BOSS Katana 110 Bass Amplifier Installation Guide

Katana 110 Bass Amplifier

Using BOSS TONE STUDIO for KATANA BASS

This document explains basic operation of BOSS TONE STUDIO for KATANA BASS (subsequently referred to as “TONE STUDIO”). * Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

Getting Ready to Use TONE STUDIO
Installing the USB Driver
Before you use TONE STUDIO, the appropriate USB driver for the product you’re using must be installed on your computer.
1. From the product support page, download the
KATANA BASS Driver. To obtain the latest USB driver, access the following URL, and download and install the appropriate driver for the product you’re using. http://www.boss.info/support/
2. Double-click the downloaded KATANA BASS Driver.
Installation begins. Proceed with the installation as directed by the installation screens. When the screen indicates “Installation has been completed”. click the [Close] button. The KATANA BASS Driver has been installed on your computer.
Installing TONE STUDIO
MEMO Before you install TONE STUDIO, the USB driver must be installed in your computer as described in “Installing the USB Driver” (p. 1).
Windows Users
1. Unpack the Zip file. 2. Double-click “BOSS TONE STUDIO for KATANA BASS
Installer.exe”. Installation begins.
3. Proceed with installation as directed by the install screens. 4. When the screen indicates “Completing the BOSS TONE
STUDIO for KATANA BASS Setup Wizard”, click the [Finish] button.
Mac Users
1. Unpack the Zip file. 2. Double-click “BOSS TONE STUDIO for KATANA BASS
Installer.pkg”. Installation begins.
3. Proceed with installation as directed by the install screens. 4. When the screen indicates “The installation was successful.
The software was installed.”, click the [Close] button.

Starting TONE STUDIO
1. Use a USB cable to connect the KATANA BASS to
your computer, and then turn on the power of the KATANA BASS. MEMO You can edit livesets and download livesets from BOSS TONE CENTRAL even if the KATANA BASS is not connected to your computer via a USB cable. However, you can’t save the result of editing a patch. In order to save the edited patch, you’ll need to be connected to your computer.
2. In the [Start] menu, choose [All Programs] Ø [BOSS TONE
STUDIO for KATANA BASS] Ø [BOSS TONE STUDIO for KATANA BASS]. The first time you start up, the dialog box “Choose a device connect with.” appears. MEMO On the second and subsequent startups, the device is selected automatically. MacOS users From the Finder, in the application/BOSS/KATANA BASS folder, double-click [BOSS TONE STUDIO for KATANA BASS (.app)].
3. Choose “KATANA BASS”, and click the [OK] button.
TONE STUDIO starts. MEMO
Since data will be loaded from the KATANA BASS, it may take some time until you can use TONE STUDIO.

© 2022 Roland Corporation

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01

Using BOSS TONE STUDIO for KATANA BASS
Editor Basic Screen

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1. Tone Setting select area 2. Function select area 3. [CLEAR] / [WRITE] button
If you click the [CLEAR] button, all settings are initialized to the KATANA BASS’s original settings. By clicking the [WRITE] button you can save the edited settings in the tone setting select area (p. 3).
4. Amp setting editing area
When the unit is in POWER AMP IN mode, the TWEETER SW settings can be edited in SYSTEM (p. 16).
5. Effect editing area
Here you can specify the effects that you want to assign to the [COMP/LIMITER], [DRIVE], [FX1], and [FX2] knobs, and to the expression pedal.
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Using BOSS TONE STUDIO for KATANA BASS

Editing a Tone Setting
1. At the top of KATANA BASS Editor screen, click the [EDITOR] button.
2. Click the tone setting that you want to edit.

Saving Edited Settings (WRITE)
Here’s how to save the edited settings.
1. In the upper right of the KATANA BASS Editor screen, click
the [WRITE] button.

3. To edit the settings, use the mouse to operate the knobs
and buttons in the screen.

The “WRITE” dialog box appears.
2. If you want to change the name of the tone setting, click
the TONE SETTING NAME field. You can use your computer keyboard to enter a tone setting name.

3. Select the write-destination.

NOTE When you save, the tone setting of the selected number is overwritten; the original settings cannot be recovered. Select a tone setting that you don’t mind overwriting.
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Using BOSS TONE STUDIO for KATANA BASS 4. Click [WRITE].
The settings of the new tone setting are saved in the specified destination.
MEMO If you want to discard the settings, click the [CLEAR] button located in the upper right of the screen.
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Using BOSS TONE STUDIO for KATANA BASS

Effects Assigned to Each Knob When the Unit Is Shipped
Following effects are assigned to each knob when the unit is shipped.

PANEL COMP/LIMITER DRIVE FX1 FX2 A: CH1 COMP/LIMITER DRIVE FX1 FX2 A: CH2 COMP/LIMITER DRIVE FX1 FX2 A: CH3 COMP/LIMITER DRIVE FX1 FX2 B: CH1 COMP/LIMITER DRIVE FX1 FX2

Color of the button

MODE

Green Red Orange Green Red Orange Green Red Orange Green Red Orange

COMP LIMITER LIMITER FX FX DELAY

Color of the button

MODE

Green Red Orange Green Red Orange Green Red Orange Green Red Orange

LIMITER LIMITER LIMITER FX FX DELAY

Color of the button

MODE

Green Red Orange Green Red Orange Green Red Orange Green Red Orange

COMP LIMITER COMP FX REVERB DELAY

Color of the button

MODE

Green Red Orange Green Red Orange Green Red Orange Green Red Orange

LIMITER LIMITER LIMITER FX FX DELAY

Color of the button

MODE

Green Red Orange Green Red Orange Green Red Orange Green Red Orange

LIMITER LIMITER COMP REVERB REVERB DELAY

TYPE
BOSSCOMP RACK 160D VTG RACK U BASS OD BASS DS BASS FUZZ HEAVY OCTAVE T.WAH BASS SYNTH CHORUS FLANGER DIGITAL
TYPE
VTG RACK U RACK 160D VTG RACK U BASS OD BASS DS BASS FUZZ HEAVY OCTAVE T.WAH BASS SYNTH CHORUS FLANGER DIGITAL
TYPE
LIGHT RACK 160D ORANGE BASS DRV GUV DS MUFF FUZZ FLANGE PHASER CHORUS PHASER MODULATE TAPE ECHO
TYPE
VTG RACK U RACK 160D VTG RACK U BASS MT BASS DS BASS FUZZ HEAVY OCTAVE T.WAH BASS SYNTH CHORUS FLANGER DIGITAL
TYPE
VTG RACK U RACK 160D LIGHT BASS DS MUFF FUZZ BASS FUZZ CHORUS HEAVY OCTAVE PHASER HALL MODULATE TAPE ECHO

B: CH2 COMP/LIMITER DRIVE FX1 FX2 B: CH3 COMP/LIMITER DRIVE FX1 FX2

Color of the button

MODE

Green Red Orange Green Red Orange Green Red Orange Green Red Orange

COMP COMP COMP FX FX FX

Color of the button

MODE

Green Red Orange Green Red Orange Green Red Orange Green Red Orange

LIMITER COMP COMP FX DELAY REVERB

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TYPE
LIGHT MILD FAT BASS FUZZ BASS DS BASS DRV OCTAVE HEAVY OCTAVE HARMONIST T.WAH AUTO WAH BASS SYNTH
TYPE
VTG RACK U MILD FAT HBAND DRV BASS DS BASS DRV RING MOD PHASER BASS SYNTH CHORUS SDE-3000 HALL

Using BOSS TONE STUDIO for KATANA BASS
LIBRARIAN Basic Screen

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1. [CREATE LIVESET] button
Press this button to create a new empty liveset.
2. Liveset name
Shows the name of the liveset and the number of tone settings.
3. Liveset name edit button
Click this to edit the name of the liveset. You can click the trash can symbol to delete the liveset.
4. TONE SETTING name edit button
Click this to edit the name of the tone setting. You can click the trash can symbol to delete the tone setting.
5. [Import] button
This lets you import all of the KATANA BASS unit’s tone settings into the LIBRARIAN, or import a LIBRARIAN file from your computer into the LIBRARIAN.
6. [Export] button
This lets you export a liveset to the KATANA BASS unit, or export a liveset and save it on your computer.
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Using BOSS TONE STUDIO for KATANA BASS
Importing All the Tone Settings into the LIBRARIAN (IMPORT FROM KATANA BASS)
Here’s how to import all of the KATANA BASS’s tone settings into LIBRARIAN. All tone settings are saved as a liveset.
1. In TONE STUDIO screen, click the [LIBRARIAN] button.

5. Click the [OK] button.
The tone settings are saved as a liveset in the LIBRARIAN.

2. At the top of the TONE STUDIO screen, click the [Import] button.
3. Click the [KATANA BASS] button.

Exporting a LIBRARIAN Liveset to the KATANA BASS (EXPORT TO KATANA BASS)
Here’s how a liveset that you saved can be restored to the KATANA BASS’s user patch.
1. At the top of the TONE STUDIO screen, click the [Export] button.

The CREATE LIVESET screen appears.

2. From SELECT LIVESET, select the liveset that you want to
export.

4. Enter the liveset name, and click the [OK] button.
Import begins. If you decide to cancel during the operation, click the [CANCEL] button. It will take some time to import all of the KATANA BASS’s tone settings. When import is finished, the message “Completed.” appears.

3. Click the [KATANA BASS] button.
Export begins. If you decide to cancel during the operation, click the [CANCEL] button. When export is finished, the message “Completed.” appears.
4. Click the [OK] button.
The selected liveset is written back into the KATANA BASS.

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Using BOSS TONE STUDIO for KATANA BASS

Restoring a Tone Setting to the KATANA BASS
Here’s how to select a tone setting from a liveset that you saved, and restore it back to the KATANA BASS.
1. Drag the tone setting that you want to restore and drop it
onto the desired user patch number of the KATANA BASS.
NOTE When you drop a tone setting, it overwrites the tone setting of the selected number; the original settings cannot be recovered. Select a user tone setting that you don’t mind overwriting.

Saving a Liveset to a Computer (EXPORT TO FILE)
A liveset that you backed up can be exported to your computer (Export).
1. At the top of the TONE STUDIO screen, click the [Export] button.
2. From SELECT LIVESET, select the liveset that you want to
export.
3. Click the [FILE] button.
The “Save As” dialog box appears.
4. Enter a name and save-destination, and click the [Save] button. A liveset file (.tsl) is created at the save-destination.
Ways to use an exported liveset
¹ Use a USB flash drive to copy the liveset to a different device. ¹ Sent the liveset via email to another KATANA BASS user.

MEMO
You can also select multiple tone settings as described in “Selecting multiple tone settings” (p. 10).

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Using BOSS TONE STUDIO for KATANA BASS
Importing a Liveset from a Computer into the LIBRARIAN (IMPORT FROM FILE)
A liveset that you exported to a computer can be imported into a TONE STUDIO library (Import).
1. At the top of the TONE STUDIO screen, click the [Import] button.

Creating an Original Liveset
You can collect your favorite tone settings to create an original liveset.
1. At the top of the TONE STUDIO screen, click the [CREATE
LIVESET] button.

2. Click the [FILE] button.
The “Open” dialog box appears.
3. Select the liveset file (extension: .tsl) that you want to
import into the library, and click the [Open] button. The liveset is imported into the LIBRARIAN.
MEMO
The TONE STUDIO can also import the livesets created by KATANAArtist, KATANA-100/212, KATANA-100, KATANA-50, KATANA-HEAD into the LIBRARIAN.

2. Input a name for the liveset.
3. Click the [OK] button.
An empty liveset containing no tone settings is created.

4. From the tone setting list at the left of the TONE STUDIO
screen, drag and drop your favorite tone settings into the new liveset.

The selected tone settings are registered in the new liveset.
MEMO
¹ A maximum of 15 tone settings can be registered in one liveset. If inserting tone settings would cause the liveset to exceed 15 tone settings, the tone settings that exceed 15 are not inserted (a message is displayed).
¹ Tone settings that are registered in another liveset can also be dragged and dropped into the new liveset.
¹ You can drag and drop the tone settings in the liveset to change their order.
¹ TONE STUDIO lets you create up to 50 livesets. If you want to create and save more than 50 livesets, use the EXPORT TO FILE function to save existing livesets on your computer.
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Using BOSS TONE STUDIO for KATANA BASS
Copying Tone Settings
Here’s how to copy a tone setting to another liveset or to an KATANA BASS tone setting.
1. Click the tone setting that you want to copy.
MEMO You can also select and copy multiple tone settings as described in “Selecting multiple tone settings” (p. 10).
2. Drag and drop the selected tone settings onto the desired
copy-destination. NOTE
When you drop the tone settings, they are overwritten onto the tone settings of the selected red area, and the original settings cannot be recovered. Select tone settings that you don’t mind overwriting.

Selecting multiple tone settings
By using your computer’s mouse and keyboard together, you can select multiple tone settings.
Selecting a range of tone settings
Here’s how to select a range of consecutive tone settings.
1. Click the first tone setting that you want to select.
2. While holding down your computer keyboard’s Shift key,
click the last tone setting that you want to select. The first through last tone settings that you click are selected.
Selecting tone settings individually
Here’s how to select just the individual tone settings that you click.
1. While holding down your computer keyboard’s Ctrl key,
click a tone setting that you want to select. The tone setting you click is selected. The selected tone setting is highlighted.
MacOS users While holding down your computer keyboard’s command key, click a tone setting that you want to select.
2. If you want to select other tone settings, repeat step 1.
If you hold down the Ctrl key and click a selected (highlighted) tone setting once again, the selection is cleared (that tone setting is no longer highlighted).

MEMO ¹ If you select non-consecutive tone settings and copy them, they are
copied as successive tone settings.
¹ A maximum of 50 tone settings can be registered in one liveset. If inserting tone settings would cause the liveset to exceed 50 tone settings, the tone settings that exceed 50 are not inserted (a message is displayed).
¹ Tone settings that are registered in a liveset can be copied to your own liveset or to a new liveset.
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Using BOSS TONE STUDIO for KATANA BASS
The difference between operations when selecting and copying multiple tone settings
When you drag and drop the selected tone settings, the copy result will differ depending on your mouse operation.
Drag and drop when a red area is shown at the copydestination (overwrite copy)

Moving Tone Settings
Here’s how to move a tone setting to another liveset or to an KATANA BASS tone setting. When you move a tone setting, it disappears from its previous location.
1. Click the tone setting that you want to move.
MEMO You can also select and move multiple tone settings as described in “Selecting multiple tone settings” (p. 10).
2. While holding down your computer keyboard’s Alt key,
drag and drop the selected tone setting to the desired copy-destination.
MacOS users While holding down your computer keyboard’s option key, drag and drop.

The tone settings are copied to the area indicated by the red color.
Drag and drop between copy-destination tone settings (insert)

Deleting Tone Settings
Here’s how to delete an unwanted tone setting.
1. Click the tone setting that you want to delete.
MEMO You can also select and delete multiple tone settings as described in “Selecting multiple tone settings” (p. 10).
2. Press your computer keyboard’s Delete key.
The “DELETE TONE SETTING” message appears.

The tone settings are inserted at the position of the red line. Subsequent tone settings are moved backward.

NOTE Deleted tone settings cannot be recovered. If you decide not to delete, click the [CANCEL] button.
3. Click the [OK] button.
The selected tone settings are deleted.

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Using BOSS TONE STUDIO for KATANA BASS
Editing a Liveset Name
1. Click the [ ] button located at the right of the name of the
liveset that you want to edit.

Deleting a Liveset
Here’s how to delete a liveset that you no longer need.
1. Click the [ ] button located at the right of the name of the
liveset that you want to delete.

2. Click the [ ] button.
The “Delete liveset” message appears.

Rearranging Livesets
Here’s how to rearrange the livesets that are displayed.
1. Click the liveset that you want to rearrange. 2. Drag and drop the liveset name.
The liveset moves to the position indicated by the red line.

NOTE The deleted liveset cannot be recovered. If you decide to cancel without deleting, click the [CANCEL] button.
3. Click the [OK] button.
The selected liveset is deleted.

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Using BOSS TONE STUDIO for KATANA BASS
Downloading Livesets from BOSS TONE CENTRAL
Livesets that have been published on BOSS TONE CENTRAL can be downloaded and used on the KATANA BASS.
1. At the top of the TONE STUDIO screen, click the [TONE
CENTRAL] button.

4. Click the [OK] button, and click the [LIBRARIAN] button
once again.

The tone settings published on BOSS TONE CENTRAL are listed together with explanations of the tone settings.
2. In LIVESET, select the liveset that you want to download.
In this example, select “Liquid Tones by Liquid Charlie”.
3. At the top of the screen, click the [ADD] button.

The liveset you downloaded appears.
5. Drag and drop tone settings from the downloaded liveset
into the desired tone setting numbers of the KATANA BASS.
NOTE When you drop a tone setting, it overwrites the tone setting of the selected number; the original settings cannot be recovered. Select a tone setting that you don’t mind overwriting.
In this example, drag and drop the tone setting “01 LIQUID DRIVE 1” onto “PANEL”.

The liveset is downloaded, and the message “Completed.” appears.

MEMO
Downloads from BOSS TONE STUDIO are done in units of livesets. You can’t download individual tone settings, nor add individual tone settings to the LIBRARIAN.

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Using BOSS TONE STUDIO for KATANA BASS
Selecting the Device Controlled by TONE STUDIO
Here’s how to select the device controlled by TONE STUDIO.
1. At the top of the TONE STUDIO screen, click the [SYSTEM] button. The MENU screen appears.
2. Click the [DEVICE SETTING] button.
The “Device” screen appears.
3. Click SELECT DEVICE, and from the list choose [KATANA].

Saving All KATANA BASS Settings to the Computer (ALL DATA BACKUP)
Here’s how all data saved in the KATANA BASS can be backed-up to the computer.
1. At the top of the TONE STUDIO screen, click the [SYSTEM] button.
2. Click [ALL DATA BACKUP].
The ALL DATA BACKUP screen appears.
3. Click the [TO FILE] button.

The “Save As” dialog box appears.
4. Input a name and save-destination, and click the [Save] button. Export begins. It will take some time for all data to be exported. When the operation is finished, the message “Completed.” appears.
5. Click the [OK] button.
An all data file (.alb file) is created in the save-destination.

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Using BOSS TONE STUDIO for KATANA BASS
Restoring an All Data File from the Computer to the KATANA BASS (ALL DATA RESTORE)
Here’s how an all data file previously saved on the computer can be restored to the KATANA BASS.
NOTE When you restore, all data is overwritten, and cannot be returned to its previous settings.
1. At the top of the TONE STUDIO screen, click the [SYSTEM] button.
2. Click [ALL DATA BACKUP].
The ALL DATA BACKUP screen appears.
3. Click the [FROM FILE] button.

Adjusting the Tone of the Entire KATANA BASS (GLOBAL EQ)
You can place the global equalizer either before (INPUT) or after (OUTPUT) the effect chain.
1. At the top of the TONE STUDIO screen, click the [SYSTEM] button.
2. Click [GLOBAL EQ].
The GLOBAL EQ screen appears.

3. Make settings for the global equalizer.
You can make one type of equalizer settings.
4. Click the [CLOSE] button.
The settings are completed.
The “Open” dialog box appears.
4. Select the all data file (extension: .alb) that you want to
restore, and click the [Open] button. Import begins. Since all data is being imported, this will take some time. When the operation is finished, the message “Completed.” appears.
5. Click the [OK] button.
All data is restored to the KATANA BASS.

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Using BOSS TONE STUDIO for KATANA BASS

SEND/RETURN
Specifies the settings for the EFFECT LOOP (SEND/RETURN) jacks

LINE OUT SETTING

LINE OUT AIR FEEL

Specifies the sound of the (PHONES)/REC OUT and the USB EFFECT OUT.

Value

Explanation

REC

A distantly-miked sound for recording.

LIVE

A close-miked sound for live.

BLEND

A sound providing a good blend of closed-miked and distantlymiked sound that can be broadly used for live or recording.

USB SETTING
Here you can edit the parameters used when connecting your computer to the KATANA BASS unit.
POWER AMP IN SETTING
This sets the parameters when the unit is in POWER AMP IN mode. The unit enters POWER AMP IN mode when you plug a cable into the
POWER AMP IN jack on the KATANA BASS. There are some limitations to the Editor functions when the unit is in POWER AMP IN mode. You can set TWEETER SW to switch on/off here when in POWER AMP IN mode. The settings in normal mode can be edited from the EDITOR TOP screen (p. 2).
MIDI SETTING
Here you can specify how the KATANA BASS is connected to an external MIDI device.

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KATANA BASS Effect Parameter List

COMP

This is an effect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion.

COMP Type
Type BOSS COMP HI-BAND LIGHT D-COMP ORANGE
FAT
MILD

Explanation
This models a BOSS CS-3.
This is a compressor that adds an even stronger effect in the high end.
This is a compressor with a light effect.
This models a MXR DynaComp.
This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.
When applied heavily, this compressor effect provides a fat tone with a boosted midrange.
When applied heavily, this compressor effect produces a sweet tone with the high end cut.

COMP Parameters

Parameter

Value

SUSTAIN

0­100

ATTACK
TONE LEVEL

0­100
-50­+50 0­100

Explanation
Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.
Adjusts the strength of the picking attack when the strings are played. Higher values result in a sharper attack, creating a more clearly defined sound.
Adjusts the tone.
Adjusts the volume.

LIMITER

The limiter attenuates loud input levels to prevent distortion.

LIMITER Type
Type BOSS LIMITER RACK 160D VTG RACK U

Explanation This is an original BOSS limiter. This models a dbx 160X. This models a UREI 1178.

LIMITER Parameters

Parameter

Value

ATTACK

0­100

THRESHOLD
RATIO RELEASE LEVEL

0­100
1:1­INF:1 0­100 0­100

Explanation
Adjusts the strength of the picking attack when the strings are played. Higher values result in a sharper attack, creating a more clearly defined sound.
Adjust this as appropriate for the input signal from your bass guitar. When the input signal level exceeds this threshold level, limiting will be applied.
This selects the compression ratio used with signals in excess of the threshold level.
Adjusts the release time.
Adjusts the volume.

DRIVE

Various distortion effects can be selected.

DRIVE Type
Type BLUES OD
NATURAL GUV DS METAL ZONE MUFF FUZZ BOOSTER BASS OD BASS DS BASS MT BASS FUZZ
HIBAND DRV
BASS DRV BASS DI

Explanation
This is a crunch sound of the BOSS BD-2. This produces distortion that faithfully reproduces the nuances of picking. This is an overdrive sound that provides distortion with a natural feeling. This models a Marshall GUV’NOR. This models the sound of the BOSS MT-2. It produces a wide range of metal sounds, from old style to slash metal. This models an Electro-Harmonix Big Muff . This not only functions as a booster, but also produces a clean tone that has punch even when used alone. Overdrive tuned especially for use with bass guitars. Distortion tuned especially for use with bass guitars. Wild, radical distortion sound. Fuzz tuned especially for use with bass guitars. With this effect, distortion is applied only to the high frequency sounds, and not to the sounds in the low frequency range. This models a TECH21 SANSAMP BASS DRIVER DI. This models a MXR Bass D.I.+.

DRIVE Parameters

Parameter

Value

DRIVE

0­120

BOTTOM

0­100

TONE EFFECT LEVEL DIRECT MIX

-50­+50 0­100 0­100

Explanation
Adjusts the depth of distortion.
Adjusts the tone for the low frequency range. Turning this to the left (counterclockwise) produces a sound with the low end cut; turning it to the right boosts the low end in the sound.
Adjusts the tone.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.

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KATANA BASS Effect Parameter List

BLEND

This sets how the dry and wet sounds are blended together.

BLEND Parameters

Parameter

Value

DRY DRIVE

OFF, ON

DRY EQ

OFF, ON

DRY LPF TYPE

FLAT, -6 dB/ oct­ -24 dB/ oct

Explanation

Switches the DRIVE effect on/off that’s applied to the dry sound.

Switches the EQ on/off (the BASS, LOW MID, HIGH MID and TREBLE on the top panel of the KATANA BASS) that’s applied to the dry sound.

Sets the slope type for the LPF that’s applied to the dry sound.

Volume

FLAT

-6 dB/oct

-24 dB/oct

Frequency

DRY LPF FREQ WET HPF TYPE WET HPF FREQ

20.0 Hz­10.0 kHz
FLAT, -6 dB/ oct­ -24 dB/ oct

Sets the cutoff frequency for the LPF that’s applied to the dry sound.

Sets the slope type for the HPF that’s applied

to the wet sound.

Volume

FLAT

-6 dB/oct

-24 dB/oct Frequency

20.0 Hz­10.0 Sets the cutoff frequency for the HPF that’s

kHz

applied to the wet sound.

EQUALIZER
This adjusts the tone. You can save this setting for the green, red and orange-colored settings on the panel respectively.

LOW MID
Parameter LOW-MID FREQ

Value 20.0 Hz­10.0 kHz

Explanation
Adjusts the tone for the low-mid frequency range.

HIGH MID
Parameter HIGH-MID FREQ

Value

Explanation

20.0 Hz­10.0 kHz

Adjusts the tone for the high-mid frequency range.

FX1
With FX1, you can select the effect to be used from the following.

FX1 Type
This is a list of the effects that can be selected for FX1.

Effect Name

Explanation

CHORUS FLANGER PHASER

Frequency band division is employed to produce two different choruses, one for low frequencies and one for higher frequencies. This allows you to achieve a more natural chorus sound. The flanging effect gives a twisting, jet-airplane- like character to the sound. By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound. This models a Uni-Vibe.

UNI-V

Although this resembles a phaser effect, it also provides a

unique undulation that you can’t get with a regular phaser.

TREMOLO

Tremolo is an effect that creates a cyclic change in volume.

VIBRATO

This effect creates vibrato by slightly modulating the pitch.

ROTARY

This produces an effect like the sound of a rotary speaker.

RING MOD
(Ring Modulator)

This creates a bell-like sound by ring-modulating the bass sound with the signal from the internal oscillator. The sound can be unmusical and lack distinctive pitches.

SLOW GEAR

This produces a volume-swell effect (“violin-like” sound).

T. WAH

You can produce a wah effect with the filter changing in

(Touch Wah)

response to the bass level.

GRAPHIC EQ
(Graphic Equalizer)

Adjusts the tone. You can adjust the sound quality in ten bands.

PARAMETRIC EQ Adjusts the tone. You can adjust the sound quality in four bands.
(Parametric Equalizer)

OCTAVE

This adds a note one octave lower, creating a richer sound.

PITCH SHIFTER

This effect changes the pitch of the original sound (up or down) within a range of two octaves.

Harmonist is an effect where the amount of shifting is adjusted

HARMONIST

according to an analysis of the bass input, allowing you to create

harmony based on diatonic scales.

HUMANIZER

This can create human vowel-like sounds.

This is an effect that clarifies the contour of the input sound by

ENHANCER

emphasizing the attack of the sound following changes in the

input level.

Simulation of the characteristics of particular bass components

BASS SIMULATOR

such as pickups and different bass bodies allows you to switch among a number of different BASS types all while using a single

bass.

DEFRETTER

This simulates a fretless bass.

BASS SYNTH

This is a synth sound that processes the bass input signal.

AUTO WAH

This changes the filtering over a periodic cycle, providing an automatic wah effect.

You can use an expression pedal connected to the FX jack on

PEDAL WAH

the rear panel of the GA-FC foot controller (sold separately) to

control the wah effect in real time.

This adds sound lowered by an octave to the original sound.

HEAVY OCTAVE Since you can play chords even when using this effect, you can

use it to fatten the sound of your chordal playing as well.

SLICER

This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.

18

FX1 Effect Parameters

CHORUS

Frequency band division is employed to produce two different choruses, one for low frequencies and one for higher frequencies. This allows you to achieve a more natural chorus sound.

Parameter LOW RATE
LOW DEPTH

Value 0­100
0­100

LOW PRE DELAY 0.0­40.0 ms

LOW LEVEL

0­100

Explanation
Adjust the speed of the chorus effect for the low frequency range. Adjust the depth of the chorus effect for the low frequency range. If you wish to use this as a doubling effect, use a setting of 0. Adjusts the delay of the effect sound in the low-frequency range. Extending the pre-delay will produce the sensation of multiple sounds (doubling effect).
Adjusts the volume of the effect sound in the low-frequency range.

DIRECT MIX XOVER FREQ HIGH RATE HIGH DEPTH

0­100 100 Hz­4.00 kHz 0­100
0­100

HIGH PRE DELAY 0.0­40.0 ms

HIGH LEVEL

0­100

Adjusts the volume of the direct sound.
This sets the frequency dividing the low-and high-frequency ranges. Adjust the speed of the chorus effect for the high frequency range. Adjust the depth of the chorus effect for the high frequency range. If you wish to use this as a doubling effect, use a setting of 0. Adjusts the delay of the effect sound in the high-frequency range. Extending the pre-delay will produce the sensation of multiple sounds (doubling effect). Adjusts the volume of the effect sound in the high-frequency range.

FLANGER

The flanging effect gives a twisting, jet-airplane-like character to the sound.

Parameter RATE DEPTH
RESONANCE
MANUAL
LOW CUT
EFFECT LEVEL DIRECT MIX

Value 0­100 0­100
0­100
0­100
FLAT, 55 Hz­800 Hz 0­100 0­100

Explanation
This sets the rate of the flanging effect. Determines the depth of the flanging effect. Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound. Adjusts the center frequency at which to apply the effect. This sets the frequency at which the low cut filter begins to take effect. When “Flat” is selected, the low cut filter will have no effect. Adjusts the volume of the flanger. Adjusts the volume of the direct sound.

KATANA BASS Effect Parameter List

PHASER

By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.

Parameter
TYPE
RATE DEPTH RESONANCE MANUAL STEP RATE EFFECT LEVEL DIRECT MIX

Value Explanation

Selects the number of stages that the phaser effect will use.

4 STAGE

This is a four-phase effect. A light phaser effect is obtained.

8 STAGE This is a eight-phase effect. It is a popular phaser effect.

12 STAGE

This is a twelve-phase effect. A deep phase effect is obtained.

BiPHASE

This is the phaser with two phase shift circuits connected in series.

0­100 This sets the rate of the phaser effect.

0­100 Determines the depth of the phaser effect.

Determines the amount of resonance (feedback).

0­100 Increasing the value will emphasize the effect, creating

a more unusual sound.

0­100 Adjusts the center frequency of the phaser effect.

This sets the cycle of the step function that changes

OFF,

the rate and depth. When it is set to a higher value, the

0­100 change will be finer. Set this to “Off” when not using the

Step function.

0­100 Adjusts the volume of the phaser.

0­100 Adjusts the volume of the direct sound.

UNI-V

This models a Uni-Vibe.
Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.

Parameter
RATE DEPTH LEVEL

Value
0­100 0­100 0­100

Explanation
Adjusts the rate of the UNI-V effect. Adjusts the depth of the UNI-V effect. Adjusts the volume.

TREMOLO

Tremolo is an effect that creates a cyclic change in volume.

Parameter Value

WAVE SHAPE 0­100

RATE DEPTH LEVEL

0­100 0­100 0­100

Explanation
Adjusts changes in volume level. A higher value will steepen wave’s shape. Adjusts the frequency (speed) of the change. Adjusts the depth of the effect. Adjusts the volume.

VIBRATO

This effect creates vibrato by slightly modulating the pitch.

Parameter Value

RATE

0­100

DEPTH

0­100

LEVEL

0­100

Explanation Adjusts the rate of the vibrato. Adjusts the depth of the vibrato. Adjusts the volume.

19

KATANA BASS Effect Parameter List

ROTARY
This produces an effect like the sound of a rotary speaker.

Parameter DIRECT MIX

Value Explanation 0­100 Adjusts the volume of the direct sound.

Parameter Value Explanation

RATE

0­100 Adjusts the speed of the rotation.

DEPTH

0­100 Adjusts the amount of depth in the rotary effect.

LEVEL

0­100 Adjusts the volume.

RING MOD

The sound can be unmusical and lack distinctive pitches.

Parameter Value

Explanation

This selects the mode for the ring modulator.

NORMAL

This is a normal ring modulator.

MODE

INTELLIGENT

By ring-modulating the input signal, a bell like sound is created. The intelligent ring modulator changes the oscillation frequency according to the pitch of the input sound and therefore produces a sound with the sense of pitch, which is quite different from NORMAL. This effect does not give a satisfactory result if the pitch of the bass sound is not correctly detected. So, you must use single notes, not chords.

FREQUENCY 0­100

Adjusts the frequency of the internal oscillator.

EFFECT LEVEL 0­100 DIRECT MIX 0­100

Adjusts the volume of the effect sound. Adjusts the volume of the direct sound.

SLOW GEAR

This produces a volume-swell effect (“violin-like” sound).

Parameter Value Explanation

SENS

0­100

Adjusts the sensitivity of the slow gear. When it is set to a lower value, the effect of the slow gear can be obtained only with a stronger picking, while no effect is obtained with a weaker picking. When the value is set higher, the effect is obtained even with a weak picking.

RISE TIME

0­100

Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.

LEVEL

0­100 Adjusts the volume of the effect sound.

T. WAH

You can produce a wah effect with the filter changing in response to the bass level.

Parameter MODE
POLARITY

Value Explanation

Selects the wah mode.

LPF

Low pass filter. This provides a wah effect over a wide frequency range.

BPF

Band pass filter. This provides a wah effect in a narrow frequency range.

Selects the direction in which the filter will change in response to

the input.

DOWN The frequency of the filter will fall.

GRAPHIC EQ

This adjusts the tone. You can adjust the sound quality in ten bands.

Parameter 31 Hz 62 Hz 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz LEVEL

Value -20­+20 dB -20­+20 dB

PARAMETRIC EQ

This adjusts the tone. You can adjust the sound quality in four bands.

Parameter

Value

Explanation

LOW GAIN

-20­+20 dB

Adjusts the low frequency range tone.

LOW-MID GAIN

-20­+20 dB

Adjusts the low-middle frequency range tone.

HIGH-MID GAIN

-20­+20 dB

Adjusts the high-middle frequency range tone.

HIGH GAIN

-20­+20 dB

Adjusts the high frequency range tone.

LEVEL

-20­+20 dB

Adjusts the overall volume level of the equalizer.

LOW CUT

FLAT, 20 Hz­800 Hz

This sets the frequency at which the low cut filter begins to take effect. When “Flat” is selected, the low cut filter will have no effect.

LOW-MID FREQUENCY 20.0 Hz­10.0 kHz

Specifies the center of the frequency range that will be adjusted by the LOW- MID GAIN.

LOW-MID Q

0.5­16

Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area.

HIGH-MID FREQUENCY 20.0 Hz­10.0 kHz

Specifies the center of the frequency range that will be adjusted by the HIGH- MID GAIN.

HIGH-MID Q

0.5­16

Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area.

HIGH CUT

630 Hz­ 12.5 kHz, FLAT

This sets the frequency at which the high cut filter begins to take effect. When “FLAT” is selected, the high cut filter will have no effect.

UP

SENS FREQ PEAK

0­100 0­100 0­100

EFFECT LEVEL 0­100

The frequency of the filter will rise.
Specifies the sensitivity with which the filter changes in the direction specified by the POLARITY setting.
Higher values will produce a stronger tone which emphasizes the wah effect more. With a setting of 0, the strength of picking will have no effect. Adjusts the center frequency of the Wah effect. Adjusts the way in which the wah effect applies to the area around the center frequency.
Higher values will produce a stronger tone which emphasizes the wah effect more. With a value of 50 a standard wah sound will be produced.
Adjusts the volume of the effect sound.

20

OCTAVE

This adds a note one or two octave lower, creating a richer sound.

Parameter Value 1OCT LEVEL 0­100 2OCT LEVEL 0­100 DIRECT MIX 0­100

Explanation
Adjusts the volume of the sound one octave below.
Adjusts the volume of the sound two octaves below.
Adjusts the volume of the direct sound.

PITCH SHIFTER

This effect changes the pitch of the original sound (up or down) within a range of two octaves.

Parameter
VOICE
PS1:MODE PS2:MODE
PS1:PITCH PS2:PITCH PS1:FINE PS2:FINE PS1:PRE DELAY PS2:PRE DELAY 1:LEVEL 2:LEVEL PS1:FEEDBACK DIRECT MIX

Value

Explanation

Selects the number of voices for the pitch shift sound.

1VOICE

One-voice pitch-shifted sound output in mono.

2VOICE

Two-voice pitch-shifted sound (PS1, PS2) output in mono.

Selection for the pitch shifter mode.

FAST,

The response is slower in the order of FAST,

MEDIUM, MEDIUM and SLOW, but the modulation is

SLOW

lessened in the same order.

MONO is used for inputting single notes.

MONO

You may be unable to produce the intended effect when playing chords (two or more notes played simultaneously).

-24­+24

Adjusts the amount of pitch shift (the amount of interval) in semitone steps.

-50­+50 0­300 ms

Make fine adjustments to the interval. The amount of the change in the Fine 100 is equivalent to that of the Pitch 1. Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard. Normally you can leave this set at 0 ms.

0­100

Adjusts the volume of the pitch shifter.

0­100 0­100

Adjusts the feedback amount of the pitch shift sound. Adjusts the volume of the direct sound.

KATANA BASS Effect Parameter List

HARMONIST

Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the bass input, allowing you to create harmony based on diatonic scales.

• Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to mute all the other strings and play only one note at a time.
• If the unit cannot detect the attack, it may not sound correctly. If the unit cannot detect the attack, it may not sound correctly.
• The sensitivity may vary according to the guitar’s TONE knob and pickup type.

Parameter VOICE
HR1:HARMONY HR2:HARMONY
HR1:LEVEL HR2:LEVEL HR1:PRE DELAY HR2:PRE DELAY HR1:FEEDBACK

Value

Explanation

Selects the number of voices for the pitch shift sound.

1VOICE

One pitch-shifted voice is output in mono.

2VOICE

Two pitch-shifted voices are output in mono.

This determines the pitch of the sound added to

the input sound, when you are making a harmony.

-2 oct­+2 oct, USER

It allows you to set it by up to 2 octaves higher or lower than the input sound. When the scale is set

to USER, this parameter sets the user scale number

to be used.

0­100

Adjusts the volume of the harmony sound.

0­300 ms 0­100

Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally you can leave this set at 0 ms. Adjusts the feedback amount of the harmonist sound. The key setting corresponds to the key of the song (#, b) as follows.
Major

MASTER KEY

C (Am)­B (G#m)

Minor Major

DIR.MIX (DIRECT MIX) Parameter
USER SCALE 1 2

0­100

Minor Adjusts the volume of the direct sound.

Value

Explanation

C -24 C­+24 C

Db -24 D³­+24 D³

D -24 D­+24 D

Eb -24 E³­+24 E³

E -24 E­+24 E

F -24 F­+24 F

You can specify a pitch in the range two octaves above or below the

F# -24 F´­+24 F´ direct sound.

G -24 G­+24 G

Ab -24 A³­+24 A³

A -24 A­+24 A

Bb -24 B³­+24­ B³

B -24 B­+24 B

1 This can be specified if HR1:HARMONY or HR2:HARMONY is “USER”.
2 The correspondence between the note names and the knobs differs depending on the specified KEY. Knob [1] of the first page is the tonic (root note) of the specified KEY. The table shows the example of when KEY is set to C (Am).

21

KATANA BASS Effect Parameter List

HUMANIZER

This can create human vowel-like sounds.

Parameter
MODE
VOWEL 1 VOWEL 2 RATE DEPTH LEVEL
SENS 1
MANUAL 2

Value

Explanation

This sets the mode that switches the vowels.

PICKING

It changes from VOWEL 1 to VOWEL 2 along with the picking. The time spent for the change is adjusted with the rate.

AUTO

By adjusting the rate and depth, two vowels (VOWEL 1 and VOWEL 2) can be switched automatically.

a, e, i, o, u Selects the first vowel.

a, e, i, o, u Selects the second vowel.

0­100

Adjusts the cycle for changing the two vowels.

0­100

Adjusts the depth of the effect.

0­100

Adjusts the volume.

Adjusts the sensitivity of the humanizer.

0­100

When it is set to a lower value, no effect of the humanizer is obtained with weaker picking, while stronger picking produces the effect. When it is set to a higher value, the effect of the humanizer can be obtained whether the picking is weak or strong.

0­100

Adjusts the cycle for changing the two vowels. When it is set to lower than 50, the time for VOWEL 1 is shorter. When it is set to higher than 50, the time for VOWEL 1 is longer.

1 Setting available when MODE is set to PICKING. 2 Setting available when MODE is set to AUTO.

ENHANCER

This is an effect that clarifies the contour of the input sound by emphasizing the attack of the sound following changes in the input level.

Parameter SENS LOW LOW FREQ HIGH HIGH FREQ

Value
0­100
0­100 31.5 Hz ­125 Hz 0­100 800 Hz ­8.00 kHz

Explanation This adjusts the Enhancer sensitivity. The more the value is increased, the more softly you can play and still have the effect applied. Adjusts the enhancer volume for the low frequency range.
Sets the low frequency range for the enhanced sound.
Adjusts the enhancer volume for the high frequency range.
Sets the high frequency range for the enhanced sound.

BASS SIMULATOR

Simulation of the characteristics of particular bass components such as pickups and different bass bodies allows you to switch among a number of different bass types all while using a single bass.

Parameter
TYPE
LOW HIGH BODY LEVEL

Value

Explanation

Selects the type of the bass simulator.

PASÓACT

Changes from a passive type pickup tone to an active type pickup tone.

ACTÓPAS

Changes from an active type pickup tone to a passive type pickup tone.

SGLÓHUM

Changes from a single-coil pickup tone to a humbucking pickup tone.

HUMÓSGL

Changes from a humbucking pickup tone to a single-coil pickup tone.

SLDÓHLW

Changes a solid body bass tone to a hollow body bass tone with the body resonance added.

SGLÓAC

Changes a single-coil pickup tone to an acoustic bass tone.

HUMÓAC

Changes a humbucking pickup tone to an acoustic bass tone.

-50­+50 Adjusts the tone for the low frequency range.

-50­+50 Adjusts the tone for the high frequency range.

Adjusts the way the body sounds when TYPE is set to

SLDÓHLW, SGLÓAC, or HUMÓAC.

0­100 0­100

The body sound increases as the value is raised; reducing the value produces a tone similar to that from a piezo pickup. Adjusts the volume of the effect sound.

DEFRETTER

This simulates a fretless bass.

Parameter
SENS ATTACK TONE EFFECT LEVEL DIRECT LEVEL

Value Explanation
0­100 This controls the input sensitivity of the defretter. 0­100 Adjusts the attack of the picking sound. -50­+50 Adjusts the amount of blurring between the notes. 0­100 Adjust the volume of the defretter sound. 0­100 Adjust the volume of the direct sound.

22

BASS SYNTH

This is a synth sound that processes the bass input signal.

MEMO
· Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to mute all the other strings and play only one note at a time.
· When you are to play the next string while a certain sound is still playing, mute the previous sound and then play the next one with a clear attack. If the unit cannot detect the attack, it may not sound correctly.
· The sensitivity may vary according to the bass’s TONE knob and pickup type.

Parameter WAVE CUTOFF
RESONANCE EFFECT LEVEL FILTER SENS FILTER DECAY FILTER DEPTH DIRECT LEVEL

Value Explanation

SAW SQUARE 0­100
0­100
0­100 0­100
0­100
0­100 0­100

Creates a synth sound with a saw waveform. Creates a synth sound with the square waveform. Adjusts the frequency where the harmonics contents of the sound are cut off. This adjusts the amount of resonance (and the tone coloration) in the synth sound. The higher the value, the more the synth tone coloration is emphasized. Adjusts the volume of the synth sound. This adjusts the amount of filtering applied in response to the input. This sets the time needed for the filter to finish its sweep. Adjusts the depth of the filter. When the value is higher, the filter will change more drastically. Adjust the volume of the direct sound.

AUTO WAH

This changes the filtering over a periodic cycle, providing an automatic wah effect.

Parameter Value

Explanation

MODE RATE

Selects the wah mode.

LPF

Low pass filter. This provides a wah effect over a wide frequency range.

BPF

Band pass filter. This provides a wah effect in a narrow frequency range.

0­100

Adjusts the frequency (speed) of the change.

DEPTH

0­100

Adjusts the depth of the effect.

FREQ

0­100

Adjusts the center frequency of the Wah effect.

PEAK

0­100

Adjusts the way in which the wah effect applies to the area around the center frequency.
Higher values will produce a stronger tone which emphasizes the wah effect more. With a value of 50 a standard wah sound will be produced.

EFFECT LEVEL 0­100

Adjusts the volume of the effect sound.

DIRECT MIX 0­100

Adjusts the volume of the direct sound.

KATANA BASS Effect Parameter List

PEDAL WAH

Parameter

Value

Explanation

Selects the wah mode.

CRY WAH

This models the sound of the CRY BABY wah pedal popular in the ’70s.

VO WAH

This models the sound of the VOX V846.

TYPE

FAT WAH LIGHT WAH BASS WAH
RESO WAH

PEDAL POS 0­100
(PEDAL POSITION)

PEDAL MIN

0­100

PEDAL MAX
EFFECT LEVEL DIRECT MIX

0­100
0­100 0­100

This is a wah sound featuring a bold tone.
This wah has a refined sound with no unusual characteristics. A wah sound with a wide variable range, suitable for the tonal range of bass guitars. This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters.
Adjusts the position of the wah pedal.
This parameter is used after it’s been assigned to an EXP Pedal or similar controller.
Selects the tone produced when the heel of the EXP Pedal is depressed.
Selects the tone produced when the toe of the EXP Pedal is depressed.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.

HEAVY OCTAVE

This adds sound lowered by an octave to the original sound. Since you can play chords even when using this effect, you can use it to fatten the sound of your chordal playing as well.

Parameter 1OCT LEVEL
2OCT LEVEL DIRECT MIX

Value 0­100
0­100 0­100

Explanation
Adjusts the volume of the sound one octave below.
Adjusts the volume of the sound two octaves below.
Adjusts the volume of the direct sound.

SLICER

This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.

Parameter

Value Explanation

PATTERN RATE

P1­P20 0­100

TRIGGER SENS 0­100

EFFECT LEVEL 0­100 DIRECT MIX 0­100

Select the slice pattern that will be used to cut the sound.
Adjust the rate at which the sound will be cut.
Adjust the sensitivity of triggering.
With low settings of this parameter, softly picked notes will not retrigger the phrase (i.e., the phrase will continue playing), but strongly picked notes will retrigger the phrase so that it will playback from the beginning. With high settings of this parameter, the phrase will be retriggered even by softly picked notes.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.

23

KATANA BASS Effect Parameter List

FX2
For FX2, you can select one effect from FX/DELAY/REVERB.

FX Type
This is a list of the effects that can be selected for FX. The effect types are the same as for FX1 (p. 18).

DELAY Type

This effect adds delayed sound to the direct sound, giving more body to the sound or creating special effects.

TYPE DIGITAL ANALOG
TAPE ECHO
REVERSE MODULATE SDE-3000

Explanation
This is a simple delay. This gives a mild analog delay sound. This setting provides the characteristic wavering sound of the tape echo. This produces an effect where the sound is played back in reverse. This delay adds a pleasant wavering effect to the sound. This models the sound of the Roland SDE-3000.

DELAY Parameters

Parameter

Value

Explanation

TYPE

Refer to DELAY Type

DELAY TIME 1­2000 ms Adjusts the delay time.

FEEDBACK 0­100

Adjusts the volume that is returned to the input. A higher value will increase the number of the delay repeats.

HIGH CUT

630 Hz­ 12.5 kHz, FLAT

This sets the frequency at which the high cut filter begins to take effect. When “FLAT” is selected, the high cut filter will have no effect.

EFFECT LEVEL 0­120

Adjusts the volume of the delay sound.

DIRECT MIX 0­100

Adjusts the volume of the direct sound.

MOD RATE (TYPE = MODULATE, 0­100
SDE-3000 only)

Adjusts the modulation rate of the delay sound. Only when TYPE is MODULATE or SDE-3000.

MOD DEPTH (TYPE = MODULATE, 0­100
SDE-3000 only)

Adjusts the modulation depth of the delay sound Only when TYPE is MODULATE or SDE-3000.

TAP TIME

– – –

Sets the delay time. When you press this button two or more times, the delay time is set to the interval between presses.

FILTER
(TYPE = SDE-3000 only)

OFF, ON

Turns the filter on/off.
If this is on, a natural-sounding effect is obtained when you’re using the delay as an echo.
Only when TYPE is SDE-3000.

RANGE
(TYPE = SDE-3000 only)

8 kHz, 17 kHz

Models the way in which the SDE-3000’s frequency response is affected by the delay range.
Only when TYPE is SDE-3000.

DELAY PHASE
(TYPE = SDE-3000 only)

NORMAL, INVERSE

Specifies the phase of the delay sound. Selecting INV inverts the phase.
Only when TYPE is SDE-3000.

FEEDBACK PHASE
(TYPE = SDE-3000 only)

NORMAL, INVERSE

Specifies the phase of the delay sound feedback. Selecting INV inverts the phase.
Only when TYPE is SDE-3000.

MOD SW
(TYPE = SDE-3000 only)

OFF, ON

Turns the modulation on/off. Only when TYPE is SDE-3000.

REVERB Type
This effect adds reverberation to the sound.

TYPE PLATE
ROOM HALL SPRING MODULATE

Explanation
Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.
Simulates the reverberation in a small room. Provides warm reverberations.
Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
This simulates the sound of a guitar amp’s built-in spring reverb. This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.

REVERB Parameters

Parameter REVERB TIME PRE DELAY
LOW CUT

Value 0.1­10.0 s 0­500 ms
FLAT, 20 Hz­800 Hz

HIGH CUT

630 Hz­ 12.5 kHz, FLAT

DENSITY

0­10

EFFECT LEVEL 0­100

DIRECT MIX 0­100

COLOR
(TYPE = SPRING 0­100 only)

Explanation Adjusts the length (time) of reverberation. Adjusts the time until the reverb sound appears. This sets the frequency at which the low cut filter begins to take effect. When “Flat” is selected, the low cut filter will have no effect. This sets the frequency at which the high cut filter begins to take effect. When “FLAT” is selected, the high cut filter will have no effect. Adjusts the density of the reverb sound. Adjusts the volume of the reverb sound. Adjusts the volume of the direct sound.
Adjust the unique tone of the spring reverb.

SEND RETURN

These are settings for the EFFECT LOOP (SEND/RETURN) jacks.

Parameter MODE SEND LEVEL RETURN LEVEL

Value SERIES, PARALLEL 0­100 0­100

Explanation
Specifies whether the external effect unit is connected in series or in parallel. Adjusts the volume of the output to the external effects device. Adjusts the volume of the input from the external effects device.

• The S/R setting is valid if a plug is connected to the RETURN jack.

24

KATANA BASS Effect Parameter List

PEDAL FX
You can control the effect in real time by adjusting the expression pedal connected to the SEL CH1 CH2/EXP PEDAL jack on the rear panel, or to the rear panel of the GA-FC foot controller (sold separately).

PEDAL FX Type

TYPE PEDAL WAH
PEDAL BEND

Explanation
You can control the wah effect in real time by adjusting the expression pedal connected to GA-FC jack or SEL CH1 CH2/EXP PEDAL jack. This lets you use the pedal to get a pitch bend effect.

• Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.

PEDAL FX Parameters

PEDAL WAH

You can control the wah effect in real time by adjusting the expression pedal connected to the GA-FC jack and SEL CH1 CH2/EXP PEDAL jack.

Parameter Value

Explanation

Selects the type of wah.

TYPE

CRY WAH VO WAH FAT WAH LIGHT WAH
BASS WAH

RESO WAH

PEDAL POS (Pedal Position)
PEDAL MIN

0­100 0­100

PEDAL MAX 0­100
EFFECT LEVEL 0­100 DIRECT MIX 0­100

This models the sound of the CRY BABY wah pedal popular in the `70s. This models the sound of the VOX V846. This is a wah sound featuring a bold tone. This wah has a refined sound with no unusual characteristics. A wah sound with a wide variable range, suitable for the tonal range of bass guitars. This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters. Adjusts the position of the wah pedal.
This parameter is used after it’s been assigned to an EXP Pedal or similar controller. Selects the tone produced when the heel of the EXP Pedal is depressed. Selects the tone produced when the toe of the EXP Pedal is depressed. Adjusts the volume of the effect sound. Adjusts the volume of the direct sound.

NS (NOISE SUPPRESSOR)

This effect reduces the noise and hum picked up by bass pickups. Since it suppresses the noise in synchronization with the envelope of the bass sound (the way in which the bass sound decays over time), it has very little effect on the bass sound, and does not harm the natural character of the sound.

Parameter ON/OFF
THRESHOLD
RELEASE

Value Explanation

OFF, ON Turns this effect on/off.

0­100

Adjust this parameter as appropriate for the volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise level is low, a lower setting is appropriate.

0­100

High settings for the threshold parameter may result in there being no sound when you play with your bass volume turned down. Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0”.

PEDAL BEND

This lets you use the pedal to get a pitch bend effect.

• Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.

Parameter
PEDAL POS (Pedal Position)

Value 0­100

PITCH

-24­+24

EFFECT LEVEL 0­100 DIRECT MIX 0­100

Explanation
Adjusts the pedal position for pedal bend. This parameter is used after it’s been assigned to an EXP Pedal or similar controller. This sets the pitch at the point where the EXP Pedal is all the way down. Adjusts the volume of the pitch bend sound. Adjusts the volume of the direct sound.

25

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