Block Selections Names as they appear in HeadR

Amplifier Cabinet Microphone Impulse Response (Stock)

1 05 TANGERINE CH1 1 1X8 CUSTOM 1 DYN 7 1 60S412V
2 05 TANGERINE CH2 2 1X12 BLACK LUX 2 DYN 57 2 BIRCH115
3 59 TWEED BASS 3 1X12 TWEED LUX 3 DYN 409 3 BIRCH410
4 59 TWEED DELUXE 4 1X15 OPEN BACK 4 DYN 421 4 BLACKLINE810
5 59 DELUXE GAIN MOD 5 2X12 AC BLUE 5 COND 67 5 FAWN212
6 59 TWEED PRINCE 6 2X12 BLACK PANEL DUO 6 COND 87 6 TANGERINE212OB
7 64 BLACK LUX NORM 7 2x12 B30 7 COND 414 7 TANGERINE412
8 64 BLACK LUX VIB 8 2X12 SILVER CONE 8 RIBBON 121 8 TREAD412
9 64 BLACK VIB 9 4X10 TWEED BASS 9 DYN 20 9 60S412A
10 65 BLACK MINI 10 4X10 BLACK SR 10 DYN 12 10 WHITEMOON112C
11 65 BLACK PRINCE 11 4X12 CLASSIC 30W 11 WHITEMOON112OB
12 65 BLACK PRINCE REV 12 4X12 65W 12 JR112
13 65 BLACK SR 13 4X12 GREEN 25W 13 MKBASS212
14 67 BLACK DUO 14 4X12 GREEN 20W 14 TREAD212
15 67 BLACK SHIMMER 15 8X10 BLUE LINE 15 TWIN212OB
16 66 AC HI BOOST
17 66 AC HI BOOST MOD
18 66 FLIP BASS
19 BLUE LINE BASS
20 69 BLUE LINE SCOOP Distortions Dynamic/EQ Modulation
21 65 J45 1 WHITE BOOST 1 GREY COMP 1 MULTICHORUS
22 67 PLEXIGLAS VARI 2 TRI FUZZ 2 DYN111 COMP 2 CHORUS
23 68 PLEXI EL84 MOD 3 8-BIT CRUSH 3 GRAPHIC EQ 3 FLANGER
24 68 PLEXIGLAS 100W 4 ANXIETY OD 4 PARA EQ 4 VIBRATO
25 68 PLEXIGLAS 50W 5 ANXIETY OD V2 5 BASS EQ 5 AIR FILTER
26 82 LEAD 800 100W 6 MX DIST 6 GATE 6 AIR FLANGER
27 82 LEAD 800 50W 7 D1 DIST 7 AUTO SWELL 7 AIR VIBRATO
28 82 LEAD 800 BASS MOD 8 K DRIVE 8 NOISE FILTER 8 VIBE PHASER
29 82 LEAD 800 BRIGHT 9 GREEN JRC OD 9 SIDE COMP 9 ORANGE PHASER
30 82 LEAD 800 TS MOD 10 DC DISTORT 10 HOLD 10 TRON PHASER
31 M-2 LEAD 11 ROUND FUZZ 11 STONE PHASER
32 M-2 LEAD CAP MOD 12 B DIST 7000 12 ROTARY
33 92 TREADPLATE MODER 13 OCT FUZZ 13 TREMOLO
34 92 TREADPLATE RAW 14 D250 DRIVE 14 OCTAVES
35 92 TREADPLATE VINTAGE 15 S1 DRIVE 15 SMART HARM
36 93 MS30 16 BLACKOP DIST 16 TRON FILTER
37 99 PV51 II CLEAN 17 RING MOD
38 99 PV51 II CRUNCH Expression Reverb/Delay 18 DROP TUNE
39 99 PV51 II LEAD 1 VOLUME 1 STEREO DOUBLER 19 ACOUST SIM
40 RB-01B GREEN 2 SHINE WAH 2 AIR REVERB 20 DETUNE
41 RB-01B BLUE 3 BLACK WAH 3 ELEVEN REVERB 21 OCTAVES UP
42 RB-01B RED 4 MORE WAH 4 SPRING REVERB 22 ENV FILTER
43 SL-100 CLEAN 5 PANNER 5 TAPE ECHO
44 SL-100 CRUNCH 6 WHAM 6 BBD DELAY
45 SL-100 DRIVE 7 HARM 7 DYN DELAY
46 89 SL-100 EXT RANGE 8 CHORD WHAM 8 SHIMMER
47 11 EPB II CLEAN 9 FEED BACK 9 AIR DELAY
48 11 EPB II CRUNCH 10 TIME WARP 10 REV DELAY
49 11 EPB II LO-LEAD 11 PIT DELAY
50 11 EPB II HI-LEAD 12 AMBI VERB
51 84 J120 13 RESO DELAY
52 83 400R
 Expressions

VOLUME SHINE WAH

Based On Vox Wah

PRESET: Default EXP, Default

Linear, Half Range PRESET: Default, Closed, Open
VOL (100%) PEDAL (100%)
MIN VOL (0.0 to 100%) MAKE UP (-3.0 to +6.0dB)
LINEAR (ON / OFF)

Comments Linear should feel more gradual to Slightly different tones between Wahs. Wah's are a variable mid-frequen
most players. slight variations, but the same effect.

HARM PANNER
Based On
PRESET: + - OCT, +2ND_3RD, +3RD PRESET: Default, Machine, Ping
Minor_Major, +3RD_4TH, Pong, Stereo Fake, Vibro
+4TH_5TH, +5TH_6TH, +5TH_7TH,
-4TH_3RD, -5TH_4TH
PITCH (100%) L/R PAN (100%)
MIX (0.0 to 100%) RATE (100%)
OFFSET (0 to 100%) DELAY (-3000 to +3000 usec)
TRI/SQR SHAPE (0 to 100%)
DEPTH (100%)
SYNC (ON / OFF)

Similar to Smart Harmonizer but

variably controllable. See
modulation for more information. Moves the signal from right to left
Essentially a Whammy effect but in stereo applications. Square
with two separate re-tunings at shape is very abrupt, triangle
Comments both ends of the expression. more variable.
 BLACK WAH MORE WAH WHAM
Crybaby Way Morely Wah Digitech Whammy
PRESET: +1 OCT, +2 OCT, 4TH,
5TH, -1 OCT, -2 OCT, -2ND, -4TH, -
PRESET: Default, Closed, Open PRESET: Default 5TH, DIVE
PEDAL (100%) PEDAL (100%) PITCH (100%)
MAKE UP (-3.0 to +6.0dB) LEVEL (0 to 100%) OFFSET (0 to 100%)

es between Wahs. Wah's are a variable mid-frequency sweep. Each one will have This allows the signal to be re-
slight variations, but the same effect. tuned to different frequencies like
the Octaves or Detune effects, but
variably with the Expression
Pedal.

CHORD WHAM TIME WARP FEEDBACKER

Digitech Triple Whammy Digitech Time Warp
PRESET: +1 OCT, +2 OCT, 4TH, PRESET: Default PRESET: +4TH, +5TH, Octave,
5TH, -1 OCT, -2 OCT, -2ND, -4TH, - Unity
5TH, DIVE

PITCH (100%) WARP (100%) VOL (100%)

OFFSET (0 to 100%) DELAY (200 to 2400 msec) MIX (0.0 to 100%)
MIX (0.0 to 100%) RANGE (160 to 580Hz)
DELAY (0 to 2000 msec) FEEDBACK (100%) ATTACK (200 to 5000 msec)
SYNC (ON / OFF) MIX (0.0 to 100%) RELEASE (200 to 10000 msec)
FEEDBACK (100%) TAILS (ON / OFF)

FEEDBACK LPF (1000 to 10000Hz)

TAILS (ON / OFF)
Produces a sound that is a
function of the fundamental note
simulating 'feedback.' The
expression pedal increases the
feedback effect variably. This is a
Can provide the Whammy effect Simulates a tape being started or modified Compressor - adjust
to three separate fundamental stopped. At max Warp, it's Release time (primarily) to control
notes (Chord). essentially a reverse delay. the effect.
Dynamics

GRAY COMP DYNIII COMP SIDE COMP

PRESET: Default, Attacks, PRESET: Default, Attacks, PRESET: Default, Fast Release,
Standard Issue, Suppress Hammer, Spit, Suppress, Tight AF Heavy, Soft
SUSTAIN (0 to 100%) THRESHOLD (-60.0 to 0.0dB) THRESHOLD (-60.0 to 0.0dB)
LEVEL (0 to 100%) ATTACK (0.01 to 300.00ms) ATTACK (0.01 to 300.00ms)
GAIN (0.0 to 40.0dB GAIN (0.0 to 40.0dB
Sustain only affects the RATIO (1.0:1 to 100.0:1dB) RATIO (1.0:1 to 100.0:1dB)
Threshold, all other values are RELEASE (5 to 4000ms) RELEASE (5 to 4000ms)
static. KNEE (0.0 to 30.0dB KNEE (0.0 to 30.0dB
See definitions.

GRAPHIC EQ PARA EQ
PRESET: Default, Brighter, Crispy,
Darker, Edgy, Missing Mids, PRESET: Default, Agro, Brighter, Kap-n-Krunch, Less Honk, Lit AF,
Radio, Thin, Weight, Wrong Defkon 5, Fatter, Focused, Hole in Missing Bass, Mix, Modern, Radio,
Pickup the Middle, Round and Full, Smiley
GAIN (-20dB to +6dB) GAIN (-24dB to +12dB) FREQ (20 to 2000Hz)
Four frequency bands. Same
LOW (-12dB to +12dB) Q (0.2 to 10.0) controls.
LOW MID (-12dB to +12dB)
MID (-12dB to +12dB) TYPE 1 (SHELF, PEAK, 6dB, 12dB, 24dB, NOTCH)
HIGH MID (-12dB to +12dB) TYPE 4 (SHELF, PEAK, 6dB, 12dB, 24dB, NOTCH)
HIGH (-12dB to +12dB)

Increases/Decreases the relative Definitions cover Q in detail, but lower is a wider range of
volume of frequencies in a peak frequencies, higher is narrower. Type 1/4 have other options for top
shape around the key frequency and bottom frequencies. The Peak option is like a graphic EQ, shelf is
listed. Gain controls help to going to affect everything from the end of frequencies to the next
maintain original signal volume. parameter. Notch is not recommended - extremely narrow band.

AUTO SWELL HOLD GATE

PRESET: Default, Dynamic, Fast, PRESET: Default Gate, Default
Medium, Slow PRESET: Default, Fast, Slow, SlowesSuppress, Gate+Suppress

TRIG. SENSE (0 to 100%) LEVEL (-60 to +6 dB) THRESHOLD (-120.0 to 0.0dB)

ATTACK (5 to 2000ms) ATTACK (200ms/400ms/800ms) RELEASE (1 to 3000ms)

MODE (SLOW / FAST) RELEASE (0ms/400ms/1s/3.2s) GAIN (0.0 to 40.0dB
MIX (0 to 100%) NOISE FILTER (-120 to -60dB)
 Eliminates unwanted signal when
not playing. The Threshold is the
Taking inspiration from the EHX level of signal which is cut off.
This is a compressor with a pre- Freeze effect, this will sustain a Suggestion: Turn guitar volume
programmed Ratio and Knee. It note/chord for a very long time up, do not play, and decrease the
removes the initial pick attack and allow other notes and chords Threshold until there is no noise.
very well. Presets are probably to be played over it. Excellent Everything above that point
fine for most people. ambient tool. should be 'real' signal.
BASS EQ

PRESETS: Default, Elastic, Fatter,

Scratchy, Thickener
GAIN (-20dB to +6dB)

FREQ (1.0 to 10.0)

Q (shallow / DEEP)

The 'Freq' is lowest frequencies at

1 and higher range (for bass) at
10. Around 5-7 is a good depth
for bass. Q shallow is less
noticeable.

NOISE FILTER
PRESET: Default, Carefull,
Careless

HIGH THRESHOLD (-60.0 to 0.0dB)

LOW THRESHOLD (-60.0 to 0.0dB)

ATTACK (0.01 to 300.00ms)
RELEASE (5 to 4000ms)
Eliminates unwanted signal of
specific frequencies that are
typically 'noise.' This is a better
alternative for playing with less
dynamic range (high volume/low
volume ratio).
 Distortions

Overdrives WHITE BOOST GREEN JRC-OD ANXIETY OD ANXIETY OD V2

Based On Xotic RC Booster Ibanez Tubescreamer Fulltone OCD Fulltone OCD v2
PRESET: Default,
Analog Warmth, Bad
Breath - Bass, Bright PRESET: Default, Bright PRESET: Default, PRESET: Default,
Cut, Crunch, Dirt, Full Fuzz, Full Drive, Light, Bright, Full Drive, Bright, Full Drive,
Presets Gain Smooth, Warm Smooth Smooth
Distortion GAIN (0 to 100%) DRIVE (0 to 100%) DRIVE (0 to 100%) DRIVE (0 to 100%)
Level LEVEL (0 to 100%) LEVEL (0 to 100%) LEVEL (0 to 100%) LEVEL (0 to 100%)
Tone Controls TREBLE (0 to 100%) TONE (0 to 100%) TONE (0 to 100%) TONE (0 to 100%)
BASS (0 to 100%) LO-HI (LO/HI) LO-HI (LO/HI)

Drive and Level effect

Level is only volume output. Level alone,
boost, can drive an unity gain around 40%.
amp into overdrive Both around 30%.
though. Plenty of Mid frequency push, Pushing drive means
overdrive, lower lower at tone level needs to come
distortion at high gain. minimum. Drive is down a lot. Lo-Hi may v2 is louder, more
Unity volume seems to distortion, does not be a mid control? Tone distortion available.
be 10-20% on Level impact overall volume. has a good, useful Otherwise basically the
Comments control Unity gain around 50%. range. same.

Distortions DC DISTORT BLACK OP DISTORTION D1 DISTORTION MX DIST

Based On ProCo RAT Boss DS-1 MXR Distortion +
PRESET: Default,
PRESET: Default, Full Analog, Bright Crunch,
Gain, Fuzz, Light, Crunchy, Fat Drive, Full PRESET: Default, PRESET: Default, Hot,
Presets Smooth Crunch, Soft Drive Crunch, Hot, Mild Mild, Xtra Hot
DISTORTION (0 to
Distortion GAIN (0 to 100%) 100%) DRIVE (0 to 100%) DIST (0 to 100%)
Level VOLUME (0 to 100%) VOLUME (0 to 100%) LEVEL (0 to 100%) OUTPUT (0 to 100%)
Tone Controls BASS (0 to 100%) CUT (0 to 100%) TONE (0 to 100%)
TREBLE (0 to 100%)
 Drive and level effect
output. Unity gain
seems to be close to a
Versatile. Overdrive up sum fo 100% between
to 25%, Distortion up both. Tone is a large Near 50% on both is
Around 25% distortion to 85%, almost Fuzz sweep. At 0% there is almost unnoticeable.
increases a lot. Unity beyond that.Unity gain lots of low end, limited Distortion does not
gain around 35%. around 60%. Cutoff = highs. At 100% the impact volume.
Recommend keeping 0% is higher oppositive, lots of high Distortion near 100% is
EQ on the higher side, frequencies, 100% is end. Similar to real DS- classic rock heavy
Comments gets muddy otherwise. low. 1. crunch type.

Fuzz/Other TRI FUZZ ROUND FUZZ

Based On EHX Big Muff Fuzz Face 8 BIT CRUSH
PRESET: A Default, B
Default, C Default, D I Default, Rectify
PRESET: Default, Beef, Default, E Default, F Default, Repossesed,
Bright Heavy, Crushy, PRESET: Default, Fire, Default, G Default, H Resample1,
Presets Soft, Tizz, Warm Body Hot, Mild Default, Resample2, Reso Crush
RESAMPLE (.003 to
VOLUME (0 to 100%) VOLUME (0 to 100%) DRIVE (0 to 100%) 1.000)
CRUSH GAIN (0 to RESAMPLE SMOOTH (0
SUSTAIN (0 to 100%) FUZZ (0 to 100%) 100%) to 100%)
THRESHOLD (-60 to
TONE (0 to 100%) MIX (0 to 100%) 0.0dB
BIT MODE (OFF, A, B,
C, D, E, F, G, H, I, RECT, CRUSH COMP (-30 to
CUST) 0.0dB
FREQUENCY (20 to
BIT POWER (0 to 100%) 20000Hz)
Q (0 to 100%)

Unity gain around 50%,

Sustain = Fuzz or
distortion but the
range is pretty limited Unity near 50% of
between 10-100%. volume control. Fuzz
Tone below 30% is does not affect
very top heavy. Tone volume, and the range
around 50% seems of fuzz between 0-100 Good luck. This is a bizarre effect I have no luck
Comments good. is fairly limited. with getting a sound I find acceptable.
K DRIVE S1 DRIVE
Klon Centaur Boss SD-1

PRESET: Default,
Boost, Bright Drive,
PRESET: Default, Dirty, Funky, Heavy, Light,
Heavy, Light Medium Drive
DRIVE (0 to 100%) DRIVE (0 to 100%)
LEVEL (0 to 100%) LEVEL (0 to 100%)
TONE (0 to 100%) TONE (0 to 100%)

Unity near 30-35% on

level control. Drive
may impact volume
slightly. High drive Unity near 30% on
borders on distortion. level. Drive has no
Tone control limits effect on volume. Tone
highs slightly going to sweep is fairly limited -
0% and drops low end everything seems
a lot towards 100%. usuable here.

D250 DRIVE
DOD 250

PRESET: Default,
Bluesy, Boost, Crunchy,
Full Drive, Heavy, Ten

GAIN (0 to 100%)
LEVEL (0 to 100%)
Unity near 35% on
level. Gain is very
noticeable above 15%,
and approaching 100%
is going beyond
'overdrive.'

OCT FUZZ
MXR Octavia B DIST 7000

PRESET: Default, Full PRESET: Default, Aggressive, Beast, Dark, Edge, Full,
Drive, Light, Medium Light, Rectified, Smooth, Thick

VOLUME (0 to 100%) DIST LEVEL BASS HIGH MID FREQ

FUZZ (0 to 100%) DRIVE (0 to 100%) LOW MID LEVEL

BLEND LOW MID FREQATTACK

MASTER HIGH MID GRUNT

Blend at 50% seems

Unity volume near 25% evenly mixed between
possibly. Fuzz between wet/dry. Grunt doesn't
15% and 80% has a seem to have a large
decent tone sweep. impact. Attack can roll This is a bass overdrive design.
Below 15% is pretty of intial high Unity volume is around 50%
low focused, and frequencies in for both Drive and Dist Level.
above 80% almost all 'Deemph' and increase Level affects volume more
low frequency is gone. them with 'Emph.' though.
 Modulations

VIBE PHASER ORANGE PHASER TRON PHASER

PRESET: Default Chorus, PRESET: Default Mono,

Default Vibrato, 1 Bar Sync, PRESET: Default Mono, Default Stereo, MN Slow
Mid Wobble, Quarters, Vibe Default Stereo, Default Sync Sync, ST Fast Sync
RATE (1.0 to 8.6Hz) RATE (0.2 to 11.0Hz) RATE (0.10 to 10.00Hz)
DEPTH (0 to 100%) DEPTH (0 to 100%)
MODE (CHORUS / VIBE) FEEDBACK (0 to 100%)
STEREO (ON / OFF) STEREO (ON / OFF)
VOLUME (0 to 100%) MIX (0 to 100%)
SYNC (ON / OFF) SYNC (ON / OFF) SYNC (ON / OFF)
Comments

Based on Uni-Vibe effect.

Pairs great with Fuzz. Very Another block with good
useable range on all range. Mix at 100% is less
parameters. Vibrato is more Based on MXR Phase 90. Rate dramatic, 50% seems more
dramatic, as is more Rate and is a nice range from slight useable. though max of all
Depth. Volume 100% is unity signal movement to absolute other parameters is getting
gain, below that it reduces springy madness. Very away from being musical and
the overall volume. useable block. more 'alien'-sounds.

MULTI CHORUS CHORUS AIR VIBRATO

PRESET: Default Mono,

Default Stereo, MN3 Light,
MN3 Sync Half Bar, MN3 Wet, PRESET: Default Mono,
MN4 Light, MN4 Smear, MN4 Default Stereo, MN Intense,
Vibe, MN6 Heavy, MN6 Jitter, MN Light, MN Rich, MN Slow
MN6 Light, MN6 Rich, MN6 Flange, MN Sync4 , ST Fast PRESET: Default Mono,
Slow, ST3 Light, ST3 Sync 4ths, Spin, ST Heavy, ST Light N Default Stereo, Default Sync,
ST3 Wet, ST4 Light, ST4 Slow, ST Slow Flange, ST Eight Light, Eight Mono,
Smear, ST4 Vibe, ST6 Heavy, Sweet, ST Sync 1 Bar, ST Sync Quarter Heavy, Quarter Light,
ST6 Jitter, ST6 Light, ST6 Rich 8 Sixteen Stereo, Slow Pan Vib

RATE (0.1 to 10.0Hz) RATE (0.1 to 10.0Hz) RATE (0.1 to 12.0Hz)

DEPTH (0 to 100%) DEPTH (0 to 100%) DEPTH (0 to 100%)

LFO SHAPE (TRI / SINE) SINE / TRI SHAPE (0 to 100%)

PHASE OFFSET (0 to 360
PRE DELAY (0 to 100%) degree)
WIDTH (0 to 100%) MIX WIDTH (0 to 100%)
MIX (0 to 100%)
LO CUT (20 to 1000Hz)
VOICES (3, 4, 6) FEEDBACK (0 to 100%)
 SYNC (ON / OFF) SYNC (ON / OFF) SYNC (ON / OFF)
Voices: There is 3, 4, or 6
chorus effects happening at
the same time. 6 is a lot, 3 This is much more dramatic
and 4 seem more useable. Based on Boss CE-1. Depth is than the Vibrato block. Below
Depth above 66% is adding a about 1 semitone/half 10% depth is barely there.
lot of frequencies, sounds step/fret. Mix/Width is pretty Above 20% is significant.
muddy. Sine will sound even between the wet and 100% is more of a glitch
smoother than Triangle. Pre- dry at 100%. Feedback makes effect. Shape - 0% is closer to
delay gives more time space it sound less like true Chorus a Sine wave, 100% is
between the chorus effects, effect. Gets pretty spacey at triangular. Phase Offset
giving it a greater impact. Less max levels. Below 20% is definitely makes a more
Comments is more with this effect! barely noticeable. dramatic effect.

ROTARY RING MOD AIR FILTER

PRESET: Default BPF, Default

HPF, Default LPF 12, Default
LPF 18, Default LPF 24, 2 Beat,
PRESET: 120, 122, 21H, Foam AutoWah, AutoWah Sync, Bad
Drum, Memphis, Rover, Acid, Mixed Up, Radio, Reso
Watery, Wolf, Amp Cab, PRESET: DEFAULT, Bright, BP, Squelch, Thin Guy, Thin
Brake Heavy, Medium, Soft HP, Thin Pulse, Wubber

MOVE (ON/OFF) FREQ (200 to 2000Hz) FREQUENCY (20 to 20000Hz)

SPEED (SLOW / FAST) MIX (0 to 100%) RESONANCE (0 to 100%)
BALANCE (-100 to 100%) TONE (0 to 100%) FATNESS (0 to 100%)
MIX (0 to 100%) MIX (0 to 100%)
GAIN (-36.0 to 0.0dB)
MODE (24dB, 18dB, 12dB, BP,
HP)

LFO RATE (0.1 to 10.0Hz)

LFO DEPTH (0 to 100%)
LFO SYNC (ON / OFF)

Highly recommend using the

presets to start. Resonance is
how much of the modded
signal is run through the filter
Model or Preset is really again. Fatness is width of the
effecting the tone of the frequency filter, possibly. Gain
modulation. Balance away reduce overall signal volume.
from 0% is more 'wobble' to Ring Mod is a weird effect. Mix is only modded signal at
the sound. Speed On is faster. Higher Freq is a brighter tone. 100%. LFO is the movement
Mix is pretty useful, this is a Tone control doesn't do of the modulation
heavy effect. May be entirely much. The Mix is the main (rate/depth). LFO no depth is
presets for the Air Filter that show here. Suggest using Freq a static filter effect. Auto-wah
end up emulating the Rotary or Mix on the expression effect will be something like
Comments Speaker. pedal to dial in. 700Hz to 2kHz range.
 DETUNE SMART HARM
PRESET: DEFAULT, Answer 5th+7th, Answer 5th+OCT,
PRESET: DEFAULT, Delayed, Detuned 5th, Detuned OCT, Echo Fifth, Echo Fifth+Fourth,
Detuned Mid, Mono, Out of Echo Low, Echo OCT+Fourth, Echo Triad, Fifth, Fifth+OCTAVE,
Tune, Standard, Strong, Fifth+Seventh, Fifth Low&High, Glide, Glide Third, Low
Subtle, Wide Octave+Fifth, Octave, Third, TRIAD
SCALE (MAJ, MIN, MEL MIN, HARM MIN, DORI, PHRYG, LYDI,
MODEL: One Voice, Two MIXO, LOCRI, DIM, WHOLE, DOM7, DIM WHL, PENT MJ,
Voices PENT MN)
KEY (E, F, F#, G, G#, A, A#, B,
MIX (0 to 100%) C, C#, D, D#, LEARN)
VOICE 1 HARM (2nd, 3rd, 4th, 5th, 6th, 7th, Oct, 7th Low, 6th
DETUNE 1 (-50 to +50%) Low, 5th Low, 4th Low, 3rd, Low, 2nd Low, Oct Down)
VOICE 2 HARM (2nd, 3rd, 4th, 5th, 6th, 7th, Oct, 7th Low, 6th
DETUNE 2 (-50 to +50%) Low, 5th Low, 4th Low, 3rd, Low, 2nd Low, Oct Down)
VOICES (ONE/TWO) MIX (0 to 100%)
LEVEL (0 to 100%) VC2 VOL (-60 to 6dB)
WIDTH (0 to 100%) VC1 Detune (-50 to +50)
DELAY 1 (1 to 300ms) VC2 Detune (-50 to +50)
DELAY 2 (1 to 300ms) GLIDE (0 to 800ms)
LOW CUT (20 to 500Hz) VC1 Delay
HIGH CUT (500 to 20000Hz) VC2 Delay
SYNC (ON / OFF)
This is essentially making a chord from a single note. With
This can be a subtle the right settings, this is a killer effect. Music Theory highly
modulation almost like recommended. Pick the scale and key to play in. The two
Chorus, or downright voices are re-tuned from the original signal. Octaves, 3rds,
unbareable. I'm having a hard 4ths, and 5ths sound best. VC Volumes and Mix control how
time finding something I much of the modded signal is apparent. Mix 50% is equal
would use, apologies, but between the modulation and original. Plays well with fuzz.
Comments you're on your own. There may be a slight oscillation?
STONE PHASER AIR FLANGER FLANGER
PRESET: Default Mono, PRESET: Default Mono,
Default Stereo, MN A Lite Default Stereo, Default Sync,
Touch, MN Feeder, MN Slow MN Simple, MN Tripper, ST
PRESET: Default Mono, + Deep, MN Triller, ST Basic, Death Flange, ST Flutter, ST
Default Stereo, MN Slow ST Choo Choo Sync, ST Move, Light, ST Robot, ST Simple, ST
Sync, ST Wahish Sync ST Shifter, ST Upset Slow Trip, ST Sync Half
RATE (0.1 to 10.0Hz) RATE (0.1 to 10.0Hz) RATE (0.1 to 10.0Hz)
DEPTH (0 to 100%) DEPTH (0 to 100%) DEPTH (0 to 100%)
FEEDBACK (0 to 100%)
STEREO (ON / OFF) PRE DELAY (0.0 to 12.0ms)
MIX (0 to 100%) WIDTH (0 to 100%) STEREO ( 0 to 180 DEGREE)
SYNC (ON / OFF) MIX (0 to 100%)
Based on EHX Small Stone.
Another block with good
range. Mix at 100% is less FEEDBACK (0 to 100%) FEEDBACK (-100% to +100%)
dramatic, 50% seems more SYNC (ON / OFF) SYNC (ON / OFF)
useable. though max of all Feedback at 100% (+ or -) is
other parameters is getting Feedback at 20-50%. Rate 1- not musical. Rate above 2-3
away from being musical and 3Hz, Depth 30-40%, and use Hertz gets very dramatic.
more 'alien'-sounds. Feedback the Mix to control this effect. Depth below 40% is also
has a more wide range than Outside that, this is kind of recommended. Not nearly as
Tron Phaser. unbareable. useable as most effects.

VIBRATO TREMOLO

PRESET: Default SQR MN,

Default SQR ST, Default TRI
MN, Default TRI ST, MN
Gentle Half, MN Hard Eights,
MN QTR Gate, MN Soft Half,
MN Soft Sixteen, MN Triplett
PRESET: Default Mono, Skip, ST 8 Gate, ST Bar Slow
Default Stereo, Default Sync, Pan, ST Light QTR, ST Narrow
MN Slow, MN Trill, ST Half, ST Rotor, ST Sample
Chopper, ST Light, ST Slow Hold, ST Sixtreen, ST Trips
RATE (BAR, 3/4, 5/8, 1/2, 3/8,
1/2T, 1/4, 3/16, 1/4T, 1/8,
1/8T, 1/16, 1/16T, 1/32,
RATE (3.2 to 12.0Hz) 1/32T, 1/64, 1/128)
DEPTH (0 to 100%) DEPTH (0 to 100%)
TRI / SQUARE SHAPE (0 to
100%)
PHASE OFFSET (0 to 360
degree)
WIDTH (0 to 100%)
SYNC (ON / OFF) SYNC (ON / OFF)

Based on Boss TR-3. Not

much effect below 40%
depth. Shape: 0% is Sine,
100% is Triangle. Phase offset
Based on Boss VB-2. Depth makes an impact, maybe a
below 20% is low impact. 'fuller' sound. 50% depth and
Above 50% starts getting 100% shape is pretty 'Fender
toward the 'sea-sick' sound. amp' style Tremolo.

TRON FILTER ACOUSTIC SIM

PRESET: DEFAULT, BANDPASS, PRESET: Default, Enhance,

BASIC, EXTREME, HEAVY, HI Jumbo, Jumbo Bright, Piezo,
PASS HONK, SUBTLE Standard, Standard Bright
MODEL: Standard, Jumbo,
DEPTH (0 to 100%) Enhance, Piezo
BASE FREQ (20 to 1000Hz) BODY (0 to 100%)
RESO (0 to 100%) TONE (0 to 100%)
FAT (0 to 100%) LEVEL (0 to 100%)
MIX (0 to 100%)

GAIN (-36.0 to 0.0dB)

MODE (24dB, 18dB, 12dB, BP,
HP)

First, do NOT use an Amp/Cab

model with this effect. A
Recommend using presets. guitar amplifier will ruin this
Similar to Air Filter - it's a effect, recommend PA or
moving frequency filter. The recording. Recommend the
rate is not adjustable, though. Jumbo with all parameters
Resonance near 100% makes maxed. Not Tested: with
some fun crazy noises your acoustic or piezo equipped
dog won't like. guitar.
DROP TUNE OCTAVES OCTAVES UP

PRESET: DOWN 1, 2, 3, 4, 5, 6, PRESET: Default, OCT 1, OCT PRESET: Default, OCT 1, OCT
7, 8 1+2, OCT 2 1+2, OCT 2

MIX (0 to 100%) OCT 1 (0 to 100%) OCT 1 (0 to 100%)

LEVEL (-60 to 6dB) OCT 2 (0 to 100%) OCT 2 (0 to 100%)

MIX (0 to 100%) MIX (0 to 100%)

Down: How many semi- This is one or two octaves

tones/half steps/frets down down (Same key, or "drop
the signal is shifted. Mix: tuned" by 8). One octave
100% is only drop tuned, 0% down 100% and Mix 100% is
is only original. Level boosts the best "Guitar to Bass"
or cuts only the modulated emulation. Octave 2 is sub- Similar to Octave effect, but
signal. Mix 100% for trying to bass, and more useful in the the modulated signal is
truly play drop-tuned. Mix higher register. With Fuzz or Octaves higher. This can
and level change with like 3,5 Distortion, Mixing the octaves provide a shimmer type
or 8. Sounds like there's can create some great effect. Mixing is important for
multiple guitars. sounds. this effect to work.
 Fender "Tweed" Amps
Block Name 59 DELUXE GAIN MOD 59 TWEED DELUXE
59 Fender "Tweed" Deluxe
Based On (modified) 59 Fender "Tweed" Deluxe
Cabinet Linked 4X12 GREEN 20W 1X12 TWEED LUX
Microphone
Linked DYN 421 DYN 409
For Bass?
GAIN GAIN (0 to 100%) MIC VOL (0 to 100%)

VOLUME/MASTER MASTER VOL (0 to 100%) INST VOL (0 to 100%)

BASS BASS (0 to 100%)
MIDDLE MIDDLE (0 to 100%) TONE (0 to 100%)
TREBLE TREBLE (0 to 100%)
PRESENCE PRESENCE (0 to 100%)
BRIGHT BRIGHT (ON / OFF)
OTHER 1 TREMOLO (ON/OFF)
OTHER 2 TREM SPEED (0.25 to 20Hz)
OTHER 3 TREM DEPTH (0 to 100%)
OTHER 4 TREM SYNC (ON / OFF)
Comments Lots of gain with master and Excellent breakup and
gain up. EQ is pretty strong. overdrive sounds. Tone
Bright switch does not much. control very effective despite
no further EQ. Lower tone is
lower frequencies, higher is
higher frequencies.

Block Name 64 BLACK LUX VIB 64 BLACK LUX NORM

Based On 64 Fender Deluxe Reverb 65 Fender Deluxe Reverb

Cabinet Linked 1X12 BLACK LUX 1X12 BLACK LUX
Microphone
Linked COND 414 DYN 421
For Bass?
GAIN

VOLUME/MASTER VOL (0 to 100%) VOL (0 to 100%)

BASS BASS (0 to 100%) BASS (0 to 100%)
MIDDLE
TREBLE TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE
BRIGHT
OTHER 1 VIBRATO (ON/OFF) VIBRATO (ON/OFF)
OTHER 2 VIB SPEED (0.25 to 20Hz) VIB SPEED (0.25 to 20Hz)
OTHER 3 VIB INTENSITY (0 to 100%) VIB INTENSITY (0 to 100%)
OTHER 4 VIB SYNC (ON / OFF) VIB SYNC (ON / OFF)
Comments Breakup noted around 50- Vibrato and Normal Channel
60%. Bass control doesn't may be phase inverted from
seem to be very effective. each other.

Engl Amps
11 EPB II CLEAN 11 EPB II CRUNCH

11 Engl Powerball II 11 Engl Powerball II

4X12 CLASSIC 30W 4X12 CLASSIC 30W
DYN 57 DYN 57

GAIN (0 to 100%) GAIN (0 to 100%)

MASTER VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%)
BRIGHT (ON / OFF) BRIGHT (ON / OFF)

BOTTOM (ON / OFF) BOTTOM (ON / OFF)

MID BOOST (ON / OFF) MID BOOST (ON / OFF)
DEPTH PUNCH (0 to 100%) DEPTH PUNCH (0 to 100%)
GATE (0 to 100%) GATE (0 to 100%)
EQ seems to be active - over More distortion than clean,
50% it adds volume, not just gain above 75% seems fizzy
changing spectrum. Midboost,
Bright, Bottom switches seem
to be non-active. Gain affects
volume. Almost no distortion.
Depth punch doesn't seem
very impactful.

Block Name 67 PLEXIGLASS VARI 68 PLEXI EL84 MOD

Based On 67 Marshall Super Lead Plexi 68 Marshall Super Lead - EL84
Cabinet Linked 4X12 65W 4X12 GREEN 20W
Microphone LinkedRIBBON 121 COND 87
For Bass?
GAIN HIGH VOL (0 to 100%) GAIN (0 to 100%)
VOLUME/MASTER NORM VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS BASS (0 to 100%) BASS (0 to 100%)
MIDDLE MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE PRESENCE (0 to 100%) PRESENCE (0 to 100%)
BRIGHT BRIGHT (ON / OFF)
OTHER 1 TREMOLO (ON/OFF)
OTHER 2 TREM SPEED (0.25 to 20Hz)
OTHER 3 TREM DEPTH (0 to 100%)
OTHER 4 TREM SYNC (ON / OFF)
Comments Similar to J45 but more gain Gain controls distortion and
on tap. Sounds good cranked, has some effect on volume.
clean not so much. Master Volume can decrease
to lower volume but keep
distortion. EL84's are more
known in Vox amps. The
distortion here is not the
typical 'Marshall sound' but
it's a great heavy crunch.

Soldano Amps
Block Name 89 SL-100 CLEAN 89 SL-100 CRUNCH
Based On 89 Soldano SLO-100 Super Lead89 Soldano SLO-100 Super Lead
Cabinet Linked 4X12 CLASSIC 30W 4X12 65W
Microphone LinkedDYN 421 DYN 7
For Bass?
GAIN PRE AMP (0 to 100%) PRE AMP (0 to 100%)
VOLUME/MASTER MASTER VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS BASS (0 to 100%) BASS (0 to 100%)
MIDDLE MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE PRESENCE (0 to 100%) PRESENCE (0 to 100%)
BRIGHT BRIGHT (ON / OFF) BRIGHT (ON / OFF)
OTHER 1
OTHER 2
OTHER 3
OTHER 4
Comments Very clean below 70%. Eqs at Solid crunchy gain, and the
50% sounds slightly treble- higher the gain the more the
focused. Bright mode is 'scooped' EQ is impacting the
effective. sound. Presence control
sounded better as low as
possible.

Mesa Amps
Block Name 85 M-2 LEAD 85 M-2 CAP MOD
Based On 1985 Mesa Boogie Mark IIC+ 1985 Mesa Boogie Mark IIC+ (m
Cabinet Linked 4X12 CLASSIC 30W 4X12 CLASSIC 30W
Microphone LinkedDYN 57 DYN 57
For Bass?
GAIN DRIVE (0 to 100%) DRIVE (0 to 100%)
VOLUME/MASTER MASTER VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS BASS (0 to 100%) BASS (0 to 100%)
MIDDLE MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE PRESENCE (0 to 100%) PRESENCE (0 to 100%)
BRIGHT BRIGHT (ON / OFF) BRIGHT (ON / OFF)
OTHER 1 VOL (0 to 100%) VOL (0 to 100%)
OTHER 2
OTHER 3
OTHER 4
Comments Strong gain here, even with Much less gain than the non-
Drive way down. Doesn't modded M-2. Again, EQ
clean up very well with guitar section is fantastic. Bright
volume rolled back. Master mode seems to take out lows,
Volume doesn't affect rather than boost highs.
distortion. EQ parameters are
excellent - the entire range is
useful. Cranked Drive and
Volume (not Master) and
scoop the EQ totally - it's a
fuzz!
Fender "Tweed" Amps
59 TWEED PRINCETON 59 TWEED BASSMAN

59 Fender "Tweed" Princeton 59 Fender "Tweed" Bassman

1X12 TWEED LUX 4X10 TWEED BASS

DYN 409 DYN 7

YES
BRIGHT VOL (0 to 100%)

INST VOL (0 to 100%) NORM VOL (0 to 100%)

BASS (0 to 100%)
TONE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%)
PRESENCE (0 to 100%)

Light overdrive sound with For clarity, drop the bass and
volume up. Tone control goes boost the other Eqs. Bright is a
from very low-end heavy, up separate channel. Both can be
to pretty useful. Not much of blended for heavier overdrive.
a harsh spot on the high end.

Fender "Blackface" Amps

64 BLACK VIB 64 BLACK SR 65 BLACK MINI

64 Fender Vibroverb 64 Fender Super Reverb 65 Fender Champ 6W

1X12 BLACK LUX 4X10 BLACK SR 1X8 CUSTOM

COND 87 DYN 421 COND 67

VOL (0 to 100%) VOL (0 to 100%) VOL (0 to 100%)

BASS (0 to 100%) BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%) TREBLE (0 to 100%)

BRIGHT (ON / OFF) BRIGHT (ON / OFF)

VIBRATO (ON/OFF) VIBRATO (ON/OFF) VIBRATO (ON/OFF)
VIB SPEED (0.25 to 20Hz) VIB SPEED (0.25 to 20Hz) VIB SPEED (0.25 to 20Hz)
VIB INTENSITY (0 to 100%) VIB INTENSITY (0 to 100%) VIB INTENSITY (0 to 100%)
VIB SYNC (ON / OFF) VIB SYNC (ON / OFF) VIB SYNC (ON / OFF)
 Bright switch has significant Breakup around 60%. Bright Breakup around 70%.
impact. Breakup around 65%. switch has moderate effect.

Engl Amps
11 EPB II LO LEAD 11 EPB II HI LEAD

11 Engl Powerball II 11 Engl Powerball II

4X12 CLASSIC 30W 4X12 CLASSIC 30W
DYN 57 DYN 57

GAIN (0 to 100%) GAIN (0 to 100%)

MASTER VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%)

BOTTOM (ON / OFF) BOTTOM (ON / OFF)

MID BOOST (ON / OFF) MID BOOST (ON / OFF)
DEPTH PUNCH (0 to 100%) DEPTH PUNCH (0 to 100%)
GATE (0 to 100%) GATE (0 to 100%)
More distortion than crunchy, A lot of gain. The noise gate
smoother distortion as well. being available makes this
No bright switch. channel workable.

Marshall Amps
68 PLEXIGLAS 50W 69 PLEXIGLAS 100W 82 LEAD 800 100W
68 Marshall Super Lead 50W 68 Marshall Super Lead 100W 1982 Marshall JCM800 100W
4X12 GREEN 25W 4X12 GREEN 25W 4X12 CLASSIC 30W
COND 87 DYN 57 DYN 409

HIGH VOL (0 to 100%) HIGH VOL (0 to 100%) PREAMP (0 to 100%)

NORM VOL (0 to 100%) NORM VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%) MIDDLE (0 to 100%)
 TREBLE (0 to 100%) TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%) PRESENCE (0 to 100%)

Seems to struggle with high Maybe the most versatile of With everything at 50%
frequency clarity. Better for the early Marshall style there's something close to a
lead or with (guitar) volume models. Still, very little clean workable clean sound. This
rolled back. Otherwise, it sound that's worth using. High has a more balanced EQ than
seems pretty muddy. and Normal Volume control the earlier Marshall style
gain and together control models. Both Master and
volume. This is the Marshall Preamp control volume but
style. most gain comes from the
Preamp.

Soldano Amps
89 SL-100 DRIVE 89 SL-100 EXTRA RANGE
89 Soldano SLO-100 Super Lead89 Soldano SLO-100 Super Lead
4X12 65W 4X12 CLASSIC 30W
COND 87 DYN 57

PRE AMP (0 to 100%) GAIN (0 to 100%)

MASTER VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%)
BRIGHT (ON / OFF)
MOD (ON / OFF) TREMOLO (ON/OFF)
TREM SPEED (0.25 to 20Hz)
TREM DEPTH (0 to 100%)
TREM SYNC (ON / OFF)
There is a ton of gain here. Like Drive channel but even
Experiencing hum with MORE. Great for tapping.
humbuckers mat max guitar
volume. Rolling off volume
cleans up nice, a little more
volume into a crunch. Fairly
scooped EQ.

Mesa Amps
92 TREADPLATE MODERN 92 TREADPLATE RAW 92 TREADPLATE VINTAGE
92 Mesa Boogie Dual Rectifier 92 Mesa Boogie Dual Rectifier 92 Mesa Boogie Dual Rectifier
4X12 CLASSIC 30W 4X12 CLASSIC 30W 4X12 CLASSIC 30W
DYN 57 DYN 57 COND 67
GAIN (0 to 100%) GAIN (0 to 100%) GAIN (0 to 100%)
MASTER VOL (0 to 100%) MASTER VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%) PRESENCE (0 to 100%)

This is a great Mesa modern Something different from the Good crunchy distortion, very
distortion sound. Chords and other 92 Treadplates that mid heavy. Sounds rather
single notes really ring out. EQ sounds weird to me. Maybe a muddy with all parameters in
is powerful, maybe better 20- different shift in the mid the middle.
80% than full range. range?
 Peavey Amps
99 PV51 II CLEAN 99 PV51 II CRUNCH 99 PV51 II LEAD

99 Peavey 5150 II 99 Peavey 5150 II 99 Peavey 5150 II

4X12 CLASSIC 30W 4X12 CLASSIC 30W 4X12 CLASSIC 30W

DYN 421 DYN 421 DYN 421

POST (0 to 100%) POST (0 to 100%) POST (0 to 100%)

PRE GAIN (0 to 100%) PRE GAIN (0 to 100%) PRE GAIN (0 to 100%)

LOW (0 to 100%) LOW (0 to 100%) LOW (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%) MIDDLE (0 to 100%)
HIGH (0 to 100%) HIGH (0 to 100%) HIGH (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%) PRESENCE (0 to 100%)
BRIGHT (ON / OFF) BRIGHT (ON / OFF)
RESO (0 to 100%) RESO (0 to 100%) RESO (0 to 100%)

Pre-gain = adds distortion More distortion than clean. A lot of distortion. No bright
prior to EQ. Post = adds Otherwise the same. Very switch.
distortion after EQ. Resonance usable range of gain.
and Bright Switch don't affect
much.

ce" Amps

65 BLACK PRINCETON 65 BLACK PRINCETON REVERB 67 BLACK SHIMMER

67 Fender Pro Reverb
65 Fender Princeton 65 Fender Princeton Reverb (modified)
1X12 BLACK LUX 1X12 BLACK LUX 2X12 SILVER CONE

COND 414 COND 414 COND 87

GAIN (0 to 100%)

VOL (0 to 100%) VOL (0 to 100%) MASTER VOL (0 to 100%)

BASS (0 to 100%) BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%)
BRIGHT (ON / OFF)
VIBRATO (ON/OFF) VIBRATO (ON/OFF) TREMOLO (ON/OFF)
VIB SPEED (0.25 to 20Hz) VIB SPEED (0.25 to 20Hz) TREM SPEED (0.25 to 20Hz)
VIB INTENSITY (0 to 100%) VIB INTENSITY (0 to 100%) TREM DEPTH (0 to 100%)
VIB SYNC (ON / OFF) VIB SYNC (ON / OFF) TREM SYNC (ON / OFF)
 Breakup around 70%. Breakup around 70%. Breakup only with Gain and
Master up high. Presence
control has significant impact.
Bright little effect.

Vox Style Amps

93 MS30 66 AC HI BOOST 66 AC HI BOOST MOD
66 Vox AC30 Top Boost
93 Matchless MS30 66 Vox AC30 Top Boost (Modified)
2x12 B30 2X12 AC BLUE 2X12 AC BLUE
RIBBON 121 COND 87 DYN 7

VOL (0 to 100%) GAIN (0 to 100%)

MASTER VOL (0 to 100%) NORM VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%) BASS (0 to 100%)
CUT (0 to 100%) CUT (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%)
BRILLIANT VOL (0 to 100%) BRIGHT (ON / OFF)

TREMOLO (ON/OFF) TREMOLO (ON/OFF)

TREM SPEED (0.25 to 20Hz) TREM SPEED (0.25 to 20Hz)
TREM DEPTH (0 to 100%) TREM DEPTH (0 to 100%)
TREM SYNC (ON / OFF) TREM SYNC (ON / OFF)
MS30 is based on Vox AC30. Cut is a mid-control that is Adds Middle and Presence
Seems more clear than the AC linked to the Treble control. control. Additionally, Gain and
HI BOOST models. Linked This is how orignal Vox amps Master Volume both control
cabinet is different though, worked as well. overall volume and distortion.
V30's are more focused than Bright mode rather
Blue speakers. noticeable.

Marshall Amps
82 LEAD 800 50W 82 LEAD 800 BASS MOD 82 LEAD 800 BRIGHT
1982 Marshall JCM800 50W 1982 Marshall JCM800 50W 1982 Marshall JCM800 50W
4X12 CLASSIC 30W 4X12 GREEN 25W 4X12 CLASSIC 30W
DYN 409 COND 67 RIBBON 121

PREAMP (0 to 100%) GAIN (0 to 100%) GAIN (0 to 100%)

MASTER VOL (0 to 100%) MASTER VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%) PRESENCE (0 to 100%)
BRIGHT (ON / OFF) BRIGHT (ON / OFF)
TREMOLO (ON/OFF) TREMOLO (ON/OFF)
TREM SPEED (0.25 to 20Hz) TREM SPEED (0.25 to 20Hz)
TREM DEPTH (0 to 100%) TREM DEPTH (0 to 100%)
TREM SYNC (ON / OFF) TREM SYNC (ON / OFF)
Basically the same as the Similar to the other 82's but Basically the same as the 82
100W version, but it does quite a bit more gain. No idea 50W regular, with a bit more
break up into distortion why anyone wants a tremolo high frequency clarity.
earlier. This is a very 80's rock on here but whatever. Maybe
style sound. 50% on all more bass than the other
parameters and adjust the 82's?
Preamp for gain, and that will
work great for what it's meant
for.

Bogner Amps
97 RB-01B RED 97 RB-01B BLUE 97 RB-01B GREEN
97 Bogner Ecstasy 97 Bogner Ecstasy 97 Bogner Ecstasy
2x12 B30 2x12 B30 2x12 B30
COND 87 COND 87 COND 87

GAIN (0 to 100%) GAIN (0 to 100%) GAIN (0 to 100%)

VOL (0 to 100%) VOL (0 to 100%) VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%) PRESENCE (0 to 100%)
BRIGHT (ON / OFF) BRIGHT (ON / OFF) BRIGHT (ON / OFF)
BOOST (0 to 100%) BOOST (0 to 100%) BOOST (0 to 100%)

Significant distortion, maybe Low frequencies not very clear Edge of breakup at full gain.
better described as very without EQ adjustment. Great Bright switch quite noticeable.
overdriven. A little delay crunch sound. Boost adds lots of volume.
added really makes this
channel sing.

Bass Amps
69 BLUE LINE BASS 69 BLUE LINE SCOOP
69 Ampeg SVT 300W 69 Ampeg SVT 300W (modified
8X10 BLUE LINE 1X15 OPEN BACK
DYN 20 COND 67
YES YES
GAIN (0 to 100%)
VOL (0 to 100%) MASTER VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%)
BRIGHT (ON / OFF) BRIGHT (ON / OFF)
U-HIGH (0 to 100%) TREMOLO (ON/OFF)
MID FREQ (220 to 3000Hz) TREM SPEED (0.25 to 20Hz)
U-LOW (0 to 100%) TREM DEPTH (0 to 100%)
TREM SYNC (ON / OFF)
Classic bass amp sound. Mid Different tone options and a
Frequency sweep is a nice tremolo option. However, the
option. No appealing main difference here is Gain
distiortion at max Volume. applies some distortion. Great
rock sound.
 Orange Amps
05 TANGERINE 30 CH1 05 TANGERINE 30 CH2

05 Orange AD30 05 Orange AD30

2x12 B30 2x12 B30

DYN 57 DYN 57

GAIN (0 to 100%) GAIN (0 to 100%)

MASTER (0 to 100%) MASTER (0 to 100%)

BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%)
TREBLE (0 to 100%) TREBLE (0 to 100%)

Not much clean here. Gain No clean here. Gain and

and master both affect master both affect distortion.
distortion. Max both for heavy Max both for mid gain
overdrive. Middle EQ seems distortion. Middle EQ seems
to be very helpful to find good to be very helpful to find good
tone. tone.

67 BLACK DUO

67 Fender Twin Reverb

2X12 BLACK PANEL DUO

COND 414

VOL (0 to 100%)
BASS (0 to 100%)
MIDDLE (0 to 100%) Fender style amps are quite scooped. Boost mids and drop
TREBLE (0 to 100%) bass/treble for a more even EQ.

BRIGHT (ON / OFF)

VIBRATO (ON/OFF) So far, all Fender style amps seem to have triangluar wave
VIB SPEED (0.25 to 20Hz) tremolo effects.
VIB INTENSITY (0 to 100%)
VIB SYNC (ON / OFF)
 None of these amps do mid or high gain on their own. Classic
Breakup over 70%. Bright 'pedal-platform' amps for having a base clean sound that can
seems to add gain. be colored from there.

Roland Amps
84 J-120H
84 Roland Jazz Chorus
120W
2x12 SILVER CONE
DYN 57

DIST (0 to 100%)
VOLUME (0 to 100%)
BASS (0 to 100%)
MIDDLE (0 to 100%)
TREBLE (0 to 100%)
HI TREBLE (0 to 100%)
REVERB (0 to 100%)
CHORUS
(FIXED/OFF/MANUAL)
RATE (0 to 100%)
DEPTH (0 to 100%)
STEREO (ON / OFF)

Our first amp with built in

reverb, and chorus too! This
is a classic, high headroom
clean amp. The distortion
effect is...probably close to
the original, might not be to
your taste. This amp works
well as a pedal platform,
jazz amp, or other clean-
style playing amp.

82 LEAD 800 TS MOD 65 J45

1982 Marshall JCM800 50W 65 Marshall JTM45
4X12 CLASSIC 30W 4X12 GREEN 20W
DYN 409 DYN 409

PREAMP (0 to 100%) HIGH VOL (0 to 100%)

MASTER VOL (0 to 100%) NORM VOL (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%)
MIDDLE (0 to 100%) MIDDLE (0 to 100%)
 TREBLE (0 to 100%) TREBLE (0 to 100%)
PRESENCE (0 to 100%) PRESENCE (0 to 100%)

Supposedly just an 82 50W Original JTM45 was based on

with a built in Tubescreamer Fender Bassman, with
circuit. It kind of sounds that components readily available My prefence on these
way. in UK. The original crunch Marshall models is to increase
master. High and Normal Treble and Presence to 60-
volume control gain. Both 75%, and drop Bass to about
volumes up is nearly the same 20%. Crank the gain and rock
as only one up. I believe this is out. These are killer sounds.
similar to the actual amp However, there's no
being 'jumped.' Presence preferable clean sounds, but
between 40-80% seems most turning guitar's volume down
useable. does help.

Bass Amps
66 FLIP BASS 83 400R
Ampeg B-15 Flip Top Amp Galien-Krueger
1X15 OPEN BACK 8X10 BLUE LINE
DYN 409 DYN 20
YES YES
VOL (0 to 100%)
VOL (0 to 100%) BOOST (0 to 100%)
BASS (0 to 100%) BASS (0 to 100%)
LO MID (0 to 100%)
TREBLE (0 to 100%) HI MID (0 to 100%)
TREBLE (0 to 100%)
-10dB (ON / OFF)
LOCUT (ON / OFF)
HI BOOST (ON / OFF)
MID CONT (ON / OFF)

Another classic bass amp Probably the most versatile

sound. A little less in the very bass amp option at this point.
low frequency range - it Lots of EQ Options. MID CONT
doesn't 'push' like the Blue is for shaping the mid
Line amps. Solid choice frequencies.
though.
Cabinets
Axis On/Off - more highs with on axis microphone placement
Breakup Simulates pushing the speaker hard. 0%=Off, 100%=Strong
Out Gain Affects Volume coming out of block (RANGE)
Amp Gain Not sure?
Mic Type See Microphone Page
Name Description
1X8 CUSTOM 8" Speaker, Small Fender Combo style. Open Back
1X12 BLACK LUX 12" Speaker, Fender 60s Combo, open back, Jensen speaker
1X12 TWEED LUX 12" Speaker, Fender 50s Combo, open back, Jensen speaker
1X15 OPEN BACK 15" Speaker - Ampeg Bass cabinet, closed back
2X12 AC BLUE Two 12" Speakers, Vox style, Celestion Blue style speakers, open back
2X12 BLACK PANEL DU Two 12" Speakers, Fender 60s style, Jensen speakers
2x12 B30 Two 12" Celestion Vintage 30 speakers, open back?
2X12 SILVER CONE Two 12" speakers, Roland Jazz Chorus style, open back
4X10 TWEED BASS Four 10" speakers, Fender Bassman style. Originally a bass cabinet
4X10 BLACK SR Four 10" speakers, Fender Super Reverb style
4X12 CLASSIC 30W Four 12" speakers, Celestion Vintage 30 style, closed back
4X12 65W Four 12" speakers, Celestion G12-65 'creamback' style, closed back
4X12 GREEN 25W Four 12" speakers, Celestion G-12H 'greenback' style, closed back
4X12 GREEN 20W Four 12" speakers, Celestion G12-M 'greenback' style, closed back
8X10 BLUE LINE Eight 10" speakers, Ampeg style, bass cabinet, closed back
Partial Credit to:
https://www.elevenrackpresets.com/ElevenRackampswithpics1.pdf

Microphone
1 DYN 7
2 DYN 57
3 DYN 409
4 DYN 421
5 COND 67
6 COND 87
7 COND 414
8 RIBBON 121
9 DYN 20
10 DYN 12

Condenser mics have a fast response time, and capture high frequencies and overtones very well. This makes them well suite
Ribbon mics have a slow response, roll off the high frequencies and accentuate lower frequencies. They also are not as comm
Dynamic mics are a good middle road between ribbon and condenser. Very common choices for guitar and bass recording. Th
Shure SM57 is probably the most recorded microphone in the guitar world. It's a safe bet if you're looking for an easy soluti
 Impulse Response (Stock)
1 60S412V
2 BIRCH115
3 BIRCH410
4 BLACKLINE810
5 FAWN212
6 TANGERINE212OB
7 TANGERINE412
8 TREAD412
9 60S412A
10 WHITEMOON112C
11 WHITEMOON112OB
12 JR112
13 MKBASS212
14 TREAD212
15 TWIN212OB
 Comments
Less bass

Somewhat scooped

Fairly flat response, a little less clarity/top end.

Fairly flat response, doesn't break up much
Somewhat bass heavy, breaks up easily

Fairly flat response, slightly more low/mid

Low and lower-mid range elevated
Low and lower-mid range elevated
Low and lower-mid range elevated

Based On
Shure SM7
Shure SM57
Sennheiser MD409
Sennheiser MD421
Neumann U67
Neumann U87
AKG C414
Royer 121
ElectroVoice RE20
AKG 112

nes very well. This makes them well suited for distorted sounds. They can fit well in mixing with a band.
r frequencies. They also are not as common for high-peak audio signals - like drums or heavy rythym parts.
choices for guitar and bass recording. They are also used in vocal recording, so consider additional EQ adjustment in a band mix.
fe bet if you're looking for an easy solution.
Based On
Four 12" speakers, Celestion G12-T-75 'greenback' style, closed back
15" Speaker - Bass cabinet, closed back
Four 10" speakers, Fender Super Reverb style
Eight 10" speakers, Ampeg style, bass cabinet, closed back
Two 12" Speakers, Vox style, Celestion Blue style speakers, open back
Two 12" Celestion Vintage 30 speakers, open back
Four 12" Celestion Vintage 30 speakers, closed back
Four 12" Celestion speakers - 2x Vintage 30 2x Custom 90, closed back
Four 12" speakers, Celestion G12-65 'creamback' style, closed back
Blackstar 1x12" closed back
Blackstar 1x12" open back
One 12" Speaker, Jensen speaker? Fender style, open back
Two 12" Speakers with Neodymium Magnets, Bass Cabinet
Two 12" Celestion Vintage 30 speakers, closed back?
Two 12" Eminence Speakers, Fender style, open back
 Type
Dynamic
Dynamic
Dynamic
Dynamic
Condenser
Condenser
Condenser
Ribbon
Dynamic
Dynamic

in mixing with a band.

ms or heavy rythym parts.
onsider additional EQ adjustment in a band mix.
Comments

Maybe not a bass cab?

Road King? Otherwise all 4 V30's

Not sure on speaker style.

Not sure on speaker style.

Bass Cab
 Reverbs
SHIMMER AMBI VERB AIR REVERB
PRESET: Default, Bright, PRESET: Default, Bright, PRESET: Ambient, Chamber,
Ghost, High, Low, Predelay Clean, Long, Long+Mod, Church, Dense, Hall, Non-
Scape, Soft, Soundscape Short, Very Long Linear, Room, Studio

MODEL (Room, Hall,

Chamber, Studio, Nonlinear,
Church, Dense, Ambient)

INTERVAL (-2 OCT, -1 OCT,

+1 OCT, +2 OCT)

PRE DELAY (1 to 4000ms) ATTACK (0 to 100%) TIME (0.1 to 144sec, Infinity)

REV TIME (0 to 100%) RELEASE (0 to 100%) SIZE (0 to 100%)
TONE (0 to 100%) TONE (0 to 100%) COLOR (20 to 20000Hz)

HIGH CUT (500 to 20000Hz)

WIDTH (0 to 100%)
MIX (0 to 100%) MIX (0 to 100%) MIX (0 to 100%)
SYNC (ON / OFF) MOD (0 to 100%)
TAILS (OFF/ON) TAILS (OFF/ON) TAILS (OFF / ON)

Comments Digital Reverb is really a series of delayed signals with some additional characteristics, mostly repeated decay with
Pre-Delay or Attack is the time before the signal begins the delay effect
Time, Size, Release is the length of the repeated delay signals
Tone/Color affects which part(s) of the signal are increasingly cut off as the effect continues.
Mix is the comparison between original and affected signal - 50% is equal between both. 100% is only Reverb sign
Width is the amount the right and left signals are different. (Stereo)
Sync and Tails are described in Definitions
Air and Eleven Reverbs have a very powerful 'Model' choice that desctibes the basis for the algorithm of the Reve

All Delays can sync to a tap tempo in divisions of the set tempo, or the delay
DELAY separation in ms.
Stereo Doubler REVERSE DELAY PITCH DELAY
 PRESET: Default, Default_0,
4 Seconds, Ambient, Bar PRESET: Default Down,
PRESET: Light, Narrow, Repeat, Delayed Answer, Default Up, Fall and Vanish,
Rough Double, Tight + Wide, Eelayed, Filtered, Quick Falling, Falling Deeper,
Wide Answers Rising, Rising Higher
Delay (1/128, 1/64, 1/32T,
1/32, 1/16T, 1/16, 1/8T, 1/8,
1/4T, 3/16, 1/4, 1/2T, 3/8,
SEPARATION (0 to 199ms) DELAY (1 to 5000ms) 1/2, 5/8, 3/4, BAR)
INTENSITY (0 to 100%) FEEDBACK (0 to 100%) FEEDBACK (0 to 100%)

MODEL: +13 Semi, +12 Semi, +11

LEVEL (0 to 100%)
DETUNE (0 to 100%)
LOW CUT (20 to 500Hz) LOW CUT (20 to 500Hz)
HIGH CUT (500 to 20000Hz) HIGH CUT (500 to 20000Hz)

MIX (0 to 100%) MIX (0 to 100%)

WIDTH (0 to 100%) WIDTH (0 to 100%)
SYNC (ON / OFF) SYNC (ON / OFF)
TAILS (OFF/ON) TAILS (OFF/ON)

This might be the most

versatile effect block in the
HeadRush. With Feedback
This effect emulates a This takes the original signal and Delay at minimum, it
second guitar track and can and reverses it, giving a can be a Harmonizer or
add some great texture and unique warp type sound. Ocatve effect, with High Cut
depth to the sound. Mix below 50% can be a and Low Cut effectively an
However, it reminds me of great creative ambient EQ. With Delay times longer,
80's hair metal a lot, so the sound. High Cut and Low Cut this can take a plain reverb
less of this effect, the better offer great options to the into full on atmospheric
in most applications. repeats as well. reverb.

RESO DELAY
PRESET: Default,
Ambient Major, Ambient
Minor, Bathroom, Dark
Ambient
SCALE / KEY
TRIGGER SENS (0 to
100%)
ATTACK (5 to 2000 ms)
RANGE
(BASS/LOW/MID/HI)
FEEDBACK (0 to 100%)
MIX (0-100%)
LPFREQ (500 to 20000
Hz)
WIDTH (0 to 100%)
TAILS (ON / OFF)
Sweet ambient tool, still
learning it. LP is low pass,
or high cut. Everything
above this frequency willl
be eliminated.
 SPRING REVERB ELEVEN REVERB
PRESET: Default Mono, Default Stereo, MN Large, MN
Light, MN Picky, MN Tight, ST Bright+Tight, ST Bright PRESET: Arena, Big Theater, Bright Hall, Cathedral, Church,
Wash, ST Standard, ST Tight, ST Warm Wash ( Concert Hall, Early Ref1, Early Ref2, Echo Room Short,
Extra Long1, Extra Long2, Garage, Jazz Club, Long Plate,
Med Plate, Med Room, Med Theater, Med Tiled Room,
Med Wood Room, Rich Hall, Small Music Club, Small Plate,
Small Room, Small Theater, Studio, Just a Little Room,
MODEL (Echo Room Short, Studio, Small Room, Jazz Club,
Small Music Club, Garage, Medium Room, Medium Tiled
Room, Medium Wood Room, Small Theater, Medium
Theater, Big Theater, Rich Hall, Concert Hall, Bright Hall,
Church, Cathedral, Arena, Small Plate, Medium Plate, Long
The Spring Reverb is modelled after a real Fender Spring Plate, Extra Long1, Extra Long2, Early Reflection1, Early
Tank. MN = Mono, ST = Stereo. Reflection2

DECAY (1 to 5.4sec) DECAY (0 to 100%)

PRE DELAY (0 to 200ms)
TONE (3.2kHz to 17.0kHz) TONE (0 to 100%)

WIDTH (0 to 100%)
MIX (0 to 100%) MIX (0 to 100%)
DIFFUSION (OFF/ON) <<(Not sure what it does)
TAILS (OFF / ON) TAILS (OFF / ON)

cteristics, mostly repeated decay with some effect on the frequency spectrum.

ffect continues.
tween both. 100% is only Reverb signal. 20% or less seems appropriate usually.

he basis for the algorithm of the Reverb signal.

ons of the set tempo, or the delay can be dialed into a particular

TAPE ECHO BBD DELAY AIR DELAY

Maestro Echoplex EHX Deluxe Memory Man
 PRESET: Default Mono,
Default Mono Sync, Default
Ping Pong, Default Ping Sync,
MN Dub, MN Echo Quarters,
MN LoFi Quarter, MN Reso
PRESET: Default, Default Answer, MN Slapback, MN
Sync, Analog Long, Basic, PRESET: Default, Default Thin Res Echoes, ST Bounce,
Doubling, Feeding Frenzy, Sync, Double, Echo Light, ST Bright Wash, ST Doodle,
Fuzzy Halves, Sixteenths, Echo Long, Mod Chorus, ST Dub, ST Feeder, ST Long
Slap Sync, Slightly Damaged, Mod Vibtrato, Regen, Regen Thin Answer, ST Slapback, ST
Warm, Whole Bar Sync, Slapback Thin Answer, ST Wash

DELAY (20 to 2400ms) DELAY (32 to 1520ms) DELAY (1 to 4000ms)

FEEDBACK (0 to 100%) FEEDBACK (0 to 100%) FEEDBACK (0 to 100%)
FEEDBACK LPF (1000 to 20000
RECORD LEVEL (0 to 100%) IN GAIN (0 to 100%) FEEDBACK RES FRQ (100 to 1
WOW (0 to 100%) LFO SPEED (0.5 to 5.00Hz) FEEDBACK RESO (0 to 100%)
HEAD TILT (0 to 100%) LFO DEPTH (0 to 100%) FEEDBACK HPF (20 to 1000Hz)

HISS (OFF/ON) HISS (OFF/ON) RATIO (-100% to 100%)

MIX (0 to 100%) MIX (0 to 100%) MIX (0 to 100%)
WIDTH (0 to 100%)
SYNC (ON / OFF) SYNC (ON / OFF) SYNC (ON / OFF)
TAILS (OFF/ON) TAILS (OFF/ON) TAILS (OFF/ON)
Pretty standard delay with a
Wow and Head Tilt are couple of tricks up it's
referring to tape delay sleeve. First, the Feedback
characteristics that add Resonance allows the
some modulation to the repeats to focus on a
sound. Record level has an Just like the Memory Man, particular frequency,
impact on overall and the LFO is a vibrato/chorus potentially enhancing a
repeated signal volume. effect applied to the repeats. single note that's played (not
Feedback goes from very Feedback is amount of unlike the feedbacker). It
short to suprisingly long, for repeats. In Gain is overall can also create great
tape style delay. Mix - 50% is signal volume. Hiss is a ambient sounds With the
equal volume repeat to minimal effect to mimic HPF/LPF (High and Low Pass
original signal. Hiss emulates early equipment. With Filters) the EQ can be
an analog style hiss to the Feedback and Delay time at narrowed in to create very
sound. I don't recommend minimum, and Mix at 50% structured sounds. Ratio -
the Hiss unless the vintage it's a chorus effect, 100% is repeats are totally stereo
sound is really your goal. vibrato. ping-pong at +/-100%.
 ig Theater, Bright Hall, Cathedral, Church,
y Ref1, Early Ref2, Echo Room Short,
a Long2, Garage, Jazz Club, Long Plate,
Room, Med Theater, Med Tiled Room,
m, Rich Hall, Small Music Club, Small Plate,
ll Theater, Studio, Just a Little Room,
om Short, Studio, Small Room, Jazz Club,
, Garage, Medium Room, Medium Tiled
Wood Room, Small Theater, Medium
ater, Rich Hall, Concert Hall, Bright Hall,
al, Arena, Small Plate, Medium Plate, Long
1, Extra Long2, Early Reflection1, Early

DYN DELAY
PRESET: Default Dyn MN, Default Dyn ST, Default Mono,
Default Stereo, MN Ducker, MN Multiply, MN Splat, ST
Double, ST Ducker 4ths, ST Long+Thin, ST Muffled, ST
Splash, ST Thin 8ths

DELAY (1 to 4000ms)
FEEDBACK (0 to 100%)
ENV FEEDBACK (0 to 100%)
ENV RATE (0.01 to 1.00Hz)
ENV MIX (-100% to 100%)
RATIO (-100% to 100%)
LOW CUT (20 to 500Hz)
HIGH CUT (500 to 20000Hz)
STEREO (OFF/ON)
MIX (0 to 100%)
WIDTH (0 to 100%)
SYNC (ON / OFF)
TAILS (OFF/ON)

The presets can be useful, but the amazing trick you can
do with this is a huge improvement to synth pad type
texture sounds and auto swells. The Envelope set to 100%
on Mix and Feedback, it will allow the signal to be held
and repeated until the next note(s) are played, without
spilling into the next note/chord. This is a tremendous
feature for ambient and church style music, and maybe
others. -100% on Envelope parameters gives a subtle
blend to the effect.