Owner's Manual

Precautions

Location
Using the unit in the following locations can result in a malfunction. In direct sunlight Locations of extreme temperature or humidity Excessively dusty or dirty locations Locations of excessive vibration Close to magnetic elds

Power supply

Please connect the designated AC/AC power supply to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended.
Interference with other electrical devices
Radios and televisions nearby may experience reception interference. Operate this unit at a suitable distance from radios and televisions.

Handling

To avoid breakage, do not apply excessive force to the switches or controls.
If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, cleaning compounds or ammable polishes.

Keep this manual

After reading this manual, please keep it for later reference.
Keeping foreign matter out of your equipment
Never set any container with liquid on this equipment. If liquid gets into the equipment, it could cause a breakdown, re, or electrical shock. Be careful not to let metal objects get into the equipment. If something does slip into the equipment, unplug the AC/AC power supply from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased. THE FCC REGULATION WARNING (for U.S.A.)
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. Unauthorized changes or modication to this system can void the users authority to operate this equipment.
CE mark for European Harmonized Standards
CE mark which is attached to our companys products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/ EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC). Also, CE mark which is attached to our companys products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside. WARNING: Use of this product in any country other than that for which it is intended could be dangerous and could invalidate the manufacturer's or distributor's warranty. Please also retain your receipt as proof of purchase otherwise your product may be disqualied from the manufacturer's or distributor's warranty.

buttons to select Ln (LINE). If youve connected ToneLabSE to your guitar amp, set this to AP (AMP). 7. Turn up the volume controls of your amp or mixer, and ToneLabSEs rear panel LEVEL knob (11.3) to adjust the volume.
NOTE: You wont hear sound for several seconds while the valve (a.k.a. vacuum tube if you live on the west side of the Atlantic) warms up. This isnt a malfunction its a real analogue valve!

LISTEN TO THE PROGRAMS

8. Use the BANK UP, DOWN buttons (6.1) to select a bank 124. Notice that the number in the bank display (5.1) blinks and changes.
HINT: ToneLabSE has 96 programs, organized into 24 banks with four programs in each bank (24 x 4 = 96). When shipped from the factory, banks 18 contain 32 programs. (The programs in banks 1-8, 9-16 and 17-24 are identical to each other) Program Select mode lets you select these programs. Theres also an effect ON/ OFF mode that lets you turn individual effects on/off. HINT: For an illustration, look at 3 Bank/Program/Channel/Select/Display Section in the diagram at the end of this manual.
9. Use the program select 14 pedals (6.2) to select a program. The program LED you selected will light, and the number in the bank display will also change and stay lit. Go ahead and play your guitar. For example if you want to select program 3-1 (bank 3, program 1), press the BANK UP or DOWN pedal to make the bank display read 3, and then press the program select 1 pedal to make the LED light. If youre selecting a program in the same bank, simply press a program select 14 pedal. If you want to select a program from a different bank, youll need to perform steps 8 and 9 in that order.
NOTE: If you cant select a program, youre probably not in Program Select mode. Get back into Program Select mode as described in Program Select mode (p.16). HINT: The preset programs cover an amazing range of sounds; fat hi-gain lead sounds, nostalgic clean sounds that work best with your rhythm (neck) pickup, aggressive modern crunch sounds for heavy rifng with your lead (bridge) pickup, and much more. P.68 has a list of the preset programs.
10. The two expression pedals are assigned to control the most appropriate parameters for each program, such as wah, volume, delay, reverb input level, or other effect parameter. The CONTROL switch is assigned functions such as TAP tempo input of the delay time. 11. By pressing the A/B Ch switch you can instantly switch between 2 sets of amp and cabinet models within each program. 12. By pressing the FX ON/OFF (TUNER) switch you can switch to Effect On/Off mode. Effect On/Off mode lets you switch each effect on/off just like you were using a set of stomp boxes. Program select 14 will switch pedal, modulation, delay, and reverb on/off respectively, and the BANK DOWN pedal will bypass the insert effect.

SWITCHING EFFECTS ON/OFF

13. The model select buttons will be lit (ON) or dark (OFF) to indicate the on/off state of each effect. If you press a button that is dark or turn the model selector, the effect will turn on and the model select button will blink. If you press a button that is blinking, the effect will turn off and the button will go dark.

If this is lit while youre editing, the expression pedal Quick Assign function is available.
HINT(Quick Assign): If the expression pedal setting button is lit while you are editing an effect, you can use the expression pedal Quick Assign function. To assign the parameter shown in the name display to expression pedal 1, simply press and hold the expression pedal setting button for one second. If you want to assign the parameter to expression pedal 2, press and hold the control pedal setting button for one second. When the assignment is completed, the name display will indicate COMPLETE.
5 BANK DISPLAY/TUNER DISPLAY
5.1 Bank display Indicates the bank number. If the tuner is operating, this indicates the note name. (p.51) 5.2 Tuner display If the tuner is on, this displays the pitch you are playing. (p.51)
6 BANK/PROGRAM/CHANNEL/SELECT SECTION
6.1 BANK UP/DOWN pedals In Program Select mode, press BANK UP to increment the bank by one, or BANK DOWN to decrement it by one. In Effect On/Off mode, you can use the BANK DOWN pedal to switch INSERT (the external effect) on/off. 6.2 Program select pedals, Program LEDs Use these to select programs. The program LED at the upper left of each pedal will light accordingly.

4 CONTROL SETUP SECTION

In Effect On/Off mode, these switches individually switch the Pedal, Modulation, Delay, and Reverb effects on/off.
6.3 A/B ch channel select pedal, Channel LEDs Use this to change channels within the currently selected program. The channel LEDs located above the pedal will light accordingly (green when channel A is selected, red when channel B is selected).

7 FX ON/OFF SWITCH

Press this switch when you want to switch to Effect On/Off mode and the LED at the upper left of the pedal will light. In Effect On/Off mode you can use the program select pedals to individually switch the Pedal, Modulation, Delay, and Reverb effects on/off. If you press and hold this switch for 0.5 seconds or longer, the output will be bypassed. If you press and hold this pedal for one second or longer, the output will be muted. The tuner will operate when ToneLabSE is bypassed or muted. To cancel bypass or mute (Tuner), press this switch once again.

8 EFFECT CONTROL SECTION

8.1 CONTROL (Control switch) This pedal controls the effect function specied by the Control switch setting. 8.2 EXP1, EXP2 (Expression pedal 1, Expression pedal 2) These pedals control the effect parameter you assigned as the expression pedal setting; e.g., volume, wah, or other effect parameter. Pressing down rmly on an expression pedal will activate a switch underneath the pedal, letting you turn the assigned effect on/off (except when youve assigned volume or an amp parameter).

ALL BAL/UNBAL

BAL/UNBAL

LINE IN 1

LOW CUT 75Hz 18dB/OCT

BAL OR UNBAL

LINE IN 2

LINE IN 3

LINE IN 4

LINE IN 5

LINE IN 6

-10dBV C GAIN MI

U 10 60

LEVEL +4 -10

+10dB -40dB

LINE IN 7-8

LINE IN 9-10

LINE IN 11-12

LINE IN 13-14

MON/ EFX

+10 +20

+15 +15

AUX 1 MASTER

NORMALLED
PRE POST AUX 1 SELECT EFXTO MONITOR

2 A UX RETURNS

HI 12kHz

SOURCE

MAIN MIX

+28 +10 +7

U MID 2.5kHz

-12 +12 -12

+12 -12

ALT 3-4

U LOW 80Hz

-15 +15 -15

+15 -15

0 -2 -4 -7

ASSIGN TO MAIN MIX
NORMAL(AFL) LEVEL SET(PFL)

-10 -20 -30 0dB=0dBu

Headphones

A LT 3 4

PHANTOM CONTROL ROOM

RUDE SOLO LIGHT

/ PHONES
Monaural phone jack INPUT

Mixer/recorder

USING TONELABSE WITH A GUITAR AMP(S)
EXAMPLE OF CONNECTION TO A GUITAR AMP (OR AMPS)
If you are connecting ToneLabSE to one or more guitar amps, connect the OUTPUT L/MONO and R jacks to the input jack of your guitar amp(s). If desired, you can also connect an external effect processor; connect SEND to the effect processors input, and RETURN to its output. Press the GLOBAL switch to access the OUT SEL menu, and use value knob 6 or the , buttons to select AP (AMP).
HINT: If ToneLabSE is connected immediately before a combo amp or amp head, set the tone controls of your guitar amp to their center positions and then adjust for taste. To avoid unintentional distortion, press and hold the FX ON/OFF (Effect On/ Off) pedal for 0.5 seconds to bypass ToneLabSE, and adjust the rear panel LEVEL knob so that the volume is the same as when your guitar is connected directly to the amp. HINT: If youre connecting ToneLabSE to a guitar amp that has a jack allowing you to connect directly before the power amp (such as Return or Main In), set the OUT SEL menu item to Ln (LINE), and then connect ToneLabSE to that jack. If you want to take advantage of the tonal character of that amp (and cabinet), you may want to turn ToneLabSEs CABINET setting OFF. HINT: When the program name is displayed, you can press and hold the EXIT switch for one second or longer to activate the Key Lock function; this disables operation of the buttons, selectors, and knobs. (The name display will indicate KEY LOCK for one second, and the value knob LEDs will go dark.) To cancel the Key Lock function, press and hold the EXIT switch again for one second or longer. (The name display will indicate LOCK OFF for one second.)

This is a 1x12" open backed combo using the famed VOX Blue Alnico speaker, manufactured by Celestion in Ipswich, England. The one we used was a modern re-issue that was housed in the VOX AC15TB combo. This speaker, which is 8 Ohms impedance, 15 Watts power handling, is amazingly full-bodied for a 1x12 open back cab, and, of course, helps bring the famous VOX chime to the forefront.

7. VOX AC30 (AC30)

Obviously, double the power double the speakers. 2x12" VOX Blue Alnicos, wired in series for 16 Ohms, adds even more of that great VOX tone. This time we modelled some great sounding originals from way back in the 60s. As speakers get old their tone changes, so this conguration adds a different slant on how these speakers sound.

8. VOX AD412 (AD412)

This cabinet is one of VOXs latest products, and due to the fact we are extremely proud of it, and that it is without a doubt an exceedingly great sounding cabinet, we just had to include it with our cabinet models. The cabinet itself features custom designed Celestion speakers using Neodymium magnets, one of the rst, if not the rst, cabinet to use this technology. It also uses some special cabinet acoustic design technology that is also a rst for VOX and 4x12s in general. Use it as a valid tonal option with any model, but especially the amp head models. We think you will like it!

9. UK H30 4X12 (UK H30)

This is an older, heavy-duty cabinet (with 30 Watt speakers, from the late 60s) made by the same famous UK amp company as the UK T75 4x12. Many of these cabinets have been used on countless classic rock recordings throughout the past.

DELAY REVERB

10. UK T75 4X12 (UK T75)
This 4x12" model is of a famous, UK built, black box loaded with modern, 75 Watt British speakers. Normally seen stacked, this is probably the biggest selling guitar cabinet ever and is eminently suitable for most rock styles. How could we not model it?!

11. US V30 4X12 (US V30)

This black beast of a cabinet hails from the same home in California as our RECTO amp. It uses four UK made Vintage named speakers.
It is renowned for its deep bass and high-end detail and is extremely popular amongst todays nu-metal exponents. We think you know what we mean!

WHAT GOES WITH WHAT?

Basically, with your ToneLabSE you can mix any amp model to any cabinet model, and create many varied tones. But to give you a starting point, here is a listing of historically correct matches:
AMP MODEL TWEED 1x12 TWEED 4x10 BLACK 2X12 AC15 AC15TB AC30 AC30TB UK BLUES UK 68P UK 80s UK 90s UK MODERN US HiGAIN RECTO BOUTIQUE OD BOUTIQUE CLN HISTORICALLY CORRECT CABINET MODEL TWEED 1x12 TWEED 4x10 BLACK 2x12 VOX AC15 VOX AC15 VOX AC30 VOX AC30 UK H30 UK H30 UK T75 UK T75 UK T75 or US V30 US V30 or UK T75 US V30 UK H30 is a good choice UK H30 is a good choice

4. AUTO WAH

The lazy mans Wah pedal! Only kidding.this quirky but useful effect allows you to create an automatic Wah effect that varies with your picking dynamics (i.e. how hard or soft you hit the strings). As in VOX WAH, you can select either V847 or V848 as the wah type. * Adjusts the sensitivity with which the wah responds to the volume of the guitar. [2] POLARITY uP(UP), Sets the direction in which the auto wah will operdn(DOWN) ate. [1] SENSE 0.0.10.0
[3] ATTACK [5] TYPE [6] ORDER

1.0.10.0 847, 848

Adjusts the Auto Wahs response speed. Selects either V847 or V848 Clyde McCoy model as the wah type PrE(PRE), Selects the connection order. PRE/POST connects PoS(POST) the wah before/after the Amp Model.

5. U-VIBE

Modelled on the famous Univox Uni-Vibe - a phase/vibrato effect that was designed to simulate a rotating speaker and produces a wonderfully seductive and watery tone. Interestingly enough, the guy responsible for this great pedal is also responsible for the birth of the remarkable Valve Reactor Technology used in the power amp of your ToneLabSE. [1] SPEED 1.00.10.00 [Hz] Adjusts the speed of the Uni-Vibe effect. [2] DEPTH 0.0.10.0 Adjusts the depth of the Uni-Vibe effect. [3] MIX 0.0.10.0 Adjusts the mixture of direct sound and vibrato.
HINT: If you assign Speed to be controlled by an expression pedal, youll be able to control the vibrato speed just like on a Uni-Vibe.
6. BLK/ORG PHASE (B/O PHAS)
This models three models of phaser; a wide-range four-stage phaser that was made in Denmark and packaged in a black box, a popular four-stage phaser that came in a banana-colored box, and a mild-sounding ten-stage phaser that was likewise banana-colored. Use the TYPE knob to select the model. [1] [2] [3] [4] SPEED 0.100.10.00 [Hz] Adjusts the modulation speed. DEPTH 0.0.10.0* Adjusts the modulation depth. RESO 0.0.10.0 Adjusts the amount of resonance. MANUAL 1.0.10.0* Adjusts the center frequency of the sweep. MANUAL has no effect if DEPTH is set to 10. [5] TYPE bL, Or1, Or2 Selects the type of phaser. bL: Danish four-stage phaser with a wide range. Or1: Popular four-stage phaser in a banana-colored box. Or2: Sophisticated-sounding ten-stage phaser in a banana-colored box. [6] ORDER PrE (PRE), Selects the connection order. PRE/POST places PoS (POST) the effect before or after the AMP MODEL.

TIME 262000 [ms] * Sets the delay time. FEEDBACK 0.010.0 * Adjusts the amount of feedback. TONE 1.010.0 * Adjusts the tone of the delay sound. SENS 0.010.0 * Adjusts the sensitivity at which the effect responds to the volume of your guitar. [6] MIX 0.010.0 * Adjusts the mix amount of the delay sound.

6. STEREO DELAY (ST DL)

STEREO IN/STEREO OUT 1
This is Korgs 24-bit digital delay, the DL8000R. With the exception of the sampling frequency and wave control of the DELAY TIME, the circuit is essentially identical. Since this is a full-stereo design, its particularly effective to place it after the output of a stereo MOD or REVERB effect.
7. CROSS DELAY (CROSS DL)

STEREO IN/STEREO OUT 3

This is the DL8000R with settings to make the feedback cross over from L->R and R->L.

8. 2TAP DELAY (2TAP DLY)

This is the DL8000R with two delay taps whose DELAY TIME is skewed by 20 ms and separately assigned to L and R, turning a mono input into stereo. [1] [2] [3] [4] TIME 14000 [ms] FEEDBACK 0.010.0 TONE 1.010.0 DUCKING 0.010.0 Sets the delay time. * Adjusts the amount of feedback. * Adjusts the tone of the delay sound. * Adjusts the sensitivity at which the effect will duck (decrease) in response to the volume of your guitar. Ducking: This automatically lowers the volume of the delay sound when you play your guitar loudly, allowing your playing to come through. * Adjusts the mix amount of the delay sound.
9. RHYTHM DELAY (RHYTM DL)
This provides a DL8000R function in which the TIME of two delay taps is automatically set according to the RHYTHM you specify. [1] [2] [3] [4] TIME 14000 [ms] FEEDBACK 0.010.0 TONE 1.010.0 DUCKING 0.010.0 Sets the delay time. * Adjusts the amount of feedback. * Adjusts the tone of the delay sound. * Adjusts the sensitivity at which the effect will duck (decrease) in response to the volume of your guitar. Species the two-tap rhythm delay when the delay time is set to quarter-note timing. For some settings, only one tap is used. * Adjusts the mix amount of the delay sound.

[5] RHYTHM

1, 2,.11
10. HOLD DELAY (HOLD DLY)

Mono In / Mono Out 1

Mono In / Mono Out 2

Mono In / Mono Out 3

Mono In / Stereo Out 1

Mono In / Stereo Out 2

Stereo In / Stereo Out 1

Stereo In / Stereo Out 2

Stereo In / Stereo Out 3

Tuner (Bypass, Mute)

For your convenience, ToneLabSE contains an automatic chromatic tuner. The frequency of the middle A reference pitch can be adjusted (calibrated) over a range of 438 Hz445 Hz.

TUNING PROCEDURE

1. Press and hold the FX ON/OFF (TUNER) button for about 0.5 seconds. All effects will be bypassed, and the Auto Chromatic Tuner will operate. (The name display indicates BYPASS.) If you are playing a live performance and want to tune without being heard by the audience, select Silent Tuning mode as follows before you tune your guitar. When you press and hold the FX ON/OFF (TUNER) button for about 1.5 seconds, you will be in Silent Tuning mode, letting you tune your guitar with the output muted. (The name display indicates MUTE.) 2. When you play a string on your guitar, the nearest pitch will appear in the bank display, and a meter will appear in the tuner display (3.8).

Meter Note name#

Pitch is flat

Pitch is sharp!

Correct tuning
The note names are displayed as follows.
4. When youre nished tuning, press the FX ON/OFF (TUNER) button once again to return to the mode you were in.
HINT: If youve started up the tuner from Program Select mode, pressing a program select pedal will cancel the tuner and change the program at the same time.

Program List

3. Watch the meter, and tune your guitar.

Troubleshooting

Factory settings

MIDI/DIGITAL

Pedals

CALIBRATING THE TUNER

When you switch ToneLabSE on, the built-in tuner is automatically calibrated to A=440 Hz (a.k.a. concert pitch). If desired, you can recalibrate the tuner in the range of A = 438 Hz445 Hz. While the tuner is active, the value display (3.10) shows the frequency of the reference pitch. You can use the , buttons to adjust (calibrate) this in the range of 438 Hz445 Hz.

SWITCHING EACH EFFECT ON/OFF
I/ON OFF P/ON OFF A/ON OFF C/ON OFF M/ON OFF D/ON OFF R/ON OFF External effect insertion on/off Pedal effect on/off Amp model on/off Cabinet effect on/off Modulation effect on/off Delay effect on/off Reverb effect on/off
NOTE: The CONTROL button LEDs indicate the on/off status.
USING TAP TEMPO TO SET A PARAMETER
MOD TAP DLY TAP Use TAP TEMPO to set the SPEED parameter of the modulation effect Use TAP TEMPO to set the TIME parameter of the delay effect
NOTE: The CONTROL button LED will blink at the tempo you specify.
FACTOR VALUE KNOB 2 SETTING
If the MODULATION effects SPEED parameter or the DELAY effects TIME parameter are assigned to a control pedal, you can set the MODULATION effects LFO SPEED or the DELAY effects DELAY TIME by the interval at which you press the control pedal twice. When you do so, the interval at which you actually press the pedal will
be applied to the parameter at a factor (i.e., multiple) of 1/6, 1/4, 1/3, 1/2, 2/3, 3/4, 1, 4/3, 3/2, 2, 3, or 4, according to the setting of the FACTOR parameter (value knob 2).
NOTE: The maximum spacing of your taps can be no more than ten seconds. NOTE: If youve assigned a parameter other than MOD TAP or DLY TAP, the FACTOR setting does nothing.

EFFECT CONTROL

FLN TRIG ROT SPD HOLD DLY LFO START TRIGGER of the CLASSIC FLANGER effect SPEED SW of the ROTARY effect HOLD of the HOLD DELAY effect
NOTE: If you havent selected an applicable effect, nothing will be controlled.
1. Press the CONTROL button to make it blink. 2. To select the control target, use the , buttons or turn value knob 1. 3. If youve selected MOD TAP or DLY TAP, press the button or turn value knob 2 to make the name display read FACTOR. Here you can specify the proportion of SPEED or TIME in relation to the interval of your taps. For example if you set DLY TAP as the target, and FACTOR to 1-4, the delay time will be set to 1/4th of the duration between taps. 4. Press the EXIT button to return to the mode you were in.
Tuner Program List Spec. Troubleshooting Factory settings MIDI/DIGITAL Pedals
ADJUSTING THE SENSITIVITY OF THE PEDALS
If you notice that advancing the ToneLabSEs expression pedal does not reach the full effect or volume even when the Min and Max parameters are set to the minimum and maximum settings, or that returning the expression pedal does not reach the minimum effect or volume, you will need to perform the following adjustment so that ToneLabSEs expression pedal will be able to reach its full range of operation.

NOTE: Program change numbers not used by ToneLabSE will be ignored. For details on the range of program change numbers used by ToneLabSE, refer to End of this manual.
1. Press the GLOBAL button (3.4). 2. Press the , buttons (3.2) to make the name display (3.8) show PCHG OUT. 3. Specify whether program change messages will be transmitted. Use value knob 6 (2.2) or the , buttons (3.1) to make the desired setting. OFF: Program change messages will not be transmitted. On: Program change messages will be transmitted.
CONTROL CHANGE (GLOBAL CCHG I/O)
When you operate the EXPRESSION pedal 1, Expression pedal 2, or Control pedal of the ToneLabSE, control change messages will be transmitted. This means that functions for the corresponding control change numbers on an external MIDI device can be controlled in realtime. Similarly, when ToneLabSE receives control change messages from an external MIDI device, it will be controlled in the same way as if its own foot controller were operated. For a list of the functions that can be controlled from an external MIDI device, refer to step 4. Here you can specify whether ToneLabSE will transmit and receive control change messages.
1. Press the GLOBAL button (3.4). 2. Press the , buttons (3.2) to make the name display (3.8) read CCHG I/O. 3. Specify whether all control change messages will be transmitted or received. Use value knob 6 (2.2) or the , buttons (3.1) to make your choice. On allows transmitting and receiving. OFF disables transmitting and receiving.
NOTE: If this setting is OFF, no control change messages will be transmitted or received even if you specify individual control change numbers in step 4.
4. Simultaneously press both , buttons (3.2) to access the screen where you can set control numbers individually. Use the , buttons to select each controller. The controllers will be selected in the following order. EXP1 PDL Expression pedal 1 control EXP2 PDL Expression pedal 2 control CTRL PDL Control pedal on/off VOL PDL: VOLUME pedal control TAP SW: TAP switch on/off PEDAL FX: PEDAL effect on/off MOD FX: MODULATION effect on/off DELAY FX: DELAY effect on/off REVRB FX: REVERB effect on/off INSRT FX External effect on/off A/B CH Channel A/B 5. For each controller, specify whether ToneLabSE will transmit and receive control change messages. If you want ToneLabSE to transmit and receive messages for a controller, specify the control change number. Select a controller, and use value knob 6 (2.2) or the , buttons (3.1) to make the desired setting. OFF: Control change messages will not be transmitted or received. CC00CC95: When you operate a controller, messages of the specied control change number 0095 will be transmitted. Similarly, ToneLabSE will be controlled when it receives messages of the same control change number from an external MIDI device. 6. To return to the screen where you specify transmit or receive for all control change messages, press both , buttons (3.2) simultaneously.

3. You can't hear any effects even though they're dialed in.
4. Youre using the ACOUSTIC pedal effect and getting nasty high frequency distortion.
Could the Drive setting be excessively high? Are you using a very high output humbucking pickup? Either turn down the volume of your guitar, the Amp GAIN or Treble setting for the pedal.
5. The sound connected to your guitar amp is distorted, or sounds wrong.
Could OUT SEL switch be set to Ln (LINE)? Could LEVEL be raised excessively? Make the correct settings as described in Basic Connections.

Specications

NUMBER OF AMP TYPES: 16 NUMBER OF CABINET TYPES: 11 NUMBER OF EFFECTS PEDAL TYPES: 16 MODULATION TYPES: 11 DELAY TYPES: 11 REVERB TYPES: 11 NOISE REDUCTION: 1 NUMBER OF PROGRAMS: 96 (24 BANKS x 4 CHANNELS) AUDIO INPUTS INPUT x 1 INSERT RETURN x1 AUDIO OUTPUTS INSERT SEND x1 PHONES x 1 VALVE 12AX7 (ECC83) x 1 SIGNAL PROCESSING A/D conversion: 20bit D/A conversion: 20bit Sampling frequency: 44.1kHz TUNER TUNING RANGE: A0C7 (27.5Hz2093Hz) TUNER CALIBRATION: A = 438Hz445Hz OTHER MIDI IN x 1, MIDI OUT x 1, ~AC9V x 1, STANDBY switch POWER CONSUMPTION: 18 W WEIGHT: 6.2 kg/13.67 lbs. INCLUDED ITEMS: AC/AC power supply 9VAC 3.0A * Appearance and specications of this product are subject to change without notice.
Program List Spec. Troubleshooting Pedals Factory settings MIDI/DIGITAL Tuner
OUTPUT x 2 (balanced/unbalanced TRS)
LEVEL knob (adjusts OUTPUT and PHONES)
DIMENSIONS (W x D x H): 710 x 249 x 76 (mm)/279.5 x 98.0 x 29.9 (inches)

Program list

NAME 1-1 DIARY 1-2 S-R-V 1-3 SATCH 1-4 JIMIROTO 2-1 TELEBEND 2-2 CRUNCH 2-3 SOLO 2-4 BOOMER 3-1 JAZZMAN 3-2 FUNKYMAN 3-3 FIRE 3-4 AXIS 4-1 TEXAS T 4-2 UK BLUES 4-3 RECTOFLY 4-4 TALKVOX 5-1 ACOUS VH 5-2 PDL REV 5-3 VH 5-4 UNCHAIN 6-1 ECBADGE 6-2 SHOW ME 6-3 TORNADO 6-4 FILTRON 7-1 MR.CLEAN 7-2 PDL ECHO 7-3 UCLA 7-4 THRASH 8-1 SPACEMOD 8-2 ROTOMAN 8-3 VULGAR 8-4 SPOOKY PEDAL INSERT TUBE OD OFF TUBE OD OFF VOX WAH OFF U-VIBE OFF COMP OFF COMP OFF TUBE OD OFF COMP OFF COMP OFF VOX WAH OFF OCTAFUZZ OFF OCTAFUZZ OFF COMP OFF BOUTIQUE OFF COMP OFF OCTAVE OFF ACOUSTIC OFF TREBLE BOOST OFF TREBLE BOOST OFF TUBE OD OFF FAT DIST OFF ACOUSTIC OFF B/O PHAS OFF OCTAVE OFF COMP OFF COMP OFF COMP OFF AUTO WAH OFF COMP OFF SUPER OD OFF TREBLE BOOST OFF TREBLE BOOST OFF Ach-AMP Bch-AMP TWEED 4x10 UK '80S BLACK 2x12 UK 68P UK '90S UK '90S BLACK 2x12 UK 68P TWEED 1x12 TWEED 4x10 AC15TB AC30TB UK BLUES UK 68P TWEED 1x12 UK '80S TWEED 4x10 BLACK 2x12 TWEED 1x12 AC15 UK '80S UK '80S AC15 UK 68P BLACK 2x12 AC30TB UK BLUES UK BLUES RECTO RECTO UK 68P UK MODERN AC15 BOUTIQUE CL AC15TB AC30TB UK 68P UK 68P US HIGAIN UK MODERN UK 68P UK 68P UK '80S UK 68P AC15 UK 68P BOUTIQUE OD US HIGAIN BOUTIQUE CL BLACK 2x12 UK 68P UK '80S BLACK 2x12 BOUTIQUE OD UK MODERN UK MODERN BOUTIQUE CL TWEED 4x10 TWEED 1x12 BLACK 2x12 US HIGAIN RECTO BOUTIQUE CL AC15 Ach-CABINET Bch-CABINET TWEED 4x10 UK T75 4x12 BLACK 2x12 UK H30 4x12 UK T75 4x12 UK T75 4x12 BLACK 2x12 UK H30 4x12 TWEED 1x8 TWEED 1x8 VOX AC15 VOX AC30 UK H30 4x12 UK H30 4x12 TWEED 1x12 VOX AC15 TWEED 4x10 BLACK 2x10 TWEED 4x10 VOX AC15 UK H30 4x12 UK H30 4x12 TWEED 1x8 UK H30 4x12 BLACK 2x12 VOX AC30 VOX AD412 VOX AD412 UK T75 4x12 US V30 4x12 UK H30 4x12 UK T75 4x12 TWEED 1x8 VOX AD412 VOX AC15 VOX AC30 UK H30 4x12 UK H30 4x12 UK T75 4x12 UK H30 4x12 UK H30 4x12 UK H30 4x12 UK T75 4x12 UK H30 4x12 TWEED 1x8 UK H30 4x12 VOX AD412 US V30 4x12 VOX AD412 BLACK 2x12 UK H30 4x12 UK T75 4x12 BLACK 2x12 UK H30 4x12 UK T75 4x12 US V30 4x12 VOX AD412 BLACK 2x10 TWEED 1x12 BLACK 2x10 VOX AD412 UK H30 4x12 VOX AC30 VOX AC15 MOD EXP1 CLASSIC CHORUS M/SPEED CLASSIC CHORUS R/INPUT CLASSIC FLANGER P/MANUAL CLASSIC FLANGER P/SPEED PITCH SHIFTER M/PITCH MOD DELAY D/TIME STEREO CHORUS D/INPUT CLASSIC CHORUS D/INPUT STEREO CHORUS R/MIX FILTRON P/MANUAL DUO PHASE D/INPUT CLASSIC FLANGER D/INPUT TEXTREM M/SPEED STEREO CHORUS R/TIME DUO PHASE M/DEPTH TALK MOD M/MANUAL BI CHORUS P/BODY MOD DELAY R/TIME PITCH SHIFTER M/PITCH CLASSIC FLANGER M/RESO ROTARY M/SPEED1 TALK MOD M/MANUAL ROTARY M/SPEED1 FILTRON M/DEPTH BI CHORUS M/MIX CLASSIC CHORUS D/TIME STEREO CHORUS M/MIX STEREO CHORUS D/MIX MOD DELAY M/MIX ROTARY M/SPEED1 MOD DELAY M/MIX BI CHORUS R/INPUT DELAY EXP2 ECHO PLUS VOLUME MULTI HEAD VOLUME ANALOG DELAY VOLUME MULTI HEAD VOLUME ECHO PLUS VOLUME ECHO PLUS VOLUME ECHO PLUS VOLUME HOLD DELAY VOLUME ECHO PLUS VOLUME REVERSE DELAY VOLUME REVERSE DELAY VOLUME REVERSE DELAY VOLUME RHYTHM DELAY VOLUME ANALOG DELAY VOLUME ECHO PLUS VOLUME SWEEP DELAY VOLUME ECHO PLUS VOLUME CROSS DELAY VOLUME ECHO PLUS VOLUME ECHO PLUS VOLUME 2 TAP DELAY VOLUME ECHO PLUS VOLUME MOD DELAY VOLUME STEREO DELAY VOLUME STEREO DELAY VOLUME ECHO PLUS VOLUME ANALOG DELAY VOLUME ANALOG DELAY VOLUME ECHO PLUS VOLUME STEREO DELAY VOLUME STEREO DELAY VOLUME ECHO PLUS VOLUME REVERB CONTROL CHAMBER 2 MOD ON/OFF ROOM 1 PDL ON/OFF PLATE 1 DLY ON/OFF SPRING 2 MOD ON/OFF PLATE 1 REV ON/OFF SPRING 2 DLY TAP PLATE 2 DLY TAP SPRING 1 HOLD DLY ROOM2 PDL ON/OFF SPRING 2 REV ON/OFF ROOM 2 PDL ON/OFF SPRING 1 DLY ON/OFF SPRING 2 MOD ON/OFF SPRING 1 REV ON/OFF SPRING 1 MOD TAP PLATE 2 PDL ON/OFF CHAMBER 2 REV ON/OFF HALL 2 DLY ON/OFF PLATE 2 PDL ON/OFF ROOM 2 FLN TRIG SPRING 2 ROT SPD ROOM 2 PDL ON/OFF SPRING 2 MOD ON/OFF PLATE 1 PDL ON/OFF SPRING 2 PDL ON/OFF SPRING 1 DLY TAP SPRING 1 DLY TAP ROOM 2 DLY TAP CHAMBER 1 DLY TAP SPRING 1 ROT SPD PLATE 2 DLY ON/OFF HALL 1 MOD ON/OFF

MIDI Implementation Chart
Note Number: True Voice Note On Note Off Velocity
Aftertouch Polyphonic (Key) Monophonic (Channel) Pitch Bend
Control Change 095 Effect Control
Program Change Variable Range System Exclusive System Common Clock System Real Time Command Local On/Off Aux All Notes Off Messages Active Sense Reset Song Position Song Select Tune
Parameter Control Program Data Dump
Notes *P: Transmitted if GLOBAL PCHG OUT is On. *C: Transmitted and received according to the setting of each controller if GLOBAL CCHG I/O is On. *E: Transmitted if GLOBAL SYEX OUT is On. (Responses to Request messages are always transmitted regardless of the SYEX OUT setting.) *1: In addition to messages specifically for this device, Device Inquiry is also supported. Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO : Yes : No
Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.

2003 VOX AM

2003 VOX AMPLIFICATION LTD.

Printed in China

Bench Tests
Originally printed in Nov 2003 issue of Guitar Player. Reprinted with the permission of the Publishers of Guitar Player. Copyright [year of original publication] United Entertainment Media, Inc., a CMP Information company. All rights reserved. Guitar Player is a Music Player Network publication, 2800 Campus Dr., San Mateo, CA 94403 (650) 513-4300. Subscribe at www.musicplayer.com.

Vox Valvetronix ToneLab

JURY BOX
Vox Valvetronix ToneLab Pros Broad selection of amp, cabinet, and effects models. Excellent dynamic response. Very easy to use. Cons None. Contact Vox USA, (516) 3339100; voxamps.co.uk.
48 factory/48 user programs 16 amp models, 10 cabinet models, 10 pedal effects,
3 delays, 5 modulations, 3 reverbs

By Art Thompson

Rotary selectors for amp, cabinet, and pedal models Gain, VR Gain, CH Volume, Treble, Middle, Bass,
Presence controls Fender Twin, the VRT would snap into class AB with negative feedback.) The ultimate benefit of VRT technology is greater realism for the modeled amp sounds, as well as a more dynamic playing feel. Now, with the introduction of the ToneLab ($449 street) Vox has created a desktop version of its Valvetronix amps, but with significantly upgraded features, including a separate cabinet models section, greater control over the effects (three adjustable parameters instead of two), up to four simultaneous effects, an S/PDIF out, MIDI capability, and editor/ librarian software for enhanced effects editing. (Tech-oriented tweakers can download Voxs Sound Editor at valvetronix.com
ith its introduction of the Valv e t ro n i x s e r i e s amps in 2002, Vox upped the ante in the digitalmodeling game with its proprietary Valve Reactor Technology an ingenious circuit design that uses a 12AX7 tube to replicate the output-stage characteristics of class A and class AB tube guitar amps. By cleverly utilizing the two amplifying stages in the 12AX7, Vox designers created a miniature tube power amp, and then elegantly configured it so that when you selected, say, an AC30 model, the VRT circuit would switch into class A operation, and also configure itself for no negative feedbackas per the real amplifier. (If you selected a
Valve Reactor Technology provides true class A
Electro-Harmonix 12AX7EH preamp tube and class AB operation
Variable noise reduction Chromatic Tuner 1/4" input and headphone jacks
or voxamps.co.uk, which allows you to use your PC to edit the ToneLabs expanded set of parameters). Holdovers from earlier Valvetronix designs include an easy-to-use knob-based interface and a 12AX7 tube, which is prominently displayed under a Plexiglas bubble. The ToneLabs aluminum enclosure, which measures approximately 12w" x 8q" x 2 q", is anodized in a handsome shade of blue, and it features 3/16"-thick plain aluminum sides. Plastic feet are fitted to protect work surfaces and, unlike some desktop processors, the 5.5 lb-unit is heavy enough to stay put when youve got a bunch of cords plugged into it. The ToneLabs control panel sports a large LED display, which not only indicates the model and
I was a rocker who wanted to play jazz. Larry Coryell, Oct. 90, GP
NOVEMBER 2003 GUITAR PLAYER 3
NOVEMBER 2003 GUITAR PLAYER 5
You can control the ToneLab using the optional VC 12 foot-controller (as well as the simpler VC 4) which features dual expression pedals, Tuner and Tap buttons, and on/off switches for the effects.
Vox Valvetronix ToneLab Rear Panel
1/4" stereo outs with level control MIDI I/O Amp/Line level switch Power/Standby switch Vox VC 12/VC 4 foot-controller jack 9-volt AC power with in-line

S/PDIF output AC/AC transformer
of the panel, and you tailor the effects via a threeknob system that adjusts different parameters depending on the effect type selected. For example, if you select Tube OD the controls are Drive, Tone, and Level. Switch to Compressor, however, and the same knobs adjust Sensitivity, Attack, and Level.

Sound Lab

The ToneLab could hardly be easier to use, and though the factory presets are a good way to get a quick overview of what this box can do, the real fun begins when you put the ToneLab in Manual mode (by pressing and holding the Bank up/down button for a couple of seconds), which allows you to select a basic amp sound and start building from there. Heres where you can chuck the manual, too, as all functions are clearly labeled and right at your fingertips. I spent hours just playing with different amp, speaker, and effects combinations, and the results can be startling. As with the Valvetronix amps, the ToneLabs amp simulations are excellent. The Vox AC15 and AC30 models offer
preset names, but also shows the number and type of output tubes used in the real amp (e.g. four EL84s for an AC30, and two 5881s for a Bassman). Cute! The controls are practically self explanatory. Amps, cabinets, and pedals are selected with the chicken-head knobs, and you activate effects types using the buttons located just below the Tap button. The amp models are controlled via the seven knobs at the lower part
AMP MODELS AC15 AC15TB AC30 AC30TB UK Blues UK 68P UK 80s UK 90s UK Modern Recto US High Gain Boutique OD Boutique CL Black 2x12

Tweed 1x12 Tweed 4x10

PEDAL EFFECTS Compressor
Flanger Phaser Tremolo Rotary
CABINET MODELS Tweed 1x12 Tweed 4x10 Black 2x10 Black 2x12 Vox AC15 Vox AC30 Vox AD412 UK H30 4x12 UK T75 4x12 US V30 4x12 Off
Acoustic Vox Wah Auto Wah U-Vibe Octave Treble Boost Tube OD Fat OD Fuzz
the chime and complexity associated with EL84s, the tweed Fenders are bright and meaty, and even the high-gain Mesa/Boogie, Soldano, and Marshall models respond well to picking dynamics and guitar volume changes. Whether auditioned through headphones, recorded on a Tascam Pocketstudio 5 digital recorder, or fed into the effects return of a Mesa/Boogie Blue Angel (driving a Dr. Z 2x12 cabinet), the amps sounded rich and balanced. The only exception was the 68P setting through the Blue Angel, which sounded appreciably duller than the other selectionskind of like a blanket was suddenly thrown over the speakers. The ToneLab allows you to mix and match cabinet models with any of the amps, and that adds a lot of versatility to the sounds. For example, you can mate the Black 2x12 model (which replicates the thick mids and glassy top of a Fender Twin) with a Tweed 4x10 cabinet to obtain a more Super Reverb kind of tone, or you can run UK Blues (a model of an early KT66powered Marshall) into a Vox AC30 cabinet to create something akin to a 60s-era Bluesbreaker combo. Running small amps into large cabs, such as the AC15 into the UKT75 4x12or vice versa, by feeding, say, the intense-sounding Recto model into a Tweed 1x12can yield exciting results. And with 16 amp models and ten cabinet models to choose from, you can obviously spend a lot of time just experimenting.

Screamer and Pro Co Rat boxes theyre based on, while the Octave pedal can yield much wilder effects courtesy of its separate high and low octave adjustments. Likewise, its nice to have Time, Mix, and Feedback controls for the delays (especially if you love hearing repeats cascade into oblivion), and being able to vary the Auto Wahs Attack (response speed), Sensitivity (input level required to open the filter), and Polarity (upward or downward sweep direction) is icing on the cake for this cool effect. And, if you use the expression-pedal-equipped VC 12 foot controller ($279 street), youll appreciate being able to adjust the Vox Wahs open- and closed-pedal settingsits like virtually reaching in and resetting the little plastic gear strip that turns the pot on the real pedal. The Acoustic setting also benefits from having Bass, Treble, and Body controlsthe latter of which boosts subharmonic frequencies to mimic the boom of a big-bodied flat-top. I wouldnt call the sound with a Les Paul plugged into the ToneLab exactly acoustic, but it certainly has enough of that airy vibe for demos and song sketches.

Lab Results

The ToneLab is a wickedly cool desktop modeling amp that could easily be pressed into gig service with the addition of a power amp (stereo, if you like) and speakers. The device scores major points for ease of use, tonal authenticity, and excellent dynamic response across a broad spectrum of clean and overdriven sounds. Factor in its relatively low sticker price (two boutique stompboxes would cost you more), and the ToneLab deserves nothing less than an Editors Pick Award. g
Protected by a Plexiglas dome, the ElectroHarmonix 12AX7EH resides in a bay on the ToneLabs control panel.

Effects

Of course, sticking with the amps and cabinets would be denying yourself the fun of playing with all the effects. I love the lush chorusing, phasing, and tremolo, and the delays are a total grooveespecially the Tape Echo when set for lots of repeats, and Multi Head, which offers some very spacy sounds. The three reverb flavors are also cool, with the Spring setting lending Fender-flavored ambience and dimension to the cleaner amp sounds. As alluded to earlier, the three adjustable parameters for each effect (the original Valvetronix amps had two variable parameters for the pedal, modulation, and delay effects, and only one for the reverbs) greatly enhances the ToneLabs utility. The extra control allows the Tube OD and Fat OD models to sound truer to the Ibanez Tube

DELAY EFFECTS Delay Tape Echo Multi Head
REVERB EFFECTS Spring Room Plate
MODULATION EFFECTS Chorus
Note the four EL34s in the displaya clear sign that a Marshall model is used in this factory preset.
4 GUITAR PLAYER NOVEMBER 2003

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