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FX (Effects) Chapter 8 Parameters Guide
Chapter 8
DELAY
This effect adds delayed sound to the direct sound, great for adding
more body to the sound or for creating special effects.
DELAY Common Parameters
*1 The DELAY TIME, FEEDBACK, HIGH CUT, and EFFECT
LEVEL are not enabled when the TYPE is set to DUAL-S,
DUAL-P, or DUAL-L/R.
Parameter/
Range
Explanation
DELAY SW
OFF, ON
Turns the DELAY effect on/off.
DELAY TYPE
Selects the type of delay.
SINGLE This is a simple monaural delay.
PAN The primary delay time is divided—or
“tapped”—and the primary delay is sent to
the R output, while the tap delay is sent to
the L output.
fig.04-0050
STEREO
The direct sound is output from the left
channel, and the effect sound is output from
the right channel.
DUAL-S (Dual Series) This is a delay comprising two different de-
lays connected in series. Each delay time can
be set in a range from 1 ms to 900 ms.
fig.04-0060
DUAL-P (Dual Paral-
lel)
This is a delay comprising two delays con-
nected in parallel. Each delay time can be set
in a range from 1 ms to 900 ms.
fig.04-0070
DUAL-L/R
This is a delay with individual settings avail-
able for the left and right channels. Delay 1
goes to the left channel, Delay 2 to the right.
fig04-0080
REVRSE
This produces an effect where the sound is
played back in reverse.
ANALOG This gives a mild analog delay sound. The
delay time can be set within the range of 1 to
1800 ms
TAPE
This setting provides the characteristic wa-
vering sound of the tape echo. The delay time
can be set within the range of 1 to 1800 ms.
WARP This simultaneously controls the delay
sound’s feedback level and volume to pro-
duce a totally unreal delay.
INPUT
OUTPUT L
OUTPUT R
FEEDBACK
DELAY TIME
EFFECT
LEVEL
DELAY
TAP TIME
D1 D2
D1: Delay 1
D2: Delay 2
D1
D2
D1
D2
L
R
INPUT
OUTPUT
FB DEPTH
LEVEL
DEPTH
DELAY
RISE TIME
MOD (Modulate)
This delay adds a pleasant wavering effect
to the sound.
HOLD Up to 10 seconds of performance content is
recorded, then played back repeatedly. You
can also layer this as you perform some-
thing else, then record these together (over-
dub), allowing you to produce what is
called sound-on-sound or looping.
* For more detail the operation, refer to
“Using the HOLD (Hold
Delay)”
(p. 115).
* If you switch patches with the TYPE set to either DUAL-S, DUAL-P,
or DUAL L/R and then begin to play immediately after the patches
change, you may be unable to attain the intended effect in the first
portion of what you perform.
* The stereo effect is cancelled if a monaural effect or COSM amp is
connected after a stereo delay effect.
Parameter/
Range
Explanation
DELAY TIME *1
1 ms–1800 ms,
BPM –BPM
This determines the delay time.
When set to BPM, the value of each parameter will be set according
to the value of the BPM (p. 142) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song.
* If, due to the tempo, the time is longer than the range of allowable
settings, it is then synchronized to a period either 1/2 or 1/4 of that
time.
* After setting DELAY TIME to BPM ( – ), if you tap [F1] (TAP),
the BPM value will change to match the timing of your tapping.
FEEDBACK *1
0–100
This sets the amount of delay sound re-
turned to the input.
A higher value will increase the number of
the delay repeats.
Feedback is returning a delay signal to the
input.
HIGH CUT (High Cut Filter) *1
700 Hz–11 kHz, FLAT
This allows you to get a mild effect sound by
cutting the high-end component above the
set frequency. When it is set to FLAT, the
high cut filter is off or has no effect.
EFFECT LEVEL *1
0–120
Adjusts the volume of the delay sound.
DIRECT LEVEL
0–100
Adjusts the volume of the direct sound.
Parameter/
Range
Explanation
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