A terse lookup for every effect control. The FX bus carries twelve effects in a
re-orderable chain. See Using the FX rack
and Effect by effect.
Every effect exposes these. Individual effect tables below omit them.
| Control | What it does | Range / values |
|---|
| Mix | Dry/wet blend; 0 is fully dry (bypassed). | 0 to 100 % |
| Enable | Hard bypass: skips the effect and kills its tail. | Off / On |
| Slot | The effect’s position in the chain (the bus sorts by slot). | chain position |
| Routing | Insert processes in-line (use Mix to blend); Send runs in parallel on a return bus (dry stays untouched, Return sets the wet amount). | Insert / Send |
| Return | Level of the wet signal returned in Send mode (no effect in Insert mode). | 0 to 100 % |
| Control | What it does | Range / values |
|---|
| Model | The chorus or ensemble circuit emulated. | BBD I / BBD II / BBD I+II / Ensemble / Spatial / Compact / Clean / Flanger |
| Dim Mode | Spatial preset button: fixed depth and rate combinations from subtle widening to deep swirl. | 1 to 4 |
| Rate | Speed of the modulation LFO (Compact, Clean and Flanger models only; the vintage models run at their fixed authentic rate). | Hz (Free) or note division (Sync) |
| Depth | How far the LFO swings the delay time (Compact, Clean and Flanger models only). | 0 to 100 % |
| Feedback | Routes the wet output back into the delay lines, deepening the sweep into a resonant comb (Clean and Flanger models only). | 0 to 100 % |
| Width | Stereo spread of the effect: narrows toward mono at zero, widens as you raise it. | 0 to 100 % |
| Tone | Brightness of the wet voice via the reconstruction low-pass (inert on the Clean model). | 0 to 100 % |
| Sync | Free runs the modulation at the Rate knob’s Hz; Sync locks it to the host tempo (modern models only). | Free / Sync |
| Band Lo | Low edge of the chorused band: everything below passes through dry. Fully down choruses from the sub up. | 20 Hz to 20 kHz |
| Band Hi | High edge of the chorused band: everything above passes through dry. Fully up choruses to the top. | 20 Hz to 20 kHz |
| Band Slope (EDGE) | How sharply the chorused band’s edges fall off. Steeper confines the chorus tightly to the band; gentler bleeds past the edges. Active only when the band is scoped. | Gentle (6 dB/oct) / Medium (12 dB/oct) / Steep (24 dB/oct, default) |
| Low Protect | Keeps the bass clean of the chorus: only the range above the crossover is modulated (drag the edge to set it, or switch off). | Off / On + crossover Hz |
| Control | What it does | Range / values |
|---|
| Rate | Speed the LFO sweeps the all-pass notches through the spectrum. | Hz (Free) or note division (Sync) |
| Depth | How wide a frequency range the notches sweep across. | 0 to 100 % |
| Feedback | Regeneration: sharpens the notches into resonant, whistling peaks as it is raised. | 0 to 100 % |
| Stages | Number of all-pass stages, setting how many notches sweep (more is deeper, more resonant). | 2 / 4 / 6 / 8 |
| Width | Offsets the left and right LFO phase, spreading the phasing across the stereo field. | 0 to 100 % |
| Sync | Free runs the sweep at the Rate knob’s Hz; Sync locks it to the host tempo. | Free / Sync |
| Band Lo | Low edge of the swept band: everything below passes through unswept. Fully down sweeps from the sub up. | 20 Hz to 20 kHz |
| Band Hi | High edge of the swept band: everything above passes through unswept. Fully up sweeps to the top. | 20 Hz to 20 kHz |
| Band Slope (EDGE) | How sharply the swept band’s edges fall off. Steeper confines the sweep tightly to the band; gentler bleeds past the edges. Active only when the band is scoped. | Gentle (6 dB/oct) / Medium (12 dB/oct) / Steep (24 dB/oct, default) |
| Low Protect | Holds the low end clear of the moving notches: only the range above the crossover is swept (drag the edge to set it, or switch off). | Off / On + crossover Hz |
| Control | What it does | Range / values |
|---|
| Time | Delay time of the repeats (set by the note division when Sync is on). | ms |
| Feedback | How much of each echo feeds back: low is a slap, high is a long trail (Tape and BBD allow self-oscillation). | 0 to 98 % |
| Tone | Damps the highs in the feedback path so each repeat darkens as it decays. | 0 to 100 % |
| Spread | Offsets the right-channel delay time from the left for a wider image (no effect with Ping-Pong on). | 0 to 100 % |
| Ping-Pong | Bounces the repeats alternately between left and right for a widening stereo echo. | Off / On |
| Character | Colour of the repeats: Clean is pristine, Tape adds wow and saturation, BBD is darker and grittier. | Clean / Tape / BBD |
| Time Mode | How time changes are handled: Slew glides the delay time (tape-style pitch bend); Crossfade retimes without pitch artefacts. | Slew / Crossfade |
| Wow | Tape or BBD pitch wobble on the repeats (only audible with the Tape or BBD character). | 0 to 100 % |
| Drive | Saturation driven into the feedback loop (only audible with the Tape or BBD character). | 0 to 100 % |
| Sync | Free runs the delay at the Time knob’s ms; Sync locks the repeats to a host-tempo note division. | Free / Sync |
| Control | What it does | Range / values |
|---|
| Taps | Number of active taps read from the shared delay line, each with its own time, level and pan. | 1 to 6 |
| Feedback | Global feedback amount: how much of the output is routed back into the line to regenerate the taps. | 0 to 98 % |
| Tone | A low-pass in the delay path that progressively darkens each pass. | 0 to 100 % |
| FB HP | High-pass on the feedback path: thins the regenerated tail so long repeats stay clear. | 0 to 100 % |
| FB Mode | Feedback source: Tap regenerates from the dedicated feedback tap; Normal re-injects the summed taps for a lusher wash. | Tap / Normal |
| Rot Rate | Graphic-rotate rate: slowly spins each tap’s gain and pan around the pattern (0 is static). | 0 to 8 Hz |
| Rot Depth | How far the graphic rotate swings the gain and pan of each tap. | 0 to 100 % |
| Mod Rate | Delay-modulation LFO rate: wobbles each tap’s read position for chorus and pitch shimmer (0 is off). | 0 to 20 Hz |
| Mod Depth | Depth of the delay-modulation wobble. | 0 to 100 % |
| Direct | A dry send blended into the wet and output sum, independent of Mix. | 0 to 100 % |
| Output | Level of the wet (tapped) signal before it sums with the dry. | 0 to 200 % |
| Control | What it does | Range / values |
|---|
| Level | This tap’s level in the pattern (0 mutes just this tap). | 0 to 100 % |
| Pan | This tap’s stereo position. | L to R |
| Time | This tap’s delay time (its position in the rhythmic pattern). | ms |
| EQ Type | This tap’s own EQ band shape. | Off / Low Shelf / Bell / High Shelf / LP / HP |
| EQ Freq | Centre or corner frequency of this tap’s EQ band. | roughly 80 Hz to 18 kHz |
| EQ Gain | Cut or boost of this tap’s EQ band. | plus or minus 18 dB |
| Sync | Free runs this tap at the Time knob’s ms; Sync locks it to a host-tempo note division. | Free / Sync |
| Enable | Whether this tap is active in the pattern. | Off / On |
| Control | What it does | Range / values |
|---|
| FB Gain | Level of the regenerated repeat. | 0 to 100 % |
| FB Pan | Stereo position of the regenerated repeat. | L to R |
| FB Time | Delay time of the regenerated repeat. | 1 to 4000 ms |
| FB EQ Type | EQ band shape on the feedback tap. | Off / Low Shelf / Bell / High Shelf / LP / HP |
| FB EQ Freq | Frequency of the feedback tap’s EQ band. | roughly 80 Hz to 18 kHz |
| FB EQ Gain | Cut or boost of the feedback tap’s EQ band. | plus or minus 18 dB |
| Control | What it does | Range / values |
|---|
| Algo | Reverb space model: Plate is dense and bright, Room is short and tight, Hall is long with wide early reflections. | Plate / Room / Hall |
| Amount canvas | The editable per-band DEPTH curve: how much reverb each frequency band gets (down = dry, up = blooms into the tail). The tail length is unchanged. | per band, split into 1–5 bands |
| Band count | How many depth bands the canvas is split into; drag the crossovers to set the band edges. | 1 to 5 |
| Band modulation | Per-band movement: each depth band can drift gently over time for a breathing swirl on just those frequencies. | per band, 0 = static |
| Band Solo / Mute | Per-band audition (in the popout): Solo hears just that band’s wet depth (rest go dry), Mute drops a band. | per band, off by default |
| Low Protect | Holds the bass out of the tail so a big wash never muddies the low end (click the padlock to toggle, drag the edge to set it). | Off / On + crossover Hz |
| Decay | Tail length: how long the reverb rings out (the top extends toward a near-frozen tail). | 0 to 100 % |
| Damp | How fast the highs die relative to the lows, from bright and glassy to dark and soft. | 0 to 100 % |
| Tone | Brightness of the reverb input, rolling off the highs before the tank. | 0 to 100 % |
| Size | Scales the whole space, from a small tight room up to a large cavernous hall. | small to large |
| Pre | Pre-delay: a gap of dry signal before the reverb starts, pushing the tail back off the source. | ms |
| Move | Global rate of the per-band modulation and early-reflection wander. | ~0.1 to 5 Hz |
| ER | Early-reflection level versus the diffuse tail, adding room definition. In the popout: Model / Diffuse / Level / Pre. | 0 to 100 % |
| Mix | Wet/dry blend of the reverb against the original. | 0 to 100 % |
| Control | What it does | Range / values |
|---|
| Drive | How hard the signal is pushed into the tape saturation (a character control, not a volume; makeup keeps loudness steady). | 0 to 100 % |
| Speed | Tape transport speed: faster is cleaner with tighter low end, slower adds head bump and colour. | 7.5 / 15 / 30 ips |
| Bump | Low-frequency resonance from the tape head, adding weight and thump (stronger at slower speeds). | 0 to 100 % |
| Bias | Record bias level: correct bias is clean, underbiasing adds grit and rolls off the top, overbiasing dulls and compresses. | 0 to 100 % |
| Wow | Wow and flutter: slow pitch drift plus faster warble from the transport (0 is no pitch modulation). | 0 to 100 % |
| Hiss | Level of the tape noise floor, from silent up to an audible vintage hiss (louder at slower speeds). | 0 to 100 % |
| Curve | Saturation hardness: Gentle is a subtle warmth; Aggressive pushes far harder for a crunchy character. | Gentle / Aggressive |
| Reproduce EQ | Playback EQ standard: NAB and IEC apply their replay curves; Off bypasses the standard for a flatter response. | Off / NAB / IEC |
| Engine | Clean is a lighter tape colour; Authentic engages the full nonlinear head and bias modelling. | Clean / Authentic |
| Machine | Loads a documented tape-machine profile (head bump, bias, EQ and saturation as a set); Custom leaves the controls free. | Custom / profiles |
| Control | What it does | Range / values |
|---|
| Drive | Input gain pushed into the clipper: low is a gentle warmth, high slams the stage into hard saturation. | 0 to 100 % |
| Mode | Clipper archetype. | Tube / Transistor / Diode / Fuzz / Octave |
| Tone | Post-clip low-pass taming the fizz: down darkens and smooths, up leaves it bright and open. | 0 to 100 % |
| Bias | Waveshaping asymmetry: centre is symmetric (odd harmonics); moving away adds even-harmonic, tube-like warmth (any mode). | 0 to 100 %, centre neutral |
| Symmetry | Diode up-vs-down clipping asymmetry (its two-up-one-down knee): a distinct asymmetry from Bias that shapes the Diode grit. Diode mode. | 0 to 100 %, centre neutral |
| Sag | Emulated power-supply sag: the stage breathes and compresses under loud transients, softening attacks. | 0 to 100 % |
| Starve | Fuzz gate/starve: chokes and spits the decaying tail (the Fuzz-Face splutter). Fuzz mode. | 0 = off to 100 % |
| Output | Output makeup gain after the clipper (unity at centre): compensate for the level change heavy drive introduces. | 0 to 200 % |
| Mix | Wet/dry blend of the distortion against the original (0 is a clean passthrough). | 0 to 100 % |
| Bands | Splits the signal into independently-driven frequency bands (phase-coherent crossovers, flat sum); 1 is the single-band unit. | 1 to 5 |
| Band Type | Each band’s own clipper archetype. | Tube / Transistor / Diode / Fuzz / Octave (per band) |
| Band Drive | Each band’s own drive amount. | 0 to 100 % (per band) |
| Band Freq | Each band’s crossover frequency. | Hz (per band) |
| Band Solo / Mute / Trim | Audition and level per band: Solo hears just one band, Mute drops it, Trim sets its output level. | per band |
| Amount | Global macro that scales every band’s drive together. | 0 to 100 % |
| Protect Lows | Sums the lowest band clean and in parallel so heavy distortion never muddies the bass. | Off / On |
| Band Gate | Per-band pre-clip noise gate (Threshold + Range, keyed off that band’s content), with shared Attack / Hold / Release. | per band, off by default |
| Control | What it does | Range / values |
|---|
| Bits | Bit depth of the quantizer: high is clean, lower steps quantize the signal coarsely for gritty digital distortion. | 1 to 16 |
| Rate | Sample-rate reduction: holds each sample longer to fake a lower rate, folding aliasing back in (fully up is transparent). | 0 to 100 % |
| Crush Band Lo | Low edge of the crushed band: everything below this frequency passes through clean. Fully down crushes from the sub up. | 0 Hz to 22 kHz |
| Crush Band Hi | High edge of the crushed band: everything above this frequency passes through clean. Fully up crushes all the way to the top. | 0 Hz to 22 kHz |
| Jitter | Perturbs the resample clock: 0 is a perfectly periodic, cleanly digital alias set, higher is a grittier, less-periodic vintage-sampler character. | 0 to 100 % |
| Filter | Anti-imaging low-pass relative to the crush. Post is a gentle de-imaging roll-off after; Pre is a steeper roll-off before (alias-free-below-rate); Off removes it. Corner tracks Tone. | Post / Pre / Off |
| Quant | How the quantizer straddles zero. Mid-tread keeps a code at zero so silence stays silent; Mid-riser centres across zero for a hard one-bit square. | Mid-tread / Mid-riser |
| Tone | A gentle low-pass taming the harsh aliasing and quantization fizz (fully up is off): sets the Filter corner. | 0 to 100 % |
| Dither | Shapes the quantization noise floor. Off keeps the raw grit; TPDF adds triangular dither for a smoother, noisier grain; Shaped pushes the noise up out of the mids. | Off / TPDF / Shaped |
| Control | What it does | Range / values |
|---|
| Mode | Compressor circuit character. VCA is clean glue; FET is fast and aggressive; Opto is smooth and program-dependent; Grit adds a driven waveshaper. | VCA / FET / Opto / Grit |
| Amount | Grit-mode one-knob macro: turns threshold down, ratio up, drive up and makeup up together (Grit mode only). | 0 to 100 % |
| Threshold | Level above which compression starts: lower it to catch more of the signal. | -60 to 0 dB |
| Ratio | How firmly the signal is held above the threshold: gentle at low ratios, near-limiting up high. | 1:1 to 20:1 |
| Attack | How fast the compressor clamps down once the signal crosses the threshold. | 0.02 to 200 ms |
| Release | How fast the gain recovers after the signal drops back. | 5 to 5000 ms |
| Knee | Width of the transition around the threshold: 0 is a hard corner, wider eases compression in. | 0 to 24 dB |
| Makeup | Manual output gain to make up the level lost to gain reduction (disabled when Auto makeup is on). | -12 to 24 dB |
| Auto Makeup | Auto keeps output level roughly constant as you compress harder; Manual leaves Makeup under your control. | Auto / Manual |
| Drive | Drives the waveshaper in the gain path harder for more harmonic dirt (Grit mode only). | 0 to 100 % |
| Tone | Tilts the brightness of the Grit-mode saturation around a mid pivot (Grit mode only). | 0 to 100 %, centre flat |
| Control | What it does | Range / values |
|---|
| Mode | Shaping scope: Single is one broadband attack/sustain pair, Multi shapes low/mid/high bands independently, Curve draws the attack and sustain per frequency across three bands. | Single / Multi / Curve |
| Attack | Reshapes the onset without a threshold: positive makes hits punchier, negative softens them (centre is neutral). Single / Multi modes. | signed, centre neutral |
| Sustain | Reshapes the body and tail without a threshold: positive lengthens and lifts, negative tightens and dries (centre is neutral). Single / Multi modes. | signed, centre neutral |
| Transient curve | Per-band onset shaping in Curve mode: drag each band’s node to punch or soften that frequency’s attack (LOW / MID / HIGH). Nodes are movable in frequency. | per band, centre neutral |
| Sustain curve | Per-band body/tail shaping in Curve mode: drag each band’s node to lift or tighten that frequency’s sustain (LOW / MID / HIGH). Nodes are movable in frequency. | per band, centre neutral |
| Band frequency | The three curve-node centre frequencies (shared by the Transient and Sustain curves): drag a node left/right to set which region it shapes. Curve mode. | Hz per band |
| Phase on/off | Per-phase mute dot in each phase panel: silence just the attack or just the sustain shaping without deleting its curve. | on / off (both on = default) |
| Speed | Ballistics: snappier catches sharp onsets, smoother suits sustained or dense material and avoids grit. | fast to smooth |
| Pump | Ducks the body just after each onset for punch without raising level. | 0 = off, up |
| Soft-clip | Gentle output soft-clip to tame the peak rise from an attack boost; off leaves the signal untouched. | 0 = off to 100 % |
| Mix | Wet/dry blend of the shaped signal against the original. | 0 to 100 % |
| Output | Output makeup gain on the shaped signal (unity at centre). | 0 to 200 % |
Six bands, each a full type-selectable filter. The controls below apply per band.
| Control | What it does | Range / values |
|---|
| Model | EQ voicing, with analog-accurate top-octave response: Clean is transparent (the exact reference), Console adds desk-style colour, Passive evokes the classic passive program-EQ boost/dip interaction (the most coloured). | Clean / Console / Passive |
| Tilt | Tilts the whole spectrum around a centre pivot in one move: negative darkens, positive brightens. | signed |
| Drive | Gentle saturation whose character follows the Model (Clean adds none, Console subtle, Passive the most); saturates per band. Default off. | 0 = off to 100 % |
| Variance | Tiny static left/right component tolerance, the channel-to-channel drift of a real analog pair. Default off, deliberately subtle. | 0 = off to 100 % |
| Type | This band’s filter shape. Gain is inert on High-pass, Low-pass, and Notch. | Bell / Low shelf / High shelf / High-pass / Low-pass / Notch |
| Freq | Centre or corner frequency of the band. | Hz |
| Gain | Boost or cut of the band (Bell and shelves). | plus or minus dB |
| Q | Bandwidth (bells / notch) or slope (shelves / pass filters): low is broad, high is narrow or steep. | narrow to broad |
| Channel | Which part of the stereo image this band affects. | Stereo / Mid / Side |
| On | Enables the band; a band left off (or flat) is a true bypass. | on / off |
| Monitor | Solo-listens this band (a headphone): while any band is monitored the EQ outputs only the monitored bands’ filtered signal, so you audition exactly what a band does. Multiple monitors sum. | on / off (off default) |
| Mute | Drops this band from the summed response, like a per-band Off, without changing its settings. | on / off (off default) |
| Mix | Wet/dry blend of the EQ against the original. | 0 to 100 % |
| Control | What it does | Range / values |
|---|
| Width | Stereo width via mid/side side gain: mono at zero, unity at centre, wide at maximum. | mono to wide |
| Balance | Mid/side energy tilt: all centre at one end, all sides at the other. | signed |
| Mono | Sums energy below this frequency to mono (bass-mono); 0 is off. | 0 to 500 Hz |