User Manual

EFX Section
OCTAFILTER: This reinvented palette of expression provides a
crazy amount of possibilities, from Minimoog®-style synth to funky
town. The controls interact so you can get dynamically-filtered clean, fuzz,
and octave, as well as octave and fuzz together. When Q is at minimum,
Range becomes a high-cut tone filter for different versions of clean, fuzz,
octave, and octave and fuzz together. You can then blend any of these
combinations with your direct signal via the Mix control. And by bring-
ing in some COMP, you can get infinite sustain like a keyboard bass.
OCTAVE Switch engages a monophonic octave divider. With Q and
Range turned down, you’ll get a classic ‘80s effect; turned up will result in
a square wave synth-style tone. See Noteworthy Notes for additional info.
FUZZ Switch engages a gated-style fuzz effect and, be warned, is not
at all subtle. See Noteworthy Notes for additional info.
Q: Adjusts the bandwidth and sharpness of the dynamic filter. At
minimum, it’s smooth and allows the Range control to act like a tone
control that slightly rolls off the higher frequencies. At maximum, it
will provide the most dramatic transformation.
RANGE: Controls the frequency range of the dynamic filter and is
dependent on the volume of your instrument and how hard or soft
your attack is. At minimum, the input signal has no effect over the
sweep of the filter. At maximum, the input signal determines the over-
all sweep of the filter, which becomes greater as the signal gets higher.
MIX: Blends in the amount of your direct instrument signal.
Minimum
(7 o’clock): direct signal of your instrument only.
Midway
(12 o’clock): 50/50 mix of your direct instrument signal and
the affected signal (filtered/unfiltered fuzz and/or octave).
Maximum
(5 o’clock): affected signal only (filtered/unfiltered fuzz, oc-
tave, fuzz and octave).
SIGNAL FLOW OF THE EFX SECTION:
See Page 8
for Reference settings, which illustrate the relationship of
the controls and switches, and various combinations you can achieve
within this section.
5
6
CHORUS: This single chorus control injects a detuned voice into the
main analog signal path to create the effect of 2 or more instruments in
unison. This eliminates the need for a speed control, as increasing or de-
creasing changes the amount and therefore, the depth of the effect.
OTHER GOODIES
CHROMATIC TUNER: The CHORUS/TUNER footswitch en-
gages the chromatic tuner. Simply hold the footswitch down to engage
the tuner, which will simultaneously mute the signal path. The LED in the
tuner window will then light up. If the green light is on, you’re in tune. If
you’re not, the red arrows serve as indicators:
Arrow points up = Flat. Raise the pitch.
Arrow points down = Sharp. Lower the pitch.
As you get closer to being in tune, the arrow will
blink faster and turn off when you are in tune. The
green light then comes on and you’re good to go.
EFFECT LOOP
Post-SansAmp, pre-effects to patch in external effect pedals. Connect
the input of your effect to Send; output of your effect to Return.
Hookup diagram utilizing the 4-cable method: