ToneLab SE Owner's manual - Vox

Owner's Manual 

E 1

Precautions 

Location 

Using the unit in the following locations can result in a malfunction. 

• In direct sunlight 

• Locations of extreme temperature or humidity 

• Excessively dusty or dirty locations 

• Locations of excessive vibration 

• Close to magnetic fields 

Power supply 

Please connect the designated AC/AC power supply to an AC outlet of the correct voltage. 

Do not connect it to an AC outlet of voltage other than that for which your unit is intended. 

Interference with other electrical devices 

Radios and televisions nearby may experience reception interference. Operate this unit at a 

suitable distance from radios and televisions. 

Handling 

To avoid breakage, do not apply excessive force to the switches or controls. 

Care 

If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such 

as benzene or thinner, cleaning compounds or flammable polishes. 

Keep this manual 

After reading this manual, please keep it for later reference. 

Keeping foreign matter out of your equipment 

Never set any container with liquid on this equipment. If liquid gets into the equipment, it 

could cause a breakdown, fire, or electrical shock. 

Be careful not to let metal objects get into the equipment. If something does slip into the 

equipment, unplug the AC/AC power supply from the wall outlet. Then contact your nearest 

Korg dealer or the store where the equipment was purchased. 

THE FCC REGULATION WARNING (for U.S.A.) 

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant 

to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection 

against harmful interference in a residential installation. This equipment generates, uses, and can 

radiate radio frequency energy and, if not installed and used in accordance with the instructions, may 

cause harmful interference to radio communications. However, there is no guarantee that interference 

will not occur in a particular installation. If this equipment does cause harmful interference to 

radio or television reception, which can be determined by turning the equipment off and on, the user 

is encouraged to try to correct the interference by one or more of the following measures: 

• Reorient or relocate the receiving antenna. 

• Increase the separation between the equipment and receiver. 

• Connect the equipment into an outlet on a circuit different from that to which the receiver is 

connected. 

• Consult the dealer or an experienced radio/TV technician for help. 

Unauthorized changes or modification to this system can void the user’s authority to operate this 

equipment. 

ii

CE mark for European Harmonized Standards 

CE mark which is attached to our company’s products of AC mains operated apparatus until December 

31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). 

And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/ 

EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC). 

Also, CE mark which is attached to our company’s products of Battery operated apparatus means it 

conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). 

IMPORTANT NOTICE TO CONSUMERS 

This product has been manufactured according to strict specifications and voltage requirements that 

are applicable in the country in which it is intended that this product should be used. If you have purchased 

this product via the internet, through mail order, and/or via a telephone sale, you must verify 

that this product is intended to be used in the country in which you reside. 

WARNING: Use of this product in any country other than that for which it is intended could be dangerous 

and could invalidate the manufacturer's or distributor's warranty. 

Please also retain your receipt as proof of purchase otherwise your product may be disqualified from 

the manufacturer's or distributor's warranty. 

Data Handling 

Incorrect operation or malfunction may cause the contents of memory to be lost, so we recommend 

that you save important data on a floppy disk or other media source. Please be aware that 

Korg will accept no responsibility for any damages which may result from loss of data. 

* A United States patent has been obtained for Valve Reactor technology. Patents are pending 

in other countries. (As of March 2003) 

* Company names, product names, and names of formats etc. are the trademarks or registered 

trademarks of their respective owners. 

iii

Quick Start 

A GUIDE FOR THOSE WHO WANT TO PLAY GUITAR FIRST, 

AND READ THE MANUAL LATER! 

Yep, we know. You’d rather be playing guitar than reading this manual. Who 

wouldn’t? I know I would so here’s a “Quick Start” to get you up and running 

without delay (pun intended) 

First we’ll get started by trying out ToneLabSEs programs and then we’ll 

explain how to use the various controls and knobs to create your own sounds. 

Right. Once you’ve gotten the urge to play out of your system, you should 

really give this manual a chance - it’s been written by a fellow guitar fanatic and is 

full of useful tips and info that’ll give you much more detail about ToneLabSE than 

what’s in the “Quick Start.” 

Ok, ok we’re almost done here. I just want to recommend to you that you 

fold out the inside back cover of this manual. Go ahead, I’ll wait. 

Good. The reason you should do this is so you can see the pictures of the 

Top and Rear panels whilst we talk. There, now plug in and play!!!! 

SETUP 

1. If you’re connecting ToneLabSE to a mixer or recorder, connect OUTPUT jacks 

L/MONO and R (11.4) to the input jacks of your mixer or recorder. If you’re listening 

through headphones, connect your headphones to the PHONES jack 

(11.5). 

If you’re connecting ToneLabSE to a guitar amp(s) connect OUTPUT jacks L/ 

MONO and R to the input jacks of your guitar amp(s). 

NOTE: If you’re connecting ToneLabSE to something that only has a mono input, 

just use the L/MONO jack. 

HINT: Rear panel area 9 (at the end of this manual) shows an illustration of this. 

2. Turn the LEVEL knob (11.3) on the rear panel of ToneLabSE all the way to the 

left (as viewed from the rear), setting the volume to 0. 

3. Plug the supplied AC/AC power supply into ToneLabSE’s rear panel AC9V 

power inlet (10.2), and plug the power supply into an AC wall socket. 

4. Plug your guitar into the rear panel INPUT jack (11.1). 

5. Before you turn ToneLabSE on, lower the volume of your amp or mixer so you 

don’t hear any potentially speaker-damaging pops or buzzes. Then turn on the 

STANDBY switch (10.1) to power up ToneLabSE. 

6. If you’ve connected ToneLabSE to a mixer or recorder, press the GLOBAL 

switch (3.4) to select the OUT SEL menu, and use the value knob [6] or the ▲, 

iv

▼ buttons to select “Ln” (LINE). If you’ve connected ToneLabSE to your guitar 

amp, set this to “AP” (AMP). 

7. Turn up the volume controls of your amp or mixer, and ToneLabSE’s rear panel 

LEVEL knob (11.3) to adjust the volume. 

NOTE: You won’t hear sound for several seconds while the valve (a.k.a. “vacuum 

tube” if you live on the west side of the Atlantic) warms up. This isn’t a malfunction 

– it’s a real analogue valve! 

LISTEN TO THE PROGRAMS 

8. Use the BANK UP, DOWN buttons (6.1) to select a bank 1–24. 

Notice that the number in the bank display (5.1) blinks and changes. 

HINT: ToneLabSE has 96 programs, organized into 24 banks with four programs in 

each bank (24 x 4 = 96). When shipped from the factory, banks 1–8 contain 32 programs. 

(The programs in banks 1-8, 9-16 and 17-24 are identical to each other) 

Program Select mode lets you select these programs. There’s also an effect ON/ 

OFF mode that lets you turn individual effects on/off. 

HINT: For an illustration, look at 3 “Bank/Program/Channel/Select/Display Section” 

in the diagram at the end of this manual. 

9. Use the program select 1–4 pedals (6.2) to select a program. 

The program LED you selected will light, and the number in the bank display 

will also change and stay lit. Go ahead and play your guitar. 

For example if you want to select program 3-1 (bank 3, program 1), press the 

BANK UP or DOWN pedal to make the bank display read “3,” and then press 

the program select 1 pedal to make the LED light. 

If you’re selecting a program in the same bank, simply press a program select 

1–4 pedal. If you want to select a program from a different bank, you’ll need to 

perform steps 8 and 9 in that order. 

NOTE: If you can’t select a program, you’re probably not in Program Select mode. 

Get back into Program Select mode as described in “Program Select mode” (p.16). 

HINT: The preset programs cover an amazing range of sounds; fat hi-gain lead 

sounds, nostalgic clean sounds that work best with your rhythm (neck) pickup, 

aggressive modern crunch sounds for heavy riffing with your lead (bridge) pickup, 

and much more. P.68 has a list of the preset programs. 

10. The two expression pedals are assigned to control the most appropriate 

parameters for each program, such as wah, volume, delay, reverb input level, 

or other effect parameter. The CONTROL switch is assigned functions such as 

TAP tempo input of the delay time. 

11. By pressing the A/B Ch switch you can instantly switch between 2 sets of amp 

and cabinet models within each program. 

12. By pressing the FX ON/OFF (TUNER) switch you can switch to Effect On/Off 

mode. Effect On/Off mode lets you switch each effect on/off just like you were 

using a set of stomp boxes. Program select 1–4 will switch pedal, modulation, 

delay, and reverb on/off respectively, and the BANK DOWN pedal will bypass 

the insert effect. 

v

SWITCHING EFFECTS ON/OFF 

13. The model select buttons will be lit (ON) or dark (OFF) to indicate the on/off 

state of each effect. If you press a button that is dark or turn the model selector, 

the effect will turn on and the model select button will blink. If you press a 

button that is blinking, the effect will turn off and the button will go dark. 

CREATE YOUR OWN SOUNDS 

14. To adjust the sound of the AMP model, use the AMP selector to select one of 

the sixteen amp models. Then you can simply adjust the sound pretty much in 

the same way as if you were really using the actual model of guitar amp you 

selected. 

Adjust the GAIN value knob 1, TREBLE value knob 3, MIDDLE value knob 4, 

BASS value knob 5, and the VR GAIN value knob 2 (which corresponds to the 

MASTER) as you like. To get the most accurate vintage tube amp distortion, 

raise the VR GAIN as high as possible. The CH VOLUME value knob 6 lets you 

adjust the volume while retaining the overall sound including the distortion produced 

by the Valve Reactor. 

If you press the PRES-NR button, you can then use value knob 3 to adjust 

PRESENCE and value knob 4 to adjust the NR (Noise Reduction) effect. 

When you use the AMP MODEL and CABINET MODEL selectors, a different 

type of guitar amp will appear before your very eyes – or, should we say, ears! 

ToneLabSE holds in its memory two combinations of amp and cabinet models 

for each program, and you can use the A/B ch pedal to switch instantly 

between these. 

HINT: P.34 lists recommended combinations of amp and cabinet models but others 

are fine too. 

HINT: If you want to replicate the sound of the original amp, set [VR GAIN] to the 

maximum setting on vintage-type models that do not have a master volume control 

(i.e., AC15, AC15TB, AC30, AC30TB, UK BLUES, UK 68P, BLACK 2x12, TWEED 

1x12, and TWEED 4x10). For modern-type amps that have a master volume control, 

adjust [VR GAIN] in the same way that you would on the original amp. When 

the [VR GAIN] setting is low, preamp-type distortion will occur. As you raise the [VR 

GAIN] setting, the pre-amp will begin loading the Valve Reactor to cause clipping, 

and the warmth and distortion of the Valve Reactor will be added. 

HINT: For an illustration, look at area 1 in the top panel diagram at the end of this 

manual. 

vi

15. ToneLabSE provides a PEDAL effect that is placed before the amp, and MOD- 

ULATION, DELAY, and REVERB effects that are placed after the cabinet. 

For example if you want use the PEDAL effect TREBLE BOOST, turn the 

PEDAL selector to select TREBLE BOOST. The PEDAL parameter LED of the 

edit section will blink, indicating the parameter line (the region listing the 

parameter names). Also, the LEDs below the value knobs will light, indicating 

the location of the knobs that you can use to control TREBLE BOOST. Now 

turn value knobs 1, 2, and 3 to adjust DRIVE, LEVEL, and TONE respectively. 

You can edit other effects using the same procedure. 

HINT: Some effect settings may cause unwanted distortion (if there is such a 

thing!!). If this happens, lower the CH VOLUME. 

HINT: For an illustration, look at area 2 in the top panel diagram at the end of this 

manual. 

vii

Table of Contents 

Quick Start................................................................................................... iv 

Setup....................................................................................................................... iv 

Listen to the Programs.............................................................................................v 

Switching effects on/off........................................................................................... vi 

Create your own Sounds ........................................................................................ vi 

Introduction ................................................................................................. 1 

Main Features..........................................................................................................1 

Valve Reactor Technology.......................................................................................2 

An overview of ToneLabSE .....................................................................................4 

Signal Route .....................................................................................................4 

Modes ...............................................................................................................4 

Amp and effect settings (Edit)...........................................................................4 

Realtime expression and control pedals..........................................................4 

Saving a program .............................................................................................4 

MIDI and output destination settings ................................................................4 

A Guitarist’s Guided Panel Tour ................................................................. 5 

The Top Panel .........................................................................................................5 

Model select section ........................................................................................5 

Edit section ......................................................................................................7 

Chain/Global/Rename/Write/Exit/Display section............................................8 

Control Setup section ......................................................................................9 

Bank display/Tuner display..............................................................................9 

Bank/Program/Channel/Select section ............................................................9 

FX ON/OFF Switch ........................................................................................10 

Effect control section .....................................................................................10 

Valve..............................................................................................................10 

Rear panel .............................................................................................................11 

Power supply .................................................................................................11 

Inputs and Outputs ........................................................................................11 

MIDI ...............................................................................................................11 

Setup........................................................................................................... 13 

Output settings.......................................................................................................13 

Basic connections..................................................................................................13 

Using ToneLabSE with a mixer or recorder...........................................................14 

Example of connections to a mixer or recorder ..............................................14 

Using ToneLabSE with a guitar amp(s) .................................................................15 

Example of connection to a guitar amp (or amps) ..........................................15 

Using ToneLabSE with a MIDI device or computer ...............................................15 

Playing ToneLabSE .................................................................................... 16 

viii

Program Select mode ............................................................................................16 

Selecting a program........................................................................................16 

Effect On/Off mode ................................................................................................16 

Switching effects on/off...................................................................................17 

A/B Channel Hold ...........................................................................................17 

Activating or deactivating the Key Lock function....................................................18 

Activating the Key Lock function.....................................................................18 

Deactivating the Key Lock function.................................................................18 

Creating and Storing your own Programs............................................... 19 

Creating your own Program...................................................................................19 

Changing the connection order of the effects (CHAIN)..........................................21 

Naming a program .................................................................................................21 

Storing a program ..................................................................................................22 

Restoring a setting to its original value (Original Value) ........................................22 

Explanations of the Amp, Cabinet and Effect Types............................... 23 

A. AMP Models ......................................................................................................23 

B. CABINET Models ..............................................................................................32 

WHAT GOES WITH WHAT? ..........................................................................34 

C. PEDAL Effects...................................................................................................35 

D. MOD (Modulation) effects .................................................................................39 

E. DELAY effects ...................................................................................................45 

F. REVERB effects ................................................................................................48 

Tuner (Bypass, Mute)................................................................................. 51 

Tuning procedure...................................................................................................51 

Calibrating the tuner...............................................................................................52 

Using the expression pedals..................................................................... 53 

Expression pedal settings......................................................................................53 

Expression Target Quick Assign.....................................................................53 

Setting the Expression Target ........................................................................54 

Expression pedal control initialization settings ...............................................55 

Control switch settings...........................................................................................56 

Switching each effect on/off............................................................................56 

Using TAP TEMPO to set a parameter...........................................................56 

FACTOR value knob 2 setting ........................................................................56 

Effect control...................................................................................................57 

Adjusting the sensitivity of the pedals....................................................................57 

Expression pedal 1 .........................................................................................57 

Expression pedal 2 .........................................................................................58 

Control via MIDI ......................................................................................... 59 

Connecting a MIDI Device or Computer ................................................................59 

Setting the MIDI Channel (GLOBAL “MIDI CH”)....................................................60 

ix

Program Change (GLOBAL “PCHG OUT”) ...........................................................60 

Control Change (GLOBAL “CCHG I/O”) ................................................................60 

Parameter Change (GLOBAL “SYEX OUT”) .........................................................61 

Backing up and Restoring Program Data (GLOBAL “DUMP CUR,” DUMP ALL”).62 

Backing Up .....................................................................................................62 

Restoring ........................................................................................................63 

Restoring the Factory Preset Programs................................................... 64 

Troubleshooting ........................................................................................ 65 

Specifications............................................................................................. 67 

Program list................................................................................................ 68 

Index ........................................................................................................... 69 

x

Introduction 

WELCOME ABOARD! 

Many thanks for adding the VOX Valvetronix ToneLabSE to your sonic 

arsenal. We’re sure it’ll give you countless hours of great guitar tones that 

will feel as good as they sound! 

To maximize your chances of enjoying a long and happy relationship with 

your ToneLabSE, please read this manual at least once, and (as they say), “use 

the product as directed.” Keep the manual for future reference after you’ve read it; 

you’ll want to re-read it later at some point to pick up cool tips you may have 

missed the first time around. 

MAIN FEATURES 

• ToneLabSE features Valve Reactor technology that switches between Class A 

and Class AB power amp circuits with an actual 12AX7 (ECC 83) miniature triode 

valve (vacuum tube) to create the sound of an actual tube power amp, 

delivering the response and tone of classic amps. 

• ToneLabSE uses sophisticated modeling technology to create classic amp, cabinet, 

and effect sounds. You can choose from sixteen amp types that include 

classic vintage amps and expensive high-end valve amps, and eleven different 

cabinet types. By combining amp types and cabinet types you can create an 

amazing range of sounds, many of which have never been heard before. 

• Since high-quality effects are built in, ToneLabSE is all you need to create a 

completely finished sound. Sixteen types of pedal effects are placed before the 

amp, and after the cabinet are eleven types of modulation, eleven types of 

delay, and eleven types of reverb. You can choose one type for each effect, and 

use these four effects simultaneously plus Noise Reduction. 

• You can store all of your own amp settings and effect model settings as a “program” 

in one of 96 program memories. ToneLabSE comes with 32 preset programs 

for instant gratification. 

• Manual Mode lets you use ToneLabSE just like conventional amps and effects. 

The sound will be exactly as specified by the physical positions of the amp section 

knobs. In other words...what you see is what you get! 

• For convenient tuning, an Auto Chromatic Tuner is built-in. 

• There are two expression pedals that you can use as a wah pedal, volume 

pedal, or to control a variety of effect parameters – a great feature for live performance. 

• There’s a Quick Assign function that makes it easy to assign parameters to the 

expression pedal. 

• ToneLabSE provides control switches that let you do things like set the delay 

time via TAP TEMPO, switch insert effects on/off, or switch the speed of a rotary 

speaker ... again, must-have features for live performance. 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

1

• You can use the effect insert jacks to connect an external effect processor or 

stompbox. 

• With MIDI IN and OUT connectors, ToneLabSE gives you plenty of potential for 

expanding your system. 

• ToneLabSE Sound Editor is an editor/librarian software that lets you visually edit 

ToneLabSE’s numerous parameters, and save and manage programs. 

To obtain the “ToneLabSE Sound Editor,” please contact the VOX distributor in 

your country or download the latest version from: 

“http://www.voxamps.co.uk” or “http://www.valvetronix.com/” 

To find your local Distributor go to: 

“http://www.voxamps.co.uk/dealers/worldwid.htm” 

VALVE REACTOR TECHNOLOGY 

THE POWER (AMP) AND THE GLORY! 

Valve Reactor technology was first used on the critically acclaimed VOX 

AD60/120VT Valvetronix amps. 

The Valve Reactor circuitry in ToneLabSE however has been tuned-up 

especially for live performance. 

Since conventional modeling effects for line recording are not used directly 

with a speaker, they do not include a power amp circuit, output transformer, or 

speaker. In other words, they only have a preamp circuit. 

A real valve amp sound, however, is produced not just by the preamp, but also by 

the tone and distortion of the power amp, and by the constant changes in impedance 

that are created by the power amp driving the speakers. ToneLabSE contains 

an actual low-wattage valve power amp circuit, a virtual output transformer 

(patent applied for) that uses solid-state components to simulate an output transformer, 

and a dummy speaker circuit that simulates the varying impedance of a 

real speaker. This means that although it’s low-power, ToneLabSE has the same 

circuit structure of an actual all-valve amp. 

While much of the tone creation and shaping carried out is done in the digital 

domain, its Valve Reactor power amp is 100% analogue. The resulting journey your 

guitar’s signal takes through the analogue world of the power stage plays a major 

role in providing the all-important feel and tone of the original amps we modelled. 

The Valve Reactor power stage is, to all intents and purposes, a bona fide valve 

(tube) push-pull power amplifier, but in miniature. It utilizes a 12AX7 (ECC83) valve 

(a dual triode device - meaning “two valves in one”) and is equipped with an output 

transformer, like a “real” valve amp. 

The power amp output of ToneLabSE’s Valve Reactor is designed to “read” the constantly 

changing impedance curve of the dummy speaker circuit system and feed this 

information back to the virtual output transformer – just like real valve amplifiers do. 

This information permits the behavior of the valve stage of the amp to vary with the 

speaker load (impedance), which is another important part of “real world” valve tone. 

2

Apart from the vital 

valve tone this ingenious 

power amp design provides, it 

also allows us to replicate various 

“circuit characteristics” 

that are unique to the all-valve 

power stages of the amps 

we’ve modelled. These “characteristics” 

include: Class A or 

Class AB operation, Presence 

and Resonance (low end) 

control circuitry (both found in 

the negative feedback circuit 

that some, but not all, valve 

power amps have). Being able 

PREAMP 

FEEDBACK 

CIRCUIT 

(WITH OR W/O 

PRESENCE & 

RESONANCE) 

MODEL 

DEPENDENT 

VOX VALVE REACTOR 

PHASE 

INVERTER 

BIAS 

BIAS 

12AX7 

(ECC83) 

12AX7 

(ECC83) 

12AX7 (DUAL TRIODE) 

PUSH–PULL OUTPUT 

CLASS A OR AB 

MODEL DEPENDENT 

REACTOR 

AMP 

USING 

CONSTANT 

CURRENT & 

REACTIVE 

FEEDBACK 

to match such vital characteristics helps ensure that each and every one of our 

models is as tonally authentic as possible - as opposed to the usual “close but definitely 

no cigar” norm of digital modeling. And just so you know, this patented in 

USA power amp technology is unique to VOX Valvetronix. 

VIRTUAL OUTPUT 

TRANSFORMER 

DUMMY 

SPEAKER 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

3

AN OVERVIEW OF TONELABSE 

Let’s talk about how ToneLabSE is structured. 

SIGNAL ROUTE 

When you plug into ToneLabSE the signal passes through the following stages. 

You might want to glance at the explanations in “A Guitarist’s Guided Panel 

Tour” (p.5) while you read this section. 

INSERT 

EFFECT 

PEDAL 

EFFECT 

A ch 

B ch 

AMP MODEL 

16 TYPE VALVE REACTOR 

AMP MODEL 

POWER AMP 

16 TYPE VALVE REACTOR 

PRE AMP 

POWER CLASS AAMP 

PRE AMP CLASS A 

CLASS AB CH 

GAIN VR GAIN CLASS AB VOLUME CH 

GAIN VR GAIN 

VOLUME 

CABINET 

MODEL CABINET 

10 MODEL TYPE 

11 TYPE 

A ch 

B ch 

VOLUME 

PEDAL 

EFFECT 

MODULATION 

DELAY 

REVERB 

OUTPUT 

SELECT 

MODES 

ToneLabSE has a Program Select mode (where you can switch programs) and 

an Effect On/Off mode (where you can switch individual effects on/off). To 

switch between these modes, simply press the FX ON/OFF pedal which can 

be done even while you are performing. 

AMP AND EFFECT SETTINGS (EDIT) 

The six model selectors, six value knobs, and various buttons let you edit the 

amp and effect settings directly and intuitively. You can use the CHAIN switch 

to change the order in which the modulation, delay, and reverb effects are connected. 

For the amp and cabinet model, you can make settings for two channels 

(A and B) and switch between them while you perform. 

REALTIME EXPRESSION AND CONTROL PEDALS 

You can use the expression pedal and control pedal to control wah, volume, or 

effect parameters with your feet. Use the EXPRESSION button or the CON- 

TROL button to specify the parameter that will be controlled by the corresponding 

pedal. 

SAVING A PROGRAM 

By using the WRITE button, all settings you make can be saved as a “program.” 

When doing so, you should use the RENAME button to give the program a new 

name. Once you’ve saved a program, you can use the program select pedals to 

recall it instantly (in Program Select mode). 

MIDI AND OUTPUT DESTINATION SETTINGS 

The GLOBAL button lets you make MIDI-related settings and specify the destination 

to which ToneLabSE is connected. The settings you make here are automatically 

saved within ToneLabSE so there’s no need to perform the WRITE 

operation. 

4

A Guitarist’s Guided Panel Tour 

Here we’re going to learn about the buttons and other controls on ToneLabSE’s 

top and rear panel. 

HINT: The inside back cover of this manual folds out to reveal a big picture of 

ToneLabSE’s top panel, rear panel, and display. Leave this folded out as you continue 

reading so you’ll be able to see the panel diagram while you read about each 

section. 

Introduction 

Panel Tour 

Setup 

THE TOP PANEL 

1 MODEL SELECT SECTION 

Here you can select the model of amp, cabinet and effect models. 

1.1 MODEL select buttons 

Use these when selecting the effect category you want to edit with value knobs 

1–6, and when switching effects on/off. If an effect you’re using is ON it will be 

lit (or blinking during editing), and if OFF it will be dark. 

Press a button once and its LED will blink; now you can use value knobs 1–6 to 

edit the parameters of that effect. 

If you want turn off an effect that is currently on, press the model select button 

for the appropriate effect once (it blinks), and then press that model switch button 

once again to turn it off (dark); the name display will indicate [--OFF--]. 

The pedal effect is placed in front of the amp model and the modulation, delay, 

and reverb are placed after the cabinet model. 

NOTE: While the cabinet model select button is blinking, you can use the value 

knobs to adjust the parameters of the amp model. 

NOTE: The amp and cabinet model select buttons will change color depending on 

the channel you select; they will be lit (or blinking) green when channel A is 

selected, and red when channel B is selected. 

NOTE: The reason that modulation, delay, and reverb effects are placed after the 

amp — rather than before it as a “stompbox” would be — is that they sound better 

and more realistic. For example, REVERB emulates the sound created by a room 

or hall. So, logic dictates that if we’re going to add it to our sound, the closer to the 

end of the signal chain we put it, the more “real” and natural it’s going to sound. The 

same is true for DELAY and MODULATION effects — they’re going to sound more 

natural if added near the end of your signal path, not at its beginning. Also, if you’re 

using a crunch or high gain lead sound then it makes much more sense to add 

effects like ROTARY, ROOM (reverb), or DELAY after it’s been distorted, rather 

than before. 

1.2 INSERT button 

Use this to switch the insert effect on/off. This will be lit if the signal input/output 

to the external effect is ON, or dark if it is OFF. The external effect is placed 

before the pedal effect. 

Playing 

Creating 

and Storing 

5

1.3 PRES-NR (Presence/Noise Reduction) button 

Use this to change the presence and noise reduction settings of the amp. 

While this button is blinking, you can use value knob [3] to adjust the presence, 

and value knob [4] to adjust the noise reduction. This will light (blink) green 

when channel A is selected, or red when channel B is selected. 

1.4 PEDAL selector 

This lets you select one of the sixteen pedal effect models ToneLabSE offers. 

When you turn the PEDAL selector, the PEDAL select button will blink, and you 

can use value knobs 1–6 to adjust the pedal effect parameters. (For an explanation 

of each effect, refer to p.35–.) As stated before, pedal effects are connected 

before the amp. 

NOTE: The parameters will be initialized when you switch effect types. 

1.5 AMP MODEL selector 

This lets you select from sixteen types of classic amp models, including the 

legendary VOX AC30TBX. (For details, see p.23.) When you turn the AMP 

MODEL selector, the AMP MODEL select button will blink, and you can use 

value knobs 1–6 to adjust its parameters. 

The operating mode of the preamp and power amp, the response of the tone 

controls, and their placement within the circuit will change depending on the 

type of amp you select here, precisely replicating the exact gain and tonal 

character of the original amp. The all-important power amp stage (class A or 

AB) and negative-feedback circuit (or lack thereof) are also carefully simulated. 

1.6 CABINET MODEL selector 

This selects one of eleven cabinet models that replicate the shape and size of 

the cabinet and the type and number of its speakers. (For details, refer to 

p.32.) When you turn the CABINET MODEL selector, the CABINET MODEL 

select button will blink. 

NOTE: While the CABINET MODEL select button is blinking, you can use the value 

knobs to adjust its parameters. 

1.7 MODULATION selector 

This selects one of eleven modulation effect models. When you turn the MOD- 

ULATION selector, the MODULATION select button will blink, and you can use 

value knobs 1–6 to adjust the parameters of the modulation effect. (For details 

on each effect, refer to p.39–.) 


1.8 DELAY selector 

This selects one of eleven delay effect models. When you turn the DELAY 

selector, the DELAY select button will blink, and you can use value knobs 1–6 

to adjust the parameters of the delay effect. (For details on each effect, refer to 

p.45–.) 


6

2 

1.9 REVERB selector 

This selects one of eleven reverb effect models. When you turn the REVERB 

selector, the REVERB select button will blink, and you can use value knobs 1– 

6 to adjust the parameters of the reverb effect. (For details on each effect, refer 

to p.48–.) 


EDIT SECTION 

2.1 Edit category LEDs 

One of the LEDs will blink to indicate the category of effect you are currently 

editing. 

When adjusting the parameters, an LED will blink to indicate the line of parameter 

names that you are adjusting. 

2.2 Value knobs 1–6 

Use these to adjust the parameters of the effects or amp model. Your adjustments 

will modify the effect whose MODEL select button you pressed (i.e., the 

button that is blinking). The LEDs below the knobs will light to indicate the 

knobs that are available. 

For details on the parameter controlled by each knob, refer to p.35–. (From the 

left, we refer to these as value knobs 1–6.) 

When the EXPRESSION button or CONTROL button is blinking, these knobs 

adjust the corresponding functions. 

When you are making RENAME or GLOBAL settings, or when executing the 

WRITE operation, you can use value knob 6 to change values. 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

7

3 

CHAIN/GLOBAL/RENAME/WRITE/EXIT/DISPLAY SECTION 

This area displays the name of the program, and the name and value of the 

parameter you are editing in the amp or effect section. Use RENAME to edit the 

name of the program, and WRITE to save the program. 

CHAIN lets you change the connection order of the modulation, delay, and reverb 

effects. GLOBAL lets you make MIDI and output settings. 

3.1 ▲, ▼ buttons 

Use these to edit the value of parameters. 

3.2 √, ® buttons 

Use these to select the parameter you want to edit, or to edit the program 

name. 

3.3 CHAIN button 

Use this to change the connection order of the modulation, delay, and reverb 

effects. Use value knob 6 or the ▲, ▼ buttons to edit the value. 

3.4 GLOBAL button 

Use this to make settings related to MIDI or to ToneLabSE’s audio output. 

Press the GLOBAL button and use the √, ® buttons to move through the 

menu items in the order shown below. After you have selected a menu item, 

use value knob 6 or the ▲, ▼ buttons to adjust the value. 

OUT SEL: Specifies the output destination (p.13) 

CH HOLD: Specifies whether the channel (A/B) selection will be (p.17) 

maintained when you switch programs 

MIDI CH: Specifies the MIDI channel (p.59) 

PCHG OUT: Specifies the program change message output setting (p.60) 

CCHG I/O: Specifies the control change message input/output setting(p.60) 

SYEX OUT: Specifies the system exclusive message output setting (p.61) 

DUMP CUR: Dumps the current program data from the MIDI OUT connector 

(p.62) 

DUMP ALL: Dumps all of ToneLabSE’s data from the MIDI OUT connector 

(p.62) 

3.5 RENAME button 

Use this to change the program name (p.21). 

Use the √, ® buttons to move between spaces (characters) in the display, and 

use value knob 6 or the ▲, ▼ buttons to change the character at that space. 

3.6 WRITE button 

Use this when you want to save the settings you’ve created (p.22). 

3.7 EXIT button 

Use this to abort a program-write operation or to cancel a GLOBAL setting. 

By pressing and holding this button for a longer time, you can activate/cancel 

the Key Lock function, which disables operation of the buttons, selectors, and 

knobs (p.18). 

8

3.8 Name display 

Displays program names, effect names, or parameter names. 

3.9 Valve icon 

Indicates the number and type of power valve – a.k.a. “vacuum tube” – used in 

the original amp that is being modeled. 

3.10 Value display 

Indicates the value of the parameter you are editing. 

If the displayed parameter value matches the original value (i.e., the value 

saved in the program), the ORIG (original value) icon will appear. 

If you have edited any parameter of the program, the EDIT icon will appear. 

4 CONTROL SETUP SECTION 

4.1 CONTROL pedal setting button 

Use this to make control pedal settings. While this button is blinking, you can 

use value knobs 1–2 to edit the control pedal settings. 

4.2 EXPRESSION pedal setting button 

Use this to make expression pedal settings. While this button is blinking, you 

can use value knobs 1–6 to edit the expression pedal settings. 

If this is lit while you’re editing, the expression pedal Quick Assign function is 

available. 

HINT(Quick Assign): If the expression pedal setting button is lit while you are editing 

an effect, you can use the expression pedal Quick Assign function. To assign 

the parameter shown in the name display to expression pedal 1, simply press and 

hold the expression pedal setting button for one second. If you want to assign the 

parameter to expression pedal 2, press and hold the control pedal setting button for 

one second. When the assignment is completed, the name display will indicate 

COMPLETE. 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

5 

6 

BANK DISPLAY/TUNER DISPLAY 

5.1 Bank display 

Indicates the bank number. If the tuner is operating, this indicates the note 

name. (p.51) 

5.2 Tuner display 

If the tuner is on, this displays the pitch you are playing. (p.51) 

BANK/PROGRAM/CHANNEL/SELECT SECTION 

6.1 BANK UP/DOWN pedals 

In Program Select mode, press BANK UP to increment the bank by one, or 

BANK DOWN to decrement it by one. In Effect On/Off mode, you can use the 

BANK DOWN pedal to switch INSERT (the external effect) on/off. 

6.2 Program select pedals, Program LEDs 

Use these to select programs. The program LED at the upper left of each pedal 

will light accordingly. 

9

In Effect On/Off mode, these switches individually switch the Pedal, Modulation, 

Delay, and Reverb effects on/off. 

6.3 A/B ch channel select pedal, Channel LEDs 

Use this to change channels within the currently selected program. The channel 

LEDs located above the pedal will light accordingly (green when channel A 

is selected, red when channel B is selected). 

FX ON/OFF SWITCH 

7 

Press this switch when you want to switch to Effect On/Off mode and the LED 

at the upper left of the pedal will light. 

In Effect On/Off mode you can use the program select pedals to individually 

switch the Pedal, Modulation, Delay, and Reverb effects on/off. 

If you press and hold this switch for 0.5 seconds or longer, the output will be 

bypassed. If you press and hold this pedal for one second or longer, the output 

will be muted. The tuner will operate when ToneLabSE is bypassed or muted. 

To cancel bypass or mute (Tuner), press this switch once again. 

8 

9 

EFFECT CONTROL SECTION 

8.1 CONTROL (Control switch) 

This pedal controls the effect function specified by the Control switch setting. 

8.2 EXP1, EXP2 (Expression pedal 1, Expression pedal 2) 

These pedals control the effect parameter you assigned as the expression 

pedal setting; e.g., volume, wah, or other effect parameter. Pressing down 

firmly on an expression pedal will activate a switch underneath the pedal, letting 

you turn the assigned effect on/off (except when you’ve assigned volume 

or an amp parameter). 

VALVE 

9.1 Valve window 

ToneLabSE contains a 12AX7 (ECC83) valve (“vacuum tube”). 

NOTE: The valve cover and or valve may break if it’s subjected to impact. If the 

valve cover breaks, please have it replaced; leaving a damaged cover may lead to 

the valve itself to become damaged. 

10

REAR PANEL 

10 

11 

POWER SUPPLY 

10.1 ~AC9V 

Connect the included AC/AC power supply here. 

10.2 STANDBY button 

Turns the power on/off. 

INPUTS AND OUTPUTS 

11.1 INPUT jack 

Connect your guitar to this jack. 

11.2 INSERT jacks (SEND, RETURN) 

You can connect an external effect processor or stompbox to these jacks. 

Connect SEND to the input of your external effect device. 

Connect RETURN to the output of your external effect device. 

11.3 LEVEL knob 

Adjusts the output level from the OUTPUT jacks and the PHONE jack. 

11.4 OUTPUT jacks (L/MONO, R) 

These are analog output jacks (balanced/unbalanced TRS). If you’re using a 

mono output, connect the L/MONO jack. 

11.5 PHONE jack (stereo) 

Connect your headphones to this jack. 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

12 MIDI 

12.1 MIDI OUT connector 

This connector transmits MIDI data. Use it when you want to control a connected 

external MIDI device. 

12.2 MIDI IN connector 

This connector receives MIDI data. Use it when you want to control 

ToneLabSE from a connected external MIDI device. 

11

Setup 

NOTE: You must turn off the power of all your equipment before you make connections. 

If you ignore this warning, you may damage your speaker system or experience 

malfunctions! 

Introduction 

Panel Tour 

OUTPUT SETTINGS 

Here’s how to specify whether you’re connecting ToneLabSE to a guitar amp or to 

a mixer/recorder. 

1. Press the GLOBAL button, and use the √, ® buttons to make the display read 

“OUT SEL.” 

2. Use value knob 6 or the ▲, ▼ buttons to set the value. 

When connecting to a guitar amp 

When connecting to a mixer/recorder 

Setup 

Playing 

Creating 

and Storing 

NOTE: With the factory settings, “AP” is selected. 

BASIC CONNECTIONS 

1. Use audio cables to connect ToneLabSE’s OUTPUT L/MONO and R jacks 

(11.4) to a mixer/recorder or guitar amp (p.13, 14). If desired, you can also 

connect an external effect processor. To do this simply connect SEND to the 

input of your external processor, and RETURN to the output of your external 

processor. 

NOTE: If you’re making connections in mono, use the OUTPUT L/MONO jack. 

However to take the fullest advantage of ToneLabSE’s sound, we strongly recommend 

that you use stereo connections. 

If you are using headphones, plug them into the PHONES jack (11.5). 

NOTE: Signal from the OUTPUT jack(s) will still be heard even if headphones are 

plugged in. If you only want to hear signal from headphones you must disconnect 

any cables from the Output jacks or turn off or lower any equipment ToneLabSE is 

connected to. 

2. Turn the LEVEL knob (11.3) located on the rear panel of ToneLabSE all the 

way toward the left (as seen from the rear), setting the volume to 0. 

3. Connect the included AC/AC power supply to the rear panel AC9V power supply 

jack (10.2), and then connect the plug to an AC outlet. 

4. Plug your guitar into the rear panel INPUT jack (11.1). 

5. Turn down the volume of your amp or mixer so you don’t hear crackles or pops 

when the power is turned on. Then turn on the STANDBY switch (10.1) to turn 

on the power. 

13

MIC1 

-10dBV 

MIC GAIN 

U 

10 60 

+10dB -40dB 

TRIM 

MIC2 

BAL 

BAL 

OR 

OR 

UNBAL 

UNBAL 

LINE IN 1 LINE IN 2 

LOW CUT 

LOW CUT 

75Hz 

75Hz 

18dB/OCT 

18dB/OCT 

U 

+15 

U 

U 

+15 

-15 +15 

U 

-12 +12 

U 

-15 

+15 

L R 

1 

MUTE 

ALT 3–4 

AUX 

1 

MON/ 

EFX 

2 

EFX 

EQ 

HI 

12kHz 

MID 

2.5kHz 

LOW 

80Hz 

PAN 

dB 

dB 

10 

10 

SOLO 

5 

5 

U 

U 

5 

5 

10 

10 

20 

20 

30 

30 

40 

40 

50 

50 

60 

60 

-10dBV 

MIC GAIN 

U 

10 60 

+10dB -40dB 

TRIM 

U 

+15 

U 

+15 

U 

-15 +15 

U 

-12 +12 

U 

-15 

+15 

L R 

2 

MUTE 

ALT 3–4 

AUX 

1 

MON/ 

EFX 

2 

EFX 

EQ 

HI 

12kHz 

MID 

2.5kHz 

LOW 

80Hz 

MIC3 

BAL 

OR 

UNBAL 

LINE IN 3 

LOW CUT 

75Hz 

18dB/OCT 

-10dBV 

MIC GAIN 

-15 +15 

U 

-12 +12 

U 

-15 

+15 

MID 

2.5kHz 

LOW 

80Hz 

MIC4 

BAL 

OR 

UNBAL 

LINE IN 4 

LOW CUT 

75Hz 

18dB/OCT 

-10dBV 

MIC GAIN 

-12 +12 

U 

-15 

+15 

MID 

2.5kHz 

LOW 

80Hz 

LINE IN 5 

LOW CUT 

75Hz 

18dB/OCT 

-10dBV 

MIC GAIN 

-12 +12 

U 

-15 

STEREO AUX RETURNS AUX SEND TAPE TAPE MAIN OUTS 

MIC5 MIC6 

1 

1 INPUT OUTPUT 

L 

L 

MICRO SERIES 1402-VLZ 

14-CHANNEL MIC/LINE MIXER 

2 

2 

R 

R 

LEFT(1/MONO) RIGHT ALL BAL/UNBAL 

BAL/UNBAL 

BAL 

BAL 

OR 

OR 

MONO 

MONO 

MONO 

MONO 

UNBAL 

UNBAL 

L 

L 

L 

L 

LINE IN 6 

BAL 

BAL 

BAL 

BAL 

LOW CUT 

OR 

OR 

OR 

OR 

75Hz 

UNBAL 

UNBAL 

UNBAL 

UNBAL 

18dB/OCT 

R 

R 

R 

R 

LEVEL 

LEVEL 

LEVEL 

LEVEL 

+4 

+4 

+4 

+4 

-10 

-10 

-10 

-10 

PHONES 

LINE IN 9-10 LINE IN 11-12 LINE IN 13-14 

U AUX U AUX U AUX 

U 

U 

1 

1 

1 

MON/ 

MON/ 

MON/ 

EFX 

EFX 

EFX 

1 

+15 

+15 

+15 

+10 

+20 

NORMALLED 

U 

U 

U 

AUX 1 MASTER 

U 

2 

2 

2 

2 PRE 

EFX 

EFX 

EFX POST 

AUX 1 

EFX TO 

+15 

+15 

+15 

SELECT 

MONITOR 

+20 

U EQ U EQ U EQ SOURCE 

LEFT RIGHT 

HI 

HI 

HI 

MAIN 

+28 CLIP 

12kHz 

12kHz 

12kHz 

MIX 

+10 

-15 +15 

-15 +15 

-15 +15 

U 

U 

U 

+7 

ALT 

MID 

MID 

MID 

MID 

MID 

MID 

3-4 

+4 

2.5kHz 

2.5kHz 

2.5kHz 

2.5kHz 

2.5kHz 

2.5kHz 

+2 

-12 +12 

-12 +12 

-12 +12 

-12 +12 

-12 +12 

U 

U 

U 

U 

U 

TAPE 

0 

-2 

LOW 

LOW 

LOW 

LOW 

LOW 

LOW 

80Hz 

80Hz 

80Hz 

80Hz 

80Hz 

80Hz 

-4 

+15 

-15 +15 

-15 +15 

-15 +15 

-15 +15 

-15 +15 

-7 

ASSIGN 

PAN 

PAN 

PAN 

PAN 

PAN 

PAN TO MAIN MIX 

-10 

-20 

NORMAL(AFL) 

LEVEL SET(PFL) 

-30 

0dB=0dBu 

-10dBV 

MIC GAIN 

U 

U 

U 

U 

10 60 

10 60 

10 60 

10 60 

+10dB -40dB 

+10dB -40dB 

+10dB -40dB 

+10dB -40dB 

TRIM 

TRIM 

TRIM 

TRIM LINE IN 7-8 

U AUX U AUX U AUX U AUX U AUX 

1 

1 

1 

1 

1 

MON/ 

MON/ 

MON/ 

MON/ 

MON/ 

EFX 

EFX 

EFX 

EFX 

EFX 

+15 

+15 

+15 

+15 

+15 

U 

U 

U 

U 

U 

2 

EFX 

2 

2 

2 

2 

EFX 

EFX 

EFX 

EFX 

+15 

+15 

+15 

+15 

+15 

U EQ U EQ U EQ U EQ U EQ 

HI 

HI 

HI 

HI 

HI 

12kHz 

12kHz 

12kHz 

12kHz 

12kHz 

-15 +15 

-15 +15 

-15 +15 

-15 +15 

U 

U 

U 

U 

PAN 

PAN 

PAN 

L R 

L R 

L R 

L R 

L R 

L R 

L R 

L R 

SOLO 

MODE 

3 

4 

5 6 7–8 9–10 11–12 13–14 

MUTE 

MUTE 

MUTE 

MUTE 

MUTE 

MUTE 

MUTE 

MUTE 

ALT 3–4 

ALT 3–4 

ALT 3–4 

ALT 3–4 

ALT 3–4 

ALT 3–4 

ALT 3–4 

ALT 3–4 

PHANTOM POWER 

RUDE SOLO LIGHT 

CONTROL 

ROOM / PHONES MAIN MIX 

dB 

dB 

dB 

dB 

dB 

dB 

dB 

dB 

dB 

dB 

10 

10 

10 

10 

10 

10 

10 

10 

10 

10 

SOLO SOLO 

SOLO 

SOLO SOLO 

SOLO 

SOLO 

SOLO 

SOLO 

5 

5 

5 

5 

5 

5 

5 

5 

5 

5 

U 

U 

U 

U 

U 

U 

U 

U 

U 

U 

5 

5 

5 

5 

5 

5 

5 

5 

5 

5 

10 

10 

10 

10 

10 

10 

10 

10 

10 

10 

20 

20 

20 

20 

20 

20 

20 

20 

20 

20 

30 

30 

30 

30 

30 

30 

30 

30 

30 

30 30 

40 

40 

40 

40 

40 

40 

40 

40 

40 

40 40 

50 

50 

50 

50 

50 

50 

50 

50 

50 

50 50 

60 

60 

60 

60 

60 

60 

60 

60 

60 

60 60 

AUX 

RETURNS 

6. If you’ve connected ToneLabSE to a mixer/recorder, press the GLOBAL switch to 

access the OUT SEL menu, and use value knob 6 or the ▲, ▼ buttons to select 

“Ln” (LINE). If you’ve connected ToneLabSE to a guitar amp, select “AP” (AMP). 

7. To adjust the volume, turn up your amp or mixer and ToneLabSE’s rear panel 

LEVEL knob to a desired level (11.3). 

NOTE: Since ToneLabSE uses an actual valve (vacuum tube), it will produce no 

sound for several seconds until the valve warms up. This isn’t a malfunction – it’s 

just the nature of valves. 

Guitar 

to your MIDI 

sequencer/computer 

ToneLabSE 

Headphones 

PHONES 

to your mixer/recorder 

or guitar amp 

LINE/AMP 

External effect processor 

RETURN SEND 

OUTPUT 

L/MONO 

R 

AC/AC 

power supply 

to an 

~AC9V AC outlet 

Monaural phone jack INPUT 

INPUT 

USING TONELABSE WITH A MIXER OR RECORDER 

EXAMPLE OF CONNECTIONS TO A MIXER OR RECORDER 

• When using ToneLabSE for direct-line recording, connect the OUTPUT L/ 

MONO and R jacks to the input jacks of your mixer or recorder. Press the GLO- 

BAL switch to access the OUT SEL menu, and use value knob 6 or the ▲, ▼ 

buttons to select “Ln” (LINE). 

HINT: If you’re using a mono connection, use the OUTPUT L/MONO jack only. 

HINT: If you’re using a stereo connection, pan the input channels of your mixer/ 

recorder to the far left and right respectively. 

Guitar 

OUTPUT 

L/MONO 

R 

LINE IN 1 

PAN L 

Tape 

Send 

LINE IN 2 

PAN R 

Tape 

Return 

Headphones 


Monaural phone jack 

INPUT 

Mixer/recorder 

PHONES 

14

USING TONELABSE WITH A GUITAR AMP(S) 

EXAMPLE OF CONNECTION TO A GUITAR AMP (OR AMPS) 

• If you are connecting ToneLabSE to one or more guitar amps, connect the OUT- 

PUT L/MONO and R jacks to the input jack of your guitar amp(s). If desired, you 

can also connect an external effect processor; connect SEND to the effect processor’s 

input, and RETURN to its output. Press the GLOBAL switch to access 

the OUT SEL menu, and use value knob 6 or the ▲, ▼ buttons to select “AP” 

(AMP). 

HINT: If ToneLabSE is connected immediately before a combo amp or amp head, 

set the tone controls of your guitar amp to their center positions and then adjust for 

taste. To avoid unintentional distortion, press and hold the FX ON/OFF (Effect On/ 

Off) pedal for 0.5 seconds to bypass ToneLabSE, and adjust the rear panel LEVEL 

knob so that the volume is the same as when your guitar is connected directly to 

the amp. 

HINT: If you’re connecting ToneLabSE to a guitar amp that has a jack allowing you 

to connect directly before the power amp (such as Return or Main In), set the OUT 

SEL menu item to “Ln” (LINE), and then connect ToneLabSE to that jack. If you 

want to take advantage of the tonal character of that amp (and cabinet), you may 

want to turn ToneLabSE’s CABINET setting “OFF.” 

HINT: When the program name is displayed, you can press and hold the EXIT 

switch for one second or longer to activate the Key Lock function; this disables 

operation of the buttons, selectors, and knobs. (The name display will indicate KEY 

LOCK for one second, and the value knob LEDs will go dark.) To cancel the Key 

Lock function, press and hold the EXIT switch again for one second or longer. (The 

name display will indicate LOCK OFF for one second.) 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

Guitar 

OUTPUT 

L/MONO 

R 

INPUT 

Monaural 

phone jack 

INPUT 

Monaural 

phone jack 


Monaural phone jack 

INPUT 

Guitar amp(s) 

USING TONELABSE WITH A MIDI DEVICE OR COMPUTER 

By using MIDI you can control ToneLabSE from a sequencer or control an external 

MIDI device from ToneLabSE. You can also save ToneLabSE programs on a 

sequencer or MIDI data filer that is able to transmit and receive MIDI exclusive 

data, and then load the program data back into ToneLabSE when desired. 

HINT: For details on MIDI connections refer to p.59. 

15

Playing ToneLabSE 

PROGRAM SELECT MODE 

ToneLabSE has 96 programs (24 banks x 4 programs), and every one of these 

programs can be totally rewritten or “custom tweaked” to your heart’s content. With 

the factory settings, banks 1–8 contain a total of 32 preset programs. (Banks 9–16 

and 17–24 contain the same preset programs as banks 1–8.) 

In order to select programs, you need to be in Program Select mode. 

SELECTING A PROGRAM 

As an example, here’s how to select program 2-3 (bank 2, program 3). 

1. Make sure that ToneLabSE is in Program Select mode. 

If the Effect On/Off pedal LED is lit, you’re in Effect On/Off mode. Press the FX 

ON/OFF pedal to change to Program Select mode. 

2. Use the BANK UP/DOWN pedals (6.1) to select bank 2. 

The bank number blinks in the bank display. 

3. Press the program select 3 pedal (6.2). 

Program 2-3 will be recalled instantly. The program select 3 pedal LED will 

light, and the bank number will also change to be steadily lit. 

HINT: When you’ve selected the Bank but not the Program, the previously-selected 

program is still active. So if you’re playing live and your next program change 

requires you to switch to a different bank, you can select that bank ahead of time, 

ensuring a timely, seamless change. 

EFFECT ON/OFF MODE 

You can use program select pedals 1–4 to switch the pedal effect, modulation 

effect, delay effect, and reverb effect of the current program on/off individually. 

Also, you can use the BANK DOWN pedal to switch the signal that is being sent 

through the external effect processor connected to the INSERT jacks. 

When you want to switch programs, press the effect ON/OFF pedal once again to 

return to Program Select mode. 

NOTE: In Effect On/Off mode, the BANK UP pedal does nothing. 

16

SWITCHING EFFECTS ON/OFF 

As an example, here’s how you can switch the pedal and insert effects on/off for 

the current program. 

1. If the Effect ON/OFF pedal LED is dark, you’re in Program Select mode. Press 

the Effect ON/OFF pedal to change to Effect On/Off mode. 

Program LEDs 1–4 indicate the on/off status of the pedal, modulation, delay, 

and reverb effects. 

2. If program LED 1 is lit, the pedal effect is ON. When you press program select 

pedal 1, the pedal effect will turn off and LED 1 will go dark. 

3. If the INSERT button LED is dark, your guitar signal is not being sent through 

the external effect. When you press the BANK DOWN pedal, the external 

effect send/return will be turned ON, and the INSERT switch LED will light. 

NOTE: If you haven’t connected an external effect processor to the INSERT SEND/ 

RETURN jacks, the INPUT signal will bypass the insert circuit whether the INSERT 

switch LED is lit or dark. 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

A/B CHANNEL HOLD 

You can specify whether the channel (A or B) memorized in the program will be 

automatically selected when you select the program (OFF), or whether your current 

channel selection (A or B) will be maintained even when you select a different 

program(ON). 

1. Press the GLOBAL button, and use the √, ® buttons to access the “CH 

HOLD” display. 

2. Use value knob 6 or the ▲, ▼ buttons to change the setting. 

NOTE: With the factory settings this is set to “OFF.” 

17

ACTIVATING OR DEACTIVATING THE KEY LOCK FUNCTION 

Here’s how you can use the Key Lock function to disable ToneLabSE’s buttons, 

selectors, and knobs so they can’t be accidentally changed during a live performance. 

NOTE: While the Key Lock function is activated, you won’t be able to operate any 

controls except for the switches, pedals and the EXIT button. 

NOTE: The Key Lock setting is cancelled when you turn off the power; it will 

be disabled when you turn on the power once again. 

ACTIVATING THE KEY LOCK FUNCTION 

1. If the name display shows anything other than a program name, or if the characters 

of the program name are blinking, press the EXIT button. 

2. With the program name shown in the name display, press and hold the EXIT 

button for at least one second. 

The name display will indicate KEY LOCK for one second, and then the value 

knob LEDs will go dark. 

DEACTIVATING THE KEY LOCK FUNCTION 

1. If the name display shows anything other than a program name, press the 

EXIT button. 

2. Press and hold the EXIT button for at least one second. 

The name display will indicate LOCK OFF for one second, and then the value 

knob LEDs will light. 

18

Creating and Storing your own 

Programs 

There are two ways you can do this; by “tweaking an existing program” or by “starting 

from scratch.” 

CREATING YOUR OWN PROGRAM 

If you want to tweak an existing program, select one that’s close to the sound you 

want. Set the MODEL select switches to the amp, cabinet and effects you want to 

use, and use value knobs 1–6 to adjust the sound. 

For example, you might start with a certain preset that has a crunchy, modern 

rhythm sound that you like, but create a complementary lead sound that is louder, 

has a bit more gain, and boosted mid-range. 

Now here’s how to create your own program from scratch. 

NOTE: Before you continue, make sure that the GLOBAL menu OUT SEL setting 

is set correctly as described in Basic Connections on p.13. 

1. Select any program (p.16). 

HINT: It doesn’t matter which program you select, because we’re starting from 

scratch. 

2. In the PEDAL, MODULATION, DELAY, REVERB section, press any model 

select switch that is lit two times. This will turn off (bypass) all effects other than 

the amp model and cabinet. 

3. Press the channel select switch to select the channel (A or B) whose sound 

you want to adjust. The LED will light green if channel A is selected, or red if 

channel B is selected. For this example, let’s make the LED light green to 

select channel A. 

4. Use the AMP MODEL selector to choose the amp you want. 

HINT: For details on amp types, cabinet types, and effect types, refer to “Explanations 

of the Amp, Cab and Effect Types” (p. 23). 

5. Use value knobs 1–6 to adjust the GAIN, VR GAIN, TREBLE, MIDDLE, BASS, 

and CH VOLUME as desired. CH VOLUME adjusts the volume while preserving 

the overall character of the sound, including the distortion of the power 

stage. To adjust PRESENCE, press the PRES-NR button and turn value knob 

3. To return to adjusting GAIN etc., press the AMP model select button. 

HINT: The key to getting the most accurate vintage tube amp distortion is to raise 

the VR GAIN. 

NOTE: Some settings may cause your output sound to be distorted (i.e., in a way 

you don’t intend). If so, lower the CH VOLUME. 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

19

6. Use the CABINET model selector to choose the cabinet you want. 

HINT: For recommended combinations of amp type and cabinet type, refer to p.34. 

7. Press the PRES-NR button and adjust NR SENS (value knob 4) appropriately. 

Higher values of noise reduction (0.2, 0.4, ... 10.0) will produce a correspondingly 

greater effect. With a setting of “OFF” there will be no noise reduction. 

NOTE: We recommend that you use noise reduction if you’re using a high-gain setting 

such as the RECTO or US HIGAIN amp type, since high gain usually generates 

more noise. Depending on the guitar you’re using, raising the noise reduction 

excessively may cause some of your notes to be cut off unnaturally. 

HINT: You can set noise reduction independently for channels A and B. 

HINT: You can also specify a different amp or cabinet for channel B. To do so, press 

the channel select pedal to make the LED light red, and repeat steps 4–7. 

8. In each section, choose the effect you want to use. For example if you want to 

add spring reverb, use the REVERB selector to select SPRING 1 (or SPRING 

2). 

HINT: When you do so, the reverb model will automatically be turned on, the 

REVERB parameter line LED of the edit section will blink, and the LEDs below the 

value knobs will light to indicate the REVERB parameters. For example if you’ve 

selected SPRING 1, value knobs 1–4 will control TIME, LO DAMP, HI DAMP, and 

PRE DELAY, while value knob 6 will control MIX. 

9. To adjust the reverb mix amount, use value knob 6 which controls the MIX 

parameter. 

In the same way for PEDAL, MODULATION, and DELAY effects, use the 

selector to choose an effect and the value knobs to adjust the parameters. 

HINT: In some cases, it’s easier to adjust the PEDAL effect if modulation, delay, 

and reverb are not being applied. If you’re using the PEDAL effect, it’s best to make 

your amp and cabinet settings first, and then adjust the pedal effect before the 

other effects. 

NOTE: For some of the models, the name of the actual parameter you will be editing 

may differ from what is printed in the parameter line of the edit section. The 

name that appears in the display when you operate a value knob is the actual 

name. For details on parameters refer to p.35. 

10. If you want to continue making adjustments, simply press the select button for 

the model you want to edit, and turn the value knobs. 

If the EXPRESSION button lights when you operate a value knob, you have 

the option of assigning that parameter to an expression pedal. If you press and 

hold the EXPRESSION switch for at least one second, the parameter will be 

assigned to the expression pedal (EXP 1). (We call this the Expression Pedal 

Quick Assign function.) Now you can use the pedal to control that parameter 

while you perform. (Similarly, you can hold down the CONTROL switch to 

assign the parameter to expression pedal 2 (EXP 2).) For example if you set 

the PEDAL model selector to U-VIBE and use value knob 1 to adjust the 

SPEED parameter, the EXPRESSION button will light to indicate that you can 

use the above method to assign the SPEED parameter to the expression 

pedal. For details, refer to p.53. 

20

HINT: If you’ve used the PEDAL selector to select VOX WAH, the MANUAL parameter 

will automatically be assigned to expression pedal 1 (EXP 1), letting you use 

the pedal as a wah pedal. 

CHANGING THE CONNECTION ORDER OF THE EFFECTS 

(CHAIN) 

You are free to change the order in which the modulation effect, delay effect, and 

reverb effect are connected. 

The effect connection order is saved independently for each program. 

1. Press the CHAIN button, and the current connection order is displayed. 

2. Use value knob 6 or the ▲, ▼ buttons to change the order. 

Display 

Connection order 

MD>DL>RV modulation→delay→reverb 

MD>RV>DL modulation→reverb→delay 

DL>MD>RV delay→modulation→reverb 

DL>RV>M delay→reverb→modulation 

RV>MD>DL reverb→modulation→delay 

RV>DL>MD reverb→delay→modulation 

Introduction 

Panel Tour 

Setup 

Playing 

Creating 

and Storing 

NAMING A PROGRAM 

Here’s how you can name a program. 

NOTE: The program name is saved as part of each program. If you switch to a different 

program or turn off the power before you save, your settings will be lost. 

1. Press the RENAME button. 

2. Use the √, ® buttons to move the cursor to the character you want to change 

(the selected character blinks), and use value knob 6 or the ▲, ▼ buttons to 

change the character. 

You can use the following characters. 

3. Repeat step 2 to finish entering a name for your program. 

4. When you’ve finished entering a name, press the EXIT button (3.7) to return to 

the mode you were in. 

21

STORING A PROGRAM 

When your tweaking has resulted in a sound you’re happy with, store (write) it! 

1. Press the WRITE button (3.6). 

The name display (3.8) shows “*WRITE*” and the bank display (5.1) and program 

LEDs 1–4 will blink. 

2. Use value knob 6 (2.2) or the ▲, ▼ buttons (3.1) to select the bank you want to 

use, and use the √, ® buttons to select the destination program (1–4). 

For example if you want to store your program in 9-1 (bank 9, program 1), use 

value knob 6 or the ▲, ▼ buttons to make the bank display show “9,” and then 

use the √, ® buttons to make the program 1 pedal LED blink. 

HINT: You can also select the store-destination program by using the BANK UP/ 

DOWN buttons or the program 1–4 select buttons. 

3. Press the WRITE button (3.6) once again. 

The name display will indicate “COMPLETE.” Your program is now stored, and 

you’ll be back in Program Select mode. 

NOTE: The program is written over the previous contents of that bank/program. 

The program that previously occupied the number you selected in step 2 will be 

erased. 

NOTE: If you decide not to store your new program, press the EXIT button (3.7) to 

cancel the procedure. 

NOTE: If you switch to a different program or turn off the power without storing the 

program you edited, your changes will be lost. 

RESTORING A SETTING TO ITS ORIGINAL VALUE (ORIGI- 

NAL VALUE) 

The Original Value icon in the value display (3.10) gives you a way to find out the 

parameter values that are stored in a program. 

When you are using a knob or button to change the value of a parameter, the 

ORIG (original value) icon will appear when the value you are adjusting matches 

the “original value” stored in the program. 

HINT: So, you’re flipping through the programs on your new ToneLabSE, and you 

come across one you really like. It’s easy to find out exactly what settings are 

dialed in to get such an awesome tone — just use this Original Value display feature! 

22

Explanations of the Amp, 

Cabinet and Effect Types 

This section explains ToneLabSE’s sixteen amp models, sixteen pedal 

effects, eleven cabinet models, modulation, delay, and reverb effects. 

A. AMP MODELS 

Which amps did we painstakingly model for our seductive selection of 16? Believe me 

when I say it wasn’t easy ‘cos, as I’m sure you know, there’s a plethora of great sounding 

amps out there. After countless hours of soul searching, earnest discussions (not 

to mention the occasional friendly argument!), calls to tone-wise friends (some professional 

players, some not...but all blessed with great ears) plus, of course, listening and 

playing, a top 16 list was finally drawn up. As you’re about to discover, the ones we 

went with are not only the cream of the crop but also offer up the widest possible array 

of the greatest guitar tones known to man - from pristine clean to outrageous overdrive 

and all points in-between. First though, some stuff you should know... 

Controlling Factors 

As already touched on in this manual, although the amp model of your 

ToneLabSE houses controls for GAIN, VR GAIN, TREBLE, MIDDLE, BASS, 

PRESENCE and CH VOLUME, not all of the amps we’ve modelled have as 

many controls. In such cases, rather than leave you with knobs that do nothing 

(what on earth would be the point of that!?), we’ve made full use of all six (6) 

ToneLabSE controls without compromising the accuracy of any of our models. 

This means you’ll be able to mimic the full tonal spectrum of each and every 

one of the originals we’ve modelled...and then some, thanks to the extra flexibility 

and additional control the six ToneLabSE controls give you. 

For example, if an original amp doesn’t have a complete 3 band EQ network 

then we’ll set up the “missing” tone controls on our model to be “neutral” (i.e. 

as the original) when set it at 12 o’clock - thus giving you extra tonal flexibility in 

those EQ areas, if you so wish. Just so you know, the amps we modelled that 

don’t have individual controls for Treble, Middle and Bass are: 

AMP 

AC15 

AC15TB 

AC30 

AC30TB 

TWEED 1x12 

ORGINAL TONE CONTROLS 

Top Cut & Bass Cut Switch 

Treble & Bass 

Top Cut only 

Treble, Bass and Cut 

Just one, called Tone! 

REVERB DELAY MODULATION PEDAL CABINET AMP TYPE Amp/Effect 

TYPE 

Also, as you’d probably expect, we do the same exact thing with the 

ToneLabSE’s PRESENCE control too - namely, if one isn’t present (bad pun, 

not intended!) on the original then PRESENCE will be an added control on our 

23

model. This time though, the “neutral” position is when the control is all the way 

off (turned fully counterclockwise). The two models this applies to are BLACK 

2x12 and TWEED 1x12. 

IMPORTANT NOTE: As you’ll discover when you read their descriptions, in the case 

of the AC15, AC15TB, AC30 and AC30TB models, we’ve utilized the PRESENCE 

control to mimic the TOP CUT control - whether it was present on the original or not. 

About the Gain and Volume knobs 

ToneLabSE’s amp models provide three programmable knobs that affect the 

volume (gain); GAIN, VR GAIN, and CH VOLUME. Each control does has its 

own specific job, and the sound of a particular amp model can vary over an 

amazingly wide range just depending on the settings of these knobs. 

As some of you will know, most vintage amps only have one VOLUME control 

to set up the sound, whilst more modern amps usually have two types of level 

controls – GAIN (or sometimes PREAMP VOLUME) that controls the input 

level of the preamp section, and MASTER VOLUME that controls how much 

signal is (and how loud it is going to be) passed from the preamp to the power 

amp. With many vintage amps there is no MASTER VOLUME, the preamp 

feeds directly into the power amp without any type of control. 

The ToneLabSE’s controls are designed to cover all these points: 

ToneLabSE GAIN: On vintage type models that do not have a master volume 

(i.e., AC15, AC15TB, AC30, AC30TB, UK BLUES, UK 68P, BLACK 2x12, 

TWEED 1x12, TWEED 4x10), the GAIN control works like the VOLUME of the 

original amp. On other model amps that do have a master volume, the GAIN 

control works like GAIN or PREAMP VOLUME. 

ToneLabSE VR GAIN: MASTER VOLUME that controls how much preamp signal 

level is passed to the power amp, which in our case is the VALVE REAC- 

TOR stage. (Your ToneLabSE works like a real amp.) 

ToneLabSE CH VOLUME: For want of a better way of putting it, this is like a 

power attenuator that you would add between the output of your amp and the 

input of your speaker cabinet. This controls the level of the final mix and allows 

you to balance all your programmed amp sounds to each other. 

As in how the original amps work, we have made the relationship between 

preamp and power amp work in the same way. Therefore to obtain truly 

authentic tones please use the VR GAIN control in the same way, i.e. with VIN- 

TAGE type models that do not have Master Volume control’s, turn the VR GAIN 

control up to maximum. 

When using a model of a modern amp that does have a master volume control, 

adjust VR GAIN just as you would adjust the master volume control. Low 

settings of VR GAIN will tend to produce more of a preamp distortion, while 

high settings will add the distinctive distortion and warmth of the Valve Reactor. 

Lastly, if an original amp features a unique switch or control we make sure that we 

cover it! Such things will be revealed in the model descriptions that follow shortly... 

Tube Talk 

Us Brits call ‘em valves while our US cousins call ‘em tubes...as the saying 

goes: England and America are merely two countries divided by a common 

24

language! Anyway, call ‘em what you will, these wondrous glass bottles lie at 

the tonal heart of each of our 16 models. As all the amps we’ve modelled hail 

from one of the two countries just mentioned, in honour of their heritage, the 

descriptions of all English amps will employ the words “valve” and “valves,” 

while the American ones will be tubular! 

QUESTION: What’s the difference between an ECC83 preamp valve and a 

12AX7 preamp tube? 

ANSWER: Nothing! They’re the same exact thing – namely the most popular 

preamp tube in ampland. ECC83 is the British name, 12AX7 (a.k.a. 

7025) is the American. See, I told you we were two countries divided by a 

common language! 

Power Amp Accuracy 

What happens in the power stage of any good tube amp is of paramount importance 

to the way the amp sounds, feels and behaves. The way the power amp 

operates (Class A or Class AB), the power tubes used (EL84s, EL34s, 6L6s, 

6V6s), the exact nature of the negative feedback loop circuitry (if one even exists) 

and how the power stage interacts (a relationship called damping) with the 

speaker(s) it is driving - all these things play a vital role in the creation of tone. 

That is why we have fitted your ToneLabSE with our patented Valve Reactor 

Technology – a modelling breakthrough that is unique to VOX and infuses our 

critically acclaimed Valvetronix range of amps with life and feel. This revolutionary 

technology emulates a tube power-amp by using real tubes in a real tube amp 

circuit and ensures that all the important bases inherent in a tube amp are faithfully 

and accurately covered. For example: if you choose amp model AC30TB - 

an amp with a Class A power stage, EL84 output tubes and no negative feedback, 

that’s exactly what your Valve Reactor power amp reconfigures itself to be. 

This all said, let’s take a look at each of our amp models... 

1. AC15 

This is modelled on Channel 2 of an amazing sounding 1962 VOX AC15, 

which is part of our vast amp collection. This 1x12", 15 Watt, valve driven, dual channel 

combo was unleashed on the market in 1958 and was the first ever VOX amplifier. 

The reason for it being named the AC15 is simple: AC stands for Amplifier 

Combination, while 15 indicates the Wattage. Thanks to its compactness, power, 

built in tremolo/vibrato effects (on Channel 1 only) and tremendous tone, this combo 

was a huge hit with the popular British guitar bands of the time, including several 

chart topping acts, the majority of whom were only too happy to endorse Vox. 

One of the biggest reasons for the unique, signature tone of this amp is the fact 

that it employs EL84 output valves in a Class A circuit with no negative feedback. This is 

also true of the other three VOX amps, we’ve modelled - the AC15TB, AC30 and AC30TB. 

In a nutshell, the result of this design is more power and more distortion - the latter of 

which gets thick with second and third order harmonics that become more and more prevalent 

as the amp is cranked. Thanks to our unique Valve Reactor Technology the power 

stage of your ToneLabSE is automatically switched to its “EL84s in a Class A circuit with 


TYPE 

25

no feedback” emulation whenever AC15, or any of the other three Vox models, is chosen. 

Like most amps of its era, the AC15 is the very essence of simplicity. In 

fact, the Channel we modelled, Channel 2 (remember!?), only has three controls - 

Volume, Brilliance (really a bass cut) and Top Cut. When you select AC15, the 

ToneLabSE’s GAIN control mimics the original’s Volume control, while the PRES- 

ENCE control acts as the Top Cut.* FYI, the AC15’s Top Cut control affects the 

high frequencies in a very different way than a “regular” Treble control. Deft use of 

it will help you dial in the exact amount of that instantly recognizable, world-famous 

VOX “sparkle.” The BASS control acts as the Bass Cut (Originally labelled Brilliance) 

with total variability instead of the Original two position switch. 

As for what the “extra” TREBLE and MIDDLE controls on our AC15 model 

do: as already mentioned earlier, they’re exactly that - “extra!” Set them at 12 

o’clock and they’re “neutral” (i.e. they mimic the exact tone of the original) or tweak 

them for extra tonal flexibility. 

*CONTROL NOTE: The original AC15’s Top Cut control works in the opposite way 

you’d expect - it “cuts” when you turn it up! You’ll be glad to read that our model of 

the Top Cut control (the PRESENCE knob) works in a much more logical fashion - 

turn it up for more “sparkle,” turn it down for less. 

Original’s valve compliment: 1 x EF86, 3 x ECC83s, 1 x ECC82 in the 

preamp, 1 x EZ81 rectifier, 2 x EL84s in the power amp. 

2. AC15TB 

While the AC15 was born in the late ’50s, the AC15TB is a modern-day child of the 

’90s which combines the sweet “n” desirable tonal characteristics of the AC15’s low 

Wattage power stage, with the increased tonal flexibility that the Top Boost (TB) 

channel of an AC30 has to offer. Then, to sweeten the pot even further, a 12" Celestion 

“Blue” speaker (what else?), Reverb and a Master Volume control were thrown 

in too. The result is a highly flexible 15 Watt, all-valve, 1x12 combo that successfully 

marries the pureness of great vintage VOX tone with modern features. 

The original has two tone controls - Treble and Bass. So, as is the norm, 

the ToneLabSE’s TREBLE and BASS controls mimic their namesakes while the 

MIDDLE (“neutral” at 12 o’clock) and PRESENCE add further tonal flexibility...should 

you want it. To ensure maximum “Voxiness,” we’ve made sure that the 

PRESENCE control behaves exactly like the “Top Cut” on the original AC15 - 

except in reverse (“off” = cut) to make it more logical, just like on our AC15 model. 

In trademark VOX fashion, our AC15TBX model oozes clean tones that 

“jangle” and “chime,” while its overdrives are smooth yet pulsating with desirable 

harmonic overtones. Enjoy! 

Original’s valve compliment: 5 x ECC83s in the preamp, 1 x 5Y3GT rectifier, 

2 x EL84s in the power amp. 

3. AC30 

As already stated, the VOX AC15 was a huge hit with the British guitar bands of 

the late ’50s. However, as the popularity of the AC15 using bands grew, so did 

their need for a more powerful amp. Sure, the AC15 was loud for a 15 Watt amp - 

26

darned loud in fact - but it was no match for 1,000 + screaming fans! Remember 

folks, back in the late ’50s/early ’60s, guitar amps weren’t being fed through the PA 

- that was reserved purely for vocals, the band’s back-line had to do the rest. 

Clearly VOX needed to come up with a louder amp and the company was only too 

happy to rise to the challenge... 

The fruit of VOX’s labour was unveiled to the world in 1959 - the 30 Watt, 

2x12, AC30. Several top British bands graduated up to the AC30 instantly and, 

within months, one of them had scored a number one single with a stirring guitar 

instrumental. Not surprisingly, pretty much every other UK act worth its salt immediately 

followed suit and the AC30 became the amp behind the so-called “Beat Boom” 

of the time. More importantly, it also became the driving force behind the now legendary 

“British Invasion” - the name given to the huge wave of success that several 

English bands enjoyed in America during the ’60s. This charge was led by a quartet 

hailing from Liverpool who quickly became VOX’s most famous ambassadors ever. 

We’ve modelled the sterling sounds of the AC30’s Normal channel as they definitely 

encapsulate those classic tones that defined the aforementioned British invasion. 

Just like its smaller brother, the AC15, the AC30’s Normal channel boasts the bare minimum 

of knobs - Volume and Top Cut (modelled by GAIN and PRESENCE* respectively). 

*CONTROL NOTE: Once again, our PRESENCE control models the “Top Cut” on 

the original AC30 exactly - except in reverse (“off” = cut) to make it more logical, 

just like on our AC15 model. 

Original’s valve compliment: 4 x ECC83s, 1 x ECC82 in the preamp, 1 x 

GZ34 rectifier, 4 x EL84s in the power amp. 

4. AC30TB 

Even though the AC30 was a runaway success, several artists expressed a desire for the 

amp to have more tonal flexibility and a pinch of extra gain too. VOX reacted quickly and 

came up with some clever extra tone circuitry that featured an additional ECC83 valve 

and was called “Top Boost.”* When “Top Boost” was added to an AC30 it increased the 

gain of the combo’s Brilliant channel, and added two extra EQ controls, giving the amp 

three tone controls -Treble, Bass and Cut. To say it was an instant hit with the guitar playing 

public would be a gross understatement! In fact, its gutsy tone became an instantly 

recognisable signature sound of many major groups in the mid ’60s. 

NERDY HISTORICAL NOTE: VOX initially called this their “Brilliance Unit” but it 

quickly became known as “Top Boost.” When Top Boost was first introduced it was 

only available as a retrofit assembly. Even though this modification was not particularly 

difficult to add, it was beyond most folk (hey, I don’t know about you, but messing 

around with electricity is hardly my idea of fun!). Consequently, in 1964, Top 

Boost was fitted to the AC30 as standard. 

Once again, the PRESENCE control of our model acts as the original’s Cut 

(but in reverse: “off” = cut) while the GAIN, TREBLE and BASS mimic the original’s 

Volume, Treble and Bass controls. The MIDDLE is an “extra” with 12 o’clock being 

its “neutral” position. 

Our AC30TB model produces clean sounds that are rich and jangly with a 

smooth yet detailed top end, and overdrives that have a glorious, throaty bark - 

just like those classic, “Class A” tones that have made the original a “must have” in 

any serious player’s amp collection. 

27 


TYPE

Original’s valve compliment: 5 x ECC83s & 1 x ECC82 in the preamp, 1 x 

GZ34 rectifier, 4 x EL84s in the power amp. 

5. UK BLUES 

Our UK BLUES model is based on the “High Treble” channel of an extremely rare, handwired 

head made in jolly old England in the early ’60s. Although the TWEED 4x10 circuit 

was used as a basic template for this amp, several fundamental changes (e.g. different 

tubes, different transformers, a higher output impedance and vastly different speakers in 

a closed-back cab), give UK BLUES its own unique and highly desirable character. 

Indeed, when cranked-up this 30 Watt baby produces a crunch that forever changed the 

sound of rock “n” roll - which is why it is still highly revered to this very day. 

Original’s valve compliment: 3 x ECC83s in the preamp, 1 x GZ34 rectifier, 2 

x KT66s in the power amp. 

6. UK 68P 

This is based on the “High Treble” channel of a 1968, 50 Watt, all-valve head, boasting 

a Plexiglas front panel and four (4) inputs. The no-nonsense original doesn’t feature 

a Master Volume control so the best and, arguably, only way to set it up is to 

max out the volume and let rip! And, that’s exactly what everyone did - and still does! 

This amp was chosen because the tone was incredibly rich and warm, instant classic 

heaven! As this amp has no master volume facility, the only, and greatest, way of 

using it to its full potential was to wind the volume up to maximum. 

To achieve the same response as the original, remember to turn the VR Gain control 

to maximum. The ToneLabSE works EXACTLY like the original. This goes for all 

non-master type amp models. 

So, wind the GAIN control all the way up and immerse yourself in an 

instantly recognizable, organic overdrive that responds beautifully to the subtle 

dynamics of your playing and dominates “classic rock.” Rolling back your guitar’s 

volume control results in a unique and highly useable clean sound. 

Original’s valve compliment: 3 x ECC83s in the preamp, 2 x EL34s in the 

power amp. 

7. UK ’80S 

This is modelled on a 1983, all tube, single channel 100 Watt head that boasts a 

Master Volume control - a wonderful feature that allows the user to dial in a decent 

crunch tone without having to max out the amp’s volume. Invariably played with it’s 

(preamp) Gain control cranked to the max, this amp was responsible for the fat, roaring 

sound that dominated ’80s hard rock and heavy metal. Yes sir, from spandex clad 

Europeans who rocked like hurricanes, to American speed freaks who rode the lightning 

and reigned in blood, UK ’80s was the only amp of choice...and, for many, still is! 

Although UK ’80s became famous for it’s distinctive, cranium-crushing crunch, 

it isn’t merely a “one trick pony” and neither is our model - just like the original, when 

you roll back your guitar’s volume knob you’ll get a bright, clean sound that’s perfect 

for chord work and will cut through any mix like a hot knife through butter. 

28


power amp. 

8. UK ’90S 

This model is based on the “lead” channel of a 100 Watt, dual channel head that is 

capable of so much preamp distortion it houses a Gain control that goes all the way 

up to a Nigel Tufnel approved “20, dunnit!” This amp replaced UK ’80s and was 

developed to satisfy the ever-evolving rock guitarists’ insatiable lust for more gain, 

features and flexibility. Was this amp popular? Judging by the fact it quickly became 

the “industry standard” for the decade in question, the answer is a resounding “yes!” 


power amp. 

9. UK MODERN (UK MODRN) 

This is modelled on the High Gain channel of a modern, all-tube 100 Watter that is 

effectively a hybrid of the UK ’80s and UK ’90s amps. It combines the toneful high 

gain preamp stage and modern features of UK ’90s with the unmistakable, “snarling” 

punch and girth the UK ’80s power stage had to offer. The result is a highly aggressive, 

tone-breathing monster capable of mondo-gain while retaining individual note 

definition. With the GAIN control on full, UK MODERN allows lead lines to soar into 

soulful feedback, while its low-end “chunk” remains tight and punchy. Wimps beware! 


power amp. 

10. RECTO 

This bad boy is based on the “Modern High Gain” channel of a brutal, 100 Watt, 

armour-plated beast hailing from California. Its deep, dark, loose low-end, some 

what “fizzy” top and Monster-like gain has made this all-tuber a mainstay for many 

modern, metal acts who either tune their guitars down as low as they can possibly 

go, or wield 7-string axes. 

At low GAIN settings, RECTO produces a distinctive, bright clean sound 

bolstered by some rich, upper harmonics that add fullness and dimension. This 

said, RECTO is definitely not recommended for Country “n” Western picking. But, 

if you play slamming, “nu-metal” that’s tuned lower than whale droppings, then 

RECTO could well be the only way to go! 

Original’s tube compliment: 5 x 12AX7s in the preamp, 2 x 5U4G rectifier 

tubes, 4 x 6L6s in the power amp. 

11. US HIGAIN (US HI-G) 

This is modelled on the Overdrive Channel of an all-tube, 100 Watt head built in 

1991 and covered in snakeskin! This high gain, power house was designed by a guy 

who also builds and drives Hot Rod cars so it should come as no surprise that the 

originals controls all go to eleven - after all, “that’s one louder innit!” (© Nigel Tufnel!) 

US HIGAIN is capable of a powerful, heavily saturated sound that combines 

an open low-end with compressed mids and highs. The result is a tone that 

29 


TYPE

emains focused and well defined at even the most extreme gain settings. These 

attributes have made this head a favourite with several of the world’s leading players, 

and its versatility make it ideal for a wide variety of purposes and styles. 

Original’s tube compliment: 4 x 12AX7s in the preamp, 4 x 6L6s in the 

power amp. 

12. BOUTIQUE OD (BTQ OD) 

For this one we modelled the Overdrive channel of a very rare, very expensive and 

very respected 100 Watt head named the Overdrive Special. This custom-order, 

hand-wired beauty has a spectacular overdriven sound that’s perfect for sax-like, 

legato soloing. With its GAIN control wide-open, BOUTIQUE OD produces a stunning 

sustain which is very smooth and very soulful - can you say “woman tone!?” 

Original’s tube compliment: 3 x 12AX7s in the preamp, 4 x EL34s in the 

power amp. 

13. BOUTIQUE CL (BTQ CL) 

For this amp type, we modelled the Clean channel of another very expensive, handwired, 

custom amp made by the same boutique builder as BOUTIQUE OD. We auditioned 

several top-shelf boutique amps for this model but this amp was the clear winner. 

Even though its garish, fuzzy red covering wasn’t to everyone’s taste, it’s 

beautiful clean sound was! Its beautifully rounded low-end, delightfully transient midrange 

attack and sweet treble make it the perfect partner for single-coil pickups. It is 

also incredibly responsive and extremely sensitive to picking styles and pickup 

selection. And, as an added bonus, strummed chords just ring out and blossom. 

Original’s tube compliment: 3 x 12AX7s in the preamp, 4 x 6L6s in the 

power amp. 

14. BLACK 2X12 (BLK 2X12) 

The dual channel, blackfaced beauty we modelled here is considered a “musthave” 

2x12 combo for country and blues players, and rightfully so - after all, its celebrated 

clean sound is very tight “n” twangy, with a deep, taut, piano-like bass. 

Pristine clean tones aside, BLACK 2x12 is also capable of producing that 

classic Chicago blues tone - especially with single coil pickups. In keeping with the 

original, when pushed hard the bass on our model tends to crumble. So, to emulate 

this classic, BLACK 2x12 overdrive, here’s what you dial in on your 

ToneLabSE: full GAIN and VR GAIN, not much BASS, full MIDDLE and set TRE- 

BLE to taste. Because the EQ network of BLACK 2x12 lies before the main gain 

stage of its preamp y’see, pushing the mids in this way emphasizes the distortion 

in that frequency range and the result is a lovely, singing blues tone. 

As already mentioned elsewhere, the original amp doesn’t have a Presence 

control but does have a Bright Switch. The PRESENCE control on your 

ToneLabSE emulates this switch when “off” and “on,” plus all points in-between! 

Original’s tube compliment: 4 x 12AX7s & 2 x 12AT7 (a.k.a. ECC81) in the 

preamp, 4 x 6L6s in the power amp. 

30

TONAL HINT: BLACK 2x12 is the perfect partner for ACOUSTIC (Acoustic Guitar 

Simulator) in the Pedal section. 

15. TWEED 1X12 (TWD 1X12) 

The original we modelled here was born in Fullerton, California, in 1958, and clad in 

“tweed” - hence its name! Just like the AC15, this 18 Watt, 1x12, all-tube combo is 

the very essence of simplicity. Aside from the obligatory Volume knob, it only housed 

one other knob - a single Tone control creatively named (wait for it!) Tone! This Tone 

control is merely a treble cut and boost, and its behaviour can be mimicked by using 

the Valvetronix’s TREBLE, MIDDLE and BASS EQ network as follows: 

Original Tone control turned all the way down (off) = BASS on full; TREBLE 

and MIDDLE at 9 o’clock (PRESENCE “off”). 

Original Tone control turned up “full” (on 10) = TREBLE on full; MIDDLE 

and BASS at 9 o’clock (PRESENCE “off”). 

NOTE: As the original doesn’t have a Presence control, PRESENCE is “neutral” 

when “off,” but can be used to add “extra” sparkle and cut to the model if you so wish. 

In keeping with the original, the TWEED 1x12 produces an open, relatively uncoloured 

sound when clean, but starts to “snarl” beautifully when pushed into overdrive. 

Its highly desirable “snarl” is rich with harmonic content and cranking this puppy up 

will produce those classic, old rockabilly and rock “n” roll sounds of the ’50s and ’60s, 

at the drop of a 10 gallon hat - especially when a single coil pickup is used. 

Original’s tube compliment: 1 x 12AY7, 1 x 12AX7s in the preamp, 1 x 

5Y3GT rectifier, 2 x 6V6s in the power amp. 

16. TWEED 4X10 (TWD 4X10) 

The 4x10 combo we modelled here was built in 1959 and originally intended for 

bass guitar. This said, six-stringers were quick to embrace its smooth-yet-cutting 

overdrive which is perfect for R&B (rhythm “n” blues) guitar. TWEED 4x10 is also 

very sensitive and responsive to both picking strength and the volume setting on 

your guitar. This means that by backing-off your axe’s volume when the amp is 

cranked, you can produce a beautifully clean and full tone. It also means that 

dynamic picking control allows you to make notes or chords more distorted or 

clean than others, depending on how hard or how soft you pick ‘em. 

Another cool tonal quirk of TWEED 4x10 is the classic, vintage tube amp sag 

its GZ34 rectifier tube adds to your notes whenever the amp is driven really hard. 

“What is sag?” Do I hear you ask? Well, crank the Gain and VR GAIN controls on 

this model, dig in hard with your pick and you’ll soon find out! Can you hear how the 

note literally “sags” when you first hit it and then it opens up? That’s sag, geddit? 

TONAL NOTE: Just like on the original, the Middle and Treble control of TWEED 

4x10 are highly interactive and high settings of the Middle control automatically add 

treble to your sound. As a result, you may want to turn down the Treble control as a 

counter measure. Conversely, low Middle settings reduce treble so you might want 

to crank the Treble a little more in such instances. 

Original’s tube compliment: 1 x 12AY7, 2 x 12AX7s in the preamp, 1x GZ34 

rectifier, 2 x 5881s in the power amp. 


TYPE 

31

B. CABINET MODELS 

Now let’s look at the CABINET models: 

CABINET AND SPEAKER ACCURACY 

There’s not much point in having incredibly accurate amp models if the 

speaker cabinet models on offer aren’t of the same exacting standards. As you 

may know, in real life, the output stage of a tube amp works in close harmony 

with the varying impedance curve of the speaker(s) it is driving. This intimate 

and vital relationship plays a major role in producing the warm, punchy sound 

and pleasing feel that we all know and love. In a nutshell, modelling a speaker 

cabinet is not just a case of frequency response, but is a combination of frequency 

response, transient response (how a speaker reacts to the strength of 

how a note is played), and the all-important interaction of the amps output to 

the speaker’s impedance curve. In addition, other vitally important factors that 

have to be taken into account when modelling a cabinet are the actual physical 

dimensions of the enclosure (cabinet), the unique tonality of said enclosure 

(which will be affected by both the type and thickness of the wood it is made of) 

and whether it boasts an open, semi-open or closed-back design. Special circuitry 

and unique modelling technology ensures that all of these factors are 

well taken care of in the cabinet models built into your ToneLabSE. 

1. TWEED 1X8 (TWD 1X8) 

The 8-inch 3.2-ohm Alnico speaker in this cabinet model is the one built into a simple 

amp with a 6V6 output valve. You’ve no doubt heard the sound of this amp, but 

you might not have noticed what kind of amp it really is. Although you wouldn’t 

guess from the size of the speaker itself, the sound has an amazingly broad range. 

The lows are deep and warm, and the highs are clean and sparkling, yet it does 

not have that irritating sound typical of the 8-inch speakers often used for guitar. 


This speaker is the other half of our Tweed 1x12 Amp model. As the name suggests 

it is a single 12" speaker, uses an Alnico magnet and made in the USA by 

one of the US’s revered names in vintage loudspeakers. 


Keeping with the US made Alnico magnet speakers, this cabinet partnered our 

TWEED 4x10 modelled amp. It is an open backed cab using four 10" 8 Ohm 

speakers, wired in parallel for a total of 2 Ohms impedance. Although originally 

intended for bass guitar, this speaker rocks for many different styles. 

4. BLACK 2X10 (BLK 2X10) 

Although we did not model the amp that goes exactly with this cabinet, we loved 

the tone of this mid-60s Fullerton, California made open backed 2x10" ceramic 

magnet (of US origin) 35 Watt combo. So here it is. Great for blues, jazz and country. 

As with all cabinet models it can be mixed and matched with any amp model to 

32

produce some interesting tonal combinations. But for some recommended uses, 

please see the following charts. 

5. BLACK 2X12 (BLK 2X12) 

As you’ve probably guessed by now, this speaker system accompanied the amp that 

was modelled for the BLACK 2x12 amp. Featuring two 12" Ceramic magnet speakers, 

again made in USA in the mid ’60s. They are 8 Ohm units wired in parallel for a 

4 Ohm total load. These speakers have been featured on countless recordings of 

many styles of music, but very predominantly Country and Blues based Rock. 

6. VOX AC15 (AC15) 

This is a 1x12" open backed combo using the famed VOX Blue Alnico speaker, 

manufactured by Celestion in Ipswich, England. The one we used was a modern 

re-issue that was housed in the VOX AC15TB combo. This speaker, which is 8 

Ohms impedance, 15 Watts power handling, is amazingly full-bodied for a 1x12 

open back cab, and, of course, helps bring the famous VOX chime to the forefront. 

7. VOX AC30 (AC30) 

Obviously, double the power – double the speakers. 2x12" VOX Blue Alnicos, wired in 

series for 16 Ohms, adds even more of that great VOX tone. This time we modelled 

some great sounding originals from way back in the ’60s. As speakers get old their tone 

changes, so this configuration adds a different slant on how these speakers sound. 

8. VOX AD412 (AD412) 

This cabinet is one of VOX’s latest products, and due to the fact we are extremely 

proud of it, and that it is without a doubt an exceedingly great sounding cabinet, we 

just had to include it with our cabinet models. The cabinet itself features custom 

designed Celestion speakers using Neodymium magnets, one of the first, if not the 

first, cabinet to use this technology. It also uses some special cabinet acoustic design 

technology that is also a first for VOX and 4x12s in general. Use it as a valid tonal 

option with any model, but especially the amp head models. We think you will like it! 

9. UK H30 4X12 (UK H30) 

This is an older, heavy-duty cabinet (with 30 Watt speakers, from the late ’60s) 

made by the same famous UK amp company as the UK T75 4x12. Many of these 

cabinets have been used on countless classic rock recordings throughout the past. 

10. UK T75 4X12 (UK T75) 

This 4x12" model is of a famous, UK built, black box loaded with modern, 75 Watt British 

speakers. Normally seen stacked, this is probably the biggest selling guitar cabinet 

ever and is eminently suitable for most rock styles. How could we not model it?! 


TYPE 

11. US V30 4X12 (US V30) 

This black beast of a cabinet hails from the same home in California as our 

RECTO amp. It uses four UK made “Vintage” named speakers. 

33

It is renowned for its deep bass and high-end detail and is extremely popular 

amongst today’s “nu-metal” exponents. We think you know what we mean! 

WHAT GOES WITH WHAT? 

Basically, with your ToneLabSE you can mix any amp model to any cabinet 

model, and create many varied tones. But to give you a starting point, here is a 

listing of historically correct matches: 

AMP MODEL 

TWEED 1x12 

TWEED 4x10 

BLACK 2X12 

AC15 

AC15TB 

AC30 

AC30TB 

UK BLUES 

UK 68P 

UK 80’s 

UK 90’s 

UK MODERN 

US HiGAIN 

RECTO 

BOUTIQUE OD 

BOUTIQUE CLN 

HISTORICALLY CORRECT CABINET MODEL 

TWEED 1x12 

TWEED 4x10 

BLACK 2x12 

VOX AC15 

VOX AC15 

VOX AC30 

VOX AC30 

UK H30 

UK H30 

UK T75 

UK T75 

UK T75 or US V30 

US V30 or UK T75 

US V30 

UK H30 is a good choice 

UK H30 is a good choice 

Please Note! The VOX AD412 is so new that there is no historical connection with 

any of the modelled amps yet (as of September 2003). 

SOME RECOMMENDATIONS 

As some of the manufacturers of the original amps that we modelled also used 

similar amps with different speaker configurations to make other models, so 

can you with your ToneLabSE to approximate these other amps. For instance: 

Amp Model Cabinet Model Equivalent Model 

BLACK 2x12 BLACK 2x10 Blackface Vibrolux type combo 

BLACK 2x12 TWEED 4x10 Blackface Super type combo 

TWEED 1x12 BLACK 2x10 Tweed Super type combo 

UK BLUES VOX AC30 Early BluesBreaker type combo 

VOX AC15 VOX AC30 VOX AC15 Supertwin 

Please note that these amps will be approximations only as original power ratings, 

output transformers and speaker manufacturer and types, might have 

been different in the original products. 

Due to the flexibility of your ToneLabSE, mixing and matching all of the amp 

and cabinet models can be done with the turn of a switch, without any risk of 

blowing the speakers up. Something that cannot be done in real life (unfortunately!). 

This capability can lead to some very interesting combinations, some 

34

useful, perhaps some not, but only you can decide what is useful to you, as 

your tone requirements are unique. Please feel free to explore all combinations 

of amps and cabinets. That is the beauty of ToneLabSE. 

NOTE: Product names appearing in this manual are trademarks of their respective owners, 

which are not associated or affiliated with VOX in any way. (except for VOX of course!!) 

Names and descriptions of these products are provided only for the purpose of identifying 

specific products that were studied by VOX in the course of developing this product. 

C. PEDAL EFFECTS 

The pedal effects are placed in front of the amp. 

(*): This indicates a parameter that you can control from an expression pedal. 

PEDAL DRIVE LEVEL TONE MANUAL TYPE ORDER 

COMP 

SENS LEVEL ATTACK 

1.0~10.0 0.0~10.0 1.0~10.0 

ACOUSTIC 

BODY BASS TREBLE 

1.0~10.0 0.0~10.0 0.0~10.0 

VOX WAH 

CLOSE OPEN MANUAL TYPE ORDER 

1.0~10.0 1.0~10.0 1.0~10.0 847/848 PrE/PoS 

AUTO WAH 

SENS POLARITY ATTACK TYPE ORDER 

0.0~10.0 uP/dn 1.0~10.0 847/848 PrE/PoS 

U-VIBE 

SPEED DEPTH MIX 

1.00~10.00[Hz] 0.0~10.0 0.0~10.0 

BLK/ORG SPEED DEPTH RESO MANUAL TYPE ORDER 

PHASE 0.100~10.00[Hz] 0.0~10.0 0.0~10.0 1.0~10.0 bL/Or1/Or2 PrE/PoS 

OCTAVE 

DIRECT 1OCTAVE 2OCTAVE 

0.0~10.0 0.0~10.0 0.0~10.0 

RING DIRECT EFFECT FILTER MANUAL 

MODULATOR 0.0~10.0 0.0~10.0 1.0~10.0 0.0~10.0 

TREBLE 

BOOST 

TUBE OD 

SUPER OD 

BOUTIQUE 

FAT DIST 

ORANGE 

DIST 

FUZZ 

OCTAFUZZ 

DRIVE 

1.0~10.0 

LEVEL 

0.0~10.0 

TONE 

1.0~10.0 

1. COMP 

Gotta play a clean passage that needs to be nice, smooth and even? Need a hair 

more sustain on a lead line? Then, look no further; COMP is the pedal for you. 

Modelled on a compressor pedal that is hugely popular due to the percussive 

clean sound it can produce - making it perfect for ’80s and ’90s pop and funk 

rhythm work. It can also add a singing, mellow sustain to lead lines - clean or dirty. 


TYPE 

35

[1] “SENS” 1.0...10.0 Adjusts the sensitivity of the compressor (i.e. when its 

“smoothing” effect kicks in). The amount of compression/ 

sustain will increase the more you turn this control up. 

[2] “LEVEL” 0.0...10.0 Adjusts the output level. 

[3] “ATTACK” 1.0...10.0 Adjusts the strength of the attack. 

2. ACOUSTIC 

Wanna go “unplugged” without the hassle of switching guitars and amps? Enter the 

acoustic guitar simulator - a clever effect that magically converts an electric guitar’s 

sound into that of an acoustic. It works best with a single coil (read: low output) 

pickup in the neck position, especially when paired with the BLACK 2x12 amp model. 

[1] “BODY” 1.0...10.0 Adjusts the body resonance. You’ll need to adjust the 

BASS along with this parameter to keep a balance. 

[2] “BASS” 0.0...10.0 Adjusts the bass. 

[3] “TREBLE” 0.0...10.0 Adjusts the treble. 

3. VOX WAH 

This effect is modeled on two legendary VOX wah pedals; the V847 and the V848 

Clyde McCoy model. Thanks to their unique “throaty” tone, these are the only wah 

pedals many professionals will consider stepping on. When used wisely, this pedal 

can either make your guitar cry like a baby or howl like a man possessed! 

[2] “CLOSE” 1.0...10.0 Adjusts the tone when the wah pedal is closed. 

[3] “OPEN” 1.0...10.0 Adjusts the tone when the wah pedal is open. 

[4] “MANUAL” 1.0...10.0 * Adjusts the openness (position) of the wah. 

[5] “TYPE” 847, 848 Selects either V847 or V848 Clyde McCoy model as the 

wah type 

[6] “ORDER” PrE(PRE), Selects the connection order. PRE/POST connects the 

PoS(POST) wah before/after the Amp Model. 

USEFUL TONE HINT: A great tonal trick that’s employed by many guitarists, 

including some who are household names, is to find a “sweet spot” within the range 

of their Wah pedal and then leave it there. This is often called stuck-Wah (imagine 

that!) and, when used tastefully, can be very effective as it produces a very distinctive 

sound that will cut through any mix. You can dial in a stuck-Wah “sweet spot” 

with your TONE control in a heartbeat. Try it, it’s cool... 

4. AUTO WAH 

The lazy man’s Wah pedal! Only kidding...this quirky but useful effect allows you to 

create an automatic “Wah” effect that varies with your picking dynamics (i.e. how 

hard or soft you hit the strings). As in VOX WAH, you can select either V847 or 

V848 as the wah type. 

[1] “SENSE” 0.0...10.0 * Adjusts the sensitivity with which the wah 

responds to the volume of the guitar. 

[2] “POLARITY” uP(UP), Sets the direction in which the auto wah will operate. 

dn(DOWN) 

36

[3] “ATTACK” 1.0...10.0 Adjusts the Auto Wah’s response speed. 

[5] “TYPE” 847, 848 Selects either V847 or V848 Clyde McCoy model as 

the wah type 

[6] “ORDER” PrE(PRE), 

PoS(POST) 

5. U-VIBE 

Selects the connection order. PRE/POST connects 

the wah before/after the Amp Model. 

Modelled on the famous Univox Uni-Vibe - a phase/vibrato effect that was 

designed to simulate a rotating speaker and produces a wonderfully seductive and 

“watery” tone. Interestingly enough, the guy responsible for this great pedal is also 

responsible for the birth of the remarkable Valve Reactor Technology used in the 

power amp of your ToneLabSE. 

[1] “SPEED” 1.00...10.00 [Hz] Adjusts the speed of the Uni-Vibe effect. 

[2] “DEPTH” 0.0...10.0 Adjusts the depth of the Uni-Vibe effect. 

[3] “MIX” 0.0...10.0 Adjusts the mixture of direct sound and vibrato. 

HINT: If you assign Speed to be controlled by an expression pedal, you’ll be able to 

control the vibrato speed just like on a Uni-Vibe. 

6. BLK/ORG PHASE (B/O PHAS) 

This models three models of phaser; a wide-range four-stage phaser that was 

made in Denmark and packaged in a black box, a popular four-stage phaser that 

came in a banana-colored box, and a mild-sounding ten-stage phaser that was 

likewise banana-colored. Use the TYPE knob to select the model. 

[1] “SPEED” 0.100...10.00 [Hz] Adjusts the modulation speed. 

[2] “DEPTH” 0.0...10.0* Adjusts the modulation depth. 

[3] “RESO” 0.0...10.0 Adjusts the amount of resonance. 

[4] “MANUAL” 1.0...10.0* Adjusts the center frequency of the sweep. MAN- 

UAL has no effect if DEPTH is set to 10. 

[5] “TYPE” bL, Or1, Or2 Selects the type of phaser. 

bL: Danish four-stage phaser with a wide range. 

Or1: Popular four-stage phaser in a banana-colored 

box. 

Or2: Sophisticated-sounding ten-stage phaser in 

a banana-colored box. 

[6] “ORDER” PrE (PRE), 

PoS (POST) 

7. OCTAVE 

Selects the connection order. PRE/POST places 

the effect before or after the AMP MODEL. 

This effect generates a note one or two octaves lower than the one you’re playing, 

adding thickness and “weight” to single note lines. 

[1] “DIRECT” 0.0...10.0 Adjusts the level of the original note. 

[2] “1OCTAVE” 0.0...10.0 Adjusts the mix level of the note one octave below. 

[3] “2OCTAVE” 0.0...10.0 Adjusts the mix level of the note two octaves below. 


TYPE 

37

WARNING! Like all pedals of this type, OCTAVE only works with single 

notes...chords confuse the heck out of it! NOT a fault - that’s just the way these 

pedals are...deal with it, dude! 

8. RING MODULATOR (RING MOD) 

A ring modulator is an effect that uses an oscillator to generate a sine wave which 

is then multiplied with the signal from your guitar to produce harmonics above and 

below the frequencies originally produced by your guitar. This creates complex 

and unpredictable pitches. A filter is built into the output of this effect to let you 

extract just the lower frequencies if desired, and this can generate low sounds that 

could not otherwise be produced by a guitar. 

If you assign the MANUAL parameter to the expression pedal, you’ll be able to 

control the sound in unique ways while you perform. 

[1] “DIRECT” 0.0...10.0 * Adjusts the amount of original sound that is mixed 

in. 

[2] “EFFECT” 0.0...10.0 Adjusts the effect volume. 

[3] “FILTER” 1.0...10.0 * Adjusts the filter cutoff frequency. 

[4] “MANUAL” 0.0...10.0 * Adjusts the oscillator frequency. 

9. TREBLE BOOST (TREB BST) 

This pedal effect is modelled after a built-in treble booster that was designed with 

the VOX VBM-1 specifically in mind. It is a great way of adding “teeth” to an overdriven 

sound. 

10. TUBE OD 

This model is based on an overdrive pedal that’s housed in a garish, “seasick green” 

box and is considered an all-time classic due to the wonderfully warm tones it produces. 

11. SUPER OD 

This models a yellow overdrive pedal manufactured in Japan, and is popular as a 

booster. 

12. BOUTIQUE 

This models an overdrive unit named after a half-human half-horse creature 

appearing in Greek fables. When the gain is lowered, you can use this as a 

booster that does not impair the original tonal character of your guitar. Raising the 

gain lets you use this as an overdrive that delivers a rich mid-range. The 12 o’clock 

position is the standard setting for tone, but feel free to adjust this aggressively. 

13. FAT OD 

Based on a pedal named after one of the most disliked rodents to ever walk the 

planet! The result is a smooth distortion rich in harmonics...nasty but nice. 

38

14. ORANGE DIST 

This models a classic distortion unit manufactured in Japan and packaged in an 

orange box. 

15. FUZZ 

Retro, rude “n” raw...get the picture!? The name says it all. 

16. OCTAFUZZ 

This models a legendary fuzz unit that adds a pitch one octave above the original. 

To get the best results, be sure to use your front pickup. 

[1] “DRIVE” 1.0...10.0 * Adjusts the amount of distortion (boost). 

[2] “LEVEL” 0.0...10.0 * Adjusts the output level. 

[3] “TONE” 1.0...10.0 * Adjusts the tone. 

D. MOD (MODULATION) EFFECTS 

This section enables you to add a modulation effect after the cabinet. You can 

choose one of eleven types of modulation effect. 


MODULATION SPEED DEPTH RESONANCE MANUAL OPTION MIX 

CLASSIC CHORUS 

SPEED DEPTH 

MANUAL MODE 

0.100~10.00[Hz] 0.0~10.0 1.0~10.0 1,2,3 

STEREO CHORUS 

SPEED DEPTH 

MANUAL 

MIX 

0.100~10.00[Hz] 0.0~10.0 1.0~10.0 0.0~10.0 

CLASSIC FLANGER 

SPEED DEPTH RESONANCE MANUAL OFFSET MIX 

0.100~10.00[Hz] 0.0~10.0 0.0~10.0 1.0~10.0 0.0~10.0 0.0~10.0 

BI CHORUS 

SPEED1 DEPTH RESONANCE SPEED2 MODE MIX 

0.100~10.00[Hz] 0.0~10.0 0.0~10.0 0.100~10.00[Hz] S/P1/P2/P3 0.0~10.0 

DUO PHASE 

SPEED1 DEPTH RESONANCE SPEED2 MODE 

0.100~10.00[Hz] 0.0~10.0 0.0~10.0 0.100~10.00[Hz] S1/S2/P1/P2/P3 

TEXTREM 

SPEED DEPTH SPREAD 

1.00~10.00[Hz] 0.0~10.0 0.0~10.0 

ROTARY 

SPEED1 DEPTH SPEED2 ACCEL 

0.80~10.0[Hz] 0.0~10.0 0.80~10.0[Hz] 1.0~10.0 

PITCH SHIFTER 

PITCH FINE TRACKING DIRECT EFFECT 

-24~24 -50~50 10~150[ms] 0.0~10.0 0.0~10.0 

MOD DELAY 

SPEED DEPTH FEEDBACK TIME MODE MIX 

0.100~10.00[Hz] 0.0~10.0 0.0~10.0 1.0~10.0 1,2,3 0.0~10.0 

FILTRON 

ATTACK DEPTH RESONANCE MANUAL POLARITY SENS 

1.0~10.0 0.0~10.0 0.0~10.0 1.0~10.0 uP/dn 0.0~10.0 

TALK MOD 

ATTACK DEPTH TYPE MANUAL POLARITY SENS 

1.0~10.0 0.0~10.0 A-E~O-U 1.0~10.0 uP/dn 0.0~10.0 


TYPE 

39

1. CLASSIC CHORUS (CL CHORUS) MONO IN/MONO OUT 1 

(MODE=1,3) MONO IN/MONO OUT 3 (MODE=2) 

This models a chorus unit that has two modes (chorus and vibrato), and is bestknown 

for being built into a guitar amp. There’s no parameter to switch between 

chorus and vibrato, but you can use the SPEED and DEPTH knobs to create 

either of these sounds, giving you an even broader range of possibilities than the 

original unit! The output vibrato mode allows you to create vibrato (pitch modulation) 

by outputting just the effect sound. 

[1] “SPEED” 0.100–10.00 [Hz] * Adjusts the modulation speed. 

[2] “DEPTH” 0.0–10.0 * Adjusts the modulation depth. 

[4] “MANUAL” 1.0–10.0 * Adjusts the center frequency of the sweep. If 

DEPTH is set to 10, MANUAL will not function. 

[5] “MODE” 1, 2, 3 Selects the output mode. 

1: Mono output. 

2: Stereo mode in which the effect is panned 

right, and the dry sound panned left. 

3: Vibrato mode, in which only the effect sound is 

output. Setting MANUAL to 10 will minimize the 

delay of the output sound. 

2. STEREO CHORUS (ST CHORUS) MONO IN/STEREO OUT 1 

A stereo chorus in a yellow case. A sense of stereo is created by inverting the 

phase of the effect sound for the right output, producing a feeling of spaciousness 

that is somewhat different than the stereo effect of CLASSIC CHORUS. 

[1] SPEED 0.100–10.00 [Hz] * Adjusts the modulation speed. 

[2] DEPTH 0.0–10.0 * Adjusts the modulation depth. 

[3] MANUAL 1.0–10.0 * Adjusts the center frequency of the sweep. If 


[6] MIX 0.0–10.0 * Adjusts the mix amount of the effect sound. 

3. CLASSIC FLANGER (CL FLANG) MONO IN/MONO OUT 1 

A model of a truly classic analogue flanger that “unchained” a highly influential 

modern guitarist who many hail as the “godfather of two handed tapping.” 



[3] “RESO” 0.0–10.0 * Adjusts the amount of resonance. 

[4] “MANUAL” 1.0–10.0 * Adjusts the center frequency of the sweep. If 


[5] “OFFSET” 0.0–10.0 Adjusts the starting position of the LFO. If you 

assign “FLN TRIG” to a control pedal, the LFO will 

be reset to the starting position specified by OFF- 

SET whenever you operate the control pedal. When 

you defeat BYPASS, the LFO will start from the position 

you specify here. (p.56 Control pedal settings) 

40

[6] “MIX” 0.0–10.0 * Adjusts the mix amount of the effect sound. 

CONTROL pedal 

If you set the FLN TRIG: CONTROL pedal setting 

to “FLN TRIG,” the LFO will be reset to the position 

specified by OFFSET whenever you operate 

the pedal. (p.56 Control pedal settings) 

4. BI CHORUS MONO IN/MONO OUT 1 (MODE=S) STEREO IN/ 

STEREO OUT 1 (MODE=P1, P2, P3) 

This is a chorus model unique to ToneLabSE. It provides two chorus units, CHO- 

RUS 1 and CHORUS 2, and lets you connect the two units not only in series or in 

parallel, but also to synchronize or de-synchronize the two LFOs. It produces a 

variety of tones that cover a range from wonderfully spacious sounds to bizarre 

flanger-like sounds with complex modulation. 

[1] “SPEED 1” 0.100–10.00 [Hz] * Adjusts the modulation speed of CHORUS 1. 

[2] “DEPTH” 0.0–10.00 * Adjusts the modulation depth of CHORUS 1/2. 

[3] “RESO” 0.0–10.0 * Adjusts the amount of resonance for CHORUS 

1/2. 

[4] “SPEED 2” 0.100–10.00 [Hz] * Adjusts the modulation speed of CHORUS 2. 

NOTE: This will not function if MODE is set to P2 or P3. 

[5] “MODE” S/P1/P2/P3 Specifies the connection and LFO for CHORUS 

1/2. 

S: CHORUS 1/2 are connected in series. 

P1: CHORUS 1/2 are connected in parallel. 

P2: CHORUS 1/2 are connected in parallel, and 

their LFOs are synchronized. 

P3: CHORUS 1/2 are connected in parallel, and 

their LFOs are synchronized in opposite 

phase (Stereo mode). 

NOTE: If P2 or P3 is selected, the speed is adjusted by the SPEED 1 

knob. 


5. DUO PHASE (DUO PHAS) MONO IN/MONO OUT 2 (MODE=S1, 

S2) STEREO IN/STEREO OUT 2 (MODE=P1, P2, P3) 

This is an amazing phaser that provides two six-stage phasers; PHASER 1 and 

PHASER 2. They can be connected in series (to make a pseudo-twelve-stage 

phaser!) or in parallel, and you can also synchronize or de-synchronize the two 

LFOs. 

[1] “SPEED 1” 0.100–10.00 [Hz] * Adjusts the modulation speed of PHASER 1. 

[2] “DEPTH” 0.0–10.0 * Adjusts the modulation depth of PHASER 1/2. 

[3] “RESO” 0.0–10.0 * Adjusts the amount of resonance for PHASER 

1/2. 

[4] “SPEED 2” 0.100–10.00 [Hz] * Adjusts the modulation speed of PHASER 2. 

NOTE: This will not function if MODE is set to S2, P2, or P3. 


TYPE 

41

[5] “MODE” S1, S2, P1, P2, 

P3 

6. TEXTREM STEREO IN/STEREO OUT 2 

This models the popular tremolo circuit that’s built into the BLACK 2x12 model. The 

SPREAD setting lets you produce a panning effect that spreads to left and right. 

7. ROTARY MONO IN/STEREO OUT 2 

Specifies the connection and LFO for PHASER 

1/2. 

S1:PHASER 1/2 are connected in series. 

S2:PHASER 1/2 are connected in series and 

their LFOs are synchronized to create a 

pseudo-twelve-stage phaser. 

P1:PHASER 1/2 are connected in parallel. 

P2:PHASER 1/2 are connected in parallel, and 

their LFOs are synchronized (Stereo mode). 

P3:PHASER 1/2 are connected in parallel, and 

their LFOs are synchronized in opposite 

phase (Stereo mode). 

NOTE: If P2 or P3 is selected, the speed is adjusted by the SPEED 1 

knob. 

[1] “SPEED” 1.00–10.00 [Hz] * Adjusts the tremolo speed. 

[2] “DEPTH” 0.0–10.0 * Adjusts the tremolo depth. 

[5] “SPREAD” 0.0–10.0 * Adjusts the left/right spaciousness. 

This models a stereo rotary speaker. When you adjust the speed, it will take a certain 

amount of time for the specified speed to be reached – just like on an actual 

rotary speaker. This is because it takes several seconds for the motor that creates 

the rotation to accelerate or decelerate. 

[1] “SPEED 1” 0.80–10.0 [Hz] * Adjusts the rotational speed of the speaker. If 

you assign “ROT SPD” to the CONTROL 

pedal, this will be the SLOW speed. This knob 

is effective even if you’re not using the CON- 

TROL pedal. (p.56 Control pedal settings) 


[4] “SPEED 2” 0.80–10.0 [Hz] * Adjusts the rotational speed of the speaker. If 

you assign “ROT SPD” to the CONTROL 

pedal, this will be the FAST speed. This knob 

will not function if you’re not using the CON- 

TROL pedal. (p.56 Control pedal settings) 

[5] “ACCEL” 1.0–10.0 * Adjusts the time it takes for the rotational 

speed to change. With higher settings, the 

change will take more time. 

42

CONTROL pedal: ROT SPD: 

If you select “ROT SPD” as the CONTROL pedal 

setting, the rotation speed will alternate between 

SLOW/FAST (SPEED 1/SPEED 2) each time 

you press the CONTROL pedal switch. This lets 

you control the effect just as on an actual rotary 

speaker. (p.56 Control pedal settings) 

8. PITCH SHIFTER (PITCH) MONO IN/MONO OUT 1 

This is a pitch shifter with a range of two octaves up or down, rivaling sophisticated 

rack-mounted signal processors. 

PITCH SHIFTER TIPS: If you assign the PITCH knob to an expression pedal, 

you can use the pedal to control the pitch change. (p.53 Using the expression 

pedal to control the sound) 

[1] “PITCH” –24–+24 * Adjusts the pitch in 100-cent units. 

[2] “FINE” –50–+50 * Adjusts the pitch in one-cent units. 

[4] “TRACKING” 10–150 [ms] Adjusts the tracking of the pitch shifter (i.e., how 

closely it will follow). Shorter settings are effective if 

the PITCH setting is close to 0, and longer settings 

are effective if the PITCH setting is close to +/–24. 

While listening to the pitch-shifted sound, adjust 

this so that you do not have difficulty playing. 

[5] “DIRECT” 0.0–10.0 * Adjusts the level of the direct sound. 

[6] “EFFECT” 0.0–10.0 * Adjusts the level of the effect sound. 

9. MOD DELAY (MOD DLY) MONO IN/MONO OUT 1 (MODE=1) 

MONO IN/MONO OUT 3 (MODE=2) MONO IN/STEREO OUT 1 (MODE=3) 

This models an analog delay that lets you add a vibrato effect to the delayed 

sound. The actual unit provided 400 ms of delay time, but this simulation extends 

this up to 1400 ms while maintaining the same warm sound, and can also be used 

as a sub-delay for the DELAY section. The CHORUS/VIBRATO switch of the original 

unit has been replaced by a knob with a range of 0.1–10 Hz, giving you even 

more versatility than the original. 



[3] “FEEDBACK” 0.0–10.0 * Adjusts the amount of feedback. 

[4] “TIME” 1.0–10.0 * Specifies the delay time. 

[5] “MODE” 1,2,3 Selects the output method. 

1: Mono output. 

2: Stereo mode with effect sound from the 

right and dry sound from the left. 

3: Reverse-phase stereo mode with dry + 

effect in the left side and dry - effect in the 

right side. 



TYPE 

43

10. FILTRON STEREO IN/STEREO OUT 2 

This is an envelope controlled filter – a filter that opens and closes according to 

the guitar input. By assigning the MANUAL knob to the expression pedal you can 

simulate Korg’s TRAVELER pedal. (In this case, set the DEPTH knob to 0.) 

[1] “ATTACK” 1.0–10.0 * Adjusts the speed of response. 

[2] “DEPTH” 0.0–10.0 * Adjusts the depth of the effect. 

[3] “RESO” 0.0–10.0 * Adjusts the amount of resonance. 

[4] “MANUAL” 1.0–10.0 * Sets the cutoff frequency. If DEPTH is set to 10, 

MANUAL will not function. 

[5] “POLARITY”uP (UP), Specifies the direction of movement. 

dn (DOWN) 

[6] “SENS” 0.0–10.0 * Adjusts the sensitivity of response to the guitar volume. 

11. TALK MOD MONO IN/MONO OUT 2 

This is an envelope controlled talking modulator. The vocal character will change 

according to the input from your guitar. 

HINT: If you assign the MANUAL knob to the expression pedal, you’ll be able to 

control the vowel sound from the pedal. (In this case, set the DEPTH knob to 0.) 

[1] “ATTACK” 1.0–10.0 * Adjusts the speed of response. 

[2] “DEPTH” 0.0–10.0 * Adjusts the depth of operation. 

[3] “TYPE” A-E–O-U Selects one of the following transitions between vowels. 

‘A’-‘E’, ‘A’-‘I’, ‘A’-‘O’, ‘A’-‘U’, ‘E’-‘I’, ‘E’-‘O’, ‘E’-‘U’, ‘I’-‘O’, 

‘I’-‘U’, ‘O’-‘U’ 

[4] “MANUAL” 1.0–10.0 * Adjusts the vocal character. If DEPTH is set to 10, 

MANUAL will not function. 

[5] “POLARITY”uP (UP), Specifies the direction of change. 

dn (DOWN) 

[6] “SENS” 0.0–10.0 * Adjusts the sensitivity of response to the guitar volume. 

44

E. DELAY EFFECTS 

Here you can make settings for a delay effect inserted after the cabinet. You can 

choose one of eleven types. 

(*): This indicates a parameter that you can control from the expression pedal. 

DELAY TIME FEEDBACK TONE DUCKING OPTION MIX 

ECHO TIME FEEDBACK TONE LODAMP MIX 

PLUS 26~2000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 0.0~10.0 

MULTI TIME FEEDBACK TONE MODE MIX 

HEAD 1~2000[ms] 0.0~10.0 1.0~10.0 1,2,3,4,5 0.0~10.0 

ANALOG TIME FEEDBACK TONE MIX 

DELAY 1~2000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 

MOD TIME FEEDBACK TONE SPEED MIX 

DELAY 3~2000[ms] 0.0~10.0 1.0~10.0 0.100~10.00[Hz] 0.0~10.0 

SWEEP TIME FEEDBACK TONE SENS MIX 

DELAY 26~2000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 0.0~10.0 

STEREO TIME FEEDBACK TONE DUCKING MIX 

DELAY 1~4000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 0.0~10.0 

CROSS TIME FEEDBACK TONE DUCKING MIX 

DELAY 1~4000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 0.0~10.0 

TAP 2 TIME FEEDBACK TONE DUCKING MIX 

DELAY 1~4000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 0.0~10.0 

RHYTHM TIME FEEDBACK TONE DUCKING RHYTHM MIX 

DELAY 1~4000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 1,2,..11 0.0~10.0 

HOLD TIME FEEDBACK TONE MIX 

DELAY 1~8000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 

REVERSE TIME FEEDBACK TONE MIX 

DELAY 26~4000[ms] 0.0~10.0 1.0~10.0 0.0~10.0 

1. ECHO PLUS MONO IN/MONO OUT 1 

This models one of the most respected analogue tape echo machines ever made. 

In the original, the “echo” is produced by a playback head and the exact “delay 

time” is set by varying the motor speed. Many professionals prefer these “lo-fi” 

units because of the warm, dark echoes they produce. 

[1] “TIME” 26–2000 [ms] * Sets the delay time. 


[3] “TONE” 1.0–10.0 * Adjusts the tone of the delay sound. 

[5] “LODAMP” 0.0–10.0 * Adjusts the amount of low-frequency attenuation. 

[6] “MIX” 0.0–10.0 * Adjusts the mix amount of the delay sound. 


TYPE 

45

2. MULTI HEAD (MULTI HD) MONO IN/MONO OUT 1 

This is a model of a tape echo unit boasting three playback heads. The echo from 

each head has its own feedback loop, letting you create warm and complex “multitap” 

echo effects. 

[1] “TIME” 1–2000 [ms] Sets the delay time. 



[5] “MODE” 1, 2, 3, 4, 5 Specifies the combination of heads that will be 

used. 

1: Conventional echo. 

2: The delayed sound produces a rhythm of 

“ta-ta-ta (rest).” 


“ta (rest) ta-ta.” 


“ta-ta (rest) ta.” 


“ta-ta-ta-ta.” 

[6] MIX 0.0–10.0 * Adjusts the mix amount of the delay sound. 

3. ANALOG DELAY (ANLG DL) MONO IN/MONO OUT 1 

This models an analog delay that used a bucket-brigade device (BBD) instead of a 

tape mechanism and was known for its compactness and reliability. It is characterized 

by a warmly distorted sound. 





4. MOD DELAY (MOD DLY) MONO IN/MONO OUT 1 

This models Korg’s first digital delay, the SDD-3000. You can also use this to produce 

chorus or flanger-like effects by setting a short TIME and using the LFO to modulate it. 






5. SWEEP DELAY (SWEEP DL) MONO IN/MONO OUT 1 

This also models the SDD-3000. Here you can use the envelope of your guitar signal 

to control the DELAY TIME, and by setting a short TIME and raising the FEED- 

BACK you can produce a distinctive flanger effect. Even with conventional settings 

of TIME, you can produce unique effects that would not be possible with an LFO. 

46




[5] “SENS” 0.0–10.0 * Adjusts the sensitivity at which the effect 

responds to the volume of your guitar. 


6. STEREO DELAY (ST DL) STEREO IN/STEREO OUT 1 

This is Korg’s 24-bit digital delay, the DL8000R. With the exception of the sampling 

frequency and wave control of the DELAY TIME, the circuit is essentially identical. 

Since this is a full-stereo design, it’s particularly effective to place it after the output 

of a stereo MOD or REVERB effect. 

7. CROSS DELAY (CROSS DL) STEREO IN/STEREO OUT 3 

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

R->L. 

8. 2TAP DELAY (2TAP DLY) MONO IN/STEREO OUT 1 

This is the DL8000R with two delay taps whose DELAY TIME is skewed by 20 ms 

and separately assigned to L and R, turning a mono input into stereo. 




[4] “DUCKING” 0.0–10.0 * Adjusts the sensitivity at which the effect will 

“duck” (decrease) in response to the volume of 

your guitar. 

Ducking: This automatically lowers the volume of 

the delay sound when you play your guitar loudly, 

allowing your playing to come through. 


9. RHYTHM DELAY (RHYTM DL) MONO IN/MONO OUT 1 

This provides a DL8000R function in which the TIME of two delay taps is automatically 

set according to the RHYTHM you specify. 




[4] “DUCKING” 0.0–10.0 * Adjusts the sensitivity at which the effect will 

“duck” (decrease) in response to the volume of 

your guitar. 

[5] “RHYTHM” 1, 2, ...11 Specifies the two-tap rhythm delay when the 

delay time is set to quarter-note timing. For some 

settings, only one tap is used. 



TYPE 

47

10. HOLD DELAY (HOLD DLY) MONO IN/MONO OUT 1 

If you assign “HOLD DLY” to the CONTROL pedal, you’ll be able to hold the delay 

sound. 





CONTROL pedal: HOLD DLY: If you select “HOLD DLY” for the CONTROL 

pedal, the delay sound will be held from the 

moment you turn the pedal on. 

11. REVERSE DELAY (REVRS DL) MONO IN/MONO OUT 1 

This is a digital delay that plays the delay sound backward. You can get some 

really cool results by playing long notes in a legato fashion. 




[6] “MIX” 0.0–10.0 * Adjusts the mix balance between the delay 

sound and direct sound. With a setting of 10 you 

will hear only the delay sound. 

F. REVERB EFFECTS 

Here you can make settings for the reverb effect that is placed after the cabinet. 

You can choose one of eleven types of reverb. 


REVERB 

TIME 

LO 

DAMP 

HI 

DAMP 

PRE 

DELAY 

SHAPE 

MIX 

SPRING 1 

SPRING 2 

PLATE 1 

PLATE 2 

CHAMBER 1 

CHAMBER 2 

ROOM 1 

ROOM 2 

HALL 1 

HALL 2 

GATE 

TIME LODAMP HIDAMP PREDELAY MIX 

1.0~10.0 0.0~10.0 0.0~10.0 0~100[ms] 0.0~10.0 

TIME LODAMP HIDAMP PREDELAY SHAPE MIX 

5~500[ms] 0.0~10.0 0.0~10.0 0~100[ms] 1,2 0.0~10.0 

1. SPRING 1 MONO IN/STEREO OUT 1 

A model of the spring reverb system used in guitar amps – ideal for surf music! 

48

2. SPRING 2 MONO IN/STEREO OUT 1 

This models a spring reverb that produces a higher-density reverberation. 

3. PLATE 1 MONO IN/STEREO OUT 1 

This models a type of reverb unit that works by vibrating a metal plate instead of a 

spring. It is adjusted to a fairly short reverb time. This reverberation is characterized 

by a rapid attack, and is suitable for percussive playing. 

4. PLATE 2 MONO IN/STEREO OUT 1 

This models a plate reverb that produces a higher-density reverberation. 

5. CHAMBER 1 MONO IN/STEREO OUT 1 

In past years, recording studios often used a room (echo chamber) that was specially 

designed to produce reverberation, and contained a speaker and mic used to 

record reverberation. This model simulates a mild-sounding echo chamber. 

6. CHAMBER 2 MONO IN/STEREO OUT 1 

This models an echo chamber designed to produce a bright sound. 

7. ROOM 1 MONO IN/STEREO OUT 1 

This models the reverberation of a typical room, with numerous early reflections. 

8. ROOM 2 MONO IN/STEREO OUT 1 

This models the reverberation of a large room. 

9. HALL 1 MONO IN/STEREO OUT 1 

This models the reverberation of a concert hall with numerous echoes. 

10. HALL 2 MONO IN/STEREO OUT 1 

This models a concert hall with smooth and dense reverberation. 

[1] “TIME” 1.0–10.0 * Sets the reverb time. The relation between this 

setting and the actual length of reverberation will 

differ depending on the reverb type. 

[2] “LODAMP” 0.0–10.0 * Adjusts the attenuation of the low-frequency range. 

[3] “HIDAMP” 0.0–10.0 * Adjusts the attenuation of the high-frequency range. 

[4] “PREDELAY” 0–100 [ms] Sets the initial delay before the reverberation 

begins. By adjusting this setting you can clarify the 

definition of the original sound. 

[6] “MIX” 0.0–10.0 * Adjusts the mix amount of the reverb sound. 


TYPE 

49

11. GATE MONO IN/STEREO OUT 1 

This is a versatile gated reverb, ideal for percussive playing. By setting SHAPE to 

2 and MIX to 10 (i.e., effect only) you can create a reverse-playback type of sound. 

[1] “TIME” 5–500 [ms] Sets the gate time. 

[2] “LODAMP” 0.0–10.0 * Adjusts the attenuation of the low-frequency range. 

[3] “HIDAMP” 0.0–10.0 * Adjusts the attenuation of the high-frequency range. 

[4] “PREDELAY” 0–100 [ms] Sets the initial delay before the reverberation begins. 

[5] “SHAPE” 1,2 Sets the type of gate. 

1: Conventional gate. 

2: Reverse-playback type gate. 

[6] “MIX” 0.0–10.0 * Adjusts the mix balance between the reverb 

sound and direct sound. With a setting of 10 you 

will hear only the reverb sound. 

Mono In / Mono Out 1 

Mono In / Mono Out 2 Mono In / Mono Out 3 

Mono In / Stereo Out 1 

Mono In / Stereo Out 2 

Stereo In / Stereo Out 1 Stereo In / Stereo Out 2 Stereo In / Stereo Out 3 

50

Tuner (Bypass, Mute) 

For your convenience, ToneLabSE contains an automatic chromatic tuner. The frequency 

of the middle “A” reference pitch can be adjusted (calibrated) over a range 

of 438 Hz–445 Hz. 

TUNING PROCEDURE 

1. Press and hold the FX ON/OFF (TUNER) button for 

about 0.5 seconds. All effects will be bypassed, and 

the Auto Chromatic Tuner will operate. (The name display 

indicates BYPASS.) 

If you are playing a live performance and want to tune 

without being heard by the audience, select Silent 

Tuning mode as follows before you tune your guitar. 

When you press and hold the FX ON/OFF (TUNER) 

button for about 1.5 seconds, you will be in Silent Tuning 

mode, letting you tune your guitar with the output 

muted. (The name display indicates MUTE.) 

2. When you play a string on your guitar, the nearest pitch will appear in the bank 

display, and a meter will appear in the tuner display (3.8). 

Tuner 

Meter 

Note name# 

Pitch is flat 

Pedals 

Pitch is sharp! 

MIDI/DIGITAL 

Correct tuning 

The note names are displayed as follows. 

C C# D D# E F F# G G# A A# B 

Factory 

settings 

Troubleshooting 

3. Watch the meter, and tune your guitar. 

4. When you’re finished tuning, press the FX ON/OFF (TUNER) button once 

again to return to the mode you were in. 

HINT: If you’ve started up the tuner from Program Select mode, pressing a program 

select pedal will cancel the tuner and change the program at the same time. 

Spec. 

Program 

List 

51

CALIBRATING THE TUNER 

When you switch ToneLabSE on, the built-in tuner is automatically calibrated to 

A=440 Hz (a.k.a. “concert pitch”). If desired, you can recalibrate the tuner in the 

range of A = 438 Hz–445 Hz. 

• While the tuner is active, the value display (3.10) shows the frequency of the reference 

pitch. You can use the ▲, ▼ buttons to adjust (calibrate) this in the range 

of 438 Hz–445 Hz. 

NOTE: If you’ve recalibrated the tuner, remember that the setting will be automatically 

reset to 440 Hz the next time you turn ToneLabSE on. 

52

Using the expression pedals 

EXPRESSION PEDAL SETTINGS 

ToneLabSE provides two expression pedals that you can use to control not only 

wah or volume, but a wide variety of effect parameters. For each program, you can 

specify which effect will be controlled, and how. 

HINT: If you’ve assigned a parameter to an expression pedal, operating the pedal 

has the same result as using the knob to edit the program. This means that when 

you operate the pedal, the EDIT icon will light. When you write the program, it will 

be written with the sound as currently specified by the position of the pedal. However 

if the expression target is “--OFF--,” “VOLUME,” “M/PITCH,” “D/INPUT,” or “R/ 

INPUT,” the program will not be edited by the pedal. 

EXPRESSION TARGET QUICK ASSIGN 

Here’s a very easy and convenient way to set the expression target. 

As an example, use the MODULATION selector to choose PITCH SHIFTER. So 

that the effect will be easy to hear, we’ll initialize the PITCH SHIFTER. If PITCH 

SHIFTER is already selected, turn the selector to choose a different effect, and 

then re-select PITCH SHIFTER. 

1. When you’re editing PITCH SHIFTER, turn value knob 1 or use the √, ® buttons 

to make the name display show PITCH; the EXPRESSION button will 

light. If in this state you press and hold (for one second) the EXPRESSION 

button, the name display will indicate COMPLETE. The PITCH parameter has 

now been assigned to expression pedal 1, letting you control the amount of 

PITCH SHIFT. If you want to make more detailed settings, you can press the 

EXPRESSION button and set the minimum value (“EXP1 MIN,” value knob 2) 

and maximum value (“EXP1 MAX,” value knob 3) of the target range. 

In the same way, whenever the EXPRESSION button is lit during editing, you 

can press and hold the CONTROL button for one second to assign expression 

pedal 2 to control the parameter that is currently shown in the name display. 

NOTE: If you change the effect type of a parameter that is assigned to an expression 

target (i.e., to be controlled by one of the expression pedals), the target will be 

initialized to a setting of “--OFF--”. (However, “A/*****”, “D/INPUT”, and “R/INPUT” 

are exceptions.) 

HINT: If you’ve set the PEDAL effect type to “VOX WAH,” the “P/MANUAL” (wah 

position) will automatically be assigned to expression 1. If you then set the PEDAL 

effect to a different type without making any further settings, the Target, Min, and 

Max settings will automatically return to their former settings. (However in the case 

of “P/******”, it will be initialized to “--OFF--” instead of returning to its former setting.) 

NOTE: When you change the expression target, the MIN and MAX values will be 

initialized. 

Tuner 

Pedals 

MIDI/DIGITAL 

Factory 

settings 


Spec. 

Program 

List 

53

SETTING THE EXPRESSION TARGET 

Here are the items you can set. 

When you’ve pressed the EXPRESSION button to make it blink, you’ll be able to 

set the following items by turning value knobs 1–6. 

“*/######”: EXP 1 expression target (value display indicates E1) Value knob 1 

“EXP 1 MIN:” EXP 1 (expression pedal 1) target range (minimum value) Value knob 2 

“EXP 1 MAX:” EXP 1 (expression pedal 1) target range (maximum value) Value knob 3 

“*/######”: EXP 2 expression target (value display indicates E2) Value knob 4 

“EXP 2 MIN:” EXP 2 (expression pedal 2) target range (minimum value) Value knob 5 

“EXP 2 MAX:” EXP 2 (expression pedal 2) target range (maximum value) Value knob 6 

NOTE: You can set the above items individually for each program. If you switch to a 

different program or turn off the power without saving, any changes you’ve made 

will be lost. 

Using the same example we described earlier when explaining Quick Assign, 

here’s how to assign expression pedal 1 to control the PITCH parameter of the 

PITCH SHIFTER modulation effect. 

1. Use the MODULATION selector to select PITCH SHIFTER. So that the effect 

will be easy to hear, we’ll initialize the PITCH SHIFTER. If PITCH SHIFTER is 

already selected, turn the selector to choose a different effect, and then reselect 

PITCH SHIFTER. 

NOTE: If you change the effect type of a parameter that is assigned to an expression 

target, the target will be initialized to a setting of “--OFF--”. (However, “A/*****”, 

“D/INPUT”, and “R/INPUT” are exceptions.) 

HINT: If you’ve set the PEDAL effect type to “VOX WAH,” the “P/MANUAL” (wah 

position) will automatically be assigned to expression 1. If you then set the PEDAL 

effect to a different type without making any further settings, the target setting will 

also automatically return to the former setting. 

2. Press the EXPRESSION button to make it blink. 

3. Press the ® button or turn value knob 1 to make the value display read “E1”. 

4. Use the ▲, ▼ buttons or turn value knob 1 to make the name display read “M/ 

PITCH”. The PITCH parameter of the PITCH SHIFTER effect has now been 

assigned to expression pedal 1. 

NOTE: Unlike other parameters, PITCH is not edited when you control it from an 

expression pedal. This is so that the pitch will change smoothly even when MIN 

and MAX are set to values that are close to each other (i.e., when you’ve made settings 

so that the pedal produces only a small amount of pitch change). 

54

NOTE: Nothing will be controlled if the target effect is “OFF.” 

The expression pedal target is indicated as follows. 

“*/###### *: Target category, ######: Target parameter 

• Examples 

“--OFF--” --- OFF (control nothing) 

“VOLUME” --- Volume pedal 

“P/DIRECT” --- (*: P (pedal)) DIRECT (mix amount of original sound) 

for a pedal effect (e.g., OCTAVE) 

“M/SPEED” --- (*: M (modulation)) SPEED of a modulation effect 

“D/INPUT” --- (*: D (delay)) Input level of a delay effect 

“R/MIX” --- (*: R (reverb)) MIX (mix amount of reverb sound) of a 

reverb effect 

“A/VRGN A” --- (*: A (amp)) [VR GAIN] (channel A) of an amp model 

In addition to the examples we’ve shown here, a wide variety of expression targets 

provided for each effect model can be freely assigned to the two expression 

pedals. 

If desired, you can make more detailed settings. 

NOTE: For “--OFF--”, “VOLUME”, “M/PITCH”, “D/INPUT”, and “R/INPUT”, operating 

the expression pedal does not edit the parameter. 

5. Turn value knob 2 to make the name display read “EXP 1 MIN.” Here you can 

specify the PITCH value for when the pedal is at the minimum position. Use 

value knob 2 or the ▲, ▼ buttons to adjust the setting. 

6. Turn value knob 3 to make the name display read “EXP 1 MAX.” Here you can 

specify the PITCH value for when the pedal is at the maximum position. Use 

value knob 3 or the ▲, ▼ buttons to adjust the setting. 

When you operate the expression pedal, the target parameter will change 

within the range you specified here. 

In the same way, you can use value knobs 4–6 or the ▲, ▼, √, ® buttons to 

make expression target parameter settings for expression pedal 2. (When you 

are making EXP2 expression target settings, the value display indicates “E2.”) 

NOTE: When you change the expression target, the MIN and MAX values will be 

initialized. 

7. Press the EXIT switch to return to the mode you were in. 

NOTE: The changes you make will not be preserved in internal memory unless you 

store the program. 

EXPRESSION PEDAL CONTROL INITIALIZATION SETTINGS 

“EXP1INIT” Expression pedal 1 initialization setting 

“EXP2INIT” Expression pedal 2 initialization setting 

If you press the ® button several times while the EXPRESSION button is 

blinking, the “EXP1INIT” setting screen will appear. 

If you then press the ® button again, the “EXP2INIT” setting screen will appear. 

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“EXP1INIT” lets you specify whether the control data for expression pedal 1 

(i.e., the position of the pedal) will be maintained when you switch programs. 

(“EXP2INIT” does the same for expression pedal 2.) 

Use the ▲, ▼ buttons to change the setting. 

If this is turned “OFF”; the instant you switch programs, the parameter that is 

specified as the expression target will change to the current position of the pedal. 

If this is turned “ON”; the parameter will be initialized to the same setting as 

when the program was saved (i.e., the control data will be initialized). 

Press the EXIT switch to exit this editing operation and return to the mode in 

which you were. 

NOTE: The “EXP1INIT” and “EXP2INIT” settings are not saved in a program; these 

settings apply to all programs in common, and the setting is saved automatically. 

CONTROL SWITCH SETTINGS 

You can make the following control pedal settings independently for each program. 

Press the CONTROL button to make it blink, and use value knob 1 to select the 

effect you want to control. 

SWITCHING EACH EFFECT ON/OFF 

• “I/ON OFF” 

• “P/ON OFF” 

• “A/ON OFF” 

• “C/ON OFF” 

• “M/ON OFF” 

• “D/ON OFF” 

• “R/ON OFF” 

External effect insertion on/off 

Pedal effect on/off 

Amp model on/off 

Cabinet effect on/off 

Modulation effect on/off 

Delay effect on/off 

Reverb effect on/off 

NOTE: The CONTROL button LEDs indicate the on/off status. 

USING TAP TEMPO TO SET A PARAMETER 

• “MOD TAP” 

• “DLY TAP” 

NOTE: The CONTROL button LED will blink at the tempo you specify. 

FACTOR VALUE KNOB 2 SETTING 

Use TAP TEMPO to set the SPEED parameter of the 

modulation effect 

Use TAP TEMPO to set the TIME parameter of the delay 

effect 

If the MODULATION effect’s SPEED parameter or the DELAY effect’s TIME parameter 

are assigned to a control pedal, you can set the MODULATION effect’s LFO 

SPEED or the DELAY effect’s DELAY TIME by the interval at which you press the control 

pedal twice. When you do so, the interval at which you actually press the pedal will 

56

e applied to the parameter at a “factor” (i.e., multiple) of 1/6, 1/4, 1/3, 1/2, 2/3, 3/4, 1, 

4/3, 3/2, 2, 3, or 4, according to the setting of the FACTOR parameter (value knob 2). 

NOTE: The maximum spacing of your taps can be no more than ten seconds. 

NOTE: If you’ve assigned a parameter other than MOD TAP or DLY TAP, the FAC- 

TOR setting does nothing. 

EFFECT CONTROL 

• “FLN TRIG” 

• “ROT SPD” 

• “HOLD DLY” 

LFO START TRIGGER of the CLASSIC FLANGER effect 

SPEED SW of the ROTARY effect 

HOLD of the HOLD DELAY effect 

NOTE: If you haven’t selected an applicable effect, nothing will be controlled. 

1. Press the CONTROL button to make it blink. 

2. To select the control target, use the ▲, ▼ buttons or turn value knob 1. 

3. If you’ve selected MOD TAP or DLY TAP, press the ® button or turn value knob 

2 to make the name display read “FACTOR”. Here you can specify the proportion 

of SPEED or TIME in relation to the interval of your taps. For example if 

you set DLY TAP as the target, and FACTOR to “1-4,” the delay time will be set 

to 1/4th of the duration between taps. 

4. Press the EXIT button to return to the mode you were in. 

Tuner 

ADJUSTING THE SENSITIVITY OF THE PEDALS 

If you notice that advancing the ToneLabSE’s expression pedal does not reach the 

full effect or volume even when the Min and Max parameters are set to the minimum 

and maximum settings, or that returning the expression pedal does not reach 

the minimum effect or volume, you will need to perform the following adjustment so 

that ToneLabSE’s expression pedal will be able to reach its full range of operation. 

NOTE: When adjusting the sensitivity, you must use your hand to operate the 

pedal. Accurate adjustment may not be possible if you use your foot to operate it. 

EXPRESSION PEDAL 1 

1. Turn the power OFF. 

2. While holding down the EXPRESSION button and the CHAIN button, turn the 

power on. The name display indicates EXP1 MIN. 

3. Slowly return expression pedal 1 toward yourself (pedal 

back), and take your hand off the pedal when it stops. 

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4. Press the GLOBAL button. The name display indicates EXP1 MAX. 

Program 

List 

57

5. Slowly advance the expression pedal 1 away from yourself (pedal forward), 

and take your hand off the pedal when it stops. 

NOTE: If you decide to cancel the calibration procedure, 

press the EXIT button. 

6. Press the GLOBAL button. 

The name display will indicate COMPLETE for one second, and then 

ToneLabSE will return to normal operation. 

If the sensitivity could not be adjusted correctly, the name display will indicate 

ERROR, and will then indicate EXP1 MIN. Repeat the procedure from step 3. 

NOTE: If you are still unable to adjust the sensitivity after repeated attempts, it is 

possible that ToneLabSE has malfunctioned. Please contact your dealer or Vox 

authorized service center. 

EXPRESSION PEDAL 2 

1. Turn the power OFF. 

2. While holding down the CONTROL button and the CHAIN button, turn the 

power on. The name display indicates EXP2 MIN. Perform steps 3–6 as 

described above to adjust the sensitivity of expression pedal 2. 

NOTE: If you are still unable to adjust the sensitivity after repeated attempts, it is 

possible that ToneLabSE has malfunctioned. Please contact your dealer or Vox 

authorized service center. 

58

Control via MIDI 

MIDI stands for Musical Instrument Digital Interface, and is a world-wide 

standard for exchanging various types of musical data between electronic 

musical instruments and computers. When MIDI cables are used to connect 

two or more MIDI devices, performance data can be exchanged between the 

devices, even if they were made by different manufacturers. 

ToneLabSE can use MIDI to communicate in the following ways with 

another MIDI device. You can: 

• Operate ToneLabSE to switch programs on an external MIDI device, or switch 

ToneLabSE programs from an external MIDI device. →“Program change” 

• Operate a connected optional foot controller to control an external MIDI device, 

or use an external MIDI device to control ToneLabSE’s volume or effects. 

→“Control change” 

• Use Sound Editor to edit parameters. →“Parameter change” 

• Backup (save) and restore (load) ToneLabSE program data. →“Backing up and 

restoring program data” 

NOTE: In order to do the above things, you need to use a MIDI cable to connect 

ToneLabSE and your external MIDI device, and set the MIDI channels appropriately. 

→“Connecting a MIDI device or computer,” “Setting the MIDI channel” 

NOTE: When you change the settings described in this section, they will be saved 

automatically. When you have finished making settings, simply press the EXIT 

switch (3.7) to return to the mode you were in. 

NOTE: If your external MIDI device does not recognize certain types of MIDI message, 

those messages cannot be used for control. Check the “MIDI implementation 

chart” of ToneLabSE and of your external MIDI device. 

CONNECTING A MIDI DEVICE OR COMPUTER 

If you want to control an external MIDI device from ToneLabSE, connect a MIDI cable 

from ToneLabSE’s MIDI OUT jack to the MIDI IN jack of your external MIDI device. 

If you want to control ToneLabSE from a MIDI sequencer or other external MIDI 

device, connect a MIDI cable from your external MIDI device’s MIDI OUT jack to 

ToneLabSE’s MIDI IN jack. 

When you connect ToneLabSE with a MIDI sequencer or sound editor, data will 

normally be sent in both directions, so you will need to connect MIDI cables from 

ToneLabSE’s MIDI OUT jack to the external MIDI device’s MIDI IN jack, and from 

the external MIDI device’s MIDI OUT jack to ToneLabSE’s MIDI IN jack. 

MIDI IN 

MIDI OUT 

MIDI interface 

MIDI OUT 

MIDI IN 

To a MIDI sequencer/computer 

NOTE: You will need a MIDI interface 

in order to connect your computer 

with ToneLabSE. 

Some USB-MIDI interface 

devices may not be able to transmit/receive 

the ToneLabSE’s MIDI 

exclusive messages. 

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SETTING THE MIDI CHANNEL (GLOBAL “MIDI CH”) 

In order to exchange data with an external MIDI device, ToneLabSE’s MIDI channel 

must match the MIDI channel of your external MIDI device. Here’s how to set 

the MIDI channel. 

1. Press the GLOBAL button (3.4). 

2. The name display (3.8) will show “MIDI CH.” If a different parameter is 

selected, press the √, ® buttons (3.2) to change the display. 

3. Use the value knob 3 (2.2) or the ▲, ▼ buttons (3.1) to set ToneLabSE’s MIDI 

channel. 

4. Set the MIDI channel of your connected external MIDI device. 

For details on how to set the MIDI channel of your external MIDI device, refer 

to its owner’s manual. 

PROGRAM CHANGE (GLOBAL “PCHG OUT”) 

When you switch programs on ToneLabSE, a program change message is transmitted 

from the MIDI OUT jack, causing an external MIDI device to switch programs. 

Similarly, when ToneLabSE receives a program change message, its 

program will switch automatically. Here’s how you can specify whether a program 

change message will be transmitted from the MIDI OUT jack when you switch programs 

on ToneLabSE. 

NOTE: Program change numbers not used by ToneLabSE will be ignored. For 

details on the range of program change numbers used by ToneLabSE, refer to End 

of this manual. 


2. Press the √, ® buttons (3.2) to make the name display (3.8) show “PCHG 

OUT.” 

3. Specify whether program change messages will be transmitted. Use value 

knob 6 (2.2) or the ▲, ▼ buttons (3.1) to make the desired setting. 

“OFF”: Program change messages will not be transmitted. 

“On”: Program change messages will be transmitted. 

CONTROL CHANGE (GLOBAL “CCHG I/O”) 

When you operate the EXPRESSION pedal 1, Expression pedal 2, or Control pedal of 

the ToneLabSE, control change messages will be transmitted. This means that functions 

for the corresponding control change numbers on an external MIDI device can 

be controlled in realtime. 

Similarly, when ToneLabSE receives control change messages from an external MIDI 

device, it will be controlled in the same way as if its own foot controller were operated. 

For a list of the functions that can be controlled from an external MIDI device, refer to 

step 4. 

Here you can specify whether ToneLabSE will transmit and receive control change 

messages. 

60


2. Press the √, ® buttons (3.2) to make the name display (3.8) read “CCHG I/O.” 

3. Specify whether all control change messages will be transmitted or received. 

Use value knob 6 (2.2) or the ▲, ▼ buttons (3.1) to make your choice. 

“On” allows transmitting and receiving. “OFF” disables transmitting and receiving. 

NOTE: If this setting is “OFF,” no control change messages will be transmitted or 

received even if you specify individual control change numbers in step 4. 

4. Simultaneously press both √, ® buttons (3.2) to access the screen where you 

can set control numbers individually. Use the √, ® buttons to select each controller. 

The controllers will be selected in the following order. 

“EXP1 PDL” Expression pedal 1 control 

“EXP2 PDL” Expression pedal 2 control 

“CTRL PDL” Control pedal on/off 

“VOL PDL”: VOLUME pedal control 

“TAP SW”: TAP switch on/off 

“PEDAL FX”: PEDAL effect on/off 

“MOD FX”: MODULATION effect on/off 

“DELAY FX”: DELAY effect on/off 

“REVRB FX”: REVERB effect on/off 

“INSRT FX” External effect on/off 

“A/B CH” Channel A/B 

5. For each controller, specify whether ToneLabSE will transmit and receive control 

change messages. If you want ToneLabSE to transmit and receive messages for 

a controller, specify the control change number. Select a controller, and use 

value knob 6 (2.2) or the ▲, ▼ buttons (3.1) to make the desired setting. 

“OFF”: Control change messages will not be transmitted or received. 

“CC00”–“CC95”: When you operate a controller, messages of the specified 

control change number 00–95 will be transmitted. Similarly, ToneLabSE will be 

controlled when it receives messages of the same control change number 

from an external MIDI device. 

6. To return to the screen where you specify transmit or receive for all control 

change messages, press both √, ® buttons (3.2) simultaneously. 

PARAMETER CHANGE (GLOBAL “SYEX OUT”) 

When you operate ToneLabSE’s knobs or buttons to edit the value of a parameter, 

system exclusive such as parameter changes are transmitted. 

If you want ToneLabSE’s parameters to be transmitted to an external device, turn 

the “SYEX OUT” setting “On.” Normally, you will turn “SYEX OUT” on when using 

the Sound Editor. 

This setting specifies whether ToneLabSE will transmit parameter changes. 

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2. Press the √, ® buttons (3.2) to make the name display (3.8) read “SYEX 

OUT.” 

3. Specify whether parameter change messages will be transmitted. Use value 

knob 3 (2.2) or the ▲, ▼ buttons (3.1) to make your choice. 

“OFF”: Parameter change messages will not be transmitted. 

“On”: Parameter change messages will be transmitted. 

NOTE: When ToneLabSE receives parameter changes or other system exclusive 

messages, its parameters, modes, or program numbers will change — regardless 

of the “SYEX OUT” setting. 

BACKING UP AND RESTORING PROGRAM DATA (GLOBAL 

“DUMP CUR,” DUMP ALL”) 

All of ToneLabSE’s data (including its programs) can be transmitted and received in 

the form of system exclusive messages. Exchanging this type of data with an external 

device via system exclusive messages is known as a “data dump.” By performing 

a data dump, ToneLabSE programs you created can be backed up (saved) on 

an external device such as a MIDI data filer or a sequencer that is able to transmit 

and receive system exclusive messages. Then when necessary, you can re-transmit 

that data back to ToneLabSE to restore it. This provides a way for you to organize 

large numbers of programs. You can also use this method to copy program 

data between two connected ToneLabSEs. 

You can transfer program data in one of two ways; one program at a time, or all programs 

at once. When you transmit all programs at once, all of ToneLabSE’s data 

will also be transmitted, including Dump settings and MIDI settings. 

NOTE: You can transmit data dumps regardless of the “SYEX OUT” setting. In fact, if 

you want to transfer program data between two ToneLabs, we recommend that you 

turn the “SYEX OUT” setting “OFF.” If “SYEX OUT” is “On,” operating the knobs or 

other controls may change the parameters of the other ToneLabSE in unintended 

ways. 

BACKING UP 

1. Connect ToneLabSE’s MIDI OUT to the MIDI IN of the device that will receive 

the data dump. 

2. If you want to transmit only one program, use Program Select Mode to select 

the program you want to transmit. 


4. Press the √, ® buttons (3.2) to make the name display (3.8) read “DUMP 

CUR” or “DUMP ALL.” 

“DUMP CUR” (Dump current program data): The data of the currently selected 

program will be dumped. If you are editing the program (and have not yet 

saved it), the current settings will be transmitted. 

62

“DUMP ALL” (Dump all data): All of the ToneLabSE’s data will be dumped. 

5. Put the receiving device in a mode in which it can record the data dump. 

NOTE: For details, refer to the owner’s manual of the device that will receive the 

data dump. 

6. Press ToneLabSE’s WRITE button (3.6) to begin transmitting. When transmitting 

is completed, the display will indicate “COMPLETE,” and you will return to 

the screen of step 4. (While “DUMP ALL” is being transmitted, the display will 

indicate “SEND.”) 

NOTE: While data is being transmitted, do not touch the buttons or knobs of 

ToneLabSE or its foot controller, and never turn off the power. 

RESTORING 

1. Connect the transmitting device’s MIDI OUT to ToneLabSE’s MIDI IN. 

2. Set the transmitting MIDI device and ToneLabSE to the same MIDI channel. If 

ToneLabSE will be receiving data that was previously transmitted to the external 

MIDI device, select the same MIDI channel as was used when transmitting. 

3. Transmit the data dump from the external device. 

While ToneLabSE is receiving all data, its display will indicate “RECEIVE.” 

When reception has been successfully completed, it will indicate “COM- 

PLETE.” If an error occurs, the display will indicate “ERROR”; in this case, try 

transmitting the data again. 

NOTE: For details, refer to the owner’s manual of the device that will be transmitting 

the data dump. 

NOTE: While data is being transmitted, don't touch the ToneLabSE's buttons, pedals, 

or knobs, and never turn off the power. 

4. If you received data for a single program, select the save-destination bank and 

program, and save the data. (p.22) 

NOTE: The program data will not be written into ToneLabSE’s program memory 

unless you store it. 

If you received data in Manual Mode, settings other than for the amp section will be 

overwritten automatically, so you don’t need to store the settings yourself. (Since 

the settings of the amp section are determined by the physical positions of the 

selectors and controllers, they will not change.) 

HINT: If ToneLabSE receives all data, all of its data will be overwritten automatically. 

However, the data currently being edited (i.e., the edit buffer) will not be affected. 

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63

Restoring the Factory Preset 

Programs 

H 

ere’s how you can restore ToneLabSE’s programs and all its other settings 

to the state in which it was shipped from the factory. 

NOTE: Executing this procedure will erase all the programs you created and saved 

in ToneLabSE, and will load the factory-set programs. MIDI settings will also be initialized. 

If there are any settings you want to keep, you should first use the data 

dump function to back them up, or use the “Program sheet” (the fold-out inside the 

back cover of this manual) to write down your settings. 

1. While holding down the three buttons ▲, ▼ (3.1), and EXIT switch (3.7), press 

the STANDBY button to turn on the power. 

The bank display (5.1) “P” and the LED 1–4 buttons (6.2) will blink, and the 

name display (3.8) will ask “RELOAD?” Release the three buttons you were 

holding down. 

2. If at this point you decide that you really don’t want to execute this operation, 

you can press the EXIT switch. 

3. Press the WRITE button (3.6). The name display (3.8) will show “LOADING,” 

and the factory-set data will begin being reloaded. 

When reloading has been completed, the name display will indicate “COM- 

PLETE,” and ToneLabSE will automatically switch to Program Select Mode. 

NOTE: Never turn off the power while this reload operation is occurring. 

64


If you suspect a malfunction, please check the following points first. If this does 

not resolve the problem, please contact your dealer or Vox authorized service 

center. 

1. The amp isn’t powering up when the STANDBY switch is 

“on” 

• Is the AC/AC power supply connected to the rear panel ~AC9V jack? 

• Is the AC/AC power supply plugged into an AC outlet? 

• Is the STANDBY switched on? 

• Could the AC/AC power supply be damaged? 

2. There’s no sound 

• Is your guitar turned up? 

• Are both ends of your guitar cable plugged into the correct jacks? 

• Is your guitar cable working? 

• Could the rear panel OUTPUT LEVEL knob be turned down? 

• Check the GAIN, TREBLE, MIDDLE, BASS, VR GAIN, and CH VOLUME settings. 

For some amp types, you might not hear any sound if the TREBLE, MID- 

DLE, and BASS settings are turned down – just like the circuitry on the original 

amp! 

If you are using a pedal effect, check the DRIVE [1] and LEVEL [3] settings as 

well. 

• Could an expression pedal be at the minimum position with a parameter such 

as DRIVE, LEVEL, VOLUME, GAIN, or VR GAIN assigned to it? 

• Could you have activated the Mute function? Press the FX ON/OFF (TUNER) 

pedal to defeat muting. 

3. You can't hear any effects even though they're dialed in... 

• Are the effect LEDs lit? 

If an LED is dark, the corresponding effect is off. 

Press the MODE select button to turn on the effect. 

• Could the modulation “DEPTH” or the delay/reverb “MIX” be set to a low value? 

Press the MODE select button to select an effect and use the value knobs to 

adjust the appropriate parameters. 

• Could the effect be bypassed? 

If so, press the FX ON/OFF pedal to cancel bypass. 

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4. You’re using the ACOUSTIC pedal effect and getting nasty 

high frequency distortion. 

• Could the Drive setting be excessively high? 

• Are you using a very high output humbucking pickup? 

Either turn down the volume of your guitar, the Amp GAIN or Treble setting for 

the pedal. 

5. The sound connected to your guitar amp is distorted, or 

sounds wrong. 

• Could “OUT SEL” switch be set to “Ln” (LINE)? 

• Could LEVEL be raised excessively? 

→Make the correct settings as described in Basic Connections. 

66

Specifications 

NUMBER OF AMP TYPES: 16 

NUMBER OF CABINET TYPES: 11 

NUMBER OF EFFECTS 

PEDAL TYPES: 16 

MODULATION TYPES: 11 

DELAY TYPES: 11 

REVERB TYPES: 11 

NOISE REDUCTION: 1 

NUMBER OF PROGRAMS: 96 (24 BANKS x 4 CHANNELS) 

AUDIO INPUTS 

INPUT x 1 

INSERT RETURN x1 

AUDIO OUTPUTS 

OUTPUT x 2 (balanced/unbalanced TRS) 

INSERT SEND x1 

PHONES x 1 

LEVEL knob (adjusts OUTPUT and PHONES) 

VALVE 

12AX7 (ECC83) x 1 

SIGNAL PROCESSING 

A/D conversion: 20bit 

D/A conversion: 20bit 

Sampling frequency: 44.1kHz 

TUNER 

TUNING RANGE: A0–C7 (27.5Hz–2093Hz) 

TUNER CALIBRATION: A = 438Hz–445Hz 

OTHER 

MIDI IN x 1, MIDI OUT x 1, ~AC9V x 1, STANDBY switch 

POWER CONSUMPTION: 18 W 

DIMENSIONS (W x D x H): 710 x 249 x 76 (mm)/279.5 x 98.0 x 29.9 (inches) 

WEIGHT: 6.2 kg/13.67 lbs. 

INCLUDED ITEMS: AC/AC power supply 9VAC 3.0A 

* Appearance and specifications of this product are subject to change without 

notice. 

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Program list 

NAME PEDAL Ach-AMP Ach-CABINET MOD DELAY REVERB 

INSERT Bch-AMP Bch-CABINET EXP1 EXP2 CONTROL 

1-1 DIARY TUBE OD TWEED 4x10 TWEED 4x10 CLASSIC CHORUS ECHO PLUS CHAMBER 2 

OFF 

UK '80S UK T75 4x12 M/SPEED VOLUME MOD ON/OFF 

1-2 S-R-V TUBE OD BLACK 2x12 BLACK 2x12 CLASSIC CHORUS MULTI HEAD ROOM 1 

OFF 

UK 68P UK H30 4x12 R/INPUT VOLUME PDL ON/OFF 

1-3 SATCH VOX WAH UK '90S UK T75 4x12 CLASSIC FLANGER ANALOG DELAY PLATE 1 

OFF 

UK '90S UK T75 4x12 P/MANUAL VOLUME DLY ON/OFF 

1-4 JIMIROTO U-VIBE BLACK 2x12 BLACK 2x12 CLASSIC FLANGER MULTI HEAD SPRING 2 

OFF 

UK 68P UK H30 4x12 P/SPEED VOLUME MOD ON/OFF 

2-1 TELEBEND COMP TWEED 1x12 TWEED 1x8 PITCH SHIFTER ECHO PLUS PLATE 1 

OFF TWEED 4x10 TWEED 1x8 M/PITCH VOLUME REV ON/OFF 

2-2 CRUNCH COMP 

AC15TB VOX AC15 MOD DELAY ECHO PLUS SPRING 2 

OFF 

AC30TB VOX AC30 D/TIME VOLUME DLY TAP 

2-3 SOLO TUBE OD UK BLUES UK H30 4x12 STEREO CHORUS ECHO PLUS PLATE 2 

OFF 

UK 68P UK H30 4x12 D/INPUT VOLUME DLY TAP 

2-4 BOOMER COMP TWEED 1x12 TWEED 1x12 CLASSIC CHORUS HOLD DELAY SPRING 1 

OFF 

UK '80S VOX AC15 D/INPUT VOLUME HOLD DLY 

3-1 JAZZMAN COMP TWEED 4x10 TWEED 4x10 STEREO CHORUS ECHO PLUS ROOM2 

OFF BLACK 2x12 BLACK 2x10 R/MIX VOLUME PDL ON/OFF 

3-2 FUNKYMAN VOX WAH TWEED 1x12 TWEED 4x10 FILTRON REVERSE DELAY SPRING 2 

OFF 

AC15 VOX AC15 P/MANUAL VOLUME REV ON/OFF 

3-3 FIRE OCTAFUZZ UK '80S UK H30 4x12 DUO PHASE REVERSE DELAY ROOM 2 

OFF 

UK '80S UK H30 4x12 D/INPUT VOLUME PDL ON/OFF 

3-4 AXIS OCTAFUZZ AC15 TWEED 1x8 CLASSIC FLANGER REVERSE DELAY SPRING 1 

OFF 

UK 68P UK H30 4x12 D/INPUT VOLUME DLY ON/OFF 

4-1 TEXAS T COMP BLACK 2x12 BLACK 2x12 TEXTREM RHYTHM DELAY SPRING 2 

OFF 

AC30TB VOX AC30 M/SPEED VOLUME MOD ON/OFF 

4-2 UK BLUES BOUTIQUE UK BLUES VOX AD412 STEREO CHORUS ANALOG DELAY SPRING 1 

OFF 

UK BLUES VOX AD412 R/TIME VOLUME REV ON/OFF 

4-3 RECTOFLY COMP 

RECTO UK T75 4x12 DUO PHASE ECHO PLUS SPRING 1 

OFF 

RECTO US V30 4x12 M/DEPTH VOLUME MOD TAP 

4-4 TALKVOX OCTAVE 

UK 68P UK H30 4x12 TALK MOD SWEEP DELAY PLATE 2 

OFF UK MODERN UK T75 4x12 M/MANUAL VOLUME PDL ON/OFF 

5-1 ACOUS VH ACOUSTIC AC15 TWEED 1x8 BI CHORUS ECHO PLUS CHAMBER 2 

OFF BOUTIQUE CL VOX AD412 P/BODY VOLUME REV ON/OFF 

5-2 PDL REV TREBLE BOOST AC15TB VOX AC15 MOD DELAY CROSS DELAY HALL 2 

OFF 

AC30TB VOX AC30 R/TIME VOLUME DLY ON/OFF 

5-3 VH TREBLE BOOST UK 68P UK H30 4x12 PITCH SHIFTER ECHO PLUS PLATE 2 

OFF 

UK 68P UK H30 4x12 M/PITCH VOLUME PDL ON/OFF 

5-4 UNCHAIN TUBE OD US HIGAIN UK T75 4x12 CLASSIC FLANGER ECHO PLUS ROOM 2 

OFF UK MODERN UK H30 4x12 M/RESO VOLUME FLN TRIG 

6-1 ECBADGE FAT DIST UK 68P UK H30 4x12 ROTARY 2 TAP DELAY SPRING 2 

OFF 

UK 68P UK H30 4x12 M/SPEED1 VOLUME ROT SPD 

6-2 SHOW ME ACOUSTIC UK '80S UK T75 4x12 TALK MOD ECHO PLUS ROOM 2 

OFF 

UK 68P UK H30 4x12 M/MANUAL VOLUME PDL ON/OFF 

6-3 TORNADO B/O PHAS 

AC15 TWEED 1x8 ROTARY MOD DELAY SPRING 2 

OFF 

UK 68P UK H30 4x12 M/SPEED1 VOLUME MOD ON/OFF 

6-4 FILTRON OCTAVE BOUTIQUE OD VOX AD412 FILTRON STEREO DELAY PLATE 1 

OFF 

US HIGAIN US V30 4x12 M/DEPTH VOLUME PDL ON/OFF 

7-1 MR.CLEAN COMP BOUTIQUE CL VOX AD412 BI CHORUS STEREO DELAY SPRING 2 

OFF BLACK 2x12 BLACK 2x12 M/MIX VOLUME PDL ON/OFF 

7-2 PDL ECHO COMP 

UK 68P UK H30 4x12 CLASSIC CHORUS ECHO PLUS SPRING 1 

OFF 

UK '80S UK T75 4x12 D/TIME VOLUME DLY TAP 

7-3 UCLA COMP BLACK 2x12 BLACK 2x12 STEREO CHORUS ANALOG DELAY SPRING 1 

OFF BOUTIQUE OD UK H30 4x12 M/MIX VOLUME DLY TAP 

7-4 THRASH AUTO WAH UK MODERN UK T75 4x12 STEREO CHORUS ANALOG DELAY ROOM 2 

OFF UK MODERN US V30 4x12 D/MIX VOLUME DLY TAP 

8-1 SPACEMOD COMP BOUTIQUE CL VOX AD412 MOD DELAY ECHO PLUS CHAMBER 1 

OFF TWEED 4x10 BLACK 2x10 M/MIX VOLUME DLY TAP 

8-2 ROTOMAN SUPER OD TWEED 1x12 TWEED 1x12 ROTARY STEREO DELAY SPRING 1 

OFF BLACK 2x12 BLACK 2x10 M/SPEED1 VOLUME ROT SPD 

8-3 VULGAR TREBLE BOOST US HIGAIN VOX AD412 MOD DELAY STEREO DELAY PLATE 2 

OFF 

RECTO UK H30 4x12 M/MIX VOLUME DLY ON/OFF 

8-4 SPOOKY TREBLE BOOST BOUTIQUE CL VOX AC30 BI CHORUS ECHO PLUS HALL 1 

OFF 

AC15 VOX AC15 R/INPUT VOLUME MOD ON/OFF 

Default select channel 

68 

On effect

Index 

Numerics 

1OCTAVE 37 

2OCTAVE 37 

A 

AC15 25 

AC15TB 26 

AC30 26 

AC30TB 27 

ACOUSTIC 36 

AMP Models 23 

ATTACK 36, 37 

AUTO WAH 36 

automatic chromatic 

tuner 51 

B 

Backing Up 62 

BASS 23, 36 

BLACK 2x10 (BLK 

2X10) 32 

BLACK 2x12 (BLK 

2X12) 30, 33 

BODY 36 

BOUTIQUE CL (BTQ 

CL) 30 

BOUTIQUE OD (BTQ 

OD) 30 

C 

Cabinet 32 

CABINET Models 32 

Calibrating 52 

CC 61 

CCHG I/O 60 

CH VOLUME 24 

CHAIN 21 

CLOSE 36 

COMP 35 

Connection 13, 59 

Control Change 60 

Creating Program 19 

D 

DELAY 45 

DELAY EFFECTS 45 

DELAY FX 61 

DEPTH 37 

DIRECT 37 

DUMP ALL 63 

DUMP CUR 62 

E 

Effect On/Off mode 16 

EXP PDL 61 

expression pedals 53 

F 

FAT OD 38 

FUZZ 39 

G 

GAIN 24 

H 

How the original amps 

work 24 

L 

LEVEL 36 

M 

MASTER VOLUME 24 

MIDDLE 23 

MIDI 59 

MIDI CH 60 

MIDI Channel 60 

MIX 37 

Mix any amp model to 

any cabinet model 

34 

MOD EFFECTS 39 

MOD FX 61 

N 

Naming 21 

O 

OCTAVE 37 

OPEN 36 

Orginal tone controls 

23 

Original Value 22 

P 

Parameter Change 61 

PCHG OUT 60 

pedal 36 

PEDAL EFFECTS 35 

PEDAL FX 61 

POLARITY 36 

PRESENCE 23 

Program Change 60 

Program Select mode 

16 

R 

RECTO 29 

RELOAD? 64 

RENAME 21 

Restoring 63 

Restoring the Factory 

Preset 64 

REVERB EFFECTS 

48 

REVRB FX 61 

S 

SENS 36 

SENSE 36 

Silent Tuning mode 51 

Sound Editor 2, 61 

SPEED 37 

Storing 22 

SYEX OUT 61 

T 

TAP SW 61 

TREBLE 23, 36 

TREBLE BOOST 

(TREB BST) 38 

TUBE OD 38 

Tuner 51 

TWEED 1x12 (TWD 

1X12) 31, 32 

TWEED 4x10 (TWD 

4X10) 31, 32 

U 

UK ’80s 28 

UK ’90s 29 

UK 68P 28 

UK BLUES 28 

UK H30 4x12 (UK H30) 

33 

UK MODERN (UK 

MODRN) 29 

UK T75 4x12 (UK T75) 

33 

US HIGAIN (US HI-G) 

29 

US V30 4x12 (US V30) 

33 

U-VIBE 37 

V 

valve cover 10 

Valve Reactor 2 

VOL PDL 61 

VOX AC15 (AC15) 33 

VOX AC30 (AC30) 33 

VOX AD412 (AD412) 

33 

VOX WAH 36 

VR GAIN 24 

W 

Wah pedal 36 

WRITE 22 

69

TOP PANEL: 

1.2 1.4 

5 

1.5 1.3 1.6 1.7 1.8 1.9 

4 

2 

9 

1 

8.2 8.2 

5.2 5.1 

4.1 4.2 

6.1 

2.1 

2.2 

6 

8.1 

6.3 

6.2 

7 

8 

REAR PANEL: 

3 

3.8 

3.9 3.10 

3.1 3.3 3.5 3.4 

3.2 

3.6 3.7 

10 10.1 10.2 11.1 11.2 11 11.4 11.3 11.5 

12 

12.1 

12.2

2003 VOX AM 

[VOX Valvetronix] 


MIDI Implementation Chart 

Date : 2003. 9.1 

Function Transmitted Recognized Remarks 

Basic 

Channel 

Default 

Changed 

Memorized 

Mode Memorized 

Messages 

Altered 

Note 

Number: True Voice 

Velocity Note On 

Note Off 

Aftertouch 

Polyphonic (Key) 

Monophonic (Channel) 

Pitch Bend 

Control 

Change 

0–95 

Effect Control 

Program 

Change Variable Range 

System Exclusive 

Parameter Control 

Program Data Dump 

System 

Common 

System 

Real Time 

Song Position 

Song Select 

Tune 

Clock 

Command 

Aux 

Messages 

Local On/Off 

All Notes Off 

Active Sense 

Reset 

Notes 

*P: Transmitted if GLOBAL “PCHG OUT” is On. 

*C: Transmitted and received according to the setting of each controller if GLOBAL “CCHG I/O” is On. 

*E: Transmitted if GLOBAL “SYEX OUT” is On. (Responses to Request messages are always transmitted regardless of the “SYEX OUT” setting.) 

*1: In addition to messages specifically for this device, Device Inquiry is also supported. 

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO : Yes 

Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO : No 

Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.

Owner's Manual 

E 1 

2003 VOX AMPLIFICATION LTD. Printed in China

ToneLab SE Owner's manual - Vox

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