Owner’s Manual
Thank you, and congratulations on your choice of the Roland VG-99.
201b
Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (p.
2–3), and “IMPORTANT NOTES” (p. 4–5). These sections provide important information
concerning the proper operation of the unit. Additionally, in order to feel assured that you
have gained a good grasp of every feature provided by your new unit, Handbook and
Owner’s manual should be read in its entirety. The manual should be saved and kept on
hand as a convenient reference.
202
Copyright © 2007 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Roland Website http://www.roland.com/
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012b
103b
•
Immediately turn the power off, remove the AC
•
At regular intervals, you should unplug the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center,
or an authorized Roland distributor, as listed on
the “Information” page when:
adaptor and clean it by using a dry cloth to wipe
all dust and other accumulations away from its
prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug
and the power outlet can result in poor insulation
and lead to fire.
• The AC adaptor, the power-supply cord, or the plug
has been damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been spilled onto
the unit; or
..........................................................................................................
104 Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106 Never climb on top of, nor place heavy objects on
•
• The unit has been exposed to rain (or otherwise has
become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
013 In households with small children, an adult
•
the unit.
•
..........................................................................................................
107cNever handle the AC adaptor or its plugs with
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
•
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
014 Protect the unit from strong impact.
..........................................................................................................
•
108d: Selection
(Do not drop it!)
•
If you need to move the instrument, take note of
the precautions listed below. It should be handled
carefully, all the while keeping it level. Make sure
to have a firm grip, to protect yourself from injury
and the instrument from damage.
..........................................................................................................
015 Do not force the unit’s power-supply cord to
•
share an outlet with an unreasonable number of
other devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
1
• Check to make sure the screws or the attached knob
bolts securing the unit to the stand have not become
any loosening.
2
3
• Disconnect the power cord.
..........................................................................................................
016 Before using the unit in a foreign country, consult
• Disconnect all cords coming from external devices.
•
..........................................................................................................
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
109b
•
Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 24).
..........................................................................................................
..........................................................................................................
023 DO NOT play a CD-ROM disc on a conventional
110b
•
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
..........................................................................................................
•
118cKeep any screws you may remove and the
..........................................................................................................
included screws in a safe place out of children’s
reach, so there is no chance of them being
swallowed accidentally.
101b
•
The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
..........................................................................................................
•
101cThis VG-99 for use only with Roland rack-mount
adaptor RAD-99 or Stand PDS-10. Use with other
rack-mount adaptors or stands are capable of
resulting in instability causing possible injury.
..........................................................................................................
•
102cAlways grasp only the plug on the AC adaptor
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
3
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IMPORTANT NOTES
291a
360
In addition to the items listed under “USING THE UNIT
SAFELY” on page 2–3, please read and observe the
following:
• Depending on the material and temperature of the surface
on which you place the unit, its rubber feet may discolor
or mar the surface.
You can place a piece of felt or cloth under the rubber feet
to prevent this from happening. If you do so, please make
sure that the unit will not slip or move accidentally.
Power Supply
301
• Do not connect this unit to same electrical outlet that is
Maintenance
being used by an electrical appliance that is controlled by
an inverter (such as a refrigerator, washing machine,
microwave oven, or air conditioner), or that contains a
motor. Depending on the way in which the electrical
appliance is used, power supply noise may cause this unit
to malfunction or may produce audible noise. If it is not
practical to use a separate electrical outlet, connect a
power supply noise filter between this unit and the
electrical outlet.
401a
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
302
• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
Repairs and Data
• Please be aware that all data contained in the unit’s
307
452
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
memory may be lost when the unit is sent for repairs.
Important data should always be backed up on a another
MIDI device (e.g., a sequencer), or written down on paper
(when possible). During repairs, due care is taken to avoid
the loss of data. However, in certain cases (such as when
circuitry related to memory itself is out of order), we
regret that it may not be possible to restore the data, and
Roland assumes no liability concerning such loss of data.
Placement
351
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
Additional Precautions
352a
• This device may interfere with radio and television
551
• Please be aware that the contents of memory can be
reception. Do not use this device in the vicinity of such
receivers.
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
device (e.g., a sequencer).
352b
• Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initi-
ating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
552
• Unfortunately, it may be impossible to restore the contents
of data that was stored in another MIDI device (e.g., a
sequencer). once it has been lost. Roland Corporation
assumes no liability concerning such loss of data.
354a
• Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
553
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
355b
• When moved from one location to another where the
554
• Never strike or apply strong pressure to the display.
temperature and/or humidity is very different, water
droplets (condensation) may form inside the unit. Damage
or malfunction may result if you attempt to use the unit in
this condition. Therefore, before using the unit, you must
allow it to stand for several hours, until the condensation
has completely evaporated.
556
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
558a
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
4
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IMPORTANT NOTES
559a
Printing Conventions and
icons in This Manual
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
Text or numerals
enclosed in square
brackets [ ]
Indicate buttons.
• Use only the specified expression pedal (Roland EV-5,
[WRITE]
WRITE button
BOSS FV-500L/500H with a connection cable (stereo 1/4”
phone – stereo 1/4” phone); sold separately). By
connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
Indicates information that you
should be aware of when
using the VG-99.
562
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this unit.
The use of such cables can cause the sound level to be
extremely low, or impossible to hear. For information on
cable specifications, contact the manufacturer of the cable.
Indicates supplementary
information about an
operation.
563
Indicates information about a
convenient operation.
• Unauthorized duplication, reproduction, hiring, and
lending prohibited.
566a
• The usable range of D Beam controller will become
Indicates a reference page.
extremely small when used under strong direct sunlight.
Please be aware of this when using the D Beam controller
outside.
(p.**)
566b
• The sensitivity of the D Beam controller will change
depending on the amount of light in the vicinity of the
unit. If it does not function as you expect, adjust the sensi-
tivity as appropriate for the brightness of your location.
801
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
962a + 962b
• In the interest of product improvement, the specifications,
appearance of this unit and/or contents of this package
are subject to change without prior notice.
986
• While under most conditions, a computer similar to the
above will permit normal operation of the VG-99, Roland
cannot guarantee compatibility solely on these factors.
This is due to numerous variables that may influence the
processing environment, such as differences in mother-
board design and the particular combination of other
devices involved.
5
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Two complete sound creation systems...................................................................................... 11
Equipped with D-Beam, ribbon, and other new realtime controllers................................... 11
Console style accommodates a variety of usage environments............................................. 11
Top Panel................................................................................................................................................... 12
Rear Panel.................................................................................................................................................. 14
Turning On the Power............................................................................................................................. 18
About the Information in the Display (Basic Operation)........................................................ 19
Adjusting the Volume .................................................................................................................. 20
Setting the Device (Amp) Connected to MAIN OUT (Output Select) .................................. 20
Inputting the Divided Pickup Settings (GK Settings)......................................................................... 21
Setting BEND................................................................................................................................. 27
Setting 12-STRING........................................................................................................................ 28
Setting the COSM AMP Tone................................................................................................................. 30
Rearranging the Effect and Amp Connection Sequence (CHAIN)................................................... 32
Specifying the tempo and key of the song to be played..................................................................... 32
Mixing the Normal Pickup Sound......................................................................................................... 33
Setting the Volume Balance......................................................................................................... 33
Setting the Point at Which the COSM Guitar is Connected.................................................... 34
Mixing Two Tones (MIXER) ................................................................................................................... 35
Setting the Volume and Panning for Each Channel................................................................. 35
Setting the Mix Balance................................................................................................................ 35
Setting the Delay and Reverb (DELAY/REVERB)................................................................... 35
Using Picking Dynamics to Control the Mix Between the Two Channels (DYNAMIC)......36
6
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Setting the Output Signal and Level (OUTPUT)...................................................................... 37
Naming a Patch (PATCH NAME)......................................................................................................... 37
Customizing the Overdrive/Distortion................................................................................................ 40
Inputting the Guitar’s Scale......................................................................................................... 43
Matching the Divided Pickup and Normal Pickup Phase...................................................... 43
Adjusting Overall Tone According to the Environment (GLOBAL/OUTPUT SELECT) ............. 46
Naming the Settings (GLOBAL NAME).................................................................................... 47
Setting the Sounds Output from SUB OUT (SUB OUT LEVEL)............................................ 49
Limiting the Patches That Can Be Switched (PATCH EXTENT)...................................................... 50
Settings Related to the FC-300................................................................................................................ 52
Setting the FC-300 Amp Control............................................................................................................ 54
Chapter 6 Using MIDI............................................................................55
About MIDI ............................................................................................................................................... 55
What You Can Do Using MIDI ................................................................................................... 55
Main Types of MIDI Messages Handled by the VG-99........................................................... 56
About the MIDI Implementation................................................................................................ 57
Exchanging MIDI Messages ........................................................................................................ 57
7
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Contents
Setting the USB Functions....................................................................................................................... 73
Managing the Patches.............................................................................................................................. 87
Initializing User Patches (PATCH INITIALIZE)...................................................................... 88
Partially Initializing Patch Parameters (MODULE INITIALIZE).......................................... 89
What are Favorite Settings?......................................................................................................... 91
Saving Changed Tones................................................................................................................. 93
Searching for Patches That Use the Same Favorite Settings ................................................... 94
Activating the Virtual Expression Pedal at the Start of Operations (Internal Pedal System) ....... 95
Internal Pedal................................................................................................................................. 95
Wave Pedal .................................................................................................................................... 95
Controlling Video Images with Your Guitar (V-LINK)...................................................................... 96
What is V-LINK? ........................................................................................................................... 96
Connecting the V-LINK Device .................................................................................................. 96
Switching V-LINK On and Off.................................................................................................... 96
8
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Setting V-LINK.............................................................................................................................. 97
Using the VG-99 on a Stand.................................................................................................................... 98
Using the VG-99 Mounted in a Rack..................................................................................................... 99
ROTARY....................................................................................................................................... 133
VIB (Vibrato)................................................................................................................................ 133
FEEDBACKER............................................................................................................................. 135
RING MOD (Ring Modulator).................................................................................................. 136
ANTI FB (Anti-feedback)........................................................................................................... 136
SUB EQ (Sub Equalizer)............................................................................................................. 137
MIXER...................................................................................................................................................... 146
OUTPUT....................................................................................................................................... 147
D BEAM........................................................................................................................................ 151
RIBBON ........................................................................................................................................ 153
EXP PEDAL (Expression Pedal)................................................................................................ 154
CTL3, CTL4 (Control3, Control4) ............................................................................................. 154
FC-300 CONTROL ...................................................................................................................... 155
ASSIGN 1–16................................................................................................................................ 155
DIRECT EDIT F1–F6................................................................................................................... 156
GUITAR TO MIDI.................................................................................................................................. 164
9
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Contents
Parameters That Can Be Assigned to Separate Controllers.................................................. 168
TUNER..................................................................................................................................................... 178
MIDI Implementation Chart................................................................................................................. 179
Signal Flow.............................................................................................................................................. 183
VG-99: V-Guitar System............................................................................................................. 184
For Windows ............................................................................................................................... 185
For Mac OS................................................................................................................................... 185
Error Messages........................................................................................................................................ 186
Troubleshooting...................................................................................................................................... 186
Problems with Sounds................................................................................................................ 186
Other Problems............................................................................................................................ 188
Index.....................................................................................................189
10
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Main Features
Ultimate guitar modeling system
provides unlimited possibilities
in creating sounds
The VG-99 is the culmination of Roland’s COSM technology based
guitar modeling systems. Featuring advanced software supported by
the very latest custom DSP chips, the instrument also offers a large-
sized high-contrast LCD, top-quality AD/DA converters, balanced
XLR output connectors, digital output connectors, USB connector,
and other features that all add up to a truly pro-spec system.
Combine with the FC-300 to
create the perfect live system
Connecting a Roland FC-300 MIDI Foot Controller (optional) to the
VG-99 allows you to switch tones and carry out other tasks using the
FC-300’s multiple foot pedals for easy hands-free operation. These
units also feature an RRC2 connector, allowing you to connect the
VG-99 and FC-300 with a single cable. This RRC2 function enables
two-way communications between the devices, while further acting
as a power supply to the FC-300, thus reducing the number of cables
used to connect the devices.
About COSM
(Composite Object Sound Modeling)
Composite Object Sound Modeling—or “COSM” for short—is
BOSS/Roland’s innovative and powerful technology that’s
used to digitally recreate the sound of classic musical
instruments and effects. COSM analyzes the many factors that
make up the original sound—including its electrical and
physical characteristics—and creates a digital model that
accurately reproduces the original.
Includes pitch/MIDI conversion
function
The VG-99 can convert and output guitar performance data as MIDI
information, allowing you to connect a synthesizer sound module or
similar device and use the setup as a guitar synthesizer.
Features V-LINK function
This function enables you to use performance data and pedal
Two complete sound creation
systems
operations in controlling video.
The VG-99 features two separate guitar and COSM amp systems.
You can use two different types of modeled guitars simultaneously
and create different amp sounds to use with each guitar. What’s
more, the VG-99 comes equipped with two effects systems featuring
a huge selection of BOSS effects, including COSM effects. This all
enables you to achieve the perfect processing for each individual
guitar.
V-LINK
V-LINK is a function that allows music and images to be
performed together. By using MIDI to connect two or more V-
LINK compatible devices, you can easily enjoy a wide range of
visual effects that are linked to the expressive elements of a
music performance.
Equipped with D-Beam, ribbon,
and other new realtime controllers
The VG-99 now enables new and heretofore unimaginable forms of
musical expression, including new ways of using the guitar’s neck
and your hands. Of course, you can still connect expression pedals
and control switches as well, just as with previous V-Guitar systems.
Console style accommodates a
variety of usage environments
The VG-99 can be set up in a number of different ways to suit the
needs of the user—as a desktop unit for recording or when using
computer input, attached to its stand (optional) and set up right by
the performer, or placed in a rack with the (optional) rack mount
adaptor.
11
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Names of Things and What They Do
Top Panel
fig.00-020
3
32
33
1
2
4
30
23 24
25
5
6
26
7
13
11
14
16
17
27
28
29
8
9
10
12
19
18
15
31
20
21
22
1. D BEAM
6. FUNCTION Buttons
Switches the D Beam on and off. You can add a variety of
Used to select the parameters indicated in the LCD.
effects to your sounds by moving your hand or the guitar neck
within the range of the beam. (p. 76)
7. ALTERNATE TUNING Button
•
PITCH Button
Sets the Alternate Tuning function. (p. 26)
In addition to changing the pitch of the guitar, this can be
used for the Freeze function, which continuously holds
the guitar’s tone.
8. MODELING TYPE Buttons
These set the COSM guitar type and tone. (p. 25)
•
•
FILTER Button
This changes the guitar’s tone.
9. POLY FX (Poly Effects) Buttons
ASSIGNABLE Button
These set the poly effects. (p. 31)
Use this to assign different parameters and functions to
the D-Beam and change the tone in real time.
10. FX (Effects) Buttons
These set the effects. (p. 31)
2. LCD
Various information regarding the VG-99 is indicated here.
11. COSM AMP Buttons
Used to make settings for the COSM amp. (p. 30)
3. PATCH/VALUE Dial
Used to switch patches and change settings values.
12. MIXER Buttons
Used to make settings for the mixer. (p. 35)
4. CATEGORY Button
Used to select and change categories.
13. DELAY/REVERB Button
Used to make settings for the mixer section’s delay and
reverb. (p. 35)
5. FUNCTION Knob
Changes the value of the setting for the parameter indicated in
the LCD.
14. DYNAMIC Button
Used for setting the dynamics. (p. 36)
12
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Names of Things and What They Do
15. BALANCE Knob
This allows you to change the tone by sliding your finger
along the ribbon. (p. 77)
Sets the mix balance. (p. 35)
16. CHAIN Button
You can switch a variety of effects on and off directly with the
amp connection sequence. (p. 34)
•
•
•
PITCH Button
Changes the guitar’s pitch.
FILTER Button
Alters the brightness of the sound.
ASSIGNABLE Button
17. CONTROL ASSIGN Button
This sets the functions assigned to pedals and switches. (p. 82)
the ribbon controller and change the tone in real time. (p.
82)
18. NAME/KEY/BPM Button
Used to specify patch names and the tempo and key for songs
to be played. (p. 32)
31. GK IN Connector
19. PATCH LEVEL Knob
Connect the GK cable here.
Adjusts the volume of a patch.
32. POWER Switch
20. V-LINK Button
Switches the power on and off. (p. 18) (p. 24)
33. OUTPUT LEVEL Knob
This adjusts the volume level for the MAIN OUT jacks and
headphone jack.
21. DIRECT PATCH Buttons
Use these to directly call up the patches you have assigned to
them. (p. 86)
22. CONTROL Buttons
with these buttons. (p. 82)
23. EXIT Button
Used to return previous screens and to undo operations.
24. WRITE Button
Use for storing settings in patches and executing operations.
25. PAGE Buttons
This switches the screens displayed in the LCD.
26. GUITAR TO MIDI Button
This sets the GUITAR TO MIDI function (the function that
converts what is played on the guitar into MIDI signals). (p.
64)
27. SYSTEM Button
environment. (p. 42)
28. GLOBAL Button
This sets the GLOBAL function (which affects the tone of all
patches). (p. 46)
29. TUNER Button
This turns the tuning function on. (p. 22)
13
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Names of Things and What They Do
Rear Panel
fig.00-030
1
5
15
2 3
4
7 8 9 10 11 12
13
6
14
10. CTL3,4 (CONTROL 3,4) Jack
1. Security Slot (
988
)
An optional footswitch (such as an FS-6) can be connected
Connect a commercially available anti-theft security cable
here. (p. 16)
here.
*
The patch up/down function is assigned to this jack at the factory.
http://www.kensington.com/
11. USB Connector
2. GUITAR INPUT Jack
Use a USB cable to connect a computer to this connector and
enable exchange of data between the VG-99 and the computer.
(p. 71)
Use this jack when directly inputting a normal guitar.
3. GUITAR OUTPUT Jack
This outputs sounds from normal guitars connected to a GK-3
12. RRC2 IN Connector
and unaltered signals from the GUITAR INPUT jack.
Accepts connection of an FC-300 (optional).
This connector supplies power to the FC-300 and provides for
two-way communications with it. (p. 52)
4. SUB OUT Connectors L, R
These balanced output jacks use XLR type connectors.
*
The RRC2 IN connector is for use exclusively with the FC-300. It
cannot be used with other devices.
*
The SUB OUT L and R connectors are unaffected by the OUTPUT
LEVEL knob settings; output is constant at a fixed output level (+4
dBu).
13. MIDI OUT, IN Connector
Connect an external MIDI device here to transmit and receive
5. GND LIFT Switch
MIDI messages to and from the device. (p. 58)
You can disconnect the SUB OUT connectors’ No. 1 pin from
the VG-99’s ground.
14. DC IN (AC Adaptor) Jack
Switch this to LIFT if a ground loop or similar problem is
causing output of hum or noise. Normally, this is set to GND.
Connect the included AC adaptor here.
To prevent damaging the VG-99, please be sure not to use any
AC adaptor other than the one included with the VG-99.
6. MAIN OUT Jacks L/MONO, R
These are unbalanced phone jack outputs. Use these to
15. Cord Hook
connect to amps, mixers, and similar equipment.
Fasten the AC adaptor cord using this hook to prevent the
cord from being disconnected accidentally. (p. 17)
7. PHONES Jack
*
Disconnecting the AC adaptor while the VG-99 is in use may result
in corruption of important data.
Connect headphones here.
8. DIGITAL OUT Connector
Digital audio signals are output here. (p. 37) (p. 147)
9. EXP PEDAL (EXPRESSION PEDAL) Jack
Connect an optional expression pedal (such as a Roland EV-5)
here. (p. 16)
*
The VG-99 is set at the factory so that the pedal is automatically
enabled to function as a foot volume.
14
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Chapter 1 Outputting Sounds
Installing the Divided Pickup
First install the GK-3 divided pickup (optional) on the guitar to be
used. For installation instructions, refer to the GK-3 Owner’s
Manual.
Before Connecting
To perform with the VG-99, first set up the following devices.
•
A guitar on which the GK-3 has been installed or equipped with
internal GK function
•
Guitar amp/speaker or headphones
Performing can be made even more convenient using the following
devices:
The GK-3 cannot be used with the following guitars (the
pickup will not function properly even when installed).
12-string guitars, pedal steel guitars, and guitars with other
than six strings
Nylon-stringed or gut-stringed guitars and guitars using any
non-steel strings
•
•
MIDI foot controller (Roland FC-300; optional)
Expression pedal (Roland EV-5 or BOSS FV-500L/500H with a
connection cable (stereo 1/4” phone – stereo 1/4” phone);
optional)
•
•
•
Pedal switch (BOSS FS-5U or FS-6; optional)
•
•
Bass guitars
Other guitars whose construction does not provide adequate
space to properly attach the GK-3
About the GK-3’s GK Volume Control
With the VG-99, you can assign various different functions to the
GK-3’s GK volume control. p. 82
You may not be able to control the VG-99’s volume level with the GK
volume control another parameter is assigned to the GK volume
control.
About the GK-3’s Select Switches
As the VG-99 allows you to set the balance between the COSM guitar
and the normal guitar volume in each individual patch, we
recommend that MIX be the basic function used for the select switch.
Also note that if a parameter other than volume is assigned as the
GK volume control function, the GK-3’s select switch will stop
functioning normally.
15
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Chapter 1 Outputting Sounds
Making the Connections
Top Panel
GK cable
Guitar with GK-3 / GK-2A /
other GK-Compatible guitar
Rear Panel
Stereo
Headphones
Digital
Recorder etc.
MIDI IN
Synthesizer
(external sound module) etc.
Computer
Mixer etc.
MIDI Sequencer etc.
MIDI IN
MIDI IN
MIDI OUT
V-LINK
Compatible Device
(EDIROL MD-P1 etc.)
Normal Guitar
AC Adaptor PSB-1U
RRC2 cable
Guitar Amp
EXP Pedal
(EV-5 etc.) (BOSS FS-6 etc.)
Footswitch
Computer
MIDI Foot Controller
FC-300
(for Normal Guitar)
16
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Chapter 1 Outputting Sounds
921
926a
• To prevent malfunction and/or damage to speakers or
• When connection cables with resistors are used, the
volume level of equipment connected to the GUITAR
INPUT may be low. If this happens, use connection cables
that do not contain resistors.
other devices, always turn down the volume, and turn off
the power on all devices before making any connections.
922
• This instrument is equipped with balanced type jacks
(TRS=CTL3,4; XLR=SUB OUT). Wiring diagrams for these
jacks are shown below. Make connections after first
checking the wiring diagrams of other equipment you
*
*
Never connect anything other than the FC-300’s RRC2 OUT
connector to the VG-99’s RRC2 IN connector. Connecting to a LAN
or other devices that use modular jacks of the same size and shape
(RJ45) may result in damage to the VG-99 and/or the connected
device.
intend to connect.
fig.XLR/TRSJack.eps
If using a commercially available ethernet cable as the RRC2
connecting cable, be sure that the cable meets the following
specifications:
=CTL3
=CTL4
924
•
•
•
Category 5 (Cat5) or above
Maximum length of 15 meters
Cable designed for straight-through connections
Crossover cables cannot be used.
• To prevent the inadvertent disruption of power to your
unit (should the plug be pulled out accidentally), and to
avoid applying undue stress to the AC adaptor jack,
anchor the power cord using the cord hook, as shown in
*
*
*
Do not subject the ethernet cable to stress or physical shock.
Carefully connect the RRC2 cable all the way in–until it is firmly
connected to the RRC2 IN connector.
the illustration.
fig.CordHook.e.eps
Cord Hook
*
*
When outputting in mono, connect a cable only to the MAIN OUT
L/MONO jack.
The cord of
the supplied AC Adaptor
You cannot use COSM GUITAR or POLY FX with signals input
via GUITAR IN. The GT-PRO’s internal FX, COSM AMP,
MIXER, and other settings can be used fully in two channels.
When connecting an expression pedal to the EXP PEDAL jack, use
the pedal with the minimum level at the MIN position.
When connecting an FS-6 footswitch (optional) to the CTL3/4 jack,
set the MODE switch and POLARITY switch as shown below.
To the Power Outlet
*
*
925
*
Use only the specified expression pedal (Roland EV-5,
BOSS FS-500L/500H with a connection cable (stereo 1/4”
phone – stereo 1/4” phone); sold separately). By
connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
fig.01-010
B
A
927
*
Depending on the circumstances of a particular
setup, you may experience a discomforting
sensation, or perceive that the surface feels gritty
to the touch when you touch this device, micro-
phones connected to it, or the metal portions of
other objects, such as guitars. This is due to an
infinitesimal electrical charge, which is absolutely
harmless. However, if you are concerned about
this, connect the ground terminal (see figure) with
an external ground. When the unit is grounded, a
slight hum may occur, depending on the partic-
ulars of your installation. If you are unsure of the
connection method, contact the nearest Roland
Service Center, or an authorized Roland
BOSS FS-6
*
When connecting an FS-5U footswitch (optional) to the CTL3/4
jack, set the POLARITY switch as shown below.
fig.01-020
BOSS FS-5U
distributor, as listed on the “Information” page.
Unsuitable places for connection
• Water pipes (may result in shock or electrocution)
• Gas pipes (may result in fire or explosion)
• Telephone-line ground or lightning rod (may be
dangerous in the event of lightning)
17
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Chapter 1 Outputting Sounds
*
*
You can connect two FS-5Us using the special Roland PCS-31
connection cable (optional).
Turning On the Power
When an FS-6 is connected to the CTL3,4 jack with an optional
connection cable (stereo 1/4” phone – stereo 1/4” phone), pedal
switch B operates according to the CONTROL 3 settings, and pedal
switch A operates according to the CONTROL 4 settings.
941
Once the connections have been completed p. 16, turn on power to
your various devices in the order specified. By turning on devices in
the wrong order, you risk causing malfunction and/or damage to
speakers and other devices.
fig.01-030
To CTL3,4 jack
PCS-31 cable
To CTL3,4 jack
To CTL3,4 jack
942
• This unit is equipped with a protection circuit. A brief
interval (a few seconds) after power up is required before
the unit will operate normally.
943
• Always make sure to have the volume level turned down
before switching on power. Even with the volume all the
way down, you may still hear some sound when the
power is switched on, but this is normal, and does not
indicate a malfunction.
White
Red
White
Red
*
Turning on devices in the wrong sequence may result in
BOSS
FS-5U
(CTL3) (CTL4)
BOSS
FS-5U
(CTL3) (CTL4)
(CTL4) (CTL3)
1. Switch on the POWER switch on the VG-99’s
top panel.
The display changes as described below, and after several
seconds the VG-99 is ready for normal performance.
This screen is called the “Play screen.”
fig.01-060d
•
•
When using the VG-99 with an expression pedal connected
to the EXP PEDAL jack, make the settings described on p.
154.
When using the VG-99 with a footswitch connected to the
CTL3/4 jack, make the settings described on p. 154.
Unless special note is made otherwise, the operations
described in this manual are carried out with the Play screen
displayed.
*
When the power to the VG-99 is turned on, the patch selected at the
time the power was last turned off is called up.
985
• The explanations in this manual include illustrations that
depict what should typically be shown by the display.
Note, however, that your unit may incorporate a newer,
enhanced version of the system (e.g., includes newer
sounds), so what you actually see in the display may not
always match what appears in the manual.
2. Turn on the power to the guitar amp or mixer.
*
Raise amp volume levels only after turning on the power to all the
devices.
18
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Chapter 1 Outputting Sounds
About the Play Screen
About the Information in the
Display (Basic Operation)
The VG-99 has a variety of Play screen variations, each providing
different information about the current state of the VG-99.
Some screens may contain parameters spanning multiple pages. The
You can switch the information shown in the Play screen by pressing
page number is indicated at the upper right of the screen.
PAGE [
] [
].
Screen 1:
The first nine characters of the patch name are displayed in large
type; also shown are icons for the guitars and amps in both channels.
fig.01-060d
1. Use PAGE [ ] [ ] to switch pages.
2. Use [F1]–[F6] or the F1–F6 knobs to change
the values.
Screen 2:
All sixteen characters of the patch name are displayed.
Pressing a FUNCTION button while SET** appears in
the lower part of the screen sets the corresponding
function to the indicated value of **.
Screen 3:
The effects used, as well as their connection sequence (CHAIN) in
both channels are indicated.
Screen 4:
The screen shows level meters for the GK IN strings 1–6, normal
pickup, MAIN OUT, and SUB OUT levels.
By assigning parameters to the F1–F6 knobs, as
described in “Changing the Sounds with the Knobs
as You Play (DIRECT EDIT)” (p. 82), you can use them
to control values while in the Play screen. Additionally,
you can display a popup for the assigned parameters
and their values by pressing the [F1]–[F6] buttons.
19
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Chapter 1 Outputting Sounds
Adjusting the Volume
Setting the Device (Amp)
Connected to MAIN OUT (Output
Select)
Turn the OUTPUT LEVEL knob to set the volume to a suitable level.
fig.01-070
Use this procedure to set the type of device connected to the MAIN
OUT jacks.
fig.01-071
3
4
2
3
*
*
The output from the SUB OUT connector (XLR type) remains
constant, regardless of the OUTPUT LEVEL knob setting.
You can adjust the volume level by assigning this function to the
expression pedal or GK-3 GK volume control. For details, see
“Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)” (p. 82).
1
1. Press [GLOBAL].
The Global screen is displayed.
fig.01-072d
2. Press PAGE [ ] to go to Page 1.
3. Press [F4] (SELECT) or turn the F4 knob to set
the type of device to be connected to the MAIN
OUT jacks.
Value
Explanation
Use this setting when connecting to Roland’s
JC-120 guitar amp.
JC-120
Use this setting when connecting to a small
guitar amp.
SMALL AMP
COMBO AMP
Use this setting when connecting to the guitar in-
put of a combo amp other than the JC-120 guitar
amp (where the amp and speaker or speakers are
combined in a single unit).
* Depending on your guitar amp, you may be
able to obtain good results with the JC-120
setting.
Use this setting when connecting to the guitar
input of a stack-type guitar amp (where the
amp and speaker or speakers are separated).
STACK AMP
Use this setting when connecting to the RE-
TURN of a JC-120.
JC-120 Return
Use this setting when connecting to the RE-
TURN of a combo amp.
COMBO Return
Use this setting when connecting to the RE-
TURN of a stack amp or the input of a rack
mounted power amp.
Set to STACK Return also when using a guitar
power amp and speaker cabinet combination.
STACK Return
LINE/PHONES
Use this setting when using headphones or
when connecting to a multi-track recorder for
recording.
4. Press [EXIT] to return to the Play screen.
20
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Chapter 1 Outputting Sounds
5. Select the divided pickup type.
Inputting the Divided Pickup
Use the F1 knob to set the type of divided pickup installed in
the guitar you are using.
fig.01-060d
The VG-99’s sound characteristics vary greatly depending on how
the divided pickup is installed. To ensure consistent conditions for
optimal sound production, be sure to make the settings affecting the
divided pickup (the GK settings). With these settings appropriately
made, the VG-99 can then operate under optimal conditions.
*
For information on parameters not described in this chapter, refer to
“GK SETTING” (p. 166).
Settings
GK-3
Explanation
Specifies the GK-3.
Specifies the GK-2A.
Specifies a piezo pickup.
When using more than one guitar with the VG-99, you
can save the settings for each guitar separately.
GK-2A
PIEZO
*
Piezo pickups are a type of pickup that are installed at the guitar’s
bridge and use piezoelectric elements to determine the string
vibrations.
The GK settings are extremely important to getting
good tones from the VG-99. Be sure to input the
settings correctly.
6. Set the scale length.
Use the F3 knob to set the scale length (the distance from the
bridge to the nut) of the guitar you are using. Select the closest
value within the 620-660 mm range. 648 mm is corresponds to
the ST setting, 628 mm to the LP setting.
fig.01-100
8
10 11
7. Press PAGE [ ] [ ] to go to Page 3.
12
2
4 7 9
8. Input the gap between the pickup and the
5
6
3
bridge.
Set the clearance from the center of the divided pickup to the
1
bridge’s saddle.
1. Press [SYSTEM].
The System screen is displayed
*
This setting is not required when piezo pickups are used.
9. Press PAGE [ ] [ ] to go to Page 4.
fig.01-060d
2. Press PAGE [ ] to go to Page 1.
3. Press [F3] (GK).
The GK Settings screen is displayed.
fig.01-060d
10. Rotate the F1–F6 knobs to adjust the divided
pickup sensitivity for each string.
First play the sixth string with the maximum force to be used
during actual performance, and as you play the string, set the
sensitivity with the F1 knob until the meter registers at a point
just before it crosses beyond the maximum level.
Set the sensitivity for the fifth through first strings in the same
manner.
4. Press PAGE [ ] [ ] to go to Page 2.
21
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Chapter 1 Outputting Sounds
*
*
If the level meter registers in excess of the maximum level, it means
the level is set too high. Lower the sensitivity setting.
Depending on the guitar you are using, the level meter may move to
the maximum level even when the sensitivity is set to the minimum
setting. If this occurs, adjust the clearance separating the divided
pickup and the strings so the distance is slightly greater than
specified.
Tuning the Guitar (TUNER)
Tune the guitar using the VG-99’s tuner function.
*
To get the best tone quality from the VG-99, make sure the tuning is
accurate.
fig.01-190
7
11. Check the volume balance of the six strings.
Play the sixth through first strings with the normal amount of
force; if any string sounds particularly loud, lower the
sensitivity setting for that string, and keep adjusting until the
differences in the strings’ volume levels are minimal.
2
3
12. Press [EXIT] several times to return to the Play
1
7
screen.
*
Making these settings is necessary whenever you install the divided
pickup on a new or different guitar and when the divided pickup
height is changed. Once the settings are completed properly, they are
saved when the power is turned off. Afterwards, you need not make
the settings each time you play the instrument.
1. Press [TUNER].
The tuner function is switched on.
2. Set the following with the PAGE [ ] [
]
buttons.
For more information on other parameters in the GK
TUNER
Explanation
Settings, refer to “GK SETTING” (p. 166).
You can play and tune six strings simulta-
neously.
MULTI MODE
You can play one individual string to
tune that string.
SINGLE MODE
3. Press the function button ([F5] [F6])
corresponding to the function you want to set,
then rotate the knobs to select the value for
the setting.
If you do not want to change these settings, proceed to Step 4.
•
[F5] (PITCH: 435 Hz–445 Hz)
This sets the reference pitch.
*
*
With the factory settings, this is set to 440 Hz.
This reference pitch is referenced by effects controlled by the KEY
parameter.
What is the Reference Pitch?
This is the frequency at A4 (the note played with the A key at
the middle of the piano keyboard) played by the instrument
(e.g. piano) used as the reference for tuning for performances.
22
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Chapter 1 Outputting Sounds
•
[F6] (MUTE OFF, MUTE ON)
This setting determines whether sounds from the output
jacks are output or not while tuning is in progress.
Switching Tones (Patch)
TUNER
Explanation
MUTE OFF
Sounds are output during tuning.
What is a patch?
Sounds are not output during tuning.
The VG-99 can store 400 configurations of tone-related
settings, including the COSM guitar, COSM amp, and
effects. Each one of these is called a patch.
Each time you switch a patch, you can instantly change to
a different tone.
*
With the factory settings, this is set to
MUTE ON
MUTE ON.
4. Play a single note, open, on the string being
tuned.
5. Tune the string until the name of the string is
shown in the display.
About the Patch Numbers
Patch numbers (bank numbers) and patch names are indicated in the
When you choose the MULTI MODE
fig.01-060d
Play screen as shown below.
fig.01-060d
Patch Number
When you choose the SINGLE MODE
fig.01-060d
Patch Name
Patches are categorized into User patches and Preset patches.
User Patches
These include 200 preprogrammed patches. You can freely change
the tones and save the your changes.
6. Keep checking the screen, tuning until the
center indicator lights up.
Preset Patches
Repeat Steps 3-5 to tune all the strings.
Included here are 200 preprogrammed patches. Although you can
make changes to these tones, you cannot save these changes in a
Preset Patch. If you want to save a changed tone, save it as a User
patch.
*
When tuning a guitar equipped with a tremolo arm, you may find
that when one string is in tune, other strings may not be. If this
occurs, first tune the string until its name is indicated in the display,
then continue to fine tune each string a number times until the
tuning is correct.
7. When you have finished tuning, press
[TUNER] or [EXIT].
This completes the preparations for playing
the instrument. Now try playing some sounds.
23
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Chapter 1 Outputting Sounds
Switching with the PATCH/
VALUE Dial
Turning Off the Power
1. Confirm the following before turning off the
You can switch patches consecutively with the PATCH/VALUE
power.
Dial.
•
Are the volume levels for the VG-99 and connected amp and
other devices turned down completely?
1. Confirm that the Play screen is displayed.
If a screen other than the Play screen is shown, press [EXIT]
several times until the Play screen appears.
2. Turn off the power to the guitar amp (power
amp).
3. Press [POWER] to turn off the VG-99’s power.
2. Rotate the PATCH/VALUE dial to switch the
fig.01-190
patches.
3
fig.01-190
2
The message “NOW SHUTDOWN...” appears when
the power is switched off. The VG-99’s current
settings are saved to memory at this time. Do not
disconnect the AC adaptor until this message is no
longer displayed.
Turn the dial to the right (clockwise) to switch to the next
patch number, or to the left (counterclockwise) to switch to the
previous patch number.
24
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Chapter 2 Creating Sounds
First, let’s take a look at how the VG-99 is organized internally.
Setting the COSM GUITAR Tone
1. Press [MODELING TYPE].
● COSM Guitars
You can use COSM modeling to create the tones of a variety of
different guitars. Available sounds include not just electric and
acoustic guitar tones, but extend beyond to include the sounds of
synthesizers and other instruments and even non-existent,
imaginary guitars. Since the created sounds are based on the signals
sent by the GK-3 for each individual string, the system allows you to
play these sounds while still retaining all the flavor created by the
unique playing techniques and picking nuances that the guitar
offers.
2. Press PAGE [ ] several times to display Page
1.
The VG-99 allows you to make settings for two different COSM
guitar types at the same time, enabling you to instantly switch what
amounts to two actual guitars and create sounds in which two
guitars seem to be playing at the same time.
3. Use [F1] (ON/OFF) or the F1 knob to switch the
COSM GUITAR ON/OFF setting.
4. Use [F2] (SELECT) or the F2 knob to select the
Modeling type.
You can use the Alternate Tuning function to change the
pitch of each COSM guitar string individually.
5. Use [F3] (SELECT) or the F3 knob to select the
COSM GUITAR type.
● Poly Effects
These are original VG effects that can be applied independently to
each string. You can choose which of the two COSM guitars the
effects are applied to.
6. Press PAGE [ ].
● COSM Amps
Since this technology models the guitar amp circuitry and speaker
characteristics, the modeled amps simulate exactly the behavior of
the actual amps, even in the way distortion is added and the way the
tone controls work.
*
Each press of PAGE [
] takes you to the next screen in which
parameter settings are made.
You can configure preamps and speaker cabinets as you like—you
can even model the amp’s studio miking. The VG-99 produces two
independent COSM amp systems at the same time, which allows
you to process each of the two COSM guitars through a different
amp.
the F1–F6 knobs.
sound you want.
● Effects
The VG-99 is equipped with two BOSS GT-PRO class multi-effects
systems. You can apply effects separately to each of the two COSM
guitars.
For detailed information about each of the parameters,
refer to “COSM GUITAR” (p. 101).
9. If you want to save the edited settings,
perform the Write procedure (p. 38).
If you do not want to save, press [EXIT] to return to the Play screen.
● Mixer
*
In addition to having full freedom in mixing the sounds from the
two COSM guitars, you can also output the two guitars separately to
MAIN OUT and SUB OUT. The Dynamifunction further allows you
to use the force of your picking attack to switch between the two
guitar sounds or for many other functions. Furthermore, the mixer
section also includes delay/reverb and an equalizer, enabling you to
adjust the overall tone of the patches.
25
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Chapter 2 Creating Sounds
Setting AB LINK
Setting the Alternate Tuning
Setting AB LINK to ON allows you to use the same TUNING and
BEND settings for COSM GUITAR [A] and COSM GUITAR [B].
When this is set to OFF, you can use different settings for COSM
GUITAR [A] and COSM GUITAR [B].
About Alternate Tuning
Maybe insert a sentence in the beginning of this:
The Alternate Tuning feature allows you to change the tuning of a
COSM guitar without changing the actual pitch of the guitar’s
strings. To accomplish this, the VG-99 analyzes the pitch of the
signals transmitted by the divided pickup for each individual string
while keeping best possible sound quality.
1. Press [ALTERNATE TUNING].
2. Press PAGE [ ] to display Page 1.
fig.01-060d
Alternate Tuning includes the following five functions.
TUNING
Use this to convert the tuning to open tunings such as OPEN-D and
OPEN-G, raise or lower all of the strings an octave, and achieve
various other tunings.
3. Switch AB LINK on or off with [F1] (OFF/ON) or
BEND
the F1 knob.
You can use a pedal to have pitches change from the current tuning
to the set tuning in a continuous transition, just as with a string
bender or pedal steel guitar.
For detailed information on all the parameters, refer to
“ALTERNATE TUNING” (p. 116).
12-STRING
This changes the sound of a regular six-string guitar to that of a
twelve-string guitar.
This function also gives you the freedom to set the pitch and volume
of each secondary string independently, enabling you to create 12-
string guitar models with entirely original tunings.
DETUNE
This allows you to set a subtle shift in the pitch of each individual
string.
HARMONY
This analyzes the pitch of each string, then converts the pitches into
harmonies matched to the key.
These functions can be set for each of the two COSM guitars A and B
individually, meaning you can now play six-string and twelve-string
guitars simultaneously, produce twin twin leads by creating
harmonies on your own, achieve fat unison sounds, and come up
with sounds never before possible, all with a single VG-99.
Additionally, the VG-99 includes an AB LINK function, which
allows you to set the TUNING and BEND for the two COSM guitars
(A and B) simultaneously for even quicker settings.
The pitches output with GUITAR TO MIDI (the MIDI
Note messages) change according to the Channel A
Alternate Tuning settings (TUNING, BEND, HARMO).
*
*
The Channel B Alternate Tuning settings have no bearing on these
output pitches.
If the pitch output with GUITAR TO MIDI (the MIDI Note
messages) is excessively low (or high) due to the influence of the
Channel A Alternate Tuning settings, the pitch is then
automatically set one octave higher (or lower).
26
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Chapter 2 Creating Sounds
Setting TUNING
Setting BEND
1. Press [ALTERNATE TUNING].
1. Press [ALTERNATE TUNING].
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] to display Page 1.
fig.01-060d
fig.01-060d
3. Select A or B with [F2] (A/B) or the F2 knob.
3. Select A or B with [F2] (A/B) or the F2 knob.
*
You cannot select this when AB LINK is on.
*
You cannot select this when AB LINK is on.
4. Switch the function on or off with the F5 knob.
5. Select the tuning TYPE with [F4] (TYPE) or the
5. Press [F5] (EDIT).
fig.01-060d
F4 knob.
You can set original user tunings when USER is
selected for TYPE. (p. 29)
•
•
Press [F3] (USER).
Set the desired parameter with [F1]–[F6] or with the F1–F6
knobs.
Press [EXIT].
6. Set the pitches you want the strings to bend to
with the F1–F6 knobs.
•
7. Press PAGE [ ] to display Page 2.
fig.01-060d
6. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
“ALTERNATE TUNING” (p. 116).
9. With Control Assign, set BEND as the target
parameter for the pedal being used to control
the pitch.
For detailed information on Control Assign, refer to
“Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)” (p. 82).
27
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Chapter 2 Creating Sounds
Setting 12-STRING
Example of BEND Parameter Settings
1. Press [ALTERNATE TUNING].
By making the parameter settings shown below, you can
achieve a string bender-like effect which smoothly raises the
pitch of the second string a whole step.
2. Press PAGE [ ] to go to Page 2.
fig.01-060d
Values Set for the Alternate Tuning Parameter
[ALT TUNING]
AB LINK = ON
BEND SW = ON
BEND TUNING 1st = E 0
BEND TUNING 2nd = Dꢀ +2
BEND TUNING 3rd = G 0
BEND TUNING 4th = D 0
BEND TUNING 5th = A 0
BEND TUNING 6th = E 0
3. Switch the function on or off with the F1 or F4
knob.
*
You can make separate 12 STRING settings for COSM GUITAR
[A] and COSM GUITAR [B].
4. If making detailed parameter settings for 12
STRINGS, press [F1] (12STR) or [F4] (12STR).
Values Set for the Control Assign Parameter
[CONTROL ASSIGN]
SOURCE = FC-300 EXP 1 or RIBBON POS
(Set the RIBBON CONTROLLER’s ASSIGNABLE
setting to ON.)
5. Press PAGE [ ] [ ] to display the parameter
you want to set.
fig.01-060d
SW = ON
TARGET PARAMETER = ALT TUNE/[A]BEND/BEND
10. If you want to save the edited settings,
perform the Write procedure (p. 38).
6. Set the desired parameter with [F1]–[F6] or
*
*
If you do not want to save, press [EXIT] to return to the Play screen.
Although parameter assignments set with Control Assign are saved
with the Write procedure, the BEND parameter values in Step 8 are
not saved.
7. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
For detailed information on all the parameters, refer to
“ALTERNATE TUNING” (p. 116).
“ALTERNATE TUNING” (p. 116).
28
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Chapter 2 Creating Sounds
Setting USER TUNING
Setting DETUNE
1. Press [ALTERNATE TUNING].
1. Press [ALTERNATE TUNING].
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] to go to Page 2.
fig.01-060d
fig.01-060d
3. Select A or B with [F2] (A/B) or the F2 knob.
3. Switch the function on or off with the F2 or F5
*
You cannot select this when AB LINK is on.
knob.
4. If making detailed parameter settings for
4. Switch the function on or off with the F3 knob.
DETUNE, press [F2] (DETUNE) or [F5]
5. Use [F4] (TYPE) or the F4 knob to select USER.
(DETUNE).
fig.01-060d
6. Press [F3] (USER).
The USER TUNING screen appears.
7. Set the desired key of string with [F1]–[F6] or
8. If you want to save the edited settings,
5. Set the desired parameter with [F1]–[F6] or
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
6. If you want to save the edited settings,
perform the Write procedure (p. 38).
If you do not want to save, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
*
“ALTERNATE TUNING” (p. 116).
For detailed information on all the parameters, refer to
“ALTERNATE TUNING” (p. 116).
29
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Chapter 2 Creating Sounds
Setting HARMONY
Setting the COSM AMP Tone
1. Press [ALTERNATE TUNING].
1. Press [COSM AMP].
2. Press PAGE [ ] to go to Page 2.
2. Press PAGE [ ] several times to display Page
fig.01-060d
1.
3. Use [F1] (ON/OFF) or the F1 knob to switch the
COSM AMP ON/OFF setting.
fig.01-060d
3. Switch the function on or off with the F3 or F6
knob.
4. If making detailed parameter settings for
HARMONY, press [F3] (HARMO) or [F6]
(HARMO).
4. Use [F2] (SELECT) or the F2 knob to select the
COSM AMP type.
fig.01-060d
5. Press PAGE [ ].
fig.01-060d
5. Set the desired parameter with [F1] (SELECT),
[F2] (SELECT) or with the F1–F2 knobs.
*
Each press of PAGE [
] takes you to the next screen in which
parameter settings are made.
You can set the pitch for each key when the
HARMO parameter is set to USER.
the F1–F6 knobs.
Press PAGE [ ] [ ] to display the parameter you
want to set.
sound you want.
For detailed information on all the parameters, refer to
“COSM AMP” (p. 140).
8. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not need to save the settings, press [EXIT] to return to the
6. If you want to save the edited settings,
Play screen.
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
“ALTERNATE TUNING” (p. 116).
30
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Chapter 2 Creating Sounds
FX (Effects)
Here’s how to make settings for the effects.
Setting the Effects
POLY FX (Poly Effect)
1. Press [FX].
fig.01-060d
*
You can use POLY FX in only one channel at a time (A or B).
1. Press [POLY FX] for the channel, either A or B,
in which you want to use it.
2. Press PAGE [ ] several times to display Page
1.
2. Switch the individual effects on or off with the
fig.01-060d
[F1]–[F6] (ON/OFF).
*
Each press of PAGE [
] [
] takes you to another effect screen in
which parameter settings are made.
All effects that are on can be alternately switched off
(indicator unlit) and on (indicator lit) together by
pressing [FX].
3. Switch the function on or off with the [F1] (ON/
OFF) or the F1 knob.
4. Select the POLYFX TYPE with [F2] (SELECT)
3. Press [F1]–[F6] to select the effect you want to
or the F2 knob.
edit.
5. Using [F3] (A/B) or the F3 knob, switch the
channel to the one in which POLY FX is to be
used.
4. Adjust the desired parameter with [F1]–[F6] or
the F1–F6 knobs.
*
next parameter.
6. Press PAGE [ ].
fig.01-060d
sound you want.
For detailed information on all the parameters, refer to
“FX (Effects)” (p. 120).
*
Each press of PAGE [
next parameter.
] takes you to the settings screen for the
6. If you want to save the edited settings,
perform the Write procedure (p. 38).
If you do not need to save the settings, press [EXIT] to return to the
*
with the F1–F6 knobs.
Play screen.
desired sound.
For detailed information on all the parameters, refer to
“POLY FX (Poly Effect)” (p. 118).
9. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If not saving the values, press [EXIT] to return to the Play screen.
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Chapter 2 Creating Sounds
Rearranging the Effect and
Amp Connection Sequence
(CHAIN)
Specifying the tempo and
key of the song to be played
Here’s how to specify the tempo and key of a song you’ll be playing.
Set these when you want to specify a delay time or rate that suits a
song’s tempo (specifying it in terms of the note length) and when
using the HARMONY function.
You can freely set the order in which the effects and COSM amps are
connected.
1. Press [CHAIN].
Setting the Tempo
The Chain screen is displayed.
1. Press [NAME/KEY/BPM].
*
If the effects and COSM amps are off, OFF is indicated.
2. Press [F3] (BPM).
2. Select the channel for which you want to
change the connection sequence with
[F1] (A/B).
3. Press [F2] (
SEL) [F3] (SEL
) to select the
effect, COSM guitar, or COSM amp to be
shifted in the sequence.
The output level for the selected effect is indicated in the
upper right of the screen.
3. Tap [F1] (TAP) in time with the song tempo
(quarter notes), or adjust the tempo with the
F1 knob.
4. Press [F4] (←MOVE) [F5] (MOVE→) to move to
the position in the sequence you want the
shifted item inserted.
*
If you want to control a patch parameter with the adjusted tempo, set
the corresponding effect parameter to BPM –BPM
.
5. To make any additional changes in the
number of quarter notes played in one minute.
connection sequence, repeat Steps 2–4.
*
You can also switch effects, COSM guitars, and COSM amps on
and off while setting the connection sequence. Pressing [F6] while
the effect, COSM guitar, or COSM amp is selected switches the
function’s ON/OFF setting.
If you want to use the MIDI SYNC function, the SYNC
CLOCK parameter must be set to AUTO (USB), AUTO
(MIDI), or AUTO (RRC2). For detailed information, refer
to “Syncing to the MIDI CLOCK from an External
Device” (p. 64).
6. Press [EXIT] to return to the Play screen.
7. If you want to save the edited settings,
perform the Write procedure (p. 38).
To use Tap Input
Press [F5] (TAP) at least two times, at quarter note intervals of
the desired tempo. The tempo will be calculated
automatically, and set to the interval at which you pressed the
button.
4. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
32
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Chapter 2 Creating Sounds
Setting the Key
1. Press [NAME/KEY/BPM].
2. Press [F2] (KEY).
Mixing the Normal Pickup
Sound
Creating Sounds Combining the Normal and GK Inputs.
It is possible to combine the sound of the COSM guitars and the
normal guitar pickups at the same time.
Setting the Volume Balance
1. Press [COSM GUITAR].
F1 knob.
*
The Alternate Tuning HARMONY and FX MOD 1/2
HARMONIST functions operate in accordance with the key set
here.
2. Set the COSM GTR SW to ON with [F1] or with
4. If you want to save the edited settings,
the F1 knob.
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
The sounds from the normal pickup and COSM guitar
are not played when COSM GTR SW is set to OFF.
3. Press PAGE [ ] several times to move to the
screen for setting the volume balance.
4. Use the F1 and F2 knobs to set the balance
between the COSM guitar sound and the
normal pickup sound.
F1 Knob
Adjusts the COSM guitar’s volume level. When POLY FX is
set to ON, it adjusts the volume level of the signal after it has
passed through POLY FX.
F2 Knob
This adjusts the volume of the normal pickup.
When the COSM guitar is connected in CHAIN at a point
other than the beginning of the effects chain, you can adjust
the volume of the sounds that have passed though effects
from the beginning of the chain up to the point where the
guitar is connected.
5. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
33
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Chapter 2 Creating Sounds
Setting the Point at Which the
COSM Guitar is Connected
Normal Pickup Sound
When you are using the CHAIN function and the COSM guitar
is connected at a point other than the beginning of the chain, the
normal pickup sound that is mixed using the BALANCE knob
is the sound processed from the beginning of the effects chain.
Using this function, you can combine the following two
methods to create sounds.
1. Press [CHAIN].
1. Sounds that include COMPRESSOR, WAH,
AMP, etc., with the normal pickup sound
2. Use [F2] (
SEL) and [F3] (SEL
) to select
2. Sounds that have only spacial effects
applied to the COSM section’s synthesizer
or other source.
the arrow indicating the connection point.
3. Use [F4] (←MOVE) and [F5] (MOVE→) to shift
the COSM guitar’s connection point.
When the volume of (1) above is to be controlled independently,
the level of effects before the COSM guitar should be assigned
to the GK volume control of the GK-3 or to a similar controller.
(p. 82)
4. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not need to save the settings, press [EXIT] to return to the
Play screen.
If you want to use only the normal pickup sound
without using the COSM GUITAR or POLY FX, set
the COSM guitar as shown below.
COSM GTR SW = ON
MIX LEVEL
COSM GUITAR = 0
NORMAL PU = 100
34
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Chapter 2 Creating Sounds
Setting the Mix Balance
You can set the balance in the mix of Channel A and Channel B with
the BALANCE knob. Soon after the knob is turned, the balance value
pops up in the screen.
Mixing Two Tones (MIXER)
For detailed about the block diagram, refer to “Signal
Flow” (p. 183).
Setting the Volume and Panning
for Each Channel
*
*
You can also adjust this parameter in Page 2 of the Mixer screen.
1. Press [MIXER].
2. Press PAGE [ ] to display Page 1.
This knob is disabled when the Dynamic function is switched on.
Make the settings for each channel on this page.
*
Page 2 and later pages contain the mixer section’s common settings.
Setting the Delay and Reverb
(DELAY/REVERB)
3. Set the volume and panning with [F1]–[F6] or
This sets the mixer section’s delay and reverb.
with the F1–F6 knobs.
1. Press [DELAY/REVERB].
4. If you want to save the edited settings,
perform the Write procedure (p. 38).
If not saving the settings, press [EXIT] to return to the Play screen.
2. Press PAGE [ ] to display Page 1.
*
When mixing two channels, you can produce a more
realistic twin guitar tone by setting a channel delay in
one of the channels, thus causing the two guitar sounds
to be output at different times.
3. Switch the delay on or off with [F1] (OFF/ON);
switch the reverb on or off with [F4] (OFF/ON).
For detailed information on all the parameters, refer to
“MIXER” (p. 146).
4. Set the parameters with [F1]–[F6] or with the
F1–F6 knobs.
*
Each press of PAGE [
next parameter.
] takes you to the settings screen for the
5. Adjust the parameters until you achieve the
6. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If not saving the values, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
“DELAY/REVERB” (p. 148).
35
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Chapter 2 Creating Sounds
Using Picking Dynamics to
Control the Mix Between the
Two Channels (DYNAMIC)
Setting the Overall Patch
Volume Level (PATCH LEVEL)
You can set the overall patch volume level with the PATCH LEVEL
knob. Soon after the knob is turned, the patch level settings value
pops up in the screen.
You can control the mix between the two channels according to how
strongly the strings are picked.
1. Press [DYNAMIC].
2. Press PAGE [ ] to display Page 1.
*
You can also adjust this parameter in Page 2 of the Mixer screen.
fig.01-060d
3. Switch the Dynamic function on or off with
[F1] (OFF/ON).
4. Select the Dynamic function type.
Adjusting the Overall Patch Tone
(TOTAL EQ)
5. Press PAGE [ ] [ ] to display Page 2.
You can make separate settings in each individual patch for the
overall tone after sounds have passed through the mixer.
1. Press [MIXER].
2. Press PAGE [ ] [ ] to display Page 3 or 4.
6. Set the parameters with the F1–F5 knobs.
For detailed information on all the parameters, refer to
“DYNAMIC” (p. 149).
3. Switch the EQ on or off with [F1] (ON/OFF) on
Page 3.
4. Set the tonal quality with [F1]–[F6] or with the
5. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If not saving the settings, press [EXIT] to return to the Play screen.
For detailed information on all the parameters, refer to
“TOTAL EQ” (p. 146).
36
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Chapter 2 Creating Sounds
Setting the Output Signal and
Level (OUTPUT)
Naming a Patch (PATCH NAME)
You can give names to the patches you create.
This sets the signals and levels output for each of the VG-99’s output
1. Press [NAME/KEY/BPM].
jacks and connectors.
1. Press [MIXER].
2. Press PAGE [ ] to display Page 5.
2. Press [F1] (NAME).
3. Set the signal and level output to MAIN OUT,
with the F1–F6 knobs.
3. Press PAGE [ ] [ ] to move the cursor to
the position at which you want to change a
character.
For detailed information on the parameters that can be
set, refer to “OUTPUT” (p. 147).
4. Select the character with the PATCH/VALUE
dial.
4. If you want to save the edited settings,
perform the Write procedure (p. 38).
As you continue to rotate the PATCH/VALUE dial, the
character guide automatically switches from uppercase letters
to lowercase letters, numerals, and symbols.
You can use the following convenient operations by pressing
[F1]–[F5].
*
If not saving the settings, press [EXIT] to return to the Play screen.
You can also set the output signal and level for the
entire system.
Function
Button
Description
[F1] (INSERT)
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
Inserts a blank space at the cursor position.
1. Press [SYSTEM].
ters that follow to the left.
Inserts a blank space at the cursor position.
2. Press PAGE [ ] [ ] to display Page 2.
Switches between letters, numerals, and
symbols.
3. Press [F1].
Switches between uppercase and lower-
case letters.
[F5] (A<=>a)
4. Set the OUTPUT MODE parameter to
SYSTEM with [F1] or the F1 knob.
The value in the MIXER screen is disregarded, and
instead the SYSTEM value is applied.
Sets the category for the current patch. Re-
fer to “Setting Patch Categories” (p. 90)
[F6] (CATGRY)
5. Repeat Steps 3 and 4 to complete the patch
The value in the MIXER screen is disregarded, and instead the
value < > is applied.
name.
6. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If not saving the settings, press [EXIT] to return to the Play screen.
37
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Chapter 2 Creating Sounds
Saving a Patch (WRITE)
The settings made to change a sound are temporary; when you
switch to a different patch, the settings revert to the values in effect
before the changes were made.
If you want to save the changes in the settings, carry out the Write
procedure. If you do not want to save your changes, press EXIT to
return to the Play screen.
1. Press [WRITE].
The Write screen appears.
2. Rotate the PATCH/VALUE dial to select the
save-destination patch number.
3. To save the patch, press [WRITE].
“NOW WRITING...” is displayed while the patch is being
saved, and then the Play screen returns to the display.
*
If you do not want to save, press [EXIT] to return to the Play screen.
38
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Chapter 3 Creating Your Own Effect
Types (CUSTOMIZE)
The Customize function allows you to make even more detailed
9. If you want to save the edited settings,
changes to settings for COSM AMP (Preamp section, Speaker
perform the Write procedure (p. 38).
section), Overdrive/Distortion, and Pedal Wah, just like designing
*
If not saving the settings, press [EXIT] to return to the Play screen.
your own original effects processors.
Customizing the Preamp
1. Press [COSM AMP].
The COSM AMP Edit screen appears.
2. Press PAGE [ ] to display Page 1.
fig.01-060d
3. Select CUSTOM as the PREAMP TYPE with
[F2] (SELECT) or the F2 knob.
fig.01-060d
4. Press PAGE [ ] to display Page 2.
5. Select the basic preamp type to customize
with [F1] (SELECT) or the F1 knob.
6. Press PAGE [ ] to display Page 3.
7. Adjust the desired parameter with [F1]–[F6] or
If there are other parameters you want to adjust, press PAGE
[
].
8. Repeat Steps 5–7 as needed.
For detailed information on all the parameters, refer to
“COSM AMP” (p. 140).
39
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Chapter 3 Creating Your Own Effect Types (CUSTOMIZE)
Customizing the Speaker
Customizing the Overdrive/
Distortion
*
You cannot customize the speaker when BASS AMP VINTAGE or
BASS AMP MODERN is selected with PREAMP TYPE.
1. Press [FX].
The FX Edit screen appears.
1.
Press [COSM AMP].
The COSM AMP Edit screen appears.
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] [ ] to display the Speaker
Type selection screen.
3. Press [F2] (OD/DS).
3. Select CUSTOM as the SP TYPE with [F1]
(SELECT) or the F1 knob.
4. Press PAGE [ ] to display the speaker
customization screen.
4. Select CUSTOM as the OD/DS TYPE with [F2]
(SELECT) or the F2 knob.
5. Press PAGE [ ] to display Page 2.
with the F1–F5 knobs.
For detailed information on all the parameters, refer to
6. Select the basic type with [F1] (SELECT) or the
“COSM AMP” (p. 140).
F1 knob.
6. If you want to save the edited settings,
7. Adjust the desired parameter with [F1]–[F5] or
perform the Write procedure (p. 38).
*
If not saving the settings, press [EXIT] to return to the Play screen.
If there are other parameters you want to adjust, press PAGE
[
].
8. Repeat Steps 6 and 7 as needed.
For detailed information on all the parameters, refer to
“OD/DS (Overdrive/Distortion)” (p. 120).
9. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If not saving the settings, press [EXIT] to return to the Play screen.
40
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Chapter 3 Creating Your Own Effect Types (CUSTOMIZE)
Customizing Pedal Wah
1. Press [FX].
The FX Edit screen appears.
2. Press PAGE [ ] to display Page 1.
3. Press [F3] (WAH).
4. Select CUSTOM as the WAH TYPE with [F2]
(SELECT) or the F2 knob.
5. Press PAGE [ ] to display Page 2.
6. Select the basic type with [F1] (SELECT) or the
F1 knob.
7. Adjust the desired parameter with [F1]–[F5] or
If there are other parameters you want to adjust, press PAGE
[
].
8. Repeat Steps 6 and 7 as needed.
For detailed information on all the parameters, refer to
“WAH” (p. 122).
9. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If not saving the settings, press [EXIT] to return to the Play screen.
41
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Chapter 4 Global Device Settings (SYSTEM)
*
The parameters described in this chapter are saved when the power is
turned off. There is no need to carry out the Write procedure (p. 38).
Naming GK Settings (GK NAME)
You can give names to each of the GK settings.
Inputting the Divided Pickup
Settings
To ensure optimal conditions for producing sounds with the VG-99,
making the correct settings affecting the Divided pickup (the GK
settings) is required.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] to display Page 1.
Selecting the Settings
The VG-99 can store ten separate sets of GK settings. If you are
playing more than one guitar using the VG-99, you can store
separate settings for each one, allowing you to be ready in moments
with the necessary settings when the guitars are switched.
3. Press [F6] (NAME).
After you have finished inputting the various settings, press [EXIT]
one or more times to return to the Play screen.
1. Press [SYSTEM].
4. Set the name using PAGE [ ] [
], [F1]–[F5],
2. Press PAGE [ ] to display Page 1.
and the PATCH/VALUE dial.
Function Button
Explanation
[F1] (INSERT)
Insert a space at the cursor location.
Delete a character. The characters that
follow get shifted to the left.
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
Input a space at the cursor location.
3. Press [F3] (GK) to display the GK SETTING
Switch between uppercase letters and
lowercase letters.
screen.
Switch between uppercase letters, low-
ercase letters, numbers, and characters.
[F5] (A<=>a)
4. Press PAGE [ ] to display Page 1.
*
Press [EXIT] one or more times to return to the previous screen.
This specifies the setting to be stored as the GK setting.
*
Pressing [EXIT] at this point and returning to the Play screen
enables the selected GK setting.
*
When PATCH is selected for the SETTING MODE parameter, the
GK settings specified in each patch take priority. For detailed
information, refer to “Using Different Guitar Settings in Each
Patch (SET MODE)” (p. 46).
The following section describes parameters
related to the GK settings.
After you have finished inputting the various settings, press [EXIT]
one or more times to return to the Play screen.
42
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Selecting the Divided Pickup Type
and Normal Pickup Phase
1. Follow Steps 1–3 in “Selecting the Settings”
Certain peculiarities in the sound may appear when the COSM
guitar and normal pickup sounds are mixed. If this occurs, adjust
this parameter and switch the COSM guitar’s phase.
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] [ ] to display Page 2.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] [ ] to display Page 2.
3. Use [F4] (SELECT) or the F4 knob to select the
3. Use F1 (SELECT) or the F1 knob to select the
phase.
pickup type.
Settings
NORMAL
REVRSE
Explanation
Leave the phase unchanged.
Invert the phase.
Settings
GK-3
Explanation
Specifies the GK-3.
Specifies the GK-2A.
Specifies a piezo pickup.
GK-2A
PIEZO
*
Piezo pickups are a type of pickup that are installed at the guitar’s
vibrations.
*
Make this setting if the divided pickup has been installed with the
first-string end and sixth-string end reversed.
1. Follow Steps 1–3 in “Selecting the Settings”
Inputting the Guitar’s Scale
Set the scale length (the distance from the bridge to the nut).
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] [ ] to display Page 2.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 42) to display the GK SETTING screen.
3. Use [F5] (SELECT) or the F5 knob to select the
pickup direction.
2. Press PAGE [ ] [ ] to display Page 2.
3. Use the F3 knob to set the scale length of the
guitar you are using. Presets include 648 mm
(ST) and 628 mm (LP).
Settings
NORMAL
REVRSE
Explanation
The cable extends from the 6th string side.
Ordinarily, you should use this setting.
The cable extends from the 1st string side.
Settings
Explanation
620–660 mm,
ST(648 mm),
LP(628 mm)
Specifies the scale of your guitar.
43
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Chapter 4 Global Device Settings (SYSTEM)
Switch Arrangement
On some guitars with the Divided pickup built in, the positions of
the DOWN/S1 and UP/S2 switches are reversed from those of the
Divided pickup. Set this so that the functions match.
↔ BRIDGE)
Set the clearance from the center of the Divided pickup to the
bridge’s saddle for each string.
*
This setting is not required when piezo pickups are used.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 42) to display the GK SETTING screen.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] [ ] to display Page 2.
2. Press PAGE [ ] [ ] to display Page 3.
3. Use [F6] (SELECT) or the F6 knob to select the
arrangement.
3. Rotate the F1–F6 knobs to set the clearance
for strings 1–6.
Settings
Explanation
NORMAL
The switches will not be reversed.
Settings
Explanation
The DOWN/S1 switch and UP/S2 switch will
be reversed.
REVRSE
Specify the distance between the center
of the Divided pickup and the center of
each bridge saddle.
10.0–30.0 mm
string 6
string 1
Bridge
String
Pickup
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Chapter 4 Global Device Settings (SYSTEM)
Adjusting the Sensitivity for Each
String
Setting Whether or Not the Deviced
Pickup Is Used (GK CONNCT)
The VG-99 comes equipped with a function that automatically
determines whether or not a GK connection exists and switches the
internal settings accordingly. This makes it possible for you to all
functions other than a COSM guitar (COSM amp, effects, tuner, etc.)
when you’ve connected only to the GUITAR INPUT.
Adjust the Divided pickup sensitivity for each string.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] to display Page 4.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] to display Page 1.
3. Rotate the F1–F6 knobs to adjust the
sensitivity.
Play each open string with the maximum force you’d use in an
actual performance, and set the sensitivity such that the meter
registers a level just before reaching the maximum level.
3. Use [F1] (SELECT) or the F1 knob to select the
setting.
*
If the large segments at the right end of the level meter appear, it
means the level is set too high. Lower the sensitivity setting.
Pressing [F1]–[F6] initializes each string’s value to 65.
Depending on the guitar you use, the level meter may move to the
maximum level even when the sensitivity is set to the minimum
setting. If this occurs, adjust the clearance separating the divided
pickup and the strings so the distance is slightly greater than
specified.
*
*
Settings
Explanation
The presence of a GK connection is detected au-
tomatically and the internal settings are
switched accordingly.
AUTO
Settings appropriate for a GK connection are al-
ways used.
ON
Settings appropriate for a GUITAR INPUT con-
nection are always used.
OFF
4. Play the sixth through first strings with the
normal amount of force; if any strings sounds
particularly loud, lower the sensitivity setting
for that string, and keep adjusting until the
differences in the strings’ volume levels are
minimal.
*
You should ordinarily use AUTO (the default setting). In cases
where the auto-detect function does not operate correctly, (for
example, when you are using a Divided pickup other than the GK-3),
pickup, use [F2] or the F2 dial to change the setting.
Settings
Explanation
Adjust the input sensitivity of each Di-
vided pickup.
0–100
45
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Chapter 4 Global Device Settings (SYSTEM)
in Each Patch (SET MODE)
This setting determines whether the VG-99 uses a single global GK
setting or if the GK settings can be specified individually for each
patch.
According to the Environment
(GLOBAL/OUTPUT SELECT)
The VG-99 includes a function for adjusting the overall tone produced
by the device. This is referred to as the Global function. You can use the
Global function to adjust the overall sound of the VG-99 to suit the
equipment being used or environment you are in without altering the
individual patches.
1. Follow Steps 1–3 in “Selecting the Settings”
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] to display Page 1.
Selecting the Settings
The VG-99 can store ten separate Global function settings (1–10).
3. Use [F3] (SELECT) or the F3 knob to select the
setting.
After you have finished inputting the various settings, press [EXIT]
one or more times to return to the Play screen.
Settings
Explanation
The GK SETTING set here is used globally for
the entire VG-99.
SYSTEM
This is the default factory setting.
1. Press [GLOBAL].
The GK Settings can be specified individually
for each patch.
Use this setting when switching among multi-
ple guitars as you perform.
2. Press PAGE [ ] to display Page 1.
PATCH
The Global screen appears.
GK Volume Control and DOWN/
S1, UP/S2 Switches (GK FUNC)
This sets the function for the GK-3’s GK Volume and DOWN/S1,
3. Select any setting 1–10 with [F1] (SELECT) or
the F1 knob.
UP/S2 switches.
The following parameter settings are stored to their
1. Follow Steps 1–3 in “Selecting the Settings”
corresponding areas in memory.
(p. 42) to display the GK SETTING screen.
2. Press PAGE [ ] to display Page 1.
3. Press [F2] (GKFUNC).
4. Set the parameter you want to assign with [F1]
(SELECT), [F6] (SELECT) or the F1, F6 knob.
For detailed information on the parameters that can be
assigned, refer to “GK VOL (GK Volume)” (p. 166) and
“GK S1, S2 (GK S1, S2 Switch)” (p. 166).
*
*
When assigning functions to each patch for DOWN/S1 and UP/S2,
set Control Assign to ASSIGNABLE (PATCH). With other
settings, the assignment settings in the patches are disregarded.
This is the same setting as that set with GK VOL or GK S1, S2 in
[SYSTEM] (CTL).
46
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Chapter 4 Global Device Settings (SYSTEM)
Naming the Settings (GLOBAL
NAME)
You can assign up to ten user names, each containing up to eight
characters. For example, you could create names that suggest the
gear used in a certain setting or a place where you perform.
Setting the Types of Connected
Devices (OUTPUT SELECT)
You can match the VG-99’s output response to that of the connected
device. Making this setting helps keep differences in sound qualities
respective to the connected device to a minimum.
1. Press [GLOBAL].
1. Press [GLOBAL].
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] to display Page 1.
3. Press [F3] (NAME).
3. Use [F4] (OUTPUT SELECT) or the F4 knob to
set the type of device to be connected to the
MAIN OUT jacks.
Value
Explanation
Use this setting when connecting to Ro-
land’s JC-120 guitar amp.
JC-120
Use this setting when connecting to a
small guitar amp.
4. Set the name using PAGE [ ] [
] and [F1]–
SMALL AMP
[F5].
Use this setting when connecting to the
guitar input of a combo amp other than
the JC-120 guitar amp (where the amp
and speaker or speakers are combined in
a single unit).
Function Button
Explanation
[F1] (INSERT)
Insert a space at the cursor location.
COMBO AMP
Delete a character. The characters that
follow get shifted to the left.
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
* Depending on your guitar amp, you
may be able to obtain good results with
the JC-120 setting.
Input a space at the cursor location.
Switch between uppercase letters and
lowercase letters.
Use this setting when connecting to the
guitar input of a stack-type guitar amp
(where the amp and speaker or speak-
ers are separated).
STACK AMP
Switch between uppercase letters, low-
ercase letters, numbers, and characters.
[F5] (A<=>a)
Use this setting when connecting to the
RETURN of a JC-120.
JC-120 Return
Use this setting when connecting to the
RETURN with a combo amp.
COMBO Return
Use this setting when connecting to the
RETURN of a stack amp or the INPUT
of a rack mounted power amp.
Set to STACK Return also when using a
guitar power amp and speaker cabinet
combination.
STACK Return
LINE/PHONES
Use this setting when using head-
phones or when connecting to a multi-
track recorder for recording.
* When using COSM Speaker cabinets,
use the LINE/PHONES setting.
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Chapter 4 Global Device Settings (SYSTEM)
Adjusting the Overall Tone
(GLOBAL EQ)
Both MAIN OUT and SUB OUT feature four-band EQs. EQ (MAIN)
is applied to the output from MAIN OUT; EQ (SUB) is applied to the
output from SUB OUT.
Controlling the Overall Effect of
the Noise Suppressor (Total NS)
This controls the overall threshold value for the noise suppressor
settings in the individual patches. This is an effective tool when
guitars are changed during performances and for making
adjustments in response to noise levels at the performance venue.
This is an overall setting and does not alter the individual patch
settings.
1. Press [GLOBAL].
2. Press PAGE [ ][
] to display Page 2–5.
1. Press [GLOBAL].
2. Press PAGE [
] to display Page 6.
3. Use [F1] – [F6] or the F1 – F6 knobs to adjust
the tone.
Parameter/
Explanation
Range
3. Adjust the level with the F1 knob.
This adjusts the noise suppressor threshold levels set in each
MAIN EQ (Main Equalizer),
SUB EQ (Sub Equalizer)
patch.
-20 dB – +20 dB
A four-band equalizer with high and low ranges is provided. The
sound processed by the effect can be boosted by frequency range be-
fore it is output.
*
*
This adjustment has no effect on patches in which the noise
suppressor is off.
To use the levels set in the individual patches, set this to 0 dB.
MAIN EQ SW (Main Equalizer Switch),
SUB EQ SW (Sub Equalizer Switch)
OFF, ON
Turns the EQ effect on/off.
TOTAL GAIN
-12–+12dB
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
LOW GAIN
-12–+12dB
HIGH GAIN
-12–+12dB
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz Specifies the center of the frequency range that will
be adjusted by the LOW MID GAIN.
LOW MID Q (Low Middle Q)
0.5–16
Adjusts the width of the area affected by the EQ
centered at the LOW MID FREQ.
Higher values will narrow the area.
LOW MID GAIN (Low Middle Gain)
-12–+12dB
Adjusts the low-middle frequency range tone.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz Specifies the center of the frequency range that will be
adjusted by the HIGH MID GAIN.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the EQ
centered at the HIGH MID FREQ.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
Adjusts the high-middle frequency range tone.
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Chapter 4 Global Device Settings (SYSTEM)
Controlling the Overall Reverb
Level (Total REVERB)
This controls the overall reverb level settings in the individual
patches. This is effective for adjusting to the acoustics of the
performance venue. This setting does not affect the individual patch
settings.
Setting the GK VOLUME
Control and Switch and the
Pedal Function (SYSTEM
CONTROL ASSIGN)
1. Press [SYSTEM].
1. Press [GLOBAL].
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [
] to display Page 6.
3. Press [F4] (CTL).
3. Adjust the level with the F2 knob.
4. Press PAGE [ ] to display Page 1.
This adjusts the noise suppressor threshold levels set in each
patch.
0–200%
*
*
This adjustment has no effect on patches in which reverb is switched
off.
To use the levels set in the individual patches, set this to 100%.
5. Select any setting from GK VOL to FC-300
CTL8 with [F2] (SEL) or [F3] (SEL) or the F2 or
F3 knobs, then use [F5] (SELECT) or the F5
knob to select the function you want to assign.
Setting the Sounds Output from
SUB OUT (SUB OUT LEVEL)
This setting selects which signals are output from the SUB OUT
jacks.
If you want to be able to assign the functions for the
controllers on an individual patch basis, set Control
Assign to ASSIGNABLE (PATCH). With Control Assign
set to ASSIGNABLE (PATCH), the unit operates in
described in “Using the Switches, Pedals, and MIDI to
Control the Sounds (CONTROL ASSIGN)” (p. 82).
1. Press [GLOBAL].
2. Press PAGE [
] to display Page 6.
*
disregarded.
3. Adjust the setting with the F3 knob.
This adjusts the output level set in each patch.
0–200%
For information on assigned controllers, refer to “Using
the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)” (p. 82) ; for more on
assignable parameters, refer to “Parameters That Can
Be Assigned to Separate Controllers” (p. 168).
*
To use the levels set in the individual patches, set this to 100%.
49
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Chapter 4 Global Device Settings (SYSTEM)
Having Values from an
Limiting the Patches That
Can Be Switched (PATCH
EXTENT)
External Pedal, GK VOLUME
Control, or Other Controller
Carried Over When Patches
are Called Up (ASSIGN HOLD)
Setting upper and lower limits for the patches that can be switched
allows you to select only the patches you need.
1. Press [SYSTEM].
This setting determines whether or not the current settings for each
controller (the expression pedals, the FC-300’s expression pedals,
control pedals or other controllers) are applied to the patch when
patches are switched.
2. Press PAGE [ ] [
3. Press [F6] (MISC).
4. Press [F3] (FROM).
] to display Page 2.
*
Assign Hold is not performed when the SW MODE parameter in
Control Assign Source is set to LATCH. (LATCH toggles between
the minimum and maximum value each time the switch is pressed.)
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 1.
3. Press [F4] (CTL).
5. Set the lower limit of the patch selection with
the PATCH/VALUE dial and [F3] (FROM) or the
F3 knob.
4. Press PAGE [
] to display Page 2.
The ASSIGN HOLD screen appears.
6. Press [F4] (TO).
7. Set the upper limit of the patch selection with
the PATCH/VALUE dial and [F4] (TO) or the F4
knob.
*
This setting applies to patches switched with the PATCH/VALUE
dial, control switches, or other such controls. Adjustments made
with a connected FC-300 or external MIDI device are not affected by
this setting.
5. Select ON or OFF for the Assign Hold function
with [F1] (OFF/ON) or the F1 knob.
Settings
Explanation
Current values of controllers are applied when
patches are called up.
ON
Stored values (at the time of Patch Write) of
controllers are used when patches are called
up. (Current controller values ignored.)
OFF
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Chapter 4 Global Device Settings (SYSTEM)
Adjusting the Screen’s
Contrast
The text and icons in the LCD screen may be difficult to make out
sometimes, such as immediately after the VG-99 is turned on or after
extended use. The conditions at the place where you are using the
VG-99 can also affect visibility. Should you run into this problem, try
adjusting the contrast.
Setting the Output Signal
and Level (SYSTEM OUTPUT)
This sets the signals and levels output for each of the VG-99’s output
jacks and connectors (MAIN OUT, SUB OUT, and DIGITAL OUT).
1. Press [SYSTEM].
2. Press PAGE [ ] [
] to display Page 2.
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 1.
3. Press [F1] (OUTPUT).
3. Press [F1] (LCD).
4. Set the OUTPUT MODE parameter to SYSTEM
with [F1] (SELECT) or with the F1 knob.
*
If set to PATCH, the values set under“Setting the Output Signal
and Level (OUTPUT)” (p. 37) are enabled. The value in the
MIXER screen is disregarded, and instead the value < > is applied.
4. Turn the F1 knob to adjust the contrast.
5. Set the signal and level output to each output
with PAGE [ ] [ ] or with the F1–F6 knobs.
For detailed information on the parameters that can be
set, refer to “OUTPUT” (p. 147).
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Chapter 5 Using the VG-99 in
Combination with an FC-300
With an FC-300 (optional) connected to the VG-99, you can perform
the following operations:
Settings Related to the FC-
300
If connecting the VG-99 with an FC-300 using an RRC2 cable, make
the settings below as needed.
•
•
•
•
Switch patches
Have patch names be shown in the FC-300’s display
Control tones with the FC-300’s pedals (Control Assign)
Show the VG-99’s tuner in the FC-300’s display when the
TUNER function is used
•
Switch the FC-300’s Amp Control on and off
Settings for Control of the FC-
300
Connecting with the RRC2
IN Connector
Connect the VG-99 and FC-300 using the RRC2 cable included with
the unit.
This sets the method for controlling the FC-300.
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 1.
What is RRC2?
RRC2 is a Roland protocol that provides for the supply of
power and two-way data communications over a single cable.
Devices can also be connected using a commercially available
ethernet cable instead of the included RRC2 cable.
3. Press [F5] (FC-300).
•
•
Be sure to connect the RRC2 OUT connector to a device with an
RRC2 IN connector. Use of the connection with LAN or other
devices may cause generation of heat and damage to the
equipment.
Carefully connect the RRC2 cable the way in—until it is firmly
to the RRC2 IN connector.
•
•
Do not subject the RRC2 cable to stress or physical shock.
If using commercially available ethernet cable as the RRC2
connecting cable, be sure that the cable meets the following
specifications:
4. Set the SYS EX MODE with [F1] (OFF/ON) or
with the F1 knob.
•
•
•
Category 5 (Cat5) or above
Maximum length of 15 meters
Cable designed for straight-through connection.
Available
Settings
Description
*
Ethernet cables designed for crossover connections cannot be used.
When connected to the VG-99, the FC-300 automat-
ically changes to Exclusive mode and functions in
accordance with the settings made with the VG-99.
This is the setting normally selected. You can con-
trol the FC-300 even without matching the VG-99’s
and FC-300’s Device IDs.
ON
Connecting an FC-300 automatically switches the
FC-300 to Exclusive mode. Normally, you should
select this setting.
Select OFF when using the FC-300 in a mode other
than System Exclusive mode.
OFF
The mode does not switch automatically.
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Chapter 5 Using the VG-99 in Combination with an FC-300
Activating the VG-99’s
Tuner from the FC-300
(QUICK TUNER)
Setting the Operation When
Patches Are Switched
This sets the timing at which patches are switched when you press
[
] [
] pedals on the FC-300.
You can use the FC-300’s number pedals to switch the Tuner
function on and off.
1. Press [SYSTEM].
*
*
The Quick Tuner function is enabled only in the Play screen.
The Quick Tuner function is enabled only when the FC-300’s
MODE is set to SYS EX.
2. Press PAGE [ ] to display Page 1.
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 1.
3. Press [F5] (FC-300).
3. Press [F5] (FC-300).
4. Set QUICK TUNER with [F3] (SELECT) or with
the F3 knob.
Available Settings Description
OFF
The QUICK TUNER function is not opera-
tional.
ON
The QUICK TUNER function is operational.
The TUNER function is alternately switched
on and off each time the currently selected
number pedal is pressed.
4. Set BANK CHANGE with [F2] (SELECT) or with
the F2 knob.
Available
Settings
Description
The patch changes immediately when the FC-300’s
IMMEDIATE
[
] [
] pedals are pressed.
Even after the FC-300’s [
pressed, the patch does not change until the NUM-
BER is set.
] [
] pedals are
WAIT NUM
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Chapter 5 Using the VG-99 in Combination with an FC-300
Setting the FC-300 Amp
Control
This switches the FC-300’s AMP CTL 1 and AMP CTL 2 parameters
on and off.
When the guitar amp’s channel switch jack is connected to the FC-
300’s AMP CONTROL 1 jack (or AMP CONTROL 2 jack), you can
then switch the guitar amp channels with the VG-99’s AMP CTL1 (or
AMP CTL2) parameter.
1. Use the PATCH/VALUE dial to select the patch
you want to set.
2. Press [NAME/KEY/BPM].
3. Press [F4] (AMPCTL).
4. Use [F1] and [F2] or the F1 and F2 knobs to set
AMP CTL1 and AMP CTL2 to ON or OFF.
Available Settings Description
The FC-300’s AMP CTL1 and AMP CTL2
parameters are set to OFF.
OFF
The FC-300’s AMP CTL1 and AMP CTL2
parameters are set to ON.
ON
54
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Chapter 6 Using MIDI
Outputting Performance Data
The guitar’s performance data can be output as Note messages and
Bend messages, allowing you to perform through synthesizer sound
modules and other devices connected to the VG-99. For more
detailed information, refer to “Playing an External Synthesizer
Sound Module (GUITAR TO MIDI)” (p. 64).
About MIDI
MIDI, an abbreviation for Musical Instrument Digital Interface, is a
universal standard that enables musical instruments to exchange
musical performance data, messages concerning changes in the
sounds, and other information. Any device that conforms to the
MIDI specifications can communicate (to the extent that is relevant
to both devices) with any other MIDI device, even those that were
made by a different manufacturer or that belong to a different
category of instrument.
Transmitting Data
You can use Exclusive messages to transmit settings for effect
sounds and other data stored in the VG-99 to other MIDI devices.
This allows you to give another VG-99 the identical settings and to
Under the MIDI specifications, performance data produced by such
actions as playing a keyboard or pressing a pedal is handled as MIDI
messages.
Controlling the VG-99 from an
External MIDI Device
What You Can Do Using MIDI
Using MIDI, you can carry out the following operations with the
VG-99.
The VG-99’s patches switch immediately in response to Program
Change messages received from external MIDI devices.
If using the VG-99 with an FC-300 connected, also refer to“Chapter
5 Using the VG-99 in Combination with an FC-300” (p. 52).
*
Use of MIDI requires that the MIDI channels of connected devices
be matched.
You can set the correspondence between MIDI Program
Change messages and the VG-99’s patches with the “RX
PC MAP (RECEIVE PROGRAM CHANGE MAP)” (p.
61). Set this to ensure correspondence of the VG-99’s
effect sounds with those of other MIDI devices.
Data cannot be transmitted to or received from other MIDI devices
unless the MIDI channels are set correctly.
Operating from the VG-99
The connections shown in the diagram below are used when playing
your guitar backed by an automatic sequencer performance. The
VG-99’s patches change automatically when a Program number is
entered with the performance data at the point where you want the
VG-99’s patches to change.
Outputting Program Change Messages
When a patch is selected with the VG-99, the VG-99 simultaneously
transmits a Program Change message corresponding to the selected
number. The external MIDI device switches its settings in response
to the received Program Change message.
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
Outputting Control Change Messages
Data describing the action of an external device (expression pedal or
footswitch) connected to the VG-99 is output as Control Change
messages. These messages can be used for such tasks as adjusting
external MIDI devices’ parameters.
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Chapter 6 Using MIDI
Receiving Control Change Messages
Main Types of MIDI Messages
Handled by the VG-99
In order to be able to convey the full range of expression that is
possible during performance, MIDI provides for different types of
MIDI messages. MIDI messages can be categorized broadly into two
groups; messages handled on an individual MIDI channel basis
(Channel messages), and those handled independently of MIDI
channels (System messages).
The VG-99 can receive Control Change messages to
control specified parameters while a performance is in
progress. Set the parameters to be controlled with
“Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)” (p. 82).
Receiving Data
The VG-99 can receive data transmitted from other VG-99’s and data
saved to MIDI sequencers.
Channel Messages
These are messages used for conveying the events that take place
during performance. Normally, you can control most performances
using only these messages. The action controlled with each MIDI
message is determined by the receiving device’s settings.
Program Change Messages
These message are generally used for switching sounds; sounds are
switched with Program Change numbers 1–128. Furthermore, with
the VG-99, you can also use Control Change Bank Select messages
together with the Program Change messages, allowing you to switch
400 different patch numbers.
Control Change Messages
Control Change messages are used for enhancing performance
expression. Functions are distinguished from one another with
Control numbers; the particular functions that can be controlled
varies with the MIDI device. With the VG-99, you can control
specified parameters.
Note On Messages
These messages convey to the device the pitches and volumes at
which sounds are played.
Note Off Messages
These messages instruct the device to stop sounds currently being
played.
Bend Messages
These messages are sent to produce continuous changes in the pitch.
System Messages
System messages include Exclusive messages, messages required for
synchronized performances, and messages designed to prevent
problems with operation.
Exclusive Messages
Exclusive messages are used for handling sounds unique to a
particular device and other such messages. Basically, you can
exchange messages between devices of the same type from the same
manufacturer. Using Exclusive messages, you can store parameter
settings to sequencers and transmit parameter settings to other VG-
99s.
To exchange Exclusive messages, the Device ID numbers for each of
the instruments must match.
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Chapter 6 Using MIDI
About the MIDI Implementation
Exchanging MIDI Messages
While the use of MIDI allows various devices to communicate with
each other, this does not mean that it enables exchanges of all
information. The data that can be exchanged between any two
connected devices is limited to the messages common to both
devices.
This section provides a simple description of how MIDI messages
are exchanged.
About MIDI Connectors
MIDI messages are exchanged via the connectors described below.
Connect MIDI cables to these connectors according to the use.
Therefore, MIDI device owner’s manuals always contain a MIDI
Implementation chart, which allows the user to determine quickly
what MIDI messages the particular device supports. Comparing the
MIDI Implementation charts for each device allows you to confirm
what information can be exchanged and how to accomplish this.
Since these charts are uniform in size, you can overlay the charts for
the transmitting and receiving devices when checking the
information.
Fold here
MIDI Device A
MIDI Device B
Function
Transmit
Recognized
Remarks
MIDI
Description
Connector
Messages from other MIDI devices are received
here.
MIDI IN
MIDI OUT
Messages from the VG-99 are transmitted here.
About MIDI Channels
MIDI allows various different messages to be sent separately to
multiple MIDI devices over a single MIDI cable. This is possible
thanks to the concept of MIDI channels.
A separate publication titled “MIDI Implementation” is also
available. It provides complete details concerning the way MIDI
has been implemented on this unit. If you should require this
publication (such as when you intend to carry out byte-level
programming), please access the Roland web site.
http://www.roland.com/
MIDI channels use an approach similar to that of television channels.
Switching channels on the TV allows the viewer to watch programs
from a variety of broadcasters. This is because information is
transferred over the channel to which both the transmitter and
receiver are tuned.
TV information from many different broadcasting
station is sent through an antenna.
Broadcasting
Station A
Broadcasting
Station B
Broadcasting
Station C
Select the channel of the broadcasting
station you wish to watch.
MIDI includes channels numbered 1–16; MIDI messages are
transmitted to (receiving) instruments set to the same channel as the
transmitting device’s.
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Chapter 6 Using MIDI
Bank Select and Program Change
Setting the MIDI-Related
Functions
Bank Select and Program Change are MIDI messages generally used
for switching patches.
This section describes the VG-99’s MIDI-related functions. Set these
according to how they are to be used.
Normally, patches are switched using Program Change messages.
However, if Program Changes alone are used, you’ll only be able to
select up to a maximum of 128 different patches. Because of this,
some devices also employ the Bank Select, expanding the number of
selectable patches.
1. Press [SYSTEM].
The System screen appears.
Patches for these devices are assigned numbers combining Bank
Select MSB, LSB numbers 0–127 and Program numbers 1–128.
2. Press PAGE [ ] to display Page 1.
*
The VG-99 disregards the Bank Select LSB.
3. Press [F6] (MIDI).
The MIDI settings screen appears.
used with MIDI.
MIDI Channel
messages corresponding to the VG-99’s patches and operations.
Also refer to “Playing an External Synthesizer Sound Module
(GUITAR TO MIDI)” (p. 64) if you are using the GUITAR TO MIDI
function, and refer to “Controlling Video Images with Your Guitar
(V-LINK)” (p. 96) if you are using the V-LINK function.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
2. Press PAGE [ ] to display Page 1.
3. Rotate the F1 knob to set the MIDI channel (1–
16).
Be sure not to set the same MIDI channel as the channel
used for the GUITAR TO MIDI or V-LINK functions.
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Chapter 6 Using MIDI
SYNC CLOCK
When set to MIDI Omni mode, the VG-99 receives messages on all
MIDI channels, regardless of the MIDI channel settings. You can use
Omni mode whenever you do not need to use specific MIDI
channels in controlling the VG-99.
You can synchronize the VG-99 to the MIDI Clock (tempo)
transmitted from a MIDI sequencer or other external MIDI device.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
3. Use [F6] (SELECT) or the F6 knob to select the
2. Press PAGE [ ] to display Page 1.
MIDI Clock to use as the tempo reference.
For detailed information on the parameters that can be
set, refer to “Syncing to the MIDI CLOCK from an
External Device” (p. 64).
3. Set Omni mode on or off with [F2] or the F2
MIDI ROUTING
knob.
Set the VG-99’s control signal path.
The VG-99 features three types of connectors for data input and
than the FC-300, you need to consider the routing of the control
signals.
Even with Omni mode set to ON, the only Exclusive
messages received will be those carrying the Device ID
set for Device ID.
Check the display as you set the necessary connections.
You can make the settings for MIDI IN and OUT on Page 2, for the
Omni mode is set to ON at the factory.
1. Follow Steps 1–3 in “Setting the MIDI-Related
This sets the Device ID to be used for the transmission and reception
of Exclusive messages.
Functions” (p. 58) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Pages 2–4.
Device ID is set to 1 at the factory.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
2. Press PAGE [ ] to display Page 1.
3. Rotate the F3 knob to set the Device ID (1–32).
3. Set the connections with [F1]–[F3] or the F1–
F3 knobs.
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Chapter 6 Using MIDI
MIDI PC OUT
This setting determines whether or not Program Change messages
are output when the VG-99’s patches are switched.
This setting determines the sequence of Program Change messages
output when the VG-99’s patches are changed.
You can select whether to output Program Change messages set for
the patches in advance or the Program Change messages
programmed in each patch.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Page 5.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Page 5.
3. Set PC OUT ON/OFF with [F1] or the F1 knob.
When outputting Program Change messages, the VG-99
simultaneously outputs MIDI Bank Select messages.
3. Use [F2] or the F2 knob to set whether or not
the Transmit Program channel is used.
Available
Settings
Description
Regardless of the patch settings, Program Change
messages predetermined for each patch number are
output.
FIX
The Program Change messages programmed in
each patch are output.
PROG
The table below shows the correspondence between the patches and
Program Change messages when TX PC MAP is set to FIX.
Patch
Number
Bank Select Program
Number
001
:
0
:
1
:
100
101
:
0
1
:
100
1
:
200
201
:
1
2
:
100
1
:
400
3
100
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Chapter 6 Using MIDI
Setting the TX PC MAP
To set Program Change messages to be transmitted with individual
patches, make the settings described below.
You can select whether to use a fixed or freely set correspondence
between program numbers received and the patches switched to
when the VG-99’s patches are switched by Program Change
messages transmitted by an external MIDI device.
Patch parameters are settings made individually for each
patch. The Write procedure is required to save changes in the
settings.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
1. Select the patch to which you want to assign
the predetermined Program Change message
to be transmitted.
2. Press PAGE [ ] [ ] to display Page 5.
2. Press [NAME/KEY/BPM].
3. Press [F5] (TX PC).
3. Use [F3] or the F3 knob to set whether or not
the Receive Program Change Map is used.
Available
Settings
Description
4. Use [F1] – [F3] or F1 – F3 knob to set the
Program Change Number and the Bank
Select.
The VG-99 switches to the patches predetermined
for the corresponding received Program Change
messages, regardless of the Receive Program
Change Map settings.
FIX
5. If you want to save the edited settings,
The VG-99 switches to the patches set in the Receive
Program Change Map.
PROG
perform the Write procedure (p. 38).
*
If not saving the settings, press [EXIT] to return to the Play screen.
4. To change the patch assigned to a received
Program Number, press [LEFT] [RIGHT] to
display Page 6.
The RX PC MAP screen appears.
5. Assign the patch to a received Program
Number.
[F1] (BANK)/F1 Knob
•
Selects the Bank number.
•
•
[F2] (SEL ) or [F3] (SEL )/F2 or F3 Knob
Selects the Program number.
[F5] (SELECT)/F5 Knob
Selects the patch.
When the combination of the Bank number and Program
number selected with F1, F2, and F3 is received, the VG-99
switches to the patch selected with F5.
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Chapter 6 Using MIDI
The table below shows the correspondence between the factory
default Program change Map and the Program Change messages
received when RX PC MAP is set to FIX.
Bulk Dump
With the VG-99, you can use Exclusive messages to set another VG-
99 to the same settings or to save effect sound settings to MIDI
sequencers and other such devices.
This transmission of data is referred to as bulk dump.
Data that can be transmitted is described below.
Bank Select Program
Number
Patch
Number
0
:
1
001
:
:
Displayed
Data Transmitted
0
1
:
128
128
101
:
All transmittable data (SYSTEM, GK SETTING,
GLOBAL, PATCH 001–200, FAVORITE SET-
TING)
1
ALL
:
SYSTEM
SYSTEM parameters.
1
301
:
2
3
:
GK SETTING
GLOBAL
PATCH
Settings content for GK SETTING
GLOBAL function settings
Settings for patch numbers 001–200
:
3
:
100
:
400
:
FAVORITE
SETTING
Settings content in FAVORITE SETTINGS 01–
10 for all effects
3
128
400
*
When setting “OMNI MODE” (p. 170) to OFF, be sure to match
“MIDI CH (MIDI Channel)” (p. 170) to the external MIDI device’s
transmit channel beforehand.
How to Transmit the Data
Connect the devices as shown below, then place the MIDI sequencer
in standby mode, so it is ready to receive Exclusive messages.
Change Number
This sets the Control Change numbers output when the VG-99’s
pedals and external pedals or the FC-300’s pedals and external
pedals are operated.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
MIDI IN
2. Press PAGE [ ] [ ] to display Page 7.
MIDI OUT
The TX CC screen appears.
3. Use [F2] (SEL ) or [F3] (SEL ), the F2 or F3
knobs to select the controller you want to set.
For information on how to operate the sequencer you are
using, refer to the owner’s manual that came with it.
4. Use [F5] or the F5 knob to assign the Control
Change number to be transmitted when the
controller is adjusted.
When the controller selected with F2 or F3 is operated, the
Control Change message selected with F5 is transmitted.
*
Control Changes message cannot be output if OFF is selected.
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Chapter 6 Using MIDI
When Transmitting Data to Another VG-99
Connect the devices as shown below, then match the Device IDs for
the transmitting and receiving devices.
Bulk Load
Reception of VG-99 data saved to MIDI sequencers and other
devices is referred to as bulk load.
When Receiving Data Saved to a MIDI
Sequencer
1. Connect the devices as shown below. Set the
VG-99’s Device ID to the same one used when
the data was transmitted to the MIDI
sequencer.
MIDI OUT
MIDI IN
MIDI OUT
MIDI IN
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
2. Press PAGE [ ] [ ] to display Page 8.
2. Transmit the bulk data from the MIDI
sequencer.
The message “SYSTEM EXCLUSIVE MESSAGE
RECEIVING...” is displayed while the data is being received.
Once the reception is complete, you’re returned to the screen
you were in prior to reception.
3. Use [F2] (SEL) or [F3] (SEL) to select the data
In this state, the VG-99 can then receive further data.
you want to transmit.
4. Press [F1] (CHECK).
If the message “MIDI BUFFER FULL” appears, check the
connections and reduce the tempo of the transmitting
MIDI device.
Only the types of data with a check mark are transmitted.
When selecting PATCH FROM/TO, you can use the
PATCH/VALUE dial to specify the range of patch
numbers to be transmitted
5. Repeat Steps 2 and 3 as needed.
6. Press [F6] (DUMP).
Transmission begins. Once the transmission is complete,
you’re returned to the screen you were in prior to
transmission.
You can cancel the procedure in progress by pressing
[EXIT].
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Chapter 6 Using MIDI
Syncing to the MIDI CLOCK
from an External Device
Playing an External
Synthesizer Sound Module
(GUITAR TO MIDI)
The VG-99 can convert performance data to MIDI Note and Bend
messages and output these messages. Using this function allows you
to record performances to sequencers and play sounds through
external sequencer sound modules.
1. Follow Steps 1–3 in “Setting the MIDI-Related
Functions” (p. 58) to display the MIDI screen.
2. Press PAGE [ ] to display Page 1.
The GUITAR TO MIDI function features system parameters, whose
settings affect the overall functionality of the device, and patch
parameters, which are set on an individual patch basis.
Pitches output with GUITAR TO MIDI (the MIDI Note
messages) are affected by the Channel A Alternate
Tuning settings (TUNING, BEND, HARMO) and the D
Beam/ribbon controller settings (T-ARM).
3. Use [F6] (SELECT) or the F6 knob to select the
synchronizing signal.
This specifies the setting to be stored as the SYNC CLOCK
setting.
*
*
The Channel B Alternate Tuning settings have no bearing on these
output pitches.
•
•
INTERNAL
The VG-99 operates independently.
If the pitch output with GUITAR TO MIDI (the MIDI Note
messages) is excessively low (or high) due to the influence of the
Channel A Alternate Tuning settings, the pitch is then
automatically set one octave higher (or lower).
AUTO (USB)
The VG-99 is synchronized to the MIDI Clock received via
USB. However, operations are automatically synchronized to
the VG-99’s internal Clock if the VG-99 is unable to receive the
external Clock.
•
•
AUTO (MIDI)
The VG-99 is synchronized to the MIDI Clock received via
MIDI. However, operations are automatically synchronized to
the VG-99’s internal Clock if the VG-99 is unable to receive the
external Clock.
Setting the GUITAR TO MIDI
Function (System Parameters)
These procedures are used for making settings for the device as a
whole. Changes are saved at the same time they are changed. The
Write procedure is not required.
AUTO (RRC2)
The VG-99 is synchronized to the MIDI Clock received via
RRC2. However, operations are automatically synchronized to
the VG-99’s internal Clock if the VG-99 is unable to receive the
external Clock.
After entering these parameters, press [EXIT] several times to return
to the Play screen.
Switching the GUITAR TO MIDI
Function On and Off
1. Press [GUITAR TO MIDI].
The GUITAR TO MIDI screen appears.
2. Set GTR TO MIDI to ON with [F1] (OFF/ON) or
the F1 knob.
Setting this to OFF prevents the output of all MIDI messages
related to the GUITAR TO MIDI function.
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Chapter 6 Using MIDI
Selecting the Controller Used to
Thinning Out Bend Messages (BEND
Control the Hold Function (HOLD CTL)
THIN)
1. Press [GUITAR TO MIDI].
The GUITAR TO MIDI screen appears.
with operation when Pitch Bend messages containing large amounts
of data are included.
You can use the BEND THIN function to thin out the Pitch Bend
messages and control the volume of MIDI data.
1. Follow Steps 1–2 in “Selecting the Controller
Used to Control the Hold Function (HOLD
CTL)” (p. 65) to display the GTR TO MIDI
screen.
2. Press [F5] (SYSTEM).
3. Use [F1] (SELECT) or the F1 knob to select the
controller you want to set.
2. Set the function to ON with [F2] (OFF/ON) or
the F2 knob.
HOLD CTL
Controller
Select OFF when you do not want to reduce the amount of
GK S1, S2
GK-3 DOWN/S1, UP/S2 switch
data transmitted in the Pitch Bend messages.
switch connected to CTL 3,4 jack
CTL 1–4
FC-300’s CTL 1, 2 pedals or foot switch con-
nected to CTL jacks 3–8
FC-300 CTL1–8
Controllers to which HOLD CTL is assigned are enabled
CONTROL ASSIGN settings (p. 167). Set CONTROL
ASSIGN to OFF if you want to use only the Hold
function.
You can select the way the Hold function operates. For
more details, refer to “Selecting How the Hold
Functions (HOLD TYPE)” (p. 69).
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Chapter 6 Using MIDI
Setting the MIDI Transmit Channel
Preventing Transmission of Program
(BASIC CH)
This sets the MIDI channel used for output of string performance
data from the VG-99.
You can prevent transmission of Program Change messages that can
be set in “Outputting Program Change Messages
Simultaneously When Switching Patches (PC)” (p. 70).
Set the MIDI channels according to the POLY/MONO mode as
shown below.
*
This does not affect such Program Changes as those set in “MIDI PC
•
When set to POLY mode
OUT” (p. 60).
The performance data for all of the strings is transmitted over
the basic channel.
1. Follow Steps 1–2 in “Selecting the Controller
Used to Control the Hold Function (HOLD
screen.
•
When set to MONO mode
1st string: Transmitted over the basic channel.
than the basic channel.
:
For more details about the mode, refer to “Setting the
Transmission Mode (MODE)” (p. 67).
2. Set the function to ON with [F4] (OFF/ON) or
the F4 knob.
1. Follow Steps 1–2 in “Selecting the Controller
Used to Control the Hold Function (HOLD
CTL)” (p. 65) to display the GTR TO MIDI
screen.
When PC MASK is set to ON, the Program Change messages
set with the PC parameter (p. 70) in GUITAR TO MIDI are not
transmitted.
2. Set the channel with [F3] (SELECT) or the F3
knob.
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Chapter 6 Using MIDI
used, it does impose certain limitations; for example,
permitting only one tone to be selected for all of the strings.
Setting the GUITAR TO MIDI
Function (Patch Parameters)
All patches are set to MONO mode at the factory.
Patch parameters are settings made individually for each
patch. The Write procedure is required to save changes
in the settings. Carry out the Write procedure as needed.
When chords are played in POLY mode, pitch bends and
glides change in semitone increments, while vibrato
cannot be used. Pitch bends and glides work normally in
POLY Mode when playing single notes.
Setting the Transmission Mode (MODE)
1. Press [GUITAR TO MIDI].
The GTR TO MIDI screen appears.
2. Press [F3] (PATCH).
3. Press PAGE [ ] to display Page 1.
4. Set the mode with [F1] (SELECT) or the F1
knob.
MONO (MONO Mode)
•
In this mode, one channel per string is used, thus using a total
of six channels.
Since each string uses a different MIDI channel, you can select
a different tone for each string, using string bending or
continuously varying the pitch on a specific string; however,
this requires use of a multitimbral sound module.
POLY (POLY Mode)
•
In this mode, the messages for all six strings are transmitted
over a single channel.
While transmitting the MIDI messages for all of the strings
over one channel does simplify the settings needed for the
sound module and reduces the number of MIDI channels
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Chapter 6 Using MIDI
This selects the response of the synth sound relative to the picking
dynamics.
When using string bending or other such techniques to gradually
change the pitch with the guitar or bass, you can set the VG-99 so
that the pitch of the MIDI messages being output changes in
semitone increments.
Changing this setting depending on the performance style used with
the guitar or the tone allows you to express dynamics more
naturally.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 67) to display the GTR TO
MIDI screen.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 67) to display the GTR TO
MIDI screen.
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] to display Page 1.
3. Adjust the setting with [F3] (SELECT) or the F3
3. Adjust the setting with [F2] (SELECT) or the F2
knob.
OFF
•
knob.
Normal Pitch Bend messages are output. The pitch varies
•
FEEL1–FEEL4
continuously in keeping with the string bending or vibrato.
FEEL1 is the mode that gives sounds the broadest variation in
volume based on the picking dynamics. As the setting number
is increased, it becomes easier to produce high volume sounds
even with weaker picking.
•
TYPE 1
When the pitch changes, this setting applies the results of the
pitch change information without stopping the note that is
playing.
This allows you to play with consistent volume, whether you
tap the strings or use rough picking.
NO DYNA
In this mode, sounds are played at a fixed volume regardless
of the picking strength.
This produces a unique effect, whereby there is no attack
sound when the pitches change, similar to slurring on a
recorder.
•
•
•
TYPE 2
When the pitch changes, the VG-99 retriggers (replays) the
sound at the changed pitch, producing pitch changes only at
the semitone increments.
STRUM
This suppresses the output of sounds from weaker picking.
This setting allows you to prevent undesired sounds
produced when playing rhythm or due to incidental contact
with strings from incorrect picking.
As a result, the attack sound plays each time the pitch
changes. The attenuation of the string vibration following the
moment the string is played is reflected in the gradual fading
of the retriggered sound.
•
TYPE 3
As with TYPE 2, sounds are retriggered at the changed pitch,
expressing the pitch changes only in semitones.
However, instead of reflecting the attenuation of the string
vibration, the retriggered sound is the same as that when the
string was initially played.
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Chapter 6 Using MIDI
Selecting How the Hold Functions
Operating the Controllers (CC)
You can operate the panel knobs and pedals to output Control
Change messages.
(HOLD TYPE)
This selects the Hold function type when the controller set with the
HOLD CTL parameter (p. 65) is adjusted.
There are two different settings.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 67) to display the GTR TO
MIDI screen.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 67) to display the GTR TO
MIDI screen.
2. Press PAGE [ ] to display Page 1.
2. Press PAGE [ ] [ ] to display Page 2.
3. Use [F1] (SELECT) or the F1 knob to select
MONO.
3. Use [F1] (SELECT) or the F1 knob, or [F4]
(SELECT) or the F4 knob, to select the
controller you want to set.
4. Adjust the setting with [F4] (SELECT) or the F4
knob.
•
HOLD 1
SRC
GK VOL
Controller
The Note On messages are held when the Hold function is
switched on with the controller.
GK-3 Volume knob
GK-3 DOWN/S1 Switch
GK-3 UP/S2 Switch
Control Button 1
GK S1
If the Hold function remains on as you continue to play the
strings, each successive Note On message is held, and when a
Note message is already being played from the same string,
the previous Note message is cancelled, and the next Note On
message is held. This allows you to prevent any interruption
in the sounds, even sounds from releasing the strings over the
frets.
GK S2
CTL1
CTL2
Control Button 2
EXP PEDAL
CTL3
External Expression Pedal
External Footswitch 3
External Footswitch 4
D BEAM Height
CTL4
•
•
HOLD 2
D BEAM V
D BEAM H
RIBBON ACT
RIBBON POS
FC-300 EXP1
FC-300 EXPSW1
FC-300 EXP2
FC-300 EXPSW2
FC-300 CTL1
FC-300 CTL2
The Note On messages are held when the Hold function is
switched on with the controller.
D BEAM Left-Right
Ribbon Controller Touch
Ribbon Controller Touch Position
FC-300’s EXP PEDAL 1
FC-300’s EXP PEDAL SW1
FC-300’s EXP PEDAL 2
FC-300’s EXP PEDAL SW2
FC-300’s CTL1
However, subsequent Note On messages are not output if you
continue to play the instrument with the Hold effect left on.
HOLD 3
The Note On messages are held when the Hold function is
switched on with the controller.
If the Hold function remains on as you continue to play the
strings, Note On messages for strings other than the one
already being held can be output, but they are not held.
FC-300’s CTL2
FC-300’s External Expression Pedal 3,
External Footswitch 3
FC-300 E3/C3
FC-300 CTL4
FC-300 E4/C5
FC-300 CTL6
FC-300 E5/C7
FC-300 CTL8
FC-300’s External Footswitch 4
FC-300’s External Expression Pedal 4,
External Footswitch 5
FC-300’s External Footswitch 6
FC-300’s External Expression Pedal 5,
External Footswitch 7
FC-300’s External Footswitch 8
4. Use [F2] (SELECT) or the F2 knob, or [F5]
(SELECT) or the F5 knob, to select the Control
Change number you want to output.
Off, CC #1–#31, CC #64–#95
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Chapter 6 Using MIDI
Outputting Program Change Messages
The MIDI channel over which the messages are output in
POLY mode is only the basic channel. In MONO mode,
the messages are output over the six channels spanning
from the basic channel up to the channel numbered five
above the basic channel.
This sets the Program Change messages that are output when the
VG-99’s patches are switched.
*
Program Change messages are not output while PC MASK (p. 66) is
set to ON.
1. Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 67) to display the GTR TO
MIDI screen.
2. Press PAGE [ ] [ ] to display Pages 3–5.
When MODE (p. 67) is set to MONO, you can make settings
individually for each of the six strings of STRING 1–6.
3. Make the settings with [F1]–[F6] or the F1–F6
knobs.
Set the following parameters.
BANK MSB
Explanation
OFF, 0–127
This sets the Bank Select (MSB).
BANK LSB
Explanation
OFF, 0–127
This sets the Bank Select (LSB).
PC
Explanation
OFF, 1–128
This sets the Program Number.
The MIDI channel over which the messages are output in
POLY mode is only the basic channel. In MONO mode,
the messages are output over the six channels spanning
from the basic channel up to the channel numbered five
above the basic channel.
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Chapter 7 Using the VG-99 Connected
to a Computer Via USB
Before Using the USB
What is a USB Driver?
A USB driver is software that acts as a go-between in
Connection
transferring data between computer applications (such as
By using USB with the VG-99, you’ll be able to exchange digital
recording software and sequencer software) and the USB device
audio signals and MIDI messages with your computer.
when the computer and USB device are connected using a USB
cable.
The USB driver transmits data from the applications to the USB
Installing and Setting the USB Driver
device, and conversely, passes messages from the USB device to
Use of the VG-99’s USB functionality requires that the USB driver
the applications.
first be installed on the computer.
The dedicated VG-99 driver is contained on the “VG-99 Software
CD-ROM” included with the VG-99.
As the program and procedures used in installing the driver vary
Application
according to the operating environment, carefully read the following
Readme file contained on the “VG-99 Software CD-ROM” before
use.
USB Connector
USB
Driver
Using OS
Contained location
USB Cable
\Driver\XP\Readme_E.htm
\Driver\Vista\Readme_E.htm
\Driver\Readme_E.htm
Windows XP
Windows Vista
Mac OS X
Computer
VG-99
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Chapter 7 Using the VG-99 Connected to a Computer Via USB
About the Included Software
Switching the Driver Mode
In addition to the USB drivers, the included “VG-99 Software CD-
ROM” also contains special software that can be used when the VG-
99 is connected with a computer. The CD-ROM contains different
versions for use with Windows and Macintosh operating systems.
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
VG-99 Editor
You can use this to make settings for the VG-99 from your computer.
You can also save tone setting (patch) data you have created as files
on the computer.
VG-99 Librarian
You can manage the VG-99’s settings and patches all together using
your computer.
3. Press [F2] (USB).
4. Press PAGE [ ] to go to Page 2.
Driver Mode
The VG-99 features two operational modes, one which uses the
special driver contained on the included CD-ROM, and one in which
the OS’s (Windows/Mac OS) standard driver is used.
Using the specialized driver, you can record, play back, and edit
audio with high-quality sound and stable timing.
It also allows you to control the VG-99 using MIDI messages.
5. Set the DRIVER MODE with [F1] (SELECT) or
the F1 knob.
Setting
Explanation
This mode uses the OS’s standard USB driv-
er.
STNDRD
This mode uses the dedicated driver con-
tained on the CD-ROM.
ADVANC
*
*
When using VG-99 Editor/Librarian, set this to ADVANC.
The message “PLEASE RESTART” appears when DRIVER
MODE is switched.
6. Press [EXIT] one or more times to return to the
Play screen.
*
If you have not yet installed the driver for the mode you have set,
turn off the power to the VG-99 in this condition and install the
driver.
7. Quit all sequencer software and other
applications on the computer that are using
the VG-99.
8. Turn on the power to the VG-99 again.
*
The functions of a mode won’t become available until after the power
has been turned off, then on again.
About MIDI in Standard Driver Mode
You cannot use MIDI when STNDRD is selected as the driver mode.
If you want to use MIDI with the USB connection, set the VG-99 to
the advanced driver mode.
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Chapter 7 Using the VG-99 Connected to a Computer Via USB
Parameter/
Explanation
Setting the USB Functions
Range
COSM GTR B
The signals are connected at the point where
the COSM GUITAR B is output.
The following section describes the VG-99’s USB-related functions.
Make these settings in accordance with how you plan to use the VG-
99.
The audio output from the computer, in-
stead of the COSM guitar sounds played by
the connected guitar, is input to the effects.
* POLY FX are not applied.
Setting the Digital Audio Signal
Input and Output
NORMAL PU
MAIN OUT
SUB OUT
The signals are connected at the normal
pickup input.
The audio output from the computer, in-
stead of the normal sounds played by the
connected guitar, is input to the effects.
1. Press [SYSTEM].
The signals are connected at the point where
MAIN OUT is output.
The signals from the VG-99’s MAIN OUT
and the audio output from the computer are
mixed and output.
2. Press PAGE [ ] to go to Page 2.
The signals are connected at the point where
SUB OUT is output.
The signals from the VG-99’s SUB OUT and
the audio output from the computer are
mixed and output.
3. Press [F2] (USB).
MAIN&SUB
The signals are connected at the point where
both MAIN OUT and SUB OUT are output.
Each of the signals from the VG-99’s MAIN
OUT and the audio output from the com-
puter are mixed, SUB OUT and the audio
output from the computer are mixed from
the output.
4. Press PAGE [ ] to go to Page 1.
IN LEVEL
0–200
Adjusts the volume level of the digital audio
received via USB (from the computer).
USB OUT
5. Change the setting’s value with [F1]–[F4] or
This sets the point internally within the VG-99 from which signals
are output via USB (to the computer).
the F1–F4 knobs.
COSM GTR A
The output from COSM GUITAR A is out-
put.
6. Press [EXIT] one or more times to return to the
Play screen.
COSM GTR B
The output from COSM GUITAR B is out-
put.
Parameter/
Explanation
Range
NORMAL PU
CH A
The normal pickup input is output.
The output from Channel A is output.
The output from Channel B is output.
USB IN
CH B
This sets the point at which digital audio signals received via USB
(from your computer) are connected within the VG-99.
MIXER (DRY)
The signals that have been mixed with the
mixer, but before application of DELAY/
REVERB, are output.
* Unless this is set to OFF, make sure the software is not set to thru for
audio signals.
MIXER
The signals that have been mixed with the
mixer and have DELAY/REVERB applied
are output.
* If the USB IN parameter is set to COSM GTR A, COSM GTR B, or
NORMAL PU, the setting automatically changes to MAIN & SUB the
next time the VG-99 is powered up. If you plan to use COSM GTR A,
COSM GTR B, or NORMAL PU, make the setting each time you turn
on the power to the VG-99.
MAIN OUT
SUB OUT
The same signals as those from MAIN OUT
are output.
The same signals as those from SUB OUT
are output.
OFF
The signals are not connected at any point.
OUT LEVEL
0–200
COSM GTR A
The signals are connected at the point where
the COSM GUITAR A is output.
Adjusts the volume level of the digital audio
output via USB (to the computer).
The audio output from the computer, in-
stead of the COSM guitar sounds played by
the connected guitar, is input to the effects.
* POLY FX are not applied.
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Chapter 7 Using the VG-99 Connected to a Computer Via USB
Parameter/
Range
Setting the Direct Monitor
Explanation
MON CMD (Monitor Command)
1. Press [SYSTEM].
This setting determines whether or not the command (the Direct
Monitor command) controlling the Direct Monitor (described later)
setting is enabled.
2. Press PAGE [ ] [ ] to go to Page 2.
DISABL
The Direct Monitor command is disabled,
maintaining the Direct Monitor mode set by
the VG-99.
ENABLE
The Direct Monitor command is enabled, al-
lowing the Direct Monitor mode to be
switched from an external device.
DIRECT MON (Direct Monitor)
Switches the output of the VG-99 sound to the PHONES jack, MAIN
OUT jacks, or SUB OUT jacks.
3. Press [F2] (USB).
4. Press PAGE [ ] to go to Page 2.
Computer
Audio IN
Audio signal
Audio OUT
USB OUT
USB IN
Guitar Amp
Headphones
Mixer
DIRECT MON
5. Change the setting’s value with [F2] (SELECT),
[F3] (OFF/ON) or the F2, F3 knobs.
VG-99 sound
MAIN or SUB
For more information on signal paths set by the Direct
Monitor parameter settings, refer to “Signal Flow” (p.
183).
OFF
ON
Set this to Off if transmitting audio data in-
ternally through a computer (Thru).
6. Press [EXIT] one or more times to return to the
The VG-99 sound is output. Set this to On
when using the VG-99 as a standalone de-
vice, without connecting to a computer
(only USB IN input sound will be output if
this is set to Off).
Play screen.
* This setting cannot be saved. It is set to ON when the power is turned
on.
* If you are using the special driver, you can control DIRECT MON On/
Off from ASIO 2.0-compatible application.
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Chapter 7 Using the VG-99 Connected to a Computer Via USB
Recording the VG-99’s
Using the VG-99 to Add
Effects to Audio Playback
from a Computer
In the computer application, set the audio output port to the VG-99.
You can use the VG-99 to apply effects to the audio data played by
the computer, then record the data again with the computer.
Use this process when, for example, you want to add effects to
existing audio data.
Output with a Computer
In the computer application, set the audio input port to the VG-99.
You can freely set the point at which signals are sent to the computer
with “USB OUT” (p. 73)
For example, by selecting COSM GTR A or COSM GTR B, you can
listen to the performance with the effects applied, while recording it
without the effects.
*
If passing audio data through the software you’re using, switch the
direct monitor off.
*
Set the software so audio is not passed through it.
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
3. Press [F2] (USB).
4. Press PAGE [ ] to go to Page 1.
made.
Here, set either COSM GTR A, COSM GTR B, or NORMAL
PU.
For more information about the USB IN parameter
settings, refer to “Setting the Digital Audio Signal
Input and Output” (p. 73).
6. Use [F2] or the F2 knob to adjust the level of
the digital audio from the USB (computer).
7. Press [EXIT] one or more times to return to the
Play screen.
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Chapter 8 Other Functions
Changing the Tone in Real
Time with the D Beam and
Ribbon Controllers
•
Be sure to adjust the CALIBRATION directly above the D Beam
controller.
OK!
Adjusting the D Beam
(CALIBRATION)
The sensitivity of the D Beam controller can vary depending on the
amount of light in the vicinity of the controller and the object (e.g.,
hand, guitar neck) used to operate it. Perform this adjustment so you
can control the tone in the intended range.
1. Press [SYSTEM].
•
•
When the message “MISSING THE TARGET!” appears, it
indicates that the calibration is not being performed correctly.
2. Press PAGE [ ] [ ] to go to Page 2.
The CALIBRATION setting is a system parameter, so the Write
procedure is not required.
3. Press [F5] (CALIB).
4. Press PAGE [ ] to go to Page 1.
5. Set the beam’s responsive range as you
actually operate the D Beam controller.
•
First, hold the object you will use to activate the controller (your
hand, guitar neck, etc.) at the point farthest from the VG-99 in
the range you want the controller to respond, and press [F1]
(SetMIN).
•
Next, hold the object at the closest point in the range you want
the controller to respond, and press [F4] (SetMAX).
6. Press [EXIT] several times to return to the Play
screen.
•
•
The D Beam controller’s response may also vary with the stage
lighting used. Confirm operation of the controller by testing it
onstage under the actual illumination.
If the set range is too narrow or if the positioning is not suitable,
the message “OUT OF RANGE! SET AGAIN.” appears. To keep
this message from appearing, change the range or position and
recalibrate.
•
The controller may not function properly with spot lights or
other such lighting shining directly on it.
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Chapter 8 Other Functions
Disabling the D Beam (DISABLE)
You can disable the D Beam controller for the entire device.
If you are using the VG-99 rack-mounted or otherwise not using the
D Beam controller, we recommend disabling the D Beam controller
by setting D BEAM DISAB to OFF.
Controlling Sounds by Hand
Motion or the Guitar Neck
moving your hand or guitar neck over it. You can apply various
effects to the sound by changing the functions assigned to this
controller.
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
Before using the D Beam controller, you need to adjust
its sensitivity “Adjusting the D Beam
(CALIBRATION)” (p. 76).
3. Press [F5] (CALIB).
4. Press PAGE [ ] to go to Page 1.
The D BEAM CALIB screen appears.
1. Press the D BEAM [PITCH], [FILTER], or
[ASSIGNABLE] button to switch the D Beam
controller on.
The D Beam controller ON/OFF setting is a patch
parameter. Carry out the Write procedure as required.
(p. 38)
5. Switch the controller on or off with [F6] (OFF/
ON).
Available Settings Explanation
You can use the T-Arm function to control
the guitar’s pitch, and the Freeze function to
hold guitar sounds.
Available Settings Explanation
OFF
The D Beam is enabled.
The D Beam is disabled.
PITCH
*
The PITCH effect is applied only to
COSM guitars. Use this with the COSM
* Pressing the D BEAM [PITCH], [FILTER],
or [ASSIGNABLE] button to switch the D
Beam controller on will have no effect.
ON
controller.
FILTER
6. Press [EXIT] several times to return to the Play
The D Beam controller controls the function
assigned to it. You can assign a variety of
functions to the controller.
ASSIGNABLE
screen.
The DISABLE setting is a system parameter, so the Write
procedure is not required.
For instructions on how to set these functions and tones, please
read “Using the Switches, Pedals, and MIDI to Control the
Sounds (CONTROL ASSIGN)” (p. 82).
2. While you play the guitar to produce sound,
place your hand or guitar neck above the D
Beam controller and move it slowly up and
down.
Use of the D Beam ASSIGNABLE setting also enables
detection horizontally (left to right).
3. The effect is applied to the sound in
accordance with the function assigned to the
D Beam controller.
The blue indicator under the D Beam controller lights while the
D Beam effect is being applied.
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Chapter 8 Other Functions
4. To turn off the D Beam controller, press the
button you pressed in Step 1 again so the
indicator goes off.
Adjusting the Ribbon Controller
(CALIBRATION)
While the ribbon controller has been adjusted at the factory for
optimum performance, the responsive range may vary with the
width of the finger used to activate the controller.
Effective Range of the D Beam Controller
The D Beam controller’s effective range is shown in the figure
below. Moving your hand outside this effective range produces
no effect.
If this occurs, use the procedure below to readjust the range.
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
3. Press [F5] (CALIB).
The effective range of the D Beam controller will be
extremely limited when used under strong, direct
sunlight. Please be aware of this when using the D
Beam controller outdoors.
4. Press PAGE [ ] to go to Page 2.
The RIBBON CALIB screen appears.
The sensitivity of the D Beam controller can vary
depending on the amount of light in the vicinity of
the unit. If it does not function as you expect, adjust
the D Beam.(p. 76)
5. Set the responsive range as you actually
operate the ribbon controller.
•
•
First, while holding your finger against the near end of the
ribbon controller, press [F1] (SetMIN).
Next, hold your finger against the far end and press [F4]
(SetMAX).
The parameter values set by holding your hand or
other object over the D Beam controller change as
shown below.
If the message “OUT OF RANGE! SET AGAIN.” is displayed,
carry out the calibration process once more. If the message
continues to appear even after the calibration is correctly
performed, it may indicate damage or malfunction. Consult
your Roland dealer or contact Roland Service.
D BEAM vertical
movements
Explanation
Closer to the D Beam The value approaches the MAX value.
Farther from the D
The value approaches the MIN value.
Beam
6. Press [EXIT] several times to return to the Play
screen.
D BEAM horizontal Explanation
movements
To the right of the D
The value approaches the MAX value.
Beam
The CALIBRATION setting is a system parameter, so the
Write procedure is not required.
To the left of the D
The value approaches the MIN value.
Beam
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Chapter 8 Other Functions
Controlling the Sounds with the
Movement of Your Fingertip
(Ribbon Controller)
The ribbon controller allows you to change sounds by “scratching”
or tracing your finger along the ribbon. You can apply various effects
to the sound by changing the functions assigned to this controller.
Holding Sounds for Extended
Periods (FREEZE)
You can press the D BEAM [PITCH] button to use the FREEZE
effect, which allows you to hold sounds indefinitely.
1. Press [CONTROL ASSIGN]
2. Press PAGE [ ] [ ] to go to Page 2.
1. Press the RIBBON CONTROLLER [PITCH],
[FILTER], or [ASSIGNABLE] button to switch
on the ribbon controller.
Available Settings Explanation
You can use the T-Arm function to control
the guitar’s pitch, and the Freeze function
3. Press [F1] (PITCH).
to hold guitar sounds.
PITCH
*
The PITCH effect is applied only to
COSM guitars. Use this with the
COSM guitar volume raised. (p. 33)
4. Select FREEZE with [F1] (SELECT) or the F1
FILTER
The ribbon controller controls the function
assigned to it. You can assign a variety of
functions to the controller.
ASSIGNABLE
For more on how to set functions and tones, please read “Using
the Switches, Pedals, and MIDI to Control the Sounds
(CONTROL ASSIGN)” (p. 82).
channel with the sounds you want to freeze.
6. Set each of the FREEZE parameters on Page 1
2. While you play the guitar to produce sound,
scratch your finger along the ribbon
controller.
or Page 2
For more detailed information on the parameters that can be set,
refer to (p. 151).
3. The effect is applied to the sound in
accordance with the function assigned to the
ribbon controller.
7. Press [EXIT] several times to return to the Play
screen.
4. To turn off the ribbon controller, press the
button you pressed in Step 1 again so the
indicator goes off.
8. Press the D BEAM [PITCH] button, causing the
indicator to light.
9. Play the guitar, and while the sounds are
playing, cut across the D Beam with your hand
or guitar neck.
The setting switching the ribbon controller on and off is
a patch parameter. Carry out the Write procedure as
required.
10. The FREEZE function switches on and the
same sound continues to hold, while the D
Beam controller’s blue indicator lights up.
A light touch is sufficient when operating the ribbon
controller.Never press the ribbon controller forcefully or with a
hard object or a pointed object.
11. To switch FREEZE off, swipe your hand or
guitar neck across the D Beam controller’s
beam.
*
With D BEAM:FREEZE:SW set as the target in Control Assign,
you can control the FREEZE effect ON/OFF using an external
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Chapter 8 Other Functions
pedal, MIDI device, or any of a variety of other controllers.
For more detailed information on the parameters that can be set,
refer to “PITCH” (p. 151), (p. 153).
Changing the Pitch as with a
Tremolo Arm (T-ARM)
You can press the D BEAM or RIBBON CONTROLLER [PITCH]
button to use T-ARM, which changes the pitch of the COSM guitar
like a tremolo arm.
8. Press [EXIT] several times to return to the Play
screen.
9. Press the D BEAM or RIBBON CONTROLLER
[PITCH] button, causing the indicator to light.
1. Press [CONTROL ASSIGN]
10. Use the D Beam or ribbon controller like a
tremolo arm to change the pitch.
2. Press PAGE [ ] [ ] to go to Page 2 for the D
*
With D BEAM:T-ARM:SW or RIBBON:T-ARM:SW and “
BEAM:T-ARM:CONTROL and RIBBON:T-ARM:CONTROL set
as the target in Control Assign, you can control the T-ARM effect
using an external pedal, MIDI device, or any of a variety of other
controllers.
Beam, or Page 3 for the ribbon controller.
3. Press [F1] (PITCH).
4. Press PAGE [ ] to go to Page 1.
5. Select T-ARM with [F1] (SELECT) or the F1
knob.
The D BEAM T-ARM or the RIBBON T-ARM screen appears.
*
This step is not necessary if you are using the ribbon controller. In
this case, proceed to Step 5.
6. Use [F2] (SELECT) or the F2 knob in the D
Beam screen or [F1] (SELECT) or the F1 knob
in the Ribbon Controller screen to select the
channel to which you want to apply the effect.
7. Set each of the T-ARM parameters on Page 1
or Page 2
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Chapter 8 Other Functions
9. Use the D Beam or ribbon controller to apply
Adding Nuance to the Sound
(FILTER)
You can press the D BEAM or RIBBON CONTROLLER [FILTER]
button to apply the FILTER effect and add nuance to the tone in
Channel A or B, or both channels.
the filter and add nuance to the sound.
*
With D BEAM:FILTER:SW or RIBBON:FILTER:SW and D
BEAM:FILTER:CONTROL and RIBBON:FILTER:CONTROL set
as the target in Control Assign, you can control
FILTER:CONTROL using an external pedal, MIDI device, or any
of a variety of other controllers.
1. Press [CONTROL ASSIGN]
2. Press PAGE [ ] [ ] to go to Page 2 for the D
Beam, or Page 3 for the ribbon controller.
3. Press [F2] (FILTER).
4. Press PAGE [ ] to go to Page 1.
The D BEAM FILTER or the RIBBON FILTER screen appears.
channel to which you want the effect to be
applied.
6. Set each of the FILTER parameters on Page 1.
For more detailed information on the parameters that can be set,
refer to “FILTER” (p. 152), (p. 153).
7. Press [EXIT] several times to return to the Play
screen.
8. Press the D BEAM or RIBBON CONTROLLER
[FILTER] button, causing the indicator to light.
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Chapter 8 Other Functions
Changing the Sounds with
the Knobs as You Play
(DIRECT EDIT)
Using the Switches, Pedals,
and MIDI to Control the
Sounds (CONTROL ASSIGN)
You can assign parameters to the F1–F6 knobs to control the
parameters as you play.
These settings are made when parameters are to be controlled with
the GK-3 VOLUME knob or DOWN/S1, UP/S2 switches, the VG-
controller, or a connected MIDI device.
Additionally, you can check (display) the assigned parameters by
pressing [F1]–[F6].
In addition to settings already assigned to controllers, the VG-99 also
1. Press [CONTROL ASSIGN]
2. Press PAGE [ ] to go to the last page.
*
*
*
set the effect to ON beforehand.
For more detailed information on the parameters, refer to
“CONTROL ASSIGN” (p. 150),
Enabling the settings requires setting each of the controller
assignments to ASSIGNABLE in the SYSTEM CONTROL ASSIGN
screen. For detailed information, refer to “Setting the GK VOLUME
Control and Switch and the Pedal Function (SYSTEM
CONTROL ASSIGN)” (p. 49).
3. Press [F6] (F1–F6) to enter the DIRECT EDIT
screen.
1. Press [CONTROL ASSIGN]
The DIRECT EDIT screen appears.
2. Select the controller you want to set with
PAGE [ ] [ ] and [F1]–[F6].
The various controllers’ setting screens appear.
*
The following section describes the controllers you can set.
4. Press Page [ ] [ ] to go to the page for the
knob you want to set.
5. Use the [F1]–[F6] or F1–F6 knobs to select the
parameters you want to assign to the knob.
Displayed
screen
Controller
6. If you want to save the edited settings,
Settings for the volume knob on the
GK-3.
GK VOL
GK VOL
S1, S2
CTL1
perform the Write procedure (p. 38).
If not saving the settings, press [EXIT] to return to the Play screen.
*
Settings for the switches on the
GK-3.
GK S1, S2
Settings for the CONTROL 1 But-
ton on the VG-99’s top panel.
CONTROL1
CONTROL2
Settings for the CONTROL 2 But-
ton on the VG-99’s top panel.
CTL2
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Chapter 8 Other Functions
Displayed
screen
Controller
Displayed
screen
Controller
Control of TREMOLO ARM/
FREEZE with the D Beam control-
ler
Settings for the expression pedal 1
on the FC-300 connected to the VG-
99.
D BEAM T-ARM/
D BEAM FREEZE
FC EXP1
PITCH
EXP1
Control of FILTER with the D
Beam controller
Settings for the expression pedal
switch 1 on the FC-300 connected
to the VG-99.
D BEAM FILTER
D BEAM V
FILTER
DBM V
DBM H
FC EXPSW1
FC EXP2
EXPSW1
EXP2
D Beam controller vertical sensor
Settings for the expression pedal 2
on the FC-300 connected to the VG-
99.
D Beam controller horizontal sen-
sor
D BEAM H
Settings for the expression pedal
switch 2 on the FC-300 connected
to the VG-99.
FC EXPSW2
EXSW2
Settings for the CTL1 on the FC-300
connected to the VG-99.
FC CTL1
FC CTL2
CTL1
CTL2
Settings for the CTL2 on the FC-300
connected to the VG-99.
Displayed
screen
Controller
Control of PITCH with the Ribbon
controller
RIBBON PITCH
RIBBON FILTER
PITCH
Control of FILTER with the Ribbon
controller
FILTER
RIBBON POS
RIBBON ACT
Ribbon controller position sensor
Ribbon controller touch sensor
RB POS
RB ACT
Displayed
screen
Controller
Settings for the expression pedal 3
or footswitch 3 connected to the
FC-300’s rear panel.
FC E3/C3
FC CTL4
FC E4/C5
FC CTL6
FC E5/C7
FC CTL8
E3/C3
CTL4
E4/C5
CTL6
E5/C7
CTL8
Settings for the footswitch 4 con-
nected to the FC-300’s rear panel.
Settings for the expression pedal 4
or footswitch 5 connected to the
FC-300’s rear panel.
Displayed
screen
Controller
Settings for the footswitch 6 con-
nected to the FC-300’s rear panel.
Settings for the expression pedal
connected to the EXP PEDAL jack
on the VG-99’s rear panel.
EXP PEDAL
CTL3
EXP
Settings for the expression pedal 5
or footswitch 7 connected to the
FC-300’s rear panel.
Settings for the footswitch connect-
ed to the CTL3 jack on the VG-99’s
rear panel.
CTL3
CTL4
Settings for the footswitch 8 con-
nected to the FC-300’s rear panel.
Settings for the footswitch connect-
ed to the CTL4 jack on the VG-99’s
rear panel.
CTL4
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Chapter 8 Other Functions
The following section describes the parameters you
can set on each page.
*
The screen shown in the example is for ASSIGN1.
Page 1, 3
F1: SOURCE (ASSIGN1–16 only)
This selects the controller assigned to the function.
F3: SW (ON/OFF)
Displayed
screen
Controller
Setting this to ON enables the controller.
Settings for general purpose as-
signs you can set freely as control-
lers for MIDI messages and other
controllers in addition to those de-
scribed above.
ASGN 1
:
ASGN16
ASSIGN1
:
ASSIGN16
Use these to select the parameter you want to assign.
You can quickly locate and select the desired parameter by first
narrowing down the parameter type with F4, then using F5 and
then F6 to reach the right parameter.
Settings for the function knobs ar-
ranged below the VG-99’s LCD.
DIRECT EDIT
F1–F6
For more details on the parameters, refer to “CONTROL
3. Select the function you want to assign with
ASSIGN” (p. 150).
PAGE [ ] [ ], [F1]–[F6], and the F1–F6
knobs.
Page 2, 4
For more on PITCH and FILTER of the D BEAM controller,
refer to “Controlling Sounds by Hand Motion or the Guitar
Neck (D Beam Controller)” (p. 77). For more on PITCH and
FILTER of the Ribbon controller, refer to “Controlling the
Sounds with the Movement of Your Fingertip (Ribbon
Controller)” (p. 79).
F2: MIN
This sets the minimum value for the target’s controllable range.
F3: MAX
This sets the maximum value for the target’s controllable range.
F4: SW MODE (only when a switch type controller is selected for
SOURCE)
This specifies how the switches function.
Available Settings Explanation
The parameter switches to the maximum
value only while the switch is held down,
and switches to the minimum value when
MOMENT
the switch is released.
The value alternately switches between
maximum and minimum each time the
switch is pressed.
LATCH
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Chapter 8 Other Functions
F4: MODE (GK S1, S2 only)
This specifies how the switches function.
About the Range of Targets’ Change
*
Combinations of the actions below are possible.
S1: DEC / S2: INC
S1: INC / S2: DEC
S1: MIN / S2: MAX
S1: MAX / S2: MIN
The target’s value changes between MIN (the minimum value)
and MAX (the maximum value).
When a foot switch or other controller that switches settings on
and off is used, OFF sets the minimum value and ON sets the
maximum value.
Available Settings Explanation
Value
200%
The value increases.
INC
The value decreases.
DEC
MIN
MAX
MAX
The value is set to the minimum.
The value is set to the maximum.
F5: RANGE LOW (only when an expression pedal or other controller
that changes values in a continuous, non-discrete way is set as
the source)
MIN
0%
This sets the minimum for the range in which the value of the
setting can be changed.
Off
On
F6: RANGE HIGH (only when an expression pedal or other
controller that changes values in a continuous, non-discrete way
is set as the source)
Footswitch
When an expression pedal or other controller that changes
values in a consecutive manner is used, the value changes
within the range between MIN and MAX.
This sets the maximum for the range in which the value of the
setting can be changed.
Value
200%
MAX
MIN
Degree to
Which Expression
Pedal Is Depressed
0%
127
0
When the pedal
is fully raised
When the pedal
is fully advanced
EXP Pedal
When an expression pedal or other controller that changes
values in a consecutive manner is used to control a two-value
(On/Off) parameter, the controller functions as shown below.
Value
ON
Degree to
Which Expression
Pedal Is Depressed
OFF
127
0
When the pedal
is advanced halfway
When the pedal
is fully raised
When the pedal
is fully advanced
EXP Pedal
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Chapter 8 Other Functions
One Touch Call Up of Favorite
Patches (DIRECT PATCH)
About the Range of Controllers’ Change
This sets the operational range (range in which the value
actually changes) for an expression pedal, or similar controller
that changes the value of a setting in a continuous fashion,
when it has been set as the source.
You can assign your favorite patches to the [DIRECT PATCH 1] –
[DIRECT PATCH 5] buttons, then call up these patches just by
pressing the buttons.
If the controller adjustment moves beyond the enabled range of
operation, the value of the setting remains at the maximum
value or minimum value, without changing any further.
Setting DIRECT PATCH
Value
1. Press [SYSTEM].
200%
MAX
2. Press PAGE [ ] to go to Page 1.
MIN
Degree to
Which Expression
Pedal Is Depressed
0%
3. Press [F2] (DIRECT).
127
0
RANGE
LOW
RANGE
HIGH
The DIRECT PATCH screen appears.
4. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
4. Use the F1–F5 knobs to select the patches to
be assigned to [DIRECT PATCH 1]–
[DIRECT PATCH 5].
The numbers correspond, with DIR. PATCH 1 assigned with
the F1 knob, DIR. PATCH 2 assigned with the F2 knob, and so
on.
5. Press [EXIT] several times to return to the Play
screen.
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Chapter 8 Other Functions
Exchanging the Current Patch
with a Different Patch (PATCH
EXCHANGE)
Managing the Patches
Copying the Current Patch to a
Different Patch (PATCH COPY)
This exchanges the user patch with the different patch.
*
You cannot exchange tones in preset patches.
1. Confirm that the Play screen is displayed.
1. Confirm that the Play screen for a user patch
2. Press [WRITE].
is displayed.
The PATCH WRITE screen appears.
“WRITE TO” is displayed, and the write-destination patch
number and name are indicated.
2. Press [WRITE].
3. Press PAGE [ ] to go to Page 2.
“EXCHANGE” is displayed.
The exchange-destination patch number and name are
indicated.
3. Use the PATCH/VALUE dial to select the copy-
destination patch.
4. Press [WRITE] again.
The message “NOW WRITING...” is displayed as the patch is
copied, and the VG-99 changes to the copy-destination patch
number.
4. Use the PATCH/VALUE dial to select the
exchange-destination patch.
5. Press [WRITE] again.
The message “NOW EXCHANGING...” is displayed as the
current patch and the selected patch are exchanged, and the
VG-99 changes to the exchange-destination patch number.
*
If you are not saving the settings, press [EXIT] to return to the Play
screen.
*
If you are not saving the settings, press [EXIT] to return to the Play
screen.
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Chapter 8 Other Functions
Initializing User Patches
(PATCH INITIALIZE)
Copying Settings Between Channel
A and Channel B (A/B COPY)
You can set user patches to their initial conditions, with all effects
1. Go to the settings screen for the parameters
switched off.
whose settings you want to copy.
This is convenient when you want to create a patch from scratch.
*
You cannot initialize preset patches.
2. Press PAGE [ ] several times to go to the
last page.
1. Confirm that the Play screen for a user patch
is displayed.
3. Use [F1] (SELECT) or the F1 knob to select A/B
COPY.
2. Press [WRITE].
3. Press PAGE [ ] to go to Page 3.
The PATCH INITIALIZE screen appears.
4. Press [F6] (EXEC) to copy the settings.
“INITIALIZE” is displayed, and the number and name of the
patch to be initialized are indicated.
Exchanging the Channel A and
Channel B Settings
(A/B EXCHANGE)
4. Use the PATCH/VALUE dial to select the patch
you want to initialize.
1. Go to the settings screen for the parameters
whose settings you want to exchange.
5. Press [WRITE] again.
The message “NOW INITIALIZING...” is displayed as the VG-
99 switches to the patch to be initialized, then the Play screen
returns.
2. Press PAGE [ ] several times to go to the
last page.
3. Use [F1] (SELECT) or the F1 knob to select A/B
EXCHNG.
4. Press [F6] (EXEC) to exchange the settings.
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Chapter 8 Other Functions
Partially Copying Parameters in
a Different Patch (MODULE COPY)
The following parameters can be handled as modules.
•
•
•
•
•
•
•
•
ALTERNATE TUNING
COSM GUITAR
You can copy and reuse portions of patch parameters (such as
POLY FX
COSM amps, effects, and other modules).
Overall FX for Channel A and B
Each of the effects in FX
COSM AMP
1. Go to the settings screen for the parameters
whose settings you want to copy.
MIXER section DELAY and REVERB
MIXER section DYNAMIC
2. Press PAGE [ ] several times to go to the
last page.
3. Use [F1] (SELECT) or the F1 knob to select
MODULE COPY.
The MODULE COPY screen appears.
4. Use [F2] (PATCH) or the F2 knob and [F3]
(SOURCE) or the F3 knob to select the copy
source.
5. Press [F6] (EXEC) to copy the settings.
Partially Initializing Patch
Parameters (MODULE INITIALIZE)
1. Go to the settings screen for the parameter
whose settings you want to initialize.
2. Press PAGE [ ] several times to go to the
last page.
3. Use [F1] (SELECT) or the F1 knob to select
MODULE INIT.
The MODULE INITIALIZE screen appears.
4. Press [F6] (EXEC) to initialize the settings.
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Chapter 8 Other Functions
Setting Patch Categories
You can assign categories to patches and separate them into groups.
Separating Patches into
Groups (CATEGORY)
The VG-99 includes a function that allows you to categorize patches
into a number of different groups. This is called the CATEGORY
function. Specifying the category for each patch makes searching for
patches more convenient. The CATEGORY function also features ten
user categories you can name however you like.
1. From the PLAY screen, use the PATCH/VALUE
dial to select the patch you want to include in a
category.
2. Press [NAME/KEY/BPM].
Using CATEGORY to Call Up
Patches
1. Confirm that the Play screen is displayed.
2. Press [CATEGORY].
3. Press [F1] (NAME).
The Category screen appears.
The Name settings screen appears.
The categories and the patches in these categories are shown in
list format.
4. Press [F6] (CATGRY).
The Category settings popup appears.
3. Use [F1] (SEL ) and [F2] (SEL ) or the F1
and F2 knobs to select the category.
4. Use the PATCH/VALUE dial or [F3] (SEL ),
[F4] (SEL ) to select a patch.
5. Press [CATEGORY] again.
5. Use the F6 knob to select the category.
The VG-99 switches to the selected patch.
6. Press [EXIT].
The category is assigned to the patch.
If no operation if performed within a set period of time,
the display returns to the Play screen.
7. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
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Chapter 8 Other Functions
Naming User Categories
(CATEGORY NAME)
Storing Your Preferred
Settings Individually
(FAVORITE SETTINGS)
1. Confirm that the Play screen is displayed.
2. Press [SYSTEM].
What are Favorite Settings?
The VG-99 includes a function that, apart from the patches, stores
the settings you like for each effects processor. These are called
Favorite Settings.
3. Press PAGE [ ] [ ] to go to Page 2.
By storing the settings you like for each of a variety of effects
processors, you can then easily create sounds simply by combining
these settings.
Furthermore, creating patches using the Favorite Settings vastly
simplifies editing when multiple similar tones are used.
For example, if you beforehand select the same Favorite Settings for
a multiple number of patches, you’ll later be able to implement
changes in all those patches at once simply by editing the Favorite
settings.
4. Press [F4] (CATGRY).
The Category Name settings screen appears.
5. Use [F6] or the F6 knob to select User
Category with the name you want to change.
6. Press PAGE [ ] [ ] to move the cursor to
the position with the character you want to
change.
7. Select the character with the PATCH/VALUE
dial.
As you continue to rotate the PATCH/VALUE dial, the
character guide automatically switches from uppercase letters
to lowercase letters, numerals, and symbols.
You can carry out the following operations by pressing [F1]–[F6].
Buttons
Functions
Inserts a blank space at the cursor position.
[F1] (INSERT}
Deletes the character and shifts the follow-
ing characters to the left.
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
Enters a blank space at the cursor position.
Switches between letters, numerals, and
symbols.
Switches between uppercase and lowercase
letters.
[F5] (A<=>a)
Select the user category you want to name.
[F6] (CATGRY)
8. Repeat Steps 6 and 7 to complete the category
name.
9. Press [EXIT] several times to return to the Play
screen.
*
Category names are system parameters. They are saved at the time
they are entered, even without the Write procedure.
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Chapter 8 Other Functions
Calling Up Favorite Settings
Changing Tone Settings
This procedure changes the tones in patches using the Favorite
Settings. The method below can also be used to edit the Favorite
Settings themselves.
Here is an example using the compressor effect.
1. Press [FX].
Here is an example using the compressor effect.
2. Press PAGE [ ] to go to Page 1.
1. Press [FX].
2. Press PAGE [ ] to go to Page 1.
3. Press [F1] (COMP).
3. Press [F1] (COMP).
The number and name of the currently selected Favorite
Settings are displayed.
4. Press PAGE [ ] to display the last page (in
this case, Page 3).
5. Use [F1] (SELECT) or the F1 knob to select
FAVORITE.
4. Press [F6] (EDIT).
The Favorite Settings selection screen appears.
5. Use [F1]–[F4] or the F1–F4 knobs to adjust the
6. Use [F2] (SELECT) or the F2 knob to select
desired parameters on Pages 1 and 2.
your preferred setting.
6. To store the content of the settings, carry out
7. When you have made your choice, press [F6]
(OK); to cancel the procedure, press [F5]
(CANCEL) or press [EXIT] several times to
return to the Play screen.
the steps described below.
8. If you want to save the edited settings,
perform the Write procedure (p. 38).
*
If you do not want to save, press [EXIT] to return to the Play screen.
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Saving to the Favorite Settings
Saving Changed Tones
There are two methods you can use to save changed tones.
The following describes an example with the status indicated in the
Compressor edit screen in Step 4 of “Changing Tone Settings” (p.
92).
Saving to Patches
1. Press PAGE [ ] to display the last page (in
this case, Page 3).
1. Press [WRITE].
The PATCH WRITE screen appears.
2. Rotate the F1 (SELECT) knob to select
FAVORITE WRITE.
The Favorite Settings save screen appears.
2. Use the PATCH/VALUE dial to select the save-
destination patch.
3. Press [WRITE].
write destination.
At this point, you can press [F3] (SEARCH) to display a
list of patches using the write-destination Favorite
Settings. For more detailed information, refer to
“Searching for Patches That Use the Same Favorite
Settings” (p. 94).
“NOW WRITING...” is displayed as the patch is being saved,
and then the Play screen returns to the display.
Saving tones with this process undoes the link between the
patch and the Favorite Settings. Afterwards, any changes to
tones with Favorite Settings used earlier will not be reflected in
the tone for this patch.
4. Press [F6] (WRITE) to save the settings.
“NOW WRITING...” is displayed as the Favorite Settings are
being saved, and the number and name of the currently selected
Favorite Settings are displayed.
5. Press [EXIT] several times to return to the Play
screen.
This procedure only saves information to the Favorite Settings.
Nothing is saved to the patches. To save parameters to patches,
carry out the Write procedure. (p. 38)
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Chapter 8 Other Functions
Naming Favorite Settings
(FAVORITE NAME)
When storing Favorite Settings, you can also give the settings names.
Carry out the following procedure in Step 2 of “Saving to the
Favorite Settings” (p. 93).
Searching for Patches That Use
the Same Favorite Settings
Here is an example using the compressor effect.
1. Press [FX].
2. Press PAGE [ ] to go to Page 1.
1. Press [F5] (NAME).
The Name edit screen appears.
3. Press [F1] (COMP).
The number and name of the currently selected Favorite
2. Press PAGE [ ] [ ] to move the cursor to
the position with the character you want to
enter.
Settings are displayed.
3. Select the character with the PATCH/VALUE
dial.
As you continue to rotate the PATCH/VALUE dial, the
character guide automatically switches from uppercase letters
to lowercase letters, numerals, and symbols.
You can carry out the following operations by pressing [F1]–
[F5].
If not using the Favorite Settings, proceed to Step 4.
4. Press [F6] (EDIT).
Buttons
Functions
Inserts a blank space at the cursor position.
[F1] (INSERT)
Deletes the character and shifts the follow-
ing characters to the left.
[F2] (DELETE)
[F3] (SPACE)
[F4] (A0!)
Enters a blank space at the cursor position.
5. Press PAGE [ ] to display the last page (in
Switches between letters, numerals, and
symbols.
this case, Page 3).
Switches between uppercase and lowercase
letters.
6. Use [F1] (SELECT) or the F1 knob to select
[F5] (A<=>a)
FAVORITE WRITE.
4. Repeat Steps 2 and 3 to complete the Favorite
Setting name.
5. When you have finished editing the name,
press [EXIT].
The Favorite Settings save screen returns to the display.
7. Rotate F2 (SELECT) to select the Favorite
6. Press [F6] (WRITE); the settings are saved.
Settings you want to search for.
7. Press [EXIT] several times to return to the Play
8. Press [F3] (SEARCH).
screen.
A list of patches using the selected Favorite Setting is displayed.
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Chapter 8 Other Functions
9. You can scroll through the list using [F3] and
Activating the Virtual
[F4] or the F3 and F4 knobs.
Expression Pedal at the
Start of Operations
10. Press [F5] (EXIT).
The list disappears from the screen.
(Internal Pedal System)
11. Press [EXIT] several times to return to the Play
The VG-99 features a function called Internal Pedal system. This
function assigns specified parameters to a virtual expression pedal
(the internal pedal), providing an effect automatically that changes
volume and tone in real time just the way an expression pedal
functions.
screen.
The Internal Pedal system features the following two functions,
allowing you to set Source for each assign 1-16 of the Assign.
•
•
*
Internal Pedal
Wave Pedal
When the Internal Pedal or the Wave Pedal is used, set the ASSIGN
SW MODE to MOMENT.
Internal Pedal
With the trigger you have set, the assumed expression pedal starts
working. If you have set INTERNAL PEDAL to SOURCE, set the
TRIGGR parameter (p. 156).
Wave Pedal
This changes the parameter selected as a target in a certain cycle with
the assumed expression pedal. When you have set WAVE PEDAL
for SOURCE, the RATE parameter (p. 156) and FORM parameter (p.
156) should be set.
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Chapter 8 Other Functions
Connecting the V-LINK Device
Controlling Video Images
with Your Guitar (V-LINK)
The VG-99 features the V-LINK function.
With the VG-99 connected to another V-LINK compatible device,
you can use your guitar performance to control playback of video
images.
Connect the VG-99’s MIDI OUT connector to the V-LINK compatible
device.
When connecting these and other devices, turn down the
volume completely on all the devices and turn off their power
before connecting to prevent malfunction and damage to
speakers and other equipment.
What is V-LINK?
V-LINK is a function that synchronizes the performance of music
and video.
Connecting V-LINK compatible devices to each other via MIDI
makes it simple to enjoy using a variety of video effects linked with
what you express in your performances.
For example, combining the VG-99 with the EDIROL motion dive.
tokyo performance package lets you do the following.
MIDI IN
•
•
•
Set the required information for motion dive. tokyo
performance package performances.
Switch motion dive. tokyo performance package video images
(palettes/clips) and control the video brightness and hue.
MIDI OUT
Enjoy synchronized performances of music and video.
Be sure also to read the owner’s manual for the
connected V-LINK compatible device.
Switching V-LINK On and Off
1. Connect the VG-99’s MIDI OUT connector to
the V-LINK compatible device.
2. Turn on the power to the device to start it up.
3. Press [V-LINK].
V-LINK is switched on, and [V-LINK] lights up.
The function set in “Setting V-LINK” (p. 97) is enabled,
with the performance on the VG-99.
Even with the V-LINK on, the still usual function
operates.
Depending on the settings in “MIDI ROUTING” (p. 59),
signals may not be output from MIDI OUT. In such
cases, V-LINK signals are not output either.
4. Press [V-LINK] once more.
The [V-LINK] light goes off, and the V-LINK function is
switched off.
When the V-LINK function is switched off, all V-LINK-
related MIDI messages are no longer output.
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Chapter 8 Other Functions
Setting V-LINK
1. Press [SYSTEM].
2. Press PAGE [ ] [ ] to go to Page 2.
Some V-LINK compatible models such as the EDIROL
DV-7PR allow only Channel A to be used.
Note messages output with the V-LINK function are
affected by the parameters set in “Playing an External
Synthesizer Sound Module (GUITAR TO MIDI)” (p. 64)
as well as the STRING CH settings.
3. Press [F3] (V-LINK).
The V-LINK screen appears.
8. Press [EXIT] to return to the V-LINK screen.
9. Press [F2] (ASGN1) or [F3] (ASGN2) to select
Assign 1 or Assign 2.
4. Press [F1] (CLIP).
The PATCH/CLIP screen appears.
source to be used in operating the target.
11. Use [F2] (SELECT) or the F2 knob to set the
5. Use [F1] and [F2] or the F1 or F2 knobs to set
the palette and clip for V-LINK Channel A; set
the palette and clip for V-LINK Channel B with
[F4] and [F5] or the F4 or F5 knobs.
target.
For more on the source and target parameters, refer to “V-LINK
PATCH” (p. 174).
Available V-LINK
Transmitted
MIDI Messages
Parameter
12. Rotate the F3 knob to set the minimum value
Setting
Function
for the TARGET parameter’s control range.
PALETTE
OFF, 1–32
Changing the CC00 (Bank Select):
palette. 00H–1FH
Changing the Program Change:
clip. 00H–1FH
13. Rotate the F4 knob to set the maximum value
CLIP
OFF, 1–32
for the TARGET parameter’s control range.
6. Press [EXIT] to return to the V-LINK screen.
14. Press [EXIT] several times to return to the Play
screen.
7. Press [F4] (STR CH) to select the channel to be
controlled with each string.
STRING CH
Explanation
1st–6th
OFF
No channel is controlled.
A CH
Channel A of the V-LINK compatible device is
controlled.
B CH
C CH
Channel B of the V-LINK compatible device is
controlled.
MIDI Note plug-in is controlled.
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Chapter 8 Other Functions
Using the VG-99 on a Stand
You can use the VG-99 while attached to a PDS-10 stand (optional).
928, 929
•
To prevent the PDS-10 stand from falling, use the attached
cable ties to wind all cables around the stand, as shown in
the figure below.
1. Turn the VG-99 over and remove the screws
from the bottom panel.
Cable tie
2. Attach the mounting plate as shown in the
figure, using the screws removed in Step 1 or
the knob nuts included with the kit.
•
•
Use the screws (M5 x 10) included with the VG-99 to
attach the PDS-10 mounting plate. Use of other screws
may damage the device internally or cause the unit to be
inadequately secured.
3. Attach the VG-99 to the stand.
When turning the unit over, place some newspapers,
magazines, or other such material under the four corners
or at both ends to prevent damage to the buttons, dials,
and other controls. Also, try to orient the unit so no
buttons or controls are damaged.
•
•
When turning the unit upside-down, handle with care to
avoid dropping it, or allowing it to fall or tip over.
When removing the screws, be sure to keep them out of
the reach of children to prevent smaller children from
accidentally swallowing them.
For instructions on how to assemble the PDS-10 and
attach the mounting plate, refer to the Owner’s Manual
that came with the PDS-10.
•
Take care not to allow hands and fingers to become
pinched when attaching and removing the units.
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Chapter 8 Other Functions
Using the VG-99 Mounted in
a Rack
By employing the separately available RAD-99 rack mount adaptor,
you can use the VG-99 in a rack-mounted configuration.
928, 929
•
Use the screws (M5 x 10) included with the VG-99 to
attach the RAD-99. Use of other screws may damage the
device internally or cause the unit to be inadequately
secured.
•
When turning the unit over, place some newspapers,
magazines, or other such material under the four corners
or at both ends to prevent damage to the buttons, dials,
and other controls. Also, try to orient the unit so no
buttons or controls are damaged.
1. Turn the VG-99 over and remove the screws
from the bottom panel.
•
•
When turning the unit upside-down, handle with care to
avoid dropping it, or allowing it to fall or tip over.
When removing the screws, be sure to keep them out of
the reach of children to prevent smaller children from
accidentally swallowing them.
•
Take care not to allow hands and fingers to become
pinched when attaching and removing the units.
2. Attach the RAD-99 as shown in the figure,
using the screws removed in Step 1 or the
knob nuts included with the kit.
3. Mount the VG-99 in the rack.
Use screws (in four places) to securely affix the unit to the rack.
*
Use the screws included with the rack.
For instructions on how to assemble the RAD-99 and
adjust the angle of attachment, refer to the RAD-99
Setting Manual.
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Chapter 8 Other Functions
Restoring the VG-99 to its
Original Factory Condition
(FACTORY RESET)
1. Press [SYSTEM].
2. Press PAGE [ ] to display Page 3.
3. Press [F1] (F.RST).
4. Select the parameters you want to restore to
the original factory condition.
Explanation
Available Settings
ALL
All data
System Parameter, Harmonist Scale, Auto
Riff Phrase, Pre Amp/Speaker, Overdrive/
Distortion, Wah
SYSTEM
Content of GK settings
GK SETTING
GLOBAL
PATCH
Content of settings for GLOBAL function
Content of settings for PATCH 001–200
FAVORITE
SETTING
Content of settings for FAVORITE SET-
TINGS 01–10 for all effects
5. Press [F6] (EXEC).
6. To execute Factory Reset, press [WRITE].
*
To cancel Factory Reset, press [EXIT].
When Factory Reset is completed, the Play screen returns to the
display.
100
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Chapter 9 Parameters Guide
In this chapter you will find detailed descriptions for each of the VG-99’s parameters used to control them.
The trademarks listed in this document are trademarks of their respective owners, which are separate companies from Roland.
Those companies are not affiliated with Roland and have not licensed or authorized Roland’s VG-99.
Their marks are used solely to identify the equipment whose sound is simulated by Roland’s VG-99.
COSM GUITAR
By making settings for the various elements that make up the tone of a guitar, you can create a wide variety of sounds.
You can set actual guitar parameters, such as pickup, body, and the pitch of each string.
Parameter/
Explanation
Range
COSM GTR SW (COSM Guitar Switch)
OFF, ON
Turns the COSM guitar on/off.
MODLNG TYPE
E. GTR
Select the electric guitar type.
Select the acoustic guitar type.
Select the bass guitar type.
AC
BASS
SYNTH
Select the synthesizer sound type.
E. GTR TYPE/AC TYPE/BASS TYPE/SYNTH TYPE
refer to Type List
Select the COSM guitar from each modeling type.
*
The parameters that can be set will depend on the type. For details on the parameters, refer to the corresponding item.
Modeling Type List
E. GTR (Electric Guitar) (p. 103)
Parameter/
Explanation
Range
CLA-ST (Classic ST)
MOD-ST (Modern ST)
TE (Telecaster)
LP (Les Paul)
The sound of a Fender Stratocaster.
Simulates the installation of three single-coil pickups (passive type).
The sound of a Stratocaster type guitar.
Simulates the installation of the EMG’s three single-coil pickups (active type).
The sound of a Fender Telecaster.
A particular characteristic of the sound is the boosted high end when the volume is turned down.
The sound of a Gibson Les Paul Standard.
Simulates the installation of two humbucking pickups (passive type).
P-90
The sound of a Gibson Les Paul Junior.
This provides two single-coil pickups of the type used on fixed-neck guitars and affectionately known as soap-bar or
dog-ear pickups.
LIPS (Lipstick)
The sound of a Danelectro 56-U3.
This provides two single-coil pickups, and characterized by an external case reminiscent of a tube of lipstick.
RICK (Rickenbacker)
The sound of a Rickenbacker 360.
Semi-hollow body guitar with two unique single-coil pickups.
335
The sound of a Gibson ES-335 DOT.
Typical semi-acoustic guitar with two humbucking pickups.
L4
The sound of a Gibson L-4 CES.
Acoustic body guitar suited for jazz. Equipped with two humbucking pickups and strung with flat wound strings.
VARI (Variable Guitar)
This allows you to design your own guitar: you can use up to two pickups of your choice, selecting from double-coil,
single-coil, piezo, and acoustic. If you use double-coil or single-coil type pickups, you may freely adjust the location of
the pickups. This lets you make settings for the pickup, body, and the pitch of each string to specify the sound of the
guitar.
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Chapter 9 Parameters Guide
COSM GUITAR
AC (Acoustic Guitar) (p. 105)
Parameter/
Explanation
Range
STEEL
This is the sound of steel strings.
(Steel String Guitar)
NYLON
This is the sound of nylon strings.
(Nylon String Guitar)
SITAR
This is the sound of a Coral electric sitar. The settings adjust the sitar’s characteristic buzzing sound and tone.
This models a general banjo strung with five strings.
BANJO
RESO (Resonator)
VARI (Variable Guitar)
This models a Dobro-type resonator guitar.
This lets you make settings for the pickup, body, and the pitch of each string to specify the sound of the guitar.
BASS (Bass Guitar) (p. 109)
Parameter/
Explanation
Range
JB (Jazz Bass)
The sound of a Fender Jazz Bass.
PB (Precision Bass)
The sound of a Fender Precision Bass.
SYNTH (Synthesizer) (p. 110)
Parameter/
Explanation
Range
GR-300
This models the Roland GR-300, the famed analog polyphonic guitar synthesizer of yesteryear.
With the HEXA-DISTORTION effect and pitch-shifting six-string sawtooth wave generation from the instrument’s
HEXA VCO and VCF (variable frequency filter) brings out all the nuance from guitar performance, yet with the tone
of an analog synthesizer.
BOWED
DUAL
This Instrument represents stringed musical instruments played with a bow.
This Instrument takes the string vibration that is input and adds both distortion and portions which have the pitch glid-
ed.
FILTER BASS
PIPE
This Instrument is like a bass whose sound is passed through a filter.
This Instrument produces sounds like a soft woodwind lead instrument.
This is a soft lead Instrument.
SOLO
PWM (Pulse-width Mod- This Instrument represents the pulse-width modulation (PWM) of an analog synthesizer. The pulse width of the wave-
ulation)
CRYSTL
ORGAN
form produced by the vibrating string is varied cyclically to create a characteristic sound.
This is an Instrument providing a metallic luster.
This is a Long Tone Instrument suitable for playing solo parts or slow songs. Like an organ, you should balance out the
volume levels for the three parameters (FEET 16, 8, 4) to create just the sound you’re after.
BRASS
This instrument detects the pitch of the electric guitar and creates a synthesizer sound.
WAVE (Wave Synth)
This algorithm creates synth sounds by directly processing the string signal from the Divided pickup. It allows a nat-
ural feeling of playability.
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COSM GUITAR
Chapter 9 Parameters Guide
VARI
E.GTR (Electric Guitar)
Setting the parameter of electric guitar.
Parameter/
Range
Explanation
PU SEL (Pickup Select)
CLA-ST/MOD-ST
REAR
Use the rear pickup.
Parameter/
Explanation
Range
R+F
Use both rear and front pickups.
Use the front pickup.
FRONT
PU SEL (Pickup Select)
VOL (Volume)
0–100
REAR
Use the rear pickup.
Sets the volume. With a setting of 0, there
will be no sound.
R+C
Use both center and rear pickups.
Use the center pickup.
CENTER
C+F
TONE
0–100
Use both front and center pickups.
Use the front pickup.
Adjusts the tone. The standard value is 100;
lowering the value creates a softer tone.
FRONT
STRING
ROUND
FLAT
VOL (Volume)
0–100
Selects the sound of round wound strings.
Selects the sound of flat wound strings.
Sets the volume. With a setting of 0, there
will be no sound.
TONE
0–100
VOL CURVE (Volume Curve)
Sets the curve for the change in volume with the VOL parameter.
Adjusts the tone. The standard value is 100;
lowering the value creates a softer tone.
A, B
Volume
TE/LP/P90/RICK/335/L4
Parameter/
Explanation
Range
B
PU SEL (Pickup Select)
REAR
Use the rear pickup.
A
R+F
Use both rear and front pickups.
Use the front pickup.
FRONT
Set value
VOL (Volume)
0–100
Sets the volume. With a setting of 0, there
will be no sound.
TYPE
SINGLE
DOUBLE
PIEZO
AC
Single-coil pickup.
Double-coil pickup.
Piezo pickup.
TONE
0–100
Adjusts the tone. The standard value is 100;
lowering the value creates a softer tone.
A hypothetical pickup ideal for picking up
the sound of an acoustic guitar.
LIPS
POS (Position)
5–320mm
Specifies the distance from the bridge at
which the pickup is placed. Larger values
will produce the effect of the pickup being
further from the bridge.
Parameter/
Range
Explanation
PU SEL (Pickup Select)
REAR
Use the rear pickup.
*
If the Pickup Type has been set to PIEZO
or AC the POS setting will not be
available.
R+C
Use both center and rear pickups.
Use the center pickup.
CENTER
C+F
Use both front and center pickups.
Use the front pickup.
FRONT
ALL
Use all pickups.
VOL (Volume)
0–100
Sets the volume. With a setting of 0, there
will be no sound.
TONE
0–100
Adjusts the tone. The standard value is 100;
lowering the value creates a softer tone.
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Chapter 9 Parameters Guide
COSM GUITAR
E. GTR Common Parameters
Parameter/
Explanation
Range
Besides the other COSM E.GTR parameters, the VG-99 also includes
the following shared parameters.
ANGLE
Parameter/
Explanation
Range
-315–+315mm
This simulates the angle of the pickup rela-
tive to the strings. The setting indicates the
distance from the POS setting that the sixth
string will be located. With positive (+) set-
tings, the sixth string will be further from
the bridge. With negative (-) values, the
sixth string will be closer to the bridge. With
a setting of 0, the pickup will be perpendic-
ular with the strings.
EQ (Equalizer)
A four-band equalizer with high and low ranges is provided. The
sound processed by the effect can be boosted by frequency range be-
fore it is output.
EQ SW (Equalizer Switch)
OFF, ON
Turns the EQ effect on/off.
TOTAL GAIN
-12–+12dB
6
5
4
3
2
1
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
LOW GAIN
-12–+12dB
HIGH GAIN
-12–+12dB
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
POSITION
ANGLE
LOW MID Q (Low Middle Q)
*
*
If PIEZO or AC is selected as the pickup
type, the Angle setting will not be
available.
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
Angle settings which would exceed the
range of the Position setting (5–320 mm)
will have no effect. For example, if the
Position is set to 100 mm, and valid range
of the Angle setting will be -95–+220 mm.
LOW MID GAIN (Low Middle Gain)
-12–+12dB
Adjusts the low-middle frequency range
tone.
HIGH MID FREQ (High Middle Frequency)
PHASE
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN
When pickups FRONT and REAR are mixed, this setting determines
the phase of pickup REAR relative to pickup FRONT.
This is valid only when two pickups are being used.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
*
The phase setting that is part of the pickup FRONT parameters is the
same as the corresponding parameter for pickup REAR. Modifying
one of them will cause the other parameter to change
correspondingly.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
IN
It will have the same phase as pickup
FRONT.
Adjusts the high-middle frequency range tone.
OUT
It will be mixed in opposite phase.
Parameter/
Range
Explanation
STRING PAN 1st–6th
0:100–100:0
This sets the left/right pan of each string.
* The pan effect is cancelled if a monaural effect
or COSM amp is connected after the COSM
GUITAR effect.
STRING LEVEL 1st–6th
0–100
Specifies the output level of each string.
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COSM GUITAR
Chapter 9 Parameters Guide
AC (Acoustic Guitar)
Setting the parameter of acoustic guitar.
Parameter/
Range
Explanation
MIX LEVEL
COSM GUITAR
0–100
STEEL
Specifies the level of the COSM GUITAR.
Parameter/
Explanation
Range
NORMAL PU (Normal Pickup)
0–100
Adjusts the volume of the normal pickup.
BODY TYPE
Selects the type of resonating body.
Parameter/
Range
MA28
TRP-0
GB45
The sound of a Martin D-28.
Older model known for its exquisitely bal-
anced sound.
Explanation
NS (Noise Suppressor)
The sound of a Martin 000-28.
This model features a full low-end reso-
nance and crisp, distinct contour.
This effect reduces the noise and hum picked up by guitar pickups.
Since it suppresses the noise in synchronization with the envelope of
the guitar sound (the way in which the guitar sound decays over
time), it has very little effect on the guitar sound, and does not harm
the natural character of the sound.
The sound of a Gibson J-45.
This vintage model features a unique, sea-
soned tone with good response.
SW (Noise Suppressor Switch)
OFF, ON
GB SML
GLD 40
The sound of a Gibson B-25.
Featuring a compact body, this vintage
model is often used in blues.
Turns the NS effect on/off.
THRSH (Threshold)
0–100
Adjust this parameter as appropriate for the
The sound of a GUILD D-40.
volume of the noise. If the noise level is
high, a higher setting is appropriate. If the
noise level is low, a lower setting is appro-
priate. Adjust this value until the decay of
the guitar sound is as natural as possible.
This model features warm resonance from the
body along with a delicate string resonance.
BODY
0–100
Adjusts the body resonation. Raising the val-
ue produces more of a sense of the guitar
body in the sound. Lower the value in condi-
tions where feedback is prone to occur.
REL (Release)
0–100
Adjusts the amount of time from the point at
which application of the noise suppressor
begins to when the volume is fully attenuat-
ed.
TONE
-50–+50
Adjusts the tone of the body. The standard
value is 0; raising the value boosts the high
range.
LEVEL
0–100
Adjusts the volume of the body. With a set-
ting of 0, there will be no sound.
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Chapter 9 Parameters Guide
NYLON
COSM GUITAR
SITAR
Parameter/
Explanation
Range
Parameter/
Range
Explanation
BODY
0–100
PU (Pickup)
FRONT
R+F
Adjusts the body resonation. Raising the val-
Use the front pickup.
Use both front and rear pickups.
Use the rear pickup.
Piezo pickup.
ue produces more of a sense of the guitar
body in the sound. Lower the value in condi-
tions where feedback is prone to occur.
REAR
PIEZO
*
The body resonance is monophonic. This
means that if this Body parameter is set to
100, the panning of each string will have
less effect.
SENS (Sensitivity)
0–100
Adjusts the input sensitivity.
BODY
0–100
ATTACK
0–100
Adjusts the body resonation. Raising the
value produces more of a sense of the guitar
body in the sound. Lower the value in con-
ditions where feedback is prone to occur.
Specifies the strength of the attack when
you pluck the string strongly. As this setting
is increased, the attack will be sharper, and
the sound will be crisper.
COLOR
0–100
TONE
-50–+50
Adjusts the overall tone quality of the sitar.
Adjusts the tone of the body. The standard
value is 0; raising the value boosts the high
range.
DECAY
0–100
Adjusts the time it takes following the attack
for the tone to change.
LEVEL
0–100
BUZZ
0–100
Adjusts the volume of the body. With a set-
ting of 0, there will be no sound.
Adjusts the amount of characteristic buzz
produced by the buzz bridge when the
strings make contact with it.
ATTACK LEVEL
0–100
Adjusts the volume level of the attack.
TONE
-50–+50
Adjusts the tone of the body. The standard
value is 0; raising the value boosts the high
range.
LEVEL
0–100
Adjusts the volume of the body. With a set-
ting of 0, there will be no sound.
BANJO
Parameter/
Range
Explanation
ATTACK
0–100
Specifies the strength of the attack when
you pluck the string strongly. As this setting
is increased, the attack will be sharper, and
the sound will be crisper.
RESO (Resonation)
0–100
Adjusts the body resonation. The resonation
increases as the value is raised.
TONE
-50–+50
Adjusts the tone of the body. The standard
value is 0; raising the value boosts the high
range.
LEVEL
0–100
Adjusts the volume of the body. With a set-
ting of 0, there will be no sound.
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COSM GUITAR
Chapter 9 Parameters Guide
RESO
Parameter/
Range
Explanation
Parameter/
Range
Explanation
BODY
0–100
Adjusts the body resonation. Raising the
value produces more of a sense of the guitar
body in the sound. Lower the value in con-
ditions where feedback is prone to occur.
SUSTAIN
You can specify how the resulting volume will be affected by chang-
es (loud/soft dynamics) in the guitar string vibrations that are input.
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
*
The body resonance is monophonic. This
means that if this Body parameter is set to
100, the panning of each string will have
less effect.
RESO (Resonation)
0–100
Adjusts the body resonation. The resonation
increases as the value is raised.
*
To produce the sound of a solid body, set
ATTACK and BODY to 0.
TONE
-50–+50
LOW CUT
THRU, 55–800Hz
Adjusts the tone of the body. The standard
value is 0; raising the value boosts the high
range.
Specifies the cutoff frequency of the low-cut
filter for the bypass sound.
LEVEL
0–100
LEVEL
0–100
Adjusts the volume. With a setting of 0,
there will be no sound.
Adjusts the volume of the body. With a set-
ting of 0, there will be no sound.
PU TYPE (Pickup Type)
PIEZO
Piezo pickup.
VARI
MIC
A hypothetical mic ideal for picking up the
sound of an acoustic guitar.
Parameter/
Range
Explanation
PU TONE (Pickup Tone)
BODY TYPE
-50–+50
Adjusts the tone.
Selects the type of acoustic body.
PU LEVEL (Pickup Level)
FLAT
The body of an acoustic guitar with a flat top
0–100
Adjusts the volume. With a setting of 0,
there will be no sound.
and back.
ROUND
f-HOLE
The body of a flat top acoustic guitar with a
round back made of resin.
An f-hole body with an arched top and back.
This is suitable for simulating semi-acoustic
or full acoustic electric guitars.
METAL
BANJO
A metal body with a single round cone res-
onator. This is suitable for bottle-neck (slide)
playing, etc.
This models a general banjo strung with five
strings. Changing the size will produce an
effect as if the tuning were changed.
SIZE
-50–+50
Specifies the size of the body. This modifies
the resonant frequency to simulate changes
in body size. A setting of 0 will produce a
normal resonance.
RESO (Resonation)
0–100
Adjusts the body resonation. The resonation
increases as the value is raised.
ATTACK
0–100
Specifies the strength of the attack when
you pluck the string strongly. As this setting
is increased, the attack will be sharper, and
the sound will be crisper.
* The effect is easier to discern with chords
than with single notes.
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Chapter 9 Parameters Guide
AC Common Parameters
COSM GUITAR
Parameter/
Range
Explanation
Besides the other COSM AC parameters, the VG-99 also includes the
following shared parameters.
MIX LEVEL
COSM GUITAR
0–100
Parameter/
Explanation
Range
Specifies the level of the COSM GUITAR.
EQ (Equalizer)
A four-band equalizer with high and low ranges is provided. The
sound processed by the effect can be boosted by frequency range be-
fore it is output.
NORMAL PU (Normal Pickup)
0–100
Adjusts the volume of the normal pickup.
Parameter/
Range
EQ SW (Equalizer Switch)
Explanation
OFF, ON
Turns the EQ effect on/off.
NS (Noise Suppressor)
TOTAL GAIN
-12–+12dB
This effect reduces the noise and hum picked up by guitar pickups.
Since it suppresses the noise in synchronization with the envelope of
the guitar sound (the way in which the guitar sound decays over
time), it has very little effect on the guitar sound, and does not harm
the natural character of the sound.
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
LOW GAIN
-12–+12dB
HIGH GAIN
-12–+12dB
SW (Noise Suppressor Switch)
OFF, ON
Turns the NS effect on/off.
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz
THRSH (Threshold)
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
0–100
Adjust this parameter as appropriate for the
volume of the noise. If the noise level is
high, a higher setting is appropriate. If the
noise level is low, a lower setting is appro-
priate. Adjust this value until the decay of
the guitar sound is as natural as possible.
LOW MID Q (Low Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
REL (Release)
LOW MID GAIN (Low Middle Gain)
-12–+12dB
0–100
Adjusts the amount of time from the point at
which application of the noise suppressor
begins to when the volume is fully attenuat-
ed.
Adjusts the low-middle frequency range
tone.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
Adjusts the high-middle frequency range tone.
Parameter/
Range
Explanation
STRING PAN 1st–6th
100:0–100:0
This sets the left/right pan of each string.
* You cannot adjust the STRING PAN
parameter when AC TYPE is set to STEEL.
* The pan effect is cancelled if a monaural effect
or COSM amp is connected after the COSM
GUITAR effect.
STRING LEVEL 1st–6th
0–100
Specifies the output level of each string.
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Chapter 9 Parameters Guide
BASS Common Parameters
BASS (Bass Guitar)
Setting the parameter of bass guitar.
Besides the other COSM BASS parameters, the VG-99 also includes
the following shared parameters.
Parameter/
Explanation
Range
JB
EQ (Equalizer)
A four-band equalizer with high and low ranges is provided. The
sound processed by the effect can be boosted by frequency range be-
fore it is output.
Parameter/
Explanation
Range
REAR VOL (Rear Volume)
0–100
Sets the volume of the rear pickup. With a
setting of 0, there will be no sound.
EQ SW (Equalizer Switch)
OFF, ON
Turns the EQ effect on/off.
FRONT VOL (Front Volume)
0–100
TOTAL GAIN
-12–+12dB
Sets the volume of the front pickup. With a
setting of 0, there will be no sound.
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
LOW GAIN
-12–+12dB
MASTER VOL (Master Volume)
0–100
Sets the overall bass volume level. With a
setting of 0, there will be no sound.
HIGH GAIN
-12–+12dB
TONE
0–100
Adjusts the tone.
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
PB
LOW MID Q (Low Middle Q)
Parameter/
Range
Explanation
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
VOL (Volume)
0–100
Sets the volume. With a setting of 0, there
will be no sound.
LOW MID GAIN (Low Middle Gain)
-12–+12dB
Adjusts the low-middle frequency range
tone.
TONE
0–100
Adjusts the tone.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
Adjusts the high-middle frequency range tone.
Parameter/
Range
Explanation
STRING PAN 1st–6th
100:0–100:0
This sets the left/right pan of each string.
* The pan effect is cancelled if a monaural effect
or COSM amp is connected after the COSM
GUITAR effect.
STRING LEVEL 1st–6th
0–100
Specifies the output level of each string.
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Chapter 9 Parameters Guide
COSM GUITAR
SYNTH (Synthesizer)
Parameter/
Explanation
Range
Setting the parameter of synthesizer sound.
MIX LEVEL
COSM GUITAR
GR-300
Parameter/
Explanation
Range
0–100
Specifies the level of the COSM GUITAR.
NORMAL PU (Normal Pickup)
MODE
0–100
Adjusts the volume of the normal pickup.
This setting determines whether the HEXA-VCO (sawtooth wave) or the
HEXA-DISTORTION (rectangular wave) is played, or if both are played.
Parameter/
Range
VCO
V+D
The HEXA-VCO sound is played.
Explanation
The HEXA-VCO and HEXA-DISTORTION
sounds are played simultaneously.
NS (Noise Suppressor)
DIST
The HEXA-DISTORTION sound is played.
This effect reduces the noise and hum picked up by guitar pickups.
Since it suppresses the noise in synchronization with the envelope of
the guitar sound (the way in which the guitar sound decays over
time), it has very little effect on the guitar sound, and does not harm
the natural character of the sound.
LEVEL
0–100
Sets the volume. With a setting of 0, there
will be no sound.
COMP (Compression)
SW (Noise Suppressor Switch)
OFF, ON
When this is set to ON, the HEXA-VCO’s
OFF, ON
Turns the NS effect on/off.
decay time is extended.
When ENV MOD SW is set to ON, the VCF (vari-
able frequency filter) decay time is also extended
THRSH (Threshold)
0–100
Adjust this parameter as appropriate for the
volume of the noise. If the noise level is
high, a higher setting is appropriate. If the
noise level is low, a lower setting is appro-
priate. Adjust this value until the decay of
the guitar sound is as natural as possible.
* The HEXA-DISTORTION decay time is not
extended.
CUTOFF FREQ (Cutoff Frequency)
0–100
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The sound
gets brighter (harder) as the value is raised.
REL (Release)
0–100
Adjusts the amount of time from the point at
which application of the noise suppressor
begins to when the volume is fully attenuat-
ed.
RESO (Resonance)
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
ENV MOD (Envelope Modulation)
This automatically changes the VCF cutoff frequency according to
the amplitude of the string vibration. This allows you to change the
tone with a wah-like effect each time you pick a string.
SW (Switch)
OFF
Envelope modulation is not used.
ON
This causes the VCF cutoff frequency to
change from a high to low frequency each
time the string is picked.
This produces a wah-like effect, with the
sound going from low frequencies to high.
Setting the cutoff frequency to an
extremely high value makes the effect
difficult to discern.
INV
As opposed to the ON setting, this allows
you to have the VCF cutoff frequency
change from a low to high frequency each
time the string is picked.
This produces a reverse wah-like effect, with
the sound going from high frequencies to low.
Setting the cutoff frequency to a
relatively high value makes the effect
easier to discern.
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COSM GUITAR
Chapter 9 Parameters Guide
Parameter/
Range
Parameter/
Range
Explanation
Explanation
SWEEP
SENS (Sensitivity)
This SWEEP function smoothly changes the amount of pitch shift
when the amount of pitch shift is changed with PITCH SW.
0–100
Adjusts the input sensitivity for the enve-
lope modulation function. As the value is
raised, the change from the envelope modu-
lation broadens with even weaker picking.
SW (Switch)
OFF, ON
Turns the SWEEP function on/off.
Confirm the change in the tone as you
make the adjustment. Try setting the
value near 0, then gradually raise it as
you pick a string. Setting the attack time
to 0 makes the changes easier to confirm.
PITCH SW is normally controlled after
the settings for the operation of PITCH
SW are made in Control Assign.
* The SWEEP function is enabled when the
amount of shift in the pitch of the HEXA-
VCO is changed through the operation of
PITCH SW. It is not activated in response to
changes in the pitch of the input when the
amount of pitch shift does not change. No
effect is produced when the SWEEP SW in
RISE and FALL is set to OFF.
ATTACK
0–100
Adjusts the attack time for the change in the en-
velope modulation produced by picking. Rais-
ing the value slows the attack for this change.
PITCH A/PITCH A FINE,
PITCH B/PITCH B FINE
These adjust the amount of pitch shift.
RISE
0–100
* This is enabled when the PITCH SW parameter is set to anything other
than OFF.
Adjusts the amount of time for the pitch to
shift when the PITCH SW parameter is
switched and the sound changes to a higher
pitch.
When set to zero, the pitch changes instant-
ly; at higher values, the pitch rises more
slowly.
* The final amount of shift in the pitch is the sum of the pitch shift set
with PITCH and PITCH FINE.
PITCH A
PITCH B
-12–+12
This sets the amount of shift in pitch from
the original sound in semitone increments.
A setting of -12 lowers the pitch one octave,
while +12 raises the pitch one octave.
FALL
0–100
Adjusts the amount of time for the pitch to
shift when the PITCH SW parameter is
switched and the sound changes to a lower
pitch.
When set to zero, the pitch changes instantly;
at higher values, the pitch falls more slowly.
PITCH A FINE
PITCH B FINE
-50–+50
This finely adjusts the pitch. A setting of -50
lowers the pitch one semitone; +50 raises the
pitch by one semitone.
You can use this FINE setting effectively in
the DUET feature that follows.
PITCH SW (Pitch Switch)
This setting allows you to switch on and off the pitch shift, which en-
ables the pitch of the HEXA-VCO sound to shift in response to the
pitch of the sound caused by the string’s vibration.
VIBRATO
You can apply an electronic vibrato effect to the HEXA-VCO.
SW (Switch)
OFF, ON
*
PITCH SHIFT is applied only to the HEXA-VCO, not the HEXA-
Turns the VIBRATO function on/off.
DISTORTION. Set MODE to VCO or V+D when using the pitch shift function.
OFF
The pitch of the original source sound is un-
changed.
By setting VIBRATO SW as the function
to be controlled in Control Assign and
then switching the VIBRATO SW to ON
as you are playing, you can apply
stronger vibrato at whatever point in a
performance you want.
A
The shift in pitch set with PITCH A and
PITCH A FINE is applied.
B
The shift in pitch set with PITCH B and
PITCH B FINE is applied.
DUET
OFF, ON
* You cannot apply vibrato to the HEXA-
DISTORTION.
When DUET is set to ON, then in addition to
the HEXA-VCO, a sawtooth wave is played
at the same pitches as the source sound,
adding greater breadth to the sound.
RATE
0–100
This adjusts the rate of the vibrato. Raising
the value increases the rate.
DEPTH
0–100
Setting HEXA-VCO pitch shifts to values
such as PITCH+/-12 (up or down an
octave), +/-7 (perfect fifth), or +/-5
(perfect fourth) produces a thicker sound
like that from a synthesizer.
You can add further depth to the sound by
setting PITCH FINE to +/-5, thus slightly
shifting the pitch of the HEXA-VCO.
This adjusts the depth of the vibrato. No vi-
brato is added when the value is set to 0. The
vibrato deepens as the value is raised.
*
With the GR-300 selected as the COSM guitar, expression of sounds
may become unstable when the Alternate Tuning 12STR is set to ON
or when pitches are shifted excessively.
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Chapter 9 Parameters Guide
BOWED/PIPE
COSM GUITAR
DUAL
Parameter/
Explanation
Range
Parameter/
Range
Explanation
FILTER CUTOFF
FILTER CUTOFF
0–100
Adjusts the cutoff frequency, setting the
0–100
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The
sound gets brighter (harder) as the value is
raised.
brightness (hardness) of the sound. The
sound gets brighter (harder) as the value is
raised.
FILTER RESO (Filter Resonance)
FILTER RESO (Filter Resonance)
0–100
Adjusts the resonance (distinctiveness of the
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
TOUCH SENS (Touch Sensitivity)
TOUCH SENS (Touch Sensitivity)
0–100
This sets the sensitivity when the filter is
0–100
This sets the sensitivity when the filter is
shifted according to the picking. The shift-
ing of the filter caused by the picking in-
creases as the value is raised. When the
value is set to 0, the filter remains set, with
no movement.
shifted according to the picking. The shift-
ing of the filter caused by the picking in-
creases as the value is raised. When the
value is set to 0, the filter remains set, with
no movement.
POWER BEND
A higher setting results in a darker sound. At the same time, the tone
and volume also change with respect to fluctuations in pitch pro-
duced by using a tremolo bar or other techniques.
GLIDE SENS (Glide Sensitivity)
Picking dynamics can affect the amount of pitch change over time.
This is known as the Glide effect.
With softly played notes for which no attack can be detected, a glide
effect may not be obtainable.
0–100
The higher the value, the more strained the
sound becomes.
0–100
This sets the sensitivity for the glide effect.
POWER BEND Q
0–100
GLIDE TIME
0–100
The higher the value, the more the sound
will consist of mainly the harmonic compo-
nents, thus creating a sound that exhibits al-
most no attack.
This sets the speed of the glide. Larger val-
ues result in longer glides.
* GLIDE TIME is no longer applied once
GLIDE SENS decreases.
SUSTAIN
0–100
SUSTAIN
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
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COSM GUITAR
Chapter 9 Parameters Guide
FILTER BASS
SOLO
Parameter/
Range
Parameter/
Range
Explanation
Explanation
FILTER CUTOFF
0–100
FILTER CUTOFF
0–100
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The
sound gets brighter (harder) as the value is
raised.
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The
sound gets brighter (harder) as the value is
raised.
FILTER RESO (Filter Resonance)
FILTER RESO (Filter Resonance)
0–100
Adjusts the resonance (distinctiveness of the
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
TOUCH SENS (Touch Sensitivity)
TOUCH SENS (Touch Sensitivity)
0–100
This sets the sensitivity when the filter is
0–100
This sets the sensitivity when the filter is
shifted according to the picking. The shift-
ing of the filter caused by the picking in-
creases as the value is raised. When the
value is set to 0, the filter remains set, with
no movement.
shifted according to the picking. The shift-
ing of the filter caused by the picking in-
creases as the value is raised. When the
value is set to 0, the filter remains set, with
no movement.
FILTER DECAY
0–100
COLOR
0–100
This sets the speed at which the filter stops.
The speed increases as the value of the set-
ting is reduced.
Adjusts the amount of harmonics in the
sound when the guitar strings are played
with greater force. The harmonic compo-
nents become more prominent as the value
is raised.
* The decay effect cannot be obtained if the
TOUCH SENS value is too low.
COLOR
0–100
To make adjustment easier, set FILTER
CUTOFF to 100 and FILTER RESO and
TOUCH SENS to 0, then gradually
increase the FILTER RESO setting as
you play the guitar.
Adjusts the strength of the low range. As the
value is increased, the low range will be-
come stronger.
SUSTAIN
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
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Chapter 9 Parameters Guide
PWM
COSM GUITAR
ORGAN
Parameter/
Explanation
Range
Parameter/
Range
Explanation
FILTER CUTOFF
FEET 16’
0–100
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The sound
gets brighter (harder) as the value is raised.
0–100
This is a Long Tone one octave lower than
the guitar.
FEET 8’
0–100
FILTER RESO (Filter Resonance)
This is a Long Tone at the same pitch as the guitar.
0–100
Adjusts the resonance (distinctiveness of the
FEET 4’
0–100
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
This is a Long Tone one octave higher than
the guitar.
SUSTAIN
TOUCH SENS (Touch Sensitivity)
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
0–100
This sets the sensitivity when the filter is
shifted according to the picking. The shift-
ing of the filter caused by the picking in-
creases as the value is raised. When the
value is set to 0, the filter remains set, with
no movement.
BRASS
Parameter/
Range
Explanation
PWM DEPTH
0–100
This sets the depth to which the waveform’s
pulse width is varied. Higher values result
in deeper undulations.
FILTER CUTOFF
0–100
Adjusts the cutoff frequency, setting the
brightness (hardness) of the sound. The
sound gets brighter (harder) as the value is
raised.
PWM RATE
0–100
This sets the speed at which the filter stops.
The speed increases as the value of the set-
ting is reduced.
FILTER RESO (Filter Resonance)
0–100
Adjusts the resonance (distinctiveness of the
SUSTAIN
0–100
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
TOUCH SENS (Touch Sensitivity)
0–100
This sets the sensitivity when the filter is
CRYSTL
shifted according to the picking. The shift-
ing of the filter caused by the picking in-
creases as the value is raised. When the
value is set to 0, the filter remains set, with
no movement.
Parameter/
Range
Explanation
ATTACK LENGTH
0–100
This sets the decay time for the attack por-
tion of the sound. A smaller setting results
in a shorter attack.
SUSTAIN
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
MOD TUNE (Modulation Tune)
0–100
This sets the tuning for the modulation ap-
plied to the attack.
MOD DEPTH (Modulation Depth)
0–100
This sets the depth of the modulation ap-
plied to the attack. Larger values result in
deeper undulations.
ATTACK LEVEL
0–100
This sets the volume level of the attack portion.
BODY LEVEL
0–100
This sets the volume level for the sustained
portion of the sound.
SUSTAIN
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
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COSM GUITAR
Chapter 9 Parameters Guide
WAVE
SYNTH Common Parameters
Besides the other COSM SYNTH parameters, the VG-99 also
includes the following shared parameters.
Parameter/
Range
Explanation
Parameter/
Explanation
Range
WAVE SHAPE
Selects the wave type on which the synth sound is based.
EQ (Equalizer)
A four-band equalizer with high and low ranges is provided. The
sound processed by the effect can be boosted by frequency range be-
fore it is output.
SAW
Creates a synth sound with a sawtooth waveform.
Creates a synth sound with a square waveform.
SQUARE
WAVE SENS (Wave Sensitivity)
0–100
EQ SW (Equalizer Switch)
This controls the input sensitivity of the
wave synth.
OFF, ON
Turns the EQ effect on/off.
WAVE ATTACK
0–100
TOTAL GAIN
-12–+12dB
Adjusts the time it takes for the synth sound to
rise after a string is plucked. When it is set to a
lower value, the sound will rise quickly. When
it is set higher, the sound will rise slowly.
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
LOW GAIN
-12–+12dB
WAVE DECAY
0–100
HIGH GAIN
-12–+12dB
Adjusts the time it takes for the synth sound to
decay. The synth sound decays more quickly
when this parameter is set to a lower value. Set-
ting a higher value increases the decay time.
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID GAIN.
WAVE LEVEL
0–100
Adjusts the volume of the synth sound.
LOW MID Q (Low Middle Q)
CUTOFF
0–100
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
Adjusts the cutoff frequency at which the fil-
ter cuts off the sound’s harmonic compo-
nents.
This parameter determines the sound that
will result after the filter has stopped vary-
ing due to FILTER DEPTH.
LOW MID GAIN (Low Middle Gain)
-12–+12dB
Adjusts the low-middle frequency range tone.
HIGH MID FREQ (High Middle Frequency)
RESO (Resonance)
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
0–100
Adjusts the resonance (distinctiveness of the
sound). As the value is increased, sounds in
the frequency range near the cutoff frequen-
cy are boosted, making the sound more dis-
tinctive and unique.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
FILTER TYPE
-12 dB, -24 dB
HIGH MID GAIN (High Middle Gain)
Selects the curve of attenuation in the filter.
The -24 dB setting has very steep filtering
characteristics.
-12–+12dB
Adjusts the high-middle frequency range tone.
Parameter/
Range
FILTER ATTACK
0–100
Explanation
Sets the filter attack time.
Sets the filter decay time.
STRING PAN 1st–6th
100:0–0:100
FILTER DECAY
0–100
This sets the left/right pan of each string.
* The pan effect is cancelled if a monaural effect
or COSM amp is connected after the COSM
GUITAR effect.
FILTER DEPTH
-50–+50
Adjusts the depth of the filter’s change.
When set to a positive value, the VCF cutoff
frequency shifts from a high value to a low
value. When set to a negative value, the VCF
cutoff frequency shifts from a low value to a
high value.
STRING LEVEL 1st–6th
0–100
Specifies the output level of each string.
.
Parameter/
Range
Explanation
MIX LEVEL
COSM GUITAR
0–100
Specifies the level of the COSM GUITAR.
NORMAL PU (Normal Pickup)
0–100
Adjusts the volume of the normal pickup.
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Chapter 9 Parameters Guide
COSM GUITAR
*
With the GR-300 selected as the COSM guitar, expression of sounds
may become unstable when the Alternate Tuning 12STR is set to ON
or when pitches are shifted excessively.
ALTERNATE TUNING
With the Alternate Tuning function, you can convert the pitch of
each individual string of a COSM guitar, without changing the
guitar’s actual tuning.
Parameter/
Range
Explanation
AB LINK
Alternate Tuning includes the five following functions.
OFF, ON
This setting switches the AB LINK on and off.
When AB LINK is on, you can use the same
settings for the functions below on both
COSM GUITAR [A] and COSM GUITAR [B].
•
•
•
•
•
TUNING
BEND
12-STRING
DETUNE
HARMONY
•
•
TUNING
BEND
When set to OFF, you can use set COSM
GUITAR [A] differently than COSM GUI-
TAR [B].
You can use all of these functions simultaneously, in any
combination.
TUNING
This shifts the tuning of each string in semitone increments.
Unless you particularly want to change
the TUNING or BEND settings for
COSM GUITAR [A] and COSM
GUITAR [B], leaving AB LINK set to
ON is normally more convenient.
With the guitar left with the standard tuning (EADGBE), you
can convert the tuning to an open tuning such as OPEN-D or
OPEN-G, raise or lower all of the strings an octave, and achieve
various other tunings, all without changing the guitar’s actual
tuning.
When the type set in TUNING is something other than a preset
tuning, you can also create your own tunings as you like for
each individual patch with the USER tunings.
Using the TUNING function allows you to change tunings
instantly during songs, without having to change instruments,
and perform using tunings that are easier to play in, without
changing the string tension.
A/B
A, B
This selects the channel used in setting Al-
ternate Tuning.
* You cannot set this when AB LINK is on.
TUNING
SW
OFF, ON
This setting switches TUNING function on
and off.
BEND
TYPE
You can produce a pitch bend effect on any individual string or
combination of strings.
You can create and use your own original harmonies in each individ-
ual patch with the USER TYPE function.
This features lets you make separate settings for the amount of
bend for each individual string, just as with a string bender or
pedal steel guitar. This is mainly used with Control Assign.
OPEN-D
OPEN-E
OPEN-G
OPEN-A
DROP-D
D-MODAL
This tuning produces a D chord when the
strings are played open.
This tuning produces an E chord when the
strings are played open.
12-STRING
This changes the sound of a regular six-string guitar to that of a
twelve-string guitar featuring secondary strings. For each
individual string, you can set the shift in pitch for the secondary
string relative to the respective main string, the amount of
delay, and the volume.
This tuning produces a G chord when the
strings are played open.
This tuning produces an A chord when the
strings are played open.
This tuning drops the note only on the 6th
string (D).
DETUNE
Also referred to as DADGAD, this tuning
drops the 6th, 2nd, and 1st strings one note,
lending the sounds an exotic air.
This allows you to subtly shift the pitch of each individual
string.
When playing sounds from both COSM GUITAR [A] and [B],
switching DETUNE to ON in one of the channels to slightly
alter the pitch produces an effect resembling double tracking,
creating a sound with greater breadth and depth.
-1 STEP
-2 STEP
This tuning lowers the strings one semitone
(half-step).
All strings are lowered a semitone (corre-
sponding to one fret).
This tuning lowers the strings one whole
step.
All strings are lowered a whole step (corre-
sponding to two frets).
HARMONY
This analyzes the pitch of each string and adjusts the amount of
shift in the pitch to convert the pitches into harmonies matched
to the key. You can create and use the harmonies you like in
each individual patch with the USER TYPE function.
BARITONE
NASHVL
This tuning lowers all strings a perfect
fourth (five frets), making it well suited for
heavy phrasing.
With this tuning, the 6th, 5th, 4th, and 3rd
strings are raised an octave, just like having
only the secondary string for these string
pairs on a twelve-string guitar.
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Chapter 9 Parameters Guide
Parameter/
Parameter/
Range
Explanation
Explanation
Range
-1 OCT
-2 OCT
USER
This tuning lowers all the strings one octave.
This tuning raises all the strings one octave.
DETUNE
SW
This assigns the tuning set in USER TUN-
ING.
OFF, ON
This setting switches DETUNE function on
and off.
USER TUNING 1st–6th
1st–6th
-50–+50
-24–+24
This sets the amount of shift for each indi-
This sets the shift in pitch in one cent (1/100
of a half-step) units.
vidual string.
BEND
SW
When playing both COSM GUITAR
[A] and COSM GUITAR [B], slightly
detuning produces an effect
OFF, ON
This setting switches BEND function on and
off.
resembling double tracking (a
recording technique whereby the same
phrase is recorded twice on separate
tracks), creating a sound with greater
breadth and depth.
BEND TUNING 1st–6th
-24–+24
This sets the amount of pitch shift in each
string when the bend is set to 100.
The amount of shift from the current pitch is
set in semitone increments.
Using PAN in the MIXER section to
pan A to the left and B to the right
further emphasizes the effect.
BEND
0–100
When set to 0, bending causes no shift in the
pitch; when set to 100, the strings’ pitches are
shifted by the amount set in 1st–6th.
Normally, this pitch bend is set to 0, and the set-
ting 0–100 assigned with Control Assign is used.
HARMO (Harmony)
SW
OFF, ON
and off.
* This setting cannot be saved to patches. This
is reset to 0 when patches are switched.
KEY
C Am–B G#m
12STR (12-String)
SW
Specify the key of the song you are playing.
OFF, ON
This setting switches 12STR function on and
off.
This KEY parameter is the same as the Key
setting in the [NAME/KEY/BPM] section
(p. 163) and FX MOD1, 2 HARMONIST.
Altering either one changes the key.
SHIFT 1st–6th
-24–+24
This sets the amount the pitch that each sec-
ondary string is shifted relative to the re-
spective main string in semitone
increments.
HARMO (Harmony)
-2oct–TONIC–+2oct,
USER
This sets the pitch for the harmony interval rel-
ative to the input sound.
When this is set to USER, you can set this to the
desired harmony in USER INTERVAL.
FINE 1st–6th
-50–+50
This sets the amount the pitch that each sec-
ondary string is shifted relative to the re-
spective main string in one cent (1/100 of a
semitone) increments.
USER INTERVAL C–B
-24–+24
This sets the output pitch relative to the in-
put pitch for the selected key.
LEVEL 1st–6th
0–100
Adjusts the volume level for each secondary
string.
Creating Harmony Scales (User Scale)
When HARMO is set to any value from -2oct to +2oct, and the
harmony does not sound the way you intend, use a User scale. You
can set the corresponding pitches to be output for each input pitch.
DELAY 1st–6th
0–100ms
Adjusts the time the sound of each second-
ary string is delayed relative to the respec-
tive main string.
1. Set HARMO to USER in the Harmony screen.
2. Press PAGE [
] to display Page 2.
The User Interval screen appears.
With conventional twelve-string
guitars, the 1st and 2nd secondary
strings are tuned to the same pitch as
the main strings, while the 3rd through
6th are tuned one octave higher.
Slightly raising the FINE settings and
adding a little delay produces a more
realistic twelve-string sound.
fig.04-0100d
3. Use PAGE [
] [
], [F1]–[F6], and the F1–F6 knob to set
the amount of pitch shift for each voice.
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Chapter 9 Parameters Guide
POLY
POLY FX (Poly Effect)
POLY DIST (Poly Distortion)
You can individually distort the sound of each string to get a sound
that can be played chordally without breaking up.
Parameter/
Explanation
Range
POLYFX SW (Poly Effect Switch)
OFF, ON
Turns the poly effect on/off.
Parameter/
Explanation
Range
TYPE
POLY COMP
POLY DIST
POLY OCTAVE
POLY SG
Select the poly effect type.
MODE
Selects the type of distortion.
* The parameters that can be set differ with
each type. Refer to each of the parameters
cited later.
CLA OD
A classical overdrive sound is obtained.
TURBO OD
Allows you to obtain a rich effect just like
distortion, without losing the subtle nuance
of the overdrive.
POLYFX CH (Poly Effect Channel)
A, B
This selects the channel to which the POLY
FX are applied.
DS1
DS2
Allows you to obtain a standard distortion
sound.
Allows you to obtain a distortion sound
with a rich middle.
POLY COMP (Poly Compressor)
The compressor is an effect that attenuates loud input levels
and boosts soft input levels, thus evening out the volume to
create sustain without distortion.
FUZZ
This produces a basic fuzz sound.
DRIVE
0–100
This sets the degree of sound distortion.
Adjusts the tone of the distorted sound.
Parameter/
Explanation
Range
HIGH-CUT
700Hz–11.0kHz, FLAT
COMP TYPE
Select the compressor type.
POLY BAL (Poly Balance)
0–100
Adjusts the degree of distortion for
chordal playing.
COMP
The effect will function as a compressor.
The effect will function as a limiter.
LIMITR
DRIVE BAL (Drive Balance)
0–100
SUSTAIN (COMP TYPE = COMP)
0–100
Adjusts the degree of distortion be-
tween low and high strings, to even out
the volume balance.
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
LEVEL
0–100
ATTACK (COMP TYPE = COMP)
Adjusts the output level that is raised
by being distorted.
0–100
Adjusts the strength of the picking attack.
Larger values will result in a sharper attack,
creating a more clearly defined sound.
THRSH (COMP TYPE = LIMITR)
0–100
Adjusts the level to match the signals input
from the guitar. Signal levels are suppressed
when the signals input are in excess of the
set level.
REL (COMP TYPE = LIMITR)
0–100
Adjusts the amount of time from the point at
which the signals fall below the threshold lev-
el to when the effect is no longer applied.
TONE
-50–+50
LEVEL
0–100
Adjusts the tone.
Adjusts the volume.
COMP BAL (Compression Balance)
0–100
Adjusts the balance of the input levels for
the 2nd–6th strings based on the 1st string’s
input level. When this is set to 100, all of the
strings are input at the same level. The level
of the 2nd through 6th strings decreases as
the value is lowered.
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POLY OCTAVE (Poly Octave)
This supports playing technique related to octaves.
*
When 12STR (p. 116) in ALTERNATE TUNING is switched on,
noise may occur in the octave sound.
Parameter/
Range
Explanation
-1OCTAVE LEVEL 1st–6th
0–100
This adds sound one octave lower than the
original sound.
+1OCTAVE LEVEL 1st–6th
0–100
This adds sound two octaves lower than the
original sound.
DIRECT LEVEL 1st–6th
0–100
Adjusts the level of the original sound.
POLY SG (Poly Slow Gear)
This produces a volume-swell effect (“violin-like” sound).
Parameter/
Explanation
Range
RISE TIME
0–100
Adjusts the time needed for the volume to
reach its maximum from the moment you
begin picking.
SENS (Sensitivity)
0–100
Adjusts the sensitivity.
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Chapter 9 Parameters Guide
FX (Effects)
FX (Effects)
COMP (Compressor)
OD/DS (Overdrive/Distortion)
This is an effect that produces a long sustain by evening out the
volume level of the input signal. You can switch it to a limiter to
suppress only the sound peaks and prevent distortion.
This effect distorts the sound to create long sustain.
It provides 30 types of distortion and custom settings.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
OD/DS SW
OFF, ON
COMP SW
Turns the OD/DS effect on/off.
OFF, ON
Turns the COMP effect on/off.
TYPE
TYPE
Selects the type of distortion.
Select the compressor type.
BOOST
This is a booster that works very well with
COSM amps.
COMP
The effect will function as a compressor.
The effect will function as a limiter.
BLUES OD
CRUNCH
This is a crunch sound of the BOSS BD-2.
LIMITR
A lustrous crunch sound with an added ele-
ment of amp distortion.
SUSTAIN (TYPE = COMP)
0–100
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
NATURAL OD
TURBO OD
This is an overdrive sound that provides
distortion with a natural feeling.
This is the high-gain overdrive sound of the
BOSS OD-2.
ATTACK (TYPE = COMP)
0–100
Adjusts the strength of the picking attack
FAT OD
OD-1
This is a mellow overdrive sound.
This is the sound of the BOSS OD-1.
This models an Ibanez TS-808.
when the strings are played. Higher values
result in s sharper attack, creating a more
clearly defined sound.
T SCREAM
WARM OD
DIST
Overdrive with special mid range tone.
THRSH (TYPE = LIMITER)
0–100
This gives a basic, traditional distortion
sound.
Adjust this as appropriate for the input sig-
nal from your guitar. When the input signal
level exceeds this threshold level, limiting
will be applied.
MILD DS
This is a distortion sound that provides a
mild distortion.
DRIVE DS
RAT
This is a powerful distortion sound.
This models a Proco RAT.
REL (TYPE = LIMITER)
0–100
Adjusts the time from when the signal level
drops below the threshold until when limit-
ing is removed.
GUV DS
DST+
This models an Marshall GUV’ NOR.
This models an MXR DISTORTION+.
TONE
-50–+50
LEVEL
0–100
SOLID DS
This is a distortion sound featuring an edge
effect.
Adjusts the tone.
MID DS
STACK
This distortion sound features a boosted
midrange.
Adjusts the volume.
A fat sound with an added element of a
stack amp’s distortion.
MODERN DS
POWER DS
R-MAN
Sound of a large high gain amp.
Sound of Overdrive through a stack amp.
This models a ROCKMAN.
METAL ZONE
HEAVY METAL
LEAD
This is the sound of the BOSS MT-2.
This creates a heavier distortion sound.
Produces a distortion sound with both the
smoothness of an overdrive along with a
deep distortion.
LOUD
This is a distortion sound with a boosted
low end.
SHARP
This is a distortion sound with a boosted
high end.
MECHANICAL
This distortion sound boosts the low and
high ends, yielding a mechanical-sounding
distortion.
‘60S FUZZ
This models a FUZZFACE.
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FX (Effects)
Chapter 9 Parameters Guide
Parameter/
Range
OCT FUZZ
Parameter/
Range
Explanation
Explanation
This models an ACETONE FUZZ.
CUSTOM *1
TYPE
MUFF FUZZ
This models an Electro-Harmonix Big Muff
π.
This selects the basic sound when the TYPE parameter is set to
CUSTOM.
CUSTOM
DRIVE
0–120
Custom OD/DS
OD-1
OD-2
This is the sound of the BOSS OD-1.
Adjusts the depth of distortion.
OD-2 This is a overdrive sound with high
gain.
BOTTOM
-50–+50
Adjusts the tone for the low frequency
range. Turning this to the left (counterclock-
wise) produces a sound with the low end
cut; turning it to the right boosts the low end
in the sound.
CRUNCH
DS-1
This is a crunch sound.
This gives a basic, traditional distortion
sound.
DS-2
This creates a heavier distortion sound.
METAL1
This is a metal sound with a characteristic
midrange.
TONE
-50–+50
Adjusts the tone.
METAL2
FUZZ
This gives a heavy metal sound.
EFFECT LEVEL
0–100
This gives a basic, traditional fuzz sound.
Adjusts the volume of the overdrive/distor-
tion sound.
BOTTOM
-50–+50
This controls the input sound’s low-fre-
quency range and adjusts the amount of dis-
tortion in the low-frequency range.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
TOP
-50–+50
This controls the input sound’s low-fre-
quency range and adjusts the amount of dis-
tortion in the high-frequency range.
LOW
-50–+50
Adjusts the low-range tones after distortion
is applied.
HIGH
-50–+50
Adjusts the high-range tones after distortion
is applied.
*1 Setting available when TYPE is set to CUSTOM.
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Chapter 9 Parameters Guide
FX (Effects)
WAH
Parameter/
Range
Explanation
You can control the wah effect in real time by adjusting the EXP
pedal connected to the EXP PEDAL jack or FC-300 EXP pedal.
CUSTOM *1
TYPE
This selects the basic sound when the TYPE parameter is set to
CUSTOM.
Parameter/
Explanation
Range
WAH SW
OFF, ON
CRY WAH
This models the sound of the CRY BABY
wah pedal popular in the `70s.
Turns the WAH effect on/off.
VO WAH
This models the sound of the VOX V846.
This a wah sound featuring a bold tone.
This wah has a refined smooth sound.
TYPE
Selects the type of wah.
FAT WAH
LIGHT WAH
7STR WAH
CRY WAH
This models the sound of the CRY BABY
wah pedal popular in the `70s.
Wah featuring a broader range of variations
for the seven-string guitar.
VO WAH
This models the sound of the VOX V846.
This a wah sound featuring a bold tone.
Q
-50–+50
FAT WAH
LIGHT WAH
Adjusts the amount of characteristic effect
applied to the wah tone.
This wah has a refined sound with no un-
usual characteristics.
RANGE LOW
-50–+50
7STR WAH
RESO WAH
CUSTOM
This expanded wah features a variable
range compatible with seven-string and bar-
itone guitars.
Selects the tone produced when the pedal is
back.
This completely original effect offers en-
hancements on the characteristic resonances
produced by analog synth filters.
RANGE HIGH
-50–+50
Selects the tone produced when the pedal is
forward.
Custom wah
PRESENCE
-50–+50
PEDAL POS (Pedal Position)
0–100
Adjusts the tonal quality of the wah effect.
Adjusts the position of the wah pedal.
*1 Setting available when TYPE is set to CUSTOM.
* This expanded wah features a variable range
compatible with seven-string and baritone
guitars.
LEVEL
0–100
Adjusts the volume.
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FX (Effects)
Chapter 9 Parameters Guide
EQ (Equalizer)
DELAY
This adjusts the tone as a sub equalizer. A parametric type is
adopted for the high-middle and low-middle range.
This effect adds delayed sound to the direct sound, giving more
body to the sound or for creating special effects.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
DELAY SW
OFF, ON
EQ SW (Equalizer Switch)
Turns the DELAY effect on/off.
OFF, ON
Turns the EQ effect on/off.
DELAY TYPE
Selects the type of delay.
SINGLE
TOTAL GAIN
-20–+20dB
Adjusts the overall volume level of the
equalizer.
This is a simple monaural delay.
PAN
This delay is specifically for stereo output.
This allows you to obtain the tap delay effect
that divides the delay time, then deliver
LOW GAIN
-20–+20dB
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
HIGH GAIN
-20–+20dB
them to L and R channels.
fig.04-0050
TAP TIME
OUTPUT L
LOW MID FREQ (Low Middle Frequency)
EFFECT
LEVEL
DELAY TIME
OUTPUT R
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
INPUT
DELAY
FEEDBACK
LOW MID Q (Low Middle Q)
STEREO
The direct sound is output from the left
channel, and the effect sound is output from
the right channel.
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
DUAL-S (Dual Series) This is a delay comprising two different de-
lays connected in series. Each delay time can
LOW MID GAIN (Low Middle Gain)
be set in a range from 1 ms to 900 ms.
-20–+20dB
Adjusts the low-middle frequency range
tone.
fig.04-0060
D1: Delay 1
D1
D2
HIGH MID FREQ (High Middle Frequency)
D2: Delay 2
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
DUAL-P (Dual Paral- This is a delay comprising two delays con-
lel)
nected in parallel. Each delay time can be set
in a range from 1 ms to 900 ms.
HIGH MID Q (High Middle Q)
fig.04-0070
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
D1
D2
HIGH MID GAIN (High Middle Gain)
DUAL-L/R
This is a delay with individual settings avail-
able for the left and right channels. Delay 1
-20–+20dB
Adjusts the high-middle frequency range tone.
goes to the left channel, Delay 2 to the right.
LOW CUT (Low Cut Filter)
fig04-0080
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
D1
D2
L
R
REVRSE
This produces an effect where the sound is
played back in reverse.
HIGH CUT (High Cut Filter)
700 Hz–11kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When it is set to FLAT, the
ANALOG
This gives a mild analog delay sound. The
delay time can be set within the range of 1 to
1800 ms
TAPE
This setting provides the characteristic wa-
vering sound of the tape echo. The delay time
can be set within the range of 1 to 1800 ms.
high cut filter is off or has no effect.
WARP
This simultaneously controls the delay
sound’s feedback level and volume to pro-
duce a totally unreal delay.
LEVEL
DEPTH
INPUT
OUTPUT
DELAY
FB DEPTH
RISE TIME
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Chapter 9 Parameters Guide
FX (Effects)
PAN
Parameter/
Explanation
Range
Range
MOD (Modulate)
Explanation
to the sound.
TAP TIME TYPE=PAN *1
HOLD
Up to 2.8 seconds of performance content is
recorded, then played back repeatedly. You
can also layer this as you perform some-
thing else, then record these together (over-
dub), allowing you to produce what is
called sound-on-sound or looping.
0%–100%
Adjusts the delay time of the left channel de-
lay. This setting adjusts the L channel delay
time relative to the R channel delay time
(considered as 100%).
* For more detail the operation, refer to “Using the HOLD (Hold
Delay)” (p. 125).
* If you switch patches with the TYPE set to either DUAL-S, DUAL-P,
or DUAL L/R and then begin to play immediately after the patches
change, you may be unable to attain the intended effect in the first
portion of what you perform.
Parameter/
Explanation
Range
DELAY1 TIME
1 ms–900 ms,
This determines the delay time.
* The stereo effect is cancelled if a monaural effect or COSM amp is
connected after a stereo delay effect.
BPM –BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
Parameter/
Explanation
Range
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DELAY TIME
1 ms–1800 ms,
This determines the delay time.
* After setting DELAY TIME to BPM (
–
), if you tap [F1] (TAP),
BPM –BPM
the BPM value will change to match the timing of your tapping.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
DELAY1 FEEDBACK
0–100
Adjusts the amount of feedback of the Delay1.
A higher value will increase the number of
the delay repeats.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DELAY HI-CUT (Delay 1 High Cut Filter)
700 Hz–11 kHz, FLAT This sets the frequency at which the high cut
filter of the Delay1 begins to take effect.
When it is set to FLAT, the high cut filter is
off or has no effect.
* When TYPE is set to DUAL-S, DUAL-P, or DUAL-L/R, the delay
time can be set to any value from 1 to 900 ms.
DELAY1 LEVEL
0–120
* After setting DELAY TIME to BPM (
–
), if you tap [F1] (TAP),
the BPM value will change to match the timing of your tapping.
Adjusts the volume of the Delay1.
FEEDBACK
0–100
DELAY2 TIME
1 ms–900 ms,
This sets the amount of delay sound re-
turned to the input.
A higher value will increase the number of
the delay repeats.
This determines the delay time of the
Delay2.
BPM
–BPM
DELAY2 FEEDBACK
0–100
Adjusts the amount of feedback of the
Delay2.
Feedback is returning a delay signal to the
input.
DELAY2 FEEDBACK (Delay 2 High Cut Filter)
700 Hz–11 kHz, FLAT This sets the frequency at which the high cut
filter of the Delay2 begins to take effect.
When it is set to FLAT, the high cut filter is
off or has no effect.
HIGH CUT (High Cut Filter)
700 Hz–11 kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When it is set to FLAT, the
DELAY2 LEVEL
0–120
high cut filter is off or has no effect.
Adjusts the volume of the Delay2.
EFFECT LEVEL
0–120
Adjusts the volume of the delay sound.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
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FX (Effects)
WARP
Chapter 9 Parameters Guide
Using the HOLD (Hold Delay)
Parameter/
Range
Explanation
*
Recording and playback of performances and other operations are
carried out with pedals while Hold is in effect. Connect external pedals
(footswitches) or an FC-300.
WARP SW
OFF, ON
Turns the WARP effect on/off.
1. Referring to “Using the Switches, Pedals, and MIDI to
Control the Sounds (CONTROL ASSIGN)” (p. 82), assign the
following functions to the connected external pedals
(footswitches) or FC-300 CTL pedals.
This parameter is assigned to the
footswitch (CTL 1/2, CTL 3/4) and/or
FC-300’s CTL pedal.
Controller
TARGET PARAMETER
SW MODE
RISE TIME
0–100
CTL3, etc
[A] FX (or [B] FX)
DELAY (HOLD)
REC
Adjusts how rapidly the warped delay
sound rises.
LATCH
FEEDBACK DEPTH
CTL4, etc
[A] FX (or [B] FX)
DELAY (HOLD)
STOP
- - -
0–100
Adjusts the feedback level of the warped de-
lay sound.
LEVEL DEPTH
0–100
2. Set TYPE to HOLD in the Delay screen.
Adjusts the volume of the warped delay
sound.
3. Press the pedal to which REC is assigned.
Recording starts when you press the pedal.
4. Press the pedal to which REC is assigned again to stop
MOD
recording.
*
*
The maximum recording time is 2.8 seconds. If the recording time
exceeds 2.8 seconds, the recording stops automatically, and the
recorded content is then played back.
Parameter/
Range
Explanation
MOD RATE (Modulation Rate)
0–100
An oscillating sound may be audible with extremely short recording
times.
Adjusts the modulation rate of the delay
sound.
MOD DEPTH (Modulation Depth)
5. When layering recordings, repeat Steps 4 and 5.
0–100
Adjusts the modulation depth of the delay
sound.
*
The recorded content is cleared when the TYPE or patch is switched to
a different setting or when the power is turned off.
6. To return to recording standby, press the pedal to which
STOP is assigned.
The unit returns to recording standby.
*
*
When playback is stopped, the recorded content is erased.
You can also set REC SW MODE to MOMENT.
If you use this setting, be sure to keep the pedal held down during
recording.
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Chapter 9 Parameters Guide
FX (Effects)
CHORUS
REVERB
In this effect, a slightly detuned sound is added to the original sound
to add depth and breadth.
This effect adds reverberation to the sound.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
REVERB SW
OFF, ON
CHORUS SW
Turns the REVERB effect on/off.
OFF, ON
Turns the CHORUS effect on/off.
TYPE
CHORUS MODE
Selection for the chorus mode.
This selects the reverb type. Various different simulations of space
are offered.
AMB (Ambience)
Simulates an ambience mic (off-mic, placed
at a distance from the sound source) used in
recording and other applications. Rather
than emphasizing the reverberation, this re-
verb is used to produce a sense of openness
and depth.
MONO
This chorus effect outputs the same sound
from both L channel and R channel.
ST1 (Stereo1)
This is a stereo chorus effect that adds differ-
ent chorus sounds to L channel and R
channel.
ST2 (Stereo2)
with the direct sound output in the L
channel and the effect sound output in the R
channel.
ROOM
HALL1
HALL2
PLATE
Simulates the reverberation in a small room.
Provides warm reverberations.
Simulates the reverberation in a concert hall.
Provides clear and spacious reverberations.
RATE
0–100,
Simulates the reverberation in a concert hall.
Provides warm reverberations.
Adjusts the rate of the chorus effect.
BPM
–BPM
Simulates plate reverberation (a reverb unit
that uses the vibration of a metallic plate).
Provides a metallic sound with a distinct
upper range.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
SPRING
This simulates the sound of a guitar amp’s
built-in spring reverb.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
MOD (Modulate)
This reverb adds the wavering sound found
in hall reverb to provide an extremely pleas-
ant reverb sound.
DEPTH
0–100
REVERB TIME
0.1 s–10.0 s
Adjusts the depth of the chorus effect.
Adjusts the length (time) of reverberation.
PRE DELAY
0 ms–100 ms
To use it for doubling effect, set the
value to 0.
Adjusts the time until the reverb sound ap-
pears.
PRE DELAY
0.0 ms–40.0 ms
LOW CUT (Low Cut Filter)
Adjusts the time needed for the effect sound
to be output after the direct sound has been
output. By setting a longer pre delay time,
you can obtain an effect that sounds like
more than one sound is being played at the
same time (doubling effect).
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
High Cut (High Cut Filter)
LOW CUT (Low Cut Filter)
700 Hz–11 kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When FLAT is selected, the
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
high cut filter will have no effect.
DENSTY (Density)
HIGH CUT (High Cut Filter)
700 Hz–11 kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When FLAT is selected, the
0–10
Adjusts the density of the reverb sound.
Adjusts the volume of the reverb sound.
Adjusts the volume of the direct sound.
EFFECT LEVEL
0–100
DIRECT LEVEL
0–100
high cut filter will have no effect.
EFFECT LEVEL
0–100
Adjusts the volume of the effect sound.
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FX (Effects)
Chapter 9 Parameters Guide
MOD1, MOD2
With MOD1 and MOD2, you can select the effect to be used from the
following.
By adding varied-phase portions to the direct sound, the phaser
effect gives a whooshing, swirling character to the sound.
You can select the same effect for FX-1 and FX-2.
Explanation
MOD TYPE
PHASER
Phaser
(p. 127)
(p. 128)
(p. 128)
(p. 128)
(p. 129)
(p. 129)
(p. 129)
(p. 130)
(p. 130)
(p. 132)
(p. 132)
(p. 133)
(p. 133)
(p. 133)
(p. 134)
(p. 134)
(p. 135)
(p. 135)
(p. 135)
(p. 136)
(p. 136)
(p. 136)
(p. 137)
(p. 137)
(p. 138)
FLANGR
TREML
Flanger
This is a four-phase effect. A light phaser ef-
fect is obtained.
Tremolo
PAN
Pan
This is an eight-phase effect. It is a popular
phaser effect.
T.WAH
Touch Wah
Auto Wah
Octave
AUTO WAH
OCTAVE
PITCH SHIFT
HARMONIST
PEDAL BEND
2x2 CHORUS
ROTARY
BI-PHS
effect is obtained.
This is the phaser with two phase shift cir-
cuits connected in series.
Pitch Shifter
Harmonist
Pedal Bend
2x2 Chorus
Rotary
0–100,
BPM
This sets the rate of the phaser effect.
–BPM
MOD1
MOD2
UNI-V
Uni-V
When set to BPM, the value of each parameter will be set according
Common
VIB
Vibrato
SLICER
Slicer
HUMANIZER
SLOW GEAR
DEFRET
Humanizer
Slow Gear
Defretter
time.
FEEDBACKER
RING MOD
ANTI FB
Feedbacker
Ring Modulator
Anti Feedback
Advanced Compressor
Limiter
DEPTH
0–100
Determines the depth of the rotation effect.
MANUAL
0–100
ADV.COMP
LIMITR
Adjusts the center frequency of the rotation
effect.
SUB EQ
Sub Equalizer
Sub Delay
RESO (Resonance)
SUB DELAY
0–100
Determines the amount of resonance (feed-
back).
Parameter/
Range
fect, creating a more unusual sound.
Explanation
MOD1 SW, MOD2 SW (MODE Switch)
STEP RATE
Off, 0–100,
OFF, ON
Turns the MOD-1 (MOD-2) effect on/off.
This sets the cycle of the step function that
changes the rotation. When it is set to a
higher value, the change will be finer. Set
this to Off when not using the Step function.
MOD 1 TYPE, MOD 2 TYPE (MODE Type)
BPM
–BPM
see above
Selects the effect to be used.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
EFFECT LEVEL
0–100
Adjusts the volume of the phaser.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
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Chapter 9 Parameters Guide
FX (Effects)
FLANGER
The flanging effect gives a twisting, jet-airplane-like character to the
TREML (Tremolo)
Tremolo is an effect that creates a cyclic change in volume.
sound.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
WAVE SHAPE
RATE
0–100,
0–100
Adjusts the curve for the volume change.
Raising the value makes the changes occur
more rapidly.
This sets the rate of the flanging effect.
BPM
–BPM
RATE
0–100,
BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
Adjusts the frequency (speed) of the change.
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DEPTH
0–100
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
Determines the depth of the flanging effect.
MANUAL
0 –100
DEPTH
Adjusts the center frequency at which to ap-
ply the effect.
0–100
Adjusts the depth of the effect.
RESO (Resonance)
0–100
Determines the amount of resonance (feed-
back).
Increasing the value will emphasize the ef-
fect, creating a more unusual sound.
PAN
With the volume level of the left and right sides alternately
changing, when playing sound in stereo, you can get an effect that
makes the guitar sound appear to fly back and forth between the
speakers.
SEPARATION
0–100
Adjusts the diffusion. The diffusion increas-
es as the value increases.
Parameter/
Explanation
Range
LOW CUT (Low Cut Filter)
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
WAVE SHAPE
0–100
Adjusts the curve for the volume change.
Raising the value makes the changes occur
more rapidly.
RATE
0–100,
BPM
EFFECT LEVEL
0–100
Adjusts the frequency (speed) of the change.
Adjusts the volume of the flanger.
–BPM
DIRECT LEVEL
0–100
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
Adjusts the volume of the direct sound.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DEPTH
0–100
Adjusts the depth of the effect.
* The pan effect is cancelled if a monaural effect or COSM amp is
connected after the COSM GUITAR effect.
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FX (Effects)
Chapter 9 Parameters Guide
Parameter/
Range
0–100
T.WAH (Touch Wah)
Explanation
You can produce a wah effect with the filter changing in response to
Adjusts the amount of wah effect applied in
the range near the reference frequency.
which emphasizes the wah effect more.
With a value of 50 a standard wah sound
will be produced.
the guitar level.
Parameter/
Explanation
Range
MODE
Selects the wah mode.
RATE
0–100,
LPF
This creates a wah effect over a wide fre-
quency range.
Adjusts the frequency (speed) of the change.
(Low Pass Filter)
BPM
–BPM
BPF
This creates a wah effect in a narrow fre-
quency range.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
(Band Pass Filter)
POLARITY
Selects the direction in which the filter will change in response to the
input.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
UP
The frequency of the filter will rise.
The frequency of the filter will fall.
DOWN
DEPTH
0–100
SENS (Sensitivity)
Adjusts the depth of the effect.
0–100
Adjusts the sensitivity at which the filter
will change in the direction determined by
the polarity setting.
Higher values will result in a stronger re-
sponse. With a setting of 0, the strength of
picking will have no effect.
LEVEL
0–100
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
FREQ (Frequency)
0–100
Adjusts the center frequency of the Wah ef-
OCTAVE
This adds a note one octave lower, creating a richer sound.
fect.
PEAK
Higher values will produce a stronger tone which emphasizes the
wah effect more.
*
Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
0–100
Adjusts the way in which the wah effect ap-
plies to the area around the center frequen-
cy. With a value of 50 a standard wah sound
will be produced.
Parameter/
Range
Explanation
RANGE
LEVEL
This selects the register to which the effect is applied.
0–100
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
RANGE1
RANGE2
RANGE3
RANGE4
B1 (corresponds to the sound of an open 7th
string) to E6 (corresponds to the 1st string
played at the 24th fret)
DIRECT LEVEL
0–100
B1 (corresponds to the sound of an open 7th
string) to E5 (corresponds to the 1st string
played at the 12th fret)
AUTO WAH
This changes the filtering over a periodic cycle, providing an
B1 (corresponds to the sound of an open 7th
string) to E4 (corresponds to the sound of an
open 1st string)
automatic wah effect.
B1 (corresponds to the sound of an open 7th
string) to E3 (corresponds to the 4th string
played at the 2nd fret)
Parameter/
Explanation
Range
MODE
Selects the wah mode.
OCTAVE LEVEL
0–100
Adjusts the volume of the sound one octave
below.
LPF
This creates a wah effect over a wide fre-
quency range.
(Low Pass Filter)
DIRECT LEVEL
0–100
BPF
This creates a wah effect in a narrow fre-
quency range.
Adjusts the volume of the direct sound.
(Band Pass Filter)
FREQ (Frequency)
0–100
Adjusts the center frequency of the Wah ef-
fect.
PEAK
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Chapter 9 Parameters Guide
FX (Effects)
PITCH SHIFT (Pitch Shifter)
HARMONIST
Harmonist is an effect where the amount of shifting is adjusted
according to an analysis of the guitar input, allowing you to create
harmonics based on diatonic scales.
This effect changes the pitch of the original sound (up or down)
within a range of two octaves.
Parameter/
Explanation
Range
*
Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
VOICE
*
You cannot use the Harmonist effect with audio input via USB IN.
Selects the number of voices for the pitch shift sound.
Parameter/
Range
1VOICE
One-voice pitch-shifted sound output in
monaural.
Explanation
2MONO
Two-voice pitch-shifted sound (PS1, PS2)
output in monaural.
KEY
C (Am)–B (G#m)
Specify the key of the song you are playing.
By specifying the key, you can create har-
monies that fit the key of the song.
2ST (2Stereo)
Two-voice pitch-shifted sound (PS1, PS2)
output through left and right channels.
LEVEL1, LEVEL2 *1
0–100
Adjusts the volume of the pitch shift sound
This KEY parameter is the same as the
Key setting in the [NAME/KEY/BPM]
section (p. 163) and FX MOD1, 2
HARMONIST. Altering either one
changes the key.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
PITCH SHIFT1, PITCH SHIFT2
MODE1, MODE2 *1
The key setting corresponds to the key of the song (#,
b
) as follows.
Selection for the pitch shifter mode.
FAST, MEDIUM,
SLOW
A chord can be input with a normal pitch
shifter. The response is slower in the order
of FAST, MEDIUM and SLOW, but the
modulation is lessened in the same order.
MONO
MONO is used for inputting single notes.
* You may be unable to produce the intended
effect when playing chords (two or more
notes played simultaneously).
PITCH 1, PITCH2 *1
-24–+24
Adjusts the amount of pitch shift (the
amount of interval) in semitone steps.
FINE1, FINE2 *1
-50–+50
VOICE
Make fine adjustments to the interval.
equivalent to that of the Pitch 1.
Selects the number of voices for the pitch shift sound.
1VOICE
One-voice pitch-shifted sound output in
monaural.
PRE DELAY1, PRE DELAY2 *1
0 ms –300 ms,
2MONO
Two-voice pitch-shifted sound (PS1, PS2)
output in monaural.
Adjusts the time from when the direct
sound is heard until the pitch shifted sounds
are inputted. Normally you can leave this
set at 0ms.
BPM –BPM
2ST (2Stereo)
Two-voice pitch-shifted sound (PS1, PS2)
output through left and right channels.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
FEEDBACK1
0–100
Adjusts the feedback amount of the har-
monist sound.
DIRECT LEVEL
0–100
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
Adjusts the volume of the direct sound.
FEEDBACK1
0–100
Adjusts the feedback amount of the pitch
shift sound.
*1 With VOICE set to 2MONO or 2ST, you can select two sounds.
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FX (Effects)
Chapter 9 Parameters Guide
Parameter/
Range
Creating Harmonist Scales
(User Scale)
When HARM is set to any value from -2oct to +2oct, and the
harmony does not sound the way you intend, use a User scale.
You can set the corresponding pitches to be output for each input
pitch.
Explanation
HARMONY1, HARMONY2 *1
HARM1, HARM2 (Harmony) *1
This determines the pitch of the sound added to the input sound,
when you are making a harmony.
-2 oct–+2 oct,
USER
It allows you to set it by up to 2 octaves
higher or lower than the input sound. When
the user scale number to be used.
1. Set HARM1 (or HARM2) to USER in the Harmonist screen.
2. Select VOICE1 INTERVAL (or VOICE2 INTERVAL) with
PAGE [
].
PRE DELAY1, PRE DELAY2 *1
The Voice Interval screen appears.
fig.04-0100d
0 ms–300 ms,
Adjusts the time from when the direct
sound is heard until the harmonist sounds
are heard. Normally you can leave this set at
0ms.
BPM –BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
3. Use PAGE [
] [
], [F1]–[F6], and the F1–F6 knob to set
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
the amount of pitch shift for each voice.
LEVEL1, LEVEL2 *1
0–100
Adjusts the volume of the harmony sound.
VOICE1 INTERVAL C–B, VOICE2 INTERVAL C–B *2
-24–+24
Sets the output pitch for the set key relative
to the input pitch.
*1 HARM1 and HARM2 are set individually.
*2 VOICE1 INTERVAL (VOICE2 INTERVAL) is enabled when
HARM1 (HARM2) is set to USER.
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Chapter 9 Parameters Guide
FX (Effects)
2x2 CHORUS
Frequency band division is employed to produce two different
choruses, one for low frequencies and one for higher frequencies, for
both the left and right channels (for a total of four). This allows you
to achieve a more natural chorus sound.
This lets you use the pedal to get a pitch bend effect.
*
Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
Parameter/
Explanation
Range
“Chapter 5 Using the VG-99 in Combination with an
FC-300” (p. 52)
Parameter/
Range
100 Hz–4.00 kHz
This sets the frequency dividing the low-
and high-frequency ranges.
Explanation
LOW RATE
0–100,
PITCH MIN (Pitch Minimum )
Adjust the speed of the chorus effect for the
low frequency range.
-24–+24
This sets the pitch at the point where the ex-
pression pedal is fully lifted.
BPM
–BPM
PITCH MAX (Pitch Maximum )
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
-24–+24
This sets the pitch at the point where the ex-
pression pedal is all the way down.
PEDAL POS (Pedal Position)
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
0–100
Adjusts the pedal position for pedal bend.
* This parameter is used after it’s been
assigned to an expression pedal or similar
controller.
LOW DEPTH
0–100
Adjust the depth of the chorus effect for the
low frequency range. If you wish to use this
as a doubling effect, use a setting of 0.
EFFECT LEVEL
0–100
Adjusts the volume of the pitch bend sound.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
LOW PREDLY (Low Pre Delay)
0.0 ms–40.0 ms
Adjusts the delay of the effect sound in the
low-frequency range.
Extending the pre-delay will produce the
sensation of multiple sounds (doubling ef-
fect).
LOW LEVEL
0–100
Adjusts the volume of the effect sound in
the low-frequency range.
HIGH RATE
0–100,
Adjust the speed of the chorus effect for the
high frequency range.
BPM
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
HIGH DEPTH
0–100
Adjust the depth of the chorus effect for the
high frequency range. If you wish to use this
as a doubling effect, use a setting of 0.
HIGH PREDLY (High Pre Delay)
0.0 ms–40.0 ms
Adjusts the delay of the effect sound in the
high-frequency range.
Extending the pre-delay will produce the
sensation of multiple sounds (doubling ef-
fect).
HIGH LEVEL
0–100
Adjusts the volume of the effect sound in
the high-frequency range.
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FX (Effects)
Chapter 9 Parameters Guide
ROTARY
This produces an effect like the sound of a rotary speaker.
VIB (Vibrato)
Parameter/
Explanation
Range
Parameter/
Explanation
Range
SPEED
SLOW, FAST
RATE
0–100,
This parameter changes the simulated
speaker’s rotating speed (Slow or Fast).
Adjusts the rate of the vibrato.
BPM
–BPM
RATE SLOW
0–100,
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
This parameter adjusts the speed of rotation
when set to Slow.
BPM
–BPM
RATE FAST
0–100,
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
This parameter adjusts the speed of rotation
when set to Fast.
BPM
–BPM
When the Rate (Slow) or Rate (Fast) set to BPM, the value of each pa-
rameter will be set according to the value of the BPM (p. 163) speci-
fied for each patch. This makes it easier to achieve effect sound
settings that match the tempo of the song.
DEPTH
0–100
Adjusts the depth of the vibrato.
RISE TIME
0–100
This sets the time passing from the moment
the trigger is turned on until the set vibrato
is obtained.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
* When a patch with TRIG set to ON is called
happens when TRIG is switched from OFF to
ON. If you want the vibrato effect to be
produced immediately after the patches are
switched, set RISE TIME to 0.
RISE TIME
0–100
This parameter adjusts the time it takes for
the rotation speed to change when switched
from Slow to Fast.
FALL TIME
0–100
This parameter adjusts the time it takes for
the rotation speed to change when switched
from Fast to Slow.
TRIG (Trigger)
OFF, ON
This selects on/off of the vibrato. It is as-
sumed that this parameter will be assigned
to the footswitch. (p. 49)
DEPTH
0–100
This parameter adjusts the amount of depth
in the rotary effect.
UNI-V
This models the sound of the Uni-vibe.
Although the same type of effect as a phaser, its characteristic feature
is a unique twisting effect, which you can’t get from an ordinary
phaser.
Parameter/
Explanation
Range
RATE
0–100,
Adjusts the rate of the Uni-V effect.
BPM
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
DEPTH
0–100
Adjusts the depth of the Uni-V effect.
Adjusts the volume.
LEVEL
0–100
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Chapter 9 Parameters Guide
FX (Effects)
SLICER
HUMANIZER
This can create human vowel-like sounds.
This consecutively interrupts the sound to create the impression that
a rhythm backing phrase is being played.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
MODE
PATTERN
This sets the mode that switches the vowels.
P1–P20
Select the slice pattern that will be used to
cut the sound.
PICK (Picking)
It changes from vowel 1 to vowel 2 along
with the picking. The time spent for the
change is adjusted with the rate.
RATE
0–100,
BPM
AUTO
By adjusting the rate and depth, two vowels
(Vowel 1 and Vowel 2) can be switched au-
tomatically.
Adjust the rate at which the sound will be
cut.
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
RANDOM
Five vowels (A, E, I, O, U) are called out at
random by adjusting the rate and depth.
VOWEL1 *1
A, E, I, O, U
Selects the first vowel.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
VOWEL2 *1
A, E, I, O, U
Selects the second vowel.
TRIG SENS (Trigger Sensitivity)
SENS (Sensitivity) *2
0–100
Adjust the sensitivity of triggering.
0–100
Adjusts the sensitivity of the humanizer.
With low settings of this parameter, softly
picked notes will not retrigger the phrase
(i.e., the phrase will continue playing), but
strongly picked notes will retrigger the
phrase so that it will playback from the be-
ginning. With high settings of this parame-
ter, the phrase will be retriggered even by
softly picked notes.
When it is set to a lower value, no effect of
the humanizer is obtained with weaker
picking, while stronger picking produces
the effect.
When it is set to a higher value, the effect of
the humanizer can be obtained whether the
picking is weak or strong.
RATE
0–100,
BPM
Adjusts the cycle for changing the two vow-
els.
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
MANUAL *3
0–100
This determines the point where the two
vowels are switched. When it is set to 50,
vowel 1 and vowel 2 are switched in the
same length of time. When it is set to lower
than 50, the time for vowel 1 is shorter.
When it is set to higher than 50, the time for
vowel 1 is longer.
DEPTH
0–100
Adjusts the depth of the effect.
LEVEL
0–100
Adjusts the volume.
*1 Setting available with MODE set to PICK or AUTO.
*2 Setting available with MODE set to PICK.
*3 Setting available with MODE set to AUTO.
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FX (Effects)
Chapter 9 Parameters Guide
SLOW GEAR
This produces a volume-swell effect (“violin-like” sound).
FEEDBACKER
This allows you to use feedback playing techniques.
*
Note that the notes you want to apply feedback to must be played
singly and cleanly.
Parameter/
Explanation
Range
*
You can use the footswitch to switch the effect on and off. For more
details, refer to p. 49.
SENS (Sensitivity)
0–100
Adjusts the sensitivity.
Parameter/
Range
RISE TIME
0–100
Explanation
Adjusts the time needed for the volume to
reach its maximum from the moment you
begin picking.
MODE
OSC (Oscillator)
An artificial feedback sound will be created
internally.
When OSC is selected, the effect is activated
after a single note is played and the note sta-
bilizes. A feedback effect is created when
the effect switches on; the feedback disap-
pears when the OSC effect switches off.
DEFRET
This simulates a fretless guitar.
Parameter/
Explanation
NATURAL
Analyzes the pitch of the guitar sound being
input, and then creates a feedback sound.
Range
TONE
-50–+50
RISE TIME *1
0–100
Adjusts the amount of blurring between the
notes.
This determines the time needed for the vol-
ume of the feedback sound to reach its max-
imum from the moment the effect is turned
on.
SENS (Sensitivity)
0–100
This controls the input sensitivity of the de-
fretter.
RISE TIME+ *1
ATTACK
0–100
0–100
This determines the time needed for the vol-
ume of the one octave higher feedback
sound to reach its maximum from the mo-
ment the effect is turned on.
Adjusts the attack of the picking sound.
This controls the volume of the harmonics.
DEPTH
0–100
FB LEVEL (Feedback Level)
0–100
RESO (Resonance)
0–100
Adjusts the volume of the feedback sound.
Adds a characteristically resonant quality to
the sound.
0–100
Adjusts the volume of the one octave higher
feedback sound.
EFFECT LEVEL
0–100
Adjust the volume of the defretter sound.
Adjust the volume of the direct sound.
VIB RATE (Vibrato Rate) *1
0–100,
DIRECT LEVEL
0–100
Adjusts the rate of the vibrato when the
feedbacker is on.
BPM
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
VIB DEPTH (Vibrato Depth) *1
0–100
Adjusts the depth of the vibrato when the
feedbacker is on.
*1 Setting available with MODE set to OSC.
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Chapter 9 Parameters Guide
FX (Effects)
RING MOD (Ring Modulator)
This creates a bell-like sound by ring-modulating the guitar sound
with the signal from the internal oscillator. The sound can be
unmusical and lack distinctive pitches.
ADV.COMP (Advanced Compressor)
This is an effect that produces a long sustain by evening out the
volume level of the input signal. You can also use it as a limiter to
suppress only the sound peaks and prevent distortion.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
MODE
TYPE
This selects the mode for the ring modulator.
Selects the compressor type.
NORMAL
This is a normal ring modulator.
BOSS COMP
HIBAND
This models a BOSS CS-3.
INTELLIGENT
By ring-modulating the input signal, a bell
like sound is created. The intelligent ring
modulator changes the oscillation frequen-
cy according to the pitch of the input sound
and therefore produces a sound with the
sense of pitch, which is quite different from
Normal. This effect does not give a satisfac-
tory result if the pitch of the guitar sound is
not correctly detected. So, you must use sin-
gle notes, not chords.
This is a compressor that adds an even
stronger effect in the high end.
LIGHT
This is a compressor with a light effect.
This models a MXR DynaComp.
D-COMP
ORANGE
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
FAT
When applied heavily, this compressor ef-
fect provides a fat tone with a boosted
midrange.
MILD
When applied heavily, this compressor ef-
fect produces a sweet tone with the high end
cut.
FREQ (Frequency)
0–100
Adjusts the frequency of the internal oscilla-
tor.
STEREO COMP
SUSTAIN
0–100
This selects a stereo compressor.
EFFECT LEVEL
0–100
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
Adjusts the range (time) over which low-
level signals are boosted. Larger values will
result in longer sustain.
DIRECT LEVEL
0–100
ATTACK
0–100
Adjusts the strength of the picking attack.
Larger values will result in a sharper attack,
creating a more clearly defined sound.
ANTI FB (Anti-feedback)
This prevents the acoustic feedback that can be produced by the
body resonances of a guitar.
TONE
-50–+50
LEVEL
0–100
Adjusts the tone.
Parameter/
Explanation
Range
Adjusts the volume.
FREQ1–3 (Frequency 1–3)
0–100
Set the fixed frequency point at which feed-
back will be cancelled.
You can set up to three cancellation points.
DEPTH1–3
0–100
Adjusts the degree of the anti-feedback at
each of the three cancellation points.
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FX (Effects)
Chapter 9 Parameters Guide
LIMITR (Limiter)
The limiter attenuates loud input levels to prevent distortion.
SUB EQ (Sub Equalizer)
This adjusts the tone as a sub equalizer. A parametric type is
adopted for the high-middle and low-middle range.
Parameter/
Explanation
Range
Parameter/
Explanation
Range
TYPE
Selects the limiter type.
TOTAL GAIN
BOSS LIMITR
RACK 160D
This selects a stereo limiter.
This models a dbx 160X.
This models a UREI 1178.
-12–+12dB
Adjusts the overall EQ volume.
LOW GAIN
-12–+12dB
VTG RACK U
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
ATTACK
0–100
HIGH GAIN
-12–+12dB
Adjusts the strength of the picking attack
when the strings are played. Higher values
result in s sharper attack, creating a more
clearly defined sound.
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
THRSH (Threshold)
0–100
Adjust this as appropriate for the input sig-
LOW MID Q (Low Middle Q)
nal from your guitar. When the input signal
level exceeds this threshold level, limiting
will be applied.
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
RATIO
1: 1–∞: 1
This selects the compression ratio used with
signals in excess of the threshold level.
LOW MID GAIN (Low Middle Gain)
-12–+12dB
Adjusts the low-middle frequency range
tone.
REL (Release)
0–100
Adjusts the time from when the signal level
drops below the threshold until when limit-
ing is removed.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH MID GAIN.
LEVEL
0–100
HIGH MID Q (High Middle Q)
Adjusts the volume.
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
Adjusts the high-middle frequency range tone.
LOW CUT (Low Cut Filter)
FLAT, 55 Hz–800 Hz This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When FLAT is selected, the
low cut filter will have no effect.
HIGH CUT (High Cut Filter)
700 Hz–11 kHz, FLAT This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When it is set to FLAT, the
high cut filter is off or has no effect.
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Chapter 9 Parameters Guide
FX (Effects)
SUB DELAY (Sub Delay)
This is a delay with the maximum delay time of 400 ms. This effect is
NS (Noise Suppressor)
This effect reduces the noise and hum picked up by guitar pickups.
Since it suppresses the noise in synchronization with the envelope of
the guitar sound (the way in which the guitar sound decays over
time), it has very little effect on the guitar sound, and does not harm
the natural character of the sound.
useful for making the sound fatter.
Parameter/
Explanation
Range
DELAY TIME
1 ms–400 ms,
*
Please connect the noise suppressor in the signal path prior to the
reverberation type effect. This setup will prevent an natural break of
the reverberation type effect.
Adjusts the delay time.
BPM –BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
Parameter/
Range
Explanation
NS SW (Noise Suppressor Switch)
OFF, ON
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
Turns the NS effect on/off.
THRSH (Threshold)
0–100
Adjust this parameter as appropriate for the
* After setting DELAY TIME to BPM (
the BPM value will change to match the timing of your tapping.
–
), if you tap [F1] (TAP),
volume of the noise. If the noise level is
high, a higher setting is appropriate. If the
noise level is low, a lower setting is appro-
priate. Adjust this value until the decay of
the guitar sound is as natural as possible.
FEEDBACK
0–100
Adjusts the volume that is returned to the
input.
* High settings for the threshold parameter
may result in there being no sound when you
play with your guitar volume turned down.
Feedback refers to returning the delayed
signal back into the input of the delay. High-
er settings will result in more delay repeats.
EFFECT LEVEL
0–120
REL (Release)
0–100
Adjusts the volume of delay sound.
Adjusts the amount of time from the point at
which application of the noise suppressor
begins to when the volume is fully attenuat-
ed.
DETECT
This controls the noise suppressor based on the volume level for the
point specified in Detect.
INPUT
Volume of the COSM guitar and normal
pickup
NS IN (NS Input)
Noise suppressor input volume.
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FX (Effects)
Chapter 9 Parameters Guide
This is a volume control effect.
Normally, this is controlled with the expression pedal connected to
the EXP PEDAL jack or the FC-300’s EXP pedal.
*
When making the settings determining each pedal’s foot volume
operations, refer to “Using the Switches, Pedals, and MIDI to
Control the Sounds (CONTROL ASSIGN)” (p. 82).
Parameter/
Range
Explanation
LEVEL
0–100
Adjusts the volume.
VOL CURVE (Volume Curve)
You can select how the actual volume changes relative to the amount
the pedal is pressed.
fig.04-0200
SLOW1, SLOW2,
NORMAL, FAST
Volume
When the pedal
is fully raised
is fully advanced
EXP Pedal
You may be unable to properly obtain the foot volume
effect if “FEEDBACKER” (p. 135) is connected at a point
after FV in the effects chain (p. 32).
139
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Chapter 9 Parameters Guide
COSM AMP
COSM AMP
COSM technology simulates different preamp characteristics,
speaker sizes, and cabinet shapes.
Type
Explanation
BG LEAD (p. 141)
*
You can make separate settings for Channel A and Channel B.
BG LEAD
Boogie combo amp.
Parameter/
Range
Explanation
BG DRIVE
BG RHYTHM
This models a MESA/Boogie with TREBLE
SHIFT SW on.
COSM AMP SW (COSM AMP Switch)
OFF, ON
This models the rhythm channel of a
MESA/Boogie.
Turns the COSM AMP effect on/off.
PREAMP TYPE
refer to Preamp Type This sets the type of the guitar preamp.
List
SMOOTH DRIVE
MILD DRIVE
This is a smooth drive sound.
This is a mellow drive sound.
MS STACK (p. 141)
MS1959 (I)
This models the sound input to Input I on a
Marshall 1959.
Preamp Type List
MS1959 (II)
Marshall 1959.
Type
Explanation
MS1959 (I+II)
MS HI-GAIN
POWER STACK
This models the sound of a Marshall 1959
with Inputs I and II connected in parallel.
JC CLEAN (p. 141)
JC-120
This is the sound of the Roland JC-120.
This gives a mellow, clean sound.
This is a sound suited to jazz.
This models the sound of a Marshall with a
modified midrange boost.
WARM CLEAN
JAZZ COMBO
FULL RANGE
This provides the sound of a stack amp with
active type tone circuitry.
This is a sound with flat response. Good for
acoustic guitar
R-FIER (p. 141)
Models the sound of the Channel 1 CLEAN
Mode on the MESA/Boogie DUAL Rectifi-
er.
BRIGHT CLEAN
A bright, clean tone.
CLEAN
TW CLEAN (p. 141)
CLEAN TWIN
PRO CRUNCH
TWEED
This models a Fender Twin Reverb.
RAW
Models the sound of the Channel 2 RAW
Mode on the MESA/Boogie DUAL Rectifi-
er.
This models a Fender Pro Reverb.
This models a Fender Bassman 4 x 10” Com-
bo.
VINTAGE 1
MODERN 1
VINTAGE 2
MODERN 2
Models the sound of the Channel 2 VIN-
TAGE Mode on the MESA/Boogie DUAL
Rectifier.
WARM CRUNCH
CRUNCH
This gives a mellow, crunch sound.
CRUNCH (p. 141)
This is a crunch sound that can produce nat-
ERN Mode on the MESA/Boogie DUAL
Rectifier.
ural distortion.
BLUES
This is a sound suited to blues.
Models the sound of the Channel 3 VIN-
TAGE Mode on the MESA/Boogie DUAL
Rectifier.
WILD CRUNCH
STACK CRUNCH
This is a crunch sound with wild distortion.
This is a crunch sound with high gain.
COMBO (p. 141)
This models the drive sound of a VOX AC-
Models the sound of the Channel 3 MOD-
ERN Mode on the MESA/Boogie DUAL
Rectifier.
VO DRIVE
30TB.
T-AMP (p. 141)
This models a Hughes & Kettner Triamp
VO LEAD
This models the lead sound of the VOX AC-
30TB.
CLEAN
AMP1.
VO CLEAN
This models the clean sound of the VOX
AC-30TB.
CRUNCH
LEAD
This models a Hughes & Kettner Triamp
AMP2.
MATCH DRIVE
FAT MATCH
MATCH LEAD
This models the sound input to left input on
a Matchless D/C-30.
This models a Hughes & Kettner Triamp
AMP3.
This models the sound of a Matchless with a
modified high gain.
EDGE LEAD
A sharp lead sound.
This models the sound input to right input
on a Matchless D/C-30.
HI-GAIN (p. 141)
SLDN
This models a Soldano SLO-100.
This is a drive sound with high gain.
This is a lead sound with high gain.
DRIVE STACK
LEAD STACK
HEAVY LEAD
A powerful lead sound featuring extreme
distortion.
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COSM AMP
Chapter 9 Parameters Guide
JC CLEAN / TW CLEAN / CRUNCH /
COMBO / BG LEAD / MS STACK /
R-FIRE / T-AMP / HI-GAIN / METAL
Type
Explanation
METAL (p. 141)
This models the lead channel of a Peavey
EVH 5150.
5150 DRIVE
Parameter/
Explanation
Range
METAL STACK
METAL LEAD
This is a drive sound suited to metal.
This is a lead sound suited to metal.
GAIN
CUSTOM (p. 143)
Custom amp
0–120
Adjusts the distortion of the amp.
CUSTOM
BASS
0–100
BASS AMP (p. 144)
Models the Ampeg B-15.
Models the SWR SM-400.
Adjusts the tone for the low frequency
range.
VINTAGE
MODERN
MIDDLE
0–100
Adjusts the tone for the middle frequency
range.
TREBLE
0–100
Adjusts the tone for the high frequency
range.
PRESENCE
0–100
Adjusts the tone for the ultra high frequency
range.
LEVEL
0–100
Adjusts the volume of the entire preamp.
* Be careful not to raise the Level setting too
high.
BRIGHT
Turns the bright setting on/off. *1
OFF
ON
Bright is not used.
Bright is switched on to create a lighter and
crisper tone.
GAIN SW
LOW, MIDDLE, HIGH Provides for selection from three levels of
distortion: LOW, MIDDLE, and HIGH. Dis-
tortion will successively increase for set-
tings of LOW, MIDDLE and HIGH.
* The sound of each Type is created on the basis
that the Gain is set to MIDDLE. So,
normally set it to MIDDLE.
SOLO SW
OFF, ON
Pressing [SOLO] switches the tone to one
suitable for solos.
SOLO LEVEL
0–100
Adjusts the volume level when the Solo
switch is ON.
*1 The BRIGHT parameter setting is only partially available with
some JC CLEAN, CRUNCH, or BASS AMP settings in PREAMP
TYPE.
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Chapter 9 Parameters Guide
COSM AMP
Parameter/
Explanation
Range
Parameter/
Range
Explanation
SP TYPE (Speaker Type)
MIC POS (Mic Position)
Select the speaker type.
This simulates the microphone position.
OFF
This turns off the speaker simulator.
CENTER
Simulates the condition that the micro-
phone is set in the middle of the speaker
cone.
ORIG
This is the built-in speaker of the amp you
selected with PREAMP TYPE.
1–10cm
Simulates the condition that the micro-
phone is moved away from the center of the
speaker cone.
1x8”
This is a compact open-back speaker cabinet
with one 8-inch speaker.
1x10”
1X12”
2X12”
4X10”
4X12”
8X12”
This is a compact open-back speaker cabinet
with one 10-inch speaker.
MIC LEVEL
0–100
Adjusts the volume of the microphone.
This is a compact open-back speaker cabinet
with one 12-inch speaker.
This is a general open-back speaker cabinet
with two 12-inch speakers.
Parameter/
Range
Explanation
This is an optimal speaker cabinet for a large
enclosed amp with four 10-inch speakers.
CUSTOM SPEAKER *1
SIZE
5”–15”
LOW
-10–+10
This is an optimal speaker cabinet for a large
enclosed amp with four 12-inch speakers.
Selects the size of speaker.
This is a double stack of two cabinets, each
with four 12-inch speakers.
Adjusts the speaker section’s low-frequency
tone.
CUSTOM
Custom speaker
DIRECT LEVEL
0–100
HIGH
-10–+10
Adjusts the volume of the direct sound.
Adjusts the speaker section’s high-frequen-
cy tone.
MIC TYPE
This setting selects the simulated mic type.
NUMBER
x1, x2, x4, x8
CABINET
Sets the number of speakers.
DYN57
This is the sound of the SHURE SM-57.
General dynamic mic used for instruments
and vocals. Optimal for use in miking guitar
amps.
Selects the speaker cabinet type.
OPEN
This is an open-backed cabinet.
DYN421
CND451
This is the sound of the SENNHEISER MD-
421.
Dynamic mic with extended low end.
CLOSE
This type of cabinet features an enclosed
rear panel.
This is the sound of the AKG C451B.
Small condenser mic for use with instru-
ments.
*1 Setting available when SP TYPE is set to CUSTOM.
CND87
FLAT
This is the sound of the NEUMANN U87.
Condenser mic with flat response.
Simulates a mic with perfectly flat response.
Produces a sonic image close to that of lis-
tening to the sound directly from the speak-
ers (on site).
MIC DIS (Mic Distance)
Simulates the distance between the mic and speaker.
Off MIC
On MIC
This setting points the mic away from the
speaker.
Provides conditions whereby the mic is di-
rected more towards the speaker.
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COSM AMP
CUSTOM
Chapter 9 Parameters Guide
Parameter/
Range
Explanation
Parameter/
Range
Explanation
LEVEL
0–100
Adjusts the volume of the entire preamp.
CUSTOM TYPE
* Be careful not to raise the Level setting too
high.
Selects the basic type of preamp.
JC CLEAN
TW CLEAN
CRUNCH
This is the sound of the Roland JC-120.
BRIGHT
This models a Fender Twin Reverb.
Turns the bright setting on/off. *1
This is a crunch sound that can produce nat-
ural distortion.
OFF
ON
Bright is not used.
VO DRIVE
This models the drive sound of a VOX AC-
30TB.
Bright is switched on to create a lighter and
crisper tone.
BG LEAD
This models the lead sound of the MESA/
Boogie combo amp.
GAIN SW
LOW, MIDDLE, HIGH Provides for selection from three levels of
distortion: LOW, MIDDLE, and HIGH. Dis-
tortion will successively increase for set-
MS HI-GAIN
MODERN STACK
This models the sound of a Marshall with a
modified midrange boost.
Models the sound of the Channel 2 MOD-
ERN Mode on the MESA/Boogie DUAL
Rectifier.
tings of LOW, MIDDLE and HIGH.
* The sound of each Type is created on the basis
that the Gain is set to MIDDLE. So,
normally set it to MIDDLE.
BOTTOM
-50–+50
This controls the input sound’s low-fre-
quency range and adjusts the amount of dis-
tortion in the low-frequency range.
SOLO SW
OFF, ON
Pressing [SOLO] switches the tone to one
suitable for solos.
EDGE
-50–+50
SOLO LEVEL
0–100
This controls the input sound’s high-fre-
quency range and adjusts the amount of dis-
tortion in the high-frequency range.
Adjusts the volume level when the Solo
switch is ON.
SP TYPE (Speaker Type)
Select the speaker type.
BASS FREQ (Bass Frequency)
-50–+50
Adjusts the frequency affected by the BASS
knob.
OFF
This turns off the speaker simulator.
ORIGNL
This is the built-in speaker of the amp you
selected with PREAMP TYPE.
TREBLE FREQ (Treble Frequency)
-50–+50
Adjusts the frequency affected by the TRE-
1x8”
This is a compact open-back speaker cabinet
with one 8-inch speaker.
BLE knob.
LOW
-50–+50
1x10”
1X12”
2X12”
4X10”
4X12”
8X12”
This is a compact open-back speaker cabinet
with one 10-inch speaker.
Adjusts the preamp section’s low-frequency
tone.
This is a compact open-back speaker cabinet
with one 12-inch speaker.
HIGH
-50–+50
Adjusts the preamp section’s high-frequen-
cy tone.
This is a general open-back speaker cabinet
with two 12-inch speakers.
GAIN
0–120
This is an optimal speaker cabinet for a large
enclosed amp with four 10-inch speakers.
Adjusts the distortion of the amp.
This is an optimal speaker cabinet for a large
enclosed amp with four 12-inch speakers.
BASS
0–100
Adjusts the tone for the low frequency
range.
This is a double stack of two cabinets, each
with four 12-inch speakers.
MIDDLE
0–100
CUSTOM
Custom speaker
Adjusts the tone for the middle frequency
range.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
TREBLE
0–100
*1 The BRIGHT parameter setting is only partially available with
some JC CLEAN, CRUNCH, or BASS AMP settings in PREAMP
TYPE.
Adjusts the tone for the high frequency
range.
PRESENCE
0–100
Adjusts the tone for the ultra high frequency
range.
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Chapter 9 Parameters Guide
COSM AMP
BASS AMP VINTAGE
Parameter/
Explanation
Range
Parameter/
Explanation
Range
GAIN
0–100
MIC TYPE
This setting selects the simulated mic type.
DYN57
This is the sound of the SHURE SM-57.
Adjusts the distortion of the amp.
General dynamic mic used for instruments
and vocals. Optimal for use in miking guitar
amps.
BASS
-50–+50
Adjusts the tone for the low frequency
range.
DYN421
CND451
This is the sound of the SENNHEISER MD-
421.
Dynamic mic with extended low end.
MIDDLE
-50–+50
Adjusts the tone for the middle frequency
range.
This is the sound of the AKG C451B.
Small condenser mic for use with instru-
ments.
MIDDLE FREQ (Middle Frequency)
220Hz, 800Hz, 3.0kHz This control adjusts the center frequency of
the frequency range adjusted with the Mid-
dle control.
CND87
FLAT
This is the sound of the NEUMANN U87.
Condenser mic with flat response.
Simulates a mic with perfectly flat response.
Produces a sonic image close to that of lis-
tening to the sound directly from the speak-
ers (on site).
TREBLE
-50–+50
Adjusts the tone for the high frequency
range.
MIC DIS (Mic Distance)
Simulates the distance between the mic and speaker.
LEVEL
0–100
Adjusts the volume of the entire preamp.
Off MIC
On MIC
This setting points the mic away from the
speaker.
* Be careful not to raise the Level setting too
high.
Provides conditions whereby the mic is di-
rected more towards the speaker.
BRIGHT
Turns the bright setting on/off.
MIC POS (Mic Position)
This simulates the microphone position.
OFF
ON
Bright is not used.
Bright is switched on to create a lighter and
crisper tone.
CENTER
Simulates the condition that the micro-
phone is set in the middle of the speaker
cone.
RESPONSE
BASS, FLAT
This controls the overall amp characteris-
tics. Select the position corresponding to the
characteristics for one of the two types of
sound.
1–10cm
Simulates the condition that the micro-
phone is moved away from the center of the
speaker cone.
MIC LEVEL
0–100
SP TYPE (Speaker Type)
Select the speaker type.
Adjusts the volume of the microphone.
OFF
This turns off the speaker simulator.
Parameter/
Range
Explanation
ORIG
This is the built-in speaker of the amp you
selected with PREAMP TYPE.
CUSTOM SPEAKER *1
SIZE
5”–15”
LOW
-10–+10
1x15”
1x18”
2x15”
4x10”
8x10”
Models the Trace Elliot 1518.
Models the SWR Big Ben.
Models the Acoustic 402.
Models the SWR Goliath.
Models the Ampeg 810E.
Selects the size of speaker.
Adjusts the speaker section’s low-frequency
tone.
MIC POS (Mic Position)
This simulates the microphone position.
HIGH
-10–+10
Adjusts the speaker section’s high-frequen-
cy tone.
CENTER
Simulates the condition that the micro-
phone is set in the middle of the speaker
cone.
NUMBER
x1, x2, x4, x8
CABINET
1–10cm
Simulates the condition that the micro-
phone is moved away from the center of the
speaker cone.
Sets the number of speakers.
Selects the speaker cabinet type.
MIC LEVEL
0–100
OPEN
This is an open-backed cabinet.
Adjusts the volume of the microphone.
Adjusts the volume of the direct sound.
CLOSE
This type of cabinet features an enclosed
rear panel.
DIRECT LEVEL
0–100
*1 Setting available when SP TYPE is set to CUSTOM.
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COSM AMP
Chapter 9 Parameters Guide
BASS AMP MODERN
Parameter/
Explanation
Range
GAIN
0–100
Adjusts the distortion of the amp.
BASS
-50–+50
Adjusts the tone for the low frequency
range.
MIDDLE
-50–+50
Adjusts the tone for the middle frequency
range.
MIDDLE FREQ (Middle Frequency)
220Hz, 800Hz, 3.0kHz This control adjusts the center frequency of
the frequency range adjusted with the Mid-
dle control.
TREBLE
-50–+50
Adjusts the tone for the high frequency
range.
LEVEL
0–100
Adjusts the volume of the entire preamp.
* Be careful not to raise the Level setting too
high.
ENHANCER
0–100
This controls the clarity and presence of the
sound.
SP TYPE (Speaker Type)
Select the speaker type.
OFF
This turns off the speaker simulator.
ORIG
This is the built-in speaker of the amp you
selected with PREAMP TYPE.
1x15”
1x18”
2x15”
4x10”
8x10”
Models the Trace Elliot 1518.
Models the SWR Big Ben.
Models the Acoustic 402.
Models the SWR Goliath.
Models the Ampeg 810E.
MIC POS (Mic Position)
This simulates the microphone position.
CENTER
Simulates the condition that the micro-
phone is set in the middle of the speaker
cone.
1–10cm
Simulates the condition that the micro-
phone is moved away from the center of the
speaker cone.
MIC LEVEL
0–100
Adjusts the volume of the microphone.
Adjusts the volume of the direct sound.
DIRECT LEVEL
0–100
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Chapter 9 Parameter Guide
MIXER
Chapter
9
Parameter Guide
MIXER
TOTAL EQ
MIXER
This mixes the signals in Channel A and Channel B.
This adjusts the tone of the mixed signals from Channel A and
Channel B.
Parametric EQ is used for the low-middle and high-middle
frequency ranges.
MIXER A, B (MIXER CHANNEL A, B)
Parameter/
Explanation
Range
Parameter/
Explanation
Range
EQ SW (Equalizer Switch)
MIX SW
OFF, ON
Turns the EQ effect on/off.
OFF, ON
This setting switches mixing of Channel A
(or Channel B) on and off. The sounds in the
respective channel are not mixed when this
is set to OFF.
TOTAL GAIN
-12–+12dB
Adjusts the volume before the equalizer.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
LOW GAIN
-12–+12dB
PAN
100:0–0:100
HIGH GAIN
-12–+12dB
This sets the panning for Channel A (or
Channel B).
LOW MID FREQ (Low Middle Frequency)
LEVEL
0–100
20Hz–10.0kHz
Specifies the center of the frequency range
that will be adjusted by the LOW MID
GAIN.
This sets the Channel A (or Channel B) vol-
ume level.
DELAY A SEND, DELAY B SEND
0–100
LOW MID Q (Low Middle Q)
Adjusts the send level from Channel A (or
Channel B) to the mixer’s delay.
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW MID FREQ.
Higher values will narrow the area.
REVERB A SEND, REVERB B SEND
0–100
Adjusts the send level from Channel A (or
Channel B) to the mixer’s reverb.
LOW MID GAIN (Low Middle Gain)
-12–+12dB
Adjusts the low-middle frequency range
CH DELAY (Channel Delay)
tone.
0–50ms
Adjusts the time that the overall sound in
Channel A (or B) is delayed.
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz
Specifies the center of the frequency range that
Although this is normally set to 0 ms, you
can produce greater breadth along with a
chorus effect by setting a difference in the
time the sounds are played relative to the
sounds from Channel B.
will be adjusted by the HIGH MID GAIN.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH MID FREQ.
Higher values will narrow the area.
HIGH MID GAIN (High Middle Gain)
PATCH LEVEL
-12–+12dB
Adjusts the high-middle frequency range tone.
Parameter/
Range
Explanation
A/B BAL (A/B Balance)
A0:100B–A100:0B
Adjusts the volume balance of Channel A
and Channel B. You can set this parameter
in the Mixer screen or with the BALANCE
knob.
This parameter is disabled when DYNAM-
IC is on.
PATCH LEVEL
0–200
Adjusts the overall patch volume.
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MIXER
Chapter 9 Parameter Guide
OUTPUT
This setting determines which signals are output at each output and
Parameter/
Range
Explanation
the level at which they are output.
D OUT (Digital Output)
This switches the signals output from the DIGITAL OUT.
Parameter/
Explanation
Range
COSM GTR A
COSM GTR B
NORMAL PU
This outputs the sounds from COSM GTR A.
This outputs the sounds from COSM GTR B.
MAIN OUT
This switches the signals output from the MAIN OUT.
This outputs the sounds from the normal
pickup.
CH A
This outputs Channel A.
CH A
CH B
This outputs Channel A.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
CH B
This outputs Channel B.
This outputs Channel B.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
MAIN LEVEL
0–200
MAIN OUT
SUB OUT
This outputs the same signals as those from
MAIN OUT.
Adjusts the volume the output to the MAIN
OUT.
This outputs the same signals as those from
SUB OUT.
SUB OUT
D OUT LEVEL (Digital Output Level)
This switches the signals output from the SUB OUT.
CH A
This outputs Channel A.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
0–200
Adjusts the volume the output to theDIGI-
TAL OUT.
*
The parameters enabled (MAIN OUT, MAIN LEVEL, SUB OUT,
SUB LEVEL, D OUT, D OUT LEVEL) change according to the
settings in “OUTPUT MODE” (p. 172) in the SYSTEM screen.
When disabled, the value < > is given.
CH B
This outputs Channel B.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
SUB LEVEL
0–200
Adjusts the volume the output to the SUB
OUT.
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Chapter 9 Parameter Guide
MIXER
REVERB
Parameter/
Range
DELAY/REVERB
You can apply delay and reverb jointly to Channel A and Channel B.
700 Hz–11 kHz, FLAT
Explanation
REVERB SW
OFF, ON
DELAY/REVERB Signal Flow
Turns the REVERB effect on/off.
LEVEL
TYPE
(DELAY LEVEL)
DELAY
This selects the reverb type. Various different simulations of space
are offered.
REVERB
SEND
AMB (AMBIENCE)
Simulates an ambience mic (off-mic, placed
at a distance from the sound source) used in
recording and other applications. Rather
than emphasizing the reverberation, this re-
verb is used to produce a sense of openness
and depth.
CH A
CH B
ROOM
HALL1
HALL2
PLATE
Simulates the reverberation in a small room.
Provides warm reverberations.
DELAY
SEND
Simulates the reverberation in a concert hall.
Provides clear and spacious reverberations.
REVERB
LEVEL
(REVERB LEVEL)
Simulates the reverberation in a concert hall.
Provides warm reverberations.
Simulates plate reverberation (a reverb unit
that uses the vibration of a metallic plate).
Provides a metallic sound with a distinct
upper range.
DELAY
Parameter/
Explanation
Range
TIME
DELAY SW
0.1 s–10.0 s
PRE DELAY
0 ms–100 ms
Adjusts the length (time) of reverberation.
OFF, ON
Turns the DELAY effect on/off.
LEVEL
(DELAY LEVEL)
Adjusts the time until the reverb sound ap-
pears.
INPUT
LOW CUT (Low Cut Filter)
FLAT, 55 Hz–800 Hz This sets the frequency at which the low cut
filter begins to take effect.
FEEDBACK
TIME
1–1800 ms,
This lets you cut the low-end component be-
low the set frequency to create a clear, dis-
tinct low end, thereby bringing out the high
end of the effect. When Flat is selected, the
low cut filter will have no effect.
This determines the delay time.
BPM
–BPM
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 163) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
HIGH CUT (High Cut Filter)
700 Hz–11 kHz, FLAT This sets the frequency at which the high cut
filter begins to take effect.
*
If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When Flat is selected, the
high cut filter will have no effect.
*
After setting DELAY TIME to BPM (
–
), if you tap [F2]
(TAP), the BPM value will change to match the timing of your
tapping.
DENS
0–10
Adjusts the density of the reverb sound.
Adjusts the volume of the reverb sound.
FEED BACK
LEVEL
0–100
0–100
Adjusts the amount of feedback.
Feedback is returning a delay signal to the input. A higher value will
increase the number of the delay repeats.
HIGH CUT (High Cut Filter)
700 Hz–11.0 kHz,
FLAT
This sets the frequency at which the high cut
filter begins to take effect.
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency. When it is set to FLAT, the high
cut filter is off or has no effect.
LEVEL
0–120
Adjusts the volume of the direct sound.
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MIXER
Chapter 9 Parameter Guide
DYNAMIC
Parameter/
Range
Explanation
This function allows you use your picking dynamics to control the
volume of the mix of the two channels. The volume and balance of the
channels change according to the dynamics each time you pick the strings.
You can set the point at which the volume changes in the settings
screen as you check the dynamics level shown by the meter.
RELEASE
0–100
This adjust the rate of the response when the
input level drops.
*1 Setting available when TYPE is set to DYNA A or DYNA B.
*2 Setting available when TYPE is set to DYNA BAL.
The A/B BAL setting is disabled when DYNAMIC is switched
on.
With DYNAMIC, when a new note is detected, the peak level at
the instant the string is picked (i.e., the picking dynamics) is
held momentarily, and control of the channel volume or balance
is based on that value.
Parameter/
Explanation
Range
DYNA SW
The picking dynamics controls the sound as described below.
OFF, ON
This setting switches DYNAMIC on and off.
•
•
•
When the level is at or below the LOWER RNG setting, the
picking controls the volume or balance of the softer sounds set
in LOWER LEV (when TYPE is set to DYNA A or DYNA B) or
LOWER BAL (when TYPE is set to DYNA BAL).
TYPE
This sets the DYNAMIC type.
This setting determines the channel for which the volume is con-
trolled with the picking dynamics.
When the level is at or above the UPPER RNG setting, the
picking controls the volume or balance of the louder sounds set
in UPPER LEV (when TYPE is set to DYNA A or DYNA B) or
UPPER BAL (when TYPE is set to DYNA BAL).
DYNA A
Channel A’s volume level is controlled.
The volume in Channel B is fixed.
DYNA B
Channel B’s volume level is controlled.
The volume in Channel A is fixed.
DYNA BAL
(DYNA Balance)
The volume levels of both Channel A and
Channel B (the balance) is controlled.
When the level is between these settings, the picking controls
the volume or balance between the softer sounds and louder
sounds described above (continuously changing the level
according to the dynamics).
LOWER LEV (Lower Level) *1
0–100
Adjusts the volume of the sounds played
softly.
Changes made to the above parameters are indicated in the
graph in the settings screen.
You can adjust the A level when DYNA A is
used and the B level when DYNA B is used.
When TYPE is set to DYNA A or DYNA B
LOWER BAL (Lower Balance) *2
LOWER LEV
UPPER LEV
0:100–100:0
Adjusts the balance between Channel A and
B when sounds are played softly.
LOWER RNG (Lower Range)
Volume/Balance
Control Status
0–99
This sets the point at which the strength of
the picking begins to change from the soft
sound’s volume (or balance) to the louder
sounds’ volume (or balance).
When the volume is below the set point, the
volume (or balance) switches to that set in
either LOWER LEV or LOWER BAL in ac-
cordance with the TYPE setting.
LOWER RNG
Input Level
UPPER RNG
Held Peak
Input Level
When TYPE is set to DYNA BAL
UPPER LEV (Upper Level) *1
LOWER BAL
UPPER BAL
0–100
Adjusts the volume of the sounds played
loudly.
You can adjust the A level when DYNA A is
used and the B level when DYNA B is used.
Volume/Balance
Control Status
UPPER BAL (Upper Balance) *2
0:100–100:0
Adjusts the balance between Channel A and
B when sounds are played loudly.
LOWER RNG
Input Level
UPPER RNG
Held Peak
Input Level
UPPER RNG (Upper Range)
Changes made to the above parameters are indicated in the
graph in the settings screen.
The input level and held peak input level are indicated beneath
the graph display. Making these settings is easier by actually
picking the strings as you watch the meter and adjust the
LOWER RNG and UPPER RNG settings.
1–100
This sets the point at which the strength of
the picking begins to change from the loud
sound’s volume (or balance) to the softer
sounds’ volume (or balance).
When the volume is above the set point, the
volume (or balance) switches to that set in
either LOWER LEV or LOWER BAL in ac-
cordance with the TYPE setting.
In addition, you can confirm the volume/balance control status
with the fader displayed to the right of the graph.
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Chapter 9 Parameter Guide
MASTER
MASTER
CONTROL ASSIGN
Adjust these settings if you would like to use a pedal connected to
the VG-99, or an external MIDI device (control source) to control
parameters as you play.
GK S1, S2
(DOWN/S1, UP/S2 Switch)
Parameter/
Range
You can set two parameters as targets to each control source.
*
Turn on the COSM guitar, COSM amp, and effect that contains the
parameter you wish to control.
SW (Switch)
OFF, ON
This setting determines whether control
using DOWN/S1 and UP/S2 is switched on
or off.
GK VOL (GK Volume)
TARGET PARAMETER
This selects the parameter to be changed.
Refer to “TARGET PARAMETER” (p. 157).
Parameter/
Explanation
Range
SW (Switch)
OFF, ON
MIN (Minimum)
This sets the minimum value for the range in which the parameter
This setting switches GK VOL on and off.
TARGET PARAMETER
This selects the parameter to be changed.
Refer to “TARGET PARAMETER” (p. 157).
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
MAX (Maximum)
This sets the maximum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
MODE
MAX (Maximum)
Specify how the value will change in response to an operation.
This sets the maximum value for the range in which the parameter
*
When the DOWN/S1, UP/S2 POSI of the GK SETTING is set to
REVRSE position, the function of DOWN/S1, UP/S2 will be
reversed.
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
RANGE LOW, RANGE HIGH
*
When KEY/BPM/AMPCTL:BPM TAP, FX–DELAY(HOLD)–
REC, or FX–DELAY(HOLD)–STOP is set for the TARGET
PARAMETER, control is available regardless of whether DOWN/S1
or UP/S2 is pressed. In this case, the MODE setting is disabled.
Low: 0–126
High: 1–127
You can set the controllable range for target
parameters within the GK Volume’s opera-
tional range. Target parameters are con-
trolled within the range set with RANGE
LOW and RANGE HIGH. You should nor-
mally set RANGE LOW to 0 and RANGE
HIGH to 127.
S1: DEC
S2: INC
S1 will decrease the value, and S2 will in-
crease it.
S1: INC
S2: DEC
S2 will decrease the value, and S1 will in-
crease it.
S1: MIN
S2: MAX
The value will be at MIN when S1 is
pressed.
The value will be at MAX when S2 is
pressed.
S1: MAX
S2: MIN
The value will be at MAX when S1 is
pressed.
The value will be at MIN when S2 is
pressed.
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MASTER
Chapter 9 Parameter Guide
PANEL CTL1/CTL2
D BEAM
PITCH
(Control Button 1/2)
Parameter/
Range
Parameter/
Explanation
Range
Explanation
PITCH TYPE
SW (Switch)
This selects the effect applied when [PITCH] is pressed.
OFF, ON
This setting switches CONTROL button on
and off.
T-ARM
This feature changes the pitch of the COSM
guitar as a tremolo arm does. Use of a
tremolo arm can be simulated by holding
your guitar neck or hand over the D BEAM
controller.
TARGET PARAMETER
This selects the parameter to be changed.
Refer to “TARGET PARAMETER” (p. 157).
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
FREEZE
This continuously holds the sound of the
COSM guitar.
You can switch the FREEZE effect on and
off by holding your guitar neck or hand
over the D BEAM controller.
MAX (Maximum)
Parameter/
Range
This sets the maximum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
Explanation
T-ARM CH (Tremolo Arm Channel)
This selects the channel to which the tremolo T-ARM is applied.
* While you can set two different target parameters each to CTL1 and
CTL2, the CTL1 and CTL2 buttons light when the value set in MAX
for the first parameter set to either one is reached.
A
T-ARM is applied only to Channel A.
T-ARM is applied only to Channel B.
T-ARM is applied to both Channel A and B.
B
A+B
SW MODE (Switch Mode)
TYPE
This sets the behavior of the value each time the switch is operated.
MOMENT
The setting is normally OFF (minimum val-
ue), switching to ON (maximum value)
while the CONTROL button is held down.
This selects the T-ARM type.
S-TYPE
This simulates the characteristics of a
synchronized-type tremolo arm on the
Fender Stratocaster.
LATCH
The setting alternately switches to OFF
(minimum value) and ON (maximum val-
ue) each time the CONTROL button is
pressed.
B-TYPE
F-TYPE
TRANS
This simulates a Bigsby-type tremolo arm
on the Gibson or the Rickenbacker.
This simulates the characteristics of a Floyd
Rose’s locking-type tremolo arm.
This simulates how a Trans-tremolo type
arm changes the pitch of all the strings
equally.
DOWN MIN (Down Minimum)
-50–+50 (S-TYPE, B-
TYPE, F-TYPE)
This sets the pitch when T-ARM is first acti-
vated (the minimum value).
Setting a negative value causes the pitch to
rise, while positive values produce lowered
pitches.
-24–+24 (TRANS)
DOWN MAX (Down Maximum)
-50–+50 (S-TYPE, B-
TYPE, F-TYPE)
This sets the pitch when T-ARM is most ful-
ly applied (the maximum value).
Setting a negative value causes the pitch to
rise, while positive values produce lowered
pitches.
-24–+24 (TRANS)
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Chapter 9 Parameter Guide
MASTER
Parameter/
Range
Parameter/
Explanation
Range
Explanation
LEVEL
0–100
FREEZE CH (Freeze Channel)
This selects the channel to which the FREEZE effect is applied.
Adjusts the volume level. Raising the value
increases the volume.
A
FREEZE is applied only to Channel A.
FREEZE is applied only to Channel B.
FREEZE is applied to both Channel A and B.
B
ASSIGNABLE
A+B
ATTACK
0–100
Parameter/
Range
Explanation
This sets the attack time for the FREEZE
sound when FREEZE is switched on. Rais-
ing the value increases the attack time.
SW (Switch)
OFF, ON
This setting switches D BEAM ASSIGN-
ABLE on and off.
REL (Release)
0–100
This sets the time for the FREEZE sound to
be released when FREEZE is switched off.
Raising the value increases the attack time.
TARGET PARAMETER
This selects the parameter to be changed.
Refer to “TARGET PARAMETER” (p. 157).
LEVEL
0–100
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
This sets the volume level of the freeze
sound. The volume increases as the value is
raised.
DIRECT
0–100
This sets the volume level of the direct
sound. The volume increases as the value is
raised.
MAX (Maximum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
FILTER
RANGE LOW, RANGE HIGH
This passes only portions of the sound’s frequency ranges, giving the
sound a unique tone. You can add different types of expression to
the sound by changing the frequencies (pitches) that are passed.
Low: 0–126
High: 1–127
You can set the range for control of target
parameters within the D BEAM controller’s
response range. Target parameters are
controlled within the range set with
RANGE LOW and RANGE HIGH. You
should normally set RANGE LOW to 0 and
RANGE HIGH to 127.
Parameter/
Explanation
Range
FILTER CH (Filter Channel)
This selects the channel to which the filter is applied.
A
The filter is applied only to Channel A.
The filter is applied only to Channel B.
The filter is applied to both Channel A and B.
B
A+B
TYPE
This selects the filter type.
LPF
BPF
This filter passes only the low frequencies.
This filter passes frequencies only in the
specified range.
HPF
This filter passes only the high frequencies.
FREQ MIN (Frequency Minimum)
0–100
This sets the frequency when the filter is
first activated. Higher frequencies are set as
the value is raised.
FREQ MAX (Frequency Maximum)
0–100
This sets the frequency when the filter is
most fully applied (the maximum value).
Higher frequencies are set as the value is
raised.
RESO (Resonance)
0–100
Adjusts the amount of filter resonance (dis-
tinctiveness of the sound) used. Raising the
value strengthens the characteristic coloring
of the tone.
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MASTER
Chapter 9 Parameter Guide
Parameter/
Range
Explanation
RIBBON
PITCH
FREQ MAX (Frequency Maximum)
0–100
This sets the frequency when the RIBBON
CONTROLLER is touched at the end away
from the front (the maximum value). Rais-
ing the value increases the set frequency.
Parameter/
Range
Explanation
T-ARM CH (T-ARM Channel)
This selects the channel to which the tremolo T-ARM is applied.
RESO (Resonance)
0–100
Adjusts the amount of filter resonance (dis-
A
T-ARM is applied only to Channel A.
T-ARM is applied only to Channel B.
T-ARM is applied to both Channel A and B.
tinctiveness of the sound) used. Raising the
value strengthens the characteristic coloring
of the tone.
B
A+B
LEVEL
0–100
TYPE
Adjusts the volume level. Raising the value
increases the volume.
This selects the T-ARM type.
S-TYPE
This simulates the Tremolo arm on a Strat-
type guitar
B-TYPE
F-TYPE
This simulates a Bigsby-type tremolo arm.
ASSIGNABLE
This simulates the characteristics of a Floyd
Rose-type tremolo arm.
Parameter/
Range
Explanation
TRANS
This simulates how a Trans-tremolo type arm
changes the pitch of all the strings equally.
SW (Switch)
OFF, ON
This setting switches RIBBON ASSIGN-
ABLE on and off.
DOWN MIN (Down Minimum)
-50–+50
This sets the pitch when the RIBBON CON-
TARGET PARAMETER
This selects the parameter to be changed.
Refer to “TARGET PARAMETER” (p. 157).
(S-TYPE, B-TYPE, F-
TYPE)
TROLLER is pressed at the end closest to the
front. Setting a negative value raises the
pitch, while setting a positive value lowers
the pitch.
-24–+24
(TRANS)
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
DOWN MAX (Down Maximum)
-50–+50
This sets the pitch when the RIBBON CON-
The value differs depending on the parameter assigned for TARGET
PARAMETER.
(S-TYPE, B-TYPE, F-
TYPE)
TROLLER is pressed at the end farthest
from the front. Setting a negative value rais-
es the pitch, while setting a positive value
lowers the pitch.
-24–+24
(TRANS)
MAX (Maximum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
FILTER
This passes only portions of the sound’s frequency ranges, giving the
sound a unique tone. You can add different types of expression to
the sound by changing the frequencies (pitches) that are passed.
RANGE LOW, RANGE HIGH
Low: 0–126
High: 1–127
You can set the range for control of target
parameters within the RIBBON CONTROL-
LER’s response range. Target parameters
are controlled within the range set with
RANGE LOW and RANGE HIGH. You
should normally set RANGE LOW to 0 and
RANGE HIGH to 127.
Parameter/
Explanation
Range
FILTER CH (Filter Channel)
This selects the channel to which the filter is applied.
A
The filter is applied only to Channel A.
The filter is applied only to Channel B.
The filter is applied to both Channel A and B.
B
A+B
TYPE
This selects the filter type.
LPF
BPF
This filter passes only the low frequencies.
This filter passes frequencies only in the
specified range.
HPF
This filter passes only the high frequencies.
FREQ MIN (Frequency Minimum)
0–100
This sets the frequency when the RIBBON
CONTROLLER is touched at the end closest
to the front (the minimum value). Raising
the value increases the set frequency.
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Chapter 9 Parameter Guide
MASTER
EXP PEDAL (Expression Pedal)
CTL3, CTL4 (Control3, Control4)
Parameter/
Range
Parameter/
Range
SW (Switch)
SW (Switch)
OFF, ON
This setting determines whether control us-
ing an expression pedal connected to the
EXP PEDAL jack is switched on or off.
OFF, ON
This setting determines whether control us-
ing a footswitch connected to the CTL3,
CTL4 jack is switched on or off.
TARGET PARAMETER
TARGET PARAMETER
This selects the parameter to be changed.
This selects the parameter to be changed.
Refer to “TARGET PARAMETER” (p. 157).
Refer to “TARGET PARAMETER” (p. 157).
MIN (Minimum)
MIN (Minimum)
This sets the minimum value for the range in which the parameter
This sets the minimum value for the range in which the parameter
can change.
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
MAX (Maximum)
MAX (Maximum)
This sets the minimum value for the range in which the parameter
This sets the minimum value for the range in which the parameter
can change.
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
RANGE LOW, RANGE HIGH
SW MODE (Switch Mode)
Low: 0–126
High: 1–127
You can set the range for control of target
parameters within an expression pedal’s
response range. Target parameters are
controlled within the range set with
RANGE LOW and RANGE HIGH. You
should normally set RANGE LOW to 0 and
RANGE HIGH to 127.
This sets the behavior of the value each time the switch is operated.
MOMENT
The setting is normally OFF (minimum val-
ue), switching to ON (maximum value)
while the footswitch is held down.
LATCH
The setting alternately switches to OFF
(minimum value) and ON (maximum val-
ue) each time the footswitch is pressed.
154
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MASTER
Chapter 9 Parameter Guide
FC-300 CONTROL
The controllers (sources) controlling targets when a FC-300 is
ASSIGN 1–16
You can freely assign functions to the VG-99’s and FC-300’s
connected are shown below.
controllers.
Source
Explanation
Parameter/
Explanation
Range
FC-300 EXP1 *1
FC-300 EXPSW1 *2
FC-300 EXP2 *1
FC-300 EXPSW2 *2
FC-300 CTL1 *2
FC-300 CTL2 *2
FC-300 E3/C3 *3
FC-300 expression pedal1
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
SOURCE
This selects the controller to which the function is assigned.
GK VOL
GK S1
GK-3 GK volume knob
GK-3 DOWN/S1 switch
GK-3 UP/S2 switch
Control button1
FC-300 control pedal2
GK S2
FC-300 external expression pedal3/external
footswitch3
CTL1
CTL2
Control button2
FC-300 CTL4 *2
FC-300 E4/C5 *3
FC-300 external footswitch4
Expression pedal connected to the EXP
PEDAL jack
FC-300 external expression pedal4/external
footswitch5
D BEAM V
RIBBON ACT
CTL3
D BEAM vertical movements
D BEAM horizontal movements
RIBBON CONTROLLER touch
RIBBON CONTROLLER position
FC-300 CTL6 *2
FC-300 E5/C7 *3
FC-300 external expression pedal5/external
footswitch7
FC-300 CTL8 *2
Footswitch connected to the CTL3,4 jack
(jack tip)
*1 The types of parameters that can be set are the same as those
Footswitch connected to the CTL3,4 jack
(jack ring)
*2 The types of parameters that can be set are the same as those
FC-300 EXP1
FC-300 EXPSW1
FC-300 EXP2
FC-300 EXPSW2
FC-300 CTL1
FC-300 CTL2
FC-300 E3/C3
FC-300 expression pedal1
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
described in “CTL3, CTL4 (Control3, Control4)” (p. 154).
*3 When an expression pedal is connected, the types of parameters
that can be set are the same as those described in “EXP PEDAL
(Expression Pedal)” (p. 154); when a footswitch is connected,
the types of parameters that can be set are the same as those
described in “CTL3, CTL4 (Control3, Control4)” (p. 154).
FC-300 control pedal2
FC-300 external expression pedal3/external
footswitch3
FC-300 CTL4
FC-300 E4/C5
FC-300 external footswitch4
FC-300 external expression pedal4/external
footswitch5
FC-300 CTL6
FC-300 E5/C7
FC-300 external footswitch6
FC-300 external expression pedal5/external
footswitch7
FC-300 CTL8
INTRNL PEDAL
WAVE PEDAL
INPUT LEVEL
CC
FC-300 external footswitch8
Internal pedal
Wave pedal
Input level
Control change
SW (Switch)
OFF, ON
This setting switches the VG-99’s and FC-
300’s controllers on and off.
TARGET PARAMETER
This selects the parameter to be changed.
Refer to “TARGET PARAMETER” (p. 157).
MIN (Minimum)
This sets the minimum value for the range in which the parameter
can change.
The value differs depending on the parameter assigned for TARGET
PARAMETER.
155
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Chapter 9 Parameter Guide
MASTER
Parameter/
Explanation
Range
Parameter/
Range
Explanation
MAX (Maximum)
CURVE
This sets the minimum value for the range in which the parameter
can change.
This selects one of the three types that determines how the internal
pedal should change. *1
The value differs depending on the parameter assigned for TARGET
PARAMETER.
LINEAR
SLOW RISE
FAST RISE
SW MODE (Switch Mode)
This sets the behavior of the value each time the switch is operated.
MOMENT
The setting is normally OFF (minimum val-
ue), switching to ON (maximum value)
while the footswitch is held down.
RATE
0–100
LATCH
The setting alternately switches to OFF
(minimum value) and ON (maximum val-
ue) each time the footswitch is pressed.
This determines the time spend for one cycle
of the wave pedal. *2
FORM
RANGE LOW, RANGE HIGH
This selects one of the three types that determines how the wave
pedal should change. *2
Low: 0–126
High: 1–127
You can set the controllable range for target
parameters within the source’s operational
range. Target parameters are controlled
within the range set with RANGE LOW and
RANGE HIGH. You should normally set
RANGE LOW to 0 and RANGE HIGH to
127.
SAW
TRI
SIN
TRIGGR (Trigger)
This sets the trigger that activates the internal pedal. *1
INPUT SENS
0–100
PATCH CHANGE
GK VOL
Functions when patches are switched.
This adjusts the input sensitivity when IN-
PUT LEVEL is selected for SOURCE. *3
Functions when the divided pickup’s vol-
ume knob is adjusted.
*1 The TRIGGR, TIME, and CURVE parameters are enabled when
the SOURCE parameter is set to INT PEDAL.
GK S1, S2
Functions when the divided pickup’s
DOWN/S1 or UP/S2 switch position is
changed.
*2 The RATE and FORM parameters are enabled when the
SOURCE parameter is set to WAVE PEDAL.
CTL1–CTL4
Functions when the CTL 1, 2 buttons or foot
switch connected to CTL 3,4 jack are operat-
ed.
*3 The INPUT SENS parameter is enabled when the SOURCE
parameter is set to INPUT LEVEL.
EXP
Functions when the expression pedal con-
nected to EXP PEDAL jack are operated.
D BEAM V, H
Functions when the vertical or horizontal
position is detected by the D Beam control-
ler.
Parameter/
Explanation
Range
RIBBON ACT, POS
Functions when the ribbon controller is op-
erated by touch or when the position is de-
tected.
This assigns functions to the function buttons operable in the Play
screen and the [F1]–[F6] or F1–F6 knobs.
FC-300 EXP1, EXP2
FC-300 CTL1, CTL2
Functions when the FC-300’s EXP PEDAL 1
or 2 is operated.
TARGET PARAMETER
This selects the parameter to be changed.
Refer to “TARGET PARAMETER” (p. 157).
Functions when the FC-300’s CTL1 or CTL2
is operated.
FC-300 E3/C3, CTL4, Functions when a pedal connected to the
E4/C5, CTL6, E5/C7, FC-300’s E3/C3, CTL4, E4/C5, CTL6, E5/
CTL8
TIME
0–100
C7, or CTL8 jacks is operated.
Adjusts the amount of time for the internal
pedal to shift from the fully released posi-
tion (pedal toe raised) to the fully depressed
position (pedal toe pressed down). *1
156
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MASTER
Chapter 9 Parameter Guide
Parameter (F4) Parameter (F5)
Parameter (F6)
TARGET PARAMETER
AB LINK
TUNING SW
TYPE
[A] TUNING/
[B] TUNING
Parameter (F4) Parameter (F5)
Parameter (F6)
KEY
BEND SW
BEND
[A] BEND/
[B] BEND
BPM
BPM TAP
FC AMP CTL1
FC AMP CTL2
V-LINK SW
KEY/BPM/
AMPCTL
12STRING SW
SHIFT 1st–6th
FINE 1st–6th
LEVEL 1st–6th
DELAY 1st–6th
DETUNE SW
1st–6th
-
ALT TUNE
[A] 12STRING/
[B] 12STRING
SELECT
PITCH TYPE
[A] DETUNE/
[B] DETUNE
SW
CONTROL
T-ARM CH
TYPE
HARMO SW
HARMO
T-ARM
[A] HARMONIST/
[B] HARMONIST
COSM GTR SW
MODELING TYPE
E.GTR TYPE
PU SEL
COMMON
DOWN MIN
DOWN MAX
DOWN MIN
DOWN MAX
SW
T-ARM (S/B/F)
T-ARM (TRANS)
E.GTR
VOL
TONE
FREEZE
D BEAM
FREEZE CH
ATTACK
REL
STRING
E.GTR VARI
VOL CURVE
PHASE
FREEZE (A)
FREEZE (B)
LEVEL
TYPE
DIRECT
SW
E.GTR REAR PU
POS
ANGLE
CONTROL
FILTER CH
TYPE
TYPE
E.GTR FRONT PU
AC TYPE
POS
ANGLE
FILTER
FREQ MIN
FREQ MAX
RESO
BODY TYPE
BODY
AC STEEL
LEVEL
[A] COSM GTR/
[B] COSM GTR
TONE
SELECT
T-ARM
LEVEL
BODY
SW
CONTROL
T-ARM CH
TYPE
ATTACK
TONE
AC NYLON
LEVEL
PU
DOWN MIN
DOWN MAX
DOWN MIN
DOWN MAX
SW
T-ARM (S/B/F)
SENS
BODY
T-ARM (TRANS)
RIBBON
COLOR
DECAY
BUZZ
AC SITAR
CONTROL
FILTER CH
TYPE
ATTACK LEVEL
TONE
FILTER
FREQ MIN
FREQ MAX
RESO
LEVEL
ATTACK
RESO
AC BANJO
LEVEL
TONE
LEVEL
157
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Chapter 9 Parameter Guide
MASTER
Parameter (F4) Parameter (F5)
Parameter (F6)
Parameter (F4) Parameter (F5)
Parameter (F6)
SUSTAIN
RESO
FILTER CUTOFF
FILTER RESO
TOUCH SENS
FILTER DECAY
COLOR
AC RESO
TONE
SYNTH FILTBASS
LEVEL
BODY TYPE
SIZE
FILTER CUTOFF
FILTER RESO
TOUCH SENS
POWER BEND
POWER BEND Q
SUSTAIN
RESO
ATTACK
SYNTH PIPE
SYNTH SOLO
SYNTH PWM
BODY
AC VARI
LOW CUT
LEVEL
PU TYPE
FILTER CUTOFF
FILTER RESO
TOUCH SENS
COLOR
PU TONE
PU LEVEL
BASS TYPE
REAR VOL
FRONT VOL
(MASTER) VOL
TONE
SUSTAIN
BASS
FILTER CUTOFF
FILTER RESO
TOUCH SENS
PWM DEPTH
PWM RATE
SUSTAIN
SYNTH TYPE
-
MODE
LEVEL
COMP
ATTACK LENGTH
MOD TUNE
MOD DEPTH
ATTACK LEVEL
BODY LEVEL
SUSTAIN
[A] COSM GTR/
[B] COSM GTR
CUTOFF FREQ
RESO
SYNTH CRYSTAL
ENV MOD SW
SENS
[A] COSM GTR/
[B] COSM GTR
ATTACK
PITCH A
FEET 16
FINE A
FEET 8
SYNTH GR-300
SYNTH ORGAN
SYNTH BRASS
PITCH SW
PITCH B
FEET 4
SUSTAIN
FINE B
FILTER CUTOFF
FILTER RESO
TOUCH SENS
SUSTAIN
DUET
SWEEP SW
SWEEP RISE
SWEEP FALL
VIBRATO SW
VIBRATO RATE
VIBRATO DEPTH
FILTER CUTOFF
FILTER RESO
TOUCH SENS
POWER BEND
POWER BEND Q
SUSTAIN
FILTER CUTOFF
FILTER RESO
TOUCH SENS
GLIDE SENS
GLIDE TIME
SUSTAIN
WAVE SHAPE
WAVE SENS
WAVE ATTACK
WAVE DECAY
WAVE LEVEL
CUTOFF
SYNTH WAVE
RESO
SYNTH BOWED
FILTER TYPE
FILTER ATTACK
FILTER DECAY
FILTER DEPTH
SYNTH DUAL
158
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MASTER
Chapter 9 Parameter Guide
Parameter (F4) Parameter (F5)
Parameter (F6)
EQ SW
Parameter (F4) Parameter (F5)
Parameter (F6)
OD/DS SW
TYPE
LOW GAIN
HIGH GAIN
LOW MID FREQ
LOW MID Q
LOW MID GAIN
HIGH MID FREQ
HIGH MID Q
HIGH MID GAIN
TOTAL GAIN
1st–6th
DRIVE
OD/DS
BOTTOM
TONE
EQ
EFFECT LEVEL
DIRECT LEVEL
TYPE
[A] COSM GTR/
[B] COSM GTR
BOTTOM
OD/DS (CUSTOM)
TOP
STRING PAN
LOW
STRING LEVEL
1st–6th
HIGH
COSM GUITAR
NORMAL PU
SW
WAH SW
MIX LEVEL
TYPE
WAH
PEDAL POS
LEVEL
NS
THRSH
REL
TYPE
POLY FX SW
TYPE
Q
COMMON
WAH (CUSTOM)
RANGE LOW
RANGE HIGH
PRESENCE
EQ SW
POLY FX CH
COMP TYPE
SUSTAIN
ATTACK
LOW GAIN
HIGH GAIN
LOW MID FREQ
LOW MID Q
LOW MID GAIN
HIGH MID FREQ
HIGH MID Q
HIGH MID GAIN
LOW CUT
HIGH CUT
TOTAL GAIN
DELAY SW
TYPE
THRSH
POLY COMP
REL
TONE
[A] FX/[B] FX
LEVEL
EQ
COMP BAL
MODE
POLY FX
DRIVE
HIGH CUT
POLY BAL
DRIVE BAL
LEVEL
POLY DIST
-1OCT 1st–6th
-2OCT 1st–6th
DIRECT 1st–6th
RISE TIME
SENS
POLY OCTAVE
DELAY TIME
TAP TIME
FEEDBACK
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
TIME
DELAY
POLY SLOW GEAR
COMP SW
TYPE
SUSTAIN
ATTACK
FEEDBACK
HIGH CUT
LEVEL
DELAY (DELAY1)/
DELAY (DELAY2)
[A] FX/[B] FX
COMP
THRSH
REL
TONE
WARP SW
RISE TIME
FB DEPTH
LEVEL DEPTH
MOD RATE
MOD DEPTH
LEVEL
DELAY (WARP)
DELAY (MOD)
159
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Chapter 9 Parameter Guide
MASTER
Parameter (F4) Parameter (F5)
Parameter (F6)
Parameter (F4) Parameter (F5)
Parameter (F6)
REC
MODE
DELAY (HOLD)
STOP
FREQ
CHORUS SW
CHORUS MODE
RATE
PEAK
MOD1 A.WAH/
MOD2 A.WAH
RATE
DEPTH
DEPTH
LEVEL
CHORUS
PREDELAY
LOW CUT
HIGH CUT
EFFECT LEVEL
REVERB SW
TYPE
DIRECT LEVEL
RANGE
MOD1 OCTAVE/
MOD2 OCTAVE
OCTAVE LEVEL
DIRECT LEVEL
VOICE
MODE1, 2
PITCH1, 2
FINE1, 2
REVERB TIME
PREDELAY
LOW CUT
HIGH CUT
DENS
MOD1 P.SHIFT/
MOD2 P.SHIFT
REVERB
PREDELAY1, 2
LEVEL1, 2
FEEDBACK1
DIRECT LEVEL
VOICE
EFFECT LEVEL
DIRECT LEVEL
MOD SW
MOD TYPE
TYPE
HARM1, 2
PREDELAY1, 2
LEVEL1, 2
FEEDBACK1
DIRECT LEVEL
PITCH MIN
PITCH MAX
PEDAL POS
EFFECT LEVEL
DIRECT LEVEL
X-OVER FREQ
LOW RATE
LOW DEPTH
LOW PREDELAY
LOW LEVEL
HIGH RATE
HIGH DEPTH
HIGH PREDELAY
HIGH LEVEL
SPEED
MOD1/MOD2
MOD1 HARMONIST/
MOD2 HARMONIST
RATE
DEPTH
MANUAL
RESO
MOD1 PHASER/
[A] FX/[B] FX
MOD2 PHASER
[A] FX/[B] FX
MOD1 PDL BEND/
MOD2 PDL BEND
STEP RATE
EFFECT LEVEL
DIRECT LEVEL
RATE
DEPTH
MANUAL
RESO
MOD1 FLANGER/
MOD2 FLANGER
MOD1 2X2CHORUS/
MOD2 2X2CHORUS
SEPARATION
LOW CUT
EFFECT LEVEL
DIRECT LEVEL
WAVE SHAPE
RATE
MOD1 TREMOLO/
MOD2 TREMOLO
DEPTH
RATE SLOW
RATE FAST
RISE TIME
FALL TIME
DEPTH
WAVE SHAPE
RATE
MOD1 ROTARY/
MOD2 ROTARY
MOD1 PAN/MOD2
PAN
DEPTH
MODE
POLARITY
SENS
RATE
MOD1 UNI-V/
MOD2 UNI-V
DEPTH
MOD1 T.WAH/
MOD2 T.WAH
FREQ
LEVEL
PEAK
RATE
LEVEL
DEPTH
MOD1 VIBRATO/
MOD2 VIBRATO
DIRECT LEVEL
TRIG
RISE TIME
160
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MASTER
Chapter 9 Parameter Guide
Parameter (F4) Parameter (F5)
Parameter (F6)
PATTERN
RATE
Parameter (F4) Parameter (F5)
Parameter (F6)
LOW GAIN
HIGH GAIN
LOW MID FREQ
LOW MID Q
LOW MID GAIN
HIGH MID FREQ
HIGH MID Q
HIGH MID GAIN
LOW CUT
HIGH CUT
TOTAL GAIN
DELAY TIME
FEEDBACK
EFFECT LEVEL
NS SW
MOD1 SLICER/
MOD2 SLICER
TRIG SENS
MODE
VOWEL1, 2
SENS
MOD1 SUB EQ/
MOD2 SUB EQ
MOD1 HUMANIZER/
MOD2 HUMANIZER
RATE
DEPTH
MANUAL
LEVEL
[A] FX/[B] FX
SENS
MOD1 SLOW GEAR/
MOD2 SLOW GEAR
RISE TIME
TONE
MOD1 SUB DELAY/
MOD2 SUB DELAY
SENS
ATTACK
DEPTH
MOD1 DEFRETTER/
MOD2 DEFRETTER
THRSH
NS
RESO
REL
EFFECT LEVEL
DIRECT LEVEL
MODE
DETECT
LEVEL
FV
VOL CURVE
COSM AMP SW
PREAMP TYPE
GAIN
RISE TIME
RISE TIME+
FB LEVEL
FB LEVEL+
VIB RATE
VIB DEPTH
MODE
COMMON
[A] FX/[B] FX
MOD1 FEEDBACK/
MOD2 FEEDBACK
BASS
MIDDLE
TREBLE
PREAMP
PRESENCE
LEVEL
FREQ
MOD1 RING MOD/
MOD2 RING MOD
EFFECT LEVEL
DIRECT LEVEL
FREQ1, 2, 3
DEPTH1, 2, 3
TYPE
BRIGHT
GAIN SW
SW
MOD1 ANTI-FB/
MOD2 ANTI-FB
PREAMP (SOLO)
SPEAKER
LEVEL
SP TYPE
SUSTAIN
ATTACK
TONE
MIC TYPE
MIC DIS
MOD1 ADV COMP/
MOD2 ADV COMP
[A] COSM AMP/
[B] COSM AMP
MIC POS
LEVEL
MIC LEVEL
DIRECT LEVEL
CUSTOM TYPE
BOTTOM
TYPE
ATTACK
THRSH
MOD1 LIMITER/
MOD2 LIMITER
RATIO
EDGE
REL
PREAMP (CUSTOM) BASS FREQ
LEVEL
TREBLE FREQ
LOW
HIGH
SIZE
LOW
SPEAKER (CUSTOM) HIGH
NUMBER
CABINET
161
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Chapter 9 Parameter Guide
MASTER
Parameter (F4) Parameter (F5)
Parameter (F6)
Parameter (F4) Parameter (F5)
Parameter (F6)
GAIN
EQ SW
BASS
LOW GAIN
HIGH GAIN
LOW MID FREQ
LOW MID Q
LOW MID GAIN
HIGH MID FREQ
HIGH MID Q
HIGH MID GAIN
TOTAL GAIN
MAIN OUT
MAIN LEVEL
SUB OUT
MIDDLE
TREBLE
BASS AMP
LEVEL
TOTAL EQ (A&B)
BRIGHT
[A] COSM AMP/
[B] COSM AMP
MIDDLE FREQ
RESPONSE
ENHANCER
SP TYPE
MIXER (A&B)
MIC POS
BASS AMP SP
DELAY
MIC LEVEL
DIRECT LEVEL
DELAY SW
TIME
OUTPUT
SUB LEVEL
D OUT
FEEDBACK
HIGH CUT
LEVEL
D OUT LEVEL
-
A/B BALANCE
PATCH LEVEL
-
-
-
REVERB SW
TYPE
DELAY/REVERB
REVERB
TIME
PREDELAY
LOW CUT
HIGH CUT
DENS
LEVEL
DYNA SW
TYPE
LOWER RNG
UPPER RNG
A LOWER LEV
A UPPER LEV
B LOWER LEV
B UPPER LEV
LOWER BAL
UPPER BAL
RELEASE
MIX SW
DYNAMIC
PAN
LEVEL
[A] MIXER/
[B] MIXER
DELAY SEND
REVERB SEND
CH DELAY
162
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MASTER
Chapter 9 Parameter Guide
BPM
NAME/KEY/BPM
Parameter/
Range
Explanation
PATCH NAME
BPM
Parameter/
Explanation
Range
40–250
Adjust the BPM value for each patch.
PATCH NAME
This sets the Patch name.
Control with the Master BPM
You can tap input the BPM with [F1].
INSERT
DELETE
Insert a space at the cursor location.
SPACE
A0!
Input a space at the cursor location.
AMP CONTROL
Switch between uppercase letters, numbers,
and characters.
Parameter/
Explanation
Range
A<=>a
Switch between uppercase letters and low-
ercase letters.
AMP CTL1, AMP CTL2
CATEGORY
Sets the category for the current patch. Refer
to “Separating Patches into Groups
(CATEGORY)” (p. 90)
OFF, ON
This setting switches the FC-300’s AMP CTL
1 and AMP CTL 2 parameters on and off.
TX PC (Transmit Program Change)
CATEGORY
Parameter/
Explanation
Range
Parameter/
Range
Explanation
You can assign whatever Program Change numbers you want to
patches.
CATEGORY
USER 1–10
ELECTRIC
ACOUSTIC
BASS
SYNTH
ROCK
This selects the Category name.
* This setting is enabled when the SYSTEM MIDI TX PC MAP is set to
PROG (p. 171).
*
You can set USER1–USER10 in
SYSTEM (p. 176).
BANK MSB
OFF, 1–127
This sets the Bank Select (MSB) to be output.
This sets the Bank Select (LSB) to be output.
BANK LSB
OFF, 1–127
JAZZ
ETHNIC
DYNAMIC
RIBBON
PC (Program Change)
1–128
This sets the Program Change to be output.
KEY
PATCH LEVEL
Parameter/
Range
Explanation
KEY
C (Am)–B (G#m)
Parameter/
Range
Explanation
This sets the key for the COSM guitar and
FX HARMONIST.
PATCH LEVEL
0–200
The key setting corresponds to the key of the song (#,
b
) as follows.
Adjusts the volume the patch.
* This parameter is the same as “PATCH
LEVEL” (p. 146) in MIXER.
163
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Chapter 9 Parameter Guide
GUITAR TO MIDI
GUITAR TO MIDI
Parameter/
Explanation
Range
Parameter/
Range
Explanation
GTR TO MIDI
CHROMATIC
OFF, ON
This switches the GUITAR TO MIDI func-
This sets the VG-99 so that if you play bends or slides, the unit will
not send pitch bend message but instead will play the notes in half
steps.
tion on and off. Setting this to OFF prevents
output of all GUITAR TO MIDI-related
MIDI messages.
OFF
Pitches are output continuously.
TYPE1
When the pitch changes, this setting applies
the results of the pitch change information
without stopping the note that is playing.
This produces a unique effect, whereby
there is no attack sound when the pitches
change, similar to slurring on a clarinet or a
saxophone.
PATCH
These parameters are set for each individual patch with the GUITAR
TO MIDI function.
TYPE2
TYPE3
When the pitch changes, the VG-99 retrig-
gers (replays) the sound at the changed
pitch, producing pitch changes only at the
semitone increments.
As a result, the attack of the new note starts
at the current volume of the string, not the
original volume.
Parameter/
Explanation
Range
MODE
This sets the transmission mode for the MIDI messages.
MONO
In this mode, one channel per string is used,
thus using a total of six channels.
As with CHROMATIC TYPE 2, sounds are
retriggered at the changed pitch, expressing
the pitch changes only in semitones.
However, instead of reflecting the attenua-
tion of the string vibration, the retriggered
sound is the same as that when the string
was initially played.
Since each string uses a different MIDI chan-
nel, you can select a different tone for each
string, using string bending or continuously
varying the pitch on a specific string; how-
ever, this requires use of a multitimbral
sound module.
POLY
In this mode, the messages for all six strings
are transmitted over a single channel.
While transmitting the MIDI messages for
all of the strings over one channel does sim-
plify the settings needed for the sound mod-
ule and reduces the number of MIDI
HOLD TYPE
This selects the way the Hold function works.
HOLD1
Note On messages are held when the Hold
function is switched on with the controller.
If the Hold function remains on as you con-
tinue to play the strings, each successive
Note On message is held, and when a Note
message is already being played from the
same string,
channels used, it does impose certain limita-
tions; for example, permitting only one tone
to be selected for all of the strings.
PLAY FEEL
the previous Note message is cancelled, and
the next Note On message is held. This al-
lows you to prevent any interruption in the
sounds, even sounds from releasing the
strings over the frets.
This selects the feeling produced in playing the guitar, allowing you
to choose picking with fingers or a pick to provide more natural dy-
namic expression.
FEEL1–4
FEEL1 is the mode that gives sounds the
broadest variation in volume based on the
picking dynamics. As the setting number is
increased, it becomes easier to produce high
volume sounds even with weaker picking.
This allows you to play with consistent vol-
ume, whether you tap the strings or use
rough picking. In general, use higher setting
numbers for softer picking, fingerpicking or
tapping.
HOLD2
HOLD3
Note On messages are held when the Hold
function is switched on with the controller.
However, subsequent Note On messages
are not output if you continue to play the in-
strument with the Hold effect left on.
Note On messages are held when the Hold
function is switched on with the controller.If
the Hold function remains on as you contin-
ue to play the strings, Note On messages for
strings other than the one already being
held can be output, but they are not held.
NO DYNA
STRUM
In this mode, sounds are played at a fixed
volume regardless of the picking strength.
This suppresses the output of sounds from
weaker picking.
This setting allows you to prevent undes-
ired sounds produced when playing
rhythm or due to incidental contact with
strings from incorrect picking.
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GUITAR TO MIDI
Chapter 9 Parameter Guide
Parameter/
Range
Parameter/
Range
Explanation
Explanation
CC (Control Change)
PC (Program Change)
You can output the actions of the controllers specified with SRC as
Control Change messages.
OFF, 1–128
This sets the Program Number.
You can make two types of settings, 1 and 2.
SRC (Source)
GK VOL
SYSTEM
These parameters are applied to the entire VG-99 in the GUITAR TO
MIDI function.
GK-3 GK volume knob
GK-3 DOWN/S1 switch
GK-3 UP/S2 switch
Control button1
GK S1
GK S2
CTL1
Parameter/
Explanation
Range
CTL2
Control button2
EXP PEDAL
Expression pedal connected to the EXP
PEDAL jack
HOLD CTL (Hold Control)
This setting determines the controller used for the HOLD function.
CTL3
CTL4
Footswitch connected to the CTL3,4 jack
(jack tip)
GK S1, S2
CTL1, 2
GK-3 DOWN/S1, UP/S2 switch
Control button1, 2
Footswitch connected to the CTL3,4 jack
(jack ring)
CTL3
Footswitch connected to the CTL3,4 jack
FC-300 control pedal1, 2
D BEAM V
D BEAM vertical movements
D BEAM horizontal movements
RIBBON CONTROLLER touch
RIBBON CONTROLLER position
FC-300 expression pedal1
FC-300 CTL1,2
FC-300 CTL3–8
D BEAM H
FC-300 external footswitch3–8
RIBBON ACT
RIBBON POS
FC-300 EXP1
FC-300 EXPSW1
FC-300 EXP2
FC-300 EXPSW2
FC-300 CTL1
FC-300 CTL2
FC-300 E3/C3
BEND THIN
OFF, ON
Setting this to ON thins out the Pitch Bend
messages and reduces the volume of MIDI
data.
FC-300 expression pedal switch1
FC-300 expression pedal2
BASIC CH (Basic Channel)
1–11
This sets the MIDI transmit channel used for
the GUITAR TO MIDI function.
FC-300 expression pedal switch2
FC-300 control pedal1
PC MASK (Program Change Mask)
OFF, ON
FC-300 control pedal2
When set to ON, the Bank Select messages
FC-300 external expression pedal3/external
footswitch3
and Program Change messages used for the
GUITAR TO MIDI function are not trans-
mitted when patches are changed.
FC-300 CTL4
FC-300 E4/C5
FC-300 external footswitch4
FC-300 external expression pedal4/external
footswitch5
FC-300 CTL6
FC-300 E5/C7
FC-300 external footswitch6
FC-300 external expression pedal5/external
footswitch7
FC-300 CTL8
FC-300 external footswitch8
CC (Control Change)
OFF, #1–#31, #64–#95 This sets the Control Change number to be
output.
* When the MONO/POLY setting is set to
POLY, messages are output only over the
basic channel; when this is set to MONO, the
messages are output over the six channels
starting from the basic channel.
TX PC STRING 1–6
This sets the Program Change messages for each string that are out-
put when the VG-99’s patches are switched.
BANK MSB
OFF, 1–127
This sets the Bank Select (MSB).
This sets the Bank Select (LSB).
BANK LSB
OFF, 1–127
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Chapter 9 Parameter Guide
SYSTEM
SYSTEM
LCD CONTRAST
GK SETTING
Parameter/
Explanation
Range
Parameter/
Range
Explanation
CONTRAST
GK CONNCT (GK Connect)
1–50
Setting up the VG-99 in certain positions
AUTO
This automatically determines the GK con-
nection and switches the internal settings.
When the GK connection is in use, the GUI-
TAR INPUT connection is disabled.
may make the display difficult to read. If
this occurs, adjust the display contrast (legi-
bility).
OFF
ON
Use this setting if you normally use the con-
nection for GUITAR INPUT.
DIRECT PATCH
GK FUNC (GK Function)
GK VOL (GK Volume)
Parameter/
Range
Explanation
This selects the function assigned to GK VOL.
DIRECT PATCH
DIR.PATCH 1–5
This sets the desired [DIRECT PATCH 1]–
[DIRECT PATCH 5].
to Separate Controllers” (p. 168).
GK S1, S2 (GK S1, S2 Switch)
This selects the functions assigned to GK S1, S2.
For more on the functions assigned, refer to the GK S1,
S2 column in “Parameters That Can Be Assigned to
Separate Controllers” (p. 168).
SET MODE
This setting allows you to select whether one GK SETTING is used
globally for the entire VG-99 or if different GK SETTINGS are speci-
fied for each patch individually.
SYSTEM
The GK SETTING set here is used globally
for the entire VG-99. This is the default fac-
tory setting.
PATCH
GK SETTINGS are specified for each patch
individually. Carry out the Write procedure
after making changes to the settings in each
patch. Use this setting when performing
with multiple guitars, switching the instru-
ment depending on the patch used.
SETTING1–10
1–10
This selects the GK SETTING to be set.
NAME
This sets the name for the GK SETTING (up to eight characters).
INSERT
DELETE
Insert a space at the cursor location.
Delete a character. The characters that fol-
low get shifted to the left.
SPACE
A0!
Input a space at the cursor location.
Switch between uppercase letters, numbers,
and characters.
A<=>a
Switch between uppercase letters and low-
ercase letters.
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SYSTEM
Chapter 9 Parameter Guide
CONTROL ASSIGN
Parameter/
Range
Explanation
GK PU TYPE (GK Pickup Type)
Parameter/
Range
Explanation
GK-3
Specifies the GK-3.
GK-2A
PIEZO
Specifies the GK-2A.
Specifies a piezo pickup.
Controller
You can freely assign functions to the VG-99’s and FC-300’s control-
lers.
GUITAR SCALE
620–660mm,
ST (648mm),
LP (628mm)
GK VOL
GK S1, S2
CTL1
GK-3 GK volume knob
GK-3 DOWN/S1, UP/S2 switch
Control button1
This sets the scale length for your guitar.
GK PU PHASE (GK Pickup Phase)
CTL2
Control button2
This sets the phase for the divided pickup and normal pickup.
The sounds from the divided pickup and normal pickup are mixed
so as to enable the proper settings.
Set this to NORMAL, and if the low-frequency range is cut, set this
to INVERS.
EXP PEDAL
Expression pedal connected to the EXP
PEDAL jack
CTL3
CTL4
Footswitch connected to the CTL3,4 jack
(jack tip)
Footswitch connected to the CTL3,4 jack
(jack ring)
NORMAL
INVERS
The phase is left unchanged.
The phase is inverted.
FC-300 EXP1
FC-300 expression pedal1
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
GK PU DIRECTION (GK Pickup Direction)
This sets the direction for the divided pickup’s installation.
FC-300 EXP SW1
FC-300 EXP2
NORMAL
REVRSE
Positioned such that the cable exits near the
6th string.
FC-300 EXP SW2
FC-300 CTL1
FC-300 CTL2
FC-300 E3/C3
Positioned such that the cable exits near the
1st string.
FC-300 control pedal2
FC-300 external expression pedal3/external
footswitch3
S1, S2 POS (S1, S2 Position)
This exchanges the function for the GK-3’s or GK-2A’s DOWN/S1,
UP/S2 switches.
FC-300 CTL4
FC-300 E4/C5
FC-300 external footswitch4
FC-300 external expression pedal4/external
footswitch5
NORMAL
REVRSE
The switches are left unchanged.
The DOWN/S1 switch and UP/S2 switch
are exchanged.
FC-300 CTL6
FC-300 E5/C7
FC-300 external footswitch6
FC-300 external expression pedal5/external
footswitch7
PICKUP↔BRIDGE 1st–6th
10.0–30.0mm
This sets the distance of the gap between
FC-300 CTL8
FC-300 external footswitch8
each Divided pickup and the bridge.
The setting is disregarded when the GK PU
TYPE is set to PIEZO.
ASSIGN HOLD
This setting determines whether or not the values (positions) of the
D BEAM (H) or RIBBON CONTROLLER or the FC-300’s expression
pedals or control pedals or other controllers are to be reflected in the
sound as soon as a patch is called up.
SENS 1st–6th
0–100
This sets the input sensitivity for each string.
ON
When a patch is called up, the controller val-
ues (positions) are applied, producing a
sound that reflects the controller settings.
OFF
When a patch is changed, the sound set in
the patch is played, regardless of the
controller values (positions).
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Chapter 9 Parameter Guide
SYSTEM
CTL1-4, FC-300 EXP SW1/EXP SW2,
FC-300 CTL1, 2, 4, 6, 8
FC-300 EXP3/CTL3, EXP4/CTL5, EXP5/CTL7
GK S1, S2
Parameters That Can Be
Assigned to Separate Controllers
CTL1-4, FC-300 EXP SW1/EXP SW2,
FC-300 CTL1, 2, 4, 6, 8
GK VOL, EXP PEDAL, FC-300 EXP1/EXP2
Parameter
Explanation
FC-300 EXP3/CTL3, EXP4/CTL5, EXP5/CTL7
GK S1, S2
GK VOL, EXP PEDAL, FC-300 EXP1/EXP2
PU SEL [A&B]
Allows you to switch the pick-
ups in Channel A and Channel
B simultaneously.
✔
PU SEL [A]
PU SEL [B]
Allows you to switch the pick-
ups in Channel A or Channel B.
✔
✔
✔
Parameter
Explanation
Parameters for which ✔ is indicated can be assigned to the control-
lers shown here.
S1:TUNER/
S2:BPM TAP
The TUNER screen is switched
with S1. S2 can be used for tap
input of the BPM parameter.
OFF
No function is assigned.
✔
✔
✔
✔
✔
✔
✔
✔
ASSIGNABLE
(PATCH)
Functions according to the
Control Assign settings in each
individual patch.
PATCH LEVEL
DEC/INC
Provides control of the patch
level.
✔
✔
AB BALANCE
toA/toB
Provides control of the volume
balance between Channel A
and Channel B. The level from
Channel A is increased with
S1; the level from Channel B is
increased with S2.
PATCH LEVEL
0–100
Provides control of the patch
level.
✔
✔
✔
✔
✔
PATCH LEVEL
0–200
AB BALANCE
Provides control of the balance ✔
of the volume in Channel A
and Channel B.
MIDI START/
STOP
Transmits Start and Stop for
transmission of MIDI Realtime
messages.
✔
✔
✔
✔
✔
✔
✔
FOOT VOLUME Provides simultaneous control ✔
[A&B]
✔
of the foot volume in Channel
A and Channel B.
MMC PLAY/
STOP
Transmits Play and Stop for
transmission of MIDI Machine
Control.
FOOT VOLUME Provides control of the foot
[A]
✔
✔
✔
✔
✔
✔
volume in Channel A or Chan-
nel B.
FC-300
AMP CTL 1/2
Provides control of the FC-
300’s AMP CONTROL1 and
AMP CONTROL2 jacks. This
allows switching of the chan-
nels for guitar amps connected
to these jacks.
FOOT VOLUME
[B]
WAH
Provides control of the pedal
wah when the pedal wah is
switched on.
GUITAR
Provides simultaneous control ✔
✔
PATCH SELECT Switches to higher patch num-
✔
✔
✔
✔
✔
✔
✔
✔
VOLUME [A&B] of the COSM guitar volume in
Channel A and Channel B.
INC
bers when patches are
switched.
GUITAR
VOLUME [A]
Provides control of the COSM
guitar volume in Channel A or
Channel B.
✔
✔
✔
✔
✔
PATCH SELECT Switches to lower patch num-
DEC
bers when patches are
switched.
GUITAR
VOLUME [B]
PU SEL
Switches the Channel A and
toFRONT [A&B] Channel B pickups towards the
front.
GUITAR TONE
[A&B]
Provides simultaneous control ✔
of the COSM guitar tone in
Channel A and Channel B.
PU SEL toREAR
[A&B]
Switches the Channel A and
Channel B pickups towards the
rear.
GUITAR TONE
[A]
Provides control of the COSM
guitar tone in Channel A or
Channel B.
✔
✔
✔
✔
PU SEL toFRONT Switches the Channel A pickup
✔
✔
✔
✔
✔
✔
✔
✔
GUITAR TONE
[B]
✔
[A]
towards the front.
PU SEL toREAR
[A]
Switches the Channel A pickup
towards the rear.
MIXER LEVEL
[A&B]
Provides simultaneous control ✔
of the mixer volume level in
Channel A and Channel B.
PU SEL toFRONT Switches the Channel B pickup
[B]
towards the front.
MIXER LEVEL
[A]
Provides control of the mixer
volume level in Channel A or
Channel B.
✔
✔
✔
PU SEL toREAR
[B]
Switches the Channel B pickup
towards the rear.
MIXER LEVEL
[B]
✔
TUNER ON/OFF Switches the TUNER screen.
✔
✔
✔
✔
PATCH SEL
DEC/INC
When set to INC, patch num-
bers increase when patches are
switched; setting this to DEC
causes the VG-99 to switch to
lower patch numbers when
patches are switched.
✔
BPM TAP
Allow tap input for the BPM
parameter.
PATCH LEVEL
INC
Increases the patch level.
✔
✔
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SYSTEM
Chapter 9 Parameter Guide
CTL1-4, FC-300 EXP SW1/EXP SW2,
FC-300 CTL1, 2, 4, 6, 8
FC-300
FC-300 EXP3/CTL3, EXP4/CTL5, EXP5/CTL7
GK S1, S2
Parameter/
Range
Explanation
GK VOL, EXP PEDAL, FC-300 EXP1/EXP2
SYS EX MODE (System Exclusive Mode)
Parameter
Explanation
This sets the FC-300’s control method.
ON
When connected to the VG-99, the FC-300
automatically changes to System Exclusive
mode and operates in accordance with the
settings made with the VG-99. This is the
setting you should normally select.
PATCH LEVEL
DEC
Decreases the patch level.
✔
✔
✔
✔
AB BALANCE
toB
Increases the volume level in
Channel B in the balance be-
tween Channel A and Channel
B.
AB BALANCE
toA
Increases the volume level in
Channel A in the balance be-
tween Channel A and Channel
B.
✔
✔
✔
✔
✔
✔
You can control the FC-300 even
without matching the VG-99’s and FC-
300’s Device IDs.
OFF
Select OFF when controlling the FC-300’s
with the FC-300 (manually).
FC-300
AMP CTL 1
Switches to the channel as-
signed for the guitar amp con-
nected the FC-300’s AMP
CONTROL1 jack.
BANK CHANGE
This sets the timing with which tones switch when patches are
changed with the FC-300.
FC-300
AMP CTL 2
Switches to the channel as-
signed for the guitar amp con-
nected the FC-300’s AMP
CONTROL2 jack.
✔
IMMEDIATE
The tone changes immediately when the
FC-300’s pedals are pressed.
Even after the FC-300’s pedals are
WAIT NUM
pressed, the tone does not change until the
NUMBER is set.
QUICK TUNER
This enables use of the FC-300’s number pedals to switch the Tuner
function on and off.
The Quick Tuner function is enabled only when the FC-300’s MODE
is set to SYS EX.
OFF
The QUICK TUNER function is not opera-
tional.
ON
The QUICK TUNER function is operational.
The TUNER function is alternately switched
on and off each time the currently selected
number pedal is pressed.
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Chapter 9 Parameter Guide
SYSTEM
MIDI
Parameter/
Explanation
MIDI OUT
Parameter/
Explanation
Range
This sets the routing of signals at the MIDI OUT connector.
OFF
Signals are not output from MIDI OUT.
Signals from the VG-99 are output.
MIDI CH (MIDI Channel)
MAIN
USB
1–16ch
This sets the channel used for transmitting
and receiving MIDI messages.
When controlling another synthesizer
sound module using the GUITAR TO MIDI
function, also refer to “GUITAR TO MIDI”
(p. 164).
MIDI signals received via USB are output.
MIDI
The MIDI signals received at MIDI IN are
output from MIDI OUT (thru).
When other signals also are set to be output
simultaneously from MIDI OUT, the signals
are mixed and then output together
(merge).
OMNI MODE
OFF, ON
When MIDI OMNI MODE is set to ON,
messages are received on all MIDI channels,
regardless of the MIDI channel settings.
RRC2
The MIDI signals received at through RRC2
are output from MIDI OUT (thru).
When other signals also are set to be output
simultaneously from MIDI OUT, the signals
are mixed and then output together
(merge).
DEVICE ID
1–32
This sets the Device ID used for transmis-
sion and reception of Exclusive messages.
SYNC CLOCK
USB (MIDI)→
This setting determines the basis used for synchronizing the timing
for effect modulation rates and other time-based parameters.
This sets the routing of signals received via USB.
OFF
Signals are not received via USB.
INTERNAL
Operations are synchronized to the VG-99’s
internal Clock.
MAIN
Signals received via USB are transmitted to
the VG-99’s internal section.
AUTO (USB)
Operations are synchronized to the MIDI
Clock received via USB. However, opera-
tions are automatically synchronized to the
VG-99’s internal Clock if the VG-99 is un-
able to receive the external Clock.
USB (MIDI)←
This sets the routing of signals output from the USB connector.
OFF
Signals are not output from the USB connec-
tor.
AUTO (MIDI)
AUTO (RRC2)
Operations are synchronized to the MIDI
Clock received via MIDI. However,
operations are automatically synchronized
to the VG-99’s internal Clock if the VG-99 is
unable to receive the external Clock.
MAIN
MIDI
MIDI signals from the VG-99 are output.
MIDI signals received at MIDI IN are out-
put.
RRC2
MIDI signals received through RRC2 are
output.
Operations are synchronized to the MIDI
Clock received via the RRC2 connector.
However, operations are automatically syn-
chronized to the VG-99’s internal Clock if
the VG-99 is unable to receive the external
Clock.
RRC2→
This sets the routing of signals received via RRC.
OFF
Signals are not received through RRC2.
MAIN
Signals received at the RRC2 connector are
transmitted to the VG-99’s internal section.
MIDI
MIDI IN
RRC2←
This sets the routing of signals output from the RRC2 connector.
This sets the routing of signals arriving at the MIDI IN connector.
OFF
Signals are not output from the USB connec-
tor.
OFF
Signals are not received at MIDI IN.
MAIN
USB
MIDI signals from the VG-99 are output.
MIDI signals received via USB are output.
MAIN
Signals received at MIDI IN are transmitted
to the VG-99’s internal section.
MIDI
MIDI signals received at MIDI IN are output
from the RRC2 connector (thru). When oth-
er signals also are set to be output simulta-
neously from the RRC2 connector, the
signals are mixed and then output together
(merge).
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SYSTEM
Chapter 9 Parameter Guide
Parameter/
Range
Parameter/
Range
Explanation
Explanation
PC (Program Change)
BULK DUMP
With the VG-99, you can use Exclusive messages to set another VG-
99 to the same settings or to save effect sound settings to MIDI se-
quencers and other such devices.
PC OUT (Program Change Out)
OFF, ON
This setting determines whether or not Pro-
gram Change messages are output when the
VG-99’s patches are switched.
Program Change messages are output when
this is set to ON.
ALL
All transmittable data (SYSTEM, GK SET-
TING, GLOBAL, PATCH 001–200, FAVOR-
ITE SETTING)
SYSTEM
SYSTEM parameters.
TX PC MAP (TX Program Change Map)
This setting determines the sequence of Program Change messages
output when the VG-99’s patches are changed.
GK SETTING
GLOBAL
PATCH
Settings content for GK SETTING
GLOBAL function settings
Settings for patch numbers 001–200
FIX
Regardless of the patch settings, Program
Change messages predetermined for each
patch number are output.
FAVORITE SETTING Settings content in FAVORITE SETTINGS
01–10 for all effects
PROG
The Program Change messages pro-
grammed in each patch are output.
RX PC MAP (RX Program Change Map)
You can select whether to use a fixed or freely set correspondence be-
tween program numbers received and the patches switched to when
the VG-99’s patches are switched by Program Change messages
transmitted by an external MIDI device.
FIX
The VG-99 switches to the patches predeter-
mined for the corresponding received Pro-
gram Change messages, regardless of the
Receive Program Change Map settings.
PROG
The VG-99’s switches to the patches set in
the Receive Program Change Map.
RX PC MAP (RX Program Change Map)
You can edit the correspondence between the Program Change num-
bers received and the patches that are switched to.
[F1] (BANK)
Selects the Bank number.
[F2] [F3] (SEL)/
F2, F3 knob
Selects the Program number.
[F5] (SELECT)/
F5 knob
Selects the patch.
When the combination of the Bank number
and Program number selected with F1, F2,
and F3 is received, the VG-99 switches to the
patch selected with F5.
CC (Control Change)
This sets the Control Change numbers output when the VG-99’s
pedals and external pedals or the FC-300’s pedals and external ped-
als are operated.
[F2] [F3] (SEL)/
F2, F3 knob
Selects the controller.
[F5] (SET OFF)/
F5 knob
When the controller selected with F2 or F3 is
operated, the Control Change message se-
lected with F5 is transmitted.
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Chapter 9 Parameter Guide
SYSTEM
OUTPUT
Parameter/
Range
Explanation
D OUT (Digital Out)
This switches the signals output from DIGITAL OUT.
Parameter/
Explanation
Range
COSM GTR A
This outputs the sounds from COSM GTR
A.
OUTPUT MODE
SYSTEM
The values set in the SYSTEM parameters
COSM GTR B
NORMAL PU
This outputs the sounds from COSM GTR B.
MAIN OUT, MAIN LEVEL, SUB OUT, SUB
LEVEL, D OUT, and D OUT LEVEL are en-
abled.
This outputs the sounds from the normal
pickup.
PATCH
The values set in MAIN OUT, MAIN LEV-
EL, SUB OUT, SUB LEVEL, D OUT, D OUT
LEVEL for each patch are enabled.
CH A
CH B
This outputs Channel A.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
This outputs Channel B.
This output also reflects the mixer’s MIX
SW, PAN, LEVEL, and A/B BAL settings.
MAIN OUT
This switches the signals output to MAIN OUT.
CH A
This outputs Channel A.
The mixer’s MIX SW, PAN, LEVEL, and A/
B BAL are also reflected here.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
CH B
This outputs Channel B.
The mixer’s MIX SW, PAN, LEVEL, and A/
B BAL are also reflected here.
MAIN OUT
SUB OUT
This outputs the same signals as those from
MAIN OUT.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the same signals as those from
SUB OUT.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
D OUT LEVEL (Digital Out Level)
0–200
Adjusts the level to DIGITAL OUT.
MAIN LEVEL
0–200
*
The parameters enabled (MAIN OUT, MAIN LEVEL, SUB OUT,
Adjusts the level to MAIN LEVEL.
SUB LEVEL, D OUT, D OUT LEVEL) change according to the
OUTPUT MODE settings.
When they are disabled, the value < > is given.
SUB OUT
This switches the signals output to SUB OUT.
CH A
This outputs Channel A.
The mixer’s MIX SW, PAN, LEVEL, and A/
B BAL are also reflected here.
CH B
This outputs Channel B.
The mixer’s MIX SW, PAN, LEVEL, and A/
B BAL are also reflected here.
MIXER (DRY)
MIXER
This outputs the post-A/B mix signals be-
fore application of DELAY/REVERB.
This outputs the post-A/B mix signals after
application of DELAY/REVERB and TO-
TAL EQ.
SUB LEVEL
0–200
Adjusts the level to SUB OUT LEVEL.
172
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SYSTEM
Chapter 9 Parameter Guide
USB
Parameter/
Range
Explanation
USB OUT
Parameter/
Range
Explanation
This sets the point internally within the VG-99 from which signals
are output via USB (to the computer).
USB IN
COSM GTR A
COSM GTR B
NORMAL PU
CH A
The output from COSM GUITAR A is output.
The output from COSM GUITAR B is output.
The normal pickup input is output.
This sets the point at which digital audio signals received via USB
(from your computer) are connected within the VG-99.
* Unless this is set to OFF, make sure the software is not set to thru for
audio signals.
The output from Channel A is output.
The output from Channel B is output.
CH B
* If the USB IN parameter is set to COSM GTR A, COSM GTR B, or
NORMAL PU, the setting automatically changes to MAIN & SUB the
next time the VG-99 is powered up. If you plan to use COSM GTR A,
COSM GTR B, or NORMAL PU, make the setting each time you turn
on the power to the VG-99.
MIXER (DRY)
The signals that have been mixed with the
mixer, but before application of DELAY/
REVERB, are output.
MIXER
The signals that have been mixed with the
mixer and have DELAY/REVERB applied
are output.
OFF
The signals are not connected at any point.
COSM GTR A
The signals are connected at the point where
the COSM GUITAR A is output.
The audio output from the computer, in-
stead of the COSM guitar sounds played by
the connected guitar, is input to the effects.
MAIN OUT
SUB OUT
The same signals as those from MAIN OUT
are output.
The same signals as those from SUB OUT
are output.
* POLY FX are not applied.
OUT LEVEL
0–200
COSM GTR B
The signals are connected at the point where
the COSM GUITAR B is output.
Adjusts the volume level of the digital audio
output via USB (to the computer).
The audio output from the computer, in-
stead of the COSM guitar sounds played by
the connected guitar, is input to the effects.
DRIVER MODE
This setting determines which operational mode is used, the mode
using the special driver contained on the included CD-ROM (AD-
VANC) or the mode using the OS’s (Windows/Mac OS) standard
driver (STANDRD).
* POLY FX are not applied.
NORMAL PU
MAIN OUT
SUB OUT
The signals are connected at the normal
pickup input.
The audio output from the computer, in-
stead of the normal sounds played by the
connected guitar, is input to the effects.
STANDRD
ADVANC
This mode uses the OS’s standard USB driver.
This mode uses the special driver contained
on the included CD-ROM
The mode using this driver allows you to
record, play back, and edit audio with high-
quality sound and stable timing.
The signals are connected at the point where
MAIN OUT is output.
The signals from the VG-99’s MAIN OUT
and the audio output from the computer are
mixed and output.
MON CMD (Monitor Command)
This setting determines whether or not the command (the Direct
Monitor command) controlling the Direct Monitor (described later)
setting is enabled.
The signals are connected at the point where
SUB OUT is output.
The signals from the VG-99’s SUB OUT and
the audio output from the computer are
mixed and output.
DISABL
The Direct Monitor command is disabled,
maintaining the Direct Monitor mode set by
the VG-99.
MAIN&SUB
The signals are connected at the point where
both MAIN OUT and SUB OUT are output.
Each of the signals from the VG-99’s MAIN
OUT and the audio output from the com-
puter are mixed, SUB OUT and the audio
output from the computer are mixed from
the output.
ENABLE
The Direct Monitor command is enabled, al-
lowing the Direct Monitor mode to be
switched from an external device.
DIRECT MON (Direct Monitor)
Switches the output of the VG-99 sound to the PHONES jack, MAIN
OUT jacks, or SUB OUT jacks.
IN LEVEL
0–200
OFF
Set this to Off if transmitting audio data in-
ternally through a computer (Thru).
Adjusts the volume level of the digital audio
received via USB (from the computer).
ON
The VG-99 sound is output. Set this to On
when using the VG-99 as a standalone de-
vice, without connecting to a computer
(only USB IN input sound will be output if
this is set to Off).
* This setting cannot be saved. It is set to ON when the power is turned
on.
* If you are using the special driver, you can control DIRECT MON On/
Off from ASIO 2.0-compatible application.
173
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Chapter 9 Parameter Guide
SYSTEM
Parameter/
Range
V-LINK
Explanation
FC-300 CTL6
FC-300 E5/C7
FC-300 external footswitch6
V-LINK PATCH
FC-300 external expression pedal5/external
footswitch7
FC-300 CTL8
FC-300 external footswitch8
Internal pedal
CLIP
INTRNL PEDAL
WAVE PEDAL
Parameter/
Explanation
Range
Wave pedal
TARGET
This sets the Program Change messages transmitted when patches
are switched.
You can set different Program Changes in Channel A and Channel
B. The clips (video images) on the receiving device are switched by
these Program Change messages.
Used in the motion dive .tokyo performance package.
COLOR EQ-FG
COLOR EQ-BG
SCRTCH SW
SPEED KNOB
TOTAL FADER
CROSS FADER
BPM SYNC
Color foreground
Color background
Scratch switch
Speed knob
A ch/B ch PALETTE
OFF, 1–32
This sets the Bank Select number (CC#0,
#32).
Total fader
Cross fader
A ch/B ch CLIP
OFF, 1–32
BPM sync switch
Clip loop switch
Assignable knob
Fade time switch
Visual plug-in control knob
A/B switch
This sets the Program Change numbers.
CLIP LOOP
ASSIGN KNOB
FADE TIME
VISUAL KNOB
AB SW
ASSIGN 1–2
Parameter/
Range
Explanation
TAP SW
Tap switch
These settings are necessary for controlling video using the guitar’s
performance data and messages from the VG-99’s controllers.
You can make up to two types of settings.
TOTAL SELECT
FX SELECT
Total select
Effect select
PLAY POS
Play position
SOURCE
OFF
LOOP START
LOOP END
Loop start position
Loop end position
Layer mode select
The V-LINK function is not assigned.
Pitch bend messages
Velocity messages
BEND
VELO
LAYER MODE
DV-7PR
PLAY SPEED
GK VOL
GK S1
GK S2
CTL1
GK-3 GK volume knob
GK-3 DOWN/S1 switch
GK-3 UP/S2 switch
Play speed
DISLV TIME
Dissolve time
(time elapsed in switching video images)
Control button1
T BAR
T bar
CTL2
Control button2
COLOR Cb
COLOR Cr
BRIGHTNESS
VFX 1
Color cb (Color difference signal)
Color cr (Color difference signal)
Brightness
EXP PEDAL
Expression pedal connected to the EXP
PEDAL jack
CTL3
CTL4
Footswitch connected to the CTL3,4 jack
(jack tip)
Visual effects1
Footswitch connected to the CTL3,4 jack
(jack ring)
VFX 2
Visual effects2
VFX 3
Visual effects3
D BEAM V
D BEAM vertical movements
D BEAM horizontal movements
RIBBON CONTROLLER
VFX 4
Visual effects4
D BEAM H
OUTPUT FADE
DUAL STREAM
Output fade
RIBBON
Dual stream
FC-300 EXP1
FC-300 EXPSW1
FC-300 EXP2
FC-300 EXPSW2
FC-300 CTL1
FC-300 CTL2
FC-300 E3/C3
FC-300 expression pedal1
FC-300 expression pedal switch1
FC-300 expression pedal2
FC-300 expression pedal switch2
FC-300 control pedal1
MIN (Minimum) *1
0–127
Sets the lower limit in the range the param-
eter changes.
MAX (Maximum) *1
0–127
Sets the upper limit in the range the param-
eter changes.
FC-300 control pedal2
FC-300 external expression pedal3/external
footswitch3
FC-300 CTL4
FC-300 E4/C5
FC-300 external footswitch4
FC-300 external expression pedal4/external
footswitch5
174
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SYSTEM
Chapter 9 Parameter Guide
*1 You cannot set the MIN or MAX parameters when the TARGET
parameter is set to one of the functions below. The MIN
Parameter/
Range
Explanation
parameter is fixed at 0, and the MAX parameter is fixed at 127.
TRIGGR *2
•
•
•
•
•
•
SCRTCH SW
BPM SYNC
CLIP LOOP
AB SW
Sets the point at which the virtual expression pedal’s action begins.
PATCH CHANGE
GK VOL
Functions when patches are switched.
Functions when the divided pickup’s vol-
ume knob is adjusted.
TAP SW
GK S1, S2
Functions when the divided pickup’s
DOWN/S1 or UP/S2 switch position is
changed.
DUAL STREAM
*2 The TRIGGR, TIME, and CURVE parameters are enabled when
the SOURCE parameter is set to INT PEDAL.
CTL1–CTL4
Functions when the CTL 1, 2 buttons or foot
switch connected to CTL 3,4 jack are operat-
ed.
*3 The RATE and FORM parameters are enabled when the
SOURCE parameter is set to WAVE PEDAL.
EXP
Functions when the expression pedal con-
nected to EXP PEDAL jack are operated.
D BEAM V, H
Functions when the vertical or horizontal
position is detected by the D Beam control-
ler.
Although the target names indicated refer to EDIROL DV-7PR
and motion dive .tokyo, it is Control Change messages that are
actually transmitted.
RIBBON ACT, POS
Functions when the ribbon controller is op-
erated by touch or when the position is de-
tected.
For more on the correspondence between the target names and
Control Change numbers, refer to p. 181.
FC-300 EXP1, EXP2
FC-300 CTL1, CTL2
Functions when the FC-300’s EXP PEDAL 1
or 2 is operated.
Functions when the FC-300’s CTL1 or CTL2
is operated.
For more detailed information on the EDIROL DV-7PR and
motion dive .tokyo performance package, refer to the Owner’s
Manuals for each product.
FC-300 E3/C3, CTL4, Functions when a pedal connected to the
E4/C5, CTL6, E5/C7, FC-300’s E3/C3, CTL4, E4/C5, CTL6, E5/
CTL8
C7, or CTL8 jacks is operated.
STRING CH (String Channel)
TIME *2
0–100
Adjusts the amount of time for the virtual
expression pedal to shift from the fully re-
leased position (pedal toe raised) to the fully
depressed position (pedal toe pressed
down).
Parameter/
Explanation
Range
1st–6th
Selects the channel to be controlled with each string.
CURVE *2
OFF
No channel is controlled.
This selects one of the three types that determines how the assumed
expression pedal changes.
A CH
Channel A of the V-LINK compatible device
is controlled.
B CH
C CH
Channel B of the V-LINK compatible device
is controlled.
LINEAR
SLOW RISE
FAST RISE
MIDI Note plug-in is controlled.
Some V-LINK compatible equipments such as the EDIROL DV-
7PR allow use only of A CH.
RATE *3
0–100
This determines the time spend for one cycle
of the assumed expression pedal.
FORM *3
This selects one of the three types that determines how the assumed
expression pedal should change.
SAW
TRI
SIN
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Chapter 9 Parameter Guide
SYSTEM
D BEAM CALIB
V-LINK SYSTEM
(D BEAM Calibration)
MIDI CH (MIDI Channel)
Parameter/
Explanation
Range
Parameter/
Explanation
Range
D BEAM DISAB (D BEAM Disable)
You can disable the D BEAM controller for the entire device.
This sets the MIDI receive channel for the V-LINK compatible device
connected to the VG-99.
OFF
ON
The D BEAM is enabled.
The D BEAM is disabled.
MIDI A CH (MIDI A Channel)
1–16ch
Sets the MIDI channel for Channel A of the
V-LINK compatible device.
* Pressing the D BEAM [PITCH], [FILTER],
or [ASSIGNABLE] button to switch the D
BEAM controller on will have no effect.
MIDI B CH (MIDI B Channel)
1–16ch
Sets the MIDI channel for Channel B of the
V-LINK compatible device.
MIDI C CH (MIDI B Channel)
PATCH EXTENT
1–16ch
Specifies the MIDI channel that will control
MIDI note plug-in.
Parameter/
Range
Explanation
•
•
The V-LINK screen’s MIDI CH parameter is a system
parameter.
PATCH EXTENT
You can set upper and lower limits to define the range of patches that
can be switched.
When a V-LINK compatible device is connected to the VG-99,
set this parameter so that the V-LINK compatible device’s MIDI
channel and the MIDI channel used by the VG-99 are not the
same.
Set the lower limits to define the range of
patches.
FROM
TO
Set the upper limits to define the range of
patches.
•
•
The MIDI channels set here are output as System Exclusive
messages when the VG-99’s power is turned on and when the
V-LINK function is switched on.
Some V-LINK compatible equipments such as the EDIROL DV-
7PR allow use only of MIDI A CH.
FACTORY RESET
Parameter/
Explanation
Range
GATEGORY NAME
FACTORY RESET
This restores the VG-99 to the settings it had when it was shipped
from the factory.
Parameter/
Explanation
Range
ALL
All data
CATEGORY NAME
This sets the Category name.
SYSTEM
Content of the settings for the SYSTEM
parameters, HARMONIST scales, AUTO
RIFF phrases, preamps and speakers,
overdrive/distortion and wah custom edit
parameters
INSERT
DELETE
Insert a space at the cursor location.
Delete a character. The characters that fol-
low get shifted to the left.
GK SETTING
GLOBAL
Content of the settings for GK SETTING
GLOBAL function settings
SPACE
A0!
Input a space at the cursor location.
Switch between uppercase letters, numbers,
and characters.
PATCH
Settings for patch numbers 001–200
A<=>a
Switch between uppercase letters and low-
ercase letters.
FAVORITE SETTING Content of the settings in FAVORITE
SETTINGS 01–10 for all effects
CATGRY
Select the user category you want to name.
176
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GLOBAL
Chapter 9 Parameter Guide
GLOBAL
Parameter/
Range
Parameter/
Range
Explanation
Explanation
MAIN OUTPUT SELECT
HIGH GAIN
This selects the type of device to be connected.
-12–+12dB
Adjusts the high frequency range tone.
JC-120
Set this when connecting a Roland JC-120
guitar amp.
LOW MID FREQ (Low Middle Frequency)
20Hz–10.0kHz Specifies the center of the frequency range that will
be adjusted by the LOW MID GAIN.
SMALL AMP
COMBO AMP
Use this setting when connecting a compact
guitar amp.
LOW MID Q (Low Middle Q)
Set this when connecting to the guitar input
for a combo-type guitar amp (combining
amp and speakers in a single unit) other
than a JC-120.
0.5–16
Adjusts the width of the area affected by the EQ
centered at the LOW MID FREQ.
Higher values will narrow the area.
LOW MID GAIN (Low Middle Gain)
* You may find that setting this to JC-120 may
produce good results with your guitar amp.
-12–+12dB
Adjusts the low-middle frequency range tone.
STACK AMP
Use this setting when connecting to the gui-
tar input for a stack-type guitar amp (in
which the amp and speakers are separated)
HIGH MID FREQ (High Middle Frequency)
20Hz–10.0kHz Specifies the center of the frequency range that will be
adjusted by the HIGH MID GAIN.
JC-120 RETURN
COMBO RETURN
STACK RETURN
Set this when connecting to the JC-120’s RE-
TURN.
HIGH MID Q (High Middle Q)
0.5–16
Adjusts the width of the area affected by the EQ
centered at the HIGH MID FREQ.
Set this when connecting to the RETURN on
another combo-type amp.
Higher values will narrow the area.
Set this when connecting to the RETURN on
a stack-type amp. Set STACK RETURN
even when using a power amp for the guitar
in combination with a speaker cabinet.
HIGH MID GAIN (High Middle Gain)
-12–+12dB
Adjusts the high-middle frequency range tone.
LINE/PHONES
Use this setting when using headphones or
when recording with the VG-99 connected
to a multitrack recorder.
NS (Noise Suppressor)
Parameter/
Explanation
Range
* Use the LINE/PHONES setting if you are
using a speaker simulator.
NS
-20–20dB
This controls the global threshold level for
the noise suppressor settings in each patch.
This feature is effective when you connect a
different guitar or for adjusting for changes
in noise levels in the performance venue. It
does not affect the settings in each individu-
al patch.
EQ MAIN (Equalizer Main),
EQ SUB (Equalizer Sub)
Parameter/
Explanation
Range
MAIN EQ (Main Equalizer),
SUB EQ (Sub Equalizer)
A four-band equalizer with high and low ranges is provided. The
sound processed by the effect can be boosted by frequency range be-
fore it is output.
To use the settings contained in the
individual patches, set this to 0 dB.
REVERB
EQ (MAIN) is applied to the output from MAIN OUT; EQ
(SUB) is applied to the output from SUB OUT.
Parameter/
Range
Explanation
MAIN EQ SW (Main Equalizer Switch),
SUB EQ SW (Sub Equalizer Switch)
REVERB
0–200%
This controls the global reverb level for the
reverb settings in each patch. Adjusting this
reverb level is effective for adjusting to the
acoustics of the performance space. It does
not affect the settings in each individual
patch.
OFF, ON
Turns the EQ effect on/off.
TOTAL GAIN
-12–+12dB
Adjusts the volume before the equalizer.
LOW GAIN
-12–+12dB
Adjusts the low frequency range tone.
To use the settings contained in the
individual patches, set this to 100%.
177
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Chapter 9 Parameter Guide
SUB OUT LEVEL
TUNER
TUNER
Parameter/
Explanation
Range
MULTI MODE, SINGLE MODE
SUB OUT LEVEL
0–200%
This controls the global output level from
the SUB OUT connectors. It does not affect
the settings in each individual patch.
Parameter/
Explanation
Range
PITCH
435–445Hz
This sets the reference pitch.
To use line level (+4 dBu) as the
output level, set this to 100%.
MUTE
This setting selects whether or not the tuning sound is output from
the connected device (such as an amp).
OFF
ON
The tuning sound is not output.
The tuning sound is output.
178
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Chapter 10 Appendices
MIDI Implementation Chart
V-Guitar System
Date : May. 31, 2007
Version : 1.00
Model VG-99
MIDI Implementation Chart (Main Section)
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16
Memorized
Default
Messages
Altered
x
x
x
x
Mode
**************
Note
Number
x
x
True Voice
**************
**************
Velocity
x
x
Note ON
Note OFF
x
x
x
x
After
Touch
Key's
Ch's
x
x
Pitch Bend
o
x
*1
o
o
x
o
0, 32
1 – 31
33 – 63
64 – 95
o
o
o
o
Bank Select
*1
*1
Control
Change
*1
*1
Program
Change
o
o
True #
0 – 127
0 – 127
System Exclusive
o
o
Common
Song Position
Song Select
Tune Request
x
x
x
x
x
x
x
o
o
x
System
Realtime
Clock
Commands
*1
*2
x
x
x
x
o
x
x
x
x
x
o
x
Local ON/OFF
All Notes OFF
All Sound OFF
Reset All Controller
Active Sense
AUX
Messages
System Reset
*1 O X is selectable.
*2 MIDI START/STOP can be set with SYSTEM - CONTROL ASSIGN.
Notes
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
o: Yes
x: No
179
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Chapter 10 Appendices
V-Guitar System
Date : May. 31, 2007
Version : 1.00
Model VG-99
MIDI Implementation Chart (GUITAR TO MIDI Section)
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1–11
1–11
x
x
Memorized
Default
Messages
Altered
Mode 3, 4 (M=6)
x
Mode 3, 4 (M=6)
x
Memorized
Mode
**************
Note
Number
o
x
True Voice
**************
0–127
Velocity
x
x
Note ON
Note OFF
o
x
*2
*3
x
x
After
Touch
Key's
Ch's
x
x
Pitch Bend
o
x
x
x
x
x
x
x
x
0, 32
1 – 31
33 – 63
64 – 95
6, 38
o
o
x
o
o
x
o
Bank Select
*1
*1
Control
Change
*1
Data Entry
NRPN LSB, MSB
RPN LSB, MSB
98, 99
100, 101
*1
Program
Change
o
x
True #
0 – 127
**************
System Exclusive
x
x
Song Position
Song Select
Tune Request
x
x
x
x
x
x
Common
x
x
x
x
System
Realtime
Clock
Commands
x
x
x
x
o
x
x
x
x
x
x
x
Local ON/OFF
All Notes OFF
All Sound OFF
Reset All Controller
Active Sense
AUX
Messages
System Reset
*1 O X is selectable.
*2 Note On is always transmitted with 9nH kkH 00H.
*3 Can be set with the CHROMATIC parameter.
Notes
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
o: Yes
x: No
180
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Chapter 10 Appendices
V-LINK
V-Guitar System
Model VG-99
Date : May. 31, 2007
MIDI Implementation Chart (V-LINK Section)
Version : 1.00
Remarks
Transmitted
Recognized
Function...
Basic
Channel
Default
Changed
1–16
1–16
x
x
Memorized
Default
Messages
Altered
x
x
x
x
Mode
**************
Note
Number
*1
*2
x
o
True Voice
**************
0–127
Velocity
x
x
Note ON
Note OFF
o
x
x
x
After
Touch
Key's
Ch's
x
x
Pitch Bend
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
0, 32
1
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
Bank Select
Modulation
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
*1, *3
Control
Change
3
8
Balance MSB
Pan MSB
Expression MSB
Hold-1
Portamento
Resonance
Release
Attack
Cutoff
General Purpose 6
General Purpose 8
10
11
64
65
71
72
73
74
81
83
85
86
91
92
93
94
Reverb
Effects Depth 2
Effects Depth 3
Effects Depth 4
*1, *3
Program
Change
o
x
True #
0 – 31
**************
System Exclusive
o
x
Common
Song Position
Song Select
Tune Request
x
x
x
x
x
x
x
x
x
x
System
Realtime
Clock
Commands
x
x
x
o
o
x
x
x
x
x
x
x
Local ON/OFF
All Notes OFF
All Sound OFF
Reset All Controller
Active Sense
AUX
Messages
System Reset
*1 O X is selectable.
*2 The Note OFF messages (9nH kkH 00H) are always transmitted.
*3 For correspondences with this device's parameters, refer to the “V-LINK Correspondence Table.”
Notes
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
o: Yes
x: No
181
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Chapter 10 Appendices
V-LINK Correspondence Table
Transmitted MIDI Message
Transmitted Channel
V-LINK Function
These are used with models such as the DV-7PR or the motion dive .tokyo performance package.
PALETTE 1–32 (Palette Change)
CC 0 (Bank Select MSB): 0–31
CC 32 (Bank Select LSB): 0
ch.A / ch.B
ch.A / ch.B
CLIP 1–32 (Clip Change)
Program Change: 0–31
These are used with the motion dive .tokyo performance package.
COLOR EQ–FG
COLOR EQ–BG
SCRTCH SW
SPEED KNOB
TOTAL FADER
CROSS FADER
BPM SYNC
CC 1 (Modulation)
CC 71 (Resonance)
CC 3 (---)
ch.A & ch.B
ch.A & ch.B
ch.A & ch.B
ch.A & ch.B
ch.A
CC 8 (Balance)
CC 10 (Panpot)
CC 11 (Expression)
CC 64 (Hold 1)
ch.A
ch.A & ch.B
ch.A & ch.B
ch.A & ch.B
ch.A
CLIP LOOP
CC 65 (Portamento)
CC 72 (Release)
CC 73 (Attack)
ASSIGN KNOB
FADE TIME
VISUAL KNOB
AB SW
CC 74 (Cutoff)
ch.A
CC 81 (General Purpose 6)
CC 83 (General Purpose 8)
CC 85 (---)
ch.A
TAP SW
ch.A
TOTAL SELECT
FX SELECT
PLAY POS
ch.A
CC 86 (---)
ch.A
CC 91 (Reverb)
CC 92 (Tremolo)
CC 93 (Chorus)
CC 94 (Celeste)
ch.A & ch.B
ch.A & ch.B
ch.A & ch.B
ch.A
LOOP START
LOOP END
LAYER MODE
These are used with models such as the DV-7PR.
PLAY SPEED
DISLV TIME
T BAR
CC 8 (Balance)
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
ch.A
CC 73 (Attack)
CC 11 (Expression)
CC 1 (Modulation)
CC 71 (Resonance)
CC 74 (Cutoff)
COLOR Cb
COLOR Cr
BRIGHTNESS
VFX 1
CC 72 (Release)
CC 91 (Reverb)
CC 92 (Tremolo)
CC 93 (Chorus)
CC 10 (Panpot)
CC 64 (Hold 1)
VFX 2
VFX 3
VFX 4
OUTPUT FADE
DUAL STREAM
182
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Chapter 10 Appendices
Specifications
VG-99: V-Guitar System
Function buttons x 6 (F1–F6)
EXIT button
WRITE button
AD Conversion
PAGE buttons x 2 (Left, Right)
GUITAR TO MIDI button
SYSTEM button
24 bits + AF method
DA Conversion
24 bits
GLOBAL button
TUNER button
Sampling Frequency
CATEGORY button
PATCH/VALUE dial
Power switch
44.1 kHz
Program Memories
D BEAM
400: 200 (User) + 200 (Preset)
D Beam Controller
PITCH button
Nominal Input Level
FILTER button
GUITAR INPUT: -10 dBu
ASSIGNABLE button
Input Impedance
RIBBON CONTROLLER
Ribbon Controller
GUITAR INPUT: 2.2 M ohms
PITCH button
Nominal Output Level
MAIN OUT: -10 dBu
FILTER button
ASSIGNABLE button
SUB OUT (XLR): +4 dBu
GUITAR OUT: -10 dBu
[Rear Panel]
Ground Lift switch (SUB OUT)
Output Impedance
MAIN OUT: 1 k ohm
Display
240x64 dots graphic LCD (with backlit)
SUB OUT (XLR): 600 ohms
Connectors
[Top Panel]
Dynamic Range
100 dB or greater (IHF-A)
GK IN connector (13-pin DIN type)
[Rear Panel]
Controls
[Top Panel]
GUITAR INPUT jack (1/4” phone type)
GUITAR OUTPUT jack (1/4” phone type)
SUB OUT jacks x 2 (L, R) (XLR type)
MAIN OUT jacks x 2 (L/MONO, R) (1/4” phone type)
PHONES jack (Stereo 1/4” phone type)
DIGITAL OUT jack (Coaxial type, conforms to IEC60958-3)
EXP PEDAL jack (1/4” TRS phone type)
CTL 3,4 jack (1/4” TRS phone type)
USB connector (B type)
OUTPUT LEVEL knob
Function knobs x 6 (F1–F6)
BALANCE knob
PATCH LEVEL knob
V-LINK button
DIRECT PATCH buttons x 5 (1–5)
CONTROL buttons x 2 (1, 2)
COSM GUITAR MODELING TYPE buttons x 2 (A, B)
COSM GUITAR ALTERNATE TUNING button
POLY FX A/B buttons x 2 (A, B)
FX buttons x 2 (A, B)
RRC2 IN connector (RJ45 type)
MIDI connectors x 2 (IN, OUT) (5-pin DIN type)
DC IN jack
COSM AMP buttons x 2 (A, B)
MIXER buttons x 2 (A, B)
DELAY/REVERB button
DYNAMIC button
Power Supply
AC Adaptor (PSB-1U)
Current Draw
CHAIN button
1.3 A
CONTROL ASSIGN button
NAME/KEY/BPM button
184
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Chapter 10 Appendices
Dimensions
VG-99 Software System
Requirements
384.0 (W) x 218.0 (D) x 93.5 (H) mm
15-1/8 (W) x 8-5/8 (D) x 3-11/16 (H) inches
*
EIA-5U rack mount type: optional rack mount adaptor RAD-99
For Windows
Weight
2.1 kg / 4 lbs 11 oz (excluding AC Adaptor)
Operating System
•
•
Microsoft Windows XP
Microsoft Windows Vista
Accessories
Owner’s Manual
GK cable (3 m)
CPU/Clock
USB cable
•
Pentium/Celeron, Intel-compatible processor 1 GHz or
RRC2 cable
higher
VG-99 Software CD-ROM
AC adaptor (PSB-1U)
Knob Bolt x 4
RAM
•
512 MBytes or more
Roland Service (information sheet)
Free space required on hard disk
Options
•
190 MBytes or more
Divided Pickup: GK-3
Display resolution/Color depth
MIDI Foot Controller: FC-300
Footswitch: BOSS FS-5U/6
Expression Pedal: EV-5, BOSS FV-500L/500H
GK Cable: GKC-10/5/3
Unit Selector: US-20
•
1024 x 768 or higher / 65,536 colors (16 bit High Color) or
more
For Mac OS
GK Parallel Box: GKP-4
Rack Mount Adaptor: RAD-99
Pad Stand: PDS-10
Operating System
•
Mac OS X 10.4.3 or later
Footswitch Cable: PCS-31
CPU/Clock
•
•
PowerPC G4, G5/1 GHz or higher
*
*
0 dBu = 0.775 V rms
Intel processor
In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
RAM
•
512 MBytes or more
Free space required on hard disk
•
190 MBytes or more
Display resolution/Color depth
•
1024 x 768 or higher / 32,000 colors or more
Although Roland has tested numerous configurations, and has
determined that on average, a computer system similar to that
described above will permit normal operation of the VG-99
Editor and VG-99 Librarian, Roland cannot guarantee that a
given computer can be used satisfactorily with the VG-99 Editor
and VG-99 Librarian based solely on the fact that it meets the
above requirements. This is because there are too many other
variables that may influence the processing environment,
including differences in motherboard design and the
particular combination of other devices involved.
185
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Chapter 10 Appendices
Error Messages
If there has been a mistake in an operation or if the operation is not
executed properly, an error message will appear in the display.
Please follow the instructions indicated in the message to resolve the
issue.
Troubleshooting
If the VG-99 is not producing sounds or if you think it is not
operating properly, first check the following points. If checking these
points fails to resolve the problem, consult your dealer or the nearest
Roland service center.
“DATA WRITE ERROR”
For more on the USB drivers and problems when using
the drivers, refer to the following file contained on the
VG-99 Software CD-ROM.
●
Writing to the memory for storage of user data failed.
The unit may be damaged. Consult the nearest Roland
service center.
❍
OS
Location
“MIDI BUFFER FULL”
“RRC2 BUFFER FULL”
“USB BUFFER FULL”
Windows XP
Windows Vista
Mac OS X
\Driver\XP\Readme_E.htm
\Driver\Vista\Readme_E.htm
/Driver/Readme_E.htm
●
The data cannot be processed correctly due to the high
volume of MIDI messages.
Problems with Sounds
No sound/Low volume
❍
Reduce the volume of MIDI messages transmitted to the
VG-99.
❏
Is there a short in any connecting cable?
→
Try replacing the connecting cable.
“MIDI OFFLINE”
“RRC2 OFFLINE”
“USB OFFLINE”
❏
Are the VG-99 and other devices connected properly?
→
Check the connections with the other devices (p. 16).
❏
Is the power to the connected amp or mixer not turned
on, or is the volume turned down?
●
Transmissions from the connected device have been
interrupted. This message also appears when the power
to the connected device has been turned off. It does not
indicate damage.
→
Check the settings for the connected device.
❏
Is the OUTPUT LEVEL knob turned down completely?
❍
Check to make sure no cable is disconnected and that
there are no shorts.
→
Adjust the knob to an appropriate setting (p. 20).
❏
Is the tuner on?
→
The direct sound is not output when the tuner is on if the
volume setting during tuning is set to MUTE ON (p. 22).
“OUT OF RANGE! SET AGAIN”
●
The D Beam controller or ribbon controller cannot be
calibrated.
❏
Is the [SYSTEM] - GK - GK CONNCT set properly?
❍
If using the D Beam controller, change the range or
position and recalibrate to keep this message from
appearing.
→
If a Divided pickup is connected: set [SYSTEM] - GK -
GK CONNCT to ON (if AUTO does not function well).
→
If a Divided pickup is not connected: set [SYSTEM] - GK
- GK CONNCT to OFF.
❍
If using the ribbon controller, confirm the calibration by
carrying out the procedure once more.
If the message continues to appear even after the
calibration is correctly performed, it may indicate
damage or malfunction. Consult your Roland dealer or
contact Roland Service.
❏
Is [COSM GUITAR A] or [COSM GUITAR B]
switched on?
→
No sounds from the Divided pickup will be played if
[COSM GUITAR] is switched off. Switch on the [COSM
GUITAR].
“USB DEVICE ERROR”
❏
Is [A/B BALANCE] set correctly?
●
Initialization of the VG-99’s internal USB device failed.
USB cannot be used.
→
Set [A/B BALANCE] for the channel in which sounds
are being played.
❍
The unit may be damaged. Consult the nearest Roland
service center.
186
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Chapter 10 Appendices
❏
Is each effect set correctly?
No stereo effect produced
→
Use the “Meter function” (p. 34) in [CHAIN] to confirm
the output level of each effect. If the meter for any effect
is not fluctuating, check the settings for that effect.
❏
Do you have a monaural effect or COSM amp
connected after the stereo effect (STRING PAN,
CHORUS, etc.)?
❏
Are volume parameters such as GUITAR:VOLUME,
FV:LEVEL, and PATCH LEVEL set to the assigned
targets?
→
amp cancels the stereo effect. Press [CHAIN] to confirm
the effect connection sequence (p. 34).
→
Operate these in accordance with the sources.
knobs or PATCH/VALUE dial
❏
→
Check the output settings for [SYSTEM] - OUTPUT and
[MIXER] - OUTPUT.
❏
Are you using INTERNAL PEDAL (p. 155) with
Control Assign?
❏
If there are no sounds through USB, are the [SYSTEM]
- USB settings correct?
→
targets change automatically.
→
Adjust the settings to the appropriate values (p. 73) (p.
173).
If you want to change parameters with the knobs or
PATCH/VALUE dial, first switch off Control Assign
and cancel the INTERNAL PEDAL setting.
❏
If there are no sounds through USB, is [SYSTEM] - GK
SETTING correctly set?
→
When GK CONNCT is set to OFF (or if the divided
pickup is not connected), audio input via USB may not
be output. Be sure to set the appropriate value (p. 166).
❏
Is the source in Control Assign set to INPUT LEVEL (p.
155)?
→
When the assign source is set to INPUT LEVEL, the
effect parameters set as the assign targets automatically
change according to the input level from the guitar (the
performance dynamics).
If you want to change parameters with the knobs or
PATCH/VALUE dial, first switch off Control Assign.
❏
Is the [SYSTEM] - USB - DIRECT MON (p. 173)
switched off?
→
926b
Set this to ON.
Low volume for device connected
to INPUT
❏
Could you be using an audio cable that incorporates a
resistor?
→
Use only connecting cables (such as one from the Roland
PCS Series) that don’t contain a resistor.
Oscillating sound audible
❏
Are any gain values or volume-related parameter
values in the effect settings set too high?
→
Lower the values.
❏
Is [SYSTEM] - USB - USB IN (p. 173) set to anything
other than OFF?
→
When set to anything other than OFF, the software
settings may cause looping of the audio signals.
If this occurs, you can use any of the following methods
to avoid the problem.
•
•
•
Stop playback with the software, or set Soft Thru to OFF.
Switch off the software’s audio input.
Change the [SYSTEM] - USB - USB IN setting to OFF.
187
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Chapter 10 Appendices
❏
Are the VG-99 and the external MIDI device connected
properly?
Other Problems
IN settings
→
Check the connection with the external MIDI device.
❏
→
Check to confirm that both devices are set to the same
MIDI channel (p. 58).
→
If the USB IN parameter is set to COSM GTR A, COSM
GTR B, or NORMAL PU, then MAIN & SUB will be set
the next time the VG-99 is powered up. If you plan to use
COSM GTR A, COSM GTR B, or NORMAL PU, remake
this setting each time you turn on the power to the VG-
99 (p. 173).
❏
If you are transmitting from the VG-99, have the
settings for transmission been made?
→
Check the Program Change message transmission ON/
OFF setting (p. 60) and the settings for the controller
number to be transmitted (p. 62).
Patches not switching
❏
Is some screen other than the Play screen shown in the
display?
→
With the VG-99, you cannot switch patches in any screen
other than the Play screen. Press [EXIT] one or more
times to return to the Play screen (p. 19).
❏
Is [SYSTEM] - MISC - PATCH EXTENT set correctly?
→
The range of patches that can be selected is limited by
the PATCH EXTENT setting. Be sure to set this correctly.
Unable to control parameters set
with Assign as expected
❏
Are the effects switched off?
→
Check to make sure the effects incorporating the
parameters being controlled are on.
❏
Is the patch set to anything other than ASSIGNABLE
(PATCH) in [SYSTEM] - CONTROL ASSIGN?
→
Even with the patch’s [CONTROL ASSIGN] setting
made, the settings made in [SYSTEM] - CONTROL
ASSIGN are given priority.
To enable the settings in the patch, set the controllers
under [SYSTEM] - CONTROL ASSIGN to ASSIGNABLE
(PATCH).
❏
Are the MIDI channels matched?
→
When carrying out operations using MIDI, check to
confirm that both devices are set to the same MIDI
channel (p. 58).
❏
Are the controller numbers (CC#) matched?
→
Check to confirm that the controller numbers you are
using are the same (p. 62).
MIDI messages not being
transmitted/received
❏
Could there be a short in the MIDI cable?
→
Try replacing the MIDI cable.
188
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Symbols
+1OCTAVE LEVEL ..................................................... 119
Numerics
A
ASSIGN 1–16 ................................................................ 155
ASSIGN 1–2 .................................................................. 174
COSM GTR SW ............................................................ 101
COSM GUITAR ........................... 101, 105, 108, 110, 115
COSM Guitars ................................................................ 25
CRUNCH .............................................................. 140–141
CRYSTL ......................................................................... 114
CTL3 .............................................................................. 154
CTL3,4 Jack ..................................................................... 14
CTL4 .............................................................................. 154
B
BASS AMP VINTAGE ................................................ 144
BASS FREQ .................................................................. 143
Bass Guitar ................................................................... 109
BASS TYPE ................................................................... 101
BEND ........................................................ 26–27, 116–117
BEND THIN ................................................................. 165
BEND TUNING 1st–6th ............................................. 117
BG LEAD .............................................................. 140–141
189
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Index
CURVE .................................................................. 156, 175
D
EQ MAIN ...................................................................... 177
EQ SUB .......................................................................... 177
FEET 4 ........................................................................... 114
FEET 8’ .......................................................................... 114
FILTER ............................................................ 81, 152–153
FILTER ATTACK ........................................................ 115
FILTER BASS ............................................................... 113
FILTER CH ........................................................... 152–153
FILTER CUTOFF ................................................. 112–114
FILTER DECAY ................................................... 113, 115
DIRECT PATCH Button ............................................... 13
Direction for the Installed Divided Pickup ............... 43
DISABLE ......................................................................... 77
Divided Pickup Settings ............................................... 42
Divided Pickup Type .................................................... 43
DOWN MAX ........................................................ 151, 153
DOWN MIN ......................................................... 151, 153
DOWN/S1, UP/S2 Switch Arrangement .................. 44
190
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FREQ1–3 ....................................................................... 136
Fretless Guitar .............................................................. 135
HIGH PREDLY ............................................................ 132
HOLD TYPE ........................................................... 69, 164
G
GR-300 ........................................................................... 110
GTR TO MIDI .............................................................. 164
GUITAR INPUT Jack .................................................... 14
GUITAR OUTPUT Jack ................................................ 14
GUITAR SCALE .......................................................... 167
GUITAR TO MIDI ................................................. 64, 164
GUITAR TO MIDI Button ............................................ 13
Guitar’s Scale ................................................................. 43
LEVEL1 ................................................................. 130–131
LEVEL2 ................................................................. 130–131
LIMITR .................................................................. 127, 137
LINE/PHONES ............................................................. 47
LIPS ............................................................................... 103
LOW .............................................................. 121, 142–144
LOW CUT ............................. 107, 123, 126, 128, 137, 148
LOW DEPTH ............................................................... 132
191
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Index
LOW MID GAIN . 104, 108–109, 115, 123, 137, 146, 177
LOW MID Q ......... 104, 108–109, 115, 123, 137, 146, 177
MODLNG TYPE .......................................................... 101
MODULE COPY ............................................................ 89
M
MOD .............................................................................. 125
MOD 1 TYPE ................................................................ 127
MOD 2 TYPE ................................................................ 127
MOD DEPTH ....................................................... 114, 125
MOD RATE .................................................................. 125
MOD TUNE ................................................................. 114
MOD1 ............................................................................ 127
MOD1 SW ..................................................................... 127
PAGE Button .................................................................. 13
PAN ....................................................... 124, 127–128, 146
PANEL CTL1/CTL2 ................................................... 151
PATCH .......................................................................... 164
COPY ......................................................................... 87
EXCHANGE ............................................................. 87
EXTENT ............................................................ 50, 176
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POLYFX CH ................................................................. 118
POLYFX SW ................................................................. 118
POS ................................................................................ 103
POWER BEND ............................................................. 112
POWER BEND Q ......................................................... 112
POWER Switch .............................................................. 13
PRE DELAY ......................................................... 126, 148
PRE DELAY1 ....................................................... 130–131
PU LEVEL ..................................................................... 107
RRC2Æ .......................................................................... 170
RX PC MAP ............................................................ 61, 171
S
S1, S2 POS ..................................................................... 167
Saving a Patch ................................................................ 38
Security Slot .................................................................... 14
193
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Index
SYNTH .................................................................. 102, 110
SYNTH TYPE ............................................................... 101
TUNING ........................................................... 26–27, 116
USB Driver ...................................................................... 71
USB IN .................................................................... 73, 173
VARI ...................................................................... 103, 107
VG-99 Editor .................................................................. 72
VG-99 Librarian ............................................................. 72
VG-99 Software System Requirements .................... 185
VIB ......................................................................... 127, 133
VIB DEPTH .................................................................. 135
VIB RATE ..................................................................... 135
T
T.WAH .................................................................. 127, 129
T-AMP ................................................................... 140–141
TAP TIME ..................................................................... 124
TARGET ....................................................................... 174
TARGET PARAMETER ..................... 150–154, 156–157
T-ARM ............................................................................ 80
194
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Index
VOICE2 INTERVAL C–B ........................................... 131
VOL ....................................................................... 103, 109
W
WAVE ATTACK ......................................................... 115
WAVE DECAY ............................................................ 115
Wave Pedal ..................................................................... 95
WAVE SENS ................................................................ 115
WAVE SHAPE ..................................................... 115, 128
WRITE Button ................................................................ 13
WSY ............................................................................... 123
X
X-OVER FREQ ............................................................. 132
195
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Index
196
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MEMO
197
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MEMO
198
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MEMO
199
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MEMO
200
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MEMO
201
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For China
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*
204Microsoft and Windows are registered trademarks of Microsoft Corporation.
*
Windows Vista is a trademark of Microsoft Corporation.
206j
*
Windows® is known officially as: “Microsoft® Windows® operating system.”
*
207Apple and Macintosh are registered trademarks of Apple Inc.
*
209Mac OS is a trademark of Apple Inc.
*
213Pentium and Celeron are registered trademarks of Intel Corporation.
*
PowerPC is a registered trademark of International Business Machines Corporation.
*
220All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
For EU Countries
This product complies with the requirements of European Directive 89/336/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
For the USA
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
VG-99
Guitar Effector
Roland Corporation U.S.
5100 S.Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
Telephone :
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Information
When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.
PHILIPPINES
CURACAO
URUGUAY
NORWAY
JORDAN
AFRICA
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
Zeelandia Music Center Inc.
Orionweg 30
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
Roland Scandinavia Avd.
MUSIC HOUSE CO. LTD.
Kontor Norge
FREDDY FOR MUSIC
P. O. Box 922846
Amman 11192 JORDAN
TEL: (06) 5692696
EGYPT
Al Fanny Trading Office
9, EBN Hagar Al Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
Curacao, Netherland Antilles
TEL:(305)5926866
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
TEL: (02) 899 9801
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
TEL: 2273 0074
SINGAPORE
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
POLAND
ROLAND POLSKA SP. Z O.O.
UL. Gibraltarska 4.
PL-03 664 Warszawa
POLAND
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
import
TEL: 243-6399
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
TEL: (022) 679 4419
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
LEBANON
Chahine S.A.L.
George Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
PORTUGAL
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
REUNION ISLAND
TEL: (0262) 218-429
TEL:(593-4)2302364
SOUTH AFRICA
T.O.M.S. Sound & Music
(Pty)Ltd.
2 ASTRON ROAD DENVER
JOHANNESBURG ZA 2195,
SOUTH AFRICA
EUROPE
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: (02) 2561 3339
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
OMAN
THAILAND
TALENTZ CENTRE L.L.C.
Malatan House No.1
Al Noor Street, Ruwi
SULTANATE OF OMAN
TEL: 2478 3443
Theera Music Co. , Ltd.
330 Soi Verng NakornKasem,
New Road, Sumpantawongse,
Bangkok 10100, THAILAND
TEL: (02) 224-8821
Austrian Office
TEL: (011)417 3400
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
TEL: 262-0788
Paul Bothner(PTY)Ltd.
Royal Cape Park, Unit 24
Londonderry Road, Ottery 7800
Cape Town, SOUTH AFRICA
TEL: (021) 799 4900
TEL: (266) 364 609
GUATEMALA
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
RUSSIA
MuTek
Dorozhnaya ul.3,korp.6
117 545 Moscow, RUSSIA
TEL: (095) 981-4967
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
AUSTRALIA/
NEW ZEALAND
TEL:(502) 599-2888
ASIA
CHINA
Roland Shanghai Electronics
SLOVAKIA
HONDURAS
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
AUSTRALIA/
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
31952 SAUDI ARABIA
TEL: (014) 575811
DAN Acoustic s.r.o.
Povazská 18.
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
CROATIA
ART-CENTAR
Degenova 3.
HR - 10000 Zagreb
TEL: (1) 466 8493
SK - 940 01 Nové Zámky
TEL: (035) 6424 330
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
SPAIN
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
CZECH REP.
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
For Australia
CZECH REPUBLIC
DISTRIBUTOR s.r.o
Voctárova 247/16
CZ - 180 00 PRAHA 8,
CZECH REP.
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
TEL: (2) 830 20270
TEL: (010) 6426-5050
CENTRAL/LATIN
AMERICA
DENMARK
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: (011) 223-5384
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
TURKEY
ZUHAL DIS TICARET A.S.
Galip Dede Cad. No.37
Beyoglu - Istanbul / TURKEY
TEL: (0212) 249 85 10
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
TEL: 3916 6200
TEL: 2415 0911
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
Parsons Music Ltd.
TEL: (55) 5668-6699
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Ground Floor, Dubai,
U.A.E.
UKRAINE
EURHYTHMICS Ltd.
P.O.Box: 37-a.
Nedecey Str. 30
UA - 89600 Mukachevo,
UKRAINE
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
BARBADOS
NICARAGUA
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
INDIA
Rivera Digitec (India) Pvt. Ltd.
411, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
TEL: (04) 3360715
TEL: (03131) 414-40
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
UNITED KINGDOM
TEL: (505)277-2557
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
NORTH AMERICA
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
GREECE/CYPRUS
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
CANADA
Roland Canada Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
UNITED KINGDOM
TEL: (01792) 702701
INDONESIA
PT Citra IntiRama
Jl. Cideng Timur No. 15J-15O
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
TEL: 315-0101
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
MIDDLE EAST
TEL: (604) 270 6626
HUNGARY
KOREA
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
BAHRAIN
Moon Stores
No.1231&1249 Rumaytha
Building Road 3931, Manama
339 BAHRAIN
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
Roland Canada Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
TEL: (23) 511011
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
TEL: (574)3812529
TEL: 17 813 942
TEL: (905) 362 9707
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
MALAYSIA
COSTA RICA
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado
10237,
San Jose, COSTA RICA
TEL: 258-0211
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
IRAN
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
Lima - Peru
TEL: (511) 4461388
TRINIDAD
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868) 638 6385
TEL: (021) 285-4169
TEL: (323) 890 3700
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
VIET NAM
Suoi Nhac Company, Ltd
370 Cach Mang Thang Tam St.
Dist.3, Ho Chi Minh City,
VIET NAM
ISRAEL
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'alia Hashnia St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
TEL: 9316540
As of May 1, 2007 (ROLAND)
04567023
07-07-1N
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