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Table of Contents

Valeton GP-100 Multi Effects Processor User Manual
Product Information: VALETON GP-100 Guitar Multi-effects Processor
Panels Introduction
OVERVIEW
PANEL INTRODUCTION
GETTING STARTED
Suggested Setups
EFFECT LIST
DRUM RHYTHM LIST
TROUBLESHOOTING
SPECIFICATION
References
Read User Manual Online (PDF format)
Download This Manual (PDF format)

Valeton GP-100 Multi Effects Processor User Manual

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Product Information: VALETON GP-100 Guitar Multi-effects Processor

The VALETON GP-100 is a compact and high-performance guitar multi-effects
processor. It is designed to offer a powerful effects processing platform and
complete feature set, all in one simple-to-use and portable device. The GP-100
has 150 effects to choose from and allows you to run 9 effects simultaneously.
It also provides an Expression Pedal which can be assigned to the effect you
want to control for real-time effect changes or master volume. The built-in
tuner gets your guitar in tune, and the built-in drum machine and aux input
jack allow you to play along with a drum loop, metronome, or your favorite
music. The GP-100 comes with 99 included factory presets and 99 user presets
which allow you to store all your favorite effects.

Panels Introduction

The GP-100 has several input/output jacks:

Input Jack 1/4 mono audio jack, for connecting guitar.
OUTPUT L/OUTPUT R Jack 1/4 TS output interfaces can be configured for mono or stereo operation. Use them to connect to a single guitar speaker, a pair of stereo guitar speakers, or directly to the input of a PA or recording device.
AUX IN 1/8 TRS input for connecting external devices (phone, MP3 player) for practice and jamming.
PHONES 1/8 TRS output for connecting headphones.
USB USB 2.0 Type-B connects to your computer for use with GP-100 software, or as a USB audio interface.
Power Supply Connection Power supply input (9V DC center negative).

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

Product Usage Instructions

Connecting the Power and Input / Output Jacks:
Connect the power supply input (9V DC center negative) to the GP-100’s power
supply connection. Connect your guitar to the Input Jack 1/4 mono audio jack.
To connect to external devices for practice or jamming, use the AUX IN 1/8 TRS
input. For output, use the OUTPUT L/OUTPUT R Jack 1/4 TS output interfaces or
PHONES 1/8 TRS output for connecting headphones.
Using with Your Instrument: Turn on the GP-100 and select Play Mode. Use the PARA knob or footswitches to navigate presets. The LED screen shows the patch number, master volume, patch volume, BPM, patch name, and more. Use the Expression Pedal to control the effect you want to change in real-time or master volume. The built-in tuner can help you tune your guitar.
Cleaning: Keep the GP-100 clean by wiping it with a soft cloth. Avoid using solvents or other chemicals that may damage the device.
Alterations: Do not make any alterations to the GP-100 as it may cause damage to the device or affect its performance.
AC Adapter Operation: Use only the AC adapter that comes with the GP-100. Do not use any other AC adapter as it may cause damage to the device.
Malfunction: If the device malfunctions, disconnect the AC adapter and turn off the power immediately.
Disconnect all other connected cables and 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).

ATTENTION
Handling

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

Connecting the power and input/output jacks

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

Cleaning

Clean only with a dry cloth.

Alterations

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

AC Adapter Operation

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

Malfunction
If the unit should malfunction, disconnect the AC adapter and turn the power
OFF immediately. Then, disconnect all other connected cables.
Prepare information including the model name, serial number, speciﬁc symptoms
related to the malfunction, your name, address and telephone number and
contact the store where you bought the unit, or contact VALETON support
(service@valeton.net) .
Thank you for choosing a VALETON product!

OVERVIEW

The GP-100 is a compact, high performance guitar multi-effects processor. It
offers a potent effects processing platform and complete feature set, so you
can improve your skill and experiment with different guitar effects, all with
one simple-to-use, portable device.

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

The built-in tuner gets your guitar in tune. The built-in drum machine and aux
input jack set you up to play along with a drum loop, metronome, or your
favorite music.
Whether you’re a beginner or an old guitar freak, the GP-100’s got it all to
let you have at it!

PANEL INTRODUCTION

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

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PANEL INTRODUCTION

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INPUT Jack
1/4” mono audio jack, for connecting guitar.
OUTPUT L/OUTPUT R Jack
1/4” TS output interfaces can be conﬁgured for mono or stereo operation. Use
them to connect to a single guitar speaker, a pair of stereo guitar speakers,
or directly to the input of a PA or recording device.
AUX IN
1/8” TRS input for connecting external devices (phone, MP3 player) for
practice and jamming.
PHONES
1/8” TRS output for connecting headphones.
USB
USB 2.0 Type-B connects to your computer for use with GP-100 software, or as a
USB audio interface.
Power Supply Connection
Power supply input (9V DC center negative) .

GETTING STARTED

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

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

A. Patch No.
B. Patch name
C. Foot switch mode
D. Master volume
E. Patch BPM
F. Patch volume
G. EXP pedal state
H. Patch state
I. DRUM state

Edit Mode
Press PARA in the main interface or EDIT in any interface to enter EDIT mode.
In this mode, you can switch effect types, edit effect parameters, and change
the order of effect modules.

NOTE:

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

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

Using The TUNER

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

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Quick access knob 3 adjusts the pitch calibration (REF PITCH), ranging from
435Hz to 445Hz. Standard pitch is set at 440Hz. Quick access knob 1 lets you
select the tuner mode from Bypass (for dry signal through), Thru (for eect
signal through) or Mute (for silent tuning).You can exit the tuner either by
pressing any footswitch or by pressing the EXIT button.

LOOPER Function
Simultaneously hold two footswitches until the LOOPER menu appears.
The progress bar at the top will be shown in red during recording and
overdubbing. It will be shown in blue in play mode.
Quick access knob 1 adjusts the loop recording level from 0-99. Quick access
knob 2 selects between setting the loop before (Pre) or after (Post) your
effects chain.
In Pre mode, the looper will record mono audio without any effects, up to 90
seconds.

In Post mode, the looper will record stereo audio with effects, up to 45
seconds. Quick access knob 3 adjusts the loop playback volume from 0-99.

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NOTE: You can exit the LOOPER by pressing the EXIT button. The function
of the footswitches in this interface, tap footswitch [-] to record / play/
overdub, tap footswitch [+] to stop, hold to clear.
Simultaneously hold two footswitch’s to exit.

Drum Machine

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Press the “DRUM” button in any interface to turn on the drum. After the drum
is turned on, a symbol will be displayed on the right side of the main
interface to show the drum machine is active.
Press and hold the DRUM button to enter the drum menu.
Quick access knob 1 adjusts the DRUM style. Quick access knob 2 adjusts the
DRUM BPM from 40-250. Quick access knob 3 adjusts the DRUM volume from 0-99.
Turn the PARA knob to switch the DRUM genre. Press the PARA button to
play/stop the drum.

EXP Pedal
You can use the built in expression pedal to control various GP-100
parameters.
Some GP-100 preset patches have been set up to use the built in expression
pedal. These can be used without any further setup. Refer to the expression
pedal setting section to set the expression pedal.

To activate the built-in expression pedal, press the upper side of the pedal
all the way down. When the built-in expression pedal is on, an icon will show
up on the Main Display screen to indicate it is on:

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NOTE
The built-in expression pedal also functions when it is turned off. It
controls the output volume or input volume of the GP-100, depending on the
where it is positioned in the effect chain.

EDIT
Turn the PARA knob or tap the footswitch to switch the patch. Press the
PARA button or EDIT button to enter the EDIT menu. This menu is made of ten
icon squares representing GP-100’s nine effects modules.

The default signal chain is ordered like this:
PRE (Pre-effects) – DST (Overdrive/Distortion) – AMP (Amp simulator) – NR
(Noise reducer) – CAB (Cabinet simulator) – EQ (Equalization) – MOD
(Modulation) – DLY (Delay) – RVB (Reverb).

You can arrange the effect modules however you want.
When you open any effect module, the corresponding icon lights up to indicate
the current effect module is selected.
In the EDIT Menu, turn the PARA knob to select the effect module you want to
edit. The editable parameters of the currently selected effect module are
displayed at the bottom of the screen; different effect modules have different
parameters. You can use the three Quick adjust knobs to adjust the parameters
located directly above the knobs. A page number will appear at the top right
of the screen.

Some effects have several parameters, but only three parameters appear per
page. Press the PARA knob button to turn the page to view the other available
parameters.

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Change Effect Module Position
Press and hold the PARA button in the EDIT Menu to change the position of
the effect module.

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

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

Stomp Mode

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Select the footswitch mode in the GLOBAL menu to select STOMP mode.
After selecting the STOMP mode, the function of the footswitch [-]/[+] on the
main interface will be changed to the information of the current controllable
module. Each footswitch can only control 1-3 module switches.

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

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

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

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

GLOBAL
This menu is to present GP-100’s global functions, including input level,
output setting, tap tempo mode, EXP pedal
settings, language, and footswitch mode. You can also return to factory
settings from this menu. Global settings will affect GP-100’s overall working
status.
These will override any other settings made to your patches.
Any changes made in Global settings will be automatically saved and
immediately operational.
In the main menu, press GLOBAL to enter the global settings menu.

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Turn the PARA knob to select settings in the GLOBAL menu. You can use the
three Quick adjust knobs to adjust the parameters directly above the knobs. A
page number will appear at the top right of the screen. Press the PARA knob
button to turn the page to view the other available parameters.

I/O

This menu is to set up global input/output settings. Adjust the optimal Input
Level for the instrument or other sound source you’re using.
Adjustable range is from -20dB to +20dB.
Default is set to 0dB.

No CAB Mode is for connecting to instrument ampliﬁers without changing saved
presets.
Turning this on will bypass the CAB module for GP-100’s L/R output channels
ignoring preset settings. You can apply different settings on L/R output
channels for different scenarios.
Default is set to OFF.

Tap Tempo Mode

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

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

Target
Under the Target option, you can deﬁne the pedal’s control target. You can set
up a maximum of 3 effects parameters for the built-in expression pedal to
control.

In the selection panel, Block X (X standing for 1-3 controllable targets)
represents the effects module in play. FX X displays the actual effect name,
and PARA X shows the effect’s controllable parameter.

Use Quick access knob 1 to select the module placement. Use Quick access knob
3 to select the
effects parameter. Press the PARA button to ﬂip through the panel. You can
also turn the expression pedal off by selecting OFF in the settings panel.

EXP Range
Under the EXP Range option, you can arrange the expression pedal’s expression
range. There are 3 adjustable targets to change these settings.
In the selection panel, MIN X (X standing for 1-3 controllable targets)
represents the lowest range value. This is the value the pedal will have when
pushed all the way up. MAX X represents the highest range value, when the
pedal is pushed all the way down. The MIN and MAX range is 0-100, and the MIN
value can be greater than the MAX value.
VOL Range
When the built in expression pedal is off, it continues to work as a volume
pedal. Under the VOL Range option, you can set the volume pedal range and
position. Just like in the EXP Range section, the MIN and MAX range is 0-100,
and the MIN value can be greater than the MAX value.
In this menu you can set the position of the volume pedal in the effects
chain. PRE means that the volume pedal is at the front of the effects chain
(before the input level), and POST means that the volume pedal is at the end
of the effects chain (before the master volume).

Calibrate

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

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

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

Then, press the pedal toe down strongly and press the PARA button to next
step.

If the pedal is successfully calibrated, the following prompt will be
displayed. Press the PARA button to conﬁrm the calibration and return to the
previous menu.

If pedal calibration fails, press the the PARA button to re-calibrate.

USB Audio

This menu is to set up USB audio settings when using GP- 100 as a USB audio
interface.
Rec Level range: -20dB to +20dB, default: 0dB
Monitor Level range: -20dB to +6dB, default: 0dB
The Rec Mode options allow you to select USB recording input sources on left
(L) and right (R) input channels. The selections for these are same: dry
signal (Dry) and wet signal (Effect). When recording, adjust the optimal Rec
Level and Monitor Level according to the instrument or other devices you’re
using.

Footswitch Mode
This menu is to set up the GP-100’s footswitch mode.
Turn Quick adjust knob 2 to select the footswitch mode. You can select
footswitch mode as PATCH mode or STOMP mode. ****

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

Global EQ
This menu is to control the global equalizer of the GP-100 in order to
change the overall tone feel.

This is the displayed menu:

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

Parameter	Range	Description
ON/OFF	ON/OFF	On/Off global EQ
Low Cut	OFF~20Hz~20000Hz

(Default: OFF)

| High pass filter to cut off low frequency signals.
High Cut| 20Hz ~ 20000Hz~OFF

(Default: OFF)

| Low pass filter to cut off high frequency signals.

Band 1-4: 4 selectable peak filters used for overall or detailed frequency
adjustment in the certain range, including 3 available parameters: Frequency,
Q and Gain.

Band 1-4 Frequency

| 20Hz~20000Hz

(Band 1-4’s default frequencies are accordingly 100Hz, 500Hz, 1000Hz and

5000Hz)

To adjust the corresponding filter’s frequency.

Band 1-4 Q

| 0.1~10.0

(Default: 0.7)

| Width. To adjust the width of the formant (slope of

the filter), the larger the number, the steeper the slope.

Band 1-4

Gain

| -20dB ~ +20dB

(Default: 0dB)

| Adjust the filter 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-100
When a patch is using too many modules, or some modules are consumed with too much system resources (such as reverb effect), the system may be overloaded after applying global EQ.

Language
This menu is to choose the GP-100’s language.
Press the PARA button to enter the language settings menu.

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

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Press the PARA button again or press the EXIT button to return to the previous
menu.

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

Press the PARA button to enter the factory reset menu.

Turn the PARA knob to select OK/Cancel to conﬁrm or cancel the factory reset.
Press the PARA button to conﬁrm select. Selecting OK will initiate the factory
reset. Selecting Cancel will go back to the previous menu.

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

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

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

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Suggested Setups

Here are some common setups to get the most out of GP-100.

Using with your instrument and amp
Plug your instrument into the GP-100 instrument INPUT jack, and run a cable
(or two) from the OUTPUT(s) to your ampliﬁer(s). If you have one amp, run the
cable from the left output.
For best results, turn off the AMP and CAB modules on GP-100.

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Connecting to your amp’s RETURN
Connect the outputs to your amp’s FX Loop Return input. If you have one amp,
run the cable from the left output. For best results, turn o the CAB module on
GP-100.

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Connecting your mixer, interface, headphones, and other equipment
Connect GP-100’s outputs to your mixer or audio interface’s corresponding
inputs. If you want to send a mono signal out, use GP-100’s left output
channel. To prevent damage to your equipment, make sure the mixer or interface
channel’s volume is muted before making ANY connections. Turn theGP-100 output
volume all the way down before connecting headphones to prevent harm to your
ears. GP-100’s headphones out comes with stereo sound.
For best results with headphones, turn on GP-100’s AMP and CAB modules.

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Connecting to your computer as an audio interface
Connect a USB cable (not included) from GP-100 to your computer. For PC
systems, you’ll need to set up the driver. GP-100 is plug and play for macOS.
Run line out cables to your monitors, or use headphones.

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Using the AUX IN line
Connect a male-to-male 1/8” stereo cable from your audio source (phone or MP3
player) to GP-100’s AUX IN jack. This line will be unaffected by GP-100’s
internal effects.
Note: if you are running a mono line out, you will only hear a mono
version of your AUX source.

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EFFECT LIST

PRE

FX Title| Description| Parameters & Ranges| Good For

COMP

| Based on the legendary Ross™ Compressor. This is the originator of the
guitar compression effect.

It brings the guitar compression effect to the public and becomes an important
element in the future.

It has a very natural and mellow compression effect.

Sustain (0~99) Controls the compression amount Output (0~99) Controls the
effect output volume

Vintage

COMP4

| Based on the Keeley® C4 4-knob compressor*. A recording studio – level
compression effect. Clear sense of hierarchy, the right amount of high
frequency makes your guitar sound brighter.| Sustain (0~99) Controls the
compression amount Attack (0~99) Controls how soon the compressor starts to
process the signal

Output (0~99) Controls the effect output volume Clip (0~99) Controls the input
senstivity

Modern

Boost

| Based on famous Xotic® EP Booster* pedal. Provides +20DB of pure stimulation
lift, strong low frequency, bright high frequency, making clear sound more
pleasant.|

Gain(0~99) Controls the effect gain Bright(Of/On) Switches extra brightness
on/of

Modern

AC Sim

Acoustic guitar simulator designed for guitars. Its prototype comes from a
classic acoustic guitar analog stompbox.

| Body(0~99) Controls the body resonance Top(0~99) Controls the upper
harmonics VOL(0~99) Controls the effect output

Mode(STD, Jumbo, ENH, Piezo) Switches from 4 modes: STD: Simulates a standard
acoustic guitar Jumbo: Simulates a jumbo acoustic guitar

ENH: Simulates an acoustic guitar with enhanced attack Piezo: Simulates the
sound of a piezo pickup

Modern

T-WAH

| Control the wah sound by playing intensity. A wide range d envelope ﬁlter
(a.k.a. touch wah) designed for guitarists and bassists that is touch-
sensitive and ﬂexible.| Sense (0~99) Controls the sensitivity

Range (0~99) Contols the ﬁlter center frequency range Q (0~99) Controls the
ﬁlter Q

Mix (0~99) Controls the wet/dry signal ratio Mode (Guitar/Bass) Switches from
guitar/bass modes

Funk Rock

A-WAH

Set the rate to make the wah pedal work regularly. Providing a variable auto
wah effect for both guitars and basses.

| Depth (0~99) Controls the effect depth Rate (0.1~10Hz) Controls the effect
speed VOL(0~99) Controls the effect output

Low(0~99) Controls the ﬁlter low frequency range Q (0~99) Controls the ﬁlter Q

High (0~99) Controls the ﬁlter high frequency range Sync (Of/On) Switches Tap
Tempo sync on/of

Funk Rock

PRE

FX Title| Description| Parameters & Ranges| Good For

V-Wah

| Based on legendary VOX® V846* wah pedal. The earliest wa-wah pedal was
originally designed to allow the wind instrument passing through it to produce
a more emotionally expressive “wa-wah” sound. The amplitude is small and acts
between medium and high frequency.|

Range(0~99) Controls the ﬁlter frequency range Q (0~99) Controls the ﬁlter Q

VOL(0~99) Controls the effect output

To use expression pedal as a wah pedal, assign Range as control target; you’ll
hear the difference by switching the pedal on and moving back and forth

Vintage

C-Wah

| Based on legendary Dunlop® CryBaby®* wah pedal. The classic 60’s traditional
wha pedal, acting between low and medium frequency, moderate amplitude,
neutral timbre.

OCTA

Provides polyphonic octave effect.

| Low Oct (0~99) Controls the lower octave volume High Oct (0~99) Controls the
higher octave volume Dry (0~99) Controls the dry signal level|

Vintage

Pitch

Polyphonic pitch shifter/harmonizer.

| H-Pitch(0~+24) Controls the lower pitch by half notes L-Pitch(0~-24)
Controls the higher pitch by half notes Dry(0~99) Controls the dry signal
level

H-Vol(0~99) Controls the high pitch volume

L-Vol(0~99) Controls the low pitch volume

Vintage

P-Bend

Polyphonic pitch shifter/harmonizer.

| H-Pitch(0~+12) Controls the lower pitch by one notes L-Pitch(0~-12) Controls
the higher pitch by one notes Wet(0~99) Controls the wet singal ratio

Dry(0~99) Controls the dry sing al ratio Range(0~99) Controls the harmony
effect pitch range

Vintage

Saturate

| Vintage tape saturation simulater providing analog warmth and natural
distortion.| Gain(0~00) Controls the gain amount Mix(0~99) Controls the
wet/dry signal ratio

Output (0~99) Controls the effect output volume H-Cut(0~99) Controls the
effect high cut amount

Vintage

Step Filter

A 4-step auto ﬁlter machine for creating synth-like sounds.

| Step 1/Step 2/Step 3/Step 4 (0~99) Controls ﬁlter center frequency of 4
ﬁlters (steps)

Rate(0.10~10.00Hz) Controls the effect speed Sync(On/Of) Switches Tap Tempo
sync on/of

Modern

Ring Mod

A ring modulator for creating interesting inharmonic frequency spectra (like
bells and chimes).

| Mix(0~99) Contols the wet/dry signal ratio Freq(0~99) Controls the
modulation frequency

Fine(-50~0~+50) Fine tune the modulation frequency by 1Hz

Tone(0~99) Controls the tone brightness

DST

FX Title| Description| Parameters & Ranges| Good For

Scream OD

Based on Tube Screamer® Style overdrive pedal, with unique timbre
characteristics.

| Gain(0~99) Controls the gain amount Tone(0~99) Controls the tone brightness
VOL(0~99) Controls the effect output volume Fat(Of/On) Switches extra
resonance on/of Air(Of/On) Switches extra presence on/of|

Blues Rock Metal

Tube Clipper

Based on a overdrive pedal using 12AX7 tube, providing a very smooth overdrive
and violin like sustain, full of rich and sweet overtones.

| Gain(0~99) Controls the gain amount VOL(0~99) Controls the effect output
volume Bass(0~99) Controls the low frequency amount

Treble(0~99) Controls the high frequency

amount

Rock

TaiChi OD

| Hermida® Zendrive® rose to fame because of its tube-like tone. To get the
perfect balance of saturation and harmonics required to result in all of the
‘in-tangibles’ that make a pedal overdrive sound like a real amp overdrive.
Things like touch sensitivity and response to guitar tone and volume control
changes.|

Gain(0~99) Controls the gain amount Tone(0~99) Controls the tone brigntness
VOL(0~99) Controls the effect output volume Voice(0~99) Controls the upper
harmonics character

Rock

Plustortion

| 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-based Plustortion.

The Plustortion recreated the Germanium- powered soft clipping distortion,
like what

Randy Rhoads and other hard rockers do!

Gain(0~99) Controls the gain amount VOL(0~99) Controls the effect output
volume

Rock Metal

Chief

The Marshall® Guv’nor* was released in 1988 and in production during 4 years.
This overdrive/distortion Made in England effect replicates the classic tube
Marshall® Amp sound into compact and solid state box featuring a sustainable
gain with a touch of compression.

| Gain(0~99) Controls the gain amount VOL(0~99) Controls the effect output
volume Bass(0~99) Controls the low frequency amount

Middle(0~99) Controls the mid frequency amount

Treble(0~99) Controls the high frequency

amount

Rock

Green OD

| 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 used as either an overdrive or a Boost, can be used in a variety of
musical styles.| Gain(0~99) Controls the gain amount Tone(0~99) Controls the
tone brigntness VOL(0~99) Controls the effect output volume|

Blues Rock Metal

Famous users: Stevie Ray Vaughan, Joe Satriani, Paul Gilbert, Andy Timmons,
Kirk Hammett, Steve Ray Vanghan, Michal Landau, U2
DST

FX Title| Description| Parameters & Ranges| Good For

Yellow OD

| Based on the legendary 2-knob yellow overdrive pedal with thick. Artist of
the 70’s was mostly using a fuzz distortion sound and the overdrive produced
by it was not typical. It was however soon accepted as the new standard of
guitar sound. It features an 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.|
Gain(0~99) Controls the gain amount VOL(0~99) Controls the effect output
volume|

Blues Rock

Super OD

| Based on the legendary 3-knob yellow overdrive pedal. The unique asymmetric
overdrive effect circuit adds warm and pleasant overdrive effect to the
traditional guitar timbre.| Gain(0~99) Controls the gain amount Tone(0~99)
Controls the tone brightness VOL(0~99) Controls the effect output volume|

Blues Rock

Blues OD

| Based on an legendary 3-knob Blues overdrive pedal providing full-range
overdriven sound. Whether it’s warm and natural overdrive or full open
distortion, it gives your guitar the most expression, makes it easy to control
the tone, and allows for subtle variations in your personal playing style.|

Gain(0~99) Controls the gain amount Tone(0~99) Controls the tone brightness
VOL(0~99) Controls the effect output volume

Blues Rock

Lazaro

| Based on legendary Electro-Harmonix® Big Mu Pi®* fuzz/distortion pedal. It
is very

individual, warm and thick sound wall, restless but full of beauty.

Sustain(0~99) Controls the gain amount Tone(0~99) Controls the tone brightness
VOL(0~99) Controls the effect output volume

Rock

Famous users: Jimi Hendrix, Santana, Pink Floyd, Jack White

Red Haze

| 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 sound of Fuzz Face was heavy and sharp, and its sound
inﬂuenced countless famous musicians.| Fuzz(0~100) Controls the gain amount
VOL(0~100) Controls the effect output volume|

Rock

Famous users: Jimi Hendrix, Santana, Pink Floyd, Jack White
Darktale| Based on legendary ProCo™ The Rat distortion (early LM308 OP-amp
version). The Rat has come to life thanks to its wide range of Filter knob,
bright and compact sound head, full end and strong plasticity, making it a
favorite of many musicians.| Gain(0~99) Controls the gain amount Filter(0~99)
Conterclockwize controls the tone brigntness

VOL(0~99) Controls the effect output volume

| Rock
Famous users: Jef Beck, Kurt Cobain
DST

FX Title| Description| Parameters & Ranges| Good For
Flex OD| A simple and effective distortion effect for guitars and basses.|
Gain(0~99) Controls the gain amount Tone(0~99) Controls the tone brightness
VOL(0~99) Controls the effect output volume Mode(Norm, Scoop, Edge) Selects
from three sound characters

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

| Blues Rock

SM Dist

| It is based on a classic orange three-knob distortion effector, which can be
used to easily get the timbre characteristics of the 70s-80s.| Gain(0~99)
Controls the gain amount Tone(0~99) Controls the tone brightness VOL(0~99)
Controls the effect output volume| Blues Rock
La Charger| Based on MI Audio® Crunch Box®* distortion peal. Sensitive and
exquisite distortion beast, it satisﬁes all the passion of Rif and Solo. The
response of each frequency band is balanced, the dynamic feedback is faithful
to the ﬁngertip, and the noise can be well controlled even at high gain.|
Gain(0~99) Controls the gain amount Tone(0~99) Controls the tone brightness
VOL(0~99) Controls the effect output volume| Hard Rock
Bass Dist| Based on a yellow bass overdrive pedal with wide tonal range. It
combines the original bass sound with a unique overdrive effect to make a very
good distortion effect while ensuring The original bass dynamic tone. It can
also be used as a pretty good boost.| Gain(0~99) Controls the gain amount
Blend(0~99) Controls the wet/dry signal ratio VOL(0~99) Controls the effect
output volume Bass(0~99) Controls the low frequency amount Treble(0~99)
Controls the high frequency amount| Blues Rock Metal

Boost

| Based on famous Xotic® EP Booster* pedal. Provides +20DB of pure stimulation
lift, strong low frequency, bright high frequency, making clear sound more
pleasant.| Gain(0~99) Controls the effect gain Bright(Of/On) Switches extra
brightness on/of|

Modern

AMP

FX Title| Description| Parameters & Ranges| Good For
Tweedy| Based on Fender® Tweed Deluxe. This ampliﬁer with a dynamic range
from clean to wild overdrive, from country rock to distortion, the Fender®
Tweed Deluxe has been a totem in every style for more than 60 years.|
VOL(0~99) Controls the amp pre gain Tone (0~99) Controls the tone brightness

Output (0~99) Controls the amp output volume

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

Middle(0~99) Controls the amp mid frequency response

Treble (0~99) Controls the amp high frequency response

| Blues Jazz
Famous users: Stevie Ray Vaughan, Kurt Cobain
AMP

FX Title| Description| Parameters & Ranges| Good For
Dark Twin| Based on Fender®’ 65 Twin Reverb®. With a Stratocaster, the
classic sound can be easily restored in both country jazz and rock music.|

VOL(0~99) Controls the amp pre gain Output(0~99) Controls the amp output
volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response Bright(Of/On) Switches extra brightness.

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

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock Country Jazz
Foxy 30N| Based on VOX® AC30HW* (normal channel). The symbolic clear sound and
warm and sharp overdrive, since the day of its birth, has become the Shadows,
The Beatles, the Rolling Stones and other group’s favorite speaker. The
British band led the “British Invasion” has made VOX® speaker a household name
as a British rock icon. Even in hard rock and British rock, Radiohead, Suede,
Oasis and other super groups are preferred.| VOL(0~99) Controls the amp pre
gain Cut(0~99) Counterclockwise controls the tone brightness

Master(0~99) Controls the amp output volume Bright(Of/On) Switches extra
brightness on/of

| Blues Rock Country Jazz
Famous users: The Shadows, The Beatles,

The Rolling Stones, Radiohead, Suede, Oasis

BogSV CL| Based on Bogner® Shiva* (20th Anniversary version, Ch1. Modern
optimized circuit, with a double channel treasure house of sound, excellent
circuit design makes it have high- frequency transparent and ﬂexible low
frequency, crystal clear sound, British higaint compact and gorgeous.|

Gain(0~99) Controls the amp pre gain PRES(0~99) Controls the amp presence
Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Treble(0~99) Controls the
amp high frequency response Bright(Of/On) Switches extra brightness on/of

| Blues Rock Metal
AMP

FX Title| Description| Parameters & Ranges| Good For

J-120 CL

| Based on the legendary “Jazz Chorus” solid state combo. When it came out in
1975, it is the ﬁrst musical instrument speaker equipped with Chorus effect.
It was famous for its pure sound and stereo chorus effect.|

VOL(0~99) Controls the amp output volume Bass(0~99) Controls the amp low
frequency response Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency response

Bright(0~99) Switches extra brightness on/of

| Rock Jazz
Famous users: Metallica, The Smiths, The Police, Aerosmith
Match CL| Based Matchless™ Chieftain 212 combo* (clean tone). MATCHLESS®’s
philosophy since its founding in 1989 has been to make as many top-notch, all-
purpose speakers as possible. The crisp graininess and perfect dynamic
feedback will make your playing easy.| Gain(0~99) Controls the amp pre gain
PRES(0~99) Controls the amp presence Master(0~99) Controls the amp output
volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock

Z38 CL

| Based on Dr. Z® Maz ³8 Sr.* combo (clean sound). With its varied sound, wide
frequency response and dynamic range, it is not only an excellent single
platform, but it can meet your needs whether you are a British or An American
fan.| VOL(0~99) Controls the amp pre gain Cut(0~99) Counter clockwise controls
the tone brightness

Master(0~99) Controls the amp output volume Bass(0~99) Controls the amp low
frequency response Middle(0~99) Controls the amp mid frequency response
Treble(0~99) Controls the amp high frequency

Blues Rock

Knights CL

| Based on Grindrod® Pendragon PG20C* (Normal channel, bright of). If you’re a
big fan of British sound/overdrive, this is a sound you can’t miss. It can
bring the pure British style, sound full of penetrating power.| Gain(0~99)
Controls the amp pre gain VOL(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
respond

Blues Rock

Bad-KT CL| Based on Bad Cat® Hot Cat 30 (clean channel). As the world’s ﬁrst
use of Class A circuit design guitar speakers, the sound quality has been
greatly improved. It combines British and American styles, with rich harmonics
and sufficient headroom.| Gain(0~99) Controls the amp pre gain PRES(0~99)
Controls the amp presence Master(0~99) Controls the amp output volume| Blues
Rock Metal
UK 45| Based on Marshall® JTM45 (normal channel). In 1962, Marshall®
introduced the ﬁrst guitar speakers speciﬁcally designed for rock music, and
its powerful sound laid the foundation for rock music. So its panel material
plexiglas as the most classic 1960s sound speciﬁc name— Plexi.|

VOL(0~99) Controls the amp pre gain PRES(0~99) Controls the amp presence
Output(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock
AMP

FX Title| Description| Parameters & Ranges| Good For

UK 50JP

| Based on Marshall® JMP50 (“Jump” connection). Through the adjustment of
JTM45’s rectiﬁer tube, the power was improved. In 1966, Marshall company
launched JTM50, and the “Plexi” sound obtained utilizing the overdrive by
more people. The timbre is more full compared to JTM45.| VOL 1(0~99) Controls
the output volume of CH1 PRES(0~99) Controls the amp presence Output(0~99)
Controls the amp output volume Bass(0~99) Controls the amp low frequency
response

Middle(0~99) Controls the amp mid frequency response Treble(0~99) Controls the
amp high frequency response VOL 2(0~99) Controls the output volume of CH2

Blues Rock

UK 800

| Based on the famous “Brown Eye” UK- style boutique amp head (BE channel).

Improvement on Marshall® Plexi*

basis. It has smooth high frequency, tight low frequency and high frequency
gain function. It can be used in many musical styles.

Gain(0~99) Controls the amp pre gain PRES(0~99) Controls the amp presence
Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency

Blues Rock

Famous users: Kerry King, AC/DC, Zakk Wylde

Flagman

| Based on the famous “Brown Eye” UK- style boutique amp head (BE channel).

Improvement on Marshall® Plexi*

basis. It has smooth high frequency, tight low frequency and high frequency
gain function. It can be used in many musical styles (BE channel) .

| Gain(0~99) Controls the amp pre gain PRES(0~99) Controls the amp presence
Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

Blues Rock

Z38 OD

Based on Dr. Z® Maz 38 Sr* combo (dirty tone).

| Gain(0~99) Controls the amp pre gain Cut(0~99) Controls the amp presence
Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

Blues Rock

BogSV OD| Based on Bogner® Shiva* (20th Anniversary version, Ch2).| Gain(0~99)
Controls the amp pre gain PRES(0~99) Controls the amp presence Master(0~99)
Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response

Treble(0~99) Controls the amp high frequency response

| Blues Rock Metal
Bellman 59B| Based on Fender® ’59 Bassman®* (bright channel).| VOL(0~99)
Controls the amp pre gain PRES(0~100) Controls the amp presence Output(0~99)
Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Jazz
AMP

Master(0~99) Controls the amp output volume Bass(0~99) Controls the amp low
frequency response Treble(0~99) Controls the amp high frequency response
Char(Cool/Hot) Selects from 2 gain ranges

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

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock
Solo100 OD| Based on Soldano® SLO100 (crunch channel)| Metal
L-Star OD| Based on Mesa/Boogie® Lone Star(CH2).| Rock
Bad-KT OD| Based on Bad Cat® Hot Cat 30 (overdrive channel).| Gain(0~99)
Controls the amp pre gain PRES(0~99) Controls the amp presence Master(0~99)
Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Edge(0~99) Controls the amp
mid frequency response Treble(0~99) Controls the amp high frequency response

| Rock
Mess2C+ 1| Based on Mesa/Boogie® Mark II C+™ (Lead channel) with 2 different
onboard switch combinations. In the 1980s, Mark II C + *established the
position of Mesa / Boogie® metal style, and its voice appeared in the albums
of Metallica and Dream Theater, and become a classic of American Higain.|
Gain(0~99) Controls the amp pre gain PRES(0~99) Controls the amp presence
Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock Metal
Mess2C+ 2
Knights OD| Based on Grindrod® Pendragon PG20C* (Drive channel).| Gain(0~99)
Controls the amp pre gain VOL(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock
AMP

FX Title| Description| Parameters & Ranges| Good For
Dizz VH| Based on Diezel® Vh4*. Born in Germany in the 1990s, its timbre and
multifunction have attracted countless guitar masters. The unique Modern
Higain quickly conquered many musicians.| Gain(0~99) Controls the amp pre gain
PRES(0~99) Controls the amp presence Master(0~99) Controls the amp output
volume Bass(0~99) Controls the amp low frequency response

Middle(0~99) Controls the amp mid frequency response

Treble(0~99) Controls the amp high frequency response

| Metal
Famous users: Guns N’ Roses, Metallica, Korn, Slipknot, Bon Jovi
Eagle 120| Based on ENGL® Savage 120 E610*. Iconic Morden Higain, it is an
indispensable part of heavy metal.| Metal
EV 51| Based on Peavey® 5150® (LEAD channel). Guitarist Eddie Van Halen, who
began working with Peavey® in the 1980s, loved the sound and took the album’s
title “5150” to the world with its metallic sound.| Gain(0~99) Controls the
amp pre gain Master(0~99) Controls the amp output volume Bass(0~99) Controls
the amp low frequency response

Middle(0~99) Controls the amp mid frequency response

Treble(0~99) Controls the amp high frequency response

PRES(0~99) Controls the amp presence

| Metal
Famous users: Eddie Van Halen
Solo100 LD| Based on Soldano® SLO100 (overdrive channel). Also from Eddie Van
Hale’s Brown Sound, Steve Vai’s classic album “Passion & Warfare” was recorded
in SLO100.| VOL(0~99) Controls the amp pre gain PRES(0~99) Controls the amp
presence Master(0~99) Controls the amp output volume Bass(0~99) Controls the
amp low frequency response

Middle(0~99) Controls the amp mid frequency response

Treble(0~99) Controls the amp high frequency response

| Metal
Famous users: Steve Vai, Mark Knopﬂer, Eric Clapton, Gary Moore
Mess4 LD| Based on Mesa/Boogie® Mark IV™ (Lead channel). Based on the classic
upgrade, it inherits the omnipotence of Mesa / Boogie®, with rich harmonics
and sustain from the voiceless tone to the sharp dark modern higain timbre.|
Metal
Mess DualV| Based on Mesa/Boogie® Dual Rectiﬁer®. The distortion of Rectiﬁer®
series is warm, and the distortion of Rectiﬁer® series is very wide, which is
more thick and solid than Mark®.| Metal
AMP

FX Title| Description| Parameters & Ranges| Good For
Power LD| Based on ENGL® Powerball II E645/2* (CH4). It can bring you
extremely compact low frequency, a lot of gain and precise dynamic response,
which is very suitable for modern rock and metal music.| Gain(0~99) Controls
the amp pre gain PRES(0~99) Controls the amp presence Master(0~99) Controls
the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Metal
Flagman+| Based on the famous “Brown Eye” UK-style boutique amp head.|
Gain(0~99) Controls the amp pre gain PRES(0~99) Controls the amp presence
Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock
Juice R100| Based on Orange® Rockerverb 100™* (Dirty channel). Once launched,
this ampliﬁer has become a new favorite of rock musicians. Its sound is
unique, and its timbre can be controlled from warm and sweet clear tone to
heavy music, which will bring surprise to the performers.| Gain(0~99) Controls
the amp pre gain Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock Metal
Mess DualM| Based on Mesa/Boogie® Dual Rectiﬁer®.| Gain(0~99) Controls the amp
pre gain PRES(0~99) Controls the amp presence Master(0~99) Controls the amp
output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Blues Rock Metal
Bog BlueV| Based on Bogner® Ecstasy*(“Blue” channel, Vintage mode). Ecstasy®
was born in 1992. Blue channel is popular for its highly recognizable classic
rock and roll sound. Its loud and handsome plexi voice has extraordinary
attainments.| Gain(0~99) Controls the amp pre gain PRES(0~99) Controls the amp
presence Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Metal
Bog RedM| Based on Bogner® Ecstasy*(“Blue” channel, Modern mode). The red
channel is known for its ﬁery high gain distortion and the main timbre. It can
show you from vintage overdrive to modern higain.| Gain(0~99) Controls the amp
pre gain PRES(0~99) Controls the amp presence Master(0~99) Controls the amp
output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Metal

AMP

FX Title| Description| Parameters & Ranges| Good For
Classic Bass|

Based on Ampeg® SVT* bass amp. Launched in 1969, Ampeg SVT has always been the
most mainstream bass speaker, Have a strong ability to sound shape.

| Gain(0~99) Controls the amp pre gain Bass(0~99) Controls the amp low
frequency response Middle(0~99) Controls the amp mid frequency response

MRange(220Hz/450Hz/800Hz/1.6kHz/3kHz) Selects from 5 mid frequency ranges

Treble(0~99) Controls the amp high frequency response

Master(0~99) Controls the amp output volume

| Vintage
Bass Pre| Based on Alembic™ F-2B preamp. In the 1960s, inspired by the
Fender® speaker, the circuit was transformed in an all- round way, which
brought the extremely advanced adjustment mode at that time, which was loved
by many musicians, thus leaving a strong mark in the history of rock music.|
VOL(0~99) Controls the amp output volume Bright(Of/On) Switches extra
brightness on/of Bass(0~99) Controls the amp low frequency response
Middle(0~99) Controls the amp mid frequency response Treble(0~99) Controls the
amp high frequency response| Vintage
Mini Bass| Based on Ampeg® B-15 “Flip Top” bass amp. The B-15 was conceived
by legendary Jess Oliver in 1958. It can be seen from the early clubs to the
world’s top studios. B-15 can be said to be a landmark product that is hard
to be

ignored.

| VOL(0~99) Controls the amp output volume Bass(0~99) Controls the amp low
frequency response Treble(0~99) Controls the amp high frequency response|
Vintage
Foxy Bass| Based on vintage VOX® AC-100 bass amp. In 1963, the Beatles was
in urgent need of a bass speaker with a volume greater than that of the club’s
crazy shouting, and the AC-100 came into being. With 100W power and 4×12″
box, it has successfully become the most representative bass voice in the
1960s.| Vintage
Mess Bass| Based on Mesa/Boogie® Bass 400 amp. You can hear the sound of the
early bass speakers in many albums.| VOL(0~99) Controls the amp pre gain
Master(0~99) Controls the amp output volume

Bass(0~99) Controls the amp low frequency response Middle(0~99) Controls the
amp mid frequency response Treble(0~99) Controls the amp high frequency
response

| Vintage
AC Pre| Based on AER® Colourizer 2* acoustic preamp. Originated in Germany, it
is a preamp designed for acoustic guitar sound reinforcement. It will bring
richer dynamics and overtones to your acoustic guitar, making the sound more
three-dimensional and vivid.| VOL(0~99) Controls the output volume Tone(0~99)
Controls the tone brightness Balance(0~99) Controls the tone control balance;
turn to 0 to disable tone control

EQ Freq(0~99) Controls the EQ center frequency from 90Hz to 1.6kHz

EQ Q(0~99) Controls the EQ bandwidth

EQ Gain(0~99) Controls the EQ boost/cut amount

| Classic

NR

FX Title| Description| Parameters & Ranges| Good For
Gate 1| Based on the famous ISP® Decimator™* noise gate pedal. The Decimator
features improvements in the expander tracking with their new Linearized Time
Vector Processing™.

This novel improvement provides a more linear release time-constant response
for the exponential release curve of the downward expander.

| Three(0~99) Controls the noise gate three| Modern
Gate 2| Flexible noise gate with attack and release control| Three(0~99)
Controls the noise gate threshold Attack(0~99) Controls how fast the noise
gate start to process signal

Reel(0~99) Controls the noise gate release time when signal level reaches

| Modern

CAB

FX Title| Description| Parameters & Ranges
TWD 2×12| Custom modiﬁed Fender®* 2×12″ cabinet.

The mid-range is very strong, suitable for playing clean tone and overdrive.

VOL (0~99) Controls the output volume

DarkTW 2×12| Vintage Fender® ’65 Twin Reverb 2×12″ cabinet. It has a very
retro tone, with tight high frequencies, suitable for playing clean tone.
L-Star 2×12| Mesa/Boogie® Lonestar 2×12″ cabinet. The mid-frequency
performance is outstanding, and it has excellent performance in clean and
overdrive.
2Rick 2×12| Two-Rock® 2×12″ cabinet. The combination of mid-range and high-
frequency makes it sound very warm.
J-120 2×12| Legendary “Jazz Chorus” 2×12″ cabinet. The transparent and bright
high- frequency sound makes it very suitable for playing clean.
UK-GN 2×12| Marshall® 2550 2×12″ cabinet.

Its overdrive tone is very suitable for rhythm guitars.

Free 2×12| Fryette® Deliverance* 2×12″ cabinet.

With gorgeous mid-to-high frequencies, suitable for clean and overdrive.

UK-75 4×12

| Marshall® 4×12″ cabinet with Celestion® G12T-75 speakers.

The characteristics of low frequency and high frequency make it full of Plexi
ﬂavor.

UK-GN 4×12

| Vintage Marshall® 4×12″ cabinet with Celestion® Greenback® speakers. Four
speakers in the same direction make the sound more concentrated and the mid-
range is more prominent, which is very suitable for rhythm guitars.
UK-LD 4×12| Marshall® 1960AV 4×12″ cabinet. Emphasizes the shaping of mid-to-
high frequencies, which is very suitable for lead guitars.
UK-DK 4×12| 1968 Marshall®* 4×12″ cabinet. Combining the advantages of 1960A
and 1960B, each frequency band is very balanced and comprehensive.
CAB

FX Title| Description| Parameters & Ranges
UK-MD 4×12| Custom modiﬁed Marshall®* 4×12″ cabinet. The powerful speakers can
bring

you classic Marshall penetration and solidity.

| VOL (0~99) Controls the output volume
Pogner 4×12| Bogner® Uberkab* 4×12″ cabinet.

The open cabinet makes its sound more ﬂexible.

Dizz 4×12| Diezel®* 4×12″ cabinet.

Its high frequencies are very sharp and sound very aggressive.

Eagle 4×12| ENGL®* 4×12″ cabinet. The balanced combination of each frequency
band

makes its sound very pleasant.

Ev51 4×12| Peavey® 6505* 4×12″ cabinet. Its high frequency is very
distinctive, making it

sound very shocking.

Solo 4×12

| Soldano®* 4×12″ cabninet. Excellent mid-frequency is its characteristic,
even if many instruments are playing, it can also make your solo stand out
from the

crowd.

US 4×12

| Mesa/Boogie® Road King® 4×12″ cabinet. The semi-open design allows it to
have a wrapped low frequency while maintaining a transparent mid and high
frequency, which is an unmissable choice.
Mess-D 4×12| Mesa/Boogie® Rectiﬁer® 4×12″ cabinet. This is a cabinet that
pursues comprehensiveness, and it can support both clean and heavy music.
U-ban 4×12| Bogner® Uberkab* 4×12″ cabinet 2. The closed cabinet can provide
deep and compact bass response, suitable for the need for more concentrated
tone.

Juice 4×12

| Orange® PPC412 4×12″ cabinet. The closed cabinet brings richer details, the
ﬂat frequency response makes it very versatile, and its crisp high frequency
can make the solo more prominent.
H-Way 4×12| Vintage Hiwatt® SE4123 4×12″ cabinet. Strong and tight sound,
very suitable for modern, aggressive rock sound.
BogSV 1×12| Bogner® Shiva 1×12″ cabinet. The low frequency is fat and the
high frequency is compact, suitable for high-gain rhythms.
Dark 1×1| Vintage Fender® Vibrolux 1×12″ cabinet. Retro tone, clear mid to
high frequency, suitable for country music.
Regular 1×12| Morgan® AC-20 Deluxe 1×12 cabinet. It has very clear feedback
and can easily capture every movement of your ﬁngertips.
Bad-KT 1×12| Black Cat® Hot Cat 1×12″ cabinet. The mid-frequency is as
charming and humming, making the solo full of poetry.
Foxy 1×12| Vintage VOX® AC15* 1×12″ cabinet. All frequency bands are very
balanced, no matter clean or overdrive, it will give you an objective result.

Studio 1×12

| 1980’s Mesa/Boogie® 1×12″ cabinet. The mid-low frequency is very wrapped,
and the high-frequency sound is concentrated, suitable for solo with distorted
sound.
SUP 1×6| Supro® 1×6″ cabinet with oval speaker. It has a unique taste in the
overdrive sound, suitable for blues music.
TWD 1×8| Vintage Fender® Champ* 1×8″ cabinet. The 8-inch speaker gives its
tone a unique sense of tension, which will surprise you when used in blues
music.
CAB

FX Title| Description| Parameters & Ranges
TWD-P 1×10| Vintage Fender® Princeton 1×10″ cabinet. Suitable for warm and
bright clean sounds, and can keenly capture ﬁngertip movements.| VOL (0~99)
Controls the output volume
Bellman 4×10| Fender® ’59 Bassman® 4×10″ cabinet.

Four 10-inch speakers give it plenty of high frequencies, making it very
suitable for country music and blues music.

MessBass 2×10| Mesa/Boogie® 2×10″ bass cabinet. The bass speakers with well-
balanced frequency bands can show the details of performance well.
Max 4×10| SWR® Workingman’s 4×10″ bass cabinet. The gorgeous high frequencies
can make the bass sound more impactful.
Ameg 4×10| Ampeg® SVT-410HE 4×10″ bass cabinet. The prominent high
frequencies bring more string-touch sound to the bass.
Ameg 8×10| Ampeg SVT-810E 8×10″ bass cabinet. Eight 10-inch speakers give it
a solid midrange, which can provide a strong and ﬂexible tone for the bass.
D| Dreadnought guitar simulation. The bass is very strong and suitable for
playing and singing.
OM| Simulates an OM type acoustic guitar.

The mid frequency is better, suitable for solo.

Jumbo| Simulates a jumbo acoustic guitar. The huge body makes it resonate very
well, get your Elvis suit out of the closet!
GA| Simulates a GA type acoustic guitar. Its sound is balanced and soft,
suitable for guitar playing, and also very suitable for ﬁngerstyle.

EQ

FX Title| Description| Parameters & Ranges
Guitar EQ 1| Equalizer designed for guitars| 125Hz(-50~+50) Boosts/cuts the
frequency band 400Hz(-50~+50) Boosts/cuts the frequency band 800Hz(-50~+50)
Boosts/cuts the frequency band 1.6kHz(-50~+50) Boosts/cuts the frequency band
4kHz(-50~+50) Boosts/cuts the frequency band VOL(0~99) Controls the output
volume
Guitar EQ 2| 50Hz(-50~+50) Boosts/cuts the frequency band 120Hz(-50~+50)
Boosts/cuts the frequency band 400Hz(-50~+50) Boosts/cuts the frequency band
800Hz(-50~+50) Boosts/cuts the frequency band 4.5kHz(-50~+50) Boosts/cuts the
frequency band VOL(0~99) Controls the output volume
V-EQ| Based on the 5-band EQ module on Mesa/Boogie®* amps, can easily realize
the classic boogie V-shaped sound| 80Hz(-50~+50) Boosts/cuts the frequency
band 240Hz(-50~+50) Boosts/cuts the frequency band 750Hz(-50~+50) Boosts/cuts
the frequency band 2.2kHz(-50~+50) Boosts/cuts the frequency band
6.6kHz(-50~+50) Boosts/cuts the frequency band

MOD

FX Title| Description| Parameters & Ranges
A-Chorus| Based on legendary Arion® SCH-1* stereo chorus pedal. Eric Clapton
and Michael Landau used its sound to create the wonderful atmosphere of the
80s! Whether it’s the classic chorus effect or the wonderful rotating speaker
sound, you can easily get it.| Depth(0~99) Controls the chorus depth
Rate(0.10~10.00Hz) Controls the chorus speed Tone(0~99) Controls the tone
brightness Sync(Of/On) Switches Tap Tempo sync on/of
G-Chorus| Based on the legendary huge ensemble chorus pedal born in late 1970s
(chorus mode),

producing rich, shimmering vintage analog chorus tone. Warm, rich, and
dreamlike analog chorus sound.

| Depth(0~99) Controls the chorus depth Rate(0.10~10.00Hz) Controls the chrous
speed VOL(0~99) Controls the effect output volume Sync(Of/On) Switches Tap
Tempo sync on/of
B-Chorus| Classical bass chorus, most bass players in the early stage must
choose ﬁne works.| Depth(0~99) Controls the chorus depth Rate(0.10~10.00Hz)
Controls the chrous speed Level(0~99) Controls the effect output volume
Sync(Of/On) Switches Tap Tempo sync on/of
Detune| This is a detuning effect that combines a slightly shifted signal with
the original signal to create a chorus-like tone.| Detune(-50 Cents~+50 Cents)
Controls the detune amounts by 1 cent

Wet(0~99) Controls the effect output volume Dry(0~99) Controls the dry signal
level

Flanger| Classic ﬂanger effect, producing rich and natural ﬂanger tone.|
Depth(0~99) Controls the ﬂanger depth Rate(0.10~10.00Hz) Controls the effect
speed Pre Delay (0~99) Controls the pre delay time FdBk (0~99) Controls the
feedback amount Sync (Of/On) Switches Tap Tempo sync on/of
Vibrato| Based on a BBD-based blue vibrato pedal, producing natural analog
vibrato sound.| Depth(0~99) Controls the ﬂanger depth Rate(0.10~10.00Hz)
Controls the effect speed Sync (Of/On) Switches Tap Tempo sync on/of
Phaser| Based on legendary MXR® M101 Phase 90*. Have you heard the guitar
sound in Eddie Van Halen’s “Eruption”? That distorted tone with a sense of
rotation is achieved by the Phase 90.| Rate(0.10~10.00Hz) Controls the phaser
speed Sync (Of/On) Switches Tap Tempo sync on/of

Vibe

| Based on Voodoo Lab® Micro Vibe. Voodoo Lab Micro Vibe has the same design
as the original 1968 Uni-Vibe. Jimi Hendrix and Stevie Ray Vaughan used these
effects extensively on their albums. The Vibe effect will bring about slight
and regular pitch changes.|

Depth(0~99) Controls the effect depth Rate(0.10~10.00Hz) Controls the effect
speed Sync (Of/On) Switches Tap Tempo sync on/of

MOD

FX Title| Description| Parameters & Ranges

Opto Trem

| Based on legendary Demeter® TRM-1Tremulator*, offering classical opto
tremolo sound. In 1982, rock pioneer Ry Code approached James Demeter to ask
whether the tremolo sound of the Fender® twin series speakers could be made
into a pedal effect device, and this classic effect device was born.|

Depth(0~99) Controls the ﬂanger depth Rate(0.10~10.00Hz) Controls the effect
speed Sync (Of/On) Switches Tap Tempo sync on/of

Sine Trem| Sine tremolo waveforms and super wide tonal range.| Depth(0~99)
Controls the tremolo depth Rate(0.10~10.00Hz) Controls the tremolo speed VOL
(0~99) Controls the effect output volume Sync (Of/On) Switches Tap Tempo sync
on/of
Triangle Trem| Triangle tremolo waveforms and super wide tonal range.| Depth
(0~99) Controls the tremolo depth Rate(0.10~10.00Hz) Controls the tremolo
speed VOL (0~99) Controls the effect output volume Sync (Of/On) Switches Tap
Tempo sync on/of
Bias Trem| Bias tremolo waveforms and super wide tonal range.| Depth (0~99)
Controls the tremolo depth Rate(0.10~10.00Hz) Controls the tremolo speed VOL
(0~99) Controls the effect output volume Sync (Of/On) Switches Tap Tempo sync
on/of Bias (0~99) Controls the waveform of set amount

DELAY

FX Title| Description| Parameters & Ranges
Sweet| Based on the legendary 3-knob BBD analog delay pedal with “REPEAT RATE”
control| Mix (0~99) Controls the wet/dry signal ratio Time (20ms-4000ms)
Controls the delay time Fdbk (0~99) Controls the feedback amount Sync (Of/On)
Switches Tap Tempo sync on/of Trail (Of/On) Switches effect trail on/of
P-Echo| Produce pure, precise delay sound| Mix (0~99) Controls the wet/dry
signal ratio Time (20ms-4000ms) Controls the delay time Fdbk (0~99) Controls
the feedback amount Sync (Of/On) Switches Tap Tempo sync on/of Trail (Of/On)
Switches effect trail on/of
M-Echo| Simulates solid-state tape echo sound| Mix (0~99) Controls the wet/dry
signal ratio Time (20ms-4000ms) Controls the delay time Fdbk (0~99) Controls
the feedback amount Sync (Of/On) Switches Tap Tempo sync on/of Trail (Of/On)
Switches effect trail on/of
DELAY

FX Title| Description| Parameters & Ranges
T-Echo| Simulates tube-driven tape echo sound| Mix (0~99) Controls the wet/dry
signal ratio Fdbk (0~99) Controls the feedback amount Time (20ms-4000ms)
Controls the delay time Sync (Of/On) Switches Tap Tempo sync on/of Trail
(Of/On) Switches effect trail on/of
999 Echo| Based on Maxon® AD900 Analog Delay*, providing warm, accurate delay
sound| Mix (0~99) Controls the wet/dry signal ratio Time (20ms-4000ms)
Controls the delay time Fdbk (0~99) Controls the feedback amount Sync (Of/On)
Switches Tap Tempo sync on/of Trail (Of/On) Switches effect trail on/of
Famous Users: Pink Floyd
Rev Echo| Producing a special delay effect with reversed feedback| Mix (0~99)
Controls the wet/dry signal ratio Fdbk (0~99) Controls the feedback amount
Time (20ms-4000ms) Controls the delay time Sync (Of/On) Switches Tap Tempo
sync on/of Trail (Of/On) Switches effect trail on/of
Slapbk| Simulates the classic slapback echo effect| Mix (0~99) Controls the
wet/dry signal ratio Time (20ms-4000ms) Controls the delay time Fdbk (0~99)
Controls the feedback amount Trail (Of/On) Switches effect trail on/of
Vin-Rack| Reproduces the sound of a vintage 1980’s rack-mount delay machine
with slightly sample-reduced feedback| Mix (0~99) Controls the wet/dry signal
ratio Fdbk (0~99) Controls the feedback amount Time (20ms-4000ms) Controls the
delay time Mod (0~99) Controls the modulation amount Tone (0~99) Controls the
modulation brightness Sync (Of/On) Switches Tap Tempo sync on/of Trail (Of/On)
Switches effect trail on/of
Swp Echo| Producing a delay effect with sweeping ﬁlter modulated repeats| Mix
(0~99) Controls the wet/dry signal ratio Fdbk (0~99) Controls the feedback
amount Time (20ms-4000ms) Controls the delay time S-Depth (0~100) Controls the
sweeping depth S-Rate (0~100) Controls the sweeping speed

S-Sync (Of/On) Switches sweeping Tap Tempo sync on/of

T-Sync (Of/On) Switches delay Tap Tempo sync on/of Trail (Of/On) Switches
effect trail on/of

Ping Pong| A ping-pong delay producing stereo feedbadk bounces back and forth
between left and right channels| Mix (0~99) Controls the wet/dry signal ratio
Fdbk (0~99) Controls the feedback amount Time (20ms-4000ms) Controls the delay
time Sync (Of/On) Switches Tap Tempo sync on/of Trail (Of/On) Switches effect
trail on/of
DELAY

FX Title| Description| Parameters & Ranges
M-Echo2| A multi tap delay that simulates| Mix (0~99) Controls the wet/dry
signal ratio Time (20ms-4000ms) Controls the delay time Fdbk (0~99) Controls
the feedback amount

Tone (0~99) Controls the effect tone brightness Sync (Of/On) Switches Tap
Tempo sync on/of Trail (Of/On) Switches effect trail on/of

REVERB

FX Title| Description| Parameters & Ranges
Room| Simulates the spaciousness of a room| Mix (0~99) Controls the wet/dry
signal ratio Pre Delay (0ms-100ms) Controls the pre delay time

Decay (0~100) Controls the reverb decay time Trail (Of/On) Switches effect
trail on/of

Hall| Simulates the spaciousness of a performance hall| Mix (0~99) Controls
the wet/dry signal ratio Pre Delay (0ms-100ms) Controls the pre delay time

Decay (0~100) Controls the reverb decay time Trail (Of/On) Switches effect
trail on/of

Church| Simulates the spaciousness of a church| Mix (0~99) Controls the
wet/dry signal ratio Pre Delay (0ms-100ms) Controls the pre delay time

Decay (0~100) Controls the reverb decay time Trail (Of/On) Switches effect
trail on/of

Plate| Simulates the sound character produced by a vintage plate reverberator|
Mix (0~99) Controls the wet/dry signal ratio Decay (0~99) Controls the reverb
decay time H-Damp (0~99) Controls the high cut amount Trail (Of/On) Switches
effect trail on/of
Spring| Simulates the sound character produced by a vintage spring
reverberator| Mix (0~99) Controls the wet/dry signal ratio Decay (0~99)
Controls the reverb decay time Tone (0~99) Controls the effect tone brightness
Trail (Of/On) Switches effect trail on/of
N-Star| Special-tuned reverb effect with lush, bright decays| Mix (0~99)
Controls the wet/dry signal ratio Decay (0~99) Controls the reverb decay time
Trail (Of/On) Switches effect trail on/of
Deep Sea| Special-tuned reverb effect with huge, deep decays| Mix (0~99)
Controls the wet/dry signal ratio Decay (0~99) Controls the reverb decay time
Trail (Of/On) Switches effect trail on/of
REVERB

FX Title| Description| Parameters & Ranges
Mod Verb| Produces a modulated reverb effect that is lush and sweet| Mix
(0~99) Controls the wet/dry signal ratio Pre Delay (0ms-100ms) Controls the
pre delay time

Decay (0~99) Controls the reverb decay time

Lo End (-50~+50) Controls the effect low frequency amount Hi End (-50~+50)
Controls the effect high frequency amount Trail (Of/On) Switches effect trail
on/of

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

*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective owners.

The trademarks were used merely to identify the sound character of the products.

DRUM RHYTHM LIST

Genre| N o.| Type| Time Signature|
Recommended Tempo
—|—|—|—|—
Electronic| 01| D&B| 4/4| 120BPM
02| Electro1| 4/4| 120BPM
03| Electro2| 4/4| 120BPM
04| Techno| 4/4| 120BPM
05| TripHop| 4/4| 120BPM
06| E-Pop| 4/4| 120BPM
07| Break| 3/4| 120BPM
08| H-Hop1| 4/4| 120BPM
09| H-Hop2| 4/4| 120BPM
10| H-Hop3| 4/4| 120BPM
11| H-Hop4| 4/4| 120BPM
Rock| 12| Prog| 4/4| 120BPM
13| Rock 1| 4/4| 120BPM
14| Rock 2| 4/4| 120BPM
15| Rock 3| 4/4| 120BPM
16| Surﬁn| 4/4| 120BPM
17| Shufle| 4/4| 120BPM
18| R’n’R| 4/4| 120BPM
19| Ballad| 4/4| 120BPM
20| SF3/4| 3/4| 120BPM
21| Rock5/4| 5/4| 120BPM
22| Classic| 4/4| 120BPM
23| SF4/4| 4/4| 120BPM
24| Garag| 4/4| 120BPM
Genre| No.| Type| Time Signature| Recommended
**Tempo**
—|—|—|—|—

Rock

| 25| Hard 1| 4/4| 120BPM
26| Hard 2| 4/4| 120BPM
27| Nu 1| 4/4| 120BPM
28| Nu 2| 4/4| 120BPM
29| Metal1| 4/4| 160BPM
30| Metal2| 4/4| 160BPM
31| Punk 1| 4/4| 160BPM
32| Punk 2| 4/4| 180BPM
33| Punk 3| 4/4| 220BPM
34| Punk 4| 4/4| 120BPM
35| Punk 5| 4/4| 120BPM
36| P Punk 1| 4/4| 120BPM
37| P Punk 2| 4/4| 120BPM
38| EMO| 4/4| 120BPM
39| Core| 4/4| 120BPM
40| Nwave| 4/4| 120BPM
41| P Rock 1| 4/4| 120BPM
42| P Rock 2| 4/4| 120BPM
43| P Rock 3| 4/4| 120BPM
44| Hard 3| 4/4| 120BPM
Funk| 45| Funk 1| 4/4| 120BPM
46| Funk 2| 4/4| 120BPM
47| Funk 3| 4/4| 120BPM
48| Funk 4| 4/4| 120BPM
Pop| 49| Pub| 4/4| 90BPM
50| Pop 1| 4/4| 80BPM
51| Pop 2| 4/4| 80BPM
52| Pop 3| 4/4| 80BPM
Blues| 53| Blues 1| 4/4| 120BPM
54| Blues 2| 4/4| 120BPM
55| Blues 3| 4/4| 120BPM
56| B-grass| 6/8| 120BPM
57| Country| 4/4| 120BPM
58| Folk| 4/4| 120BPM
59| Blues 4| 4/4| 120BPM
World| 60| Latin 1| 4/4| 160BPM
61| Latin 2| 4/4| 160BPM
62| Latin 3| 4/4| 160BPM
63| Pop 1| 4/4| 160BPM
Genre| No.| Type| Time Signature| Recommended
Tempo
—|—|—|—|—
World| 64| Pop 2| 4/4| 160BPM
65| Bossa1| 4/4| 160BPM
66| Bossa2| 4/4| 160BPM
67| Beguine| 4/4| 160BPM
68| Mazuke| 4/4| 160BPM
69| Samba| 4/4| 160BPM
70| Army| 4/4| 160BPM
71| March 1| 4/4| 160BPM
72| March 2| 4/4| 160BPM
73| Musette| 4/4| 160BPM
74| NuAge1| 4/4| 120BPM
75| NuAge2| 4/4| 120BPM
76| Polka| 4/4| 120BPM
77| Tango| 4/4| 120BPM
78| Ska| 4/4| 120BPM
79| Waltz| 4/4| 120BPM
80| RAG1| 3/4| 120BPM
81| RAG2| 4/4| 120BPM
82| World| 4/4| 120BPM
Jazz| 83| Jazz 1| 4/4| 120BPM
84| Jazz 2| 4/4| 120BPM
85| Jazz 3| 4/4| 120BPM
86| Jazz 4| 4/4| 120BPM
87| Funk1| 4/4| 120BPM
88| Funk2| 4/4| 120BPM
89| Funk3| 4/4| 120BPM
90| Fusion| 4/4| 120BPM
Metro| 91| 1/4| 1/4| 120BPM
92| 2/4| 2/4| 120BPM
93| 3/4| 3/4| 120BPM
94| 4/4| 4/4| 120BPM
95| 5/4| 5/4| 120BPM
96| 6/4| 6/4| 120BPM
97| 7/4| 7/4| 120BPM
98| 6/8| 6/8| 120BPM
99| 7/8| 7/8| 120BPM
100| 9/8| 9/8| 120BPM

TROUBLESHOOTING

. Device Won’t Turn On

Make sure the power supply is properly connected and the device is switched on.
Check if the power adapter is working properly.
Check if you’re using the correct power adapter.

No Sound Or Slight Sound

Make sure your cables are connected properly.
Make sure the volume knob is adjusted properly.
When the expression pedal is used for volume control, check it’s position and volume settings.
Check the 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 adjust it.

Sound Problems

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

Problems With Expression Pedal

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

SPECIFICATION

Technical Speciﬁcations

A/D/A Converter: 24-bit high performance audio
Sampling Frequency: 44.1 kHz
SNR: 110dB
Maximum Simultaneous Effects: 9
Preset Memory: 99 User Presets/99 Factory Presets
Looper: 90 seconds of record time
Drum Machine: 100 Patterns

Analog Input Connections

Guitar Input: 1/4″ Unbalanced (TS)
Input Impedance: 1M Ohms
Aux Input: 1/8″ Stereo (TRS)
Aux Input Impedance: 10k Ohms

Analog Output Connections

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

Digital Connections

USB Port: USB 2.0 Type-B port

USB Recording Speciﬁcation

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

Size and weight

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

Power

Power Requirements: DC 9V, 500mA

References

support — Valeton EN

Read User Manual Online (PDF format)

Read User Manual Online (PDF format) >>

Download This Manual (PDF format)

Download this manual >>

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Firmware Update Guide

The contents of this manual are subject to change without notice.

Before

In order to opt imize unit performa nce and fix bugs (pleas e see update notes for details), we recommend all GP-

100 users to up grade in time to get the be st user experience. B e sure to update with latest GP-100 software.

How To Update The Firmware

1. Download n ew firmware and softw are file from Valeton ( www.valeton.net):

Go to our offic ial website and click “ Support” — “Firmwar e” or “Software” opti on, download the latest firmware

and the lates t software.

2. Unzip the do wnloaded firmware p ackage (the firmwar e file should be a .bin fil e).

3. Run GP-100 s oftware setup to inst all the new software.

4. Connect yo ur GP-100 to the comput er with a USB cable. A “Dev ice Connected” message will be appear on the

computer sc reen and enter the GP-1 00 software interfa ce:

If you cannot a ccess the software ed it interface after a lo ng time, please restart the GP-100 and software.

5. Click the bu tton (Settings) in th e top right cornerof the G P-100 software, click Update Firmware option.

6. Click the bu tton, browse and choo se your firmware file i n pop-up, then click the “update firmware”

button, the f irmware update prog ress will begin autom atically.

7. A progress b ar will appear on the com puter screen to indic ate updating progress.

8. When the fir mware upgrade progr ess reaches 100%, the p rogress bar will disappear, then a “No Device

connected ” message will appear o n the computer screen . This indicate update progress completed. After that,

just restar t your GP-100 and enjoy t he changes brought by t he new firmware.

Other methods to update

Note: If your device cannot enter the GP-100 software interface normally, try the following methods.

1. Disconne ct the power supply whi le keeping USB

connectio n.

2. Hold the 2 foo tswitches along wit h the PARA

Knob, and con nect the power supply .

3. Launch GP- 100 software and clic k “Update” button.

Browse and ch oose your firmware fi le.

Wait till it is f inished, restart yo ur GP-100, and DONE!

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Характеристики

Наличие педали экспрессии :есть

Тип инструмента :гитара

Тип экрана :цветной

Программа-эдитор :есть

Услуги

Полис позволяет защитить приобретенный инструмент или оборудование от любых случайных повреждений и непредвиденных обстоятельств

Добавить за 1 931 ₽

Добавлено

Защитим Вашу покупку в течение первого года после приобретения от:

Случайных повреждений и противоправных действий.
Перепадов напряжения и стихийных бедствий.
Затоплений и пожара.

После окончания заводской гарантии продлим ее дополнительно на 1 год.

*Полис начинает действовать на следующий день после покупки.

Добавить за 3 057 ₽

Добавлено

Valeton GP-100 это компактный, высокопроизводительный гитарный процессор. Он предлагает мощную платформу для процессинга и исчерпывающий набор функций, благодаря которым вы можете улучшить свои навыки игры и экспериментировать с различными гитарными эффектами с помощью одного простого в использовании портативного устройства.

GP-100 имеет банк из 150 эффектов и позволяет запускать 9 эффектов одновременно. Он имеет педаль экспрессии, которую можно назначить для управления параметрами эффектов в реальном времени или общей громкости. 99 заводских пресетов позволяют сразу же приступить к работе, а 99 пользовательских пресетов помогут сохранять все ваши любимые цепочки эффектов.

Процессор имеет встроенный тюнер. А встроенная драм-машина и входное гнездо Aux позволяют играть вместе с барабанным лупом, метрономом или вашей любимой музыкой.

Нашли ошибку в описании? Выделите текст с ошибкой и нажмите Ctrl+Enter или
напишите нам.

Наличие педали экспрессии

есть

С этим товаром покупают

Рекомендательные технологии

Музторг — первая экосистема для музыкантов и сеть музыкальных магазинов в России.
Наши магазины предлагают лучшие музыкальные инструменты, созданные мировыми производителями, а также весь спектр профессионального звукового, светового и студийного оборудования.

Качество

Прямые поставки от производителя с полным контролем качества и гарантийным обслуживанием после покупки.

Сервис

Консультации квалифицированных менеджеров, доставка в удобное для вас время, сервис-центры по всей России и возможность возврата товара, если он вас не устроил.

Удобство оплаты

Вы можете выбрать подходящую вам схему оплаты (наличный, безналичный расчет, банковской картой, СБП), разделить оплату с сервисом Яндекс Сплит или покупку в рассрочку и кредит с выбором срока, процентной ставки и размера первого взноса.

Интернет-магазин

Выбирайте товар и совершайте покупки, не выходя из дома и получая дополнительные скидки и бонусы.

Доставка в регионы

Заберите товар в магазине или в пункте самовывоза. Даже если в вашем городе нет магазина «Музторг», мы оперативно доставим выбранный вами товар транспортной компанией в любой регион России (включая Крым), Беларуси и Казахстана.

Работа с юридическими лицами

Работая с юридическими лицами, мы предоставляем полный комплект документов. Также предлагаем выгодные условия сотрудничества для бюджетных организаций.

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Valeton GP-100 Recording Equipment PDF User Guides and Manuals for Free Download: Found (3) Manuals for Valeton GP-100 Device Model (Firmware Update Manual, Operation & User’s Manual)

The Valeton GP-100 is a versatile multi-effect pedal that has captured the attention of musicians across different genres. With its sleek design and expansive feature set, it promises to deliver a professional sound at an affordable price. From guitarists seeking to enhance their tone to those looking for creative sound-shaping options, the GP-100 aims to be an all-encompassing solution. In this review, we will delve into its features, performance, and value to determine whether the Valeton GP-100 lives up to the hype.

One of the standout qualities of the Valeton GP-100 is its extensive array of built-in effects. It boasts a library of over 100 effects, which include everything from classic overdrive and distortion to modulation, delay, and reverb. This variety allows musicians to experiment with their sound and find the perfect tone for any genre they are playing. The effects are divided into coherent categories for easier navigation, ensuring that users can quickly find the specific sound they are looking for.

In terms of sound quality, the GP-100 shines brightly. It features high-quality DSP that provides clarity and depth to each effect. Many users have noted the commendable realism of the amp models offered within the unit, making it a reliable choice for studio recordings and live performances alike. The versatility in tone shaping enables the GP-100 to accommodate styles ranging from rock and metal to jazz and blues effortlessly.

Another impressive aspect of the Valeton GP-100 is its user-friendly interface. The LED display, combined with intuitive controls, allows musicians to navigate through presets and effect settings with ease. Users can save their favorite tones as presets, with ample storage to keep multiple setups for different songs or performances. Additionally, the built-in tuner is a fantastic addition, providing convenience during practice or gigs.

For those who enjoy customization, the GP-100 doesn’t disappoint. It offers a range of user-defined parameters that can be adjusted to suit individual preferences. This includes adjusting gain levels, modulation depth, and time settings for delay effects. Furthermore, players can connect external pedals via the expression pedal input, enhancing the overall functionality of the device and allowing for real-time effect adjustments during performances.

The construction of the Valeton GP-100 is also worthy of praise. Built with durability in mind, it can withstand the rigors of travel and stage use. The robust chassis and footswitches feel solid, ensuring that musicians can rely on it night after night. However, the only minor drawback has been reported in pedalboard compatibility, as the unit is relatively larger than similar products in its category.

In conclusion, the Valeton GP-100 is an outstanding multi-effect pedal that meets the diverse needs of modern musicians. With its vast array of effects, excellent sound quality, and user-friendly design, it appeals to both beginners and seasoned players. Here is a quick summary of its pros and cons:

Pros:
- Wide range of built-in effects
- High-quality sound and realism
- User-friendly interface
- Customizable parameters and presets
- Durable construction
Cons:
- Relatively larger size may pose pedalboard issues

Ultimately, the Valeton GP-100 stands out as a powerful tool for musicians looking to expand their sonic palette. Whether you are gigging regularly or simply looking for the best at-home practice solution, the GP-100 is poised to meet and perhaps exceed your expectations.

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FAQ: Types of Manuals and Their Contents

Valeton GP-100 Manuals come in various types, each serving a specific purpose to help users effectively operate and maintain their devices. Here are the common types of Valeton GP-100 User Guides and the information they typically include:

User Manuals: Provide comprehensive instructions on how to use the device, including setup, features, and operation. They often include troubleshooting tips, safety information, and maintenance guidelines.
Service Instructions: Designed for technicians and repair professionals, these manuals offer detailed information on diagnosing and repairing issues with the device. They include schematics, parts lists, and step-by-step repair procedures.
Installation Guides: Focus on the installation process of the device, providing detailed instructions and diagrams for proper setup. They are essential for ensuring the device is installed correctly and safely.
Maintenance Manuals: Provide guidance on routine maintenance tasks to keep the device in optimal condition. They cover cleaning procedures, part replacements, and regular servicing tips.
Quick Start Guides: Offer a concise overview of the essential steps needed to get the device up and running quickly. They are ideal for users who need immediate assistance with basic setup and operation.

Each type of Valeton GP-100 instruction is designed to address specific needs, ensuring users have the necessary information to use, maintain, and repair their devices effectively.

Related Instructions for Valeton GP-100:

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Quick start manual Guide: Valeton CORAL Series (158QLZ, Upd.Saturday 18-01-2025)

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Owner’s manual Valeton Dapper Amp Mini Guide (Owner’s manual), @N4XAM7

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Owner’s manual Valeton Dapper Indie User Guide (Owner’s manual), @5NO66T

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Categories:

Music Equipment
Music Pedal
Amplifier
Recording Equipment

Источник

	Zoom G5n Manual Zoom Recording Equipment Manual (File: zoom-g5n-manual-17, 05th May 2025) Effect Types and Parameters © 2015 ZOOM CORPORATION Manufacturer names and product names are trademarks or registered trademarks of their respective owners. The names are used only to illustrate sonic characteristics and do not indicate any affiliation with the Zoom Corporation. … 05 May 2025 \| 17
	Yamaha MagicStomp Patch List #U7T79I: MagicStomp Musical Instrument Patch list GUITAR EFFECTS PROCESSOR PATCH LIST No Patch Name Category Knob 1 Knob 2 Knob 3 1 HeavyHiGain Multi GAIN Gain MSTR Master TONE Tone 2 HeavyTrem Multi GAIN Gain MSTR Master TRSP TremoloSpeed 3 Drivin’Verb Multi GAIN Gain MSTR Master RLVL ReverbLevel 4 VinTremolo Multi MSTR Master TONE Tone TRSP TremoloSpeed 5 70’sRo … 25 Mar 2025 \| 2
	tubesteader Lightkeeper Quick Start Manual tubesteader Music Pedal Quick start manual (File: tubesteader-lightkeeper-quick-start-manual-2, 15.10.2024) MANUAL v1.0 The Lightkeeper is a tube based, all-analog boost/overdrive pedal, designed to deliver that ‘tube-feel’ to any amp, house system, or recording interface. Inspired by Dumble’s legendary clean channel sound with lush dynamics and touch-sensitive sound we crave. It’s a portable tone palette that’s pe … 15 Oct 2024 \| 2
	Zoom G1 Manual Zoom Music Pedal Manual (File: zoom-g1-manual-12, 01st Dec 2024) You must read the Usage and Safety Precautions before use. Quick Guide © 2018 ZOOM CORPORATION Copying or reprinting this manual in part or in whole without permission is prohibited. Product names, registered trademarks and company names in this document are the property of their respective com- panies. You might need … 01 Dec 2024 \| 12

Valeton GP-100 Multi Effects Processor User Manual

Product Information: VALETON GP-100 Guitar Multi-effects Processor

Panels Introduction

OVERVIEW

PANEL INTRODUCTION

GETTING STARTED

Suggested Setups

EFFECT LIST

PRE

PRE

DST

Famous users: Stevie Ray Vaughan, Joe Satriani, Paul Gilbert, Andy Timmons, Kirk Hammett, Steve Ray Vanghan, Michal Landau, U2 DST

| Rock Famous users: Jef Beck, Kurt Cobain DST

AMP

| Blues Jazz Famous users: Stevie Ray Vaughan, Kurt Cobain AMP

| Blues Rock Metal AMP

| Blues Rock AMP

| Blues Jazz AMP

| Blues Rock AMP

AMP

NR

CAB

EQ

MOD

MOD

DELAY

REVERB

DRUM RHYTHM LIST

TROUBLESHOOTING

SPECIFICATION

References

Read User Manual Online (PDF format)

Download This Manual (PDF format)

Услуги

С этим товаром покупают

FAQ: Types of Manuals and Their Contents

Related Instructions for Valeton GP-100:

Music Pedal Devices by Other Brands:

Categories:

Famous users: Stevie Ray Vaughan, Joe Satriani, Paul Gilbert, Andy Timmons,
Kirk Hammett, Steve Ray Vanghan, Michal Landau, U2
DST

| Rock
Famous users: Jef Beck, Kurt Cobain
DST

| Blues Jazz
Famous users: Stevie Ray Vaughan, Kurt Cobain
AMP

| Blues Rock Metal
AMP

| Blues Rock
AMP

| Blues Jazz
AMP

| Blues Rock
AMP