User guide

User Guide ♦ 18
Auto Wah (ATOWA1 - ATOWA2)
Also known as envelope wah, this effect simulates, for example, a wah pedal that automatically rocks back and forth each time a new
note is played. Because of this automatic rocking back and fourth, you can achieve an affect that is simply not possible with a standard
wah pedal. A perfect example of this effect can be heard on the guitar solo in the song, “What I Am,” by Edie Brickell and the New
Bohemians. Instead of a speed control, this effect has a “frequency” control. You can think of frequency as a “brightness” control.
Lower values create a deeper tone while higher values create a brighter tone. Each of the eight variations has a unique character. In
auditioning them, play both loud and soft notes to get an idea of how each variation responds to dynamics.
Wah Pedal (WAHPDL)
The “wah” pedal has been around since the early 60’s. The wah pedal uses a bandpass filter that exhibits a resonant peak at its
bandpass frequency. The resonant peak can be moved up and down in frequency by the player, and this makes for a striking emulation
of the human voice making a “waaaah” sound. A standard wah pedal usually has an on/off switch at the toe position, but since
expression pedals have no such on/off function, a momentary foot switch connected to the rear panel must be used to turn the wah
effect on and off.
Talk Box (TLKBX1 - TLKBX6)
This simulates the classic talk box effect made popular by Peter Frampton’s song “Show Me the Way” and later by Bon Jovi’s “Living
on a Prayer.” Originally, this effect was generated by a device that piped the instrument’s sound into your mouth via a plastic tube.
Moving your mouth as you played added vocal characteristic to the sound, which was picked up by a mic. This simulation doesn’t
generate specific words, but it does replicate a variety of mouth movements—without making you choke on a plastic tube. Each of the
eight variations has its own unique character. In auditioning them, play both loud and soft notes to get an idea of how each variation
responds to dynamics.
Volume Swell (SWELL)
With this effect, the strike of each note is silent but immediately fades up in volume afterward. For best results, try to silence each
note before playing the next one. Otherwise, you’ll hear a little bit of the subsequent note as the volume is very quickly being turned
down from the full level of the last note’s sustain.
Fixed Filter (FIXFLT)
This is like having a single parametric EQ before the amp models. Use the FX Freq control to set the frequency and the FX Wet/Dry
control to set the amount.
Fixed Flanger (FIXFLA)
A flanger is actually a very short delay (0 to 10 ms) with feedback that moves up and down periodically, so a fixed flanger is merely a
short delay with feedback. This can be used to achieve a sound similar to that of your amp in a small brick room—you can even use
the FX Freq control to set the size of the room.
Talk Pedal (TLKPDL)
This is the same effect as the talk box above but in this case the frequency of the talk box is control by the external expression pedal.
You can think of this as a wah pedal with a talk box sound.
Sci-Fi Effects (SCIFI1 - SCIFI5)
These sounds are just plain wacky. Use them to add an unexpected element to your performance or recording.
Tremolo Sequences (TRSQ 1 - TRSQ20)
Similar to the classic tremolo effect, but here the volume pulses in pre-programmed two-measure looping rhythmic patterns. There
is no speed control for this effect as it simply follows the current tempo or incoming MIDI Clock. The depth should be set at (99)
for best results. There are 20 different 32-step looped tremolo sequences, some with soft volume pulsing and soft with hard volume
switching. Don’t try to play rhythmically; best results are obtained either by holding sustained chords or arpeggiating the individual
notes of chords in time to the rhythm. Examples of tremolo sequences in the presets are preset 84 (“GRNDAY”), the sound from
Green Day’s 2004 hit “Boulevard of Broken Dreams”, 90 (“SYNCOP”), a sequence of syncopated rhythms, and 94 (“3+2+2+”).