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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

Sine Chorus,

Tape Echo,

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(FX Edit Mode)
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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Menu NavigationUTILITY. 44
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
Continuous Controller Device,

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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.

See ReverbDefined starting on page 25.
Adjusts the IN level to the Reverb circuit rather than the OUT level which is controlled by the front panel REVERB knob. Select between 1.0 for minimum IN level [Dwell] and 10.0 for the maximum IN level [Dwell].

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Small Room Large Room Small Hall Large Hall Arena Small Plate Large Plate Blackface Reverb Gated Small Ambien t Fender Reverb (continuous menu loop)
Blackface Tube 3 Tweed Tube3 Hot Rod Tube 3 HMB Tube 3 Dyna-Touch (continuous menu loop)

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Pre-Distortion

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Use the FX Val2 knob to move the blinking cursor and the DATA WHEEL to select characters.
Alphanumeric Characters in a sequential list.

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Tone Stack refers to the circuitry of the TREBLE, MIDDLE and BASS controls. British typical UK style; Tweed - Fender Tweed amps; Blackface Fender Blackface amps; Modern - A broad spectrum tone stack with capabilities not ordinarily available on guitar amps. British Tweed Blackface Modern (continuous menu loop)

Post-Distortion

Adjusts the amount of high-frequency tone in the Reverb. Select between 1.0 for minimum high-frequency tone levels, and 10.0 for maximum highfrequency tone levels. [Shape] for Gated Reverb allows radical decay characteristics such as rectangular, linear and reverse tails.
Adjusts the Reverb sustain time. Select between 1.0 for the shortest sustain time and 10.0 for the longest sustain time.
Controls how dense or sparse the Reverb sound is. Select between 1.0 for an irregular Reverb diffusion with a non-uniform decay and 10.0 for the smoothest high density Reverb.
Shifts the equalization of the Cyber-Twin to provide tone shaping in a particular area of the spectrum. This can be useful as an instant correction for poor room acoustics. Select one of four Timbre types.

(continuous menu loop)

Phase Polarity determines the push / pull order of a speaker for each cycle of frequency response. Switch the phase polarity of the CyberTwins left and right speakers in all possible combinations.

FX Input Only Reverb Input Only FX Output Only Reverb Output Only FX & Reverb Input FX In & Reverb Out FX Out & Reverb In FX & Reverb Output [Rotor Speed Fast/Slow] (continuous menu
Volume Gain Treble Middle Bass Presence Reverb [FX Level] [FX value 1] [FX value 2] [FX value 3] [FX value 4] Master Volume Reverb In Level [Dwell] Reverb Tone [Shape] Reverb Time Reverb Diffusion (continuous menu loop)
Volume Gain Treble Middle Bass Presence Reverb [FX Level] [FX value 1] [FX value 2] [FX value 3] [FX value 4] Master Volume Reverb In Level/[Dwell] Reverb Tone/[Shape] Reverb Time Reverb Diffusion (continuous menu loop)

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Use the Noise Gate to reduce any hum or buzz sounds from the amp at rest. Select between 1.0 for and 10.0 for the necessary depth.
Set the sensitivity of the Noise Gate with the Threshold parameter. Select between Low for minimum noise gating and High for maximum noise gating.
There are 11 REVERB types on the Cyber-Twin, each with a evel parameter (the front panel REVERB knob) and other parameters ( ). The REVERB knob is the essential Reverb parameter and can be adjusted in the PLAY Mode as well as most other Modes. All other Reverb operations are accessed using the AMP Edit Mode, (see Preset Edit AMP Mode on page 21). Reverb type and all Reverb parameters are saved as part of a preset. Reverb is grouped with amp design components rather than with FX to provide more flexibility in using Reverb and effects simultaneously. All Reverb types use the same group of adjustable parameters; Out Level, In Level, Tone, Time, Diffusion, with two exceptions. Fender Reverb and the Gated Reverb each have a special parameter:
Fender Reverb features dwell as its Gated Reverb features shape as its

parameter parameter

These two Reverb types and their unique parameters are described below. Their remaining parameters are shared with the other 9 Reverb types described on the next page.

Description

Based on the much sought-after, tube-driven, Brown Tolex 63 Fender Reverb unit. This is an outboard unit used primarily by players who use amps without Reverb (such as the59 Bassman). In the Cyber-Twin, the Fender Reverb is placed before any of the Drive Circuitry or tone controls, just like an original 63 Fender Reverb. This allows the amp to drive the guitar sound into the distortion circuitry with Reverb. This is a real difference from post-distortion Reverb (like on a master-volume amp with an effects loop, e.g., Fender Hot Rod Deluxe/DeVille). Reverb Dwell - Adjusts the level of your guitar signal into the Reverb (as opposed to the REVERB knob, which adjusts the level out of the Reverb).

Adjustable parameter

A Reverb with a different structure than the other Reverb types provided by its unique Reverb Shape parameter which allows for rectangular, linear, and reverse Reverb tails (decays). Reverb Shape - Changes the shape of the Reverb tail from rectangular to linear decay to reverse.

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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1.0-10.0 Phaser Depth 1.0-10.0 Vibratone Doppler 1.0-10.0
1.0-10.0 Phaser Feedback 1.0-10.0
1.0-10.0 Phaser Stereo 0.08-10.0Hz Rotor Frequency Speed2 0.08-10.0Hz

Vibratone

Vibratone Out Level 1.0-10.00

Rotor Speed 0.08-10.0Hz

Rotor Frequency Speed1 0.08-10.0Hz

Phaser

Phaser Out Level 1.0-10.0

Phaser Rate 0.08-10.0Hz

Auto Pan

Pan Out Level 1.0-10.0

Pan Rate 0.08-10.0Hz

Pan Depth

Pan Shape

Pan Phase

AmpTremolo
Tremolo Out Level 1.0-10.0

Tremolo Rate 0.08-10.0Hz

Tremolo Depth 1.0-10.0
Tremolo Duty Cycle 1.0-10.0

Tremolo Shape 1.0-10.0

Tremolo

Backwards Delay

Delay Out Level 1.0-10.0

Delay Time 30-1450 ms

Delay Forward Delay Reverse Feedback Feedback 1.0-10.0 1.0-10.0
Delay Brightness 1.0-10.0
Delay Time Change Ramp or Step

Ducking Delay

Delay Feedback 1.0-10.0

Delay Release 1.0-10.0

Delay Ducking Sensitivity 1.0-10.0

Stereo Flam Delay

Delay Stereo 1.0-10.0

Stereo Tape Echo

Echo Out Level 1.0-10.0

Echo Time 30-1450 ms

Echo Feedback 1.0-10.0

Echo Brightness 1.0-10.0

Echo Wow&Flutter 1.0-10.0
Echo Time Change Ramp or Step

Tape Echo

Swing Tap Delay

Ping-Pong Delay

One-E-Da-Delay

Dotted 8/16 Delay

Mono Delay

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indicates a TAP key enabled parameter, (see page 14 for TAP usage).
Delay Time 30-1450 ms Delay Feedback 1.0-10.0 Delay Brightness 1.0-10.0 Delay In Level 1.0-10.0 Delay Time Change Ramp or Step

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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.

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... Minimum Frequency and Wah Maximum Frequency can cross one another, such that the direction of drive for the wah can be reversed (i.e., idle state is high frequency, playing louder drives the sweep to lower frequency). Wah Maximum Frequency. Adjusts the frequency the wah sweeps to when your playing volume is at a maximum. Select between 1.0 for the lowest frequency and 10.0 for the highest frequency. Wah Sweep Type. Select between two wah types: Low Q and High Q. The first selection is smoother and the second more extreme.
Twelve-stage, stereo phaser effect. Phaser 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). 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. Remember that the TAP button can always be used to key in the Phaser rate by feel two TAPs set the time it takes for the Phaser LFOs (Low Frequency Oscillators) to go through one cycle. Phaser Depth. Adjusts the width of the Phaser sweep and how apparent the effect sounds. Select between 1.0 for no apparent effect and 10.0 for maximum effect. Phaser Feedback. Adjusts how much signal from the Phaser effect is recycled back to the input. Select between 1.0 for minimum levels and 10.0 for maximum levels. Phaser Stereo. Adjusts the amount of stereo spread in the effect. Select between 1.0 for mono and 10.0 for maximum stereo spread.
Mono Delay plus stereo Triangle Chorus.
FX Wet Out Level. Adjusts the wet/dry signal ratio. 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. 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. Delay Feedback. Adjusts the number of delay repeats. Select between 1.0 for a single delay repeat and 10.0 for many repeats. 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. 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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When I was brought onto this project, I auditioned the competition. After getting past the fun factor, I turned off all of the effects and listened. Then, I turned it up and listened. These auditions made the goal simple and clear: Create a guitar amplifier. This amplifier would use digital signal processing and control to its advantage, instead of attaching an amplifier to digital signal processing and control and then calling it a guitar amp. When we got all of the pieces together, we had many, many guitar amplifiers that did not rely on effects for tone. Now add the effects, and oh my.
Ma t t Wi l k en s Pr in c ipa l E ng in e e r
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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.

parameter Gain Volume Treble Middle Bass Presence Reverb Master CC# parameter FX Level FX Val 1 FX Val 2 FX Val 3 FX Val 4 Reverb In [Dwell] Reverb Tone [Shape] Reverb Time Reverb Diffusion CC# 118
The Cyber-Twin also will transmit program changes. The following table shows the bank associated with each group of presets.
FENDER CUSTOM SHOP PLAYER S LOUNGE YOUR AMP COLLECTION
Bank #01: Bank #02: Bank #03:
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Example screens show default Values
When set to ON, the continuous controller information received will be redirected (echoed) back out the MIDI Out Jack. If OFF is selected, the only continuous controller information sent out will be new data transmitted from the turning of a knob or operation the analog expression pedal. This feature will aid in recording continuous controller sequences.
Any MIDI program changes contained in bank #00 can be mapped to any preset on the Cyber-Twin. Two of the FX knobs are used to select the values in this menu. The FX LEVEL knob selects MIDI program change numbers 0 - 127 and FX VAL2 selects the target preset for control. Only MIDI program changes in bank #00 will access the MIDI Preset map.

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Refer to Appendix 3 on page58 for System Exclusive Message Format
FOR ALL OPERATIONS ON THIS PAGE: To receive System Exclusive information, the Device ID MUST be set on each Cyber-Twin to Omni, or the same ID number used when a particular message was transmitted. The System Exclusive Device ID choices are: (17 - 32, Omni), default is Omni.
Links System Exclusive Device ID with System Exclusive Messages (Utilities Load, Preset Load and All PLAYER S LOUNGE Load messages sent from external devices). This enables transfers to exclusive subsets of Cyber-Twins on a network, regardless of MIDI Channel settings.
Dumps the Cyber-Twin Utilities settings: DEMO Mode, Memory Protect, SPDIF Patching, continuous controller Number, MIDI Receive/Transmit Channels, System Exclusive ID and MIDI Map.
Dumps a selected preset. The default choice is the current preset. Choose any other preset with the DATA WHEEL while the Any Preset Dump menu (left) is active. The items sent in this dump include all the parameter values for the one selected preset.

Audio from the amp will not change with any preset selection in this menu.
Only THE PLAYER S LOUNGE presets are loaded back into the Cyber-Twin. They are loaded into their original locations.
1. D um p is to Transfer to an appropriate M ID I storage device.
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Dumps ALL Presets on the Cyber-Twin. The items sent in the Dump are all the parameter values for every preset.

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MIDI Program Changes. 57

System Exclusive Messages. 58
Data Transmission Format. 59

Troubleshooting. 62

Specifications. 63

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Function Basic Channel Default Channel Default Messages Altered Transmitted X 1-16 X X Recognized 1-16 1-16 Mode 2, Mode 4 Mode 2, Mode 4 X X True Voice Note ON Note OFF Keys Channel X X X X O O True # O Song Pos Song Sel Tune Clock Commands Local ON / All Notes OFF Active Sense Reset GM ON X X X X X X X X X X O X X X X X X X X X X Mode Mode Mode Mode 1: OMNI 2: OMNI 3: OMNI 4: OMNI ON, POLY ON, MONO OFF, POLY OFF, MONO See Appendix X X X X O O Assignable Continuous Controller# are: 1-100 Internally Mapped X Memorized Remarks Memorized Mode Note Number Velocity After Touch Pitch Bender Control Change Prog Change System Exclusive System Common System Real Time Aux OFF Messages Notes: O : Ye s X: No

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T h e Cyber-Twin w ill respond to M ID I program changes if the M ID I channel is either set to O m ni or set to the sam e M ID I channel as the M ID I controller. The M ID I program changes, enable the selection of any preset fro m these banks: G MIDI M AP, G FENDER CUSTOM SHOP, G PLAYER S LOUNGE, G YOUR AMP COLLECTION N ote that the Cyber-Twin follow s the M ID I convention of num bering, starting w ith zero (0) for exam ple, M ID I bank # 1, M ID I program # 6 equals FENDER CUSTOM SHOP preset C 06 rather than C 07. Bank changes use this format: Bn 32 bb Cn pp n = MIDI Channel, bb = bank Number, pp = MIDI preset # Bank #00 Bank #01 Bank #02 Bank #03 MIDI Map FENDER CUSTOM SHOP presets PLAYER S LOUNGE presets YOUR AMP COLLECTION presets

The Cyber-Twin saves the current bank number, requiring only one bank change message to be sent when changing preset banks. The Tuner is accessed using MIDI program change number 127 within banks 01-03.
MIDI Continuous Controllers The table below lists continuous controlle rnumbers that each parameter will automatically respond to:

CC# 119

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
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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
Hand Shake ID 7CH 7DH 7EH 7FH
Description Wait Cancel Not Acknowledge Acknowledge
Use the following System Exclusive messages to edit other Preset parameters.
Parameter Edit ID F0H 08H nnH 11H 05H ddH vvH 7BH 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 Message ID number for additional parameter controls Parameter ID Number. (See list below) Value for the parameter you wish to edit (See list below) End of System Exclusive File Byte End of System Exclusive Message
Parameter ID Tone Stack Type
Parameter ID Number (ddH) 00H
Tone Stack Position Drive Circuitry

01H 02H

Value (HEX) (vvH) 00H = Tweed 01H = Blackface 02H = British 03H = Modern 00H = Pre-Distortion 01H = Post-Distortion 00H = Blackface Tube1 01H = Blackface Tube2 02H = Blackface Tube3 03H = Tweed Tube1 04H = Tweed Tube2 05H = Tweed Tube3 06H = Hot Rod Tube1 07H = Hot Rod Tube2 08H = Hot Rod Tube3 09H = HMB Tube1 0AH = HMB Tube2

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VZROORI VD GHWWLPVQDUW VL DWDG QRLWDFLILFHS6 ,',0 HKW IR VHQLO HGLXJ HKW JQLZROOR)
0BH = HMB Tube3 0CH = Dyna Touch 1 0DH = Dyna Touch 2 0EH = Dyna Touch 3 0FH = Dyna Touch 4 00H = None 01H = Mono Delay 02H = Dotted 8/16 Delay 03H = One-E-Da Delay 04H = Ping Pong Delay 05H = Swing Tap Delay 06H = Tape Echo 07H = Stereo Tape Echo 08H = Stereo Flam Delay 09H = Ducking Delay 0AH = Backwards Delay 0BH = Tremolo 0CH = Amp Tremolo 0DH = Auto Pan 0EH = Phaser 0FH = Vibratone 10H = Pedal Wah 11H = Touch Wah 12H = Sine Chorus 13H = Triangle Chorus 14H = Sine Flange 15H = Triangle Flange 16H = Delay+Chorus 17H = Delay+Flange 18H = Delay+Phaser 19H = Auto Swell +Chorus 1AH = Ultra-Clean+Chorus 1BH = Pitch Shift 1CH = Ring Mod+Delay 00H = Small Room 01H = Large Room 02H = Small Hall 03H = Large Hall 04H = Arena 05H = Small Plate 06H = Large Plate 07H = Blackface Reverb 08H = Gated Reverb 09H = Small Ambience 0AH = Fender Reverb 00H = None 01H = Full Body 02H = Razors Edge 03H = Bright & Light 04H = Bass Booster 00H = Standard Polarity 01H = Reverse Polarity 02H = Left Rev Polarity 03H = Right Rev Polarity 00H = OFF 01H = Low 02H = Medium

s eci d ne pp A

If a problem persists after trying these solutions, consult an authorized Fender Service Center or visit www.fender.com and www.mrgearhead.net

PR 393

PART NUMBERS:
022-9000-000 (120V, 60Hz) USA 022-9030-000 (240V, 50Hz) Aust 022-9040-000 (230V, 50Hz) UK 022-9060-000 (230V, 50Hz) Europe 022-9070-000 (100V, 50/60Hz) Japan 360W 65W per channel (130W total) @ 5% TH D 8 ohm s per channel adjustable using TR IM control 900k ohm
PO W E R R EQ UIR EM E NTS : PO W E R O UT PUT: RATED LO AD IM PE DA NC E: SE NSIT IVITY: PR EA M P INP UT IM P ED AN CE : EFFE CT S LO O P
(m ono send, stereo return) NO M IN AL LE VEL : -10dB v / +4dB u sw itchable O UTP UT IM P ED AN CE : 220 ohm , im pedance balanced INP UT IM P ED AN CE : 20k ohm m inim um , balanced R CA jack, digital stereo
SP DIF LIN E O UT JA C K: XLR O UTP UT JA CK S
(stereo / m ono switchable) NO M IN AL LE VEL : 0dB v O UTP UT IM P ED AN CE : 300 ohm , im pedance balanced G roove Tubes, t wo (2) x 12 AX7WA C elestion, Tw o (2) x G 12T-100 (12-inch, 8 ohm )
TUB E C O M PLEM E NT: SP EAK ER CO M PL EM EN T: FUSES FO OT SW ITC H
PRIMARY: F4A 125V for 100V and 120V units, F2A 250V for 230V and 240V units S EC ON D ARY: digital supply: F2A analog supply: Tw o (2) x T 1A FO UR BU TTO N : Q uick-access key recall functions, 5-pin D IN (M ID I-type) cord O NE BU TTO N : R everb/Effects Bypass and Vibratone rotor speed select standard one-button toggle type P /N 099-4055-000 or 00-57172-000 1/4-inch (Tip, S leeve) analog, com patible w ith any passive volum e pedal, 10k to 250k ohm , (ideal audio taper is 20k 25% ) 1/4-inch for connection to the included one-button footswitch IN , OU T, THR U 1/4-inch stereo HE IGH T: 18 9/32 in W ID TH : 26 1/8 in DE PTH : 12 1/8 in 55 lb (46.4 cm ) (66.4 cm ) (30.8 cm ) (25 kg)
EX PRE SS ION PE DA L JAC K: RE VER B /FX B YPA SS JAC K: M IDI JA CK S: HE AD PH ON ES JAC K: DIM E NS ION S

W EIG H T:

Product specifications are subject to change without notice. Instruction Manual P/N: USA 056487revA, (Europe 057077, Japan 057078)...
VQRLWDFLILFHS6 QLZ7UHE\&

Fender CyberTwin SE Amplifier
A PRODUCT OF: FENDER MUSICAL INSTRUMENTS CORPORATION CORONA, CA USA Copyright 2004 by FMIC
Trademarks Fender, CyberTwin, Telecaster, Stratocaster, Blackface, DynaTouch, Mr. Gearhead, Virtual Tone Interpolation, Hot Rod, Bassman, Deluxe Reverb, Princeton, Twin Reverb, Innovate.Dont Emulate and all related logos are trademarks or registered trademarks of FMIC. Other trademarks are property of their respective owners.

w w w.f e n d e r.com

w w w. m r g e a r h e a d.net
Fender CyberTwin SE Amplifier Fender CyberTwin SE Amplifier
Important Safety Instructions
This symbol warns the user of dangerous voltage levels localized within the enclosure of the unit.
This symbol advises the user to read all accompanying literature for safe operation of the unit.
Read, retain, and follow all instructions. warnings.

Heed all

Only connect the electric line cord to an earth grounded AC receptacle in accordance with the voltage and frequency ratings listed under INPUT POWER on the rear panel of this product. WARNING: To prevent damage, fire or shock hazard, do not expose this unit to rain or moisture. Unplug the AC power line cord before cleaning the unit exterior (use a damp cloth only). Wait until the unit is completely dry before reconnecting it to power. Maintain at least 6 inches of unobstructed air space behind the unit to allow for proper ventilation and cooling of the unit. This product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. This product may be equipped with a polarized plug (one blade wider than the other). This is a safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety purpose of this plug. Protect the power cord from being pinched or abraded.
This product should be serviced by qualified service personnel when: the power supply cord or the plug has been damaged; or objects have fallen, or liquid has been spilled onto the product; or the product has been exposed to rain; or the product does not appear to operate normally or exhibits a marked change in performance; or the product has been dropped, or the enclosure damaged. Only use a cart or stand with this product that is recommended by this products manufacturer. The power supply cord of this product should be unplugged from the outlet when left unused for a long period of time, or during electrical storms. Do not drip nor splash liquids, nor place liquid filled containers on the unit. CAUTION: No user serviceable parts inside, refer servicing to qualified personnel only. Fender amplifiers and 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.
FCC COMPLIANCE NOTICE This equipment has been tested and found to comply within the limits for a Class B digital device, pursuant to Part 15 of the FCC rules. These limits are designed to provide a reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and if not used in accordance with the instructions, may cause harmful interference to radio communications and 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 of the receiver. Consult the dealer or an experienced radio/TV technician if help is needed.

F ront Panel Overview

A. INPUT JACK
Input connection for your guitar.

B. TRIM

Sets the input signal level for proper analogtodigital conversion. Adjust TRIM so that most of the green LEDs stay on at normal playing levels and the red LED flashes occasionally while playing at peak intensity. This knob is not preset programmable nor motorized.

C. GAIN

Adjusts the distortion level and contributes to overall amplifier loudness. Use VOLUME {D} to compensate for any undesired volume level change resulting from a GAIN level change.

D. VOLUME

Adjusts the postdistortion signal level and contributes to overall amp loudness. Use in conjunction with GAIN {C} to normalize volume differences between presets. Several knobs affect the overall loudness of the amplifier:
Knob TRIM GAIN VOLUME MASTER Function Supply proper signal level to DSP Adjust distortion level Equalize level differences between presets Global volume and maximum level governing Preset Programmable NO YES YES NO MIDI Controllable NO YES YES YES Expression Pedal Controllable NO YES YES YES
E. TREBLE / MIDDLE / BASS
Adjusts tone in the high, mid, and lowfrequency ranges respectively.

F. PRESENCE

Adjusts tone in the ultra-high frequency range after the distortion circuitry for a crisp tone sparkle.

G. REVERB

Adjusts the level of the active Reverb. Enter AMP edit mode to select Reverb types and edit Reverb parameters (see page 14).

H. MASTER VOLUME

Controls the overall loudness of the amplifier globally, independent of any preset. MASTER VOLUME is not preset programmable, although it is motorized so that it can be controlled remotely by expression pedal or MIDI. Remote operation of MASTER VOLUME is limited to a maximum value defined by where the MASTER VOLUME is set manually on the front panel. Set the MASTER VOLUME knob to the desired maximum level and motorized control will be confined to the range below that boundary.

I. QUICK ACCESS

Provides instant access to four favorite presets. To assign a button, first select the preset with the data wheel. Then, press and hold a QUICK ACCESS button. The LED lights up when your new QUICK ACCESS button has been activated. Press the same button or corresponding footswitch button to recall the assigned preset.

J. SAVE

Saves the current amplifier configuration as a new preset. 1) Press SAVE once and a Players Lounge preset location is displayed. 2) Select any Players Lounge preset to overwrite using the data wheel. Press EXIT to cancel the save operation 3) Press SAVE again and your new preset will be stored. The SAVE LED flashes after an amp setting is changed as a reminder to save. If a different preset is selected before the current configuration is saved, your changes will be lost.

Use MIDI to transfer presets to and from a computer. Organize presets in the Players Lounge by using SAVE to move (copy) presets.

K. TUNER

Turns the tuner on/off. The TUNER LED while the tuner scale is displayed. flashes and audio is muted

L. NOISE GATE

Turns the noise gate on/off. Use it to reduce static and environmental noise transmitted through nearby electronic devices. Enter AMP edit mode to edit noise gate depth and threshold parameters (see page 14).

M. TAP

In PLAY mode, TAP sets the time/rate interval of the active effect, if applicable. Press TAP at least twice at the desired rate to set the interval by feel (the average of the last five taps is calculated for multiple taps). Press TAP once for the longest interval possible. The TAP LED flashes at the interval rate which is also temporarily displayed. Adjust the time/rate parameter accessed in the FX edit mode for precision control of the TAP interval (see the FX menus on page 16 for details). In UTILITY mode, TAP is used to confirm menu actions.

N. PEAK and MIDI LEDs

PEAK flashes when the DSP circuit is clipping (distorting). Reduce VOLUME if undesirable distortion is heard while this LED is on, then use MASTER to the increase loudness level. MIDI is on when the CyberTwin SE is communicating MIDI information.

O. HUM REDUCTION

Turns hum reduction on/off. Reduces environmental hum in some situations using a patented algorithm that seeks out line frequencies and squelches only the hum, without degrading your music!
P. FX LEVEL / FX VAL 1 / FX VAL 2
Adjusts the level, parameter 1 and parameter 2 of the active effect, respectively. The functions of these knobs as well as additional parameters can be accessed through the FX edit mode (see page 16).
Q. DISPLAY and DATA WHEEL
Your interface for controlling the dynamic functions described throughout this manual (See the Overview on page 8).

R. PRESET EDIT

The AMP and FX buttons activate the AMP and FX (effects) edit modes respectively. For the AMP edit menus see page 14; FX edit menus see page 16.

S. UTILITY

Activates the UTILITY mode. For the UTILITY edit menus, see page 24.

T. EXIT

Activates the default PLAY mode (except during factory preset restore and MIDI data transfers).

U. BLUE JEWEL

Its still a

Rear Panel Overview

AA. POWER
Switches Power on or off to the Cyber-Twin SE amplifier.
BB. IEC POWER CORD SOCKET
Connection for the included power cord. Connect to a grounded AC outlet in accordance with the voltage and frequency ratings listed on the rear panel of your CyberTwin SE.

CC. FOOTSWITCH JACK

Connect the included Fender 4button footswitch using the MIDI type cable provided. Use this footswitch to remotely activate the Quick Access presets. Although the footswitch uses a MIDI type cable, the footswitch is an analog device and should only be connected to the FOOT SWITCH jack.

DD. EXPRESSION PEDAL JACK
Connection for a standard expression foot pedal (optional) used to remotely control any of the following parameters: GAIN, VOLUME, TREBLE, MIDDLE, BASS, PRESENCE, REVERB, MASTER, any Reverb parameter, or any effect parameter. Expression pedal assignment is preset programmable through the AMP edit mode (see page 15).

EE. REVERB / FX BYPASS

Connection for the included one-button footswitch. Use this footswitch to remotely bypass Reverb and/or effects in one of 8 input/output configurations. Or, if Vibratone is the active effect, you can switch between rotor speeds (set Reverb/FX bypass parameter to Vibro Fast/Slow). Reverb/FX bypass is preset programmable through the AMP edit menu (see REVERB / FX BYPASS on page 15)

FF. MIDI IN / OUT / THRU

Musical Instrument Digital Interface ports for connecting MIDI devices to the CyberTwin SE. MIDI can be used to remotely control the amplifier and transfer presets (see Utility Mode starting on page 24 and the appendices starting on page 26).

GG. SPDIF OUTPUT

Sony/Phillips Digital Interface Format output jack for connecting SPDIF compatible equipment such as a digital recorder. Although this jack accepts a standard RCA plug, the SPDIF OUTPUT is a digital stereo source not compatible with other functions normally associated with RCA jacks.

HH. HEADPHONES JACK

Connection for headphones using a standard 1/4 stereo phone plug. Speaker outputs (internal and rear panel jacks) are automatically muted, but LINE OUTPUT jacks are not.

II. LINE OUTPUT

Impedance balanced XLR jacks for output to sound reinforcement and recording equipment. Use the button to select stereo or dual mono signal. These outputs are frequency compensated to simulate the sound of a miked speaker.

JJ. EFFECTS LOOP

Connections for external effects devices. Connect MONO SEND to the input of your effects device and the output of the effects device to the MONO RETURN jack or both RETURN jacks, according to your effects device. Use the LEVEL button to optimize the loop for your effects device (usually 10dBv for footpedals and +4dBu for rack mounted effects).

KK. SPEAKER OUTPUT

Stereo output jacks for connecting external speaker cabinets. Speakers must be 8ohm minimum (per channel) and handle 65 watts minimum. Use unshielded speaker cable of 16gauge or heavier for connections up to 50 ft (15 m) and always turn the amplifier off before making connections.

Amp Edit Mode

This chapter explains how to navigate the Amp Edit menus and defines each of the 17 Amp Edit parameters and their value ranges. Note that Reverb is considered part of the amplifier and is included in the Amp Edit menu to provide more options for using Reverb and effects simultaneously.

REVERB TONE / SHAPE

Values: 1.0 (minimum)

10.0 (maximum)

Adjusts the Reverb sustain time.

REVERB TIME

Values: 1.0 (shortest)

10.0 (longest)

Adjusts the Reverb decay from a sparse/irregular sound to a dense/smooth sound.

REVERB DIFFUSION

Values: 1.0 (sparse)

10.0 (dense)

Shifts the equalization of the amplifier providing instant tone shaping to accommodate playing styles or to compensate for different room acoustics. TIMBRE Values: None Full Body Razor Edge Bright & Light Scoop Super Bright Squawk Acoustic Scoop Bass Booster Drop
Selects the phase polarity (push/pull or pull/push) for each speaker. Fender amps with Reverb have traditionally had speakers operating in reverse polarity due to the extra tube gain stage necessary for Reverb. Useful when experimenting with stereo mike placement in the studio. SPEAKER PHASE Values: Both Standard Both Reverse Left Reverse Right Reverse
Use to compress (moderate) the range of volume output due to extremes between soft and loud guitar playing intensities. Compression also provides sustain and is a fundamental component of many amplifiers. COMPRESSION Values: Off Low Medium High Even Higher
Use to set the frequency cutoff boundary for the noisegate when it is activated.

NOISEGATE DEPTH

Values: 1.0
Use to set the signal level sensitivity for activating the noisegate. Affected by TRIM setting. NOISEGATE THRESHOLD Values: Low Medium High
Assigns a parameter to be controlled by an expression pedal (optional). Parameters in [brackets] appear only when a particular effect or Reverb is active. For a list of effects parameters, see page 16, for Reverb parameters, see above. EXPRESSION PEDAL ASSIGNMENT Values: Volume Gain Treble Middle Bass Presence Reverb [FX Level] [FX Val 1] [FX Val 2] [FX Val 3] [FX Val 4] Master Volume Reverb In Level [Dwell] Reverb Tone [Shape] Reverb Time Reverb Diffusion Assigns a parameter to be controlled by a MIDI continuous controller pedal (optional). Parameters in [brackets] appear only when a particular effect or Reverb is active. For effects types/parameters, see page16, for Reverb types/parameters, see above. CONT. CONTROLLER ASSIGNMENT Values: Volume Gain Treble Middle Bass Presence Reverb [FX Level] [FX Val 1] [FX Val 2] [FX Val 3] [FX Val 4] Master Volume Reverb In Level [Dwell] Reverb Tone [Shape] Reverb Time Reverb Diffusion Use to bypass the in or out signals for Reverb tail and/or effects. Or, when Vibratone is the active effect, the Rotor Speed Fast/Slow parameter is available for switching between two (adjustable) rotor speeds (see Vibratone, page 20). REVERB / FX BYPASS Values: FX In Reverb In Out FX Out & Reverb In FX Out Reverb Out FX & Reverb In FX In & Reverb FX & Reverb Out [Rotor Speed Fast/Slow]

Common Parameters

IN / OUT LEVELAdjusts the effect circuit input or output signal level. TIME / RATEAdjusts an interval or cycle duration. FEEDBACKAdjusts how much of the effect circuit output is returned to its input. BRIGHTNESSAdjusts the effected tone in the high-frequency range. DELAY TIME CHANGESelect Ramp for an analog sounding warble, or select Step for a digital sounding zip when changing the delay time parameter. STEREOAdjusts the stereo separation between channels. DEPTHAdjusts the range of a modulation sweep. PHASEAdjusts the relationship between the two oscillators used in modulation effects.

Effects Definitions

Mono Delay
The most basic single-tap digital delay effect.
Dotted 8/16, One-E-Da, Ping Pong, Swing Tap and Stereo Flam Delays
Multitap (multipleoutput) stereo digital delays with various tap timings.

Ducking Delay

A mono delay with a special feature while you are playing, your delayed repeats are quiet or duck below the dry signal when you stop playing, the delayed repeats return to normal volume. DUCKING DELAY RELEASE Adjusts how long the delayed repeats wait to return to normal volume after you stop playing. DUCKING SENSITIVITYAdjusts how loud your playing has to be to activate the delay ducking.

Backwards Delay

A unique effect that repeats the delay intervals in reverse. DELAY FORWARD FEEDBACKAdjusts the number of delay repeats, all the same as the first delay (reversed). DELAY REVERSE FEEDBACKAdjusts the number of delay repeats which alternately reverse direction (forward and backward).
Tape Echo and Stereo Tape Echo
Two-tap, ping-pong delay effects that simulate mono and stereo tape echo machines complete with wow & flutter. WOW & FLUTTERAdds random frequency response modulation and pitch variation to simulate the unique characteristics of tape echo machines.
Sine Chorus and Triangle Chorus
Stereo effects that add a swirling effect (sine) or transparent effect (triangle) with delay modulation used to thicken a sound.
Sine Flange and Triangle Flange
Stereo effects with feedback that add a whooshing effect (sine) or a sharper phasing effect (triangle) with delay modulation.

Amp Tremolo and Tremolo

Modulates volume of the input signal. Amp Tremolo is vintage Fender Blackface amplifier tremolo and Tremolo is a sine-wave effect approximating a gridbias tremolo or the repeat percussion of a Tweed Tremolux. DUTY CYCLEAdjusts the high to low interval ratio of the signal volume. (Amp Tremolo only) TREMOLO SHAPEAdjusts tremolo character from smooth to choppy. TREMOLO OFFSETAdjusts the oscillator center frequency from extreme to gentle signal modulation. (Tremolo only)

Auto Pan

A sine-wave left-right panning effect. A low frequency oscillator sweeps the signal back and forth in the stereo field. PAN SHAPEAdjusts the Auto Pan waveform from smooth to choppy.

Pedal Wah

A traditional foot-operated wah controlled with an expression pedal (optional). For best results, the optimal expression pedal specifications include passive, 10k to 250k ohms. WAHAdjusts the wah filter center frequency. HEEL / TOE FREQUENCYAdjusts the minimum and maximum frequency limits. Use to control the functional range of your pedal. SWEEP TYPESelect The Babys Cryin (modern wah) or The Real McQ (vintage wah).

Touch Wah

Touch Wah is a dynamic wah that varies according to playing strength and volume level. SENSITIVITYAdjusts the Touch Wah sensitivity to changes in volume. MINIMUM / MAXIMUM FREQUENCYAdjusts the Touch Wah frequency at low and high playing volumes respectively. These settings can be reversed so that low volumes will start with a high frequency wah that decreases when volume increases. SWEEP TYPESelect Low Q (smooth wah) or High Q (extreme wah).

Vibratone

Rotating speaker effect based on the CBS-era Fender Vibratone speaker with a 2speed rotating baffle. VIBRO DOPPLERAdjusts the Doppler shift (pitch change) of baffle rotation. ROTOR SPEED 1, 2Sets alternate rotor speeds selectable with the Reverb/FX Bypass footswitch: Select Vibratone as the active effect, then use the AMP button to access the Reverb/FX Bypass menu. Select Vibro Fast/Slow.

Phaser

A 12 stage, stereo phaser effect.

Delay + Chorus

Combination mono digital delay and triangle chorus effect.

Delay + Flange

Combination mono digital delay and triangle flange effect.

Delay + Phaser

Combination mono digital delay and stereo phaser effect.

AutoSwell + Chorus

An automatically triggered volume swell (increase) effect with chorus. The swell begins when you reach the selected volume threshold. Note that you must stop playing momentarily for autoswell to reset. AUTOSWELL ATTACK TIMEAdjusts the time the swell takes to reach full volume. AUTOSWELL SENSITIVITYAdjusts the volume level at which the effect is triggered.

UltraClean + Chorus

An ultra-clean guitar tone with triangle chorus. For best results, use with clean amp settings and your guitars neck (rhythm) pickup. BODYAdjusts low frequency tone. BRILLIANCEAdjusts high frequency tone.

Pitch Shift

A semitone-variable pitch shifter and detuner. PITCHAdjusts the pitch shift value in semi-tone increments from: 1.0 (2 octaves below), to 5.5 (unison) to 10.0 (2 octaves above). PITCH DETUNEAdjusts the pitch shift offset in micro-tone increments from: 1.0 (semi-tone flat), to 5.5 (in tune), to 10.0 (semi-tone sharp). PITCH PRE-DELAYAdjusts the delay before the pitch-shifted signal is heard.

A ring modulator with mono delay. Ring modulator creates tones above and below your original guitar signal. MOD FREQUENCYAdjusts the ring modulator frequency. Radical results can be achieved by controlling this parameter with an expression pedal (optional). Select Ring modulator as the active effect, then use the AMP button to access the Expression Pedal Assignment menu. Select Mod Frequency.

New Effects

Auto Pan Delay
A digital delay with random auto-panning in the stereo field.
A classic 60s70s distortion effect rich with overtones and sustain. The effect includes an octave higher parameter which can be independently mixed in. FUZZ GAINAdjusts the gain of the fuzz effect. OCTAVE LEVELAdjusts the level of the octave up signal mixed in. LOW FREQUENCYAdjusts the low frequency tone of the fuzz effect. HIGH FREQUENCYAdjusts the high frequency tone of the fuzz effect.

Resolver

A low-fidelity effect that purposely reduces the quality of the input signal. Effective for lofi filtering on song introductions, for example. DEPTHAdjusts the amount of signal degradation. TONEAdjusts the tone of the degraded signal. ATTACKAdjusts the amount of time it takes for the signal to reach full degradation. RELEASEAdjusts the amount of time it takes for the signal to return from full degradation.

Pedal Pitcher

An effect very similar to the Pitch Shift effect, optimized for dynamic control with an expression pedal or continuous controller. With practice, wammy bar effects can be created. This effect is positioned before distortion whereas the Pitch Shift effect is post distortion. PITCHSmoothly adjusts the pitch shift value in semi-tone increments from: 1.0 (2 octaves below), to 5.5 (unison) to 10.0 (2 octaves above). PITCH PRE-DELAYAdjusts the delay before the pitch-shifted signal is heard. HEEL LIMITAdjusts the minimum limit of pitch reached at the heel of the pedal. TOE LIMITAdjusts the maximum limit of pitch reached at the toe of the pedal.

Overdrive

A popular pre-distortion gain stage effect (like the green pedal you know and love), with additional tone controls. Use this effect with the Reverb/FX Bypass footswitch (assigned to FX Input Only in the Amp Edit Mode) to recreate a stompbox setup. GAINAdjusts the gain of the overdrive effect. BASSAdjusts the low frequency band of the overdriven signal. MIDDLEAdjusts the middle frequency band of the overdriven signal. TREBLEAdjusts the high frequency band of the overdriven signal.

MIDI DUMP UTILITIES

Values: none Transfers any one preset (every parameter) to another CyberTwin SE or MIDI device. The current preset is automatically selected, but you can use the data wheel to select any preset (not audible) to transfer. Press TAP to initiate the dump. A receiving CyberTwin SE will prompt you to select a Players Lounge preset to overwrite.

MIDI DUMP - ANY PRESET

Values: P00-P99
Transfers all presets (every parameter) to another CyberTwin SE or MIDI device. Press TAP to initiate. A receiving CyberTwin SE will only load Players Lounge (rewritable) presets. MIDI DUMP - ALL PRESETS Values: none
NOTE: Original CyberTwin presets may be loaded successfully into a new CyberTwin SE. However, CyberTwin SE presets are not compatible with the original CyberTwin

Appendices

Appendix
FUNCTION Basic Channel Mode Note Number Velocity After Touch Pitch Bender Control Change Program Change System Exclusive System Common System Real Time Auxiliary Messages
Default Changed Default Messages Altered Note Number True Voice Note ON Note OFF Keys Channel
MIDI Implementation Chart
TRANSMITTED X 1-16 X X X X X X X X X X O O RECOGNIZED 1-16 1-16 Mode 2, Mode 4 Mode 2, Mode 4 X X X X X X X X O O REMARKS Memorized

Implemented True #

Assignable Continuous Controller numbers are 1100 Internally mapped
Mode 1: Omni On, Poly Mode 3: Omni Off, Poly
Song Position Song Select Tune Request Clock Commands Local On/Off All Notes Off Active Sensing System Reset GM ON Mode 2: Omni On, Mono Mode 4: Omni Off, Mono

O X X X X X X X X X X

See Appendix

O: Yes X: No

MIDI Program and Control Changes
The Cyber-Twin SE will respond to and transmit program and control changes when the appropriate MIDI receive and transmit channels are selected. Use program and control changes to remotely select presets and adjust settings either in real time or from a recorded sequence.

Program Change Messages

The CyberTwin SE uses the MIDI convention of numbering which starts with 0. For example program change 6 activates preset 06 (not 06). Bank change messages only need to be sent once each time you change bank numbers.
Select amplifier presets from the following banks: Bank Bank Bank Bank 00MIDI Map (as defined in Utility Mode) 01Fender Custom Shop presets 02Players Lounge presets 03Your Amp Collection presets
Use the format: Bn 32 bb Cn pp (n=MIDI channel, bb=bank number, pp=preset number) Activate the tuner using program change 127 in banks 0103.

Control Change

Adjust amplifier settings using the following continuous controller numbers and value ranges.
The CyberTwin SE uses a continuous controller resolution of 0127 (it will not accept 16,384 step sizes). Data increment/decrement models the data wheel by +/ 1 steps.

CC# 118 119

Parameter Master Volume LSB for Bank Changes Effects/Reverb Bypass Hum Reduction Data Increment2 Data Decrement2 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) OFF=(063), 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)

SysEx MIDI Dump

This appendix contains tables describing the System Exclusive message components and protocol for MIDI Dump. The SysEx device ID must be set to Omni (or the same as the transmitting device ID) to accomplish the data transfers. NOTE: Data values are displayed in hexadecimal with H for clarification.

System Exclusive Header

VALUE F0H 08H nnH 12H ffH F7H DESCRIPTION Start of System Exclusive Message Fender Manufacturer ID nn = Device ID (minus one) Amp ID number 12H. The upper nibble identifies the Cyber-Twin SE amplifier and the lower nibble designates software version. Function ID number (01H=Utilities message; 02H=One preset message; 03H=All presets message) End of System Exclusive Message
System Exclusive Data Packet

Parameter IDs and Values

PARAMETER Tone Stack Type ID 00H 00H 00H 00H 00H 00H 01H 01H 02H 02H 02H 02H 02H 02H 02H 02H 02H 02H 02H 02H 02H 02H 02H 02H 03H 03H 03H 03H 03H 03H 03H VALUE 00H = Tweed 01H = Blackface 02H = British 03H = Modern 04H = Neo British 05H = Dyna-Touch 00H = Pre-Distortion 01H = Post-Distortion 00H = Blackface Tube1 01H = Blackface Tube2 02H = Blackface Tube3 03H = Tweed Tube1 04H = Tweed Tube2 05H = Tweed Tube3 06H = Hot Rod Tube1 07H = Hot Rod Tube2 08H = Hot Rod Tube3 09H = HMB Tube1 0AH = HMB Tube2 0BH = HMB Tube3 0CH = Dyna Touch 1 0DH = Dyna Touch 2 0EH = Dyna Touch 3 0FH = Extreme 00H = None 01H = Mono Delay 02H = Dotted 8/16 Delay 03H = One-E-Da Delay 04H = Ping Pong Delay 05H = Swing Tap Delay 06H = Tape Echo PARAMETER Effects Type (continued) ID VALUE 03H 07H = Stereo Tape Echo 03H 08H = Stereo Flam Delay 03H 09H = Ducking Delay 03H 0AH = Backwards Delay 03H 0BH = Tremolo 03H 0CH = Amp Tremolo 03H 0DH = Auto Pan 03H 0EH = Phaser 03H 0FH = Vibratone 03H 10H = Pedal Wah 03H 11H = Touch Wah 03H 12H = Sine Chorus 03H 13H = Triangle Chorus 03H 14H = Sine Flange 03H 15H = Triangle Flange 03H 16H = Delay+Chorus 03H 17H = Delay+Flange 03H 18H = Delay+Phaser 03H 19H = Auto Swell+Chorus 03H 1AH = Ultra-Clean+Chorus 03H 1BH = Pitch Shift 03H 1CH = Ring Mod+Delay 03H 1DH = Auto Pan Delay 03H 1EH = Fuzz 03H 1FH = Resolver 03H 20H = Pedal Pitcher 03H 21H = Overdrive 03H 22H = Alienator 03H 23H = Pedal Wah+Delay 03H 24H = Touch Wah+Delay 03H 25H = Fuzz+Pedal Wah Continued on next page
Tone Stack Position Drive Circuitry

Effects Type

Continued from previous page PARAMETER Noise Gate Depth Noise Gate Threshold ID 08H 09H 09H 09H 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0AH 0BH 0CH 0CH 0CH 0CH 0CH 0CH 0CH 0CH 0CH VALUE (00H-7FH) 00H = Low 01H = Medium 02H = High 00H = Volume 01H = Gain 02H = Treble 03H = Middle 04H = Bass 05H = Presence 06H = Reverb 07H = Effects Level 08H = Effects Val 1 09H = Effects Val 2 0AH = Effects Val 3 0BH = Effects Val 4 0CH = Master Volume 0DH = Reverb Input 0EH = Reverb Tone 0FH = Reverb Time 10H = Reverb Diffusion Same As Expression Pedal 00H = FX Input 01H = Reverb Input 02H = FX Output 03H = Reverb Output 04H = FX & Reverb Input 05H = FX In & Reverb Out 06H = FX Out & Reverb In 07H = FX & Reverb Out 08H = Vibro Fast/Slow

Parameter IDs and Values PARAMETER Effects Type (continued) ID 03H 03H 03H 03H 03H 04H 04H 04H 04H 04H 04H 04H 04H 04H 04H 04H 05H 05H 05H 05H 05H 05H 05H 05H 05H 06H 06H 06H 06H 07H 07H 07H 07H 07H

Reverb Type

Timbre

Speaker Phase

Compressor
VALUE 26H = Fuzz+Touch Wah 27H = Fuzz+Delay 28H = Octave+Tape Echo 29H = Mid Boost+Tape Echo 2AH = Overdrive+Tape Echo 00H = Small Room 01H = Large Room 02H = Small Hall 03H = Large Hall 04H = Arena 05H = Small Plate 06H = Large Plate 07H = Blackface Reverb 08H = Gated Reverb 09H = Small Ambience 0AH = Fender Reverb 00H = None 01H = Full Body 02H = Razor Edge 03H = Bright & Light 04H = Bass Booster 05H = Drop Scoop 06H = Super Bright 07H = Squawk 08H = Acoustic Scoop 00H = Standard Polarity 01H = Reverse Polarity 02H = Left Rev Polarity 03H = Right Rev Polarity 00H = OFF 01H = Low 02H = Medium 03H = High 04H = Even Higher
Expression Pedal Assignment
Continuous Controller Assignment Effects/Reverb Bypass

SysEx Handshake

Following the guidelines of the MIDI specifications, data is transmitted as follows: First, the System Exclusive Header is sent. The amp will wait 200ms to look for a handshake. If no handshake 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. The System Exclusive device ID must be set to Omni (or the same as the transmitting device ID) to accomplish the data transfers. NOTE: Data values are displayed in hexadecimal with H for clarification.
System Exclusive Handshake Message
VALUE F0H 7EH nnH hdH ppH F7H DESCRIPTION Start of System Exclusive Message Universal Message nn = Device ID (minus one) Handshake ID (7CH=Wait; 7DH=Cancel; 7EH=Not Acknowledge; 7FH=Acknowledge) Packet Number End of System Exclusive Message

Troubleshooting

No sound coming from the unit. Make sure MASTER, TRIM, GAIN, VOLUME, TREBLE, MIDDLE, BASS and guitar are all above 1. Make sure nothing is plugged into the HEADPHONE jack. Make sure you are not in Tuner mode. Cannot SAVE a preset. Make sure Memory Protection is disabled in Utility Mode. Clean tone sounds distorted. Turn Trim down if the red LED is constantly on while playing. Reduce effects loop device levels. The 3 FX knobs do nothing. Press the FX button and if None is displayed, rotate the data wheel to select an effect. If connected, press the FX/Reverb Bypass footswitch button. The 4-Button footswitch does not work. Make sure it is plugged into the footswitch jack and not a MIDI jack. An Error message is displayed. Write down the message exactly as it appears and contact your local Fender repair center with this information. The unit is not responding to any MIDI program change messages from external devices. Make sure the MIDI Receive channel is set properly. Make sure the MIDI Cables are connected properly. The unit is not responding to any MIDI Continuous Controller Messages from external devices. Make sure the MIDI Receive channel is set properly. Make sure the continuous controller numbers matches the value in the UTILITY menu or is one of the predefined numbers listed in the appendices. Make sure the MIDI Cables are connected properly. The unit is not responding to any System Exclusive Information from external devices. Make sure the System Exclusive Device ID is set properly. Make sure the MIDI Cables are connected properly.

General MIDI questions. Visit www.midi.org
Problem still persists after trying these solutions. Consult an authorized Fender Service Center or visit www.fender.com or www.mrgearhead.net and click on support.

TYPE: PART NUMBERS:

Specifications
PR (120V, 60Hz) USA 2290003010 (240V, 50Hz) AUS 2290005010 (230V, 50Hz) EUR 360W 65W per channel (130W total) @ 5% THD 8 ohms per channel adjustable using TRIM control 900k ohm (mono send, stereo return) -10dBv / +4dBu switchable 220 ohm, impedance balanced 20k ohm minimum, balanced RCA jack, digital stereo (stereo / mono switchable) 0dBv 300 ohm, impedance balanced Groove Tubes, two (2) x 12AX7WC Celestion, Two (2) x G12T-100 (12-inch, 8 ohm) PRIMARY: SECONDARY: FOUR BUTTON: ONE BUTTON: F4A 125V for 100V and 120V units, F2A 250V for 230V and 240V units digital supply: F2A analog supply: Two (2) x T1A Quick-access key recall functions, 5-pin DIN (MIDI-type) cord Reverb/Effects Bypass and Vibratone rotor speed select standard one-button toggle type P/N 099-4055-000 or 00-57172-000 1/4-inch (Tip, Sleeve) analog, compatible with any passive volume pedal, 10k to 250k ohm, (ideal audio taper is 20k 25%) 1/4-inch for connection to the included one-button footswitch IN, OUT, THRU 1/4-inch stereo HEIGHT: WIDTH: DEPTH: 18 9/32 in 26 1/8 in 12 1/8 in 55 lb (46.4 cm) (66.4 cm) (30.8 cm) (25 kg) 2290001010 (110V, 60Hz) TW 2290004010 (230V, 50Hz) UK 2290007010 (100V, 50/60Hz) JPN
POWER REQUIREMENTS: POWER OUTPUT: RATED LOAD IMPEDANCE: SENSITIVITY: PREAMP INPUT IMPEDANCE: EFFECTS LOOP NOMINAL LEVEL: OUTPUT IMPEDANCE: INPUT IMPEDANCE: SPDIF LINE OUT JACK: XLR OUTPUT JACKS NOMINAL LEVEL: OUTPUT IMPEDANCE: TUBE COMPLEMENT: SPEAKER COMPLEMENT: FUSES

FOOTSWITCH

EXPRESSION PEDAL JACK:
REVERB/FX BYPASS JACK: MIDI JACKS: HEADPHONES JACK: DIMENSIONS

WEIGHT:

Product specifications are subject to change without notice.

P/N 064391