switches delay Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
This analog delay pedal was Mix: Controls the wet/dry signal ratio
sold from 1981 to 1984 and Feedback: Controls the amount of feedback
is still sought after thanks Time: Controls the delay time
M-Echo Delay
to its warm, natural sound. Sync: Switches Tap Tempo sync on/off
Produces a delay time ranging Trail: Switched effect trail on/off when the
from 20 to 300 milliseconds. effect is bypassed
Based on Maxon® AD900
Analog Delay*, providing Mix: Controls the wet/dry signal ratio
warm, accurate delay sound. Feedback: Controls the amount of feedback
100% Analog Delay, dynamic Time: Controls the delay time
Sweet Echo Delay
distortion on Delay repeats, Sync: Switches Tap Tempo sync on/off
gorgeous, warm, organic Trail: Switched effect trail on/off when the
delay tone. effect is bypassed

Mix: Controls the wet/dry signal ratio

Feedback: Controls the amount of feedback
Reproduces the sound of a
Time: Controls the delay time
vintage 1980's rack-mount
Mod: Controls the effect modulation amount
999 Echo Delay delay
Tone: Controls the effect tone
machine with slightly sample-
Sync: Switches Tap Tempo sync on/off
reduced feedback
Trail: Switched effect trail on/off when the
effect is bypassed
*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
Effect List 64

DLY
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Time: Controls the delay time
Producing a delay effect with Crush: Controls the effect sampling rate
Vintage Rack Delay
lo-fi'd repeats Bit: Controls the effect sampling accuracy
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of feedback
Time: Controls the delay time
Producing a special delay
Lofi Echo Delay Volume: Controls the effect output volume
e%ect with reversed feedback
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when the
effect is bypassed
Mix A:Contols the delay A wet/dry signal ratio
FB A:Controls the feedback amount of delay A
Time A: Controls the delay time of delay A
Mix B: Contols the delay B wet/dry signal ratio
Producing a pure dual delay
FB B: Controls the feedback amount of delay B
effect with
Rev Echo Delay Time B: Controls the delay time of delay B
Dual Echo separated L/R
A Sync: Switches delay A Tap Tempo sync on/
channel signal proessing
off
B Sync: Switches delay B Tap Tempo sync on/
off
Trail: Switches effect trail on/off
Mix: Controls the wet/dry signal ratio
Time: Controls the delay time
This is a special delay effect
Feedback: Controls the amount of feedback
that combining normal
Mod: Controls the effect modulation amount
feedback with pitch shifted
Tone: Controls the effect tone
slices.
Pitch: Selects pitch shifting interval of the slices
You can use Tap Tempo
Slice: Choose audio signal slicing length
function to control the delay
Dual Echo Delay Direction: Controls audio slice playback direction
time by turning on the Sync
Blend: Controls the ratio between normal/pitch
switch. When the Sync switch
shifted feedback
is on, turn the Time knob to
Smooth: Controls the feedback attack
set a proper tap divide value.
Level: Controls the effect output
The default value is 1/4 (no
Sync: Switches Tap Tempo sync on/off
division).
Trail: Switched effect trail on/off when the
effect is bypassed
*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
Effect List 65

DLY
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
Time: Controls the delay time
This is a special delay effect
Feedback: Controls the amount of feedback
that combining normal
Mod: Controls the effect modulation amount
feedback with pitch shifted
Tone: Controls the effect tone
slices.
Pitch: Selects pitch shifting interval of the slices
You can use Tap Tempo
Slice: Choose audio signal slicing length
function to control the delay
Ice Delay Delay Direction: Controls audio slice playback direction
time by turning on the Sync
Blend: Controls the ratio between normal/pitch
switch. When the Sync switch
shifted feedback
is on, turn the Time knob to
Smooth: Controls the feedback attack
set a proper tap divide value.
Level: Controls the effect output
The default value is 1/4 (no
Sync: Switches Tap Tempo sync on/off
division).
Trail: Switched effect trail on/off when the
effect is bypassed
*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

RVB
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible onset
Simulates the spaciousness
Room Reverb of early reflections and the reverb tail
of a room
Decay: Controls the duration of reverb time
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible onset
Simulates the spaciousness
Hall Reverb of early reflections and the reverb tail
of a performance hall
Decay: Controls the duration of reverb time
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible onset
Simulates the spaciousness
Church Reverb of early reflections and the reverb tail
of a church
Decay: Controls the duration of reverb time
Trail: Switched effect trail on/off when the
effect is bypassed
*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
Effect List 66

RVB
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
Decay: Controls the duration of reverb time
Simulates the sound
High Damp: Controls the low pass filter
Plate Reverb character produced by a
frequency
vintage plate reverberator
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Simulates the sound Decay: Controls the duration of reverb time
Spring Reverb character produced by a Tone: Controls the effect tone
vintage spring reverberator Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible onset
This reverb model of early reflections and the reverb tail
simulates the sound Decay: Controls the duration of reverb time
Tube Spring Reverb
coming from a vintage tube Low Damp/Hi Damp: Dampens the effect low/
driven spring reverb unit. high frequency amount
Mod: Controls the effect modulation amount
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible onset
This reverb model of early reflections and the reverb tail
simulates the solid state Decay: Controls the duration of reverb time
Amp Spring Reverb
spring reverb module Low Damp/Hi Damp: Dampens the effect
coming from a combo amp. low/high frequency amount
Mod: Controls the effect modulation amount
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible onset
of early reflections and the reverb tail
This reverb model
Decay: Controls the duration of reverb time
Studio Reverb recreates the spaciousness
Low Damp/Hi Damp: Dampens the effect
of a recording studio.
low/high frequency amount
Mod: Controls the effect modulation amount
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Special-tuned reverb effect Decay: Controls the duration of reverb time
N-Star Reverb
with lush, bright decays Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Special-tuned reverb effect Decay: Controls the duration of reverb time
Deepsea Reverb
with huge, deep decays Trail: Switched effect trail on/off when the
effect is bypassed
*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
Effect List 67

RVB
FX Title Type Description Parameter Description
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible onset
of early reflections and the reverb tail
Produces a modulated
Decay: Controls the duration of reverb time
Sweet Space Reverb reverb effect that is lush
Low End: Controls the low frequency amount
and sweet
High End: Controls the high pass filter
frequency
Trail: Switched effect trail on/off when the
effect is bypassed
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible onset
of early reflections and the reverb tail
Produce a rich, shimmering Decay: Controls the duration of reverb time
Shimmer Reverb
reverb effect Low End: Controls the low frequency amount
High End: Controls the high pass filter
frequency
Trail: Switched effect trail on/off when the
effect is bypassed
*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

VOL

FX Title Type Description Parameter Description

Volume Volume Pure volume control Volume: Controls output volume
*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 68

Drum Rhythm List

Genre Type Time Signature Default Tempo
Classic Rock 1 4/4
Classic Rock 2 4/4
Classic Rock 3 4/4
Classic Rock 4 4/4
Classic Rock 5 4/4
Classic Rock 6 4/4
Hard Rock 1 4/4
Hard Rock 2 4/4
Hard Rock 3 3/4
Post Rock 1 5/4
Post Rock 2 4/4
Post Rock 3 4/4
Garage Rock 4/4
Prog Rock 4/4
Surf Rock 4/4
Rock
Punk 1 4/4
120BPM
Punk 2 4/4
Punk 3 4/4
Punk 4 4/4
Post Punk 1 4/4
Post Punk 2 4/4
Heavy Metal 1 4/4
Heavy Metal 2 4/4
Nu-Metal 1 4/4
Nu-Metal 2 4/4
Hardcore 4/4
EMO 4/4
Grunge 4/4
New Wave 4/4
Rock 5/4 5/4
Funk 1 4/4
Funk
Funk 2 4/4
Drum Rhythm List 69

Genre Type Time Signature Default Tempo

Funk 3 4/4
Funk 4 4/4
Funk Jazz Funk 1 4/4
Jazz Funk 2 4/4
Jazz Funk 3 4/4
Blues 1 4/4
Blues 2 4/4
Blues 3 4/4
Blues 4 4/4
Blues Swing 4/4
Shuffle 3/4 3/4
Bluegrass 4/4
Country 4/4
Country Folk 4/4
Pop 1 4/4
Pop 2 4/4
Pop 3 4/4
120BPM
Hip Hop 1 4/4
Pop
Hip Hop 2 4/4
Hip Hop 3 4/4
Hip Hop Rock 4/4
Pub 4/4
Jazz 1 4/4
Jazz 2 4/4
Jazz 3 4/4
Jazz Jazz 4 4/4
Bossanova 1 4/4
Bossanova 2 4/4
Fusion 4/4
Electro1 4/4
Electro2 4/4
Electronic Techno 4/4
TripHop 4/4
Electronic Pop 4/4
Drum Rhythm List 70

Genre Type Time Signature Default Tempo

Break Beat 4/4
Electronic
Drum&Bass 4/4
Latin 1 4/4
Latin 2 4/4
Latin 3 4/4
Latin Pop 1 4/4
Latin Pop 2 4/4
Samba 4/4
Tango 4/4
Beguine 4/4
Ska 4/4
Polka 2/4
World Waltz 3/4
Reggae 1 4/4
Reggae 2 4/4
Mazuke 3/4
Musette 4/4 120BPM
March 1 4/4
March 2 4/4
March 3 4/4
New Age 1 4/4
New Age 2 4/4
World 4/4
1/4 1/4
2/4 2/4
3/4 3/4
4/4 4/4
5/4 5/4
Metro
6/4 6/4
7/4 7/4
6/8 6/8
7/8 7/8
8/9 8/9
MIDI Control Information List 71

MIDI Control Information List

CC# Value Range Description
BANK MSB:
0 0-1 01-A~32-D: CC0=1, PC=0-127
33-A~64-D: CC0=0, PC=0-127
7 0-100 Patch Volume
11 0-100 EXP 1
EXP1 A/B
13 0-127 0-63: A
64-127: B
16 0-100 Quick Access Para 1
Quick Access Knob 1 parameter adjustment:
17 0-127 0-63:Turn down by 1 step
64-127: Turn up by 1 step
18 0-100 Quick Access Knob 2
Quick Access Knob 2 parameter adjustment:
19 0-127 0-63:Turn down by 1 step
64-127: Turn up by 1 step
20 0-100 Quick Access Knob 3
Quick Access Knob 3 parameter adjustment:
21 0-127 0-63:Turn down by 1 step
64-127: Turn up by 1 step
22 0-127 BANK - (initial mode)
23 0-127 BANK + (initial mode)
24 0-127 Patch -
25 0-127 Patch +
26 0-127 BANK - (wait mode)
27 0-127 BANK +(wait mode)
28 0-127 BANK (wait mode)
PRE Module on/off:
48 0-127 0-63: off
64-127: on
DST Module on/off:
49 0-127 0-63: off
64-127: on
MIDI Control Information List 72

CC# Value Range Description

AMP Module on/off:
50 0-127 0-63: off
64-127: on
NR Module on/off:
51 0-127 0-63: off
64-127: on
CAB Module on/off:
52 0-127 0-63: off
64-127: on
EQ Module on/off:
53 0-127 0-63: off
64-127: on
MOD Module on/off:
54 0-127 0-63: off
64-127: on
DLY Module on/off:
55 0-127 0-63: off
64-127: on
RVB Module on/off:
56 0-127 0-63: off
64-127: on
WAH Module on/off:
57 0-127 0-63: off
64-127: on
TUNER on/off:
58 0-127 0-63: off
64-127: on
LOOPER on/off:
59 0-127 0-63: off
64-127: on
60 0-127 LOOPER Record
61 0-127 LOOPER Auto Record
Looper Play/Stop
62 0-127 0-63: Stop
64-127: Play
Looper Tempo
63 0-127 0-63: Half-speed
64-127: Normal Speed
Troubleshooting 73

CC# Value Range Description

Looper Playback Status
64 0-127 0-63: Reverse
64-127: Normal
65 0-127 Delete Loop
66 0-100 Looper Recording Volume
67 0-100 Looper Playback Volume
Looper Placement
68 0-127 0-63: Rear
64-127: Front
69 0-127 CTRL 1
70 0-127 CTRL 2
71 0-127 CTRL 3
72 0-127 CTRL 4
73 0-1 Tempo MSB, Used with Cc74
CC73=0,CC74=40-127:
40BPM-127BPM
74 0-127
CC73=1,CC74=0-122:
128BPM-250BPM
75 0-127 Tap Tempo
76 0-127 CTRL 5
77 0-127 CTRL 6
78 0-127 CTRL 7
79 0-127 CTRL 8
Drum Machine Menu on/off:
92 0-100 0-63: off
64-127: on
Drum Machine Play/Stop
93 0-127 0-63: Stop
64-127: Play
94 0-99 Drum Machine Type
95 0-100 Drum Machine Volume

Troubleshooting
Device Won’t Turn On
Technical Specifications 74

• 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 effects 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 reduce 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 effects parameter setup. If effects are set to extremes, GP-200 may have abnormal
noise.

Problems With Expression Pedal

• Check your expression pedal on/off settings.
• Try calibrating the pedal.

Technical Specifications
Technical Specifications
• A/D/A Converter: 24-bit high performance audio
• Sampling Frequency: 44.1 kHz
• SNR: 110dB
• Module: 11, can be used simultaneously
• Patch Memory: 256 Patch slots, 100 Factory Patches
• Looper: Maximum 180 seconds of record time
Technical Specifications 75

• Drum Machine: 100 Patterns

• MIDI(IN/OUT/THRU): 5-pin MIDI connectors

Analog Input Connections

• Guitar Input: 1/4″ Unbalanced (TS)
• Input Impedance: 4.7M Ohms (A.GT), 1M Ohms (E.GT), 10k Ohms (Line)
• Return Input: 1/4″ Unbalanced (TS)
• Return Input Impedance: 100k Ohms
• Aux Input: 1/8″ Stereo (TRS)
• Aux Input Impedance: 10k Ohms

Analog Output Connections

• L/R Unbalanced Outputs: 1/4″ TS jacks , impedance: 1k Ohms
• L/R Balanced Outputs: XLR jacks , impedance: 1k Ohms
• Send Output: 1/4″ Unbalanced (TS) , impedance: 1k Ohms
• Headphone Output: 1/8″ Stereo (TRS) , impedance: 22 Ohms

Digital Connections
• USB Port: USB 2.0 Type-C Port

USB Recording Specification

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

Size and weight

• Dimensions: 345mm(W) x 220mm(D) x 62.5mm(H)
• Unit Weight: 2.37 kg

Power
• Requirements: DC 9V, 1000mA, center negative