.CYBER-TWIN HEAD ADDENDUM

CYBER-TWIN

A speaker load of less than 8 (2 , for example) may cause damage to the amplifier and will degrade the amplifier tone. Remember to completely remove speaker cables from the SPEAKER OUTPUT jacks when not in use. Ensure that the amplifier is powered OFF when connecting or disconnecting speaker cables to prevent damage to the amplifier and speakers. Use unshielded speaker cable, 16-gauge or heavier, for connections up to 50 ft. (Do not use guitar cables for speaker cabinet connections.)
Speaker Cabinet Connections
Setup for the Cyber-Twin head is the same as the combo version, with the addition of speaker cabinet connections. The Cyber-Twin Head amplifier is optimized for use with a 8 speaker load per channel, but operating without a speaker load is perfectly safe, such as when: Connected to a sound system, using the LINE OUTPUT jacks Connected to a digital recording system, using the SPDIF jack Connected to headphones, using the HEADPHONES jack Integrated into a rack-mounted guitar rig, using any of the jacks above The Fender Showman 412S stereo speaker cabinet is ideally suited for use with the Cyber-Twin Head amplifier. It uses four 12" Celestion G12T75 speakers for a power handling capacity of 150 W per channel. Be sure to set the STEREO/MONO switch to the STEREO position for proper operation. If 2-cabinet operation is desired, we recommend a pair of Fender DynaTouch DT412 cabinets. They use four 12" Celestion G12T-100 speakers and can handle 300 W per cabinet. Refer to the illustrations below and the instructions that accompanied your speaker cabinets, when making connections.
The Fender Showman 412S speaker cabinet features selectable mono/stereo modes. (P/N 0211675010)

65W PER CHANNEL 8 MIN.

SPEAKER OUTPUT
A PRODUCT OF: FENDER MUSICAL INSTRUMENTS CORP., CORONA, CA U.S.A.

PATENT NUMBER: 6,222,110

MADE IN MEXICO
Single Stereo Cabinet Stereo Configuration

STEREO

RIGHT 8

LEFT 8

16 INPUT

WARNING:

FENDER LOUDSPEAKER SYSTEMS ARE CAPABLE OF PRODUCING VERY HIGH SOUND PRESSURE LEVELS WHICH MAY CAUSE TEMPORARY OR PERMANENT HEARING DAMAGE. USE CARE WHEN SETTING AND ADJUSTING VOLUME LEVELS DURING USE.

NOT USED

A PRODUCT OF:
FENDER MUSICAL INSTRUMENTS CORP., CORONA, CA U.S.A. MADE IN MEXICO

SERIAL NUMBER

POWER RATING 300W
Two Fender DynaTouch DT412 speaker cabinets offer the ultimate CyberTwin stereo experience. (P/N 0211665000)
Dual Mono Cabinets Stereo Configuration
PARALLEL INPUTS PARALLEL INPUTS

MODEL MODEL

POWER RATING 300 WATTS IMPEDANCE 8 OHMS
A PRODUCT OF: FENDER MUSICAL INSTRUMENTS CORP., CORONA, CA 92880

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CYBER-TWIN HEAD ADDENDUM

CYBER-TWIN HEAD SPECIFICATIONS
TYPE: PART NUMBERS: PR 393 022-9002-000 (120 V, 60 Hz) USA 022-9032-000 (240 V, 50 Hz) AUS 022-9052-000 (220 V, 50 Hz) ARG 022-9072-000 (100 V, 50 Hz) JPN POWER REQUIREMENTS: POWER OUTPUT: RATED LOAD IMPEDANCE: SENSITIVITY: PREAMP INPUT IMPEDANCE: EFFECTS LOOP NOMINAL LEVEL: OUTPUT IMPEDANCE: INPUT IMPEDANCE: SPEAKER COMPLEMENT: FUSES PRIMARY: SECONDARY: FOOTSWITCH: 4-BUTTON 1-BUTTON EXPRESSION PEDAL: 360 W 65 W per channel (130 W total) @ 5 % THD 8 per channel Adjustable using the TRIM control 900 k (mono send, stereo return) 10 dBv / +4 dBu switchable 220 , impedance balanced 20 k, impedance balanced N/A F4A, 125 V(100 V, 120 V units), F2A, 250 V (230 V, 240 V units) F2A (digital supply), Two (2) T1A (analog supply) Quick Access, 5-pin, MIDItype cord, (supplied) Reverb/Effects bypass, Vibratone rotor speed select (standard toggle type, supplied) 1/4" (TipSleeve) analog, compatible with any passive volume pedal, 10k to 250k, (Use a pedal having a 20 k potentiometer with a 25A taper, for optimum performance.) MIDI JACKS: HEADPHONES JACK: DIMENSIONS HEIGHT: WIDTH: DEPTH: WEIGHT: IN, OUT, THRU 1/4" Stereo 9 25/32 in. 26 1/8 in. 11 5/16 in. 30 lbs. (24.8 cm) (66.4 cm) (28.7 cm) (13.5 kg) 022-9012-000 (110 V, 60 Hz) TW 022-9042-000 (230 V, 50 Hz) UK 022-9062-000 (230 V, 50 Hz) EUR 022-9092-000 (220 V, 60 Hz) ROK
Product specifications are subject to change without notice 057653 REV A
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.APENDICE SOBRE EL CABEZAL CYBER-TWIN

CABEZAL

Si la carga de los altavoces es inferior a 8 (2 , por ejemplo) se pueden producir daos en el amplificador y se ver afectada la calidad de sonido del amplificador. No olvide desconectar completamente los cables del altavoz de los conectores de salida de altavoces (SPEAKER OUTPUT) cuando no est utilizndolos. Al conectar o desconectar cables de altavoces asegrese de apagar el amplificador (OFF) para evitar que se produzcan daos en el amplificador y en los altavoces. Para conexiones de hasta 15 metros (50 pies) utilice cable de altavoz sin blindaje de calibre 16 (No utilice cables de guitarra para las conexiones de las cajas acsticas.)

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Plug in the supplied power cord after reading, Important Safety Instructions on page 1.
Turn MASTER down and plug in your guitar.

Switch the POWER ON.

Adjust TRIM so that most of the Green LEDs stay on and the Red LED flashes occasionally while playing guitar. Turn MASTER to desired level.
Rotate the large DATA WHEEL to try different Amp Design Presets. Experiment and play guitar!

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Important Safety Instructions. 1 Foreword. 2 Quick Start. 3
Cyber-Twin Description and Features. 8 Basic Setup. 10 Demonstration Mode, Switching the DEMO Mode OFF. 11
Front Panel. 12 Rear Panel. 16
The Display screen, the DATA WHEEL, the Six Modes. 18 PLAY Mode Interface: Display Appearance and DATA WHEEL Functions. 19 Menu Navigation, Parameters. 20

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Reverb Tone (Shape) Reverb Time Reverb Diffusion Speaker Phase Polarity Timbre Compression. 23 NoiseGate Depth NoiseGate Threshold Expression Pedal Assignment Continuous Controller Reverb/FX Bypass (Rotor Speed Shift). 24

Reverb Defined

Small Ambience, Small/Large Room, Small/Large Hall, Small/Large Plate, Arena, Blackface Reverb. 26
Pedal Wah Touch Wah Sine Chorus Triangle Chorus Sine Flange Triangle Flange Delay+Chorus Delay+Flange Delay+Phaser AutoSwell+Chorus Ultra-Clean+Chorus Pitch Shift Ring Modulator+Delay None. 29

FX Defined

Mono Delay. 30 Dotted 8/16 Delay, One-E-Da Delay, Ping-Pong Delay, Swing Tap Delay, Stereo Flam Delay. 31 Ducking Delay. 32 Backwards Delay. 32 Stereo Tape Echo. 33 Triangle Chorus. 34

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Menu NavigationFX Edit. 27

FX Editmenu items

Mono Delay Dotted 8/16 Delay One-E-Da Delay Ping-Pong Delay Swing Tap Delay Tape Echo Stereo Tape Echo Stereo Flam Delay Ducking Delay Backwards Delay Tremolo Amp Tremolo Auto Pan Phaser Vibratone. 28

Fender Reverb,

Gated Reverb. 25
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Menu NavigationAMP Edit. 21

AMP Editmenu items

Name Change Tone Stack Type Tone Stack Location Drive Circuitry Reverb Type Reverb In Level (Dwell). 22

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DEMO Mode Memory Protect SPDIF Patching Continuous Controller Assignment. 44 MIDI Transmit Channel System Exclusive ID MIDI Receive Channel MIDI Preset Mapping Continuous Controller Echo Factory Preset Restore MIDI Dump Utilities MIDI Dump Any Preset MIDI Dump All Presets. 45
Engineer-Speak. 46 How Cyber-Twin Becomes an Amplifier. 50

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Amp Tremolo. 35 Tremolo. 36 AutoPan. 36 Pedal Wah. 37 Touch Wah. 37 Vibratone. 38 Phaser. 39

Delay+Chorus. 39

Delay+Flange. 40

Delay+Phaser. 40

AutoSwell+Chorus. 41 Ultra-Clean+Chorus. 42 Pitch Shift. 42 Ring Modulator+Delay. 43

UTILITYmenu items

Continuous Controllers and Program Changes, Continuous Controller Echo, MIDI Preset Mapping. 53
System Exclusive Device ID, MIDI Dump Utilities, MIDI Dump Any Preset, MIDI Dump All Presets. 54
Appendix 1) MIDI Implementation Chart. 56 Appendix 2) MIDI Program Changes. 57 Appendix 3) System Exclusive Messages. 58 Appendix 4) Data Transmission Format. 59 Appendix 5) Troubleshooting. 62 Appendix 6) Cyber-Twin Specifications. 63
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The Cyber-Twin is the flagship in a new class of amplifiers at Fender. Exclusive Fender technology, Virtual Tone Interpolation (patent pending) enables the Cyber-Twin to become different amplifiers according to their circuit designs. Starting with a virtual circuit board and components, the Cyber-Twin rewires its internal architecture to become the greatest amp circuit designs of all time including, Fenders 59 Bassman, Twin Reverb, Dyna-Touch, Hot Rod, Pro Amp and Her Majestys Bassman, to name just a few. The Cyber-Twin allows you to be the amp designer. Youll truly appreciate the ability to pull the drive circuitry off of a Hot Rod for instance, and put it with the tone stack from a British amp and even though they say the tone stack should come after the drive circuit in the signal path, you put it before. Add Gated Reverband just for kicksdial up the Speaker Polarity menu to reverse the phase of the right side speaker. Test drive that setup and if it sounds good, save it. If not, choose from the 120 built-in amp designs and start by modifying one of them. On-board theres room for 85 of your own amp designs in THE PLAYERS LOUNGE. MIDI implementation on the Cyber-Twin enables you to transfer presets to and from the Cyber-Twin for backup or exchange with other Cyber-Twin players.

The Cyber-Twin puts a warehouse of studio quality FX at your command. All the stereo delay and modulation FX that youd expect, plus special FX like a virtual analog tape echo, and a backwards delay. A catalog of Reverbs from spring to plate is also included in the Cyber-Twins arsenal. The list of features is extensive, and the number of possibilities is unlimited. For immediate satisfaction, plug in, and use the large DATA WHEEL to pick from 85 ready-to-go Amp/FX setups in the FENDER CUSTOM SHOP, or choose from 35 classic amp designs in YOUR AMP COLLECTION. Then spend some time swapping components, and adding FX to create your own Cyber-rig.
Thank you for choosing FenderTone, Tradition, and Innovationsince 1946.
40 Character Display gives menu driven options, prompts for input and basic amp design information 1 Dynamic DATA WHEEL controls the major parameter in most operations to keep your input simple and focused on the messages apprearing in the Display screens.
8 Motorized Knobs automatically reposition themselves as each Preset is selected, and in response to MIDI continuous controller data or input coming from the pedals or footswitches 205 Amplifier Design Presets: 85 FENDER CUSTOM S HOP permanent Custom Amp Designs setup with FX 85 PLAYER S LOUNGE rewritable Amps Designed by You 35 YOUR AMP COLLECTION permanent Classic Amp Designs as originally manufactured 23 Continuous Controllers for auto-control by external MIDI equipment (sequencer/computer) 1 Assignable Continuous Controller for remote control of a dynamic parameter 4 System Exclusive functions for transferring Presets and updating Systems

MIDI Implementation:1

2 Vacuum Tubes are used in the tube drive circuitry and in the analog circuitry, (12AX7WAs)
4 Compression Level settings 3 Noise Gate Level settings with 1 adjustable Depth parameter 4 Timbre types give instant tone boosts for accent or balance 4 Line/Speaker Phase, select standard or reverse polarity for each speaker independently.
8 Bypass Reverb/Effects combinations; toggle by footswitch, one combination programmable per preset or toggle rotor speeds when using the Vibratone effect. Quick Access Keys assign favorite Amp Design Presets for convenient, one key access Button Footswitch, offers remote access to the 4 Quick Access Keys
1 Expression Pedal Jack facilitates control of any Preset controllable parameter from an analog expression pedal (optional) 130 Watts of Stereo Output Power, (65 watts per channel) 2 Celestion Speakers, G12T-100 (12/8) 1 Stereo Digital Line Output, RCA S/PDIF jack for connection to digital sound equipment

Adjustable parameters

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There are 28 FX (effect) types available on the Cyber-Twin, each with a evel parameter and or other parameters ( , , , , , [ ]). FX type and all FX parameters are saved as part of a preset. The major parameters for each FX ( , and ),can be adjusted using the front panel FX Level, FX Value 1 and FX Value 2 knobs from the PLAY Mode as well as most other Modes. A designated time-based parameter (for most FX) can be adjusted in a special waywith the TAP key you can tap in the time interval by feel, (see item O. TAP key on page 14). The FX Edit Mode can be used to adjust all FX parameters and must be used to access the minor parameters ( , and ) for each FX. Navigational instructions for the FX Mode below are followed by a map of the FX Mode on pages 30 and 31. Find individual FX definitions on pages 32 through 45.
Select a parameter to edit Press the FX key repeatedly to increment through the menu items of the active FX or Press and hold the FX key while rotating the DATA WHEEL in either direction. Adjustment Rotate the DATA WHEEL to adjust the parameter selected in the step above.
The FX menu map on pages 30-31 is your guide to the FX Edit Mode. Each FX is represented by a pair of rows (unshaded and shaded) as shown below.
Column 1 lists the 29 FX type selections available, (28 effects types and 1 none selection). Unshaded Row lists effects parameters for selection, (see Select a parameter above). Shaded Row lists the range of values for adjustment, (see Adjust the value above).
icon denotes a column with menu items in continuous loop. icon denotes a row with menu items in a continuous menu loop.

FX Selection

parameter
Remember to SAVE your modifications to a PLAYER S LOUNGE preset or they will be erased when the current a preset change is changed.

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A bizarre effect that repeats the input signal in reverse time frames. Delay Out Level. Adjusts the wet/dry signal ratio. Select between 1.0 for 0% wet (no effect) and 10.0 for 100% wet (all effect). Delay Time (ms). Range: 30 to 1450 milliseconds. Adjusts the time interval between the delayed repeats. The increment of change gradually increases from 1 millisecond at the shortest delay time to 10 milliseconds at the longest delay time. Remember that the TAP button can always be used to key in delay times by feel. Delay Forward Feedback. Adjusts the number of delay repeats. Select between 1.0 for a single delay repeat and 10.0 for many repeats. Note that this control allows all delay repeats to be just like the first delay repeat, i.e., reversed.
Delay Rev Feedback. Adjusts the number of delay repeats. Select between 1.0 for a single delay repeat and 10.0 for many repeats. Note that this control will alternately reverse and unreverse delay repeats. Because there are two feedback controls for this effect, use each one with regard for the other to avoid uncontrolled feedback. Delay Brightness. Adjusts the amount of high frequencies that are removed each time the delay is repeated. Select between 1.0 to make each subsequent repeat darker and 10.0 to allow the high frequencies to repeat. Use this control to simulate the high-frequency absorption of acoustically dull rooms or analog echo units. Note that because this control removes highs from the signal, that it will also affect the number of delayed repeats. Delay Time Change. Select Ramp or Step to change the way the effect responds to changes in the Delay Time parameter. With the Ramp setting, the delay time change will be gradual with an analog sounding pitch warble, (audible until the delay time stabilizes). With the Step setting, the delay time change will be instant with a digital zip sound audible for a moment.

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Delay effects with added features to get a tape echo sound. Tape Echo is pure mono, and Stereo Tape Echo is a two-tap, ping-pong effect. Unlike a vintage tape echo machine, however, theres no tape hiss nor is there the possibility of breaking a tape loop! These are two of our favorites. Fair warningif you try these, you might never go back to any other delays! Echo Output Level. Adjusts the wet/dry signal ratio. Select between 1.0 for 0% wet (no effect) and 10.0 for a 50% mix. Echo Time (ms). Range: 30 to 1450 milliseconds. Adjusts the time interval between the echoed repeats. The increment of change gradually increases from 1 millisecond for the shortest echo time to 10 milliseconds for the longest echo time. Remember that the TAP button can always be used to key in echo times by feel. Echo Feedback. Adjusts the number of echo repeats. Select between 1.0 for a single echo repeat and 10.0 for an almost infinite number of repeats. Echo Brightness. Adjusts the amount of high frequencies that are removed each time the delay is repeated. Select between 1.0 to make each subsequent repeat darker and 10.0 to allow the high frequencies to repeat. Use this control to simulate the high-frequency absorption of acoustically dull rooms or analog echo units. Note that because this control removes highs from the signal, that it will also affect the number of delayed repeats.

A sine-wave tremolo effect that can be used to approximate grid-bias tremolo or repeat percussion as found in a Tweed Tremolux. Tremolo Output Level. Adjusts the wet/dry signal ratio. Select between 1.0 for 0% wet (no effect) and 10.0 for 100% wet (all effect). Tremolo Rate (Hz). Range: from 0.08 Hz to 10 Hz. Adjusts the rate of the tremolo effect. The increment of change gradually increases from 0.01 Hz for the slowest rate to 0.08 Hz for the fastest rate. Remember that the TAP button can always be used to key in the tremolo rate by feel two TAPs set the time it takes for the tremolo LFOs (Low Frequency Oscillators) to go through one cycle. Tremolo Depth. Adjusts the amount of volume drop and how apparent the effect sounds. Select between 1.0 for no apparent effect and 10.0 for maximum effect. Tremolo Offset. Adjusts the center of the LFO waveform. Select 1.0 and the LFO will modulate the guitar signal so much that the phase is flipped, giving a more extreme character. Select 10.0 and the LFO is limited to just modulating the volume. Tremolo Shape. Continuously adjusts the smoothness of the tremolo waveform. Select between 1.0 for a subtle and natural effect and 10.0 for a choppy effect. Turn Tremolo Shape, the Trem Output Level, and Tremolo Depth all to their maximum values to get very deep, choppy, repeat percussion sounds.
A sine-wave panning effect. An LFO sweeps the signal back and forth in the stereo field. Pan Output Level. Adjusts the wet/dry signal ratio. Select between 1.0 for 0% wet (no effect) and 10.0 for 100% wet (all effect). Pan Rate (Hz). Range: from 0.08 Hz to 10 Hz. Adjusts the rate of the AutoPan effect. The increment of change gradually increases from 0.01 Hz for the slowest rate to 0.08 Hz for the fastest rate. Remember that the TAP button can always be used to key in the AutoPan rate by feel two TAPs set the time it takes for the AutoPan LFOs (Low Frequency Oscillators) to go through one cycle. Pan Depth. Adjusts how deeply the panner moves your guitar sound between the left and right channels and how apparent the effect sounds. Select between 1.0 for no apparent effect and 10.0 for maximum effect.
Pan Shape. Continuously adjusts the smoothness of the AutoPan waveform. Select between 1.0 for a subtle and natural effect and 10.0 for a choppy effect. Pan Phase. Adjusts the relative phase of the two LFO waveforms which modulate the left and right channels volumes. Select 1.0 and the LFOs are perfectly in phase, giving a mono tremolo effect. Select 10.0 and the LFOs are completely out-of-phase, creating the greatest stereo ambience.
Foot-operated wah. Wah Output Level. Adjusts the wet/dry signal ratio. Select between 1.0 for 0% wet (no effect) and 10.0 for 100% wet (all effect). Wah. Adjusts the wah filter center frequency. Select between 1.0 for the lowest frequency and 10.0 for the highest frequency. This effect is best suited for connection to an expression pedal or a MIDI continuous controller pedal to enable foot control of the effect. Wah Heel Frequency. Adjusts the frequency that the wah pedal sweeps to in the heel down position. Select between 1.0 for the lowest frequency and 10.0 for the highest frequency. Note that Wah Heel Frequency and Wah Toe Frequency can reverse positions so that the typical setup low frequency with the Heel downbecomes low frequency with the Toe down. Wah Toe Frequency. Adjusts the frequency that the wah pedal sweeps to in the toe down position. Select between 1.0 for the lowest frequency and 10.0 for the highest frequency. Wah Sweep Type. Select between two wah types: The Babys Cryin or The Real McQ. The first selection is based on a popular, modernday wah, and the second choice is based on a vintage wah.

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Mono Delay plus stereo Triangle Flange.
Delay Time (ms). Range: 30 to 1450 milliseconds. Adjusts the time interval between the delayed repeats. The increment of change gradually increases from 1 millisecond at the shortest delay time to 10 milliseconds at the longest delay time. Remember that the TAP button can always be used to key in delay times by feel. Flange Depth. Adjusts the amount of Doppler shift and how apparent the Flange effect sounds. Select between 1.0 for no apparent effect and 10.0 for maximum effect. Delay Feedback. Adjusts the number of delay repeats. Select between 1.0 for a single delay repeat and 10.0 for many repeats. Flange Rate (Hz). Range: from 0.08 Hz to 10 Hz. Adjusts the rate of the flange effect. The increment of change gradually increases from 0.01 Hz for the slowest rate to 0.08 Hz for the fastest rate. Delay Time Change. Select Ramp or Step to change the way the effect responds to changes in the Delay Time parameter. With the Ramp setting, the delay time change will be gradual with an analog sounding pitch warble, (audible until the delay time stabilizes). With the Step setting, the delay time change will be instant with a digital zip sound audible for a moment.
Mono Delay plus stereo Phaser.
Delay Time (ms). Range: 30 to 1450 milliseconds. Adjusts the time interval between the delayed repeats. The increment of change gradually increases from 1 millisecond at the shortest delay time to 10 milliseconds at the longest delay time. Remember that the TAP button can always be used to key in delay times by feel. Phaser Depth. Adjusts the width of the phaser sweep and how apparent the Phaser effect sounds. Select between 1.0 for no apparent effect and 10.0 for maximum effect. Delay Feedback. Adjusts the number of delay repeats. Select between 1.0 for a single delay repeat and 10.0 for many repeats. Phaser Rate (Hz). Range: from 0.08 Hz to 10 Hz. Adjusts the rate of the Phaser effect. The increment of change gradually increases from 0.01 Hz for the slowest rate to 0.08 Hz for the fastest rate.
Automatically-triggered volume swell effect with chorus. The AutoSwell is triggered when you play at a reasonable volume. Note that in order for the trigger to reset, you must not play for a short time before you wish the effect to swell a new note or chord.
FX Wet Out Level. Adjusts the wet/dry signal ratio. Select between 1.0 for 0% wet (no effect) and 10.0 for 100% wet (all effect). Note that because the AutoSwell ideally raises the volume level from inaudible to the maximum for the given preset, having this control at anything less than 10.0 will cause there to be some dry signal present at all times, including at the beginning of the swell. For the maximum swelling action, keep this control set at 10.0.

Autoswell Attack Time. Adjusts the amount of time it takes for the AutoSwell to come up to full volume. Chorus Depth. Adjusts the amount of Doppler shift and how apparent the Chorus effect sounds. Select between 1.0 for no apparent effect and 10.0 for maximum effect. Autoswell Sensitivity. Adjusts the sensitivity of the AutoSwell triggering mechanism to your playing. Select between 1.0 for no swell action and 10.0 for maximum swell action with the highest degree of sensitivity to any input from your guitar. Note that your guitar volume and the TRIM, GAIN, and VOLUME controls must be set at reasonable levels in order for the effect to respond properly. Chorus Rate (Hz). Range: from 0.08 Hz to 10 Hz. Adjusts the rate of the chorus effect. The increment of change gradually increases from 0.01 Hz for the slowest rate to 0.08 Hz for the fastest rate.

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Delay Time Change. Select Ramp or Step to change the way the effect responds to changes in the Delay Time parameter. With the Ramp setting, the delay time change will be gradual with an analog sounding pitch warble, (audible until the delay time stabilizes). With the Step setting, the delay time change will be instant with a digital zip sound audible for a moment.
Ultra-clean guitar tone with Triangle Chorus. For best results, use with clean amp settings and your guitars neck (rhythm) pickup.
FX Wet Out Level. Adjusts the wet/dry signal ratio. Select between 1.0 for 0% wet (no effect) and 10.0 for 100% wet (all effect).
Chorus Rate (Hz). Range: from 0.08 Hz to 10 Hz. Adjusts the rate of the chorus effect. The increment of change gradually increases from 0.01 Hz for the slowest rate to 0.08 Hz for the fastest rate. Chorus Depth. Adjusts the amount of Doppler shift and how apparent the Chorus effect sounds. Select between 1.0 for no apparent Chorus effect and 10.0 for maximum effect. Body. Adjusts the amount of low frequencies in this effect. Select between 1.0 for reduced bass and 10.0 for boosted bass. Brilliance. Adjusts the amount of high frequencies in this effect. Select between 1.0 for reduced treble and 10.0 for boosted treble.
Semitone-variable pitch shifter and detuner. Pitch Shift Out Level. Adjusts the wet/dry signal ratio. Select between 1.0 for 0% wet (no effect) and 10.0 for 100% wet (all effect). Pitch. Adjusts the semi-tone shift value of this effect within a four octave range. Select between 1.0 for a shift two octaves down and 10.0 for a shift two octaves up from the dry, input pitch. Adjustment increments are made in semi-tones intervals with 5.5 being in unison with the input signal (no shift). Note that the farther from center (5.5) that you turn the knob, the more apparent the effect will be. Pitch Detune. Adjusts the offset from a nominal semi-tone within one tone. Select between 1.0 for a detune one semi-tone flat and 10.0 for a detune one semi-tone sharp. Adjustment increments are made in micro-tone intervals with 5.5 (default) being in unison with the input signal (no detuning). Pitch Feedback. Adjusts how much signal from the Pitch Shifter effect is recycled back to the input. Select between 1.0 for minimum levels and 10.0 for maximum levels. High feedback levels allow a portion of the signal to repeat the cycle many times thereby compounding the pitch shifts. Pitch Pre-Delay. Adjusts the amount of delay before the pitch-shifted signal is heard. Can be used with the Pitch Feedback control to get continuously rising or falling pitch cascades with a fixed time change interval. For the most transparent pitch shifting, turn this control to 1.0.

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Ring Modulator+Mono Delay. The Ring Modulator creates tones above and below your original guitar signal.
Mod Frequency. Adjusts the Ring Modulator frequency. Select between 1.0 for the lowest frequency and 10.0 for the highest frequency. For radical results from this effect, try using an expression pedal (optional) to control this parameter, (see item EEEXPRESSION PEDAL on page 16 for details on connecting an expression pedal). Other conditions: Mod Frequency must be selected for the expression pedal parameter of the active preset (Use the AMP key to access the expression pedal menu and the DATA WHEEL to select Mod Frequency parameter). You must have an analog expression pedal plugged into the EXP PEDAL jack and Ring Mod+Delay must be selected as the active effect. Delay Out Level. Adjusts the wet/dry ratio of the delay effect. Select between 1.0 for 0% wet (no effect) and 10.0 for a 50% mix. Delay Time (ms). Range: 30 to 1450 milliseconds. Adjusts the time interval between the delayed repeats. The increment of change gradually increases from 1 millisecond at the shortest delay time to 10 milliseconds at the longest delay time. Remember that the TAP button can always be used to key in delay times by feel. Delay Feedback. Adjusts the number of delay repeats. Select between 1.0 for a single delay repeat and 10.0 for many repeats. Delay Time Change. Select Ramp or Step to change the way the effect responds to changes in the Delay Time parameter. With the Ramp setting, the delay time change will be gradual with an analog sounding pitch warble, (audible until the delay time stabilizes). With the Step setting, the delay time change will be instant with a digital zip sound audible for a moment.
Alternately, you could use an external MIDI continuous controller for the same purpose. The continuous controller menus are one additional push of the AMP key after the expression pedal menus and the value selection is the same.

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MIDI on a Fender guitar amp!? That was the first question that came to my mind when this project was introduced to me. At first, we kept the MIDI implementation simple. With the basic implementation in place, a few of us at R&D brought the Cyber Twin into a studio to really find out its capabilities. Well after a few studio sessions, more MIDI ideas came streaming in. The phrase Wouldnt it be great if was being repeated over and over again. We realized that controlling the Cyber Twin through MIDI needed to be more extensive. After numerous discussions with other R&D engineers, the MIDI implementation on the Cyber Twin has grown. I get great joy now seeing the reaction from people when they realize what they can do with MIDI and the Cyber Twin.
Paul Rooney, Software Engineer
The goal of the Cyber-Twin was to produce a digital amp that worked as if it were the best analog amp money could buy. Job number one for me was to recreate the action of the best tone controls in the world, not just ordinary digital controls. We managed to find ways in digital to nail the response characteristics of any tone stack we wanted. Next job was to build a DSP operating system that was so great that no one noticed it, after all this is an amp not a video game. Finally, I know you will also like the noise gate. I listened to other noise gates and was never satisfied. The Cyber-Twins noise gate is very specialsmooth, and especially guitar friendly. It was really fun showing the noise gate to people for the first time. Their reaction was usually a confused, this must be some sort of trick. Then they would realize that it was no trick, just the best noise gate they had ever heard.
Chuck Adams, Principal Engineer
I first experienced the hum ble beginnings of the Cyber-Twin am p when I interview ed for the job at Fender R & D. The departm ent w as in the process of building a core of D S P products, w ith the flagship D SP am p (the Cyber-Twin) at the center of attention. Before the visit to Fender, it w as hard to im agine the traditional, classic Fender tube am plifier and the D S P products together. although it seem ed like a necessary evolution. H aving been a guitar hobbyist and grow ing up in an era of R ock and R hythm & B lues the whole idea seem ed exciting, yet sad som ehow. B ut w hen I spoke w ith the people at F en der a nd vie w ed the first Cyber-Twin prototypes, I w as quickly reassured that the evolution of D S P audio does not have to throw aside the traditional aesthetics and sound of the early Fender tube am ps. In fact, the priorities w ere Tone, Tone and Tradition,. and in that order. T he advantages of D S P architecture w ere only used to enhance the am plifier and m ake it m ore versatile. N o trade-offs for tone or tradition w ere acceptable. W hen I saw the first artists renderings of the am p and the m otorized-pot schem e, I thought to m yself,. the best of both w orlds,. the look, feel, and tone of (several) analog am ps of days past,.A N D the autom ation, versatility, and effects that digital electronics offer! W hich is precisely w hat they w ere trying to tell m e. N ow that I have w itnessed a good deal of the Cyber-Twin developm ent, and as it nears production, I am am azed m ore and m ore by the range of this am plifier. T he c on trib utio ns b y the tea m m em be rs that conceptualized and designed the Cyber-Twin have been rem arkable. T his p ro du ct h as e voked the kin d o f passion in their w ork that I hope to continue enjoying as I work here. I will al ways be proud to have been involved w ith this product, having provided engineering support on an intensive project. I am thrilled to w itness this new revolution in the digital audio and m usic industry.

J o e B ra c k m a n ,

Design Engineer Digital Effects
The Cyber-Twin uses four different sets of tone controls from four different eras of Fender amplifiers. The first is from the early Fender narrow-panel tweed era (1956-58 or so), which first made its appearance in the Bassman, model 5F6. We call this tone stack British (more on this later). The next one is from the late tweed era (1959), which we call Tweed. Next is one that originated in 1964 that we call Blackface (so-called because the Fender amps of this era had black dial plates). Last, we have a brand new set of tone controls we call Modern, which originate in the 2000-2001 era. The British, Tweed, and Blackface tone stacks, though similar in appearance and function, sound quite different from each other. Each justifies its own existence. The British tone stack, which came from an early production Fender 5F6-A Bassman, was a starting point that evolved into the Tweed tone stack, which came about as a re-optimization for bass guitar, and was first used in the 5F6-A Bassman of 1959. The Blackface tone stack came about in an effort to make a guitar amplifier sound as clean and loud as possible with a given amount of power. All three tone stacks, and many variations, are used in guitar amplifiers to this day. Having these different sets of tone controls is one of the things that helps the Cyber-Twin become many different amplifiers. OK, what about this British business? The story goes something like this. Fender amplifiers werent readily available in Europe before the late 1960s. They were special ordered, modified to run on 220V or 240V 50Hz, and then shipped in very low quantities. The result was amplifiers that were expensive and hard to get. Enter some British gentlemen (who neednt be named) who nabbed an early Fender Bassman model 5F6-A, which still had the 5F6 tone controls. The resulting direct adaptation (and a good one at that) became the first, uh, major well-known British-made guitar amplifier. Below are diagrams of the early Fender Bassman model 5F6-A and British tone stacks. Note the similarities:
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The Cyber-Twin is made up of interchangeable pieces from different amplifiers. One very important piece from these amplifiers are the different sets of tone controls, or tone stacks, so-called because the diagrams of these tone controls show the components stacked on top of one another.

Early Production Bassman 5F6-A Tone Stack

British Tone Stack

W e took the liberty of slightly m odifying the Tw eed tone stack. The originals bass control ca me up very quickly. O nce turned higher than about 6 out of 12, there was no apparent difference in the bass response, but the increase of inaudible low bass robbed the am p of audible p ower. T he modification spreads out the useful range of the bass control, but changes nothing else. This is s imilar t o wh a t we did in the Fend e r HR series (1996):
Later Production 1959 Fender Bassman 5F6-A Tone Stack
Tweed Tone Stack used in the Cyber-Twin
Blackface tone controls, unlike the British and Tweed controls, go silent when they are all turned all the way down. This is because the mid control is wired differently. When translated into Virtual Tone Interpolation (VTI), the Blackface tone controls in the Cyber-Twin do the same:

Blackface Tone Controls

What are the Modern tone controls? There is no diagram, because theyre brand new along with VTI. Theyre like Baxandall tone controls with a mid control, but not really. Theyre optimized for guitar, yet they can go where traditional tone stacks cant. Theyre capable of everything from settings like an extreme midscooped sound (or a mid mountain!) to hi-fi flat. Theres more to tone, however, than tone stacks. The location of a tone stack in the circuit makes an astounding difference in the sound of an amplifier, even when the amp is played clean. You can demonstrate this by switching the Cyber-Twins tone stack location from pre-distortion to post-distortion without changing anything else. Also, there are many drive (distortion) types that have been used. The Cyber-Twin has 12 tube and 4 solidstate drive types, ranging from the clean Blackface Tube 1 (which uses tubes!) to the super-sustain DynaTouch 4 (solid-state). The vacuum tube drive types Blackface and Hot Rod use a common cathode gain stage to set the dominant distortion characteristic. The Tweed and HMB vacuum tube drive types use a common plate cathode follower to set the dominant distortion characteristic. Both types of tube distortion are widely used to this day. By the way, in case youre wondering, the drive type HMB stands for Her Majestys Bassman. Because of tone stack types, tone stack location, drive types, and a Dyna-Touch guitar power amplifier section, the Cyber-Twin has the ability to become just about any amplifier, not just model it. This is one reason why we say Innovate Dont Emulate

Parameter Master Volume LSB for Bank Changes Effects/Reverb Bypass Data Increment Data Decrement Gain Volume Treble Middle Bass Presence Reverb Master Volume FX Level FX Val 1 FX Val 2 FX Val 3 FX Val 4 Reverb In [Dwell] Reverb Tone [Shape] Reverb Time Reverb Diffusion Tap
Value Range (0 - 127) (0 - 127) OFF (0=63), ON (64-127) (Linked to the DATA WHEEL) (Linked to the DATA WHEEL) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127) (0 - 127)

Table Notes:

Cyber-Twin continuous controller resolution: 0 127, (it will not accept 16,384 step sizes).
Data Increment/Decrement models the DATA WHEEL by 1/-1 increments
V HJQDK& PDUJRU3 ,',0
V HJDVVH0 HYLVXOF[( PHWV\6
Note: All System Exclusive data values are displayed in hexadecimal with H for clarification. System Exclusive Header
Value F0H 08H nnH 11H ffH F7H Description Start of System Exclusive Message Fenders Manufacturer ID nn = Device ID (minus one) Amp ID number 11H. The upper nibble identifies the Cyber-Twin and the lower nibble is the software version Function ID number. See table to the right for values.> End of System Exclusive Message Function ID Numbers 01H 02H 03H Description Utilities Message One Preset Message All Presets Message
Value F0H 08H nnH 11H ffH PnH Data CBH F7H Value F0H 08H nnH 11H ffH 7BH F7H
System Exclusive Data Packet
Description Start of System Exclusive Message Fenders Manufacturer ID nn = Device ID (minus one) Amp ID number 11H. The upper nibble identifies the Cyber-Twin and the lower nibble is the software version Function ID number. See list for values. Packet Number Data bytes: The data bytes have been formatted following the MIDI Specification 1.0 Checksum byte used for error checking End of System Exclusive Message
System Exclusive End of File Message
Description Start of System Exclusive Message Fenders Manufacturer ID nn = Device ID (minus one) Amp ID number 11H: The upper nibble identifies the Cyber-Twin and the lower nibble is the software version Function ID number. See list for values End of System Exclusive File Byte End of System Exclusive Message
First, the System Exclusive Header is sent. The amp will wait 200ms to look for a hand shake. If no hand shake is received then the amp will transmit the first data packet. The transmission continues until all the information has been sent. After the last packet, the End of File message is sent. In order for hand shaking to work the Device ID must be set to the same ID as the amp. The hand shake messages that the amp will respond to are:
Value F0H 7EH nnH hdH ppH F7H
Description Start of System Exclusive Message Universal Message nn = Device ID (minus one) Hand Shake ID Packet Number End of System Exclusive Message