Integrated
Effects Switching
System
Owner’s
Manual
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1
Table of Contents
X-EditTM Editor/Librarian..........................................3
Boss® OC-2 OctaverTM .......................................29
SynthTalkTM.............................................................26
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Warranty
We at DigiTech® are very proud of our products and back up each one we sell with the following
warranty:
1. The warranty registration card must be mailed within ten days after purchase date to validate this
warranty.
2. DigiTech warrants this product, when used solely within the U.S., to be free from defects in materials and workmanship
under normal use and service.
3. DigiTech liability under this warranty is limited to repairing or replacing defective materials that show evidence of defect,
provided the product is returned to DigiTechWITH RETURN AUTHORIZATION, where all parts and labor will be
covered up to a period of one year.A Return Authorization number may be obtained from DigiTech by telephone.The
company shall not be liable for any consequential damage as a result of the product’s use in any circuit or assembly.
4. Proof-of-purchase is considered to be the burden of the consumer.
5. DigiTech reserves the right to make changes in design, or make additions to, or improvements upon this product without
incurring any obligation to install the same on products previously manufactured.
6. The consumer forfeits the benefits of this warranty if the product’s main assembly is opened and tampered with by any-
one other than a certified DigiTech technician or, if the product is used with AC voltages outside of the range suggested
by the manufacturer.
7. The foregoing is in lieu of all other warranties, expressed or implied, and DigiTech neither assumes nor authorizes any
person to assume any obligation or liability in connection with the sale of this product. In no event shall DigiTech or
its dealers be liable for special or consequential damages or from any delay in the performance of this warranty due to
causes beyond their control.
NOTE:The information contained in this manual is subject to change at any time without notification. Some information
contained in this manual may also be inaccurate due to undocumented changes in the product or operating system since
this version of the manual was completed.The information contained in this version of the owner’s manual supersedes all
previous versions.
Declaration of Conformity
Manufacturer’s Name:
Manufacturer’s Address:
DigiTech
8760 S. Sandy Parkway
Sandy, Utah 84070, USA
declares that the product:
Product name:
RP1000
Product option:
all (requires Class II power adapter that conforms to the requirements of
EN60065, EN60742, or equivalent.)
conforms to the following Product Specifications:
Safety:
EMC:
IEC 60065 (7th ed. 2001)
EN 55013 (2001 + A1)
EN 55020 (1998)
Supplementary Information:
The product herewith complies with the requirements of the LowVoltage Directive 2006/95/EC and the EMC
Directive 2004/108/EC.
Vice-President of Engineering
8760 S. Sandy Parkway
Sandy, Utah 84070, USA
Date: December 15, 2008
European Contact:
Your local DigiTech Sales and Service Office or
Harman Music Group
8760 South Sandy Parkway
Sandy, Utah 84070 USA
Ph: (801) 568-8800
Fax: (801) 568-7583
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Section One - Introduction
Getting Acquainted
Congratulations on your purchase of the RP1000.The RP1000 Integrated Effects Switching
System takes your tone to the next level giving you the control that you need over your
external amp and stompboxes while packing in the power of a multi-effects processor. Use the
RP1000 to control and spice up your tone without any compromises.The RP1000’s vast pallet
of stompboxes, effects, amps and cabinets allow you to get any sound imaginable and then some.
Easily dial up a sound using the Tone and Effects Library knobs.You will appreciate the tone and
dynamic interaction of each of the amps, stompboxes, and effects with your system.Add USB
support for computer recording and you have the RP1000: the key to unlock your creative
potential.
Included Items
Before you get started, please make sure that these things are in the box:
• RP1000
• Cubase LE 4 DVD
• PS0913B Power Supply
• Warranty Card
We took a lot of care when we put this product together. Everything should be included and in
perfect working order. If anything’s missing, contact the factory at once. Help us get to know
You’ll be glad you did if you have any questions about your RP1000 down the road.
About the RP1000
Do yourself a favor and read the next couple pages before you start playing with your new
RP1000. It’ll help you get the most out of it without having to read the whole manual.
Preset Mode and Pedalboard Mode
There are two different ways to use the footswitches with the presets: Preset Mode and Pedal-
board Mode. Push the Pedalboard button (just to the right of the knobs below the Display) to
toggle between these two modes.
Preset Mode
In Preset mode (Pedalboard button is off), each of the 10 numbered footswitches loads a
preset, and you can’t turn individual models on or off with the footswitches. The Up/Down
footswitches select banks of 10 presets.
Pedalboard Mode
In Pedalboard mode, footswitches 1-5 select presets, and footswitches 6-10 act like pedals
on a pedalboard.That means you can turn the distortion, chorus, etc. on and off within each
preset. The first time you power up the RP1000 when you take it out of the box (or after
doing a factory restore), it’s in Pedalboard mode.
The RP1000 remembers which mode you’re in when you turn it off, and keeps it in that
mode when you turn it back on.
Bypass
You can bypass all the internal amps and effects in the RP1000 by stepping on the currently
active preset’s footswitch. In bypass mode, your guitar’s clean signal comes through without any
processing.To exit bypass mode and re-activate the preset you were in, just step the same foot-
switch again.To exit bypass mode and activate another preset, step on a different footswitch.
If you’re using the Amp Loop and/or the Stomp Loop when you go into bypass mode, any de-
vices connected to the Amp Loop and Stomp Loop are still active. So you can use bypass to kill
all the effects in the RP1000 without bypassing your amp/preamp connected to the Amp Loop.
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Amp/Cabinet Bypass
You can also turn off the internal amps and cabinets for all the presets in the RP1000. This is
really useful when you just want to add effects processing to your own core amplifier sound. So
basically the RP1000 becomes a straight multi-effects box when you do this, and onlyWah, Com-
pressor, Distortion, Equalizer, Noise Gate, Chorus/FX, Delay, and Reverb are used.
To bypass amp/cabinet modeling in all presets, press the Amp/Cabinet Bypass button. When
that button is lit, amp/cabinet modeling is bypassed in all presets.
You can use amp/cabinet bypass in Preset or Pedalboard mode.
Tuner
The RP1000’s built-in tuner lets you quickly and easily tune your guitar, even on a dark stage.
Just press and hold the currently active preset’s Footswitch for 2 seconds. The Display briefly
shows bypassthen tunerto let you know you’re inTuner mode. To begin tuning, play a note
on your guitar (a harmonic at the 12th fret usually works best). The Numeric Display shows
the note being played. Arrows on the right mean the note is sharp and should be tuned down.
Arrows on the left mean the note is flat and should be tuned up. A left and a right arrow in the
center mean the note is in tune. The Expression Pedal controls the guitar volume while tuning.
Exit tuner mode by pressing any Footswitch.
Left and right arrows
in the center indicate
note is in tune
Note being played
A
If you use an alternate tuning, like down a half-step or drop D, you can still use the tuner as if
you were in standard tuning. Just go intoTuner mode and change your tuning reference. The
default setting is standard tuning, where A=440 Hz (displayed as a=440). But when you’re in
Tuner mode, you can rotate Knob 1 to pick an alternate tuning. These include a = a , a =
, and tuning references a=427- a=453.
G, a = G
Tone Library (Knob 1)
This is one of the RP1000’s coolest features. In Pedalboard and Preset modes, you turn this knob
to pick from a list of amp tones like Blues or Metal or Country. Each one has different Com-
pressor, Distortion, Amp/Cabinet type, EQ, and Noise Gate settings, but you don’t have to mess
with any of those settings if you don’t want to, they just load up automatically when you pick
a tone from the library. If you’re into it, you can go ahead and refine the sound by editing the
preset (see Editing/Creating Presets on page 15), but the thing is you don’t have to. TheTone Li-
brary doesn’t change the Chorus/FX, Delay or Reverb, so you can experiment with different amp
styles quickly with the current effect chain. When in Amp/Cabinet Bypass Mode, the amplifiers
are bypassed, so only the distortion and overdrive stompboxes are providing distortion.
Effects Library (Knob 2)
This knob works hand-in-hand with theTone Library knob. In Pedalboard and Preset modes, this
knob selects from a variety of post-amplifier effect chains (Chorus, Chorus + Delay, Delay + Re-
verb, etc.).And just like with theTone library, you can edit the preset if you want to (see Editing/
Creating Presets on page 15), but you don’t have to. Changing between different Effects Library
selections doesn’t change the Compressor, Distortion, Amp/Cabinet types, EQ, and Noise Gate
settings, so you can experiment with different effect chains quickly with the current amp tone.
Effects Level (Knob 3)
In Pedalboard and Preset modes, this knob changes the relative level of the post-amp effects
(Chorus/FX, Delay, and Reverb). It’s like an effects mix control, where turning it clockwise
increases the level of these effects and turning it counter-clockwise decreases the level of these
effects.
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Amp Gain/Effect Parameter (Knob 4)
This knob adjusts the Gain (distortion) for the selected Amp (not available for Acoustic) and is
also used to adjust parameters of other effects in the matrix.The amplifier and cabinets can’t be
adjusted when the Amp/Cabinet Bypass button is enabled.
Amp Level/Effect Parameter (Knob 5)
This knob adjusts the Level (volume) of the selected amp and adjusts other effect parameters in
the matrix. Amp Level can’t be adjusted when the Amp/Cabinet Bypass button is enabled.
Master Level (Knob 6)
This knob controls the overall output volume of all of the RP1000’s presets and adjusts other
effect parameters in the matrix.
X-EditTM Editor/Librarian
You can edit your RP1000 with your computer, using the X-EditTM Editor/Librarian, which you
Presets
Presets are named and numbered locations of programmed sounds which reside in the RP1000
(in case you didn’t know). You load Presets with the Footswitches (see Preset Mode and Pedal-
board Mode on page 14 for more information about that). The active effects in each preset are
indicated by lighted LEDs in the Effect Matrix, and if you’re in Pedalboard mode, the LEDs over
footswitches 6-10 show you which of those effects are on or off. The RP1000 comes with 100
User presets (1-00) and 100 Factory presets (F1-F00). You can save changes to the User presets,
but not the Factory presets. From the factory, the 100 User presets are exact duplicates of the
100 Factory presets. That way you can create your own presets without losing the sounds that
came with the RP1000.
Create Your Sound in Three Easy Steps
Tone Library
1.
Select one of 40 different tones from rock, metal, blues, country, and
more. The tones consist of a combination of Compressor, Distortion
Stompbox, Amplifier/Cabinet, EQ, and Noise Gate.
For a complete list of available tones, see page 51.
Effects Library
2.
Select one of 40 different effects chains. The effects consist of a com-
bination of Chorus/FX, Delay, and Reverb.
For a complete list of available effects chains, see page 51.
Effects Level
3.
Adjust the overall level of the post-amp effects to your liking.
To make further edits, refer to page 15. To store the preset, refer to page 16.
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A Guided Tour of the RP1000
Front Panel
1 0
2
8 9
11
1 2
4
3 5
6
1
7
13
1. TapTempo Footswitch
Step on this footswitch repeatedly in time with your music to get the delay to sync up with the
music’s rhythm.
2. Stomp Loop Footswitch
This footswitch enables and disables the mono stompbox effects loop.
3. Edit Up/Down Buttons
These buttons navigate up and down the rows of the matrix for editing presets.
4. Amp Loop Button
This button enables and disables the external Amp/Preamp loop. The button lights when the
Amp/Preamp loop is active. If no connections are made to the loop, nO loop appears in the
display briefly when the button is engaged or disengaged.
5. Stomp Loop LED
This LED lights when the Stomp Loop is activated using the Stomp Loop footswitch. When
the LED is off, the Stomp Loop is inactive. Note that the Stomp Loop button’s LED turns red
when its position is pre amp model and amp loop, and green when it’s post amp model and amp
loop.
6. Effects Matrix
The matrix provides information regarding the current preset and parameter edit functions. In
Performance mode, the LEDs running down the left side of the Matrix provide a visual indication
of which effects are in use for the selected preset.While editing a preset, the LEDs indicate that
the Effect row is selected for editing.
7. Displays
The RP1000 has two sets of displays. The 8 character alpha-numeric display shows preset names,
bank names, and effects names while editing. The 2 character numeric display shows preset
numbers and effects parameters while editing and shows the note being tuned when theTuner is
enabled.
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8. Knobs 1-6 (From left to right)
These six knobs perform various functions, depending on which mode is currently active and
what (if anything) is being edited.The functions are listed below:
Tone Library (Knob 1)
1. In Performance mode, this knob selects from a library of preset amp tones.
2. When editing a preset, this knob changes the Amp or Effect model for the selected
row and pressing the knob will turn the effect row on or off. When editing an Effect
row, press this knob to turn the effect on or off. When editing the Amp/Cabinet row,
pressing this knob will switch between editing the amp model or the cabinet model.
3. When the Expression row is selected, this knob selects the Expression Pedal, LFO 1,
and LFO 2 parameter links, footswitch 6-10 assignments,Wah pedal range, Expression
Pedal update, and Stomp Loop position.
*NOTE: the assignments selected for footswitches 6-10 are only available when the Pedal-
board button is active.
Effects Library (Knob 2)
1. In Performance mode, this knob selects from a library of preset effect chains.
2. When editing a preset, this knob modifies the parameter listed in the column directly
above it for the selected Effect row.
3. When the Expression row is selected, this knob selects which parameter is assigned to
the Expression Pedal, footswitches 6-10*, and LFO1or LFO2.
*NOTE: the assignments selected for footswitches 6-10 are only available when the Pedal-
board button is active.
Effects Level (Knob 3)
1. In Performance mode, this knob adjusts the overall level of post amp model effects
(Chorus/FX, Delay, and Reverb).
2. When editing a preset, this knob modifies the parameter listed in the column directly
above it for the selected Effect row.
3. When the Expression row is selected, this knob selects the heel value for the pa-
rameter linked to the Expression Pedal or the off state are parameters assigned to
footswitches 6-10*.
*NOTE: the assignments selected for footswitches 6-10 are only available when the Pedal-
board button is active.
Amp Gain (Knob 4)
1. In Performance mode, this knob adjusts the Amp Gain (distortion) for the selected
Amp model.
2. When editing a preset, this knob modifies the parameter listed in the column directly
above it for the selected Effect row. This knob also is used to adjust the RP/USB mix
when the RP1000 is connected to a computer and using recording software. Just
select theWah row to adjust this parameter when USB is connected to the RP1000.
3. When the Expression row is selected, this knob selects the toe value for the param-
eter linked to the Expression Pedal Expression Pedal or the on state are parameters
assigned to footswitches 6-10*.
*NOTE: the assignments selected for footswitches 6-10 are only available when the Pedal-
board button is active.
Amp Level (Knob 5)
1. In Performance mode, this knob adjusts the Amp Level (volume) of the selected Amp
model.
2. When editing a preset, this knob modifies the parameter listed in the column directly
above it for the selected Effect row. This knob is also used to adjust the USB Record
Level when the RP1000 is connected to a computer and using recording software. Just
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5
select theWah row to adjust this parameter when USB is connected to the RP1000.
3. When the Expression row is selected, this knob selects the LFO waveform. LFO 1or
LFO 2 must first be selected with Knob 1 for this parameter to be available.
MasterVolume (Knob 6)
1. In Performance mode, this knob adjusts the output level of the RP1000.
2. When editing a preset, this knob modifies the parameter listed in the column directly
above it for the selected Effect row.
3. When the Expression row is selected, this knob sets the LFO speed. LFO 1or LFO 2
must first be selected with Knob 1 for this parameter to be available.
9. Looper Button
This button enables and disables the RP1000’s loop phrase sampler. The Looper can be used
at any time during RP1000 operation and offers the ability to create mono loop phrases of up
to 20 seconds in length. Three LEDs (Record/Play/Overdub) indicate the status of the Looper
during use. While the Looper is active, the Bank Up/Down footswitches change function to
control the Looper record, overdub, playback, and loop clear functions.
10. System Buttons
There are three system buttons:AMP/CABINET BYPASS, PEDALBOARD, and STORE.
1. Amp/Cabinet Bypass –When this button is lit, amp and cabinet modeling is by-
passed in all RP1000 presets
2. Pedalboard –When this button is lit, the 5 numbered footswitches turn the effects
labeled above them on and off. When the button is not lit, these footswitches select
the five presets in the active bank.
3. Store – Press this button to begin the store/copy procedure.
11. Bank Up/Down Footswitches
These Up/Down footswitches select preset banks.When Pedalboard mode is active, there are
20 banks of 5 presets.When Preset mode is active (Pedalboard button is disabled) there are 10
banks of 10 presets. When the Looper is active, these footswitches control Record, Playback,
Overdub, Stop, and Loop Clear functions. Refer to page 33 for more information on using the
Looper.
12. Expression Pedal
The Expression Pedal provides real-time control of the RP1000’sVolume,Wah, or any assigned
effect parameter.Almost every parameter is available for Expression Pedal control.The Expres-
sion Pedal is equipped with aV-switch that turns on and controls theWah effect when you apply
extra pressure to the toe.
13. 1-10 / Effects Footswitches
In Preset Mode, these 10 footswitches select between 10 different presets in the active bank
(10 banks of 10 presets). The footswitch LED will light to indicate which preset is active. When
Pedalboard mode is active, footswitches 1-5 will select between 5 different presets in the active
bank (20 banks of 5 presets) while footswitches 6-10 are used to turn Compressor, Distortion,
Chorus/FX, Delay, and Reverb effects on and off. Effects that are on will have their footswitch
LED lit.
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Rear Panel
1 2 3 4 5 6 7 8 9 1 0 11 1 2 1 3
1.Amp Loop Ground Lift
This Ground Lift switch can be enabled to help prevent unwanted hum or buzz caused by ground
loops between the RP1000 and external amplifiers/preamps.
2. Input
High impedance 1/4” instrument input.
3.Amp Loop
These 1/4” send and return jacks let you connect to an external preamp or amplifier and use
the tone from these components instead of the internal amplifiers of the RP1000. A Ground Lift
switch is provided and can be enabled to help prevent unwanted hum or buzz caused by ground
loops between the RP1000 and external amplfiers/preamps.
4. Stomp Loop
These 1/4” send and return jacks let you connect to an external stompbox effect pedal into one
of 2 different positions of the RP1000 effects path.
5. Ground Lift Switch
This switch lifts pin 1 from the XLR Mixer Outputs from all ground references. This may be nec-
essary to help solve troublesome ground loops that can cause hum in the system, especially when
both XLR and 1/4” outputs are used together.
6.Amp/Mixer Switch
This switch optimizes the 1/4” Line Outputs for connecting to either a guitar amp system or
directly into the inputs of a mixer.
7. 1/4” Line Outputs
These 1/4” outputs can be plugged into a guitar amplifier or into inputs of a mixer or recording
device. The front panel Output Level controls the level of these outputs.
8. XLR Mixer Outputs
The XLR outputs are designed for connecting to a recording device or mixing console. These
outputs always have speaker compensation active as they are intended to be sent into full a range
audio system.
9. Headphone Output
Connect headphones here. Output optimized for use with headphones having 60 Ohms of
impedance or less.
10. Looper Control Input
This 1/4”TRS jack allow the optional FS3X footswitch to be connected for remote control of the
RP1000’s Looper feature.
11. USB Jack
The USB jack connects the RP1000 to a computer and provides two purposes. First it is used to
provide communication between the RP1000 and the X-Edit editor librarian software. Second,
it is used to stream four channels of audio (2 up / 2 back) to and from the computer when using
the RP1000 to record via the included Cubase® LE4 recording software or any DAW recording
application.
12. Power Jack
Connect the included power adapter here.
13. Power Switch
Used to turn the RP1000’s power on and off.
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Getting Started
Making Connections
There are lots of ways to connect the RP1000 to amps, effects, mixers, and other equipment.
Before connecting the RP1000 to anything, make sure both your amp and the RP1000 are turned
off.
Amp/Cabinet Bypass
The RP1000 lets you bypass its amp and cabinet tones so you can apply its effects to your own
amp/cabinet tone.To bypass the RP1000 amp and cabinet tones in all presets, push the Amp/
Cabinet Bypass button so it’s lit. To utilize the RP1000 amp and cabinet tones, push the Amp/
Cabinet Bypass button so it’s not lit.
Amp Loop
The RP1000’s Amp Loop lets you use an external amplifier or preamp with the RP1000’s signal
path instead of the RP1000’s internal amps and cabinets. You can turn on the Amp Loop with the
Amp Loop button on the left side of the matrix. With this button enabled, the external amp or
preamp is placed in the signal path around internal amps and cabinets, so the internal amps and
cabinets are totally bypassed when the Amp Loop is engaged. To enable the Amp Loop, follow
these steps:
1. Press the Amp Loop button on the left side of the effects matrix. When the LED on the
Amp Loop button is lit, the Amp Loop is enabled and the connected device is now in the
RP1000’s effects chain. Internal Amp/Cabinets are basically bypassed when the Amp Loop is
enabled.
2. Press the Amp Loop button again to turn off the Amp Loop. Internal Amp/Cabinets are
now again active in the RP1000’s effects chain and the external device is bypassed.*
The Amp Loop can also be assigned to any of the 6-10 numbered footswitches for remote
control operation during performance. To assign a footswitch to control the Amp Loop, follow
these steps:
1. Press either Edit button until the Expression row has been selected (indicated by the
Expression row’s LED lighting).
2. Rotate Knob 1 until Fs6 asn- Fs10 asnappears in the Display. This selects which
footswitch you are about to change the assignment for.
3. Rotate Knob 2 until aMp LOOpappears in the Display.
4. Store your footswitch assignment to your preset.
*Note: If the Amp/Cabinet Bypass button is enabled, internal amp and cabinet effects are
bypassed in all presets regardless of whether the Amp Loop is disabled.
Also, if you attempt to enable the Amp Loop without connections being made, the display will
briefly read no Loop indicating there are no connections made to the Amp Loop and the loop
will not enable.
Stomp Loop
The RP1000 also has a stompbox effects loop (Stomp Loop). This loop lets you use an external
effects device or effects chain with the RP1000’s signal path. The Stomp Loop has a dedicated
Stomp Loop footswitch that enables and disables this loop during performance.
The Stomp Loop has the option of being inserted into two different positions in the RP1000’s
signal path: Pre Amp, or Post Amp. This lets you pick where to place external effects in the loop.
The placement of the Stomp Loop can be saved on a per preset basis.
To change the position of the Stomp Loop, follow these steps:
1. Press the Edit Down button so that the Expression row is selected.
2. Turn Knob 1 until stOMppOsappears in the Display.
3. Turn Knob 2 to select one of the two different positions you want to insert the Stomp
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Loop: pre aMp(post Distortion, pre Amp Model/Amp Loop send), or pOst aMp (Post
Amp Model/Amp Loop return). Note that the Stomp Loop button’s LED turns red when
it’s pre amp, and green when it’s post amp or post FX.
4. Store these changes using the Store procedure.
Note: If you try to enable the Stomp Loop but nothing is connected to the Stomp Loop jacks,
the Display will briefly read nO loop. The Stomp Loop will not enable when no connections
are present at these jacks.
Connection Setups
The RP1000 has many different connection options. Here are some more common ways it can
be used:
Mono Amp
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the RP1000’s
Left (mono) Line Output
to the amp’s Input.
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Mixer
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to MIXER.
OR
Connect the RP1000
Mixer Outputs or 1/4”
Line Outputs to the
mixer channel inputs.
Pan channels hard left
and right for proper
stereo imaging.
Stereo Amps
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the RP1000’s
1/4” Line Outputs to the
Power Amp inputs.
POWER AMP WITH SPEAKER CABS
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10
Amp Loop with Pre-Amp In Line
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the RP1000’s
1/4” Line Outputs to the
Power Amp inputs.
Connect the
External Preamp
Line Out to the
RP1000 Amp Loop
Return.
Connect the
RP1000 Amp
Loop Send to
the External
Preamp Input.
PREAMP
POWER AMP WITH SPEAKER CABS
Stomp Loop
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the
stompbox Output
to the RP1000
Connect the
Connect the RP1000’s
Left (mono) Line Output
to the amp’s Input.
RP1000 Stomp
Loop Send to the
stompbox Input.
Stomp Loop Return.
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Amp Loop using Guitar Amp’s Pre Amp
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect the RP1000
Amp Loop Send to
the amp’s Input.
Connect the RP1000
Line Out to the amp’s
Loop Return.
Connect the amp’s Loop
Send to the RP1000
Amp Loop Return.
Amp Loop and Stomp Loop
Connect your guitar
to the RP1000’s Input.
Amp/Mixer switch on 1/4"
outputs is set to AMP.
Connect
the RP1000
Amp Loop
Send to the
amp’s Input.
Connect the amp’s Loop
Send to the RP1000 Amp
Loop Return.
Connect the RP1000
Line Out to the amp’s
Loop Return.
Connect the
stompbox Output
to the RP1000
Stomp Loop
Return.
Connect the
RP1000 Stomp Loop
Send to the stompbox Input.
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12
Studio Setup (Computer and Personal Monitors)
Connect your
guitar to the
RP1000’s Input.
Connect the RP1000’s
USB port to an available
USB port on your computer.
XLR Left Out
XLR Right Out
STUDIO REFERENCE MONITORS
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Applying Power
Before applying power to anything, set your amp(s) to a clean tone and set the tone controls to
a flat EQ response (on most amps, this should be set to 5 on EQ’s to obtain the amp’s natural
voicing.). Then follow the steps listed below.
1. Turn your amp volume all the way down.
2. Connect the PS0913B power supply the RP1000.
3. Plug the PS0913B power supply into an AC outlet.
4. Turn on the RP1000’s power switch and adjust the RP1000’s Master Level to 0.
5. Turn your amp on and adjust the volume to a normal playing level.
6. Gradually increase the RP1000’s Master Level knob to achieve the desired volume (a set-
ting of 30 will provide approximately a unity gain signal in your system).
3. Connect PS0913B
to AC outlet and
turn the RP1000’s
Master Level to “0”
2. Connect PS0913B to power jack
4.Turn on the RP1000’s
power switch.
5.Turn amp volume up
1.Turn amp volume down
6.Turn the RP1000’s Master Level
to the desired listening volume
SectionTwo - Editing Functions
Preset Mode and Pedalboard Mode
There are two different ways to use the footswitches with the presets: Preset Mode and Pedal-
board Mode. Push the Pedalboard button (just to the right of the knobs below the Display) to
toggle between these two modes.
Preset Mode
In Preset mode, each of the 10 numbered footswitches loads a preset, and you can’t turn
individual models on or off with the footswitches. The Up/Down footswitches select banks
of 10 presets.
Pedalboard Mode
In Pedalboard mode, footswitches 1-5 select presets, and footswitches 6-10 act like pedals
on a pedalboard.That means you can turn the distortion, chorus, etc. on and off within each
preset. The first time you power up the RP1000 when you take it out of the box (or after
doing a factory restore), it’s in Pedalboard mode.
The RP1000 remembers which mode you’re in when you turn it off, and keeps it in that mode
when you turn it back on.
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Editing/Creating Presets
The easiest way to start editing presets is with the Tone Library and Effects Library knobs.
Try out some of the tones in the Tone Library and then try out some effects setups with
the Effects Library knob. Use the Effects Level Knob to increase or decrease the overall
Chorus/FX, Delay and Reverb levels if desired. Once you find a tone that’s pretty close to what
you want, use the Edit buttons to navigate through the individual effects to make some adjust-
ments.The steps below go into more detail about how this works.
1. Select a tone
with the
Tone Library knob
2. Select an effect
or effects chain with the effects level with the
Effects Library knob Effects Level knob
3. Adjust the
To edit and create a preset:
1. Use the Up, Down and numbered Footswitches to select the preset you wish to edit.
2. If you find a preset close to what you want, you can begin editing the effect parameters by
pressing the Edit Up/Down buttons and selecting the Effect row you want to edit.
3. If you are trying to find something different from the existing presets, begin by using the
Tone Library, Effects Library and Effects Level knobs to get close to a sound you
want.
4. Press the Edit Up/Down buttons to begin selecting the individual Effects rows to edit
their parameters.
5. To bypass or enable an Effect row, press the Tone Library knob.
6. Use the Knobs 2-6 to modify the effect parameter settings.
Note: Anytime a stored value within a preset is changed, the Store button LED lights up. This
indicates that you need to store the changes. Changing presets, or turning the power off before
storing any changes, erases any changes made and the RP1000 will revert to the stored values
for the preset.
Also, if you are using the RP1000 with the Amp/Cabinet Bypass button enabled (effects only),
Tone Libraries that use amps only will not provide distortion or tone changes since amps and
cabinets are globally disabled.
Editing Amp/Cabinet Models
Each RP1000 preset has a ton of world class amp and cabinet models to choose from. To edit
amp and cabinet models, follow these steps:
1. Press the Edit Down button until the Amp/Cabinet row is selected. The row’s LED
should be lit and the current amp model should be shown in the display.
2. Turn Knob 1 to select from the different amp models.
3. Press Knob 1. The current cabinet model will now be displayed. Turn Knob 1 to select
from the different cabinet models. Pressing Knob 1 again will return you to the amp model
display
4. To bypass amp/cabinet models in a preset, turn Knob 1, fully clockwise until direct ap-
pears in the RP1000’s main display, or enable the Amp/Cabinet Bypass button.
Amp/Cabinet Bypass
The RP1000 has the unique feature of being able to turn off amp and cabinet modeling globally in
all presets. This feature is extremely useful when you just want to add effects processing to your
own core amplifier sound. The RP1000 basically becomes a straight multi-effects box where only
Wah, Compressor, Distortion, Equalizer, Noise Gate, Chorus/FX, Delay, Reverb and any effects
connected to the Stomp Loop are the only effects being used.
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To bypass amp/cabinet modeling in all presets, press the Amp/Cabinet Bypass button. When it is
lit, amp/cabinet modeling is bypassed in all presets.
Amp/Cabinet Bypass can be used in either Preset or Pedalboard mode.
Storing/Copying/Naming a Preset
When you’re done editing a preset, you should store your settings to any of the 100 User preset
locations (presets 1-00). The following steps tell you how to store changes to a preset or copy a
preset to a different location:
1. Press the Store button once. The Store button LED blinks and the first character in the
Display flashes, indicating that you can now name your custom creation.
2. Use Knob 1 to select the alpha-numeric character and Knob 2 to select the next charac-
ter location.
1. Press Store;
characters in Display
flash individually
2. Use Knobs to
name Preset
3. Once the desired name is shown in the display, press the Store button again to enter the
second stage of the storing process. The red Display begins to flash.
4. Select the User preset location where your new sound will reside using the Up and Down
Footswitches. The displays show the preset name and User preset number about to be
overwritten.
3. Press Store again;
Preset number flashes
4. Select destination
with UP and DOWN
Footswitches
5. Press the Store button again to save the changes.
The procedure for copying one preset to another preset location is the same. Use the Foot-
switches to select the preset that you want to copy, then follow steps 1-4 for storing a preset
as described above. Press either Edit button at any time to abort the Store procedure.
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SectionThree - Effects and Parameters
About the Effects
The RP1000 is like a dream collection of vintage and contemporary amplifiers with several ped-
alboards full of classic, modern, and boutique stompboxes all in a single programmable, portable
package. With stompboxes, the order in which they are connected affects the overall sound.
The RP1000 has placed the Amps and Effects in an order for optimum results. The following
diagram shows the order in which they are connected.
Block Diagram
AMP/CABINET
BYPASS
GUITAR IN
WAH
VOLUME POST
VOLUME PRE
EQ
CHORUS/FX
(POST)
NOISE GATE
REVERB
DELAY
CHORUS/FX
(PRE)
COMPRESSOR
AMP/CABINET DISTORTION
Effect Definitions
Each Amp and Effect within the RP1000 can be programmed to suit your personal taste and
application. Understanding how these components alter the sound, and how each parameter
alters the effect, will help you get the sound you are looking for. The following pages talk about
the RP1000’s amps, cabinets, and effects and what each effect and parameter does. For more in-
formation about each effect, like how it’s used by some musicians, check out the Effects Descrip-
tions section on page 37.
Wah
Wah is an effect controlled by an Expression Pedal making the guitar sound as if it’s saying
“Wah.”
Wahs - Knob 1 selects the Wah type. Values include: Cry wah(Cry Wah is a tradi-
tional sounding Wah), clydewahbased on aVox® Clyde McCoyTM Wah), and FuLlranG
(DigiTech® Full Range Wah sweeps the entire spectrum of audible frequencies). Press this
knob to turn Wah on and off.
Wah Level - Knob 2 adjusts the Wah Level. Ranges from 0dB to +12dB.
Compressor
A Compressor is used to increase sustain, tighten up guitars, and prevent the signal from clip-
ping the input of other effects. It sets a maximum boundary for the strength of a signal.
Comp - Knob 1 selects one of three Compressors: DIGiCoMp(DigiTech® Compressor),
Cs COMp(Based on a Boss® CS-2 Compressor/Sustainer), or DynoCOMp(Based on an
MXR® Dynacomp). Press this knob to turn the selected Compressor on and off.
Knobs 2-6 have the following functions for the various Compressors:
Compressor
Knob 2
(Sustain)
Knob 3
(Tone)
Knob 4
(Attack)
Knob 5
Knob 6
(Compres-
sor Level)
Sustain
Sustain
Tone
--
Attack
Attack
--
--
--
--
Level
Level
digicomp
cs comp
dynocomp
Sensitivity
--
Output
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Distortion
The RP1000 includes the tones of many popular distortion stompboxes, each of which can be
fully dialed in.
Distortion - Knob 1 selects a Distortion. Press this knob to turn the selected Distortion
on and off.
screamer - Based on an Ibanez® TS-9
oc drive - Fulltone OCD Overdrive
rodent
mx dist - Based on an MXR® Distortion +
808
-Based on an IbanezTS-808Tube
Screamer
- Based on a Pro Co RATTM
ts mod - Based on a modified Ibanez® TS-9
sd odrv - Based on a Boss SD-1TM
Overdrive
Ds Dist - Based on a Boss® DS-1TM
Distortion
Od odrv - Based on a Boss OD-1TM
Overdrive
grunge
zone
- DigiTech® Grunge®
- Based on a Boss MT-2 Metal
Zone®
sparkdrv-Based on aVoodoo Labs Sparkle
Drive
death
- DigiTech Death MetalTM
guy odrv- Based on a Guyatone® Overdrive gonkultr - Based on a DOD Gonkulator
OD-2
8tavia
- Based on a Roger Mayer OctaviaTM
dod 250 - Based on a DOD® 250
Overdrive/Preamp
fuzzlatr - Based on a Demeter Fuzzulator
clascfuz- Based on a DOD Classic Fuzz
fuzzyFaC- Based on an Arbiter® Fuzz FaceTM
redline - DigiTech® Redline Overdrive
ampdrivr - DigiTech Amp Driver
big pi
- Based on an Electro-Harmonix®
Big Muff Pi®
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Knobs 2-6 have the following functions for the various Distortions:
Distortion
Knob 2
(Gain)
Knob 3
(Param. 1) (Param. 2)
Knob 4
Knob 5
(Param. 3)
Knob 6
(Distor-
tion Level)
P7
(X-EditTM
only)
Drive
Tone
--
--
Level
--
screamer
Overdrive
Drive
Drive
Overdrive
Gain
Tone
Tone
Tone
Tone
Tone
--
--
--
--
Level
Level
--
808
--
--
ts MOD
--
--
Level
--
sD odrv
OD ODrv
sparKDrV
Guy ODrV
DOD 250
redline
ampdriver
oc drive
rodent
--
--
Level
--
Clean
--
Volume
Level
--
Drive
Gain
--
--
--
--
--
--
Level
--
Gain
Low
Mid Boost
Tone
Filter
--
High
--
Level
--
Gain
--
--
Level
--
Drive
Distortion
Distortion
Gain
HP/LP
--
Volume
Level
--
--
--
--
--
--
Output
Level
--
mx dist
ds dist
Grunge
Tone
Butt
Low
Low
Smear
--
--
--
--
Grunge
Gain
Face
--
Loud
--
Mid
High
High
--
Level
Mid Freq
zone
--
Mid
Level
--
--
--
--
--
--
--
death
Gunk
Drive
Fuzz
Suck
Heave
Volume
Volume
Volume
Volume
Volume
gonkultr
8tavia
--
--
Tone
Tone
--
Loose/Tight
--
fuzZlatr
clasCfuz
fuzzyFaC
big pi
Fuzz
--
--
--
--
Fuzz
--
Sustain
Tone
--
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Amplifier
The amplifiers are an assortment of popular vintage and modern amp tones.The amplifiers
also include acoustic guitar simulations.
Amp - By default, Knob 1 selects one of the classic, modern, and DigiTech custom Amp
types. Note that when you select an Amp, the default cabinet is automatically selected.
You can, however, change the cabinet after selecting an Amp to achieve different tones.
Press this knob and turn it to select a cabinet. Press this knob again to return to the Amp
types and parameters.
57 champ Based on a ‘57 Fender® Tweed
chief
Based on a ‘95 Matchless Chief-
tan
Champ®
57deluxe Based on a ‘57 FenderTweed
Deluxe
sldno100 Based on an ‘88 Soldano SLO-
100
59bassMn Based on a ‘59 FenderTweed
supergrp Based on a Laney Supergroup.
Bassman®
ga-40
Based on a Gibson® GA-40
Based on an Orange OJ120.
Based on a Peavey® 5150 II®
Based on a Randall RG100
62bassmn Based on a ‘62 Fender Brown
Bassman
or-120
pV 5150
65 twin
Based on a ‘65 Fender Blackface rG100
Twin Reverb®
jazz 120 Based on a Roland JC120
65dluxrv Based on a ‘65 Fender Blackface solar100 Based on a Sunn Solar 100S
Deluxe Reverb®
dig solo 80s shred guitar.
Based on a ‘65 Marshall® JTM-45 digmetal Heavy.
68 plexi Based on a ‘68 Marshall 100Watt digbrght Sparkle clean.
45 jtm
Super Lead (plexi)
jumppanl Based on a ‘68 Marshall Jump
Panel
digchunk Beefy high gain with tight bottom
end.
digclean Sparkle clean.
mastrvol Based on a ‘77 Marshall Master dig gain Punchy high gain that cleans up.
Volume digblues Tube combo at the sweet spot.
800 jcm
Based on an ‘83 Marshall JCM800 dig fuzz Fuzz Face + Orange Amp
Based on a ‘93 Marshall JCM900 digspank Cool rhythm tone with spanky
900 jcm
2000 jcm Based on an ‘01 Marshall
top end.
JCM2000
2101 Cln DigiTech 2101 CleanTube
2101 sat DigiTech 2101 SaturatedTube
digcrnch Based on a modified Plexi.
digmnstr Maxed out gain.
ac15
aC30 tb
Based on a ‘62Vox® AC15
Based on a ‘63Vox AC30Top
Boost
hiwattag Based on a ‘69 Hiwatt® Custom digtweed Based on aTweed front Blackface
100 DR103
mark iic Based on an ‘81 Mesa Boogie®
Mark II C
power hybrid.
digblack Based on a ‘65 Blackface into a
‘58 Bassman.
digstonr DigiTech stoner rock.
digdkmtl DigiTech dark metal.
digtrans Based on a transistor amp -
“Deacy” from Brian May.
mark iv
Based on a ‘94 Mesa Boogie®
Mark IV
dualrect Based on an ‘01 Mesa Boogie
Dual Rectifier
triprect Based on an ‘04 Mesa Boogie
Triple Rectifier
22 calibr Based on an ‘86 Mesa Boogie
.22 Caliber
digbrown Brown sound.
dig mosh DigiTech mosh.
dread aC Dreadnaught acoustic
jumbo ac Jumbo acoustic
99 legacy Based on a 99 LegacyVL-100
direct
No amp
matchc30 Based on a ‘96 MatchlessTM HC30
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Cabinet - Knob 1 also selects cabinets. Pressing this knob alternates between selecting
amps and cabinets
champ1x8- Based on a 1x8 ‘57 Fender®
Gren4x12- Based on a 4x12 Marshall
1969 Slant w/ Celestion 25W
Greenbacks
Tweed Champ®
dlux1x12- Based on a 1x12 ‘57 Fender
Tweed Deluxe®
fane4x12- Based on a 4x12 Hiwatt®
Custom w/ Fane Speakers
dxrv1x12- Based on a 1x12 ‘65 Fender
Blackface Deluxe Reverb
botq4x12- Based on a 4x12 ‘96VHT®
Slant w/ CelestionVintage 30’s
vntg4x12- Based on a 4x12 Johnson®
Straight w/ CelestionVintage
brit1x12- Based on a 1x12 ‘62Vox®
AC15 w/20WVox Speaker
gbsn1x12- Based on a ‘60 Gibson® GA-
40 Jensen Speaker
30’s
bman2x12- Based on a 2x12 ‘57 Fender
rect4x12- Based on a 4x12 Mesa/Boogie
RectifierV30 speakers
Blonde Bassman®
twin2x12- Based on a 2x12 ‘65 Fender
BlackfaceTwin Reverb®
solo4x12- 4x12 DigiTech® Solo
brgt2x12- 2x12 DigiTech Bright
metl4x12- 4x12 DigiTech Metal
rock4x12- 4x12 DigiTech Rock
altr4x12- 4x12 DigiTech Alt Rock
brit2x12- Based on a 2x12 ‘63Vox®
AC30Top Boost w/ Jensen®
Blue Backs
jazz2x12- Based on a 2x12 ‘84 Roland® dvtg4x12- 4x12 DigiTechVintage
Jazz Chorus
chnk4x12- 4x12 DigiTech Chunk
jbl 2x15- Based on a JBL/Lansing Enclo- spnk4x12- 4x12 DigiTech Spank
sure
digispkr - DigiTech Speaker Compensa-
bman4x10- Based on a 4x10 ‘59 Fender
tion
Tweed Bassman®
direct - No cabinet
clas4x12- Based on a 4x12 Marshall®
1969 Straight w/ Celestion®
G12-T70
Amp Gain - Knob 2 adjusts the Gain (distortion) for the selected Amp (not available for
Acoustic). The Gain parameter ranges from 0to 99.
Bass - Knob 3 adjusts the low frequencies of the amp’s tone. Ranges from 1.0 to 10.
Middle - Knob 4 adjusts the mid frequencies of the amp’s tone. Ranges from 1.0 to 10.
Treble - Knob 5 adjusts the high frequencies of the amp’s tone. Ranges from 1.0 to 10.
Amp Level - Knob 6 adjusts the Level (volume) of the selected Amp. The Level param-
eter ranges from 0to 99.
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EQ
The RP1000’s EQ helps further shape your tone with Low, Mid, and High controls.
Knob 1 - Press Knob 1 to turn the EQ on and off.
Low Level - Knob 2 adjusts the Low EQ level. Ranges from -12dB to
12dB.
Mid Frequency - Knob 3 selects the frequency that the Mid parameter adjusts. Range
Is from 300 Hz to 4000 Hz.
Mid Level - Knob 4 adjusts the Mid EQ level. Range is
from -12dB to 12dB.
High Frequency - Knob 5 adjusts the High EQ frequency. Range is from 2000 Hz to
8000 Hz
High Level - Knob 6 adjusts the High EQ level. Range is
from -12dB to 12dB.
Low Frequency (X-EditTM only) - This parameter selects the Low EQ frequency.
Ranges from 60 Hz to 500 Hz.
Low, Mid, and High Bandwidth (X-Edit only) - This parameter selects the frequency
bandwidth for each frequency band. Range is from Narrow to Wide.
Noise Gate/Auto Swell
A Noise Gate is designed to eliminate noise while you are not playing, or provide an auto
volume swell effect.
GateType - Knob 1 selects between the DigiTech® noise gate or the volume swell effect.
Values include: gate (Selects the Noise Gate) and swell(Selects the Auto Swell effect.)
Press this knob to turn the Noise Gate/Auto Swell on and off.
Threshold (Noise Gate only) - Knob 2 sets the signal strength (Threshold) required
to open or close the Noise Gate. Parameters range from 0(opens easily) to 99(requir-
ing strong signals to open).
AttackTime - Knob 3 sets the attack time. Ranges from 0(shorter attack time) to 99
(longer attack time).
Release - Knob 4 sets the Release parameter. Ranges from 0to 99.
Attenuation - Knob 5 sets the Attenuation parameter. Ranges from 0to 99.
Swell Sensitivity (Auto Swell only) - Knob 6 sets the Swell Sensitivity parameter of
the Auto Swell. Ranges from 0to 99.
Chorus/FX
The Chorus/FX row in the RP1000 is a multi-function module, allowing you to select Effect types
such as Chorus, Flanger, Phaser, Vibrato, Rotary Speaker, Tremolo, Panner, Envelope Filter,
Detune, Whammy™, Pitch Shift, Detune, Harmony, OC Octaver and more. When the Chorus/
FX row is selected, Knob 1 is used to choose the Effect type. Press this knob to turn these
Effects on and off. Only one of the effects in this row can be used at a time. After selecting the
type of effect in this module, Knobs 2-6 can then be used to adjust the individual parameters
associated with the selected effect. The following list describes each Effect and its parameters in
more detail:
Chorus
A Chorus adds a short delay to your signal. The delayed signal is modulated in and out of tune
and then mixed back with the original signal to create a thicker sound. The RP1000 includes
the following Chorus Effects: CeCHorus(based on the classic Boss® CE-2 Chorus), tccho-
rus(based on theTC Electronic Chorus), CHOrus(DigiTech®’s Dual Chorus), glischrs
(DigiTech’s Glistening Chorus) and MultCHrs(DigiTech’s famous Multi Chorus®), voo doo
(based on theVooDoo Labs Analog Chorus), and clone (Based on the Electro Harmonix Small
Clone).
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Knobs 2-6 have the following functions for the various Chorus types:
Chorus
Knob 2
(Pre/Post
Amp)
Knob 3
(Speed)
Knob 4
(Depth)
Knob 5
(Regenera-
tion)
Knob 6
(FX Level)
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Speed
Speed
Speed
Speed
Speed
Speed
Rate
Depth
Width
Depth
Depth
Depth
Intensity
Depth
--
--
Intensity
Level
Level
Level
--
CeCHorus
tCCHorus
chorus
--
Waveform
--
glischrs
Multchrs
voo doo
clone
Waveform
--
--
--
Flanger
A Flanger uses the same principle as a Chorus but uses a shorter delay time and adds regenera-
tion (or repeats) to the modulating delay. This results in an exaggerated up and down sweep-
ing motion to the effect. The RP1000 includes the following Flanger Effects: fLanger (the
DigiTech® Flanger), trigfLnG(the DigiTechTriggered Flanger), fLtrFLng(the DigiTech
Filter Flanger), mx FLngr (based on an MXR® Flanger), eh FLngr (based on an Electro-
Harmonix® Electric Mistress), and ad FLngr (based on an A/DA Flanger).
Knobs 2-6 have the following functions for the various Flanger types:
Flanger
Knob 2
(Pre/Post
Amp)
Knob 3
(Speed)
Knob 4
(Depth)
Knob 5
(Regenera-
tion)
Knob 6
(FX Level)
Pre/Post Amp
Speed
Depth
Regen
Level
flanger
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Speed
Speed
Speed
Rate
Sensitivity
Depth
LFO Start
Regen
Level
Frequency
Manual
--
trigflng
fltrflng
mx flngr
eH flngr
aD flngr
Width
Regen
Range
Color
Speed
Enhance
Range
Manual
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Phaser
A phaser splits the incoming signal, and then changes the phasing of the signal. This signal is then
taken in and out of phase and mixed back in with the original signal. As the phasing changes, dif-
ferent frequencies get canceled resulting in a warm sort of twisting sound. The RP1000 includes
the following Phaser types: phaser (the DigiTech Phaser), trigphas (the DigiTechTriggered
Phaser), mx phasr (based on an MXR Phase 100), and eh phasr (based on an Electro-Har-
monix Small Stone).
Knobs 2-6 have the following functions for the various Phaser Effects:
Phaser
Knob 2
(Pre/Post
Amp)
Knob 3
(Speed)
Knob 4
(Depth)
Knob 5
(Regenera-
tion)
Knob 6
(FX Level)
Pre/Post Amp
Speed
Depth
Regen
Level
phaser
Pre/Post Amp
Pre/Post Amp
Pre/Post Amp
Speed
Speed
Rate
Sensitivity
Intensity
--
LFO Start
--
Level
--
trigphas
mx phasr
eh phasr
Color
--
Vibrato (vibrato)
The DigiTechVibrato effect modulates the pitch of the incoming signal at an even rate.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Speed - Knob 3 adjusts the rate (Speed) at which the pitch modulates. Ranges from 0to
99.
Depth - Knob 4 adjusts the intensity (Depth) of the modulating pitch. Ranges from 0to
99.
Rotary Speaker (rOtary)
The Rotary Speaker emulates a device that included a spinning horn and woofer. The rotation of
these two speakers produced an interesting combination of the sound panning from side to side.
This produced a slight pitch change due to the speed of the sound coming towards, and then
going away from the listener.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Speed - Knob 3 adjusts the rate (Speed) of the spinning speakers. Ranges from 0to 99.
Intensity - Knob 4 controls the intensity of the effect. Ranges from 0to 99.
Doppler - Knob 5 controls the Pitch Shift effect that is the ratio between the horn and
the rotor positions. Ranges from 0to 99.
Crossover - Knob 6 selects the crossover frequency between the horn and rotor.
Ranges from 0(200 Hz) to 99(1600 Hz).
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VibroPan (vibropan)
A vibrato is an effect that modulates the pitch of the incoming signal.This will take the whole
signal slightly in and out of tune at a steady pace.The DigiTech® VibroPan also incorporates an
automatic panner with the vibrato effect that creates a lush chorus-like sound.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Speed - Knob 3 adjusts how fast the signal is being modulated.
Depth - Knob 4 adjusts the amount of pitch change.
Vibrato/Pan- Knob 5 adjusts the amount of panning incorporated with the vibrato effect.
When set at 0, this effect is a standard vibrato. As the parameter is turned up, the phase
difference of the vibrato signal sent to the two channels is changed until a full stereo image
is obtained at 99.
Waveform - Knob 6 selects a waveform: triangle, sine, or square.
Unicord Uni-VibeTM (unovibe)
Based on the Unicord® Uni-VibeTM pedal, Uni-Vibe adds a lush chorus or rotary speaker (vi-
brato) effect to your tone.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Speed - Knob 3 adjusts the rate (Speed) of the chorus modulation or spinning speaker
(vibrato) effect. Ranges from 0to 99.
Intensity - Knob 4 controls the intensity of the effect. Ranges from 0to 99.
Chorus/Vibrato - Knob 5 selects either the chorus or vibrato effect.Turn counter-
clockwise for Chorus, or clockwise forVibrato.
Volume - Knob 6 adjusts the volume of the effect.
Tremolo/Panner
ATremolo effect modulates the volume of the signal at an even rate.The RP1000 includes the
followingTremolo types: tremolo(the DigiTech® Tremolo), sctrtrem(DigiTech Scattertrem
(dual asynchronized tremolos)), optotrem(based on the Fender® OptoTremolo), biastrem
(based on theVox® BiasTremolo), and panner (the DigiTech Panner).
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Speed - Knob 3 adjusts the rate (Speed) at which the volume modulates. Ranges from 0
to 99
Depth - Knob 4 adjusts the intensity (Depth) of the modulating volume. Ranges from 0
to 99.
Waveform (DigiTech Tremolo and Panner only) - Knob 5 selects a waveform:
triangle, sine, or square.
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Envelope Filter (envfiltr)
The DigiTech Envelope Filter is a dynamicWah effect that alters your sound based upon how
hard you play.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Sensitivity - Knob 3 adjusts the sensitivity or the input signal required to trigger the
Wah effect. Ranges from 0to 99.
Range - Knob 4 controls the range of the Envelope effect. Ranges from 0to 99.
DOD FX25 (fx25 env)
This envelope filter is based on the DOD FX25.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Blend - Knob 3 adjusts the balance between effect signal and dry signal.
Sensitivity - Knob 4 adjusts the sensitivity or the input signal required to trigger the
Wah effect. Ranges from 0to 99.
Range - Knob 5 controls the range of the envelope effect. Ranges from 0to 99.
AutoYa™ (autO ya)
An AutoYaTM combines the characteristics of aWah and a Flanger together creating an almost
human vowel characteristic as if the guitar were saying “Yah.” The AutoYa automatically provides
this animation to the sound at an even rate.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Speed - Knob 3 adjusts the speed of the AutoYa sweep. Ranges from 0to 99.
Intensity - Knob 4 adjusts the intensity of the AutoYa effect. Ranges from 0to 99.
Range - Knob 5 adjusts the throaty quality of the AutoYa effect. Ranges from 0to 49.
YaYa™ (ya ya)
TheYaYaTM is another effect exclusive to DigiTech products. Like the AutoYa, it combines the
characteristics of a wah and a flanger together providing a unique talk box type of effect, but is
controlled by the Expression Pedal.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Pedal - Knob 3 adjusts theYa pedal position. Ranges from 0to 99.
Intensity - Knob 4 adjusts the intensity of theYaYa effect. Ranges from 0to 99.
Range - Knob 5 adjusts the throaty quality of theYaYa effect. Ranges from 0to 49.
SynthTalkTM (synthtlk)
SynthTalkTM is another effect exclusive to DigiTech®. It makes your guitar appear to speak based
upon the dynamics of your playing style.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Release - Knob 4 adjusts the release of the synthesized voice. Ranges 0to 99, and oo
(infinity).
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Vox - Knob 5 changes the characteristics of the various synth voices. Ranges from 0to 99.
Sensitivity - Knob 6 adjusts the sensitivity of the input signal required to trigger the
SynthTalk effect. Ranges from 0to 99.
Balance (X-EditTM only) - adjusts the left to right balance of the wet signal, Ranges from
left 99to right 99.
Step Filter (stepfltr)
The DigiTech Step Filter is like an automatic “random wah” with a square waveform.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Speed - Knob 3 adjusts the speed of the Wah effect. Ranges from 0to 99.
Intensity - Knob 4 controls the intensity of the Wah effect. Ranges from 0to 99.
Sample Hold (smplhold)
The DigiTech Sample Hold randomly shifts the pitch of the note you’re playing, creating an “elec-
tronic” or “robotic” sound.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Speed - Knob 3 adjusts the speed of the Sample Hold effect. Ranges from 0to 99.
Intensity - Knob 4 controls the intensity of the Sample Hold effect. Ranges from 0to
99.
DigiTech Whammy® (wHammy)
The DigiTechWhammy® is an effect that uses an Expression Pedal to bend the pitch of the
incoming signal, or add a bendable harmony with the original signal. As the Pedal is moved, the
note bends either up or down. When DigiTechWhammy is selected, it is automatically placed
before the internal amplifiers as shown in the block diagram on page 17.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Shift Amount - Knob 3 selects the interval and direction of the pitch bend. Choices are
as follows:
WhammyTM (no Dry Signal)
1 oct up (1 octave above)
2 oct up (2 octaves above)
2nd down (a second below)
Harmony Bends (Dry Signal Added)
mn3>Maj3 (a minor third to a Major third)
2nd>maj3 (a second above to a Major third
above)
rev 2nd (a second below reversed pedal action) 3rd->4th (a third above to a fourth above)
4th down (a fourth below)
1 oct dn (an octave below)
2 oct dn (2 octaves below)
DIVeboMb (Dive Bomb)
4th->5th (a fourth above to a fifth above)
5thoctup (a fifth above to an octave above)
h oct up (one octave above)
h oct dn (one octave down)
octup>dn (octave up/down)
Pedal Position - Knob 5 provides a manual control of the Whammy pedal position.
Ranges from 0to 99.
Mix - Knob 6 adjusts the Whammy mix. Ranges from 0to 99.
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Pitch Shift (pitCH)
A Pitch Shifter copies the incoming signal, then shifts the pitch of the copy to a different note.
The shifted note is then mixed back with the original signal, sounding as if two guitars were play-
ing different notes.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Shift Amount - Knob 3 selects the interval of the shifted pitch. Ranges from -24(2
octaves below) to 24 (2 octaves above).
Mix - Knob 6 controls the mix level of the shifted pitch. Ranges from 0to 99.
Detune (Detune)
A Detuner makes a copy of your incoming signal, takes the copied signal slightly out of tune from
the original, then mixes the two signals together. The result is a doubling type of effect as if two
guitars were playing the same part together.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Shift Amount - Knob 3 adjusts the amount of detune shift. Ranges from -24to 24
cents.
Level - Knob 6 controls the mix of the detuned note. Ranges from 0to 99.
Harmony Pitch Shifting (harmony)
Harmony Pitch Shifting makes a copy of the incoming signal, and then changes the pitch of the
copied note to a diatonically correct interval specified by the Amount parameter. A Harmony
Pitch Shifter sharpens or flattens the shifted pitch in order to keep the specified interval within
the selected key and scale creating a true harmony.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Shift Amount - Knob 3 selects the amount or harmony interval for the Harmony Pitch
Shifter. Interval choices include:
OCt Dn (octave down)
7tH Dn (a seventh below)
6tH Dn (a sixth below)
5tH Dn (a fifth below)
4tH Dn (a fourth below)
3rD Dn (a third below)
2nD Dn (a second below)
2nD up (a second above)
3rD up (a third above)
4tH up (a fourth above)
5tH up (a fifth above)
6tH up (a sixth above)
7tH up (a seventh above)
OCt up (an octave above)
Key - Knob 4 selects the musical key that the HPS uses. Key choices range from the Key
of E (Key e) through the Key of Eb (Key e ).
Scale - Knob 5 selects the scale the HPS will use. Scale choices include: Major (MaJOr),
Minor (MInOr), Dorian (DOrIan), Mixolydian (MIXOLydn), Lydian (LyDIan), and Har-
monic Minor (HarmMInr).
Level - Knob 6 adjusts the HPS Level of all the pitch-altering effects in this module.
Ranges from 0to 99.
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Boss® OC-2 OctaverTM (octaver)
Based on the Boss® OC-2 OctaverTM, this adds two signals to your original guitar signal.The first
is one octave below your guitar, and the second is two octaves below your guitar. Each additional
signal has its own volume control.
Pre/Post Amp - Knob 2 determines where the effect appears in the effects chain.Turn
counter-clockwise for Pre (appears before the Distortion effect), or clockwise for Post
(appears after the Noise Gate effect).
Octave 1- Knob 3 adjusts the the volume of the signal 1 octave below the input signal.
Ranges from 0to 99.
Octave 2 - Knob 4 controls the volume of the signal 2 octaves below the input signal.
Ranges 0to 99.
Dry Level - Knob 6 controls the volume of the dry signal. Ranges from 0to 99.
Delay
Delay is an effect that records a portion of the incoming signal, and then plays it back a short
time later. The recording can repeat just once or several times.
Delay - Knob 1 selects one of the 7 different Delay types. Values include: analog
(DigiTech® Analog Delay), dm delay (Based on the Boss DM-2 Analog Delay), digital
(DigiTech Digital Delay), modulate (DigiTech Modulated Delay), pingpong(DigiTech Pong
Delay), tape (DigiTech Tape Delay), echoplex(Based on the MaestroTM EP-2 Echoplex®
Tape Echo), reverse (DigiTech Reverse Delay), lo fi(a Lo Fidelity Delay), and 2 tap (a
2-tap Delay). Press this knob to turn the Delays on and off.
Knobs 2-6 have the following functions for the various Delay Effects:
Delay
Knob 2
(Time)
Knob 3
(Repeats)
Knob 4
(Param. 1)
Knob 5
(Param. 2)
Knob 6
(Delay
Level)
Time
Repeats
--
Multiplier
Delay Level
analog
Repeat Rate
Time
Echo
Intensity
Multiplier
Multiplier
--
dm delay
digital
Repeats
Ducker
Threshold
Delay Level
Time
Time
Repeats
Repeats
Depth
Multiplier
Multiplier
Delay Level
Delay Level
modulate
pingpong
Ducker
Threshold
Time
Time
Time
Time
Time
Repeats
Repeats
Repeats
Repeats
Repeats
Wow
Multiplier
Multiplier
Multiplier
Multiplier
Multiplier
Delay Level
Volume
tape
--
echoplex
reverse
LO FI
--
--
Delay Mix
Volume
Tap Ratio
Delay Mix
2 tap
The Repeats parameter (Knob 3) ranges from 0 to Repeat Hold (Hold) for all delays except
the Echoplex®, DM-2, and Lo-Fi. Repeat Hold is one click past 99, and acts as an infinite repeat.
The Multiplier parameter (Knob 5) lets you divide the tap tempo rate into 1/2, 1/4, dotted 1/8,
1/8, and triplet 1/4 note rhythms.
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Reverb
Using reverb in recorded program material gives the listener a sense that the material is being
performed in an actual room or hall. It is this similarity to actual acoustic spaces that makes
reverberation a useful tool in recorded music.The RP1000 features genuine Lexicon® reverbs,
whose rich, lush effects have been heard in countless songs, soundtracks, and live performances
for decades.
ReverbTypes
Knob 1 selects the Reverb Effect or acoustic space. Press this knob to turn the Reverb
on and off. The following types are available:
twnsprng- Based on a Fender® lex room - Lexicon Room
Twin Reverb
lexambnc- Lexicon® Ambience emtplate - Based on an
EMT240 Plate
lex hall - Lexicon Hall
lexstudo- Lexicon Studio
Knobs 2-6 have the following functions for the various Reverb Effects:
Reverb
Knob 2
(Pre Delay)
Knob 3
(Decay)
Knob 4
(Liveliness)
Knob 6
(Reverb
Level)
--
--
--
Reverb
twnsprng
Pre Delay
Pre Delay
Pre Delay
Pre Delay
Pre Delay
Decay
Decay
Decay
Decay
Decay
Liveliness
Liveliness
Liveliness
Liveliness
Liveliness
Reverb Level
Reverb Level
Reverb Level
Reverb Level
Reverb Level
lexambnc
lexstudo
lex room
lex hall
emtplate
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Section Four - Other Functions
Expression Pedal
You can link the Expression Pedal on the RP1000 to control the RP1000’sVolume, Wah,
Whammy™,YaYa™, or almost any of the RP1000’s other parameters in real time with your foot.
When a parameter has been linked to the Expression Pedal, you can also set the minimum (heel)
and maximum (toe) value for the range. When you push down hard on the toe of the Expres-
sion Pedal to activate theV-switch, the Expression Pedal switches between the linked parameter
and theWah. To link a parameter to the Expression Pedal, follow these steps:
1. Press either Edit button until the Expression row is selected (indicated by the LED lighting
on the Expression row).
2. Rotate Knob 1 until eXp peDLappears in the Display.
3. Rotate Knob 2 until the desired parameter to be linked appears in the Display.
4. Rotate Knob 3 to select the minimum (heel) value the assigned parameter will reach with
the Expression Pedal in the toe up position.
5. Rotate Knob 4 to select the maximum (toe) value the assigned parameter will reach with
the Expression Pedal in the toe down position.
6. Store your Expression Pedal assignment to your preset. See page 16 for more information
on the storing procedure.
Footswitch Assign
You can link footswitches 6-10 to almost any of the RP1000’s parameters or to enable and dis-
able the Amp Loop. From the factory, footswitches 6-10 are set to turn on and off the Com-
pressor, Distortion, Chorus/FX, Delay, and Reverb respectively when the Pedalboard button is
enabled. If a parameter other than these on/off parameters is linked to these footswitches, you
can specify a minimum value (LED off) and maximum value (LED on) for the parameter.That way
you can toggle a parameter like chorus speed between two distinct values while you’re perform-
ing. Footswitch assignments are stored with the preset so they can be different for every preset.
To link a parameter to the footswitches 6-10, follow these steps:
1. Press either Edit button until the Expression row is selected (indicated by the Expression
row’s LED lighting).
2. Rotate Knob 1 until Fs6 asn- Fs10 asnappears in the Display. This selects which
footswitch you are about to change the assignment for.
3. Rotate Knob 2 until the desired parameter to be linked appears in the Display.
4. Rotate Knob 3 to select the minimum value the assigned parameter will reach when the
footswitch is off (LED off).
5. Rotate Knob 4 to select the maximum value the assigned parameter will reach when the
footswitch is on (LED on).
6. Store your footswitch assignments to your preset.
LFOs
The RP1000 includes two assignable low frequency oscillators (LFO 1 and LFO 2) that you can
assign to any of the same parameters available for assignment to the Expression
Pedal. A low frequency oscillator automatically varies the value of the assigned parameter at
a steady rate. You can set the minimum and maximum value that each LFO will reach.
For instance, if the Amp Gain is assigned to LFO 1, and the minimum value is set to 1 and
the maximum value is set to 99, the RP1000 will automatically sweep the amount of
distortion from a clean sound to a distorted sound. You can also set the LFO speeds. In the
previous example, the LFO speed would determine the length of time it takes the LFO to sweep
from the clean to the distorted sound. To assign the LFOs in the RP1000, follow these steps:
1. Press the Edit button until the Expression row is selected (indicated by the LED lighting on
the Expression row).
2. Rotate Knob 1 to select one of the two LFO links, LFO 1 (LFO 1) or LFO 2 (LFO 2).
3. Rotate Knob 2 to select the parameter you want linked to the LFO 1 or LFO 2.
4. Rotate Knob 5 to select which waveform you want the LFO to use,Triangle (trIanGle),
Sine (sIne), or Square (sQuare).
5. Rotate Knob 6 to select the speed you want the parameter to be controlled at.
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Wah Min/Max
You can set theWah effect’s minimum and maximum values with the Expression row. To do so,
follow these steps:
1. Press the Edit button until the Expression row is selected (indicated by the LED lighting on
the Expression row).
2. Rotate Knob 1 to select wah pedl.
3. Rotate Knob 3 to adjust theWah effect’s minimum value.
4. Rotate Knob 4 to adjust theWah effect’s maximum value.
Expression Update
You can set up the RP1000’s Expression pedal to update its position each time you change
presets. Normally, the Expression pedal only updates its position on a preset change when it’s
linked to theVolume Pre orVolume Post parameter in a preset. This lets the Expression pedal
behave like a real volume pedal between preset changes.When Expression Update is enabled
(ON), the Expression pedal will update its position no matter what parameter it’s linked to, so it
has more of an “analog” feel like a typical standalone expression pedal.
To enable the Expression Update function, follow these steps:
1. Press the Edit button until the Expression row is selected (indicated by the LED lighting on
the Expression row).
2. Rotate Knob 1 to select eXpupDat. The default setting is for Expression Update is OF.
3. Press Knob 1 to enable or disable Expression Update.
Expression Update affects all presets. You don’t have to save this change to each preset.
Factory Reset
This function resets the RP1000 to its original factory settings. This procedure erases all custom
User presets, and recalibrates the Expression Pedal.
ATTENTION: Performing this function will erase all user-programmed data. All
such data will be lost forever! Be sure you want to erase the memory and start
fresh before continuing with this procedure.
The procedure for performing a Factory Reset is as follows:
1. Press and hold the Store button while powering up the RP1000.
2. When the display prompts you with FaCt rst, release the Store button, which is now
flashing.
3. Press and hold the flashing Store button for 3 seconds until restOreDappears in the
display and release. The Restore procedure takes several seconds to complete; during the
procedure, the display will count up. After the Restore procedure is complete, the Expres-
sion Pedal calibration procedure will begin.
Expression Pedal Calibration
The Expression Pedal on the RP1000 needs to be recalibrated for use after you do a factory
reset.This calibration procedure automatically starts after the factory reset procedure is com-
pleted. (You can also start the calibration procedure by pressing and holding the currently active
preset’s footswitch for about 5 seconds.) If the pedal’s calibration fails, or if the pedal does not
function properly, it can be re-calibrated using the calibration procedure.This will not erase the
User presets.The procedure for calibrating the expression pedal is as follows:
1. Press and hold the currently active preset’s footswitch until peDL CaLappears in the
display (bypass, tuner, and eXItwill be displayed before peDL CaLis accessed, after
about 5 seconds.)
2. When the Display prompts you with tOe Down, rock the Expression Pedal forward (toe
down) and press Footswitch 5.
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3. When the Display prompts you with tOe up,rock the Expression Pedal back (toe up)
and press Footswitch 5.
4. The Display now prompts you to calibrate theV-Switch sensitivity (VsWitchxxx), where
XXXis the currentV-Switch threshold. Rock the Expression Pedal forward and press
firmly on the toe once to turn theV-Switch on (WaH On), and again to turn theV-Switch off
(WaH OFF).
5. If theV-Switch is too sensitive, press the Up Footswitch to raise the threshold (range is
0-199).The Down Footswitch decreases sensitivity. Keep testing theV-Switch sensitivity
and adjust the threshold until it only engages when you want it to (too sensitive a setting
will lead to theV-Switch falsely triggering on or off when using the Expression Pedal).
6. When theV-Switch sensitivity is set to your satisfaction, press Footswitch 5 to exit.
Note: If the Display shows errOr, an error has occurred and steps 2 through 5 should be
repeated.
Preset Level
Each of the presets in the RP1000 can have a specified programmed level. To change the level of
a preset, follow these steps:
1. From the preset name display, press the Edit Down button once. TheWah row will be lit.
2. Turn Knob 6 to change the Preset Level parameter.
3. Store these changes to the preset using the Store procedure if these changes are to be
recalled later.
Bypass
Any preset in the RP1000 can be bypassed using the preset footswitches. Bypass will defeat all
amp and effects modeling an output an unprocessed bypass signal. Bypass can be selected any
time during performance or editing.
1. Press the currently active preset’s footswitch. The display will read bypassand unpro-
cessed guitar signal will be heard on all outputs.
2. Press any footswitch again to exit bypass and return to the last state (edited or unedited)
the RP1000 was in.
When a preset is bypassed, any devices connected to the Amp Loop and Stomp Loop will still be
active, meaning you can use bypass to kill all effects in the RP1000 without bypassing your core
tone.
Looper
The RP1000 includes a dedicated Looper phrase sampler that lets you record up to 20 seconds
of your guitar playing and play it back as an endless loop so you can solo over it, You can also
add more guitar work to the recorded loop (overdub). What’s great about the RP1000’s Looper
is that even while the Looper is playing back and/or recording you can select different presets or
turn on and off effects to add different sounds to your loop or overdubs.
You turn on the RP1000’s Looper with the Looper button in the matrix section and control it
with the Up/Down footswitches when the Looper is turned on. You can also connect an FS3X
footswitch to the Looper Control input jack on the rear panel for stand-alone remote control
of the Looper.
Normally, when the Looper is turned on, the Up/Down footswitches won’t change preset banks.
However, if an FS3X footswitch is connected to the Looper Control input on the rear panel of
the RP1000, the Looper will always be enabled, the Looper button will always be lit, and the
RP1000’s Up/Down footswitches will always change banks.
There are two ways to use the Looper: with a “quiet start” or “on the fly.” “Quiet start” means
you activate the Looper’s record feature when you’re not playing your guitar, and it automatically
starts recording when you start playing.“On the fly” means you activate the record feature while
you’re playing, and it starts recording as soon as you step on the Down footswitch.
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To use the Looper with a quiet start, follow these steps:
1. Press the Looper button to enable the Looper. The Looper button should now be lit.
None of the Record, Play, Overdub LEDs will be lit at this time.
2. To begin looping, press the Down footswitch. The Record LED on the matrix will flash
red indicating the Looper is armed and ready to record but not actually recording yet.
3. To begin recording, just start playing. The Record LED will now light solid red indicating
recording is in progress.
4. To set the loop point, press the Down footswitch again. The loop point will be set and
the recorded phrase will now begin playback. The Record LED will turn off and the green
Play LED will now be lit.
5. To add overdubs to the loop, press the Down footswitch again. The yellow Overdub LED
will now light (the green Play LED will still be lit) indicating that anything being played will
be merged with the loop being played.
6. Press the Down footswitch again to stop overdub recording which will turn off the Over-
dub LED and return the loop to normal playback.
7. To stop loop playback, press the Up footswitch. This does not clear out the loop but sim-
ply stops playback. Pressing the Down footswitch again will resume playback.
8. To clear a loop from memory, press and hold the Up footswitch until the main display
shows LOOpCLrD.
To use the Looper on the fly, follow these steps:
1. Press the Looper button to enable the Looper. The Looper button should now be lit.
None of the Record, Play, Overdub LEDs will be lit at this time.
2. Start playing your guitar.
3. To begin looping, press the Down footswitch. The Looper will start recording as soon as
you press the Down footswitch, and the Record LED on the matrix will light red after
about half a second.
4. To set the loop point, press the Down footswitch again. The loop point will be set and
the recorded phrase will now begin playback. The Record LED will turn off and the green
Play LED will now be lit.
5. To add overdubs to the loop, press the Down footswitch again. The yellow Overdub LED
will now light (the green Play LED will still be lit) indicating that anything being played will
be merged with the loop being played.
6. Press the Down footswitch again to stop overdub recording which will turn off the Over-
dub LED and return the loop to normal playback.
7. To stop loop playback, press the Up footswitch. This does not clear out the loop but sim-
ply stops playback. Pressing the Down footswitch again will resume playback.
8. To clear a loop from memory, press and hold the Up footswitch until the main display
shows LOOpCLrD.
If using the optional FS3X to control the Looper, follow these steps for a quiet start:
1. To begin looping, press the Down footswitch. The Record LED on the matrix will flash
red indicating the Looper is armed and ready to record but not recording yet.
2. To begin recording, just start playing. The Record LED will now light solid red indicating
recording is in progress.
3. To set the loop point, press the Down footswitch again. The loop point will be set and
the recorded phrase will now begin playback. The Record LED will turn off and the green
Play LED will now be lit.
4. To add overdubs to the loop, press the Down footswitch again. The yellow Overdub LED
will now light (the green Play LED will still be lit) indicating that anything being played will
be merged with the loop being played.
5. Press the Down footswitch again to stop overdub recording which will turn off the Over-
dub LED and return the loop to normal playback.
6. To stop loop playback, press the Up (right) footswitch. This does not clear out the loop
but simply stops playback. Pressing the Down (left) footswitch again will resume playback.
7. To clear a loop from memory, press and hold the Mode (left) footswitch until the main
display shows LOOpCLrD.
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If using the optional FS3X to control the Looper, follow these steps for on the fly use:
1. Start playing your guitar.
2. To begin looping, press the Down footswitch. The Looper will start recording as soon as
you press the Down footswitch, and the Record LED on the matrix will light red after
about half a second.
3. To set the loop point, press the Down footswitch again. The loop point will be set and
the recorded phrase will now begin playback. The Record LED will turn off and the green
Play LED will now be lit.
4. To add overdubs to the loop, press the Down footswitch again. The yellow Overdub LED
will now light (the green Play LED will still be lit) indicating that anything being played will
be merged with the loop being played.
5. Press the Down footswitch again to stop overdub recording which will turn off the Over-
dub LED and return the loop to normal playback.
6. To stop loop playback, press the Up (right) footswitch. This does not clear out the loop
but simply stops playback. Pressing the Down (left) footswitch again will resume playback.
7. To clear a loop from memory, press and hold the Mode (left) footswitch until the main
display shows LOOpCLrD.
Tuner
The RP1000 features a built-in chromatic tuner with variable tuning references (427-453,A=Ab,
A=G,A=Gb). To use the tuner, follow these steps:
1. Press and hold the currently active preset’s footswitch to access theTuner for 2 seconds.
The display briefly flashes tuner.
2. To begin tuning, play a note on your guitar (a harmonic at the 12th fret usually works best).
3. The numeric display shows the note being played, and the alpha-numeric display indicates
whether the note is sharp or flat.Arrows to the left (<<<) indicate the note is sharp and
should be tuned down.Arrows to the right (>>>) indicate the note is flat and should be
tuned up.When your note is in tune, -><-is displayed.
4. To exit theTuner, press any numbered footswitch.
While the tuner is selected, you can set your tuning reference with Knob 1.The default fac-
tory setting is A=440 Hz.The tuning references range from 427 Hz to 453 Hz ( 50 cents (1/2
semitone) from either direction of 440 Hz). Below 427 Hz, are alternate dropped tunings.The
alternate tunings are REF A(A=Ab), REF G(A=G), and REF G(A=Gb).The display window briefly
flashes the selected tuning preference.
USB Setup
The RP1000 features a USB jack which connects it to a computer. The USB jack serves two pur-
poses: Streaming audio to and from a computer recording software application, and as a connec-
tion for use with the X-Edit editor librarian software (downloadable from www.digitech.com).
Note: PC users must download and install the ASIO driver to use the included Cubase® LE4
recording software.
There are two parameters in the effects matrix for adjusting USB parameters; USB Record Level
and USB Playback Mix
USB Record Level –This option provides a digital level control for boosting or cutting the level
sent to your recording application. Range is -12dB to +24dB.
USB Playback Mix –This option controls the playback mix between RP1000 processing and USB
playback from your computer’s recording application. The range for this control is from USB
Mix 0% (all that is heard is the RP1000 processing, no playback) to USB = RP (both USB playback
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and RP1000 have equal levels) to RP Mix 0% (all that is heard is the USB playback in the outputs,
no RP1000 processing).
To change the USB Setup options, follow these steps
1. From the preset name display, press the Edit Down button once to enter Edit mode. The
Wah row’s LED will be lit.
2. Turn Knob 4 to adjust the USB Playback Mix.
3. Turn Knob 5 to adjust the USB Record Level.
Changes made to the USB parameters are saved automatically and will affect the global perfor-
mance of the RP1000 and all of its presets. Audio recorded via USB in the RP1000 is always
tapped off of the audio feeding the XLR outputs.
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Section Five - RP1000 Effects Descriptions
Wahs
Wah is an effect controlled by an Expression Pedal making the guitar sound as if it’s saying
“Wah.”
DigiTech® Wah
DigiTech’s Full rangeWah sweeps the entire spectrum of audible frequencies giving you the most
range of tone from the wah pedal.
Dunlop® Crybaby™Wah:
ThisWah pedal is the more “traditional” soundingWah pedal that you will have heard in the 60’s
to the 80’s guitar solos.ThisWah sweeps the lower to mid range of the audible spectrum.
Vox® Clyde McCoy™Wah
ThisWah pedal was the “original” and was designed to try to emulate the sound of a muted
trumpet. Clyde McCoy was a trumpet player that had askedVox for a device that could make an
instrument sound like his muted trumpet.ThisWah has a “thinner” tone and sweeps more of the
upper end of the audible spectrum.
Compressors
A Compressor is used to increase sustain, tighten up guitars, and prevent the signal from clipping
the input of other effects. It sets a maximum boundary for the strength of a signal.
Boss® CS-2 Compressor/Sustainer
The CS-2 compresses high-input signals while boosting low-input signals, giving you smooth and
long sustain without degrading the quality of the original sound.
DigiTech Compressor
The DigiTech Compressor compresses high-input signals while boosting low-input signals, giving
you smooth and long sustain without degrading the quality of the original sound and also allows
you to adjust the tone of the compression.
MXR® Dynacomp
The MXR® Dynacomp will compress the high-input signals and boost the low-input signals
while adding its unique voicing that has become popular with many players for leads, clean
chicken picking, and simple boosts.
Noise Gates
A Noise Gate is used to control the volume of an audio signal. In its most simple form, a noise
gate allows a signal to pass through only when it is above a set threshold.When this happens, the
gate is ‘open’. If the signal falls below the threshold no signal is allowed to pass (or the signal is
substantially attenuated) and the gate is ‘closed’.
DigiTech Silencer Noise Gate
This noise gate allows you to reduce line noise or audio signal when that signal goes below the
set threshold. Depending on how you set the parameters (Threshold,AttackTime, Release, and
Attenuation) you can make the audio transition cut your signal at very low noise volumes or
high noise volumes.
DigiTech Auto Swell Gate:
This noise gate will also let you set the threshold of the noise floor but instead of a strict feel of
“opening and closing” the gate, you get more of an auto volume swell effect making it a smooth-
er transition between the open and closed positions.
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EQ
The RP1000 is equipped with a 3 band semi-parametric EQ which helps shape your tone with
Low, Mid, and High controls.
3 Band Semi-Parametric EQ
By adjusting the frequency and levels of each band, you can control how much or little of the
frequency range of 60 Hz to 8 kHz you want in your overall tone.
Chorus Stompbox Models
A Chorus adds a short delay to your signal.The delayed signal is modulated in and out of tune
and then mixed back with the original signal to create a thicker sound.The RP1000 includes the
following Chorus Effects: Boss® CE-2 Chorus, DigiTech® Dual Chorus, DigiTech Glistening Cho-
rus, DigiTech Multi-Chorus, Electro Harmonix® Small Clone,TC Electronics Chorus, andVoodoo
Labs Analog Chorus.
Boss® CE-2 Chorus
A very simple but popular Chorus pedal. Its simplistic two knob design makes it easy to use
adjusting the Speed and Depth of the Chorus while keeping a nice warm tone.
DigiTech Dual Chorus:
A warm dual voice chorus that allows you to adjust the speed, depth, level,AND wave form.
DigiTech Glistening Chorus:A more simplistic Chorus giving you a warm Chorus tone like the
CE-2 but adding a 3rd knob allowing you to adjust the overall level as well.
DigiTech Multi-Chorus
DigiTech’s famous Multi-Chorus allows you to get an incredible warm Chorus tone using 16
voices that interact with each other in Stereo Mode giving you the most incredible unique Cho-
rus tone you can imagine.
Electro Harmonix® Small Clone
A very lush, watery Chorus which can be heard on hits by bands including Nirvana.This Chorus
has a very “earthy” tone to it and definitely take your Chorus tone to a different place.
TC Electronics® Chorus
A Chorus pedal that was made for guitar but also used by Bass and keyboard players as well.
Many keyboardists use it to enhance their electric piano “Rhoads” sound.The speed knob con-
trols the speed of the chorus or flanger sweeps.The width knob controls how much frequency
change the effect spans.The intensity controls how much of the effect is used.
Voodoo Labs Analog Chorus
A strikingly vocal with distinct organic tone Chorus pedal. It is capable of a wide range of
sounds from a thick analog doubling, to an ultra-lush chorus, and even a Leslie rotating speaker.
Flanger
A Flanger uses the same principle as a Chorus but uses a shorter delay time and adds regenera-
tion (or repeats) to the modulating delay.This results in an exaggerated up and down sweeping
motion to the effect.The RP1000 includes the following Flanger Effects:
ADA Flanger, DigiTech Flanger, DigiTech Filter Flanger, DigiTechTriggered Flanger, Electro Har-
monix® Electric Mistress, and the MXR® Flanger.
A/DA Flanger
A super quiet Flanger with plenty of headroom. Made popular by its ability to get thick and juicy
tones from using not only the standard knobs of the normal Flanger but also the Harmonic knob
which offers the user a slightly different timbre going from even to odd harmonics.
DigiTech Flanger
DigiTech’s own Flanger model!This gives you the Flnager effect and allows you to control the
standard Speed, Depth, Regeneration, and Level of the Flanger effect.
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DigiTech® Filter Flanger
The DigiTech tone team expanded on the traditional flanger by adding a band pass filter in the
feedback path of the effect. Because of the filter, the filter flanger’s feedback affects only a set
amount of frequencies to generate a different flanger effect.
DigiTechTriggered Flanger
By setting the threshold sensitivity, you control when the Flanger starts sweeping, and by setting
the LFO Start knob, you controlWHERE in the sweep it starts! Next you can adjust the speed
that it sweeps and the overall level of the Flanger effect!
Electro Harmonix® Electric Mistress
This Flanger has a unique tone giving it a sort of Chorus/Flanger mixed tone making it not as dry
as some of the other Flangers (but with a more pronounced sweep). Its easy to use with only 3
knobs (Color, Range, and Rate) which also makes it a little easier to dial in your tone quicker.
MXR® Flanger
A big rich and organic Flanger tone made popular by such people as EddieVan Halen.The MXR®
flanger creates a variety of wild sounds from dynamic jet plane or cool space effects to short
delay, chorus and vibrato. Back offWidth to zero to disengage auto-sweep, then use the Manual
knob to physically place the effect anywhere along the frequency spectrum. Manual knob selects
frequency center of effect when auto-sweep is disengagedWidth knob at zero disengages auto-
sweep, rotates clockwise to increase total phase sweep of effect Speed knob modulates rate of
effect Regen knob feeds effect back onto itself at adjustable intensity, increasing the total phase
effect.
Phasers
A phaser splits the incoming signal, and then changes the phasing of the signal.This signal is then
taken in and out of phase and mixed back in with the original signal.As the phasing changes, dif-
ferent frequencies get canceled resulting in a warm sort of twisting sound.The RP1000 includes
the following Phaser types: DigiTech Phaser, DigiTechTriggered Phaser, Electro-Harmonix® Small
Stone, and the MXR® Phase 100.
DigiTech Phaser
This Phaser will give you the standard Phaser tone and options for controlling it via the Speed,
Depth, Regeneration, and Level settings.
DigiTechTriggered Phaser
Like theTriggered Chorus,You can set the threshold of the sensitivity knob to state what volume
you would like the Phaser triggered.Then using the LFO Start knob, you can set where in the
range of the Phaser you would like it to start from.
Electro-Harmonix® Small Stone
The Small Stone’s full-bodied, 3-dimensional phasing adds a special swirl to every musical style.
Blues players dig its rapidly rotating speaker effect while Country players use it to add season-
ing to their chicken’ pickin’. Metal-heads and Industrialists dig the Stone’s jet plane woosh. Its
simplistic 2 knob control panel (Rate and Color) make it easier to dial in a quick Phaser tone
that will be just right for you!
MXR® Phase 100
Another industry standard in Phase pedals with its own unique tones. It as well has a simplistic 2
knob control panel (Intensity and Speed).Along with the speed control that controls the speed
of the Phase sweep, there is the Intensity knob that selects four different intensities, defined as
preset waveform patterns. Between the intensity and speed settings, you’ll find quite a supply of
excellent sounds!
Pitch
The RP1000 comes equipped with effects to manipulate your pitch and do incredible things
with it like harmonize both intelligently and by using standard semitones, detune, and do cool
effects by raising and/or lowering your original notes from 2 octaves down to 2 octaves up! Pitch
pedals it is equipped with are: Boss® OC-2 Octaver, DigiTech Detune, DigiTech Harmony Pitch,
DigiTech Pitch Shift, and the ever popular DigiTechWhammy Pedal!!
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Boss® OC-2 Octaver
Based on the Boss® OC-2 OctaverTM, this adds two signals to your original guitar signal.The
first is one octave below your guitar, and the second is two octaves below your guitar. Each ad-
ditional signal has its own volume control.
DigiTech® Detune
A Detuner makes a copy of your incoming signal, takes the copied signal slightly out of tune from
the original, then mixes the two signals together.The result is a doubling type of effect as if two
guitars were playing the same part together.
DigiTech Harmony Pitch
Harmony Pitch Shifting makes a copy of the incoming signal, and then changes the pitch of the
copied note to a diatonically correct interval specified by the Amount parameter.A Harmony
Pitch Shifter sharpens or flattens the shifted pitch in order to keep the specified interval within
the selected key and scale creating a true harmony.
DigiTech Pitch Shift
A Pitch Shifter copies the incoming signal, then shifts the pitch of the copy to a different note.
The shifted note is then mixed back with the original signal, sounding as if two guitars were play-
ing different notes.
DigiTechWhammy™
The DigiTechWhammy is an effect that uses an Expression Pedal to bend the pitch of the incom-
ing signal, or add a bendable harmony with the original signal.As the Pedal is moved, the note
bends either up or down.
Vibrato / Rotary
DigiTech Rotary
The Rotary is an effect that produces the Doppler effect and volume change of a rotary speaker.
The sound is lush and full.
DigiTechVibrato
TheVibrato produces volume and tone change that can be found on surf and country classics.
DigiTechVibro / Pan
TheVibro/Pan not only changes volume but shifts it side to side.This effect is great for stereo
setups.
Unicord Uni-Vibe™
The Uni-Vibe creates a chorus type effect in tandem with a vibrato to produce a lush swirling
effect.
Tremolo
DigiTech Panner
Pans the sound from side to side.The speed controls how fast and the depth controls how much
of the signal is panned.
DigiTechTremolo
TheTremolo is a volume changing effect that can be heard on surf and country classics.
DigiTech ScatterTrem
The ScatterTrem combines two tremolos that are “out of sync” to produce an unpredictable
scattered tremolo sound.
Fender® OptoTremolo™
The sound of the Fender® OptoTremolo is as classic as their amps. Both tone shift and volume
effects are produced to create this unique tone.
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Vox® BiasTremolo
Another way to achieve a tremolo effect is to alter the bias of the poweramp tubes.ThisVox®
BiasTremolo produces the volume and tone effects to create a tone heard on many famous Brit-
ish tunes.
Envelope / Special
DigiTech® Envelope Filter
An envelope filter is also called a “auto-wah” for its wah effect.The amount of wah is dependent
of the output volume of your guitar – he harder you play, the more wah you get.A definite B-
Movie soundtrack tone.
DigiTech AutoYah™
If a wah, why not an effect that says “yah” when you use it?This is another take on the vowel
based effects but it is controlled the same way that the envelope filter is controlled.
DigiTech Sample & Hold
Using a changing filter, the Sample and Hold produces skipping tones
that can be heard in experimental and alternative music. Best used with distortion in front of the
effect.
DigiTech Step Filter
The Step Filter changes frequency in related patterns much like a sample and hold effect.
DigiTech SynthTalk™
Another DigiTech first, the SynthTalk™ makes your guitar sound like it’s talking due to vowel
like qualities.
DigiTechYaYa™
A descendent of a wah, theYaYa™ is a more complex circuit that produces a “ya” sound.
DOD® FX25 Envelope Filter
The DOD® FX25 is an classic analog envelope filter that can be found on many funk and alter-
native tracks. Used by both guitar and bass players.Try this one clean for a really funky sound.
Delays
Analog Delay
The analog delay produces delays that were derived from ”BBD” analog delay chips.The BBD
chips were the first ways to produce delay aside from the costly tape delays.The delay sound
was not HiFi but was reminiscent of the original signal and quickly became a cornerstone to
modern guitar sounds due to their warm qualities.
Boss® DM2 Analog Delay:
The DM2 is a classic and standard BBD analog delay that used 4,096 stages of delay.The frequen-
cy response and noise depended upon the delay time.The signal derogates with every repeat so
as the repeats are turned up, the signal becomes less and less recognizable and actually becomes
more of an “effect” than a delay.
Digital Delay
A digital delay can be called a perfect representation of your guitar’s signal. Desired for their bril-
liant qualities, digital delays have virtually no noise and a full frequency response.
Lo Fi Delay:The Lo Fi delay is an analog delay with a severely limited frequency response to
produce an even grungier delay effect.
Maestro EP-2Tube Echoplex
The Echoplex is the standard to which all analog delays are judged.The Echoplex was the first
widely used tape delay and had a tone all of it’s own.The Echoplex can be heard on many rocka-
billy, surf, country and rock tracks.
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Modulated Delay
A modulated delay is a digital delay with chorus added to the delays to produce a wider sound-
ing stereo delay.
Pong Delay
A pong delay’s repeats jump from side to side and requires a stereo setup.
Reverse Delay:The Reverse Delay senses the guitar’s input signal and plays the delayed guitar
backwards once it is sampled. Reverse delay used to be a studio trick, now with modern tech-
nology it exists in a stompbox!
Tape Delay
The tape delay effect produces a warm tone by limiting the frequency response and adding the
distortion that exists in a tape delay.
2-Tap Delay
While most delays are derived from a signal delay with one end tap, the 2-Tap Delay uses a single
delay line but with two endpoints that are spaced about at different ratios. Use this effect to add
more of a rhythmic quality to your delays.
Reverbs
EMT® 240 Plate Reverb
The EMT Plate Reverb is the reverence reverb to which all studio reverbs are compared to.
Using a large sheet of metal, one end of the “plate” was excited by a transducer and the sound
would then travel through the plate to the other side where the delayed tone was received.The
frequency response and dynamics of the signal would change when traveling through the plate
creating a reverb effect.
Lexicon® Ambience
The Lexicon Ambience reverb is full, bright and produces ambience around or behind your guitar
signal.
Lexicon Hall
The largest of the Lexicon reverbs, the Hall produces lush reverbs with a swirling decay unlike
any other reverbs today.
Lexicon Room
A great effect to produce a small room, the Lexicon Room produces that reverb found in many
isolation rooms in recording studios today.
Lexicon Studio
Larger than the Room reverb, the Studio Reverb is the Lexicon studio standard reverb algorithm.
Spring based on a Fender®Twin Reverb™
The tone and reaction of the spring reverb is captured! Surf’s up, the best setting is at maximum
- Cowabunga.
Distortions
Distortion and overdrive pedals were designed to give your guitar tone gain before it reaches
your amp. Many heavily distorted pedals such as the DigiTech Grunge™ were designed to pro-
vide most or all of the gain and run through a cleaner amp. Overdrives are great for boosting the
gain of your guitar sound and driving an already distorted amp giving your total tone, more gain
and a heavier feel. Overdrives on their own and ran into clean amps provide a bluesy tone.
Arbiter® Fuzz Face™
The Dallas Arbiter Fuzz Face surfaced in 1966 and used germanium transistors to get it’s unique
fuzzy sound and inspired many other fuzz pedals to follow.The Fuzz Face produces a thick wall
of edgy distortion and a very full low end. Perfect for creating ‘60s or modern stonerrock tones.
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Boss® DS-1™ Distortion
A truly classic distortion.A nice, common distortion that ranges in tone from rock to mild metal.
Use it to drive a distorted amp!
Boss MT-2 Metal Zone®
The Metal Zone will produce nearly any metal tone needed from tight, percussive Bay area
thrash to deep detuned grind core.
Boss OD-1 Overdrive
The OD-1 is perfect for just adding a little gain to your tone no matter what type of amp you
use.To produce a bluesy tone, use it with a clean combo.To drive your stack, crank the gain and
level.
Boss SD-1 Overdrive
With a little more gain than the OD-1, the SD-1 will drive any amp into another realm. If you’re
just looking for a good classic rock tone, this is it.
Demeter Fuzzulator
Enhancing the proper frequencies with a pre-emphasis tone circuit, the Fuzzulator produces
distortion that is unique and does not get muddy. It just gets better and the Fuzz is turned up.
DigiTech® Amp Driver
The Amp Driver distortion is designed to turn a regular distorted amp into a monster.The Amp
Driver not only distorts the guitar’s signal but also boosts frequencies around 600Hz. By em-
phasizing the frequencies around 600Hz amps can be driven harder and take on more of a metal
tone.A mean sound is not only how determined by how much gain you put in front of your amp,
but how hard you drive the amp and with what frequencies the amp is driven with.
DigiTech Death Metal™
Designed in 1992 to provide death metal musicians with a wall of sound, the Death Metal™
pedal does just that.Whether you play early ‘90s grindcore or modern death metal, the Death
Metal’s tone controls that are placed at the correct frequencies give you a multitude of sonic
options.
DigiTech Grunge®
In late 1991 as Grunge hit the radio the pedal was designed as the DOD FX69 Grunge.The
pedal was designed by a young engineer who played “punk” and was released as an experiment
to see what this “new type” of music was all about. Now a decade later, the Grunge is still a top-
seller.The Grunge produces tones from early famous Seattle sounds to borderline metal. Don’t
forget your flannel….
DigiTech Redline Modified Overdrive
Not your standard overdrive, the Redline takes overdrive to a place that never existed.The Red-
line’s circuit overdrives the guitar’s signal in a way that is not evenly clipped like the way a tube
amp distorts.Add extra gain and a thicker low end and the Redline was born.
DOD 250 Overdrive/Preamp
The DOD®250 is another classic overdrive.With no tone control to get in the way, the 250’s
beauty is just it’s pure overdrive.
DOD Classic Fuzz
A part of the original DOD FX family, the Classic Fuzz gained a following for its clearer voicing
as compared to many fuzz pedals.
DOD Gonkulator Ring Modulator
Meet the needs of many experimental guitarists, the Gonkulator was a silent hit only to become
a high cost interned item.The Gonkulator is a compination of a Grunge pedal and a ring modula-
tor that produces distortion and mixes in bell-like ringing.The first pedal with a “suck” knob.
Electro-Harmonix® Big Muff Pi®
A requirement for any alternative player, the Big Muff Pi’s thick fuzz is unmistakable in grunge,
new wave and many punk hits.
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Fulltone® OCD Overdrive
Straddling the border of overdrive and distortion, the OCD produces amazing harmonics and
drives any amp into oblivion.The overdrive is thicker than most yet clear letting every string and
note come through.
Guyatone® Overdrive OD-2
The OD-2 is yet a different flavor of overdrive.The OD-2’s is transparent and does not get in
the way when playing single notes or chords.
Ibanez®TS-9Tube Screamer™
One of the most famous pedals ever created, theTS-9 has not only stood the test of time but
can be found on nearly every pedal board.
IbanezTS-808Tube Screamer™
The predecessor to the famedTS-9 theTS-808 has spawned a whole boutique market around
modifications to this classis design. If you want one of the standards in overdrive, this is it.
Modified Ibanez®TS-9
Take aTS-9, add more gain and modify the low end to produce a thicker, bluesier overdrive.
MXR® Distortion +
A classic pedal due to it’s simplicity. Just plug in an go.The Distortion + produces good honest
distortion, perfect for driving a distorted amp.
Pro Co RAT™
Want gain?Want more gain?The Rat was one of the first pedals to take the gain to another
dimension.The filter control gives the Rat it’s unique tones and flexibility. It is rumored that early
Bay area thrash bands used it in conjunction with a Marshall® JCM800 to achieve their heavy
tones.
Roger Mayer Octavia™
Designed in 1967, the Octavia was featured on “Purple Haze” and “Fire” by Jimi.
Voodoo® Lab Sparkle Drive®
The Sparkle Drive mixes a 808 tone with boosted clean to form a perfect device to drive amps.
Amps
’99 Carvin® LegacyVL-100
SteveVai’s signature amp that he has been using since 1999. Custom tweaked tone to Steve’s
specifications featuring an EL-34 tube output stage. Very smooth for soloing.
‘57 Fender®Tweed Champ®
TheTweed Champ is a straight ahead, growly amp with that is best suited for blues and garage
music.The tone is nasely, distorts easy due to the low wattage but cuts through!
‘57 FenderTweed Deluxe™
One of the most sought after amps ever made, this is a tone you can’t get enough of. This baby
shows off its glory when pushed to the limits.
‘59 FenderTweed Bassman®
This classic really roars with lots of bottom end. Great for blues riffs but equally great for driv-
ing rock and roll rhythm guitar parts.
‘62 Fender Brownface Bassman®
From the era of the first tolex covered Fender® amps, this particular amp was used on the clas-
sic Hendrix song “Voodoo Child”.
‘65 Fender BlackfaceTwin Reverb®
The benchmark for twin speaker combos. This great amp is one of the most recognizable clean
tone on recordings for the last 40 years.
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‘65 Fender® Blackface Deluxe Reverb®
The single speaker version of its bigger brother, this amp is equally at home for blues, country
and rock players.
’59 Gibson® GA-40
A very cool blues/rock amp in the ranks with the Deluxes but with a personality all its own.
‘69 Hiwatt® Custom 100 DR103
This superb rock and roll amp was the staple of PeteTownshend’s tone in the early /70s. A
monster that has loads of headroom, this is at its best when cranked up all the way and paired
with the Fane 4x12 cab.
’69 Laney™ Supergroup
The Supergroup was used most notably byTony Iommi and was key to the sound of early Black
Sabbath records.
‘65 Marshall® JTM-45
Perhaps the turning point for blues and rock and roll, this amp set the course for the future of
Marshall® amps. It started the “crunch” revolution, turning up on classic songs from AC/DC and
most notably the Bluesbreakers “Beano” album featuring Eric Clapton.
‘68 Marshall 100Watt Super Lead (plexi)
This is undoubtedly the amp that changed rock and roll. It is a benchmark for many of the great-
est guitar sounds ever heard. From Hendrix toVan Halen, this amp is the real deal.
‘68 Marshall Jump Panel
This is the method to get the most saturation from the classic plexi. By jumping channel 1 into
channel 2, you get a bit more push over the top.
‘77 Marshall MasterVolume
This amp was king of rock and roll in the 70’s and one of our favorites. This JMP 100W amp
featured four 6550 output tube making it hot and punchy for rock and punk music alike.
‘83 Marshall JCM800
The amp that defined many of the metal sounds of the 80’s is still one of the most highly re-
spected Marshall® amps ever made.
‘93 Marshall JCM900
Incorporating a diode clipping stage, this amp gives you more gain than you can shake a stick at.
‘01 Marshall JCM2000 (Solo Channel)
TheTSL100 is a superb tone with tons of sustain for grinding riffs or singing solos.
‘81 Mesa Boogie® Mark II C
Based originally off hot rodded Fender® amps, this classic has some of the best rhythm and lead
tones ever. This amp was the peak for Mesa Boogie during their custom built to order days.
’86 Mesa Boogie .22 Caliber
A monster little combo with the classic Boogie Mark tone.
‘93 Mesa Boogie Mark IV
If high gain is your bag, this is up your alley. Still a hugely influential amp today as it was when
introduced over a decade ago.
‘96 Mesa Boogie Dual Rectifier
The new benchmark for metal guitar, this mid 90’s Rectifier series unleashed a new era of high
gain amp mayhem.
‘01 Mesa BoogieTriple Rectifier
The latest from the guys in Petaluma, this bigger brother of the dual rectifier packs and addi-
tional 50Watts of power.
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45
’95 Matchless™ Chieftain
A beautifully full amp tone with plenty of character. The Chief is a really great amp to use for
putting a slightly different color in your musical palette.
‘96 Matchless HC30
The perfect Class A crunch tone with tight responsive low end. This is right at home with coun-
try, blues, and rock
’74 Orange™ OR 120
This often overlooked amp from a great British amp company was used by greats like Jimmy
and Frank Zappa. No wonder the great Orange is making a comeback.
’99 Peavey® 5150® II
Designed in conjunction with EddieVan Halen by Peavey®, this amp offers gain for days.
’88 Randall® HT-100
A vintage solid state amp that ushered in a new metal generation. This was the amp Dimebag
used in the earlier Pantera days.
’84 Roland® JC-120
This solid state combo was synonymous with the sparkling clean sounds of the 80’s.
‘88 Soldano SLO-100
Considered one of the first “boutique” amp companies, the SLO 100 is a pure gain head’s dream.
Smooth distortion with incredible sustain, this amp is amazing.
’67 Sunn® 100S
Used by PeteTownshend in the late ‘60s US tour, these amps offered tons of headroom which
certainly delivered the SPLsTheWho loved.
‘62Vox® AC15
The first greatVox® amp. A single 12” version of its more famous 30Watt big brother, this amp
has much of the same character to offer.
‘63Vox AC30Top Boost
The quintessential amp that defined both Brian May’s and Edge’s sound. Just crank this amp up
and get some of the most awesome growl you will ever hear from an amp.
DigiTech® Blackbass – ’65 Blackface preamp w/ Bassman poweramp
What happens when you combine the cleaner input stage of Blackface and connect it to the
gritty poweramp of a Bassman?You get an experimental amp that works perfect for blues, rock-
a-billy, country and rock.You’ll want to drive this hard.
DigiTech Blues
A perfect combination of clarity and grit.The Blues amp cuts through but doesn’t get too muddy
as the gain is turned up.
DigiTech Bright Clean
A perfect clean combo amp structure, the amp is bright yet cleaner than most. Great for jazz,
surf, country, clean rock and metal.
DigiTech Brownsound - Hot rodded 80’s stack tone
The Brownsound is a hot-rodded Marshall® tone of the early ‘80s made famous by a wild, finger-
tapping guitarist.
DigiTech Chunk
Thicker than a Marshall®, the Chuck gives you lots of gain with plenty of low end that doesn’t
get in your way.
DigiTech CleanTube
The CleanTube is a very clean tube combo tone with just the right amount of 2nd harmonics.
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46
DigiTech® Crunch
The Crunch is just that, a tube head that crunches more than the rest.The crunch has extra gain
and cuts through. Perfect for both rhythms and solos.
DigiTechTweedface –Tweed preamp w/Blackface poweramp
Imagine combining two of the greatest Fender® amps into a single beast. That’s what we have
done with theTweedface. Take the preamp of the classicTweed Deluxe™ and combine it with
the output stage of the BlackfaceTwin Reverb® and here is the monster you get.
DigiTech Darkmetal
Producing a tight, focused tone, the Darkmetal has high gain, yet does not muddy up you guitars
tone. Perfect if you play intricate metal.
DigiTech Fuzz
The DigiTech Fuzz tone is based off of the fuzz tone of the late 60’s English bands with our own
twist with fizz. Thus making the DigiTech Fuzz ideal for 90’s grunge to today’s mix of music.
DigiTech GSP2101TM Artist CleanTube
The GSP2101 has become an iconic preamp processor for many players over the years. After
years of requests from players, we have brought the sounds back from their glory days. The
GSP2101 CleanTube captures the warmth and brightness while being able to drive it hard to
produce a nice warm clean sound with grit.
DigiTech GSP2101 Artist SaturatedTube
The sound of the GSP2101 preamp being the most used sound from the GSP2101. Mild to over
the top gain without getting a muddy sound. A perfect tone setting for all types of music.
DigiTech High Gain
For the rock or hard rock player who requires a lot of distortion as a starting point. A very
punchy tone for both rhythm and lead work reminiscent of a well polished production album.
DigiTech Metal
A true metal tone for both classic or modern style metal with a chunky bottom end. This set-
ting is able to achieve a variety of metal tones with the use of the EQ and gain controls.
DigiTech Monster
The DigiTech Monster was created on an operating table in a European castle with one thing
in mind, full-on dimed out molten metal gain. This is the perfect setting for death metal or the
Norwegian Sound.
DigiTech Mosh
This sound was created after the mid 80’s NYC and Bay Area tones. You will feel like you’re in
the pit while taken a “thrashing.” Big metal sound with a bit of sizzle.
DigiTech Solo
Dialed in tone ideal for laying down solos for country, rock, jazz, blues and even metal. Add a bit
of delay and reverb, and you have the perfect sound for any lick you can come up with.
DigiTech Spank
A bright and punchy clean sound that can be driven for a bit of edge. At home with funk or any
tone that needs some spanking.
DigiTech Stonerrock
The Stonerrock amp produces tones made famous by So-Cal and dessert bands.The Stoner-
rock’s huge, flubby low end and warm high end make you want to use your bridge pickup, turn
your guitar’s tone knob down and play Godzilla all night…….
DigiTechTransistor
TheTransistor setting emulates a grainy narrow EQ band sound of a solid state transistor lo-fi
amplifier. Great for use as an effect or to set the mood.
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47
Direct
No amp model
Dreadnaught Acoustic
Awesome dreadnaught acoustic simulation with an articulate top end. Best suited for middle
and neck pickups.
Jumbo Acoustic
A warmer acoustic model with more midrange.
Cabinets
1x8 ‘57 Fender®Tweed Champ®
A small speaker but a great way to cut through the mix.
1x12 ‘57 FenderTweed Deluxe®
A bluesman’s delight. Wonderful response with a classic tone when matched with its namesake
amp model.
1x12 ‘65 Fender Blackface Deluxe Reverb®
Solid tone can be combined with any amp for a great rhythm tone.
1x12 ‘62Vox® AC15
A great little cab perfect for rock and blues.
1x12 ‘59 Gibson® GA-40
Similar to the Deluxe cabs with emphasized top end for more bite.
2x12 ‘57 Fender® Blonde Bassman®
Warm dual speaker combo. Great for driving rhythm playing or clean chord comps.
2x12 ‘65 Fender BlackfaceTwin Reverb®
The benchmark that many others have tried to imitate. The classic clean tone at it’s best.
2x12 ‘63Vox AC30Top Boost w/ Jensen® Blue Backs
Amazing low end. These were our favorite speakers of the earlyVox/Jensen era.
2x12 ‘84 Roland® JC-120
Awesome for spankin’ clean tones with emphasized top end.
2x15 ’68 Sunn 200S w/JBL®-Lansings
Powerful bottom end from a landmark speaker designer. Classic tones from the late ‘60s.
4x10 ‘59 FenderTweed Bassman®
Powerful, throaty, and just plain cool. This mixed with its matching amp get you tones as cool as
they come.
4x12 Hiwatt® Custom w/ Fane Speakers
Unique warm tone was the perfect balance for the head it is originally paired with.
4x12 Marshall® 1969 Straight w/ Celestion® G12-T70
Great power handling speakers give you the classic Marshall® bite and chunk. Takes a lot of
power to break these up.
4x12 Marshall 1969 Slant w/ Celestion® 25W Green backs
Super speaker design provides a voice that is distinctive as it’s name. Great match for the Plexi.
4x12 ‘96 Johnson®Vintage w/ Celestion®Vintage 30’s
ClassicV30 sound with throaty midrange and great low end.
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48
4x12 ‘96VHT® Slant w/ Celestion®Vintage 30’s
A rare matchup from the guys atVHT. Great bite that really cuts through.
4x12 ‘07 Mesa/Boogie Rectifier w/Celestion®Vintage 30’s
The ultimate 4x12 for the heaviest tone. Massive bottom end and punchy midrange.
2x12 DigiTech® Bright
A particularly bright but full sounding combo cabinet. Great for clean.
4x12 DigiTech Alt Rock
The DigiTech Alt Rock is a dirtier cabinet with more sizzle than a standard 4x12 cabinet. Use if
you want to drive your tone over the edge.
4x12 DigiTech Chunk
The Chunk is a thicker cabinet that lends itself to hard rock and solos.This will help any amp cut
through the mix.
4x12 DigiTech Metal
The Metal cabinet provides a deeper but tight low end response. Great with any amp that needs
a little focus.
4x12 DigiTech Rock
Take a standard 4x12 and add just a little more 600Hz to cut through the mix, the Rock cabinet
not only sounds good for rock but excels at hard rock and gives distorted combos new life.
4x12 DigiTech Solo
One issue with solos, the need to cut through and not squash the sound.The Solo cabinet is
phrased to provide clear tone with maximum distortion.
4x12 DigiTech Spank
Need a jangley, funk high end?The Spank is perfect for funk.
4x12 DigiTech Speaker Compensation
The speaker compensation is from the GSP2101.The has become a standard in direct micing for
music of all types.
4x12 DigiTechVintage
A vintage speaker cabinet with that “broken in” warm tone.
4x12 Johnson® Straight w/ CelestionVintage 30’s
This tone is great when used for rock, hard rock and metal.The low end compresses just the
right amount due to the combination of the CelestionVintage 30’s and cabinet volume.
Direct
No cabinet model
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49
Section Six - Appendix
Specifications
General Specifications
A/D/A Converter:
Sampling Frequency:
DSP Section:
24-bit high performance audio
44.1 kHz
AudioDNA2™ DSP Processor
Simultaneous Effects:
Preset Memory:
Dimensions:
10
100 User Presets (1-00) / 100 Factory Presets (F1-F00)
19.5˝ Length x 10.75˝ Width x 3.75˝ Height
11.5 lbs.
Unit Weight:
Analog Input Connections
Guitar Input:
Impedance:
Maximum Input signal:
1M Ohms
8 dBu
Stompbox Loop Input:
Impedance:
Maximum Input signal:
475K Ohms
8 dBu
Amp Loop Input
Impedance:
Maximum Input signal:
16K Ohms
8 dBu
Analog Output Connections
Line Outputs
Impedance:
Maximum Output level:
1K Ohms unbalanced / 2K Ohms balanced
8 dBu
XLR Mixer Outputs
Impedance:
Maximum Output Level:
2k Ohms balanced
14 dBu
Stompbox Loop Output
Impedance:
Maximum Output signal:
600 Ohms unbalanced / 1.2K Ohms balanced
8 dBu
Amp Loop Output
Impedance:
Maximum Output signal:
600 Ohms unbalanced / 1.2K Ohms balanced
8 dBu
Headphone Output
Minimum Headphone
Impedance:
50 Ohms
Voltage Rails:
Electronic SNR:
USB:
Audio streaming:
Sample rate:
+/-15V
≥ 107dB
2.0 compliant
2 channels to computer, 2 channels from computer
44.1 kHz 24 bit
External Control Input
Looper Footswitch Input:
for use with optional DigiTech FS3X
Power Requirements:
US and Canada:
Japan:
Europe:
UK:
120VAC, 60 Hz Adapter: PS0913B-120
100VAC, 50/60 Hz Adapter: PS0913B -100
230VAC, 50 Hz Adapter: PS0913B -230
240VAC, 50 Hz Adapter: PS0913B -240
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Windows® Software Requirements
Vista Home/Premium, XP Home/Professional (SP2 installed, .NET 2.0 installed*)
Pentium®/Athlon™ 1.4GHz or later 512MB RAM (1GB RAM recommended)
180MB hard disk space for application
DVD-ROM drive
USB Port
Internet connection required for Cubase activation
*.NET 2.0 will be installed during installation of X-Edit software if required on XP systems
Mac® Software Requirements
OS 10.4.x or later
PowerPC G4/G5 1GHz or later
512MB RAM (1GB RAM recommended)
180MB hard disk space for application
DVD-ROM drive
USB Port
Internet connection required for Cubase activation
Tone Library
OVERDRIVE
DISTORTION
HOT RAT
SUSTAINER
FUZZOH
OVEREASY
DIRTYTUBES
ROCK 1
COUNTRY 2
WARM DRIVE
CRUNCH
TEXASTONE
ROCKABILLY
SOLO 1
BRITISH 2
AMERICAN 1
AMERICAN 2
TUBE DRIVE
SCOOPED
PUNCHY
SOLO 2
BRIGHT CLEAN
BIG PUNCH
SUPER GAIN
GRINDER
ROCKWAH
CHUNKY
SMOOTH
HEAVY
ROCK 2
BLUES 1
BLUES 2
BAD BOY
METAL 1
CLEAN 1
LEGACY LEAD
METAL 2
CLEAN 2
COUNTRY 1
BRITISH 1
Effects Library
CUSTOM/CHORUS
PHASER
FLANGER
PITCH
TREMOLO
SPRING REVERB
TREMOLO-TAPE DELAY
PITCH-DELAY
MOD DELAY-PLATE REVERB
ROTARY-DELAY
ENVELOPE-REVERB
VIBRO-DELAY
ROTARY-DELAY-SPRING
SLOW SWEEP
VIBROPAN
VIBE-DELAY
OCTAVE ROOM
A MAJOR
TRIPLET DELAY
SPACIOUS
CHORUS-DELAY
CHORUS-DLEAY-REVERB
FLANGER-DELAY
PHASER-DELAY
PHASER-MOD DELAY
PHASER-REVERB
DIGITAL DELAY-REVERB
DELAY-SPRING REVERB
CHORUS-REVERB
PONG DELAY-HALL RE-
VERB
ROTARY
ENVELOPE FILTER
DIGITAL DELAY
ANALOG DELAY
PONG DELAY
MODULATED DELAY
TAPE DELAY
HALL REVERB
PLATE REVERB
TAPE DELAY-SPRING RE-
VERB
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51
DigiTech®
8760 South Sandy Parkway
Sandy, Utah 84070
PH (801) 566-8800
FAX (801) 566-7005
Printed in the USA 12/2008
RP1000 Owner’s Manual 18-0597-A
©2008 Harman International Industries, Incorporated, all rights reserved.
Disclaimer: DigiTech, X-Edit, Production Modeling, Grunge, Death Metal, Jimi Hendrix™ Artist Series Pedal, DOD, Gonkulator,
DigiTechWhammy, Multi Chorus,AutoYa,YaYa, SynthTalk, Lexicon, Johnson Amplification and AudioDNA are trademarks of
Harman International Industries Inc. *Other product names modeled in this product are trademarks of their respective compa-
nies that do not endorse and are not associated or affiliated with DigiTech or Harman International Industries, Inc.ADA Flanger,
Arbiter Fuzz Face, Boss CE-2 Chorus, Boss CS-2, Boss DM-2, Boss DS-1, Boss Metal Zone, Boss OC-2 Octaver, Boss OD-1,
Boss SD-1, Celestion, Carvin Legacy, Demeter Fuzzulator, Dunlop Cry Baby, EH Big Muff ?, EH Electric Mistress, EH Small Clone,
EH SmallStone, EMT 240 Plate, Fender Blackface Deluxe Reverb, Fender BlackfaceTwin Reverb, Fender Blonde Bassman, Fender
Brownface Bassman, Fender OptoTremolo, FenderTweed Bassman, FenderTweed Champ, FenderTweed Deluxe, FenderTwin
Reverb, Fulltone OCD Overdrive, Gibson GA-40, Guyatone Overdrive, Hiwatt, IbanezTube Screamer, Jensen Blue Backs, Laney
Supergroup, Maestro EP-2, Marshall, Marshall JTM-45, Marshall JumpPanel, Marshall MasterVolume, Marshall Super
Lead, Matchless, Matchless Chieftain, Mesa/Boogie, .22 Caliber, Mark II, Mark IV, Dual Rectifier,Triple Rectifier, MXR, MXR
Distortion +, MXR DynaComp, MXR Flanger, MXR Phase 100, Orange OR120, Peavey 5150, ProCo Rat, Randall HT-100, Roger
Mayer Octavia, Roland JC-120, Soldano, Sunn 100S,TC Electronic Chorus, Unicord Uni-Vibe,VHT Amplification,Voodoo Labs
Analog Chorus,Voodoo Labs Sparkle Drive,Vox,Vox BiasTremolo,Vox Clyde McCoyWah, andVoxTop Boost are trademarks or
trade names of other manufacturers and were used merely to identify products whose sounds were reviewed in the creation of
this product.All other trademarks are the property of their respective holders. ©2008 Harman International Industries, Inc. All
Rights Reserved.
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