1
For Firmware V1.2.2
www.sonicake.com
※
In the interest of product improvement, the specifications and/or the content of products (including but not limited to appearances, packaging
design, manual content, accessories, size, parameters and display screen), are subject to change without prior notice. Please check with local supplier
for exact offers. Specifications and features (including but not limited to appearances, colors and size) may vary by model owing to environmental
factors, and all images are illustrative.
User Manual
Contents
ATTENTION
··················································································
1
OVERVIEW
··················································································
2
PANEL INTRODUCTION
································································
3
MAIN MENU
·················································································
5
PRESET MODE
···········································································
5
STOMP MODE
···········································································
6
EFFECTS EDITING
·········································································
7
EFFECTS CHAIN EDITING MENU
····················································
7
EFFECTS MODULE EDITING MENU
················································
8
CONTROL SETUP MENU
·······························································
9
CTRL SETTINGS
·········································································
9
EXP SETTINGS
···········································································
9
KNOB SETTINGS
·······································································
10
FOOTSWITCH SETTINGS
····························································
10
SAVE MENU
···············································································
11
TUNER
······················································································
11
LOOPER
····················································································
11
DRUM
······················································································
12
GLOBAL SETTINGS
···································································
13
INPUT/OUTPUT
··········································································
13
FUNCTIONS
··············································································
13
USB AUDIO
···············································································
15
Using Matrixbox II as an audio interface
······································
15
EXP CALIBRATE
·········································································
16
GLOBAL EQ
·············································································
17
EXP 2/FOOTSWITCH
··································································
17
MIDI
·························································································
18
FACTORY RESET
········································································
19
DISPLAY
···················································································
19
ABOUT
····················································································
19
Compatible software
································································
20
EFFECT LIST
················································································
21
MIDI Control Information List
·····················································
60
Clone Function
··········································································
64
Troubleshooting
········································································
65
Specifications
···········································································
66
1
ATTENTION
ATTENTION
Handling
•
Do not get the unit wet. If liquid is spilled on the unit, shut it off 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 1000mA AC adapter. Use of an adapter
other than that specified could damage the unit or cause malfunction and
pose a safety hazard. Always connect the AC adapter to an AC outlet that
supplies the rated voltage required by the adapter.
•
Unplug the unit during lightning storms or when unused for long periods of
time.
Malfunction
•
If the unit 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 and contact SONICAKE support
(support@sonicake.com).
2
OVERVIEW
OVERVIEW
The Matribox II Pro, Sonicake’s advanced multi-effects processor, surpasses its
predecessors with innovative technology. Its cutting-edge hardware and digital
modeling accurately reproduce sound nuances, delivering precise, clear, and
high-fidelity audio effects for diverse creative needs.
Compared to its predecessor, the Matribox II Pro features a significantly
optimized user menu, enhancing usability and clarity. Its human-centric design
offers users greater operational freedom and seamless control. Additionally, it
provides a wide range of speaker and effect models with flexible parameter
settings, catering to individual sound preferences.
The device’s hardware components, including its interaction module and I/O
ports, exhibit exceptional performance and quality, offering an unparalleled
experience. This comprehensive upgrade underscores its status as a fully
functional device with superior performance. Musicians and artists can rely on
the Matribox II Pro for exceptional timbre and expression in recording studios or
live performances.
The Matribox II Pro represents a milestone for Sonicake, integrating music and
technology groundbreakingly. It’s an indispensable tool for personalized music
creation, empowering users to unleash their creativity.
3
PANELINTRODUCTION
PANEL INTRODUCTION
1.
4.3” color touchscreen, to display preset information and other operational
information
2.
Can be turned or pressed to adjust parameters or change menus
3.
Controls the master volume
4.
Press to enter the CTRL Setting menu
5.
Press to enter the EXP Setting menu
6.
Press to return to the previous menu
7.
Press to enter the effects edit menu
8.
Press to enter the SAVE menu to store changed parameters, rename or
copy presets
9.
Press to turn on/off the drum machine, hold to enter the Drum menu
10.
Press to enter the Global menu
11.
To adjust the parameters at the bottom of the screen, each menu has
different functions
12.
"
BANK -/+
"
is used to switch the preset group, and the combination step is
used to switch the FS MODE (
"
Preset Mode
"
or
"
Stomp Mode
"
)
13.
Step on the footswitch in the
"
Preset Mode
"
for a fixed function, in the
"
Stomp Mode
"
can be a variety of function Settings, including switching
effect, Tap Tempo, etc.
14.
Control the effect parameters or volume, and press down the top of the
pedal to switch the pedal A/B status
4
PANELINTRODUCTION
15.
1/4” (6.35mm) TRS for connecting an external expression pedal or footswitch
controller
16.
1/4” (6.35mm) TS mono input for plugging in your instrument
17.
2×1/4” (6.35mm) TS for inserting external effect pedals into your signal chain
18.
2×XLR balanced output for connecting to studio gear, mixer, PA, or FRFR
speaker(s)
19.
Toggle off (up) the GND/LIFT switch to LIFT to cut off the ground connection
of the two XLR connectors (Ground Lift) to avoid noise caused by the
Ground Loop. Toggle on (down) to GND, the XLR line will be grounded
normally
20.
2x1/4” (6.35mm) TS unbalanced output for connecting to guitar amp or other
playback system
21.
1/8” (3.5mm) TRS stereo input for connecting external devices (phone, MP3
player)
22.
1/8” (3.5mm) TRS stereo output for plugging in headphones
23.
2×1/8” (3.5mm) TRS for connecting MIDI devices
24.
USB Type-C connects to computer for use with supporting edit software or
connects to computer/phone as an audio interface
25.
Power on/off Matribox II PRO
26.
Plug in the DC 9V (1000mA) center negative power jack
5
MAINMENU
MAIN MENU
Matribox II Pro After starting the machine, enter the main menu by default.
There are two display modes in the main menu, one for the effect chain and
the other for the footswitch function. The two display modes correspond to two
footswitch working modes under the default Settings: Preset mode and Stomp
mode.
PRESET MODE
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A. Input level: Indicates the input level size, or represents the input level
overload when the progress bar is red
B. Output level: Indicates the output level size, or represents the output level
overload when the progress bar is red
C. Options: Cancel, Settings, Global, Looper, Drum
D. Preset number and name: The preset number is from 01-A to 60-D, the
number represents the preset group number, each preset group is A, B, C,
D, four presets. This sign of
"
*
"
indicates that the current preset has been
modified
E. Footswitch mode: Indicates that the current working state is Preset mode
or Stomp mode
F. Preset speed: Prompts the current preset preset speed of 40-300
G. Preset volume: Indicates the current preset preset volume 0-100
H. Effect chain editing menu: Click to enter the effect chain editing menu
I. Effect chain: Indicates the current preset effect chain order and the
switching status of the effect module are displayed. Touch screen to click
the switch effect module, and long the touch screen to press this area to
enter the effect chain editing menu.
J. Parameter bar: Indicates three rapid adjustment parameters controlled
by three knobs at the bottom of the screen. The controlled parameters can
be customized
6
MAINMENU
In the Preset mode, the four footswitchs of A, B, C and D are used to select the
preset of A, B, C and D in the preset group. After stepping on the corresponding
footswitchs, the corresponding preset will be selected, and the footswitch light
will be on at the same time. If the same preset footswitch is pressed again, the
Preset Control function is activated, please see the
"
CTRL Settings
"
for details. In
addition, at the same time, the A and B footswitchs will enter the tuner, while the
C and D footswitchs will enter the looper menu.
Note: In this mode, the user cannot customize the footswitch function. Both
"Preset mode" and "Stomp mode" BANK- / + footswitches are fixed functions
and do not change with mode switching.
STOMP MODE
In the Stomp mode, although the content is similar to the Preset mode, it focuses
more on displaying the footswitch step feature.
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In Stomp mode, the footswitch function of A, B, C, D by default is CTRL 1, CTRL
2, CTRL 3, CTRL 4. After stepping on the footswitch, the corresponding function
response, and the footswitch lamp will be lit at the same time. At the same
time, step on footswitchs A and B to enter the tuner, and step on footswitchs C
and D to enter the looper menu. In this mode, users can customize the A, B, C,
D footswitch function, and enter the
"
Footswitch Settings
"
menu by clicking the
MENU knob or touch screen and pressing the yellow frame area.
7
EFFECTSEDITING
EFFECTS EDITING
Use the effect chain editing menu, the effect module editing menu and the save
menu.
EFFECTS CHAIN EDITING MENU
Press EFFECTS in any menu to enter the effect chain editing menu. This menu
shows that Matribox II Pro includes the complete effect chain and sequence
and module switch status of the effect loop node.
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Take the 01 A Matribox II PRO preset as an example: display as shown in the
figure when you enter the effect chain editing menu for the first time.
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By adding an algorithm module under this menu, both MENU knob and touch
drag can be added. After successfully adding a module, the user can select any
module for operation. At this point, the module bar will automatically change
to the algorithm parameter bar, so that the user can adjust the algorithm
parameters. In addition, users can also use the fast adjustment knob at the
bottom of the screen for more detailed and precise parameter adjustment. You
can click any screen blank to return to the module addition menu.
8
EFFECTSEDITING
EFFECTS MODULE EDITING MENU
Select the effect module in the effect chain editing menu, click the MENU knob
or touch and click the Current Effect to enter the effect module editing menu.
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The effect details of the effect module, algorithm type and algorithm
parameters can be changed in this menu.
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*
The effect loop module (FX, SND, RTN), as a functional module, has a flexible
addition position in the effect chain, allowing the user to place it in any node in
the effect chain according to their needs. After successful addition, users can
finely adjust the send volume, return volume, and mixing ratio through the quick
tone knob at the bottom of the screen. The mixing ratio referred to here refers
to the mixing ratio between the effect loop signal and the original effect chain
signal. When the mixing ratio reaches the maximum value, the effect chain and
the effect loop will be fully connected.
9
CONTROLSETUPMENU
CONTROL SETUP MENU
Press the CTRL in any menu to enter the control setting menu.
CTRL SETTINGS
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After entering this menu,
"
CTRL
Settings
"
is selected by default.
Matribox II Pro supports four CTRL
footswitch functions. Each
"
control
"
can associate the switch status of one
or more effect modules, automatically
read the current preset module, use
the quick adjustment knob at the
bottom of the screen to select the module, or touch and click selection.
"
Preset control
"
is a special control type, only in the Preset mode, when
associated with the control module, the control function will respond to the
second step in the
"
Preset mode
"
and the footswitch lamp will be quickly
flashing.
EXP SETTINGS
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The A / B state and the A / B state of
the internal EXP 1 and the external EXP
2 are set in the pedal setting menu,
and the A / B state of the EXP 1 and
the EXP 2 can control the three effect
parameters respectively.
10
CONTROLSETUPMENU
KNOB SETTINGS
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Select
"
Knob
"
to set the quick
adjustment parameters in the
parameter bar under the main menu.
Use the knob below the screen to
select the controlled module and the
controlled parameters. Not only the
module parameters, but also the
controlled parameters can also be set
to the preset volume or preset speed.
FOOTSWITCH SETTINGS
(Note: Change only the
"
Stomp mode
"
)
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Select
"
Footswitch Settings
"
to enter, use the MENU knob or touch to directly
press the Enter to locate the assigned function.
Tap / Hold: used to assign the function of selected footswitches on tap / hold.
When you select the Settings option, the option below changes to Reset and
click OK to resume the default setting.
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Footswitchfunctionsinclude:
CTRL 1~4: Perform the CTRL 1~4 functions
Tap Tempo: Use Tap Tempo
LOOPER: Enter the Looper
DRUM: Play/stop the drum
Drum Preset+/-:Load the latter/former adjacent drum patch
TUNER: Enter the tuner
EXP 1 A/B: Switch between A/B of EXP 1
11
CONTROLSETUPMENU
SAVE MENU
Press the SAVE button at any menu to enter the save menu.
After entering this menu, the cursor is first in the left area, use the touch screen
operation to edit, edit the preset name, press the SAVE key again to determine
the storage, press the EXIT key to discard the storage and return to the
previous menu.
TUNER
Under default settings, pressing both footswitches A and B simultaneously will
enter the tuner.
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Tuner mode can be set to Mute (for silent tuning), Bypass (for dry signal through)
and Thru (for effect signal through).
Tuner pitch calibration can be set from 435Hz to 445Hz, default is 440Hz.
LOOPER
Under default settings, pressing both footswitches B and C simultaneously will
enter the looper.
12
CONTROLSETUPMENU
Pressing footswitch A starts recording, pressing it again starts playback, and
pressing footswitch A during playback starts overdubbing:
Recording Playing Overdubbing
Pressing footswitch B stops recording or playback, while holding it down
clears all recorded phrases.
Pressing footswitch C performs undo/redo for the last looped overdub
phrase, while holding it down exits the looper menu.
Pressing footswitch D short
"
auto recording
"
, while holding it down
"
Drum Sync
"
synchronization:
Enabling
"
Drum Sync
"
and start recording when the drum machine reaches the
beginning of a bar. The recording will be slightly adjusted to align with the drum
machine.
When the auto recording is enabled, pressing the footswitch A will not start
recording immediately. Instead, recording will start automatically when you start
playing.
Looper has two modes:
Pre mode, the looper will record mono audio without any effects, up to 90
seconds;
Post mode, the looper will record stereo audio with effects, up to 45 seconds.
Pressing the PARA knob allows you to flip through the parameter bar.
DRUM
Long press the DRUM button to enter the drum machine menu, where you can
set the rhythm style, tempo, synchronization switch, and volume of the drum
machine.
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When the
"
Sync
"
switch is turned on, the drum machine tempo can be
synchronized with the preset BPM.
13
CONTROLSETUPMENU
GLOBAL SETTINGS
Press the GLOBAL button to enter the global setting menu. rotate the MENU or
touchscreen to turn the page.
INPUT/OUTPUT
Input Mode: Input Mode: to adjust the
impedance, including acoustic guitars
(4.7M
Ω
), electric guitars (1M
Ω
) and line
in ( 10k
Ω
), default is E.GT.
Input Level: You can adjust the value
to get the best experience based on
varied instruments, ranged from -20dB
to +20dB
No CAB mode(L/R): By activating no
CAB mode on Mono left or right, you
can get the audio effect where there is no CAB module simulation in the analog
output.
AUX Level: This option adjusts the volume of the external auxiliary input signal,
compatible with external audio sources such as media players and mobile
phones. The adjustment range is from 0 to 100.
FUNCTIONS
14
CONTROLSETUPMENU
Current Mode: This option is used to select the footswitch function mode, which
is divided into Preset mode and STOMP mode. The default mode is Preset mode.
Bank Sel Mode: The parameters are
"
Wait
"
and
"
Initial
"
. If you select
"
Initial
"
, the
bank will jump immediately when switching, and if you select
"
Wait
"
, the bank will
not jump directly when switching, but will enter the Wait Mode screen.
B
A
N
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-
B
A
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-
A
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Auto CAB: When turned ON, the effects in the CAB module will correspondingly
change with the eects in the AMP module.
Global Tempo: After enabling the Global Tempo option, the preset tempo of
this device will be replaced with the global tempo. This function is disabled by
default.
The following interface will pop up when this function is enabled for the first
time:
4
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After activation, you may also directly adjust the global tempo via Quick Knob 2
on the function setting page:
G
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A
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1
0
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G
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When Global Tempo is enabled, the main interface icon is displayed as:
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When you click the icon to adjust parameters or activate the tap tempo
function, the device’s global tempo will be modified directly. If drum machine
synchronization and the Sync switches of effect modules including FREQ, WAH,
15
CONTROLSETUPMENU
MOD, DLY and RVB are enabled, the drum rhythm and the operating speed of
various effects will synchronize with the global tempo. In addition, the global
tempo parameter will not change with preset switching, and this setting will be
automatically saved when the device is powered off.
USB AUDIO
Rec Level: To control the master
volume of the recording, ranged from
-20dB to +20dB.
Rec Mode L/R: When recording via
USB, you can choose to use the left/
right channel for dry signal or effect
signal.
AUX To USB: When activating, audios
from AUX IN can be recorded in USB
devices.
Monitor Level: To control the volume of playback through USB, ranged from
-20dB to +20dB.
USB mode: Switch to a multi-channel USB output. The 6-in-4-out mode
includes MIDI information and can be selected when using the device as an
audio interface. The 2-in-2-out mode does not include MIDI information and is
suitable for most mobile systems with OTG functionality, but it cannot connect
to computer software.
Using Matrixbox II as an audio interface
When used as a USB audio interface, the Matribox II will be recognized by
the system as a 6-in/4-out USB device. Here we will show you how to use this
function through listing two scenarios.
Scene 1: Using the built-in re-amp function in the DAW to record or adjust the
tone
1. Set the Mono L and Mono R’s output to
"
Dry
"
in the Global Settings-USB Audio
2. In the DAW, create two new Tracks A and B, and import/record a dry guitar
Track in A
3. Set Track A output to Output 3-4, set Track B input to Input 3-4, keep Track B’s
monitoring OFF
4. Play the dry track in DAW, and now you can hear the effect sound of the
processed dry track file in Matribox II
5. Activate
"
Record
"
in Track B on the recording software, then you’ll get to
16
CONTROLSETUPMENU
record the Track with eect after re-amp on Track B.
Scene 2: Using LOOPBACK function to record, combining the audio from multiple
sources on your computer
1. In the DAW, create a new stereo audio track
2. Set the input to Input 5-6
3. Start recording in the DAW
4. By playing other audio sources on your computer, you can record them in the
track now
EXP CALIBRATE
E
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1
E
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As shown, turn Quick Access Knob 1 or 2 to calibrate EXP 1 or 2.
Press the pedal fully down towards toe.
Press Strongly. Complete!
17
CONTROLSETUPMENU
GLOBAL EQ
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.
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-
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1
0
5
-
5
0
Select this function and press the PARA knob to enter the global EQ edit
screen.
ON/OFF: On/Off global EQ.
Level: Adjust the master volume of the global equalizer. Range: 0-100.
Low Cut: High pass filter to cut o low frequency signals. Range: OFF-20Hz-
20000Hz.
Bank 1-4 Frequency: To adjust the corresponding filter’s frequency. Range:
20Hz-20000Hz: Band 1-4’s default frequencies are accordingly 100Hz, 500Hz,
1000Hz and 5000Hz.
Band 1-4 Q: Width. To adjust the width of the formant (slope of the filter), the
larger the number, the steeper the slope. Range: 0.1-10.0, default is 0.7.
Band 1-4 Gain: Adjust the filter gain.Range:-20dB-+20dB, default is 0dB.
High Cut: Low pass filter to cut o high frequency signals. Range: 20Hz-20000Hz-
OFF.
EXP 2/FOOTSWITCH
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Mode: Select the type of external
device to be connected to the EXP/FS
jack.
When the connected device is
expression pedal, select
"
EXP
"
option,
then the parameters of EXP control
can be set in
"
Preset Settings - EXP
Settings - EXP 2
"
When the connected device is single
or dual footswitch,select
"
Single FS
"
or
"
Dual FS
"
option.
18
CONTROLSETUPMENU
MIDI
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MIDI In Source: Control where the
MIDI message is coming from. The
opion are
"
TRS Only
"
(Only receiving
MIDI messages from the MIDI IN), USB
Only (Only receiving MIDI messages
from the USB), Mixed (Receiving from
both the MIDI IN and the USB).
Input Ch (TRS) /Input Ch (USB) /
Output Ch (TRS)/Output Ch (USB): For setting up the channel of the USB input
and the MIDI messages’ input and output, range from Omni-1-16.
Clock Source: For choosing the source of the MIDI clock. The opitions are
Internal (Only receiving from the internal clock), TRS Only (Only receiving the clock
messages from the MIDI IN),
"
USB Only
"
(Only receiving the clock messages from
the USB),
"
External
"
(Only receiving from the external clock),
"
Mixed
"
(Receiving
clock messages from the internal clock, MIDI In and USB. If using dierent clock
sources simultaneously).
Notes:
1.
When
"
TRS Only
"
,
"
USB Only
"
or
"
External
"
is selected, the internal clock will
not work and the Tap Tempo will not function
2.
If using dierent clock sources simultaneously, then the last message type the
Matribox II receives will cover previous ones
Clock Out (TRS)/Clock Out (USB): To control whether the MIDI OUT and USB
will send out MIDI clock messages.
Note:
When turned ON, this unit will negate all input signals; Additionally, when your
Clock Source is set to
"
TRS Only
"
or
"
USB Only
"
, this unit will not send out MIDI
clock messages.
19
CONTROLSETUPMENU
FACTORY RESET
G
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C
a
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l
O
K
Press the PARA knob to enter the
"
Factory Reset
"
menu, then turn the PARA
knob to select and click
"
OK
"
to execute the reset factory settings, which will
clear all user edited presets and personalized settings and reset the device to
the factory state.
DISPLAY
M
I
D
I
A
b
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t
F
a
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y
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n
g
l
i
s
h
Brightness: For adjusting screen
brightness.
Display Time: The time Matribox II Pro
needs to enter sleep mode.
Language: For choosing your system
language.
ABOUT
This menu is to check the firmware
version.
20
Compatiblesoftware
Compatible software
When you connect your Matribox II with the PC/Mac, you can use the free
Matribox II software to manage multiple functions, including adjusting tones,
importing/exporting preset files, firmware updates, factory reset, loading
third-party IR files, and loading Clone files and more. The Matribox II software
supports both Windows and MacOS platforms.
Please download the software at https://www.sonicake.com/collections/multi-
effects/products/matribox-ii-pro.
21
EFFECTLIST
EFFECT LIST
DYN modules
Name Type Description
COMP 1
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: Controls the compression
amount
Volume: Controls the effect output
COMP 2
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: Controls the compression
amount
Attack: Controls how soon the
compressor starts to process the
signal
Volume: Controls the effect output
Clipping: Controls the input sensitivity
COMP 3
Flexible, fully adjustable
compressor effect
Threshold: Controls the compression
trigger level
Ratio: Controls the amount of
compression when the compressor is
triggered
Volume: Controls the output volume/
makeup amount
Attack: Controls how soon the
compressor starts to process the
signal
Release: Controls how soon the
compressor starts to release the signal
level back to normal after the level
drops below the threshold
Blend: Controls the wet/dry signal ratio
Tone: Controls the effect tone
M-Boost
Based on the legendary MXR
®
M133 Micro Amp2 pedal. Providing
up to 20dB of gain, the Micro
Boost elevates your amp sound
without changing its tonal
character.
Gain: Controls the gain amount
22
EFFECTLIST
Name Type Description
E-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.
Volume: Controls the effect output/
boost amount
+3dB: Selects the minimum boost
amount from 0dB (off) to +3dB (on)
Bright: Selects the sound character
from vintage (Bright off) to flat (Bright
on)
AC-Boost
Based on famous Xotic
®
AC
Booster* pedal, It is a beautiful
smooth sounding drive/boost
pedal that it perfect for giving
your tube amp a bit of extra
grunt.
Gain: Controls the gain amount
Volume: Controls the effect output
Bass/Treble: 2-band EQ that controls
the effect tone
BB-Boost
Any guitarist can benefit from
the Xotic
®
BB Preamp* overdrive
pedal. The pedal works equally
well for getting thick and creamy
overdrive tones with great sustain
as it does for pushing the clean
front end of an already driven
amp with up to 30dB of boost.
Gain: Controls the distortion amount
Volume: Controls the effect output
Bass/Treble: 2-band EQ that controls
the effect tone
RC-Boost
Based famous on Xotic
®
RC
Booster* provides you with super-
transparent 20dB boost without
altering your carefully crafted
tone. And it offers an added
gain channel for extra fatness.
Take advantage of the +/-15dB
range on the treble and bass
EQ controls, and imbue your
guitar sound with unbelievable
harmonic complexity. The EQ
controls also compensate for the
extra bass boominess the volume
boost may cause and are great
for matching the response for
multiple guitars.
Gain: Controls the gain amount
Volume: Controls the effect output
Bass/Treble: 2-band EQ that controls
the effect tone
Fat Boost
This is a clean boost and pre-
amp with a switchable low-cut
filter and separate bass and
treble controls.
Volume: Controls the effect output
Bass/Treble: 2-band EQ that controls
the effect tone
Low Cut: Switches the low cut filter
(-6dB/oct @200Hz) on/off
23
EFFECTLIST
Name Type Description
AC
Woody
Designed for acoustic
instruments, bringing you a
more natural “woody” acoustic
sound
Shape: Controls the detailed effect
character
AC Sim
Acoustic guitar simulator
designed for guitars. Its prototype
comes from a classic acoustic
guitar analog stompbox.
Body: Controls the “body resonance”
(low frequency response)
Top: Controls the upper harmonics (high
frequency response)
Volume: Controls the effect output
level
Mode: Selects from 4 different sound
characters:
Standard: Simulates the tonal
characteristics of a standard acoustic
guitar
Jumbo: Simulates the tonal
characteristics of a jumbo acoustic
guitar
Enhanced: Simulates the tonal
characteristics of an acoustic guitar
with enhanced attack
Piezo: Simulates the sound of a piezo
pickup
Gate 1
Based on 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.
Threshold: Controls the gate trigger
level
Gate 2
Flexible noise gate with attack
and release control.
Threshold: Controls the gate trigger
level
Attack: Controls how soon the gate
starts to process the signal
Release: Controls the noise fade-out
duration time after the level drops
below the threshold
24
EFFECTLIST
Name Type Description
Gate 3
Precision adjustable noise
gate with detailed controls for
achieving clean, accurate tones
effortlessly.
Threshold: Controls the gate trigger
level
Ratio:Controls the degree to which
signals below the threshold are
attenuated. The higher the value, the
stronger the noise reduction.Attack:
Controls how soon the gate starts to
process the signal
Release: Controls the noise fade-out
duration time after the level drops
below the threshold.
Hold:Sets how long the gate remains
open after the sound stops, preventing
accidental cutting off of notes or trills.
*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.
FREQ modules
Name Type Description
Filter
A 4-step auto filter machine for
creating synth-like sounds
Step 1-4: Controls the filter center
frequency of each step
Rate: Controls the sequencing speed
Sync: Switches Tap Tempo sync on/off
Octaver
Provides polyphonic octave
effect.
Oct 1: Controls the volume of lower
octave (1 oct down)
Oct 2: Controls the volume of higher
octave (1 oct up)
Dry: Controls the dry signal level
Dual
Melody
Polyphonic pitch shifter/
harmonizer.
Low/Hi Pitch: Controls the low/high pitch
shifting range by semitones
Dry: Controls the dry signal level
Low/High Volume: Controls the low/high
pitch volume
Pitch
Polyphonic pitch shifter/
harmonizer.
Low/Hi Pitch: Controls the low/high pitch
shifting range by semitones
Wet: Controls the wet signal level
Dry: Controls the dry signal level
Range: Controls the pitch range of
harmony effect
25
EFFECTLIST
Name Type Description
Harmony
D
This model is a monophonic dual
voice automatic harmonizer with
max. one octave pitch shifting
range. Detailed Key, Scale and
Interval settings can bring you lots
of fun.
Mix: Controls the wet/dry signal ratio of
the effect
Key: Selects the chord key according
to your music
Mode: Selects the scale mode
according to your music
Interval 1/2: Selects the interval
between wet and dry signal Smooth
Mode: Switch on to get a smooth note
transition.
Pitch S
Based on classic Whammy®*
monophonic pitch shifter pedal.
Assign the Position parameter to
expression pedal, then move the
pedal to get the effect.
Range: Selects the pitch shifting range
Position: Controls the pedal position
(min=0, max=100)
Mix: Controls the dry/wet signal ratio
Level: Controls the effect output
Ring Mod
A ring modulator for creating
intresting inharmonic frequency
spectra (like bells and chimes).
Mix: Controls the wet/dry signal ratio
Freq: Controls the overall modulation
frequency
Fine: Fine tune the modulation
frequency by +/- 50Hz
Tone: Controls the effect tone
Tape
Mod
Vintage tape saturation simulater
providing analog warmth and
natural distortion.
Saturation: Controls the effect gain
Mix: Controls the effect wet/dry signal
ratio
Volume: Controls the effect output
volume
Mix: Controls the wet/dry signal ratio
High Cut: Cuts the effect high
frequency signal
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective
owners. The trademarks were used merely to identify the sound character of the products.
WAH modules
Name Type Description
Voks 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: Controls the wah filter
frequency range
Q: Controls the wah resonance (filter Q)
Volume: Controls the effect output
When using the EXP pedal as a wah
pedal, remember to first assign the
position parameters, then turn on and
press the pedal to get the effect.
26
EFFECTLIST
Name Type Description
Cry 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.
Range: Controls the wah filter
frequency range
Q: Controls the wah resonance (filter Q)
Volume: Controls the effect output
When using the EXP pedal as a wah
pedal, remember to first assign the
position parameters, then turn on and
press the pedal to get the effect.
Rack
Wah
Based on John Petrucci’s rack
wah settings, this Cry Baby
®
Wah
features Volume, Q, and six EQ
controls for ultimate tonal control
over your wah sound.
Bass
Wah
Wah designed for basses
Touch
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
Sens: Controls the effect sensitivity
Range: Controls the frequency range
of the filter
Q: Controls the sharpness of the filter
Mix: Controls the wet/dry signal ratio
Mode: Selects from two modes: Guitar/
Bass
Auto
Wah
Set the rate to make the wah
pedal work regularly. Providing a
variable auto wah effect for both
guitars and basses.
Depth: Controls the effect depth
Rate: Controls the effect speed
Volume: Controls the output level
Low: Controls the bottom point of
center frequency (low freq)
High: Controls the top point of center
frequency (high freq)
Q: Controls the sharpness of the filter
Sync: Switches Tap Tempo sync on/off
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective
owners. The trademarks were used merely to identify the sound character of the products.
DRV modules
Name Type Description
Skreamer
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: Controls the overdrive amount
Tone: Controls the effect tone
Volume: Controls the effect output
27
EFFECTLIST
Name Type Description
Skreamer
9
The Ibanez
®
Tube Screamer
®
is
synonymous with the transparent
overdrive tone used by many of
today’s top guitarists. The TS9
pedal boosts the guitar signal
enough to drive the preamp
stage of your amp, giving a
very natural-sounding and
pure overdrive and crisp rhythm
crunch.
Gain: Controls the overdrive amount
Tone: Controls the effect tone
Volume: Controls the effect output
Butter OD
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: Controls the overdrive amount
Volume: Controls the effect output
Warm OD
The Providence
®
SOV-2
Stampede OD pedal is designed
to deliver natural overdrive
without obscuring the inherent
characteristics and tone of the
guitar being used. It features
a special bipolar power supply
that powers the internal circuitry
with boosted voltage, providing
a wider dynamic range than
possible with conventional 9-volt
powered overdrives. For singing
lead tones and solid, chunky
rhythms, there’s nothing like the
SOV-2 Stampede OD.
Gain: Controls the overdrive amount
Tone: Controls the effect tone
Volume: Controls the effect output
Super OD
The unique asymmetric overdrive
effect circuit adds warm and
pleasant overdrive effect to the
traditional guitar timbre.
Gain: Controls the overdrive amount
Tone: Controls the effect tone
Volume: Controls the effect output
28
EFFECTLIST
Name Type Description
Blues OD
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: Controls the distortion amount
Tone: Controls the effect tone
Volume: Controls the effect output
Full OD
Fulltone
®
OCD* sounds like finding
the “sweet spot” on your favorite
amp. It produces overdriven
tones that sound warm and full,
with genuine tube-like response.
There’s no shortage of usable
drive, meaning it dynamically
ramps up overdriven grit from
dirty overtones to saturated
distortion in the smooth range of
its drive control.
Gain: Controls the distortion amount
Tone: Controls the effect tone
Volume: Controls the effect output
Mode: Selects from two different
sound characters: HP (High Peak mode
with more bottom end and distortion),
LP (Low Peak mode without changing
your original tone)
Breaker
OD
The Marshall
®
BluesBreaker* is a
low-gain pedal with exceptional
transparent tone. Moderate
overdrive and subtle boost are
the strong points, though it can
get as well emphatic with a
cranked up tube amp.
Gain: Controls the distortion amount
Volume: Controls the effect output
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Gerden
OD
Hermida
®
Zendrive
®
* A classic
pedal that delivers a tube-like
sound that makes it sound like
a true case overload. Excellent
dynamic response, allowing you
to control the smallest changes in
timbre, truly making notes dance
at your fingertips.
Gain: Controls the overdrive amount
Tone: Controls the effect tone
Volume: Controls the effect output
Voice: Controls the upper harmonics
character
Timmy OD
Paul Cochrane
®
Timmy* A classic
overload tone. Its full overload
timbre and natural balanced
feedback have brought it a large
following.
Gain: Controls the distortion amount
Volume: Controls the effect output
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Mode(I,II,III): Distortion type selection
Master
OD
The EQ stage is extremely wide,
offering treble, mid and bass
shaping options and the gain
stage goes from clean to a well
driven plexi kind of tone and that
is also where its magic lies.
Gain: Controls the distortion amount
Tone: Controls the effect tone
Volume: Controls the effect output
29
EFFECTLIST
Name Type Description
Solar Fuzz
Sola Sound
®
Tone Bender* A
classic Faz circuit, widely used in
the mid-60s, favored by many
musicians, simple control, intuitive
tone feeling, you can easily
control it.
Fuzz: Controls the gain amount
Volume: Controls the effect output
Fuzz
Cream
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: Controls the gain amount
Tone: Controls the effect tone
Volume: Controls the effect output
Red Fuzz
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: Controls the gain amount
Volume: Controls the effect output
JP 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: Controls the distortion amount
Tone: Controls the effect tone
Volume: Controls the effect output
Dark
Mouse
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: Controls the distortion amount
Filter: Counterclockwise controls the
effect tone
Volume: Controls the effect output
Plexi Dist
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: Controls the distortion amount
Volume: Controls the effect output
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
30
EFFECTLIST
Name Type Description
Master
Dist
The Marshall Shredmaster
Distortion guitar effect pedal
delivers face-melting distortion
and that tone you can only get
out of a Marshall. The pedal
offers treble, bass, and contour
knobs to tweak, twist, and deliver
an unbelievable performance.
Gain: Controls the distortion amount
Volume: Controls the effect output
Bass/Contour/Treble: 3-band EQ that
controls the effect tone
Dist Plus
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: Controls the distortion amount
Volume: Controls the effect output
Shark
Based on MI Audio
®
Crunch
Box
®
* distortion peal. Sensitive
and exquisite distortion beast,
it satisfies all the passion of Riff
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: Controls the distortion amount
Tone: Controls the effect tone
Volume: Controls the effect output
Strive
Based on the
Suhr
®
Riot Distortion™*
pedal,Three knobs and a tone
selection switch, easy to use,
large adjustable range is very
suitable for a variety of playing
scenes.
Gain: Controls the gain amount
Tone: Controls the effect tone
Volume: Controls the effect output
Mode: Selects from three different
sound
characters:
-I: Neutral sound
-II: A tighter, more aggressive sound
- III: A smoother, warmer sound
Sardar
Dist
This model is based on a famous
dirt box recreating, perfect
reproduction of modern British
high-gain timbre, rich tunability,
intuitive operation to provide the
perfect boost to your music.
Gain: Controls the gain amount
Volume: Controls the effect output
Bass/Treble: 2-band EQ that controls
the
effect tone
Presence: Controls the effect
headroom
Tight: Controls the low bottom
resonance
31
EFFECTLIST
Name Type Description
Bass OD
A simple and effective distortion
effect for guitars and basses.
Gain: Controls the overdrive amount
Tone: Controls the effect tone
Volume: Controls the effect output
Mode: Selects from 3 different sound
characters: Normal (neutral sound),
Scoop (mid-scooped sound), Edge
(edgy sound)
Blend: Controls the wet/dry signal ratio
Bass Dist
This is an overload effect device
specially designed for bass. 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: Controls the distortion amount
Blend: Controls the wet/dry signal ratio
Volume: Controls the effect output
Bass/Treble: 2-band EQ that controls
the effect tone
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective
owners. The trademarks were used merely to identify the sound character of the products.
AMP modules
Name Type Description
TWD
Deluxe
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.
Gain: Controls the gain amount (pre
gain)
Tone: Controls the effect tone
Volume: Controls the output volume
(post gain)
B-Man N
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
tubemakes the sound more
beautiful,make musical instrument
manufacturers are eager to
imitate the product.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
32
EFFECTLIST
Name Type Description
B-Man
Bri
Based on Fender
®
’59 Bassman
®
*.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Dark
Double
Based on Fender
®
’65 Twin
Reverb
®
*. With a Stratocaster*,
the classic sound can be easily
restored in both country jazz and
rock music.
Gain: Controls the gain amount (pre
gain)
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Bright: Switches extra brightness on/off
Dark
Deluxe
Great clean tones are possible,
but the versatile “sweet
distortion” is what so many
guitarists appreciate and love
with the Deluxe. Therefore the
amp is the number 1 for many
blues musicians, as well as for
modern super guitarrists. The
fender-typical spring reverb and
a tube vibrato effect allow even
more “vintage”- sound variants.
Gain: Controls the gain amount (pre
gain)
Volume: Controls the output volume
(post gain)
Bass/Treble: 2-band EQ that controls
the effect tone
Supero 2
CL
Based on the Supro
®
Dual-Tone
1624T* (CH1+2
,
clean 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.
Gain: Controls the gain amount (pre
gain)
Volume: Controls the output volume
(post gain)
Tone: Controls the effect tone
Supero 2
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.
Gain 1/2: Controls the effect gain
amount
Tone 1/2: Controls the effect tone
Volume: Controls the effect output and
gain amount
33
EFFECTLIST
Name Type Description
Voks 15TB
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 4x12 “box, it has
successfully become the most
representative bass voice in the
1960s.
Gain: Controls the effect gain amount
Tone: Controls the effect tone
Volume: Controls the effect output and
gain amount
Bass/Treble: 2-band EQ that controls
the effect tone
Voks 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.
Gain: Controls the gain amount (pre
gain)
Volume: Controls the output volume
(post gain)
Tone cut: Counterclockwise controls
the effect tone
Bright: Switches extra brightness on/off
Voks
30TB
Based on VOX
®
AC30HW* (normal
channel).
Gain: Controls the gain amount (pre
gain)
Tone cut: Counterclockwise controls
the effect tone
Volume: Controls the output volume
(post gain)
Bass/Treble: 2-band EQ that controls
the effect tone
Char: Selects from two sound
characters: Cool (lower gain)/Hot
(higher gain)
Jazz 120
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.
Gain: Controls the effect gain/output
amount
Bright: Switches extra presence on/off
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
34
EFFECTLIST
Name Type Description
Superb
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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Superb
OD
Based Matchless™ Chieftain 212
combo* (overdrive tone).
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Calif 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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Calif Star
OD
Based on Mesa/Boogie
®
Lone
Star™(CH2).
Input: Controls the gain amount (pre
gain)
Gain: Controls the effect drive amount
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Bog SV
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 higain
compact and gorgeous.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Treble: 2-band EQ that controls
the effect tone
Bright: Switches extra brightness on/off
35
EFFECTLIST
Name Type Description
Bog SV
OD
Based on Bogner
®
Shiva* (20th
Anniversary version, Ch2.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Bog XT
Blue
Bogner
®
XTC blue channel is
popular for its highly recognizable
classic rock and roll sound. Its loud
and handsome plexi voice has
extraordinary attainments.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Bog XT
Red
The Bogner
®
XTC red channel
is known for its fiery high gain
distortion and the main timbre.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Doctor
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.
Gain: Controls the output volume (pre
gain)
Tone cut: Counterclockwise controls
the effect tone
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Doctor
OD
Based on Dr. Z
®
Maz 38 Sr.* combo
(clean sound).
Gain: Controls the output volume (pre
gain)
Tone cut: Counterclockwise controls
the effect tone
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
36
EFFECTLIST
Name Type Description
Dragon
CL
Based on Grindrod
®
Pendragon
PG20C* (Normal channel, bright
off). 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: Controls the gain amount (pre
gain)
Volume: Controls the effect output
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Dragon
CL B
Based on Grindrod
®
Pendragon
PG20C* (Normal channel, bright
on). 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: Controls the gain amount (pre
gain)
Volume: Controls the effect output
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Dragon
OD
Based on Grindrod
®
Pendragon
PG20C* (Drive channel). 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: Controls the gain amount (pre
gain)
Volume: Controls the effect output
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Sol 100
CL
Based on Soldano
®
SLO100*
(clean channel). Also from Eddie
Van Halen’s Brown Sound, Steve
Vai’s classic album “Passion
& Warfare” was recorded in
SLO100*.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Sol 100
OD
Based on Soldano
®
SLO100*
(crunch channel).
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Sol 100
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*.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
37
EFFECTLIST
Name Type Description
Brit 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.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Brit 45+
Based on Marshall
®
JTM45* . 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.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Brit 45JP
Based on Marshall
®
JTM45* . 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.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Brit 50
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*.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Brit 50+
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*.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
38
EFFECTLIST
Name Type Description
Brit 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*.
Gain 1/2: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Brit SLP
The 1959HWTM is a line right back
to the celebrated era of the mid
to late 1960s, the original was born
when Pete Townshend asked
Jim Marshall if he could make it
louder. This re-issue delivers that
classic Marshall tone with the
same overdrive and crunch, using
the authentic parts and methods
to construct.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Brit 800
Based on Marshall
®
JCM800*. In
1981, the JCM800* quickly became
the rock and metal sound of the
’80s with its excellent higain sound.
The founders named it after
their own license plate number,
inheriting and continuing the
legend of Plexi*.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Brit 900
The JCM900 is the evolution of
the JCM800
®
adding another
channel, two reverb options
and two gain features. Tube Set
consists of 3 x 12AX7 preamp
tubes, and 4 x 6L6/5881 power
tubes.
Known for its tone and workhorse
roadworthiness, the JCM900 has
many fans due to its feature set
and versatility.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
39
EFFECTLIST
Name Type Description
Flyman 1
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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Flyman 2
Based on the famous“Brown
Eye”UK-style boutique amp head
(BE channel).
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Flyman+ 1
Based on the famous“Brown
Eye”UK-style boutique amp head
(HBE channel).
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Flyman+
2
Based on the famous“Brown
Eye”UK-style boutique amp head
(HBE channel).
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Calif IIC+ 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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
40
EFFECTLIST
Name Type Description
Calif IIC+
2
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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Calif IIC+
3
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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Calif IV
LD 1
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 morden higain timbre.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Calif IV
LD 2
Based on Mesa/Boogie
®
Mark
IV™ (Lead 2 channel).
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Calif IV
LD 3
Based on Mesa/Boogie
®
Mark
IV™ (Lead 3 channel).
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
41
EFFECTLIST
Name Type Description
Calif Dual
V
Based on Mesa/Boogie Dual
Rectifier(Vintage mode). The
distortion of Rectifier series
is warm, and the distortion of
Rectifier series is very wide, which
is more thick and solid than Mark.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Calif Dual
M
Based on Mesa/Boogie Dual
Rectifier(Modern mode). The
distortion of Rectifier series
is warm, and the distortion of
Rectifier series is very wide, which
is more thick and solid than Mark.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Tanger
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: Controls the gain amount (pre
gain)
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Bright: Switches extra brightness on/off
Halen 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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
42
EFFECTLIST
Name Type Description
Eng 120
ENGL
®
Savage 120 Amplifier
embodies ENGL’s rich legacy
of creating metal machines
for delivering truly punishing
tones, with clear dynamics and
tremendous sonic variety.
This incredible tonal flexibility
comes from the 4 channel layout
of the amp, with a dedicated
Clean channel, two separate
Crunch channels, and a super-
saturated Lead channel, all
supported by two discrete EQs
and a wide selection of additional
features.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Eng 120+
ENGL
®
Savage 120 Amplifier
embodies ENGL’s rich legacy
of creating metal machines
for delivering truly punishing
tones, with clear dynamics and
tremendous sonic variety.
This incredible tonal flexibility
comes from the 4 channel layout
of the amp, with a dedicated
Clean channel, two separate
Crunch channels, and a super-
saturated Lead channel, all
supported by two discrete EQs
and a wide selection of additional
features.
Gain: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Dizzy 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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Dizzy VH
S
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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
43
EFFECTLIST
Name Type Description
Dizzy 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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
Dizzy VH+
S
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: Controls the gain amount (pre
gain)
Presence: Controls the effect
headroom
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
A BassVT
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: Controls the gain amount
Midrange: Selects the center
frequency of Midrange control:
220Hz/450Hz /800Hz/1.6kHz/3kHz
Volume: Controls the output volume
(post gain)
Bass/Midrange/Treble: 3-band EQ
that controls the effect tone
Voks
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 4x12 “box, it has
successfully become the most
representative bass voice in the
1960s.
Volume: Controls the effect gain/
output amount
Bass/Treble: 2-band EQ that controls
the effect tone
Calif
Bass
Based on Mesa/Boogie
®
Bass
400* amp. You can hear the
sound of the early bass speakers
in many albums.
Gain: Controls the gain amount
Volume: Controls the output volume
(post gain)
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
44
EFFECTLIST
Name Type Description
A BassFT
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.
Volume: Controls the effect gain/
output amount
Bass/Treble: 2-band EQ that controls
the effect tone
F-2Bass
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.
Volume: Controls the effect gain/
output amount
Bright: Switches extra brightness on/off
Bass/Middle/Treble: 3-band EQ that
controls the effect tone
AC
Preamp
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.
Volume: Controls the effect gain/
output amount
Tone: Controls the brightness
Balance: Controls the tone control
balance; set to 0 to disable tone
control
EQ Freq: Controls the EQ center
frequency from 90Hz to 1.6kHz
EQ Q: Controls the EQ bandwidth
EQ Gain: Controls the EQ boost/cut
amount; set to 50 to keep neutral
AC
Preamp
2
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.
Volume: Controls the effect gain/
output amount
Tone: Controls the brightness
Balance: Controls the tone control
balance; set to 0 to disable tone
control
EQ Freq: Controls the EQ center
frequency from 680Hz to 11kHz
EQ Q: Controls the EQ bandwidth
EQ Gain: Controls the EQ boost/cut
amount; set to 50 to keep neutral
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective
owners. The trademarks were used merely to identify the sound character of the products.
45
EFFECTLIST
CAB modules
Name Type
Supero 1x6 Supro
®
* 1x6” cabinet with oval speaker
Chap 1x8 Vintage Fender
®
Champ* 1x8” cabinet
Prince 1x10 Vintage Fender
®
Princeton* 1x10” cabinet
TWD 2x10 A custom Fender
®
Tweed* 2x10” cabinet
TWD LUX
1x12
Fender
®
Tweed Deluxe* 1x12” cabinet
Dark LUX
1x12
Vintage Fender
®
Deluxe* 1x12” cabinet
Twin Verb
2x12
Vintage Fender
®
’65 Twin Reverb* 2x12” cabinet
Custom 2x12 Custom modified Fender
®
* 2x12” cabinet
B-Man 2x10 Vintgae Fender
®
“Piggyback” Bassman
®
* 2x12” cabinet
B-Man 4x10 Fender
®
’59 Bassman
®
* 4x10” cabinet
Jazz 2x12 Legendary “Jazz Chorus” 2x12” cabinet
Brit 1x12 Marshall
®
* 1x12” cabinet
Brit GN 2x12 Marshall
®
2550* 2x12” cabinet
Brit LD 4x12 Marshall
®
1960AV* 4x12” cabinet
Brit TD 4x12 68 Marshall
®
Basketweave* 4x12” cabinet
Brit MD 4x12 Custom modified Marshall
®
* 4x12” cabinet
Brit GN 4x12 Vintage Marshall
®
4x12” cabinet with Celestion
®
Greenback
®
* speakers
Brit 75 4x12 Marshall
®
* 4x12” cabinet with Celestion
®
G12T-75* speakers
Brit BK 4x12 1968 Marshall
®
* 4x12” cabinet
Voks 1x12 Vintage VOX
®
AC15* 1x12” cabinet
Voks 2x12 Vintage VOX
®
AC30* 2x12” cabinet
Bog SV 1x12 Bogner
®
Shiva* 1x12” cabinet
46
EFFECTLIST
Name Type
Chief 2x12 Matchless
®
Chieftain* 2x12” cabinet
Calif Dual
4x12
Mesa/Boogie
®
Rectifier
®
* 4x12” cabinet
Calif Star
1x12
Mesa/Boogie
®
Lonestar* 1x12” cabinet
Calif Star
2x12
Mesa/Boogie
®
Lonestar* 2x12” cabinet
Calif 1x12 1980’s Mesa/Boogie
®
* 1x12” cabinet
Supero 2x12 Supro
®
1624T* 2x12” cabinet
Superb 2x12 Matchless
®
* 2x12” cabinet
Blue 2x12 A custom 2x12” cabinet with Celestion
®
Alnico Blue* speakers
Halen 4x12 Peavey
®
6505* 4x12” cabinet
Bog 4x12 Bogner
®
* 4x12” cabinet
Eng 4x12 ENGL
®
* 4x12” cabinet
Bog Ub 4x12 Bogner
®
Uberkab* 4x12” cabinet
Sol 4x12 Soldano
®
* 4x12” caninet
Tanger 4x12 Orange
®
PPC412* 4x12” cabinet
Watt 4x12 Vintage Hiwatt
®
SE4123* 4x12” cabinet
WAM 4x12 Vintage WEM
®
* 4x12” cabinet
Humble 4x12 Dumble
®
* 4x12” cabinet
Dizzy 4x12 Diezel
®
* 4x12” cabinet
Calif 4x12 Mesa/Boogie
®
Road King
®
* 4x12” cabinet
DV 1x15 David Eden
®
* 1x15” bass cabinet
DV 4x10 David Eden
®
* 4x10” bass cabinet
Work 1x15 SWR
®
* 1x15” bass cabinet
Work 4x10 SWR
®
Workingman’s* 4x10” bass cabinet
Calif 2x10 Mesa/Boogie
®
* 2x10” bass cabinet
Mak 2x10 Mark Bass
®
* 2x10” bass cabinet
A Bass 1x15 Ampeg
®
PF-115HE* 1x15” bass cabinet
A Bass 4x10 Ampeg
®
SVT-410HE* 4x10” bass cabinet
A Bass 8x10 Ampeg SVT-810E* 8x10” bass cabinet
Hart 4x12 Hartke
®
* 4x12” bass cabinet
47
EFFECTLIST
Name Type
D 1 Dreadnought guitar simulation 1
D 2 Dreadnought guitar simulation 2
OM Simulates an OM type acoustic guitar
Jumbo Simulates a jumbo acoustic guitar
Bird Simulates the iconic “H-Bird” acoustic guitar
GA Simulates a GA type acoustic guitar
Classical AC Simulates a classical guitar
Mandolin Simulates a mandolon
Fretless
Bass
Simulates a fretless acoustic bass
Double Bass Simulates a double bass
*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.
IR modules
Name Type
User IR 1~20 User IR, IR file format is 44100Hz, 1024 sampling points
EQ modules
Name Type Description
Guitar EQ
1
Equalizer designed for
guitars
Band 1: 125Hz
Band 2: 400Hz
Band 3: 800Hz
Band 4: 1.6kHz
Band 5: 4kHz
Use the five bands above to control the EQ level.
Volume: Controls the output level
Guitar EQ
2
Equalizer designed for
guitars
Band 1: 100Hz
Band 2: 500Hz
Band 3: 1kHz
Band 4: 3kHz
Band 5: 6kHz
Use the five bands above to control the EQ level.
Volume: Controls the output level
Bass EQ 1
Equalizer designed for
basses
Band 1: 33Hz
Band 2: 150Hz
Band 3: 600Hz
Band 4: 2kHz
Band 5: 8kHz
Use the five bands above to control the EQ level.
Volume: Controls the output level
48
EFFECTLIST
Name Type Description
Bass EQ 2
Equalizer designed for
basses
Band 1: 50Hz
Band 2: 120Hz
Band 3: 400Hz
Band 4: 800Hz
Band 5: 4.5kHz
Use the five bands above to control the EQ level.
Volume: Controls the output level
Calif EQ
Based on the 5-band
EQ module on Mesa/
Boogie
®
* amps, can
easily realize the classic
boogie V-shaped
sound
Band 1: 80Hz
Band 2: 240Hz
Band 3: 750Hz
Band 4: 2.2kHz
Band 5: 6.6kHz
Use the five bands above to control the EQ level.
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective
owners. The trademarks were used merely to identify the sound character of the products.
MOD modules
Name Type Description
E-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: Controls the chorus depth
Rate: Controls the chorus rate
Volume: Controls the effect level
Sync: Switches Tap Tempo sync on/off
D-Chorus
Based on a legendary
4-button purple stereo chorus
pedal, providing detailed rich
chorus tone that expands
sonic dimensions
Mode: Select from 4 different chorus
modes
B-Chorus
Based on a classic bass
chorus, full, natural, pure,
rich, can control the slightest
change of timbre.
Depth: Controls the vibrato depth
Rate: Controls the vibrato rate
Volume: Controls the effect level
Sync: Switches Tap Tempo sync on/off
M-Chorus
Unique stereo chorus, the
depth of the chorus of each
channel (left/center/right) can
be independently controlled
to create your own music.
Mix: Controls the wet/dry signal ratio
Rate: Controls the chorus speed
Filter: Controls the effect tone
Depth L/C/R: Controls the chorus depth
of left/right/center channels
Sync: Switches Tap Tempo sync on/off
49
EFFECTLIST
Name Type Description
Flanger
Classic flanger effect,
producing rich and natural
flanger tone.
Flg Depth: Controls the flanger depth
Flg Rate: Controls the flanger speed
Feedback: Controls the flanger feedback
amount
Trm Depth: Controls the tremolo depth
Trm Rate: Controls the tremolo speed
Flg Sync: Switches flanger Tap Tempo
sync on/off
Trm Sync: Switches tremolo Tap Tempo
sync on/off
Flanger N
A flanger with negative
feedback, producing
“underwater” style sound
Depth: Controls the flanger depth
Rate: Controls the flanger speed
Pre Delay: Controls the pre delay time
Feedback: Controls the amount of
feedback
Sync: Switches Tap Tempo sync on/off
Trem Jet
Combines flanger and tremolo
in one
Depth: Controls the vibrato depth
Rate: Controls the vibrato speed
Volume: Controls the effect level
Sync: Switches Tap Tempo sync on/off
Bass Jet
Classic flanging effect tuned
for basses
Depth: Controls the vibrato depth
Rate: Controls the vibrato rate
Sync: Switches Tap Tempo sync on/off
Vibrato
A classic vibrato effect with
wide adjustable range
Rate: Controls the vibrato speed
Sync: Switches Tap Tempo sync on/off
BBD Roto
Based on a BBD-based blue
vibrato pedal, producing
natural analog vibrato sound
Depth: Controls the phaser depth
Rate: Controls the phaser speed
Sync: Switches Tap Tempo sync on/off
CE-Roto
The sound is based on the
classic chorus (vibrato mode)
born in the 70s, perfectly
recreating the warm,
overtoned, dreamy analog
vibrato sound of the original
Depth: Controls the vibrato depth
Rate: Controls the vibrato rate
Volume: Controls the effect output
Sync: Switches Tap Tempo sync on/off
50
EFFECTLIST
Name Type Description
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 realized by
Phase 90.
Pan Depth: Controls the tremolo depth
(using mono output) or panning depth
(using stereo output)
Pan Rate: Controls the tremolo speed
(using mono output) or panning speed
(using stereo output)
Phaser Depth: Controls the phaser depth
Phaser Rate: Controls the phaser speed
Phs Sync: Switches phaser Tap Tempo
sync on/off
Pan Sync: Switches tremolo/pan Tap
Tempo sync on/off
BBD
Phaser
Based on a BBD-based green
phase pedal, producing
natural analog phase sound
Depth: Controls the effect depth
Rate: Controls the effect speed
Sync: Switches Tap Tempo sync on/off
Phaser ST
The Electro Harmonix Small
Stone was one of the first
phasers available in the
70’s and can be heard on
countless recordings. As the
competitors of that time, it
comes with a control (rate, the
speed of the effect) and the
intensity can be modified with
a switch - the sound is just
right for most applications.
Depth: Controls the effect depth
Rate: Controls the effect speed
Volume: Controls the effect output
Mode: Select from 2 different vibe modes:
Chorus and Vibrato
Sync: Switches Tap Tempo sync on/off
Pan
Phaser
A special, subtle phaser
combines tremolo/pan
variations
Depth: Controls the tremolo depth
Rate: Controls the tremolo speed
Sync: Switches Tap Tempo sync on/off
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 in their albums.
The Vibe effect will bring
about slight and regular pitch
changes.
Depth: Controls the effect depth
Rate: Controls the effect speed
Volume: Controls the effect output
Sync: Switches Tap Tempo sync on/off
51
EFFECTLIST
Name Type Description
Tremolo
Based on legendary
Demeter
®
TRM-
1Tremulator*,offering classical
opto tremolo sound. In 1982,
rock pioneer Ry Cooder
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: Controls the effect depth
Rate: Controls the effect speed
Volume: Controls the effect output
Sync: Switches Tap Tempo sync on/off
Bias: Adjust the offset change of the
waveform
Sine Trem
Sine tremolo waveforms and
super wide tonal range.
Dry/Wet: Controls the dry/wet signal level
Detune: Controls the detune amount
from -50 to +50 cents
Bias Trem
Bias tremolo waveforms and
super wide tonal range
Depth: Controls the effect depth
Rate: Controls the effect speed
Volume: Controls the effect output
Sync: Switches Tap Tempo sync on/off
Bias: Adjust the offset change of the
waveform
Detune
This is a detuning effect that
combines a slightly shifted
signal with the original signal
to create a chorus-like tone.
Dry/Wet: Controls the dry/wet signal level
Detune: Controls the detune amount
from -50 to +50 cents
Lofi Bit
Vintage lo-fi with unique
musical effects
Mix: Controls the wet/dry signal ratio of
the effect
Krush: Controls the sample rate of the
effect
Bit: Controls the bit resolution of the
effect
Hi Cut: Controls the cutoff frequency of
the high cut filter
Lo Cut: Controls the cutoff frequency of
the low cut filter
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective
owners. The trademarks were used merely to identify the sound character of the products.
DLY modules
Name Type Description
Warm
Produciing warm delay sound
with analog feel
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
52
EFFECTLIST
Name Type Description
Pure
Produce pure, precised delay
sound
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
Mag
Simulates solid-state tape
echo sound
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
Tube
Simulates tube-driven tape
echo sound
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
BBD
This is a stereo analog delay
model that captures the sound
of a BBD based analog delay
machine that is warm, smooth,
rounded due to the limitation
of BBD chips.
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time of left
channel
Time R%: Controls the delay time of right
channel
(time ratio of left channel)
Spread: Controls the effect stereo width
Level: Controls the effect output
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is
bypassed
Ping Pong
A ping-pong delay producing
stereo feedbadk bounces
back and forth between left
and right channels
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
53
EFFECTLIST
Name Type Description
Slapback
Simulates the classic slapback
echo effect
Mix: Controls the delay wet/dry signal
ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Trail: Switched effect trail on/off when
the effect is bypassed
Sweep
Producing a delay effect with
sweeping filter
modulated repeats
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Sweep Depth: Controls the sweep filter
depth
Sweep Rate: Controls the sweep filter
speed
Swp Sync: Switches sweep filter Tap
Tempo sync on/off
Time Sync: Switches delay Tap Tempo
sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
Ring
Producing a delay effect with
ring modulated repeats
Dly Mix: Controls the delay wet/dry signal
ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Ring Mix: Controls the ring mod wet/dry
signal ratio
Freq: Controls the ring mod frequency
Tone: Controls the ring mod tone
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
54
EFFECTLIST
Name Type Description
Multi Tape
A multi tap delay that simulates
a huge
4-head tape echo machine
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Time: Controls the delay time
Tone: Controls the effect tone
Mode: Selects from 12 different head
variations:
1: Single head, same as ordinary delays
2: Head 1 & 2
3: Head 2 & 3
4: Head 3 & 4
5: Head 1 & 3
6: Head 2 & 4
7: Head 1 & 4
8: Head 1, 2 & 3
9: Head 2, 3 & 4
10: Head 1, 2 & 4
11: Head 1, 3 & 4
12: Head 1, 2, 3 & 4
Sync: Switches delay Tap Tempo sync on/
off
Trail: Switched effect trail on/off when
the effect is bypassed
Sweet
This analog delay pedal was
sold from 1981 to 1984 and is
still sought after thanks to its
warm, natural sound. Produces
a delay time ranging from 20
to 300 milliseconds.
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
999 Echo
Based on Maxon
®
AD900
Analog Delay*, providing
warm, accurate delay sound.
100% Analog Delay, dynamic
distortion on Delay repeats,
gorgeous, warm, organic delay
tone.
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
55
EFFECTLIST
Name Type Description
Rack
Reproduces the sound of a
vintage 1980’s rack-mount
delay
machine with slightly sample-
reduced feedback
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Mod: Controls the effect modulation
amount
Tone: Controls the effect tone
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
Lo-Fi
Producing a delay effect with
lo-fi’d repeats
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Crush: Controls the effect sampling rate
Bit: Controls the effect sampling
accuracy
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
Reverse
Producing a special delay
e%ect with reversed feedback
Mix: Controls the wet/dry signal ratio
Feedback: Controls the amount of
feedback
Time: Controls the delay time
Volume: Controls the effect output
volume
Sync: Switches Tap Tempo sync on/off
Trail: Switched effect trail on/off when
the effect is bypassed
Eko D
Producing a pure dual
delay effect with Dual Echo
separated L/R channel signal
proessing.
Mix A:Contols the delay A wet/dry signal
ratio
FB A:Controls the feedback amount of
delay A
Time A: Controls the delay time of delay
A
Mix B: Contols the delay B wet/dry signal
ratio
FB B: Controls the feedback amount of
delay B
Time B: Controls the delay time of delay
B
A Sync: Switches delay A Tap Tempo sync
on/off
B Sync: Switches delay B Tap Tempo sync
on/off
Trail: Switches effect trail on/off
56
EFFECTLIST
Name Type Description
Ice Delay
This is a dynamic digital delay
based on a classic‘80s rack-
mounted effects processor.
Mix: Controls the wet/dry signal ratio
Time: Controls the delay time
Feedback: Controls the amount of
feedback
Mod Rate: Controls the effect modulation
rate
Mod Depth: Controls the effect
modulation depth
Phase Reverse: Selects effect phase
reverse mode
Low Cut: Filters unwanted low-frequency
noise
High Cut: Softens harsh high-frequency
details
Level: Controls the total effect output
volume
Sync: Toggles delay tempo sync on/off
Trail: Keeps effect tail when bypassed
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective
owners. The trademarks were used merely to identify the sound character of the products.
RVB modules
Name Type Description
Studio
This reverb model recreates the
spaciousness of a recording
studio.
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible
onset of early reflections and the
reverb tail
Decay: Controls the duration of reverb
time
Low Damp/Hi Damp: Dampens the
effect
low/high frequency amount
Mod: Controls the effect modulation
amount
Trail: Switched effect trail on/off when
the effect is bypassed
57
EFFECTLIST
Name Type Description
Club
This reverb model recreates the
spaciousness of a club.
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible
onset of early reflections and the
reverb tail
Decay: Controls the duration of reverb
time
Low Damp/Hi Damp: Dampens the
effect
low/high frequency amount
Mod: Controls the effect modulation
amount
Trail: Switched effect trail on/off when
the effect is bypassed
Room
Simulates the spaciousness of a
room
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible
onset of early reflections and the
reverb tail
Decay: Controls the duration of reverb
time
Trail: Switched effect trail on/off when
the effect is bypassed
Hall
Simulates the spaciousness of a
performance hall
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible
onset of early reflections and the
reverb tail
Decay: Controls the duration of reverb
time
Trail: Switched effect trail on/off when
the effect is bypassed
Church
Simulates the spaciousness of a
church
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible
onset of early reflections and the
reverb tail
Decay: Controls the duration of reverb
time
Trail: Switched effect trail on/off when
the effect is bypassed
58
EFFECTLIST
Name Type Description
Plate
Simulates the sound character
produced by a vintage plate
reverberator
Mix: Controls the wet/dry signal ratio
Decay: Controls the duration of reverb
time
High Damp: Controls the low pass filter
frequency
Trail: Switched effect trail on/off when
the effect is bypassed
Spring
Simulates the sound character
produced by a vintage spring
reverberator
Mix: Controls the wet/dry signal ratio
Decay: Controls the duration of reverb
time
Tone: Controls the effect tone
Trail: Switched effect trail on/off when
the effect is bypassed
Sky
Special-tuned reverb effect
with lush, bright decays
Mix: Controls the wet/dry signal ratio
Decay: Controls the duration of reverb
time
Trail: Switched effect trail on/off when
the effect is bypassed
Sea
Special-tuned reverb effect
with huge, deep decays
Mix: Controls the wet/dry signal ratio
Decay: Controls the duration of reverb
time
Trail: Switched effect trail on/off when
the effect is bypassed
Mod
Reverb
Produces a modulated reverb
effect that is lush and sweet
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible
onset of early reflections and the
reverb tail
Decay: Controls the duration of reverb
time
Low End: Controls the low frequency
amount
High End: Controls the high pass filter
frequency
Trail: Switched effect trail on/off when
the effect is bypassed
59
EFFECTLIST
Name Type Description
Shimmer
Produce a rich, shimmering
reverb effect
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible
onset of early reflections and the
reverb tail
Decay: Controls the duration of reverb
time
Low End: Controls the low frequency
amount
High End: Controls the high pass filter
frequency
Trail: Switched effect trail on/off when
the effect is bypassed
Haze
Soft, misty reverb that diffuses
gently, delivering a warm, hazy
tone with natural, delicate
spatial depth.
Mix: Controls the wet/dry signal ratio
Pre Delay: Controls the amount of time
between the dry signal and the audible
onset of early reflections and the
reverb tail
Decay: Controls the duration of reverb
time
Low Damp/Hi Damp: Dampens the
effect
low/high frequency amount
Mod: Controls the effect modulation
amount
Trail: Switched effect trail on/off when
the effect is bypassed
Clone modules
Clone 1-5
For importing and using the.
nam file.
Gain: Controls the gain amount
Volume: Controls the output volume(post
gain)
Bass/Middle/Treble: 3-band EQ that
controls thel effect tone
*The manufacturers and product names mentioned above are trademarks or registered trademarks of their respective
owners. The trademarks were used merely to identify the sound character of the products.
60
MIDIControlInformationList
MIDI Control Information List
CC# Value Range Explain
0 0-1
BANK MSB:
01 A~30 D: CC0=0, PC=1-120
31 A~60 D: CC0=1, PC=1-120
7 0-100 Preset Volume
11 0-100 EXP 1
13 0-127
EXP 1 A/B:
0-63: A
64-127: B
16 0-100 Quick Access Knob 1 MSB
17 0-127
Quick Access Knob 1 LSB
0-63: Turn down by 1 step
64-127: Turn up by 1 step
18 0-100 Quick Access Knob 2 MSB
19 0-127
Quick Access Knob 2 LSB
0-63: Turn down by 1 step
64-127: Turn up by 1 step
20 0-100 Quick Access Knob 3 MSB
21 0-127
Quick Access Knob 3 LSB
0-63: Turn down by 1 step
64-127: Turn up by 1 step
22 0-127 BANK +
23 0-127 BANK -
24 0-127 Preset +
25 0-127 Preset -
26 0-127 BANK + (wait mode)
27 0-127 BANK - (wait mode)
28 0-127 BANK (wait mode)
61
MIDIControlInformationList
CC# Value Range Explain
29 0-127
Footswitch Modes:
0-63: Preset Mode
64-127: Stomp Mode
43 0-127
Effect module 1 on/off:
0-63: Off
64-127: On
44 0-127
Effect module 2 on/off:
0-63: Off
64-127: On
45 0-127
Effect module 3 on/off:
0-63: Off
64-127: On
46 0-127
Effect module 4 on/off:
0-63: Off
64-127: On
47 0-127
Effect module 5 on/off:
0-63: Off
64-127: On
48 0-127
Effect module 6 on/off:
0-63: Off
64-127: On
49 0-127
Effect module 7 on/off:
0-63: Off
64-127: On
50 0-127
Effect module 8 on/off:
0-63: Off
64-127: On
51 0-127
Effect module 9 on/off:
0-63: Off
64-127: On
62
MIDIControlInformationList
CC# Value Range Explain
52 0-127
Effect module 10 on/off:
0-63: Off
64-127: On
53 0-127
Effect module 11 on/off:
0-63: Off
64-127: On
54 0-127
Effect module 12 on/off:
0-63: Off
64-127: On
58 0-127
Tuner on/off:
0-63: Off
64-127: On
59 0-127
Looper on/off:
0-63: Off
64-127: On
60 0-127 Looper Record
61 0-127 Looper Auto Record
62 0-127
Looper Play/Stop
0-63: Stop
64-127: Play
63 0-127 Looper Undo/Redo
64 0-127 Delete Loop
65 0-100 Looper Recording Volume
66 0-100 Looper Playback Volume
67 0-127
Looper Placement
0-63: post
64-127: pre
68 0-2 Preset BPM MSB, Used with CC69
63
MIDIControlInformationList
CC# Value Range Explain
69 0-127
CC68=0, CC69=40-127:
40BPM-127BPM
CC68=1, CC69=0-127:
128BPM-255BPM
CC68=1, CC69=0-44:
256BPM-300BPM
70 0-127 Tap Tempo
71 0-127 CTRL 1
72 0-127 CTRL 2
73 0-127 CTRL 3
74 0-127 CTRL 4
92 0-127
Drum Menu on/off:
0-63: off
64-127:
93 0-127
Drum Play/Stop
0-63: Stop
64-127: Play
94 0-99 Drum Rhythm
95 0-100 Drum Volume
64
CloneFunction
Clone Function
Through the software, you can directly drag and drop the Clone module into
the effects chain, and the module can load NAM-format tone files.
65
Troubleshooting
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 reduce it
Sound Problems
•
Make sure your cables are connected properly.
•
Check your instrument output jack.
•
If you’re using an external expression pedal to control distortion or other
similar parameters, check to see if the expression pedal is set up properly.
•
Check your effects parameter setup. If effects are set to extremes, Matribox II
Pro may have abnormal noise.
Problems With Expression Pedal
•
Check your expression pedal on/off settings.
•
Try calibrating the pedal.
66
Specications
Specifications
Technical Specifications
•
A/D/A Converter: 24-bit high performance audio
•
Sampling Frequency: 44.1 kHz
•
SNR: 110dB
•
Maximum Simultaneous Effects: 12
•
Preset Memory: 240 Presets Slots, 120 Factory Presets
•
Looper: Maximum 90 seconds of record time
•
Drum Machine: 100 Patterns
•
MIDI (IN/OUT): 1/8” TRS MIDI
Analog Input Connections
•
Guitar Input: 1/4” (6.35mm) Unbalanced (TS)
•
InputImpedance:4.7M
Ω
(A.GT),1M
Ω
(E.GT),10k
Ω
(Line)
•
Return Input: 1/4” (6.35mm)Unbalanced(TS), 100k
Ω
•
Aux Input: 1/8” (3.5mm) Stereo (TRS), 10k
Ω
Analog Output Connections
•
L/R UnbalancedOutputs:1/4” (6.35mm)TS, 1k
Ω
•
L/R BalancedOutputs:XLR, 1k
Ω
•
Send Output: 1/4” (6.35mm)Unbalanced(TS), 1k
Ω
•
HeadphoneOutput:1/8” (3.5mm)Stereo(TRS), 22
Ω
Digital Connections & USB Recording Specification
•
USB Port: USB 2.0 Type-C Port
•
Sample Rate: 44.1 kHz
•
Bit Depth: Supports 16-bit or 24-bit
Size and Weight
•
Dimensions: 373mm (W) x 198.5mm (D) x 72mm (H)
•
Unit Weight: 2.5kg
Power
•
Power Requirements: DC 9V center negative, 1000mA
