Green Machine Manual 1.1

Plugin by Patrick WurrManual by Tammo Trüper

Proofreading by Patrick Vido

Thank you for choosing the GreenMachine Amp II guitar amp simulation plugin. We are sure you will enjoy this plugin a lot. Since it is a little different than most other “digital modelling” guitar amp simulator plugins available, we hope that this manual will help you understand this plugin and get more use out of it.By all means, if you want to ignore the manual and dive right in, do so! But if you want to know more about how this plugin works, read on.

How This Manual is structured

First, we are going to write a short introduction to the plugin and also talk a little about its design philosophy. In section 2, the plugin's controls – all the knobs and buttons – are explained, following the signal flow through the GreenMachine Amp II. In section 3, we give a tutorial on how the controls of the plugin interact, and what their special properties are when it comes to dialling in guitar tones. Section 4 deals with continuous MIDI control of the GreenMachine Amp II parameters.

1. Introduction

The main design philosophy behind the GreenMachine II is to make it as controllable and flexible as possible. We believe that continuous parameter control is much more powerful than having a list of options on a drop down list (i.e. a list of “amp models” or “cabinet types”). So, this plugin may offer less options at a first glance, but it offers much more in-depth adjustment possibilities. For example, while there might be only three cabinet types in GreenMachine II, there are five continuous parameters to customize the speaker simulator response, instead of maybe only a pesky “dynamic/condenser mic” switch.

The GreenMachine II isn’t about a “faithful re-creation of prized vintage amps”, which is mostly marketing blurb anyway. It is about providing you with a wide range of guitar sounds that are highly useable when recording. And it is about giving you a greater amount of control about the various tone-shaping components of guitar amplification.

Because the sheer number of parameters may appear a little daunting at first, we ship GreenMachine with a number of presets hoping that at least some of them will appeal to the taste of every user. You should use these as starting points to explore the possibilities of this powerful plugin.

Amp Models – the Basis of the GreenMachine Architecture

GreenMachine offers two fundamentally different Amp Models - US and British. Those are mainly two different guitar preamp architectures. The US architecture is based on the classic American guitar amp designs by the company that named their amps “Boogie”, which in turn started as a modified Fender amp. In this amp architecture, the tone stack – the amp’s regular tone controls – are located before the overdriven tube stages. That means, especially for lead tones, the tone controls shape the character of the distortion rather than its overall frequency response. In GreenMachine, as in classic “Boogie” amps, a five-band parametric EQ is used for post-gain tone shaping – the EQ’s band frequencies are identical to those found on the real world guitar amps this architecture is modelled after.The British architecture is derived from classic British guitar amps. In those amps, the tone controls are located after the overdriven tube stages, and are shaping the overall tonal response of the amp. In GreenMachine, when you select the British model, the 5-band-EQ is disabled, because you already use the tone stack controls for post gain tone shaping. Figure 1 displays the plugin's signal flow, and the differences between US and British mode.

Figure 1 – GreenMachine signal flow diagram

2.The GreenMachine Amp II Controls

Since this plugin has a lot of controls, they have been spread over a „front panel“ and a „back panel“ screen.

Figure 2 – how to open the back panel

Below, we give an overview on both panels of the plugin. The back panel contains controls that are not needed as much as the front panel controls in day-to-day work. The controls will be explained in detail below.

Figure 3 – the front panel of GreenMachine Amp II

Figure 4 – the back panel of GreenMachine Amp II

The description of the controls will follow the signal flow inside the plugin as shown in figure 1. This means that we might jump a bit back and forth between the panels of the plugin, but it is a more logical approach than to just go along the graphical arrangement.

Input section of the plugin

The first control in the signal chain is the input source selector (back panel). With this switch you can select the type of input signal you are feeding to the plugin. The purpose of this control is the following: common guitar amplifiers and bass amplifiers as well have a input filter section. For a guitar amplifier for example there is a low cut filter directly after the input. So, if you plug your guitar directly into the mixer

or soundcard input, and use the GreenMachine Amp II as your main source of guitar tone, you should select Guitar as the input type. The same applies for plugging a Bass directly into the board. But if you use an external guitar preamp (not to be confused with a DI Box, which does only linear amplification) which already has such an input filter, and want to „beef up“ the sound further with GreenMachine, the plugin's input filter might cause a thin sound. So you should select Bypass then, which bypasses all input filters. The same applies if you are using for example samples of an electric guitar recorded through a clean guitar amplifier. In this case, you should select Bypass, too.Bypass is also the best choice for sources other than guitar and bass – just because GreenMachine was made mainly as a guitar amp simulator doesn't mean you can't use it to experiment with all kinds of other material – like synthesizer sounds, vocals, drums etc.

The input section on the front panel follows next in the signal chain. The gain knob is located first after the input and controls the signal level fed to the plugin. Its effect will be similar to adjusting the guitar's volume knob – that means, with a distorted sound, the amount of distortion is determined by the level of the input signal. In case you

have found a setting for a patch that you like, but you use different guitars with this patch regularly, like for example a high-output humbucker equipped guitar and a low-out put singlecoil Strat, you can use the Hi and Lo buttons to switch between two preset input gain settings. You can also set this up so that you can get an instant input boost from those buttons. The limiter control defines the intensity of the limiter. Turning this to 0 turns off the limiter.

WahWah

The built in WahWah effect of the GreenMachine Amp II plugin is located before the tube drive stages – just as you'd plug in a real Wah pedal in front of the amp. Switch the effect on with the WAH switch. The Wah has two modes of operation – manual or automatic, that can be selected with the according buttons. In manual mode, the Wah position can be controlled with the Man.Wah knob, or via a MIDI continuous controller (see section 4). In automatic mode, the Sens knob controls how fast the effect reacts to the input level. The Inv switch works in automatic mode and inverses the direction the Wah moves depending on the input level. The two Range knobs set the upper and lower limit for the Wah' filter's centre frequency. Res

sets the resonance of the Wah bandpass filter. With Mix you control the dry/wet ratio of the Wah effect.

Preamp Type Selector

This little control actually has a lot of influence on the sound of GreenMachine Amp II. As has been explained in the introductory chapter, this switch selects one of the two different preamp architectures of this plugin. This is also shown in Figure 1 – the US preamp chain has the tone controls before the drive section and the 5-band EQ after the drive section,

whereas the British preamp chain has the tone controls after the drive section and the 5-Band EQ disabled.

Tube Drive Section

These controls determine how hard the tube stage simulation is driven. There are two tube s tages , bo th w i th a Drive control, a Volume control, a x2 switch and a on/off switch. The

tube stages succeed each other in series. That means, the output of tube stage 1 is used to drive stage 2. So the Volume setting of stage 1 influences the amount of distortion generated by stage 2, on top of the stage 2 Drive control. The x2 switches are gain boosts – they double the amount of gain in the tube stages. With everything put to 10, the GreenMachine plugin can unleash massive amounts of distortion – probably more than is practicable for good sounding guitar tones, so don't complain we didn't give you enough gain!

Tone Stack and Equalizer

These are equivalents of the most common tone controls on guitar amplifiers. This section is called Tone Stack because that's the name coined for the tone control circuits in classic guitar amps. As

said in the introduction, for the US preamp these controls are located before the tube drive stages, and for the Brit preamp, they're located after the tube drive stages. There are controls for Bass, Middle, Presence, and Treble. On the back panel, you will find frequency controls for the Middle and Presence knobs. With those you can further tailor the tone stack to your

needs. In section 3 we will talk more about how these controls interact with the tube drive stages in the two different preamp architectures in this plugin. There are two further switches in this section – Bright and Shift. Both work together with the Treble control. The Bright switch emphasizes the treble response – but in conjunction with Tube 1 drive. Like it often is the case in tube amps, the bright switch has more effect for lower tube 1 drive settings. The Shift switch changes the working frequency of the Treble control and shifts it towards the midrange, which tends to sound more “fat” with higher gain settings.

5-Band Graphic EQ (US mode only)

This Equalizer works only in the US mode. It is meant to give the user the possibility of tailoring the amp's frequency response, since the tone controls are located in front of the tube drive stages in US mode and therefore work more like changing the character of the distortion

than its overall frequency response. The EQ can be switched into the signal path with its on/off switch. The centre frequencies of its bands are chosen after the classic “Boogie” amps – those values are known to be working. The range of the faders can be selected to be 12, 18 or 24 dB. Level controls the EQ output level. The knob below the Level control is a width control – turn it to the left for broader EQ curves per fader, and to the right for narrower curves.

(Power) Amp Section

The next station in the signal path is the power amp section. Here you can select three power amp models – 50W, 100W, and Solid State. The first two model tube amplifier of different wattage, and therefore different headroom levels and different ”tightness”. The Master volume control sets the volume of the power amp simulation. The red LED lights up if the amplifier

model is clipping – which is not necessarily a bad thing, but can also be desired in tube amp simulations.

Parametric EQ

If there is still need for further tailoring of the guitar tone, the back panel holds another equalizer – a fully parametric 3-band EQ. This too has an on/off switch – plus three

switches for each of the bands. Gain (+/- 24 dB) and Frequency per band are controlled by dragging the little green dot in the square. Up is more gain, and to the right means higher frequency. The width of each of the filter bands can be controlled with the knobs to the right of each band's square. The width controls turn to the left for broader EQ curves per band, and to the right for narrower curves. Their ranges are from 1 to 4 octaves.

Speaker Simulation

This is a very powerful section of the GreenMach ine Amp p lug in . Speaker simulation is a very important component of direct guitar recording, and that's why we implemented a lot of possible user control here. The Speaker section is divided in two parts – a

lowpass filter LP which works independently from the rest, plus a cabinet simulation. The on/off switch works for the cabinet simulation only. The lowpass filter has its own little switch at the bottom of the LP square. Dragging the little green dot to the right increases the filter cut-off frequency, letting more treble pass. Dragging it up increases the filter resonance, until there is a very noticeable peak at the cut-off frequency. The lowpass filter is the most powerful control of the speaker section. It can be compared to the microphone angle when miking a real cabinet – turning the microphone off-axis will reduce the high frequency content, just like turning down the LP filter frequency does in GreenMachine.For cabinet simulation, you can choose from three cabinet characteristics – Vintage, Modern and Lead – all available both as Open and Closed variety. The Pos square is used to control the cabinet position in a room, simulating reflections from the walls. Dragging the green dot horizontally changes the simulated distance from the wall, and dragging it upwards increases the level of the reflections. How much effect this control has depends also on the open/closed switch and the cabinet type. Experiment for best results here!

Noise Gate and Noise Reduction

The simple Gate control sets the threshold and working level for a noise gate that is more sophisticated than it looks. Tuned specifically for the particularities of guitar amplification, this gate is located after the tube drive and amplifier stages – since noise picked up from the guitar pickups is amplified there, guitar noise gates always work most smoothly when located after the distorting parts of an amplifier. If you want to reduce the

noise in playing breaks, just turn up the Gate control until you have silence in the breaks. You can easily tune the gate so that neither the guitar's attack nor the sustain and fading out of notes are cut off.

T h e Noise Reduction filter controls are located on the back panel. This is a different system for reducing noise than the noise gate. It consists of a filter that can filter out high frequency hiss and noise if needed. You can switch it to off, auto and manual mode. In automatic mode, the filter parameters are choosen after an analysis of the tube drive and volume settings. In manual

mode, you can control the amount of noise reduction filtering with the NR Level control. Since the noise reduction filter affects the overall sound – especially in the treble range – of the GreenMachine, it can be used as a further tone control – if you feel that there aren't enough controls already on this plugin.

The Effect Section

After the signal has passed the noise gate, it is split to stereo and run through the subsequent Delay, Chorus, Reverb and Rotary modules in series. The whole effect-chain consisting of delay (DEL), chorus (CHO) and reverb (REV) can be switched into and out of the signal path. Additionally, there are individual switches for the three effects.

BPM Delay

This is a delay effect that bases its delay values on musical values – tempo and note length. The clock switch determines if the local GreenMachine clock is used to calculate the delay time or if the plugin synchronizes itself to t he host application's tempo setting. The local tempo in beats per minute (BPM) can be entered in the Local BPM field. The host's tempo is displayed in the field below, but cannot be changed. The note value buttons select the delay time. Fdbk controls the delay feedback value and therefore the number of repeats. With damp, you can adjust a low pass filter in the delay's feedback path, reducing the high frequency content of the delay repeats, like in a tape delay.

Width adjusts the stereo spread of the delay by introducing a slight difference to the delay times for the right and left channel. Finally, Mix controls the delay's dry/wet ratio.

Chorus

The GreenMachine's chorus has two modes of operation, selected with the Mod./Clas. switches. The classic mode emulates the “fake stereo” effect used by old chorus effect pedals. In this mode, the left channel is not effected, and only the right channel is effected with a mono chorus. In modern mode, the chorus operates in stereo, both channels are modulated. In modern mode, the Width control determines the stereo spread of the effect. This control has no effect in classic mode. The other controls work for both modes.Rate controls the modulation rate – the speed – of the chorus, Depth sets the modulation depth, and Fdbk controls the feedback in the chorus' delay path (a chorus is basically a very

short delay that has its delay time modulated by a low frequency oscillator). Mix controls the chorus' dry/wet ratio. The classic mode of the chorus sounds a lot subtler and less invasive than the modern mode, which in turn can produce much stronger effects if desired.

Reverb

The reverb module has three different modes selected with the Quality buttons – max, med, and min. All three use different sounding algorithms. The reverb module uses more cpu power in max quality mode than in min quality mode. Size controls the simulated room size, Damp the dampening of the room, leading to less high frequencies when dialled in. Width controls the stereo width of the reverb effect. Mix controls the reverb's dry/wet ratio.

Rotary

The rotary module simulates a rotating speaker recorded with two microphones. The rotating speed of the speaker can be synchronized to several sources with the Speed buttons – it can be set to local, host, chorus, or note values with the fourth button. In local mode, the speed is determined by the Speed k n o b . Host f o l l o ws t h e h o s t sequencer's tempo setting, and the modulation speed is selected with the note value button.

And in chorus mode, the rotary effect follows the rate settings of the chorus effect. The cone/horn selector chooses between two different speaker models. Try it out at low speeds to hear the difference. Depth controls the modulation depth, and Width the stereo width between the two simulated microphones. Mic.Sprd controls the angle between the microphones from 0° to 180°, and Dist. controls the distance between the microphones and the speakers. Finally, Mix sets the dry/wet ratio for the rotary effect.

Meter Unit

At the bottom of the front panel, GreenMachine features 6 VU meters. Three of those VU's display parameters that are not customizable by the user – the input meter and the output meters. For the other three, labelled VU1-VU3, you can choose between various measurement sources in the plugin's signal path, and you can also switch those meters on/off. The different measurement possibilities of the customizable meters enable you to track what is happening with your signal in the plugin at various points. You can for example determine how hard the tube stages are driven etc.

The input meter has a clipping LED. The GreenMachine plugin is tuned so that the optimum input level is -1dB to +2dB for maximum peaks on the input meter. If the LED lights up, you might clip your soundcard's input, leading to nasty sounding distortion. Of course, you probably have metering in the host application or the soundcard's driver application too, so this input

meter might seem a tad redundant, but there are also situations where you use GreenMachine in a chain of plugins, and the meter can be handy.

Output level

This control sets the output level of the plugin and is the very last control in the signal path. Since GreenMachine can generate quite high levels if you crank the tube controls, you might want to rein in the levels with the output control in order to prevent the soundcard's output from clipping.

The Standby Switch and the ADSR Envelope

Like a hardware guitar amplifier, GreenMachine has a standby switch. In addition to that, it also has a ADSR envelope, controlling the plugin's input level. “What's the point of this?”, you might ask. Well,

if you switch the ADSR on, and set the attack, decay, sustain and release values accordingly, every time you activate the standby switch, the sound can fade in and out. This is similar to doing volume swells with the volume knob on your guitar. Now, this would be tedious and nearly impossible to do with mouse clicks, so we made the standby switch controllable via MIDI – it's controlled by the MIDI controller number used by the sustain pedal. So you can trigger the envelope by foot if you set up your system accordingly. You'll find more about MIDI control of the GreenMachine in section 4.

3. Working With The GreenMachine – Explanations and Tips

The tube stages – cascading gain

The idea behind this is not new and was taken from the classic “Boogie” amps. If you look at a lot of today's high-gain guitar amps, they have a single gain control in the lead channel that controls the amount of distortion. But the distortion is generated in a succession of tube stages, each with a certain amount of overdrive, which add up to the overall distortion level. Yet, the gain for those other stages, or better, the gain relations between those stages, are pre-set by the amp designer, because it seems to be a consensus that a single gain control is more convenient. It is certainly easier to set up, and less confusing, if you're not as technically inclined – just turn one knob for gain, and be done. On the other hand, as simple as this concept is, it is also a tad rigid – and, if you have a succession of overdriven gain stages, it does matter for the end result how the gain for each stage is set. For example, it makes a difference in tone if all the stages have roughly the same amount of overdrive, or if the earlier stages overdrive more and the later add more compression than actual distortion – or the other way round. Since the GreenMachine is all about giving a lot of control to the user, you have full control over the cascading gain stages that generate the distortion. Let's take a look at figure 5 which displays the internal signal flow of the tube stages:

Figure 5 – the gain architecture of the tube stages

We see that the tube 2 stage is divided into two stages, tube 2A and tube 2B. Tube 2A is directly driven by the output of tube 1, which is determined by Volume 1. Drive 2 drives the tube 2B stage. That means, we have three gain knobs on the GreenMachine. For one sound! This is of course a lot more complicated than the one gain knob on your regular amp. But it has its advantages, too, since how you cascade the gain, so to speak, has a lot of influence on your tone. For example, you might drive the first tube stage hard, and have the second tube stage at a much lower point of distortion. Or you might do it vice-versa. The first possibility will likely sound tighter and more focused than the second, which will be looser. And since all the gains are of course continuous, there's a wealth of settings in between.Of course, with the original guitar amps offering a cascading gain controls design, juggling the gain values and keeping in memory what sounded good and what didn't required a little more memory than to just remember to “set gain to 8!” or similar. And it required a little more understanding, too, of how those amplifiers worked. Now, with the GreenMachine, this manual hopefully will help you to understand the concepts and advantages behind the slightly more complicated design of this plugin compared to other amp simulators. And, in this digital age, we can store as many presets as we want, keeping track of our experiments as we like. With a similar purpose, we delivered the GreenMachine with a range of presets that can serve you as a starting point for exploring this plugin's possibilities.

Placement of the Tone Stack

We have mentioned several times so far that the tone stack is placed at different points in the signal chain for the British and US preamp models. Now we are going to explain the benefits of both architectures, and their significant differences in tone and handling.

Post-gain Tone Stack – the British mode

In common guitar amplifiers that produce a lot of gain, these days the tone controls are mostly located after the circuitry that generates the distortion. This is also the case if the GreenMachine is used in British mode. This layout has several benefits. First, tone shaping is easy and quick. Equalizing the signal after distortion gives quick and reproducible results, and is easily understood by everyone. Want more bass? Turn the bass control up. Scoop the mids, add treble, it's all straightforward, and you can't do much wrong, really.

Pre-gain Tone Stack – the US mode

If the tone stack is located before the distortion, things do look different. First, tone controls before distortion are not so much an equalizer but rather control the shape or character of the distortion. That's something you can't do immediately with a guitar amp that has post-distortion EQ only. So, pre-distortion tone controls offer more flexibility, right? But that comes with a price. It's more difficult to set up pre-distortion tone controls. For example, if you have a high-gain tone and want to add bass, turning the bass knob up is not going to make things better. You're adding bass before the distortion stages, the bass gets distorted, and the whole tone becomes flabby, and unfocused in the bass range. So, for high gain sounds in the US mode of GreenMachine, it's usually a good idea to set the Bass control low. If you look at the factory presets “Nu Chugga Chugga TT” or “Heavy And Tight TT”, you'll see the bass at pretty low values. Yet still, these patches don't sound very weak in the overall bass response – because we still have the post-gain 5-band graphic EQ available to add as much clean bass - that's not going to be flabby because it doesn't get distorted – as we like.For clean sounds in the US mode though a healthy helping of the bass control is going to make things warm and rich sounding – take a look at the “Clean Sparkle TT” preset for example.The Mid controls in US preamp mode also act differently than in British mode. You can't massively scoop the mids out of your tone for that Death Metal type of sound with them. Rather, they influence the character of the distortion too – injecting warmth with the Middle control, or bite with the Presence control. Middle and Presence have an adjustable frequency response – take a look at the GreenMachine's back panel and experiment with their frequency settings.The Treble control is very important too. With it, the attack of the guitar distortion can be shaped. A higher treble setting will lead to a more pronounced pick attack, whereas a lower setting can yield a more “fluty” tone. Also, the treble control works a little bit like a gain control, since higher treble settings make the tone sound more distorted. For high gain tones, it is a good starting point to have the Treble Shift switch engaged – since this shifts the treble control's frequency to a lower range, it will result in a fatter, punchier sound.

Post-gain EQ in US mode – the 5-band EQ

If you're using the GreenMachine in US mode, this is a very important control, since it allows you to further shape the sound of the distortion after you determined its character with the pre-gain tone stack. Using this EQ is pretty straightforward, but nonetheless we'll say a few words here. The freqencies of the bands are taken from classic guitar amplifiers, and are proven to work. Here's a list of suggestions about what they sound like:

80 Hz – this is bass. Fundamental. Turn up if you want low-end rumble. Be careful though that your guitar tone doesn't clash with the bass in the mix.

240 Hz – could also be dubbed as a “warmth” control. One should be careful with this though, boosting too much can lead to mud.

750 Hz – the important frequency for guitar mid response. Very powerful – drag this fader down to have the Metal Mid Scoop tone at your disposal.

2.2 kHz – upper mids. Can affect how “present” your guitar tone sits in the mix

6.0 kHz – treble bite. Brings in the aggression if you want.

For „instant metal gratification“, try the old-and-trusted V-shape – pull up the 80 Hz and 6 kHz faders, leave the 240 and 2.2 kHz faders pretty much alone, and drag down the 750 Hz. Instant arena rock! (a little 80s in sound though.... :-).

Also, the width control (the little knob with the two bell curves) can be used for subtly changing the EQ's sound – turned to the right, the faders will work with a more narrow frequency range and sound more „surgical“. Try it with an EQ setting you just made up...The range selection switch also allows to tailor the EQ. If you want to do only small adjustments, choose 12 dB, since with the 24 dB settings it could be a little fiddly to adjust the faders „just right“. On the other hand, the higher range settings allow for much more drastic equalizing, if that is what you need.

Speaker simulation

Often neglected, this is really one of the most important things about guitar direct recording. In the studio, engineers can spend a lot of time with different microphones, different cabinets, different mic positions and so on. There should be no reason in an amp modelling device to offer only a fixed selection cabinet „models“ with no further parameters for the user to control.Guitar speakers are not full range hi-fi speakers. They all have a high frequency roll-off. We're very used to that, in fact, if you play a distorting guitar amplifier through a full range speaker (Don't try this with your stereo speakers at home!), the sound will be unpleasant, too sharp, too trebly, sounding a little like „insect buzz“. So the high frequency roll off is very important. That's why we made it user-controllable in GreenMachine. If you think that a patch is sounding too dull or too sharp, try to adjust the LP control first. You'll see that it is very powerful in shaping the overall sound of the plugin.

4. MIDI Control of the GreenMachine Below you find a table of those parameters of the GreenMachine that can be controlled with MIDI Continuous Controllers (MIDI CC). If you use the GreenMachine in a VST host, it will add an entry to the list of available MIDI outputs. If you now create a MIDI track and send this to the GreenMachine, you can enter various CC numbers and values to control the plugin, or alternatively you can connect a MIDI remote controller device and control the plugin via hardware knobs and faders.

As you can see from the table, the plugin's standby switch is controlled by the hold pedal. If you now take into account the possibility to control the plugin's output with the ADSR envelope as described in section 2, you can set up a nice patch to do the typical „violin swells“ by foot – if you have a sustain pedal connected to a synth or keyboard, which in turn is connected to your PC.

GreenMachine Amp II midi controller listPlug-In control Midi controller# Comment

Input:

Standby 69 (Hold Pedal)

Gain 20

Limit 21

Preamp model 84

Drive:

Tube 1 On/Off 102

Tube 1 x2 103

Tube 1 Drive 22

Tube 1 Volume 23

Tube 2 On/Off 104

Tube 2 Drive 24

Tube 2 Volume 25

Master:

Amp model 85

Master 26

Gate 27

Output 7 (Volume)

EQ:

Bass 52

Middle 53

Presence 54

Treble 55

Bright 106

Shift 107

Graphic EQ:

On/Off 108

80 Hz 56

240 Hz 57

750 Hz 58

2.2 kHz 59

6 kHz 60

LP 84,85

Pos 86,87

Type 88

Cabinet 89

Wah wah:

On/Off 111

Inv. 112

Wah 11 (Expression)

FX:

All On/Off 113

Del On/Off 114

Cho On/Off 115

Rev On/Off 116

Delay Mix 94

Chorus Rate 92 (Trem. Level)

Chorus Mix 93

Reverb Mix 91

Rotary:

On/Off 110

Depth 92

Speed 90

Mix 1 (Modulation)