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Read or download the pdf for free.SERVICE NOTES First Edition. Issued by RJA. Printed in Japan AFAO (DP) 1. Jun. 1996. Sampling Frequency.: 44.1 kHz. Nominal Input Level..: -20dBm. Input Impedance 1M 0. Nominal output Level —20dBm. Output Impedance. 1k Q. Recommended Load Impedance. 10k0 or greater. Dynamic Range.: Direct 102dB (lHF-A, Typ. at 100Hz). Effect 95dB (lHF-A, Typ. Options.: AC Adaptor: PSA-100, PSA-120, PSA-ZSO, PSA-240. The Bass Mono Synth allows you to transform your bass guitar into one of eleven different synthesizers, from vintage synth emulations, to thick stacked voices, to deep pulsing sounds for an array of sonic landscapes and textures. The Bass Mono Synth was designed to work on your bass guitar without any modifications or special pickups. Plug in your bass and immediately join the synth race. Using the wrong adapter or a plug with the wrong polarity may damage your Bass Mono Synth and void the warranty. GETTING STARTED Connect the supplied power adapter to the 9V power jack. Plug your instrument into the INPUT jack. Connect your amp or other effects pedals to the SYNTH OUTPUT jack. Set the DRY knob to minimum (fully counterclockwise) and set the other top row knobs to 12 o’clock. Select a TYPE and step on the BYPASS footswitch to turn on the LED. Play your bass and adjust controls to your liking. ONE NOTE AT A TIME The Bass Mono Synth is a multi-oscillator monophonic instrument. It synthesizes one note at a time per oscillator. The oscillators have been pre-tuned for each synth type—only the synth type SPECTRE allows for user control over an oscillator. Additionally it can handle only one note from your bass at a time. It does not work properly when chords or two note intervals are played. The Bass Mono Synth behaves unpredictably and erratically when it receives more than one note at the INPUT jack. CTRL: this knob adjusts the attack and decay times of the filter envelope.
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As CTRL is turned clockwise both the attack and decay times slow down. EXP: the expression pedal controls the cutoff frequency of the filter and sets the jump-off frequency for the envelope sweep. SENS: sets filter sweep envelope follower depth and synth volume. CTRL: adjusts the decay time of the filter envelope. SENS: higher settings make for wider filter sweeps. CTRL: adjusts both filter resonance and sweep depth of the filter envelope. As CTRL is turned clockwise, both resonance and filter envelope frequency range increase. EXP: the expression pedal controls the filter envelope’s decay time, which is triggered by pick attacks. CTRL: sets the decay time of the filter envelope. CTRL: controls the volume of the sub-octave oscillator. SENS: adjusts filter sweep depth. CTRL: sets the speed of modulation. CTRL: adjusts the attack and decay times of the filter envelope. CTRL: adjusts the filter’s cutoff frequency. EXP: controls the pitch of the added note in half-step increments. CTRL: controls the rate of modulation. EXP: controls the resonance of the filter. SYNTH VOL Knob The SYNTH VOL knob controls the overall volume of the synthesizer sound at the SYNTH OUTPUT jack. SENS Knob The SENS knob (short for sensitivity) adjusts the gain of the input signal before the signal hits the Bass Mono Synth’s (BMS) trigger block. The BMS trigger block generates synth notes that match the pitch of your instrument and also resets all envelope sweeps. It only triggers new notes when the input signal exceeds its threshold. Lower settings of SENS will require louder notes to trigger the synthesizer while higher settings of SENS might trigger new synth notes with every note you play. The LED lights orange when the input signal to the synth engine exceeds -4.6dB. Use the LED as an aid when adjusting the SENS knob. Setting the SENS knob so the LED lights orange on your loudest notes is a good place to start.
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Please note: the LED does not indicate when the input signal has triggered a new note; it lights only to indicate the loudness of SENS. If some of your notes do not trigger the synth, then turn up SENS. If you hear many false triggers or retriggers without playing a new note then turn down SENS. For all BMS synth types, the gain set by SENS also changes the synth volume over a small range. For some synth types, SENS also adjusts the sweep range of the filter’s envelope. Higher settings of SENS yield wider filter sweeps and typically more volume. Check the SYNTH TYPE DESCRIPTIONS on the previous pages to see which synth type filters are directly affected by the SENS knob. CTRL Knob This knob can be used to control a specific parameter for each synth type. See the SYNTH TYPE DESCRIPTIONS on pages 1 and 2 to learn more. DRY OUTPUT Jack The DRY OUTPUT jack is hardwired to produce a buffered version of the signal present at the INPUT jack. In either EFFECT or BYPASS mode, the dry signal is always present at the DRY OUTPUT jack. The DRY knob does not change the volume of the signal at the DRY output jack. SYNTH OUTPUT Jack The SYNTH OUTPUT jack produces the mix set by the DRY and SYNTH volume controls. In BYPASS mode, SYNTH OUTPUT outputs the buffered bypass signal. EXP Jack The EXP jack accepts a TRS cable from a standard passive expression pedal. Each synth type has a specific parameter controlled by the expression pedal, as explained in the SYNTH TYPE DESCRIPTIONS section. When saving a preset, the expression pedal position is saved along with the knobs. If the expression pedal is not present or has not been moved since recalling the preset, the Bass Mono Synth loads the saved expression pedal setting. This allows you to tweak the parameter(s) controlled by the expression pedal to later recall with your presets.
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The expression pedal’s plug must be wired with the Sleeve connected to the heel position (usually GND), Ring connected to the toe position and the Tip connected to the wiper. The nominal expression pedal impedance is 10k.Please do not go below 6k.Additionally, the EXP IN jack can be connected to a CV source using a TS plug; the acceptable control voltage range is 0V to 5V. BYPASS Footswitch Press the BYPASS footswitch to toggle the SYNTH OUTPUT jack between buffered bypass and effect modes. The status LED lights when you are in effect mode. PRESET Footswitch Use this footswitch to toggle between Preset and live What You See Is What You Get (WYSIWYG) modes. The PRESET footswitch is also used to save a preset to the current synth type set by the TYPE knob. See the PRESETS section for more information on saving and recalling presets. Status LED The Status LED lights while the Bass Mono Synth effect is engaged. The Status LED is off when the unit is in buffered bypass. The LED lights green for WYSIWYG mode and lights red when preset mode is selected. The LED lights orange, in either mode, when loud notes are output from the SEND block into the synth trigger block. PRESETS When the LED on the Bass Mono Synth (BMS) is green, you are in live WYSIWYG mode, meaning that the current knob and expression pedal settings represent the sound that is produced. You can also save and recall one preset for each of the eleven synth types. All four knobs in the top row are saved along with the setting of the expression pedal—when an expression pedal is attached at the time of saving the preset. The LED lights red when Preset mode is active. RECALLING A PRESET 1. Assuming the Status LED is green at the moment, turn the TYPE knob to the synth type that you want to recall. If the Status LED is currently red skip to step 3. 2. Press and release the PRESET footswitch. The preset for the current synth type will be recalled and the Status LED lights red. 3.
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At this time you may turn the TYPE knob to load the preset for each synth type. 4. Press and release the PRESET footswitch to return to WYSIWYG mode. SAVING A PRESET 1. A preset may be saved while either in WYSIWYG or Preset mode. 2. Press and hold the PRESET footswitch. After holding for about 2 seconds you will see the LED blink red at a fast rate. 3. Once the LED blinks red you may release the PRESET footswitch, the preset is now saved. 4. If an expression pedal is attached we recommend you don’t move it while saving a preset. EDITING A PRESET 1. After recalling a preset, the LED lights solid red. 2. If you move any of the four knobs in the top row of knobs, the LED blinks red to indicate that a preset is loaded but has been changed in some way. 3. The LED does not blink if the expression pedal is moved after loading a preset. 4. If you press and release the PRESET footswitch, while the LED is blinking red, it will reload the preset from memory. After reloading, the LED lights solid red again. 5. If you press and hold the PRESET footswitch while the LED is blinking red, your newly edit preset will be saved to memory. Press and hold the PRESET footswitch until you see the LED blink at a fast pace. EXITING PRESET MODE To exit Preset mode and return to WYSIWYG mode, simply press and release the PRESET footswitch. The LED will turn green. If the preset had been edited and you see the LED blinking red, press and release the PRESET footswitch twice to return to WYSIWG mode. EXPRESSION PEDAL PARAMETERS AND PRESETS If an expression pedal is connected to the BMS at the time you save a preset, the current state of the parameter(s) controlled by the expression pedal will be saved within the preset. Moving the expression pedal while in a preset does not result in the LED blinking (indicating an edited preset).
If you later recall a preset without an expression pedal attached, the parameter(s) controlled by the expression pedal will be recalled with their values at the time of saving. Upon moving back to WYSIWYG mode, that parameter will go back its default setting. FACTORY RESET To perform a factory reset and restore all default presets do the following: 1. Unplug the power cable from the BMS. 2. Press and hold the BYPASS footswitch as you apply power. 3. Continue to hold down the BYPASS footswitch until you see the LED toggle between red and green. Normally it will take four seconds for the LED to begin toggling. 4. Once the LED starts toggling between red and green, you can release the BYPASS footswitch. DO NOT REMOVE POWER AT THIS POINT! 5. About four to five seconds later the LED will light green and then shut off. The factory reset is complete and your BMS is ready for use. Place modulation, delay, and reverb effects after the Bass Mono Synth. The unit will not perform well if placed in the effects loop of a guitar amp. 2. Avoid placing a distortion or overdrive in front of the Bass Mono Synth, which could muddy up the input signal and cause the tracking to be unstable. If you want to add overdrive or distortion, place it after the Bass Mono Synth. 3. Make sure to play only one note at a time. The Bass Mono Synth acts unpredictably and erratically when it receives two or more notes at once. 4. You might find the SENS knob needs to be adjusted for each synth type. This is normal, each synth type reacts differently to the gain provided by SENS. - COMPLIANCE - note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation.
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This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. Modifications not expressly approved by the manufacturer could void the user's authority to operate the equipment under FCC rules. The CE logo indicates that this product has been tested and shown to conform with all applicable European Conformity directives. - WARRANTY INFORMATION - Please register online at or complete and return the enclosed warranty card within 10 days of purchase. Electro-Harmonix will repair or replace, at its discretion, a product that fails to operate due to defects in materials or workmanship for a period of one year from date of purchase. This applies only to original purchasers who have bought their product from an authorized Electro-Harmonix retailer. Repaired or replaced units will then be warranted for the unexpired portion of the original warranty term. If you should need to return your unit for service within the warranty period, please contact the appropriate office listed below. Include ? with your returned unit.Come join the EHX Forums. You'll meet EHX staff and knowledgeable users from around the world. The next time you need to re-tube your guitar, bass, or hi-fi amp, be sure to insist on getting authentic Electro-Harmonix tubes. Each wound string is precision wrapped with round nickel-plated steel onto a high carbon, hexagon-shaped steel core. The plain strings are made from the same high carbon steel as the hex cores. The high quality steel and computer controlled winding process results in strings that intonate accurately, are better at staying in tune and vibrate evenly for maximum sustain.It’s emblazoned with the iconic Electro-Harmonix Flashback logo in white on the left chest and back.
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KATANA-100 Live Sets KATANA-100 Product Details KATANA-50 With 50 watts of power and a custom 12-inch speaker, the KATANA-50 delivers a commanding range of gig-worthy tones that gracefully slice through any band scenario. KATANA-50 Live Sets KATANA-50 Product Details KATANA-HEAD Compact and powerful, the 100-watt KATANA-HEAD delivers sharply defined rock tones with rich, commanding presence. KATANA-HEAD Live Sets KATANA-HEAD Product Details Terms of Use. This latest Boss offering is one of the smallest; it manages to cram 121 synth presets into a standard Boss compact pedal format. To avoid frightening guitar players with too much synth jargon, the sounds are simply selected using the permutations offered by two rotary switches, and then modified using just a couple of controls. A small slide switch allows it to be used with either guitar or bass, and its DSP processor offers near-zero latency, so you shouldn't experience any of the off-putting delays that got the early MIDI guitar synths such a bad reputation. Battery operation is supported but, as with any DSP pedal, an external PSU would prove much more cost-effective. Using just four knobs, the left pair being dual-concentric types and the two on the right being rotary switches, operating the pedal offers near instant gratification. The sounds are arranged as 11 variations of 11 types and cover lead sounds, pads, strings, organs, bell, basses, SFX and some rhythmic, arpeggiated patterns, with some sound types covering two banks.Pressing and holding the pedal switch sustains the last played synth sound indefinitely, and there's also a TRS control jack input that can host an external single or dual footswitch — either can operate the Hold feature, while a dual unit's second switch can control the tap rate or octave-shift, depending on which preset is selected.
In terms of the sounds available, Boss have played things fairly safe and I think that's deliberate; they've tried to come up with a range of sounds that guitarists will find comfortable, rather than giving them too much by way of slow attacks or odd textural burblings. That's no bad thing in my book, given the intended audience, because if this one fails to satisfy your inner tweaker, Boss do also offer more fully featured guitar synths. On some patches that include octaves, playing chords reveals an underlying 'grumble', but when layered with guitar that's not usually noticeable. I also found that on some patches the output level dropped a little once you got onto the top two strings of the guitar. The claim of no noticeable latency is also upheld, with everything feeling instant. Those patches with resonant filters are also nicely velocity sensitive and respond very well to picking intensity. It's fine after a buffer too, but if you put it after delay, reverb, modulation or distortion it just isn't going to work properly — it needs a clean signal to allow it to do its thing. Of course, the result isn't a typical guitar sound, and to my ears it tends to sound better played through a full-range speaker than through a typical guitar amp.The rhythmic banks are filled with arpeggiated and rhythmic sequences — rather reminiscent of the Stranger Things theme music, or some of the early Who material (eg. 'Won't Get Fooled Again' and 'Baba O'Reilly'). They can be varied in speed from quite leisurely to impossibly manic. If you have a use for them, you'll find that they sound most impressive. There are several special effects in the next section that sound somewhat like the rumbles from an eight-bit video game or space lasers, but after that we move onto more musical fare.
The bell sounds don't have quite the detailed nuance of a dedicated FM synth but they do lean slightly in that direction, producing analogue interpretations of electric pianos and similar 'tinkly at the front' sounds. You won't fool anyone that you're playing a Fender Rhodes but, importantly, the sounds are musically valid. When layered behind a guitar, though, you'll still have the audience believing you have a keyboard player hidden behind the curtain. Some have a built-in vibrato that I'd have preferred to be able to switch off — that way I could have used my own rotary speaker pedal to create a more realistic effect. There is one excellent patch which gets close to a Vox Continental sound with the vibrato switched on, which will be handy for all those times you get bullied into playing 'House Of The Rising Sun'! I found that adding your own modulation or shimmer reverb to these in the studio improves them significantly for recording purposes, but for live they'll get the job done in a pleasingly retro way. The bass section is unashamedly analogue: fat, deep and often squelchy, and perfect for monophonic lines, but you can still play chords using these sounds if you like.Like the Seq section, the lead section occupies two banks, and it covers all the analogue favourites that hark back to the days when Prog ruled the Earth. Here you can serve up a searing Jan Hammer-style lead, analogue brass, or perhaps a bit of ELP, especially if you pick a patch with added fifths for that 'Fanfare' sound. Again, the limited-but-useful controls can be used to make the sounds more polite or more aggressive. Some sounds lose a little by way of level as you move up towards the higher notes. And it's a bit fiddly having to bend down to change patches. But again, you can't have everything from such a compact pedal, and Boss offer more full-featured devices if that's what you want.
And although there are very few controls, they are quite wide-ranging and allow you to modify them to a useful extent. The Seq section in particular is great fun, and this could easily provide the inspiration for a new composition or two. And if you use the Hold feature while playing, the arpeggio continues to cycle while you play guitar over the top of it, which expands the possibilities still further. That Hold feature is also great for holding pad sounds while you play over them — it's the sort of thing that would be perfect for Floyd covers if your line-up lacked keyboards. Also check out Boss's slightly larger pedal, the SY?300. Everything You Wanted To Know About Studio Headphones. 1 month 3 weeks ago. Top 10 Boring Things That Are Really Important In The Studio 2 months 3 weeks ago. How do we create a healthier music ecosystem that empow. VSTBuzz: 82 off “Master Solo Woodwinds Bundle” by Audd. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Trademarks and Copyrights are property of their respective owners. Login Registration is disabled. We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it. Ok. John's Nova Scotia Bedford Dartmouth Halifax New Minas Sydney Ontario Belleville Brampton Brantford Burlington Cambridge Cobourg Guelph Hamilton Kanata Kingston London North London South Markham Mississauga North Bay North York Orleans Oshawa Ottawa Owen Sound Peterborough Pickering Sault Ste. Marie Scarborough St.
This amazingly expressive tool is filled with 121 ultra-responsive sounds, all distilled down into a BOSS compact pedal that slides easily into any setup. Best of all, it's as simple to use as a standard stompbox, so you don't need any background in synth programming to bring a new world of sonic textures to your music. Expressive Synth Sounds, No Programming Needed The SY-1 transforms any guitar or bass into a versatile synthesizer that's fun, inspiring, and ready to play. Backed by advanced tech first developed for the SY-300, this super-cool pedal delivers a huge selection of analog-style synth sounds while occupying minimal space on your board. What's more, all the sounds are polyphonic, allowing you to play both single notes and chords. Thanks to custom DSP and the latest BOSS innovations, the SY-1 offers latency-free performance that's a natural extension of your instrument, letting you to play freely and organically without altering your normal technique in any way. Enhance Performances with Real-Time Control The SY-1 offers a numbers of ways to make your synth performances even more dynamic and expressive. Pressing and holding the pedal switch sustains the last-played synth sound, allowing you to jam with regular guitar over the top.Before you go 'live' pre-plan the 'patches', for each song on your 'song list'.This is nice and versatile pedal in the right hands.Cheers. Posted by Simon K on Mar 30, 2020 Was this review helpful.The sustain is lacking. Posted by anonymous on Dec 28, 2019 Was this review helpful.The sustain is lacking. Posted by anonymous on Dec 28, 2019 Was this review helpful.Definitely warming up to it. Inspiring for new original song ideas. Some great sounds to be had in the studio and probably on stage, if you can find them in 15 seconds between songs, in the dark or with glaring stage lights.
With so many positions on the two control knobs that control effect type (13) and variation (11), you would really have to know your stuff from just knob positions, the old clock position thing. You may even need a small flashlight, reading glasses, then when you finally stand up, a couple of strums on your guitar to make sure you have the right sound. By this time I’m thinking you’re 30 seconds or more in and your drummer has stick counted the next song in 4 times already, and the rest of your bandmates are ready to throw you off the stage! This is where Boss has dropped the ball on this pedal. LED displays as simple as, O-9 ( Organ variation 9) SQ-7 ( Sequencer variation 7) P-5 ( Pad- Variations 5) etc. Just a simple abbreviated display so you know where you are on stage, and for quick on the fly adjustments. One just has to look at a Boss TU-3 tuner to see that a great LED digital display is possible on a Boss compact pedal, and one that large would not even be close to required on the SY-1. Too bad really. I really like a lot of the sounds this pedal offers. Final verdict on the Boss SY-1 coming soon. Posted by Mark on Dec 27, 2019 Was this review helpful.Tracking is very good. A compressor before the pedal helps keep the sounds steady and sustaining. There are so many variations, but not all are useful. The organ patches don't hold a candle to the EHX B9 and C9 organ pedals. And, unfortunately, no portamento effect on the SY-1 pedal. That is one thing the EHX Synth 9 pedal DOES have; the mini-moog portamento emulation on the Synth 9 is fantastic. There are some great sequences in the SY-1 that are fun and useful. Overall a great synth pedal, especially for the price. Posted by Dario on Dec 19, 2019 Was this review helpful.The synth sounds are mostly in the gritty saw tooth and square wave, late 70s early 80s. Think Stranger Things, Kraftwerk, Some Gary Numan.You can pull off some Muse type gritty synth sounds as well.