2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
. . . . . . . . . . . . . . . . . . . . . . . . . . 2
. . . . . . . . . . . . 2
. . . . . . . . . . . . . . . 2
. . . . . . . . . . . . . . . . . . . . . . . . . . 2
. . . . . . . . . . . . . . . . . . . . . . . . . . 2
. . . . . . . . . . . . . . . . . . . . . . . . 2
. . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . 6
. . . . . . . . . . . . . 6
. . . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . 6
. . . . . . . . 6
. . . . . . . . . . . . . . . 6
. . . . . . . . . . . 6
. . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . . . 6
. . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . 6
. . . . . . . 6
. 6
. . . . . 6
. . . . . . . . . . . . . . . . 6
. . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . . 7
. . . . . . . . . 7
. . . . . . . . . . . 7
. . . . . . . . . . 7
. . . . . . . . . . . 7
. . . . . . . . . 7
. . . . . . . . . . . 7
. . . . . . . . 7
. . . . . . . . . . . . 7
. . . . . . . 7
. . . . . 7
. . . . . . . . . . . . 7
. . . . . . . . . . . . . 7
. . . . . . . . . 7
. . . . . . . . . . . . 7
. . . . . . . . . . . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . . . . . 7
2
1. BASMAN Fender Bassman
2. DLXREV Fender Deluxe Reverb
3. TWNREV Fender Twin Reverb
4. DELUXE Fender Deluxe
5. CHAMP Fender Champ
6. MAR 45 Marshall JTM45
7. PLEXI Marshall Super Lead Plexi
8. MAR800 Marshall JCM800
9. MAR2K Marshall JCM2000
10. VOKS30 VoxAC30
11. VOKS15 VoxAC15
12. JAZZ Roland Jazz Chorus
13. HIWHAT Hiwatt DR103
14. STU70S (Studio 1970s) Mesa Boogie Mark IIc
15. BIG90S (Big 1990s) Mesa Boogie Dual Rectifier
16. SOLDON Soldano SLO 100
17. UBER Bogner Uberschall
18. Deisel Diezel VH4
19. ANGLE ENGL Powerball
20. EDDIEV Peavey 5150 MkII
21. XTACY Bogner Ecstasy
22. BUDDHA Budda Twinmaster
23. CHIEF Matchless Chieftain
24. INTENS Custom model with an intense high-gain solo tone
25. BIGMID Custom model with strong high-gain mid tone
26. SIZZLE Custom model with a present high-end sizzle
27. PLEXIS Custom model based onMarshall Super Lead Plexi with EQ
28. SCOOP Custom high gain model with scooped mid
29. CRISP Custom model with a ‘60s twangy tone
30. HOLLOW Custom model with a hollow tone
31. BITE Custom model with biting high notes
32. NECKPU Custom model, great with a Strat neck pickup
33. SOLID Custom model with a solid tone
34. ACO360 Bass amp: Acoustic 360
35. AMPSVT Bass amp: Ampeg SVT
36. GK 800 Bass amp: Gallien-Krueger 800RB
37. SWR500 Bass amp: SWR SM500
38. FUZZ Fuzz tone
39. OCTAVE Octave fuzz
40. MICPRE Clean mic preamp
3
TREM1 Normal tremolo RNFI8T Random filter 1/8 note triplets,
band-pass filter
SWELL Volume swell
TREM2 Hard-switched tremolo RNFI16 Random filter 1/16 notes, band-pass
filter
FIXFLT Fixed band-pass filter (use FX FREQ to
change frequency)
TREM3 Sawtooth wave tremolo RNFI24 Random filter 1/16 note triplets,
band-pass filter
FIXFLA Fixed flanger (use FX FREQ to change
frequency)
PAN1 Normal stereo panning RNFL 4 Random flanger 1⁄4 notes TLKPDL Pedal-controlled talk box
PAN2 Hard-switched stereo panning
RNFL8 Random flanger 1/8 notes
SCIFI1 Science fiction sound FX 1
PAN3 Left-to-right only stereo panning
RNFL8T Random flanger 1/8 note triplets
SCIFI2 Science fiction sound FX 2
PAN4 Hard-switched random panning
RNFL16 Random flanger 1/16 notes
SCIFI3 Science fiction sound FX 3
FTREM1 Filter tremolo 1, up and down
sweeping low-pass filter
RNFL24 Random flanger 1/16 note triplets SCIFI4 Science fiction sound FX 4
FTREM2 Filter tremolo 2, sawtooth down mod
of low-pass filter
ATOWA1 Auto-wah 1 (filter frequency follows
guitar level)
SCIFI5 Science fiction sound FX 5
FTREM3 Filter tremolo 3, slow up and down
band-pass filter
ATOWA2 Auto-wah 2 (fixed attack-decay
speed)
TRSQ01 – TRSQ06 First 6 tremolo sequences
FTREM4 Filter tremolo 4, sawtooth up mod
of band-pass filter
ATOWA3 Auto-wah 3 (louder notes produce
lower filter freq)
TRSQ 7 – TRSQ20 14 more tremolo sequences
FTREM5 Filter tremolo 5, switches between
low-pass frequencies
ATOWA4 Auto-wah 4 (same as 1 but soft
filter tone)
FLSQ 1 – FLSQ 6 First 6 filter sequences
FLANG1 Slow flanger, positive phase (full
bass at top of cycle)
ATOWA5
Auto-wah 5 (same as 2 but soft
filter tone)
FLSQ 7 - FLSQ20 14 more filter sequences
FLANG2 1-bar flanger, inverted phase (less
bass at top of cycle)
ATOWA6 Auto-wah 6 (sharp attack, fixed
decay)
ARPG 1 – ARPG 6 First 6 arpeggio sequences
FLANG3 1⁄4-note flanger, inverted phase ATOWA7 Auto-wah 7 (louder notes = higher
fixed filter)
ARPG 1 - ARPG20 14 more arpeggio sequences
CHORS1 Chorus 1, triangle wave, low depth
ATOWA8
Auto-wah 8 (louder notes = lower
fixed filter)
MVE2FI MIDI velocity modulates filter freq
CHORS2 Chorus 2, sine wave, higher depth WAHPDL Wah pedal MNT2FI MIDI note modulates filter freq
ROTOR1 Rotary speaker 1, slow
TKBOX1 Talk Box 1 (voice box simulator) MMD2FI MIDI controllers 1 (mod wheel), 11, 16, 70 or
74 modulate filter freq
ROTOR2 Rotary speaker 2, fast
TKBOX2 Talk Box 2 (same as 1 but louder
notes result in lower tone)
MVE2FL MIDI velocity modulates flanger freq
VIBRA1 Vibrato 1, slow speed TKBOX3 Talk Box 3 (slow attack and decay
speeds)
MNT2FL MIDI note modulates flanger freq
VIBRA2 Vibrato 2, medium speed TKBOX4 Talk Box 4 (fast attack, slow delay
speed)
MMD2FL MIDI controllers 1 (mod wheel), 11, 16, 70 or
74 modulate flanger freq
RNFI 4 Random filter 1/4 notes, band-
pass filter
TKBOX5 Talk Box 5 (note-triggered chorus
sound)
RNFI 8 Random filter 1/8 notes, band-pass
filter
TKBOX6 Talk Box 6 (louder notes result in
higher fixed freq)
4
<
<
<
<
<
<
<
<
<
<
<
<
<
5
<
<
<
<
<
<
<
<
<
<
<
VOLUME Same as former AMPDRV, a volume pedal inserted
before amp models
FXSPED FX speed
RVBVOL Reverb volume (NEW)
FXDPTH FX depth
FXKEY FX key
WETDRY FX wet/dry
DLYVOL
Delay volume
DLYRPT
Delay repeats
DM2DLY
Drums send to delay
DM2INP Drums send to input of entire signal chain, same as
guitar
DM2RVB Drums send to reverb (NEW)
<
<
6
7
M-Audio USA
5795 Martin Rd., Irwindale, CA 91706
Technical Support
web: www.m-audio.com/tech
tel (pro products):
(626) 633-9055
tel (consumer products):
(626) 633-9066
fax (shipping): (626) 633-9032
Sales
e-mail: sales@m-audio.com
tel:
1-866-657-6434
fax:
(626) 633-9070
Web
www.m-audio.com
M-Audio U.K.
Floor 6, Gresham House, 53 Clarenden Road, Watford
WD17 1LA, United Kingdom
Technical Support
e-mail: [email protected].uk
tel:(Mac support):
+44 (0)1765 650072
tel: (PC support):
+44 (0)1309 671301
Sales
tel: +44 (0)1923 204010
fax: +44 (0)1923 204039
Web
www.maudio.co.uk
M-Audio France
Floor 6, Gresham House, 53 Clarenden Road, Watford
WD17 1LA, United Kingdom
Renseignements Commerciaux
tel : 0 810 001 105
e-mail : info@m-audio.fr
Assistance Technique
PC : 0 820 000 731
MAC :
0 820 391 191
Assistance Technique
e-mail : [email protected]
fax :
+33 (0)1 72 72 90 52
Site Web
www.m-audio.fr
M-Audio Germany
Kuhallmand 34, D-74613 Ohringen, Germany
Technical Support
e-mail: [email protected]
tel +49 (0)7941 - 9870030
fax: +49 (0)7941 98 70070
Sales
e-mail: info@m-audio.de
tel: +49 (0)7941 98 7000
fax: +49 (0)7941 98 70070
Web
www.m-audio.de
M-Audio Canada
1400 St-Jean Baptiste Ave. #150, Quebec City,
Quebec G2E 5B7, Canada
Technical Support
e-mail: [email protected]
phone: (418) 872-0444
fax: (418) 872-0034
Sales
e-mail: infocanada@m-audio.com
phone:
(866) 872-0444
fax:
(418) 872-0034
Web:
www.m-audio.ca
M-Audio Japan
| 460-0002 2-18-10
Avid Technology K.K.
2-18-10 Marunouchi, Naka-Ku, Nagoya, Japan 460-0002
Technical Support
e-mail : win-support@m-audio.jp
e-mail (Macintosh ): mac-support@m-audio.jp
tel : 052-218-0859 10:00~12:00/13:00~17:00
Sales
e-mail: info@m-audio.jp
tel: 052-218-3375
fax: 052-218-0875
Web:
www.m-audio.jp
060521_BlkBx_Adden_JP01
/