RP360-RP360XP Manual 5041674-B Original
RP360-RP360XP Manual 5041674-B Original
RP360-RP360XP Manual 5041674-B Original
RP360 XP
GUITAR MULT I- E FFE C TS P ROCE SSOR S
OWNERS MANUAL
ELECTROMAGNETIC
COMPATIBILITY
This device complies with part 15 of the FCC
Rules and the Product Specifications noted on
the Declaration of Conformity. Operation
is subject to the following two conditions:
this device may not cause harmful
interference, and
this device must accept any interference
received, including interference that may
cause undesired operation.
Operation of this unit within significant
electromagnetic fields should be avoided.
use only shielded interconnecting cables.
DigiTech
8760 S. Sandy Parkway
Sandy, Utah 84070, USA
Supplementary Information:
The product herewith complies with the requirements of the:
Low Voltage Directive 2006/95/EC
EMC Directive 2004/108/EC.
RoHS Directive 2011/65/EC
WEEE Directive 2002/96/EC
EC Regulation 278/2009
With regard to Directive 2005/32/EC and EC Regulation
1275/2008 of 17 December 2008, this product is designed,
produced, and classified as Professional Audio Equipment and thus
is exempt from this Directive.
Rex C. Reed
Director, Engineering
Signal Processing
8760 S. Sandy Parkway
Sandy, Utah 84070, USA
Date: July 9, 2013
European Contact: Your local DigiTech Sales and Service Office or
Harman Signal Processing
8760 South Sandy Parkway
Sandy, Utah
84070 USA
Ph: (801) 566-8800
Fax: (801) 568-7583
If you want to dispose this product, do not mix it with general household waste. There is a
separate collection system for used electronic products in accordance with legislation that
requires proper treatment, recovery and recycling.
Private households in the 25 member states of the EU, in Switzerland and Norway may return their used
electronic products free of charge to designated collection facilities or to a retailer (if you purchase a similar
new one).
For Countries not mentioned above, please contact your local authorities for a correct method of disposal.
By doing so you will ensure that your disposed product undergoes the necessary treatment, recovery and
recycling and thus prevent potential negative effects on the environment and human health.
WARRANTY
We at DigiTech are very proud of our products and back-up each one we sell with the following warranty:
1. Please register online at www.digitech.com within ten days of purchase to validate this warranty. This warranty is valid only in
the United States.
2. DigiTech warrants this product, when purchased new from an authorized U.S. DigiTech dealer and used solely within the U.S.,
to be free from defects in materials and workmanship under normal use and service. This warranty is valid to the original
purchaser only and is non-transferable.
3. DigiTech liability under this warranty is limited to repairing or replacing defective materials that show evidence of defect,
provided the product is returned to DigiTech WITH RETURN AUTHORIZATION, where all parts and labor will be covered up to a
period of one year. A Return Authorization number may be obtained by contacting DigiTech. The company shall not be liable
for any consequential damage as a result of the products use in any circuit or assembly.
4. Proof-of-purchase is considered to be the responsibility of the consumer. A copy of the original purchase receipt must be
provided for any warranty service.
5. DigiTech reserves the right to make changes in design, or make additions to, or improvements upon this product without
incurring any obligation to install the same on products previously manufactured.
6. The consumer forfeits the benefits of this warranty if the products main assembly is opened and tampered with by anyone
other than a certified DigiTech technician or, if the product is used with AC voltages outside of the range suggested by the
manufacturer.
7. The foregoing is in lieu of all other warranties, expressed or implied, and DigiTech neither assumes nor authorizes any person
to assume any obligation or liability in connection with the sale of this product. In no event shall DigiTech or its dealers be
liable for special or consequential damages or from any delay in the performance of this warranty due to causes beyond their
control.
NOTE: The information contained in this manual is subject to change at any time without notification. Some information contained
in this manual may also be inaccurate due to undocumented changes in the product since this version of the manual was
completed. The information contained in this version of the owners manual supersedes all previous versions.
TABLE OF CONTENTS
OVERVIEW 2
SYSTEM SETUP 41
Introduction2
Features3
Footswitch Modes41
Output To44
Output Mode45
USB Record Level 46
USB Play Mix47
LCD Contrast48
Control In49
Phrase Sampler 51
Calibrate Pedal52
Factory Restore53
Firmware Version54
RP360/RP360 XP
TOC
OVERVIEW
Introduction
The RP360 and RP360XP represent the next generation of guitar effects processors from DigiTech.
With 85 stompbox pedals, 54 amplifier models, and 26 cabinet models, the tonal-creation sky is the
limit! Up to 10 effects can be used at a time and they can be placed in any order, giving you complete
control over shaping your tones and effects.
99 factory presets allow you to familiarize yourself with all the effects the RP has to offer and give you
starting points for creating your own sounds fast! 99 user preset memory locations let you store all
your favorite sounds for later recall.
Use the built-in 40-second phrase looper to write leads over your rhythm parts or enhance your live
performance. The Sound Check feature lets you record a loop and play it back through the internal
effects chain, so you can easily audition and edit effects without having to constantly strum your guitar.
The outputs can be configured for mono or stereo operation. And the 1/8 headphone output lets
you practice whenever, wherever. Connect a portable music player to the 1/8 aux input to practice
along with lessons, learn your favorite songs, or play along with the built-in drum machine to hone
your timing skills.
Connect the USB port to a Mac or PC for recording directly to your favorite DAW (Digital Audio
Worksation) or for preset management using the free downloadable Nexus editor/librarian software.
With a rugged, stylish design, a vast library of amps, cabinets, and effect pedals to choose from, and
tons of flexibility and features, the RP360 and RP360XP processors were designed to look and sound
great.
Thank you for choosing DigiTech.
RP360 / RP360 XP
Features
Includes 85 Stompbox Pedals, 54 Amplifiers, & 26 Cabinets
Run up to 10 Effects at a Time
99 User & 99 Factory Presets
Flexible Amp & Effects Routing
40-Second Phrase Looper
Lexicon Reverbs
Mono or Stereo Outputs
Sound Check for Easy Auditioning & Editing of Effects
USB Audio Streaming
Free Downloadable Nexus Editor/Librarian Software for Mac & PC
Heavy Duty Metal Chassis & Footswitches
Power Supply Included
RP360 / RP360 XP
5
6
7
1 Plexi-Drive
1 Plexi-Drive
LOOPER
READY
LOOPER READY
9
1. LCD DISPLAY
This LCD display provides the visual feedback necessary for operating the RP360/RP360XP
processors.
2. SELECT KNOB
This knob performs different functions when pressed or turned, depending upon which operating
state you are in. In the Performance state, turning this knob navigates presets and pressing this
knob accesses editing of effects and effect settings. When editing presets, turning this knob selects
the effect for editing and pressing this knob navigates the various pages containing parameters for
the selected effect.
3. BACK BUTTON
Press this button to navigate back one level when navigating menus. Press the button multiple times
to get back to the Performance state.
4
RP360 / RP360 XP
5. DRUMS BUTTON
Press this button to enter the Drum Machine Edit menu, where you can edit the Drum Machine
parameters (PATTERN, TEMPO, and LEVEL). Once in the Drum Machine Edit menu, pressing the
DRUMS button will toggle the Drum Machine on and off or you can press the SELECT knob. See
Drum Machine on page 30 for more information on using the Drum Machine.
NOTE: The Drum Machine cannot be used while the Looper is active. If a loop has been
recorded using the Looper, you must clear the loop before the Drum Machine can be used. To
clear a loop, stop loop playback then press and hold FOOTSWITCH 3. See Looper on page
28 for further information on operating the Looper.
6. SYSTEM BUTTON
Press this button to access the global System Settings menu, where you can edit global parameters
which determine how the RP360/RP360XP processor functions. See System Setup on page 41
for information on the options and parameters available in this menu.
7. STORE BUTTON
Use this button to store, rename, and copy presets. The STORE button LED will light whenever a
presets stored parameters are altered, indicating that the changes must be stored to a user preset
to be retained. See Managing Presets on page 15 for more information on presets.
8. EDIT KNOBS
In this manual, these knobs are referred to as the EDIT 1 knob, EDIT 2 knob, and EDIT 3 knob
from left to right. These knobs are used to edit on-screen system and effect parameters. From the
Performance state, the EDIT 1 knob will adjust the Preset Level (which affects the output level of
the currently loaded preset only) and the EDIT 3 knob will adjust the Master Level (which affects
the output level of all presets). See Preset Level & Master Level on page 25 for further
information on these output level controls.
9. FOOTSWITCHES
These footswitches are used for multiple functions and can be configured to operate in Preset
Mode, Stomp Mode, or Bank Mode. See Footswitch Modes on page 41 for more information
on footswitch modes.
RP360 / RP360 XP
Rear Panel
1
1. INPUT
Connect your guitar to this high impedance 1/4 instrument input.
2. AUX IN
Using a stereo 1/8 cable, connect the headphone output of a portable music player to this 1/8
TRS connector to play along with all your favorite music. See Aux Input on page 32 for
information on using this feature.
4. HEADPHONE OUT
Connect your headphones to this 1/8 mini TRS connector. This output is optimized for use with
headphones having an impedance of 60 Ohms or less.
NOTE: When only headphones are connected (nothing connected to the 1/4 outputs), the
outputs are optimized for full range speakers/headphones. See Output To on page 44 for
further information.
RP360 / RP360 XP
5. CONTROL IN
In the RP360 model, this connector accepts an external expression or volume pedal for real-time
control of effect parameters, or a DigiTech FS3X Footswitch for additional footswitch control. In
the RP360XP model, this connector accepts an FS3X Footswitch for additional footswitch control.
See Expression Pedal Control on page 34 and Using An Optional FS3X Footswitch on
page 37 for further details.
6. USB
This USB connector connects the RP360/RP360XP processor to a computer for preset
management using the Nexus editor/librarian software and/or streaming 4 channels of audio (2
channels to the computer and 2 channels from the computer) for recording to your favorite Digital
Audio Workstation.
7. POWER
Connect only the included PS0913DC power supply to this connector.
RP360 / RP360 XP
CONNECTION DIAGRAMS
Mono Amplifier
Amp 1
Guitar
Harman PS0913DC
Power Supply
Or
Optional
Volume/Expression
Pedal (RP360 Only)
Footswitch
4. Turn on your amplifier. Strum your guitar and gradually increase your amplifiers master volume
control until the desired level is achieved.
RP360 / RP360 XP
Stereo Amplifiers
Amp 1
Amp 2
Guitar
Harman PS0913DC
Power Supply
Or
Optional
Volume/Expression
Pedal (RP360 Only)
Footswitch
RP360 / RP360 XP
Direct To Mixer/PA
Mixer
Guitar
Powered PA Speakers
Harman PS0913DC
Power Supply
Or
Optional
Volume/Expression
Pedal (RP360 Only)
Footswitch
3. Turn the RP on by connecting the included power supply to the POWER input connector and
connecting the other end to an available AC outlet.
4. Strum your guitar and adjust the mixer levels until the desired level is achieved. Use proper gain
staging to optimize the signal to noise ratio and prevent clipping of the mixer inputs. Consult
your mixer documentation for information on proper mixer gain staging.
5. Change the OUTPUT TO parameter to MIXER in the System Settings menu. This will optimize
the outputs for full range PA speakers. See Output To on page 44 for more information on
editing this parameter.
6. For stereo operation you will need to change the OUTPUT MODE parameter to STEREO. See
Output Mode on page 45 for information on configuring the RP for stereo operation.
10
RP360 / RP360 XP
Computer Recording
The RP360 and RP360XP use the standard drivers which come with Mac OS X and Windows
operating systems. Therefore, there are no additional drivers to install. Simply plug in the RP and
connect to your computer.
The RPs will simultaneously stream 2 channels of audio up to the computer and 2 channels of audio
down from the computer at a 44.1kHz sample rate with 16 or 24-bit resolution (bit resolution can
usually be set in your DAW). Audio recorded via USB is taken from the audio feeding the RPs LEFT
and RIGHT outputs.
There are two parameters in the RP which are used for controlling your audio levels when recording,
they are: the USB RECORD LVL parameter and the USB PLAY MIX parameter. These parameters allow
you to control the level of the audio being recorded from the RP and the level of the playback audio
from the DAW. See USB Record Level and USB Play Mix on page 47 for more information on
these parameters.
Mixer
Guitar
Powered Monitors
Harman PS0913DC
Power Supply
Headphones
Or
Computer
Optional
Volume/Expression
Pedal (RP360 Only)
Footswitch
11
channels. On these two mixer channels, turn down the input gains and faders and set one
channel pan hard left and the other hard right.
3. Turn the RP on by connecting the included power supply to the POWER input connector and
connecting the other end to an available AC outlet.
4. Strum your guitar and adjust the mixer levels until the desired level is achieved. Use proper gain
staging to optimize the signal to noise ratio and prevent clipping of the mixer inputs. Consult
your mixer documentation for information on proper mixer gain staging.
5. Change the OUTPUT TO parameter to MIXER in the System Settings menu. This will optimize
the outputs for full range studio monitor speakers. See Output To on page 44 for more
information on editing this parameter.
6. For stereo operation you will need to change the OUTPUT MODE parameter to STEREO. See
Output Mode on page 45 for information on configuring the RP for stereo operation.
7. In your DAW, select the RP as the input/output device. See your DAWs documentation for
further details.
HINT: The DigiTech Nexus editor/librarian software can also be used in this application to edit
effects and manage presets. See Nexus Editor/Librarian Software on page 108 for further
information.
12
RP360 / RP360 XP
Harman PS0913DC
Power Supply
Portable
Music Player
Headphones
Or
Computer
Optional
Volume/Expression
Pedal (RP360 Only)
Footswitch
3. Turn the EDIT 3 knob on the RP (the knob just below the SELECT knob) counter-clockwise to
turn the RPs Master Level control all the way down to 0.
4. Strum your guitar and turn the EDIT 3 knob on the RP clockwise until the desired level is
achieved.
NOTE: When a pair of headphones is connected to the RPs HEADPHONE connector and no
connections are made to the 1/4 LEFT OUT or RIGHT OUT connectors, the RP will automatically
set the OUTPUT TO parameter to HEADPHONES IN USE and the OUTPUT MODE parameter
to HEADPHONES IN USE. This ensures the outputs are optimized for headphones and all stereo
effects will be heard in stereo. These settings will return to the way they were configured as soon
as you make a connection to the LEFT OUT or RIGHT OUT connectors. This makes it as simple as
just plugging in your headphones to practice no reconfiguration necessary!
NOTE: The HEADPHONE output is optimized for use with headphones having an impedance of
60 Ohms or less.
RP360 / RP360 XP
13
OPERATING INSTRUCTIONS
Basic Operation Overview
Performance State
1 Plexi-Drive
READY
LOOPER READY
Editing Presets
1WA Plexi-Drive
Press the SELECT knob to access the menus
CMP LOOPER
DST
READY GAT EQ
H
for editing preset parameters.You can use the
BYPASS
0 dB
ON/BYP
MODEL
LEVEL
SELECT knob and EDIT 1-3 knobs to navigate
effects, make changes to effects and effect settings,
and add/delete/move effects in the signal chain.
Once you are finished editing you can exit back
to the Performance state by pressing any of the
three FOOTSWITCHES or by pressing the BACK
button until the preset number and name are displayed in LCD display. See Working With Effects on
page 19 for more information on editing effects.
CRY WAH
1/2
System Settings
Pressing the SYSTEM button accesses the global System Settings menu where you can change
footswitch and output modes, USB settings, and perform expression pedal calibration and factory
restore operations. See System Setup on page 41 for more information on system settings.
Drums
Pressing the DRUMS button accesses the built-in Drum Machine. In this menu you have controls for
turning the Drum Machine on and off and changing the drum pattern, tempo and level. See Drum
Machine on page 30 for more information on using the Drum Machine.
14
RP360 / RP360 XP
Managing Presets
Navigating Presets
1 Plexi-Drive
There are a total of 198 presets available in the
READY
LOOPER READY
RP360/RP360XP. These presets are broken up
1 Plexi-Drive
into two banks, User and Factory, each containing
99 presets. From the factory, the user and factory
presets will contain the same presets. Therefore,
factory preset 45 will be the same as user preset
45 and so on. User presets appear in the LCD
display as 1-99 and factory presets appear as
F1-F99. Preset banks will wrap around when
navigating. In other words, navigating one preset
above user preset 99 will select factory preset 1
(F1) in the factory preset bank. Navigating one
preset below user preset 1 will select factory preset 99 (F99) in the factory preset bank. To navigate
and select presets you must be in the Performance state of operation.
LOOPER READY
To navigate presets using the SELECT knob (Footswitch Mode set to PRESET or STOMP):
1. Footswitch Mode must be set to PRESET (this is the default Footswitch Mode) or STOMP.
For more information on Footswitch Modes, see Footswitch Modes on page 41.
2. Press the UP FOOTSWITCH to navigate up through presets and press the DOWN
FOOTSWITCH to navigate down through presets.
2. Press both FOOTSWITCHES 2 and 3 simultaneously. The LCD display will change, now showing
the preset up/down navigation and looper icons, as well as the LOOPER READY prompt.
3. Press the UP FOOTSWITCH to navigate up through presets and the DOWN FOOTSWITCH to
navigate down through presets. Youll notice that the RP is now functioning just as it does when
configured for Preset Mode operation.
RP360 / RP360 XP
15
4. When done navigating presets, press both FOOTSWITCHES 2 and 3 simultaneously again. The
LCD display will change and you will now be back to Stomp Mode operation.
2. If you want to select a preset from another bank, turn the SELECT knob clockwise to navigate
up through banks or counter-clockwise to navigate down through banks for easy hands-free
preset bank navigation, an optional FS3X Footswitch should be used. There are 66 total banks
(33 user preset banks (1-33) and 33 factory preset banks (F1-F33)). After a bank is selected, the
3 footswitch LEDs will flash, prompting you to select a preset and activate the bank.
3. The LCD display will show 3 selectable presets in the selected bank. Press the corresponding
FOOTSWITCH to load the desired preset.
NOTE: If a footswitch is not pressed within approximately 3 seconds, the RP will time out
and revert back to the last active preset bank.
4. You can switch between Preset and Bank Mode operation to navigate presets when in Bank
Mode. To do this, press both FOOTSWITCHES 2 and 3 simultaneously. The LCD display will
change, now showing the preset up/down navigation and looper icons, as well as the LOOPER
READY prompt.
5. Press the UP FOOTSWITCH to navigate up through presets and the DOWN FOOTSWITCH to
navigate down through presets. Youll notice that the RP is now functioning just as it does when
configured for Preset Mode operation.
6. When done navigating presets, press both FOOTSWITCHES 2 and 3 simultaneously again. The
LCD display will change and you will now be back to Bank Mode operation.
16
RP360 / RP360 XP
Storing/Copying/Naming Presets
11 PPlexi-Drive
lexi-Drive
The STORE button is used to store edits made
LOOPER READY STORE TO:
1 : Plexi-Dri
to a presets parameters. The STORE buttons
BACK TO CANCEL
<CURSOR>
LETTER
DEL/INS
LED will light whenever a presets parameters
have been modified from their stored value. Any
parameter edits must be stored to a preset before
the processor is powered down or the preset is
changed in order for edits to be retained. Preset
edits can only be stored to a user preset
memory location since factory presets cannot be overwritten. The RP360 and RP360XP have 99 user
preset memory locations. Factory presets can be edited and then stored to a user preset location.
When storing a preset you will have the option to change the presets name.
To store/copy/rename a preset:
1. Press the STORE button to initiate the store procedure.
2. If you do not want to change the name of the preset, go to step 3. To modify or change the
name, use the 3 EDIT knobs. Turning the EDIT 1 (LETTER) knob will edit the selected onscreen character. Turning the EDIT 2 (CURSOR) knob selects the character you want to edit.
Turning the EDIT 3 (DEL/INS) knob clockwise will insert space to the left of the selected
character; turning it counter-clockwise will delete characters to the left of the selected
character. The preset name can contain up to 16 characters.
3. If you do not want to change the preset location go to step 4. To select a new preset location,
turn the SELECT knob until the desired user preset memory location is displayed below the
name.
4. Press the STORE button a second time, or press the SELECT button, to confirm the store
procedure. The LCD display will briefly display Storing... then the preset will be stored.
NOTE: Pressing the BACK button at any time during the above store procedure will abort the
procedure.
RP360 / RP360 XP
17
To quick store a preset (store a preset to its current memory location with its current name):
1. Press the STORE button twice. The LCD display will briefly display Storing... then the preset
will be stored to its current user preset memory location with its current preset name.
WARNING! If you perform the above quick store procedure on a factory preset, the changes will
be stored to the equivalent user preset memory location. For example, if you load factory preset
5 (F5), make edits, and then press the STORE button twice, you will overwrite user preset 5 (5).
Therefore, use caution when performing this procedure on factory presets to ensure you do not
accidentally overwrite one of your existing user presets.
4. Press the STORE button a second time to confirm the store procedure. The LCD display
will briefly display Storing... then the preset will be copied to the new user preset memory
location.
18
RP360 / RP360 XP
1 Plexi-Drive
1/2
CRY WAH
W
A
H
CMP LOOPER
DST
BYPASS
ON/BYP
READY GAT EQ
MODEL
0 dB
LEVEL
4. When done, press the BACK button to return to the Performance state.
5. Store the changes to a user preset, see Storing/Copying/Naming Presets on page 17.
RP360 / RP360 XP
19
Changing Effects
1 Plexi-Drive
1/2
CRY WAH
W
A
H
CMP LOOPER
DST
BYPASS
ON/BYP
READY GAT EQ
MODEL
0 dB
LEVEL
To change an effect:
1. From the Performance state, press the SELECT knob to enter the Effect Edit menu.
2. Turn the SELECT knob to select the effect you would like to edit.
3. Turn the EDIT 2 knob to change the effect type. The selected effect will be shown at the top of
the LCD display.
20
RP360 / RP360 XP
Reordering Effects
1 Plexi-Drive
SCREAMER
W
A
H
CMP LOOPER
DST
MODEL
READY GAT EQ
MOVE
DELETE
RP360 / RP360 XP
21
Adding Effects
1 Plexi-Drive
1/2
Add Effect
V
O
L
MOD LOOPER
DLY
E
X
READY
P
3. Turn the EDIT 1 (EFFECT) knob to select the available effect category (e.g., Compressor,
Modulation, Reverb, etc.).
7. Store the changes to a user preset, see Storing/Copying/Naming Presets on page 17.
NOTE: One of each effect type (Compressor, Distortion, Modulation, etc.) can be used in a preset.
22
RP360 / RP360 XP
Deleting Effects
1 Plexi-Drive
TAPE DELAY
V
O
L
MOD LOOPER
DLY
MODEL
READY
MOVE
DELETE
5. Press the SELECT knob to confirm deletion. The effect will be deleted from the effects chain
and the display will then return to the Effect Options Edit menu.
RP360 / RP360 XP
23
1 Plexi-Drive
Stompbox FSW
1/1
E
MOD DLY LOOPER
REV XREADY
P
DIST ON
ASSIGN A
WAH ON
ASSIGN B
DLY ON
ASSIGN C
2. From the Performance state, press the SELECT knob to enter the Effect Edit menu.
3. Turn the SELECT knob and select the
effects chain.
4. Turn the corresponding EDIT knobs to select the effects which will be assigned to the A, B, and
C footswitches.
5. When done, press the BACK button to return to the Performance state.
6. Store the changes to a user preset, see Storing/Copying/Naming Presets on page 17.
24
RP360 / RP360 XP
Preset Level
Master Level
1 Plexi-Drive
LOOPER READY
MASTER LEVEL: 43
NOTE: All outputs are affected by the Master Level and Preset Level parameters.
2. Turn the EDIT 1 knob to adjust the Preset Level. Turn the EDIT 3 knob to adjust the Master
Level. While adjusting each parameter, the LCD display will temporarily display the level values
as they are adjusted. After approximately 2 seconds of inactivity, the level parameter window
will automatically disappear.
3. If you made changes to the Preset Level, the STORE button will light, indicating you must
store the changes to a user preset. See Storing/Copying/Naming Presets on page 17 for
information on storing presets.
RP360 / RP360 XP
25
1 Plexi-Drive
LOOPER READY
BYPASS
26
RP360 / RP360 XP
Tuner
1 Plexi-Drive
LOOPER READY
E
A= 440 HZ
TUNER REF
1 Plexi-Drive
LOOPER READY
Parameters
PARAMETER NAME
DESCRIPTION
TUNER REF
Selects the pitch which the tuner uses for referencing the note A above middle C. Reference
settings range from A=G, A=G, A=A, and A=427Hz-453Hz. The default setting is
A=440Hz this is the standard tuning reference.
2. To change the tuning reference, turn the EDIT 1 (TUNE REF) knob.
3. Play an open string on your guitar. The detected note will be shown in the middle of the LCD
display and indicators will point you in the direction the string needs to be tuned. Adjust the
strings pitch until the proper note is displayed and the upward-facing arrow is pointed as close
as possible to the center line (as shown in the screenshot at the top of this page). Tune the
remaining strings in the same manner.
2. To change the tuning reference, turn the EDIT 1 (TUNE REF) knob.
3. Play an open string on your guitar. The detected note will be shown in the middle of the LCD
display and indicators will point you in the direction the string needs to be tuned. Adjust the
strings pitch until the proper note is displayed and the upward-facing arrow is pointed as close
as possible to the center line (as shown in the screenshot at the top of this page). Tune the
remaining strings in the same manner.
27
1 Plexi-Drive
LOOPER READY
Looper
1 Plexi-Drive
RECORDING
NOTE: The Looper and Drum Machine cannot be used at the same time. If the Drum Machine is
turned on, you must first turn it off before you can use the Looper. To turn the Drum Machine off,
press the DRUMS button twice.
2. If the RP is set to Preset Mode (this is the default Footswitch Mode) you can skip this step.
If the RP is set to Bank Mode or Stomp Mode, you will need to press FOOTSWITCHES 2
and 3 simultaneously to access the Looper. See Footswitch Modes on page 41 for more
information on Footswitch Modes.
3. Press FOOTSWITCH 3 to arm the Looper for recording. The LCD display will read
RECORDING ARMED and the RP is now ready to begin recording.
4. Begin playing a phrase on the guitar. The Looper will begin recording and the LCD display will
read RECORDING.
5. When done recording, press FOOTSWITCH 3 again to end loop recording. The loop will
continue to play and you can now play along with it or add overdubs.
HINT: You can navigate presets at this point using the UP/DOWN footswitches or SELECT
knob. This allows you to select different preset sounds that you can play along with the
recorded loop or use for recording overdubs. Changing presets will not change the sound of
the recorded loop.
6. To add an overdub, press FOOTSWITCH 3 once. The LCD display will read OVERDUBBING.
Play the overdubbed guitar part.
7. Press FOOTSWITCH 3 once to end overdub recording. The loop will continue to play along
with the newly recorded overdub. Repeat steps 6 and 7 to record additional overdubs.
8. When done, press FOOTSWITCH 3 two times quickly to stop loop playback.
9. With playback stopped, press and hold FOOTSWITCH 3 for 2 seconds to clear the recorded
loop and prepare the RP to record a new loop. The LCD display will again read LOOPER
READY and you can repeat the above steps.
28
RP360 / RP360 XP
Sound Check
1 Plexi-Drive3/4
SYSTEM SETTINGS
CONTROL
IN
LOOPER READY
FS3X
LOOPER
EXP/VOL
EXP/TRS
PHRASE
SAMPLER
SOUND
CHECK
LOOPER
3. Turn the EDIT 3 knob to set the PHRASE SAMPLER to the SOUND CHECK option.
4. Press the BACK button to return to the Performance state.
5. If you are currently in Bank Mode or Stomp Mode, you will need to press FOOTSWITCHES 2
and 3 simultaneously to access the Looper. If you are currently set to Preset Mode (this is the
default mode) you can skip this step.
6. Press FOOTSWITCH 3 to arm the Looper for recording then start playing.
7. Press FOOTSWITCH 3 again to set the loop end point.
8. The loop will now continue playing and you can navigate presets and edit effects while listening
to the changes. See Managing Presets on page 15 and Working With Effects on page
19 for information on performing these functions.
9. When done using the Sound Check feature, press FOOTSWITCH 3 twice to stop loop
playback.
10. If you wish to disable the Sound Check feature and re-enable the Looper, perform steps 1-3,
this time setting the PHRASE SAMPLER back to LOOPER.
RP360 / RP360 XP
29
Drum Machine
1 Plexi-DriveON
Drums
LOOPER READY
BEATS1
PATTERN
100
TEMPO
40
LEVEL
NOTE: The Looper and Drum Machine cannot be used at the same time. If you have recorded
a loop using the Looper, you must first clear the loop before turning on the Drum Machine. To
clear the loop, enter the Performance state and press FOOTSWITCH 3 two times quickly to stop
loop playback. With playback stopped, press and hold FOOTSWITCH 3 for 2 seconds to clear the
recorded loop.
Parameters
PARAMETER NAME
DESCRIPTION
PATTERN
TEMPO
LEVEL
DESCRIPTION
DISPLAY NAME
DESCRIPTION
BEATS1-5
BEATS6-8
ROCK1-8
8th Beat
16th Beat
Rock
JAZZ1-4
HIPHP1-4
WORLD1-4
HROCK1-8
Hard Rock
MET4/4
METAL1-8
Metal
MET3/4
BLUES1-8
Blues
MET5/8
GROOV1-4
Groove
MET7/8
CNTRY1-4
Country
MTRNOM
Jazz
Hip Hop
World
Metronome with accent and 4/4 time
signature
Metronome with accent and 3/4 time
signature
Metronome with accent and 5/8 time
signature
Metronome with accent and 7/8 time
signature
Straight metronome with no accent
RP360 / RP360 XP
RP360 / RP360 XP
31
Aux Input
The AUX IN connector is used to connect a portable music player or other line-level music playback
device to the RP and jam along with your favorite music. The signal from your playback device will
not pass through any effects and will be output through the RPs LEFT OUT, RIGHT OUT, and
HEADPHONE connectors.
Left
Channel (+)
Ground
Left
Channel (+)
Ground
Ground
Right +
Right
Channel (+)
32
Right
Channel (+)
RP360 / RP360 XP
Tap Tempo
Tap Tempo lets you adjust the delay time during performance by tapping a footswitch in time with the
music.
NOTE: You must configure the RP for Stomp Mode operation, have a Delay effect in the loaded
preset, and have the Delay effect assigned to a footswitch to use the Tap Tempo feature.
2. Load a preset which has an active Delay effect or add a Delay effect to your preset of choice.
Most presets will have a Delay effect already inserted in the effects chain. For information on
adding and editing effects, see Working With Effects on page 19.
3. Assign the Delay effect to one of the 3 footswitches. The footswitch assigned to the Delay
will be the one used for Tap Tempo. Most presets in the RP will already have the Delay effect
assigned to one of the three footswitches. See Assigning Effects To Footswitches (Stomp
Mode Only) on page 24 for information on how to assign the Delay effect to a footswitch.
4. From the Performance state, press and hold the FOOTSWITCH assigned to the Delay for
approximately 2 seconds. The LED above the footswitch will begin flashing at the rate of the
currently set delay time.
5. Tap the Delay assigned FOOTSWITCH at the desired rate to adjust the delay time. The LED
above the footswitch will update, flashing at the rate of the new delay time.
6. When done, press and hold the FOOTSWITCH assigned to the Delay for approximately 2
seconds to exit Tap Tempo. The LED above the footswitch will stop flashing.
RP360 / RP360 XP
33
1 Plexi-Drive
Expression Pedal
V
O
L
1/1
E
X
READY
P
MOD LOOPER
DLY
The RP360XP comes with a built-in expression
PEDAL
0
99
pedal which can be assigned to control the
WAH
MIN
MAX
Since all the expression pedal parameters can be stored to user presets, each user preset can have a
different parameter assigned for expression pedal control along with different MIN and MAX range
settings. See Expression Pedal & LFO Assignable Parameters on page 110 for a list of assignable
parameters.
The built-in expression pedal in the RP360XP has a V-Switch which toggles the Wah effect on and off.
To use the V-Switch, place the expression pedal in its toe down position and then apply extra pressure
to the toe of the expression pedal the sensitivity for this V-Switch can be adjusted when calibrating
the expression pedal. A Wah effect must reside in the effects chain in order for the V-Switch to be
active. By default, all presets in the RP360XP will contain a Wah effect in the effects chain.
You can also choose to assign an LFO (Low Frequency Oscillator) to an effects parameter. This is
similar to assigning an effect parameter to an expression pedal, with the exception that it creates
an effect which modulates at a predetermined rate. See Assigning The LFO on page 36 for
information on using an LFO to modulate the signal.
To link a parameter for expression pedal control and set the MIN/MAX range values:
1. If using an RP360, you must first enable the CONTROL IN port for expression pedal control.
See Control In on page 49 for information on configuring the RP360 for external
expression pedal control.
2. The effect you wish to control must be inserted in the effects chain to assign it for expression
pedal control. If it is not, you will need to add it. See Adding Effects on page 22 for
information on adding effects.
3. It helps to enable the effect you wish to assign to the expression pedal first, so you can audition
the expression pedal control as you are setting it up. See Editing Effect Parameters on page
34
RP360 / RP360 XP
19 for information on turning effects on and off.You can also enable the Sound Check
feature and record a loop which can be used to make auditioning the parameter changes even
easier. See Sound Check on page 29 for more information on using Sound Check.
4. From the Performance state, press the SELECT knob to enter the Effect Edit menu.
5. Turn the SELECT knob until you select the
E
X
P
6. Turn the EDIT 1 knob to select the parameter you wish to control.You can rock the expression
pedal back and forth to audition the control.
7. Turn the EDIT 2 (MIN) knob to adjust the minimum selectable value for the expression pedals
toe up position. You can rock the expression pedal back and forth to audition the control.
8. Turn the EDIT 3 (MAX) knob to adjust the maximum selectable value for the expression pedals
toe down position.You can rock the expression pedal back and forth to audition the control.
9. When done, press the BACK button to return to the Performance state.
10. Store the changes to a user preset. See Storing/Copying/Naming Presets on page 17 for
further information on storing presets.
NOTE: The RP360s external and RP360XPs built-in expression pedal must be properly calibrated
to work correctly. If you experience any issues with the expression pedal and suspect it may need
recalibration, see Calibrate Pedal on page 52 for information on recalibrating the expression
pedal.
RP360 / RP360 XP
35
1 Plexi-Drive
1/2
LFO
V
O
L
E
X
READY
P
MOD LOOPER
DLY
Similar to linking an effect parameter to an
GAIN
0
99
expression pedal for control, you can also
AMP
MIN
MAX
link an effect parameter to an LFO (Low
Frequency Oscillator) for control. This can be
used for creating effects which modulate at a
predetermined rate.You can select the parameter
to control, the waveform type, adjust the speed,
and adjust the control range limits using the MIN
and MAX parameters. See LFO on page 84 for further information on LFO parameters. See
Expression Pedal & LFO Assignable Parameters on page 110 for a list of assignable parameters.
To link a parameter for LFO control and adjust the LFO parameters:
1. From the Performance state, press the SELECT knob to enter the Effect Edit menu.
2. Turn the SELECT knob until the
3. Turn the EDIT 1 knob to select the parameter you wish to control.
4. Turn the EDIT 2 (MIN) knob to adjust the minimum selectable value for the LFO range.
5. Turn the EDIT 3 (MAX) knob to adjust the maximum selectable value for the LFO range.
6. Press the SELECT knob to view the remaining LFO parameters. Use the corresponding EDIT
knobs to adjust the SPEED and WAVEFRM parameters these parameters determine the rate
and behavior of the modulation.
7. When done, press the BACK button to return to the Performance state.
8. Store the changes to a user preset, see Storing/Copying/Naming Presets on page 17.
36
RP360 / RP360 XP
The below matrix shows the functions each of the FS3X footswitches will perform depending upon
how you configure the CONTROL IN and FOOTSWITCH MODE parameters.
FOOTSWITCH MODE
SET TO PRESET
FOOTSWITCH MODE
SET TO STOMP
FOOTSWITCH MODE
SET TO BANK
1 Plexi-Drive
1 Plexi-Drive
1 Plexi-Drive
LOOPER READY
DISPLAY
BANK: 1
MOD FX
DELAY
REVERB
FS3X
FOOTSWITCH
CONTROL IN
SET TO FS3X
Preset
Bypass
Tuner
*Multi
Loop
Preset
Down
Preset
Up
*Multi
Loop
Bank
Down
Bank
Up
CONTROL IN
SET TO LOOPER
*Multi
Loop
Stop
Loop
Clear
Loop
*Multi
Loop
Stop
Loop
Clear
Loop
*Multi
Loop
Stop
Loop
Clear
Loop
*Multi Loop means a single footswitch controls multiple Looper functions. See the diagrams on the following
pages to see each of these Looper functions.
RP360 / RP360 XP
37
FS3X Operation
(CONTROL IN Set To FS3X, FOOTSWITCH MODE Set To STOMP)
When the FS3X CONTROL IN option is selected and the STOMP FOOTSWITCH
MODE option is selected, the FS3X Footswitch can be used for full-time control of preset
navigation and the Looper. The below diagram shows the available functions.
Record Loop
Play Loop
Clear Loop
38
RP360 / RP360 XP
Preset Down
Preset Up
Press to navigate up
through presets.
FS3X Operation
When the FS3X CONTROL IN option is selected and the BANK FOOTSWITCH MODE option
is selected, the FS3X Footswitch can be used for full-time control of preset bank navigation and the
Looper. The below diagram shows the available functions.
Record Loop
Preset Bank Up
Press to navigate up
through preset banks.
Play Loop
Clear Loop
RP360 / RP360 XP
39
FS3X Operation
When the LOOPER CONTROL IN option is selected, the FS3X Footswitch can be used for full-time
control of just the Looper, and the Loopers functions will be spread out across all three footswitches
on the FS3X. When this option is selected, the FS3X will perform the same functions regardless of the
selected Footwsitch Mode. The below diagram shows the available functions.
Record Loop
Play Loop
Clear Loop
40
RP360 / RP360 XP
SYSTEM SETUP
The System Settings menu is used for configuring global RP settings and is accessed by pressing the
SYSTEM button. Once in the System Settings menu, pressing the SYSTEM button or SELECT knob
repeatedly navigates the various pages within the menu (current page selection is indicated in the
upper right-hand corner of the LCD display). The on-screen parameters can be adjusted using the
three EDIT knobs located below the LCD display. The parameters available in this System Settings
menu are global (system wide) parameters and are not stored to individual presets, but are retained in
the processor.
Footswitch Modes
1 Plexi-Drive1/4
SYSTEM SETTINGS
FOOTSWITCH
OUTPUT
MODE
TOREADY
LOOPER
PRESET
STOMP
BANK
AMP
MIXER
OUTPUT
MODE
MONO
STEREO
1 Plexi-Drive
LOOPER READY
Preset
Mode
1 Plexi-Drive
LOOPER READY
RP
FOOTSWITCH
SINGLE
FOOTSWITCH FUNCTIONS
COMBINATION
FOOTSWITCH FUNCTION 1
Preset
Down
Preset
Up
*Multi
Loop
*Multi Loop means a single footswitch controls multiple Looper functions (i.e., loop record, overdub, play,
stop, and clear).
RP360 / RP360 XP
41
Stomp
Mode
1 Plexi-Drive
This mode is used to turn individual effects on and off with the
footswitches and mimics using stompboxes. Using this mode, you
MOD FX
DELAY
REVERB
can assign any effect in a presets effects chain to one of the three
footswitches. This effect assignment is displayed in the LCD display in
the Performance state, where each 1/3rd section of the LCD display corresponds to
a footswitch (i.e., left section=Footswitch 1, middle section=Footswitch 2, and right
section=Footswitch 3). For information on assigning effects to the footswitches, see Assigning
Effects To Footswitches (Stomp Mode Only) on page 124.Plexi-Drive
LOOPER READY
When in Stomp Mode, pressing FOOTSWITCH 2 and 3 simultaneously will access the Looper
and turn Footswitches 1 and 2 back into preset up/down navigation footswitches (the RP
will essential work the same as it does in Preset Mode). Pressing FOOTSWITCH 2 and 3
simultaneously again will get you back to the stompbox style functionality found in Stomp Mode.
The following table shows RP footswitch functionality when in Stomp Mode.
RP
FOOTSWITCH
SINGLE
FOOTSWITCH FUNCTIONS
COMBINATION
FOOTSWITCH FUNCTION 1
COMBINATION
FOOTSWITCH FUNCTION 2
NOTE: When the Delay effect is assigned to one of the footswitches for control in Stomp
Mode, pressing and holding the assigned footswitch will access the Tap Tempo feature. See Tap
Tempo on page 33 for more information on using Tap Tempo.
42
RP360 / RP360 XP
Bank
Mode
1 Plexi-Drive
This mode navigates presets in banks of 3. This mode works well if you
BANK: 1
prefer to switch between presets during a song and want to create
1
2
3
groups of presets to be used for each song. There are 66 total preset
banks in Bank Mode (33 user preset banks and 33 factory preset banks,
each containing 3 presets). Banks are selected by turning the SELECT knob, or by using an
optional FS3X for hands-free control.
1 Plexi-Drive
LOOPER READY
When in Bank Mode, pressing FOOTSWITCH 2 and 3 simultaneously will access the Looper
and turn Footswitches 1 and 2 back into preset up/down navigation footswitches (the RP
will essentially work the same as it does in Preset Mode). Pressing FOOTSWITCH 2 and 3
simultaneously again will get you back to the preset bank style functionality found in Bank Mode.
The following table shows RP footswitch functionality when in Bank Mode.
RP
FOOTSWITCH
Press to select the 1st Press to select the 2nd Press to select the 3rd
preset in the active
preset in the active
preset in the active
bank. Press again to
bank. Press again to
bank. Press again to
SINGLE
FOOTSWITCH FUNCTIONS
bypass the preset or
bypass the preset or
bypass the preset or
press and hold to
press and hold to
press and hold to
access the Tuner.
access the Tuner.
access the Tuner.
COMBINATION
FOOTSWITCH FUNCTION 1
COMBINATION
FOOTSWITCH FUNCTION 2
2. Turn the EDIT 1 (FOOTSWITCH MODE) knob to select the desired Footswitch Mode.
3. Press the BACK button or any FOOTSWITCH to exit the System Settings menu and return to
the Performance state.
RP360 / RP360 XP
43
Output To
This system parameter has two options: AMP and
MIXER. This parameter optimizes the outputs
for connection to an amp or a mixer and is only
available when a connection has been made to the
LEFT OUT or RIGHT OUT connector.
1 Plexi-Drive1/4
SYSTEM SETTINGS
FOOTSWITCH
OUTPUT
MODE
TOREADY
LOOPER
PRESET
STOMP
BANK
AMP
MIXER
OUTPUT
MODE
MONO
STEREO
AMP
Select this option when connecting to a guitar amplifier. This is the default option selected
whenever a connection is made to the 1/4 LEFT OUT or RIGHT OUT connector.
MIXER
Select this option when connecting the 1/4 LEFT OUT/RIGHT OUT connectors directly to a
mixer or recording interface, or when recording through the USB connection. When this option
is selected, the outputs will be optimized for full range speakers, making your guitars direct
signal sound as though its being played through a guitar speaker cabinet.
NOTE: When no connection is made to the 1/4 LEFT OUT or RIGHT OUT connector, the
MIXER option will automatically be selected behind the scenes, optimizing the outputs for use
with the 1/8 HEADPHONE output or USB output.
2. Turn the EDIT 2 (OUTPUT TO) knob to select the desired option.
3. Press the BACK button or any FOOTSWITCH to exit the System Settings menu and return to
the Performance state.
44
RP360 / RP360 XP
Output Mode
This system parameter has two options: MONO
and STEREO. This parameter determines whether
the outputs are configured for mono or stereo
operation and is only available when a connection
has been made to the LEFT OUT or RIGHT OUT
connector. Changing this parameter will affect all
outputs.
1 Plexi-Drive1/4
SYSTEM SETTINGS
FOOTSWITCH
OUTPUT
MODE
TOREADY
LOOPER
PRESET
STOMP
BANK
AMP
MIXER
OUTPUT
MODE
MONO
STEREO
MONO
Select this option when connecting to two amplifiers or mixer channels hard panned left and
right.
NOTE: When no connection is made to the 1/4 LEFT OUT or RIGHT OUT connector, the
STEREO option will automatically be selected behind the scenes, providing stereo operation
when using the 1/8 HEADPHONE output or recording using the USB output.
2. Turn the EDIT 3 (OUTPUT MODE) knob to select the desired option.
3. Press the BACK button or any FOOTSWITCH to exit the System Settings menu and return to
the Performance state.
RP360 / RP360 XP
45
1 Plexi-Drive2/4
SYSTEM SETTINGS
USB
USB
LCD
RECORD LVL LOOPER
PLAY MIX
READY CONTRAST
0 dB
USB:RP
4. Turn the EDIT 1 (USB RECORD LVL) knob to adjust the setting.
5. Press the BACK button or any FOOTSWITCH to exit the System Settings menu and return to
the Performance state.
46
RP360 / RP360 XP
1 Plexi-Drive2/4
SYSTEM SETTINGS
USB
USB
LCD
This system parameter controls the output mix of
RECORD LVL LOOPER
PLAY MIX
READY CONTRAST
the RP processed signal and USB playback signal
0 dB
USB:RP
8
(from your computer). When this parameter is
set to the center of its controllable range, it will
read "USB:RP" this represents equal mix levels
between the RP signal and USB playback signal. As
you adjust the control counter-clockwise, you can
vary the USB playback level in relation to the RP
level. As you adjust the control clockwise, you can vary the RP signal level in relation to the USB
playback level. This parameter is only available when a USB connection has been made to the RP.
4. Turn the EDIT 2 (USB PLAY MIX) knob to adjust the setting.
5. Press the BACK button or any FOOTSWITCH to exit the System Settings menu and return to
the Performance state.
RP360 / RP360 XP
47
LCD Contrast
This system parameter varies the contrast of the
LCD display.
1 Plexi-Drive2/4
SYSTEM SETTINGS
USB
USB
LCD
RECORD LVL LOOPER
PLAY MIX
READY CONTRAST
0 dB
USB:RP
3. Turn the EDIT 3 (LCD CONTRAST) knob to select the desired option.
4. Press the BACK button or any FOOTSWITCH to exit the System Settings menu and return to
the Performance state.
48
RP360 / RP360 XP
Control In
1 Plexi-Drive3/4
SYSTEM SETTINGS
PHRASE
This system option configures the CONTROL IN
SAMPLER
FS3X
EXP/TRS
SOUND
CHECK
connector for the desired operation. In the RP360
LOOPER
LOOPER
EXP/VOL
model, the CONTROL IN connector accepts an
external expression or volume pedal for real-time
control of effect parameters or a DigiTech FS3X
Footswitch for additional footswitch control. In the
RP360XP model, the CONTROL IN connector
accepts an FS3X Footswitch for additional footswitch control. The following section describes each of
the available Control In options.
CONTROL
IN
LOOPER READY
FS3X
Select this option when connecting an optional DigiTech FS3X Footswitch for additional
footswitch control. For example, if you configure the RP360XP for Stomp Mode operation,
you could use the three footswitches on the RP360XP for stompbox on/off control and the
connected FS3X Footswitch for preset navigation and Looper control. See Using An Optional
FS3X Footswitch on page 37 for more information on using an optional FS3X Footswitch.
LOOPER
This is the default setting from the factory. Select this option when connecting an optional
DigiTech FS3X Footswitch for full-time Looper control. See Using An Optional FS3X
Footswitch on page 37 for more information on using an optional FS3X Footswitch.
EXP/VOL
(RP360 Only)
Select this option to use an external volume controller to control RP360 effect parameters.
NOTE: To use a volume pedal for RP360 control, the pedal must meet the
following requirements:
Must be a passive guitar volume pedal.
Must offer a 1/4 TS cable connection and be connected using a TS cable.
Must use a 250 kOhms or higher pot.
EXP/TRS
(RP360 Only)
Select this option to use an external expression controller to control RP360 effect parameters.
NOTE: To use an external expression pedal for RP360 control, the pedal must
meet the following requirements:
Must be a resistance-based expression pedal.
Must offer a 1/4 TRS cable connection and be connected using a TRS cable.
Must offer a resistance of 10 kOhms or higher.
RP360 / RP360 XP
49
3. Turn the EDIT 1 (CONTROL IN) knob to select the desired option.
4. Press the BACK button or any FOOTSWITCH to exit the System Settings menu and return to
the Performance state.
50
RP360 / RP360 XP
Phrase Sampler
1 Plexi-Drive3/4
SYSTEM SETTINGS
This system parameter determines how the builtin phrase sampler will be used and provides two
options: SOUND CHECK and LOOPER.
SOUND
CONTROL
IN
LOOPER READY
FS3X
LOOPER
EXP/VOL
EXP/TRS
PHRASE
SAMPLER
SOUND
CHECK
LOOPER
CHECK
Selecting this option places the phrase sampler at the beginning of the effects chain for Sound
Check use. See Sound Check on page 29 for information on using the Sound Check feature.
LOOPER
Selecting this option places the phrase sampler at the end of the effects chain for Looper use.
This is the default setting. See Looper on page 28 for information on using the Looper.
3. Turn the EDIT 3 (PHRASE SAMPLER) knob to select the desired option.
4. Press the BACK button or any FOOTSWITCH to exit the System Settings menu and return to
the Performance state.
RP360 / RP360 XP
51
Calibrate Pedal
Selecting this system option initiates the
expression pedal calibration procedure. This
procedure can be used to calibrate the built-in
expression pedal in the RP360XP, or an external
expression controller connected to the RP360, in
the event that it is not working correctly.
1 Plexi-Drive4/4
SYSTEM SETTINGS
CALIBRATE
FACTORY
FIRMWARE
PEDAL
RESTORE
LOOPER
READY VERSION
START
START
v 1.1.0.0
3. Turn the EDIT 1 (CALIBRATE PEDAL) knob to initiate the calibration procedure.
4. Press the SELECT knob to confirm the action.
5. The display should now prompt you to place the expression pedal in the toe down position
then press FOOTSWITCH 3.
6. The display should now prompt you to place the expression pedal in the toe up position then
press FOOTSWITCH 3.
7. You will now be prompted to adjust the sensitivity of the expression pedals V-Switch (RP360XP
only). Press FOOTSWITCH 1 to decrease the sensitivity and FOOTSWITCH 2 to increase the
sensitivity. The Sensitivity is shown in the LCD display as a numeric value.
8. Test the V-Switch by pressing the expression pedal to the toe down position then applying extra
pressure on the toe. As the V-Switch is triggered the LCD display will read ON or OFF,
depending upon the state of the V-Switch. Repeat steps 7-8 to fine tune the calibration of the
V-Switch.You want the V-Switch to trigger consistently, yet not be overly sensitive, which would
cause accidental triggers.
9. When done, press FOOTSWITCH 3 to complete the calibration procedure and return to the
Performance state.
NOTE: If Calibration error! appears in the LCD display when performing the expression pedal
calibration procedure, repeat steps 5-8. Pressing the BACK button at any time during the above
procedure will abort the procedure.
52
RP360 / RP360 XP
Factory Restore
1 Plexi-Drive4/4
SYSTEM SETTINGS
CALIBRATE
FACTORY
FIRMWARE
PEDAL
RESTORE
LOOPER
READY VERSION
START
START
v 1.1.0.0
WARNING! Performing the factory restore procedure will restore all user presets back to their
factory default state. Any changes you have made and stored to user presets will be lost! Once
performed, this procedure is irreversible.
3. Turn the EDIT 2 (FACTORY RESTORE) knob to initiate the factory restore procedure.
4. Press and hold the SELECT knob to confirm the action. The device will now reset, indicated by
the Resetting... prompt in the LCD display. Wait for the factory restore procedure to finish.
5. If using an RP360, the procedure is now complete. If using an RP360XP, you must proceed to
the next step to calibrate the expression pedal.
6. Once complete, you will be prompted to calibrate the expression pedal (RP360XP only). Follow
the on-screen instructions. See Calibrate Pedal on page 52 for instructions on performing
this calibration procedure.
RP360 / RP360 XP
53
Firmware Version
Displays the firmware version currently installed in
the RP.
1 Plexi-Drive4/4
SYSTEM SETTINGS
CALIBRATE
FACTORY
FIRMWARE
PEDAL
RESTORE
LOOPER
READY VERSION
START
START
v 1.1.0.0
3. The firmware version will be displayed in the lower right-hand portion of the LCD display.
4. Press the BACK button to exit the System Settings menu.
54
RP360 / RP360 XP
1 Plexi-Drive
1/2
CRY WAH
W
A
H
CMP LOOPER
DST
BYPASS
ON/BYP
READY GAT EQ
MODEL
0 dB
LEVEL
DLY
DST
EQ
MOD
GAT
REV
Compressor Icon
V
O
L
Volume Icon
W
A
H
Wah Icon
E
X
P
Distortion Icon
LFO Icon
EQ Icon
RP360 / RP360 XP
55
Amp Modeling
Amp modeling is a technology which applies the tone of a selected amplifier to your guitar signal.
The RP includes an assortment of popular vintage and modern amp models as well as two acoustic
guitar simulators. Note that when you select an amp model, the default cabinet model is automatically
selected and displayed in the bottom right-hand corner of the LCD display.
Once an amp model has been selected, you can turn the EDIT 3 (CABINET) knob to change the
cabinet model. Pressing the SELECT knob navigates the various pages and accesses the other
parameters available for the selected amp model (i.e., Gain, Amp Level, and EQ). The following provides
a description of the amp models available in the RP and their associated parameters. Note that all amp
models have the same parameters as shown in the following table.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
CABINET
GAIN
AMP LEVEL
ON, BYPASS
Various Selections
0 - 99
0 - 99
BASS
1.0 - 10.0
MID
1.0 - 10.0
TREBLE
1.0 - 10.0
AMP MODELS
57
Champion
The Tweed Champ is a straight ahead, growly amp which is best suited for blues and garage
music. The tone is nasely, distorts easy due to the low wattage, but cuts through!
57
D-Luxe
One of the most sought after amps ever made, this is a tone you cant get enough of. This baby
shows off its glory when pushed to the limits.
59
Bass Man
This classic really roars with lots of bottom end. Great for blues riffs but equally great for
driving rock and roll rhythm guitar parts.
56
RP360 / RP360 XP
AMP MODELS
62
Bass Man
From the era of the first tolex covered Fender amps, this particular amp was used on the
classic Hendrix song Voodoo Child.
65
Fraternal
The benchmark for twin speaker combos. This great amp is one of the most recognizable clean
tones on recordings from the last 4 decades.
65
D-Luxe Reverb
The single speaker version of its bigger brother, this amp is equally at home for blues, country
and rock players.
45
JTM
Perhaps the turning point for blues and rock and roll, this amp set the course for the future of
Marshall amps. It started the crunch revolution, turning up on classic songs from AC/DC and,
most notably, the Bluesbreakers Beano album featuring Eric Clapton.
68
Plexi
This is undoubtedly the amp that changed rock and roll. It is a benchmark for many of the
greatest guitar sounds ever heard. From Hendrix to Van Halen, this amp is the real deal.
Jump
Panel
This effect is based on the method used to get the most saturation from the classic plexi by
jumping channel 1 into channel 2, you get a bit more push over the top.
Master Volume
This amp was king of rock and roll in the '70s. This JMP 100W amp featured four 6550 output
tubes, making it hot and punchy for rock and punk music alike.
800
JCM
The amp that defined many of the metal sounds of the '80s is still one of the most highly
respected Marshall amps ever made.
RP360 / RP360 XP
57
AMP MODELS
900
JCM
Incorporating a diode clipping stage, this amp gives you more gain than you can shake a stick at.
2000
JCM
The TSL100 is a superb tone with tons of sustain for grinding riffs or singing solos.
British
15
The first great Vox amp. A single 12 version of its more famous 30 Watt big brother, this amp
has much of the same character to offer.
British
30
The quintessential amp that defined both Brian Mays and Edges sound. Just crank this amp up
and get some of the most awesome growl you will ever hear from an amp.
Hi Wattage
This superb rock and roll amp was the staple of Pete Townshends tone in the early 70s. A
monster that has loads of headroom, this is at its best when cranked up all the way and paired
with the Fane 4x12 cab.
Mark
IIC
Originally based off of hot-rodded Fender amps, this classic has some of the best rhythm and
lead tones ever. This amp was the flagship for Mesa/Boogie during their custom built-to-order
days.
Mark
If high gain is your bag, this is up your alley. This amp is still as influential today as it was when
introduced over a decade ago.
Duo
Rectified
The new benchmark for metal guitar, this Rectifier series unleashed a new era of high gain amp
mayhem.
58
RP360 / RP360 XP
AMP MODELS
Tri
Rectified
Another gem from the guys in Petaluma, this bigger brother of the dual rectifier packs an
additional 50 Watts of power.
Caliber
22
Steve Vais signature amp that he has been using since 1999. Custom tweaked tone to Steves
specifications and featuring an EL-34 tube output stage.Very smooth for soloing.
Matched
30
The perfect Class A crunch tone with tight, responsive low end. This is right at home with
country, blues, and rock.
Chief
A beautifully full amp tone with plenty of character. The Chief is a really great amp to use for
putting a slightly different color in your musical palette.
Solo
100
Considered one of the first boutique amp companies, the SLO100 is a pure gain heads dream.
Smooth distortion with incredible sustain, this amp is amazing.
Super
Group
The Supergroup was used most notably by Tony Iommi and was key to the sound of early
Black Sabbath records.
GA-40
A very cool blues/rock amp in the ranks with the Deluxes but with a personality all its own.
Citris
120
This often overlooked amp from a great British amp company was used by greats like Jimmy
and Frank Zappa. No wonder the great Orange is making a comeback.
RP360 / RP360 XP
59
AMP MODELS
PV
5150
Designed in conjunction with Eddie Van Halen by Peavey, this amp offers gain for days.
RG100
A vintage solid state amp that ushered in a new metal generation. This was the amp Dimebag
used in the earlier Pantera days.
Jazz
120
This solid state combo was synonymous with the sparkling clean sounds of the '80s.
Solar
100
Used by Pete Townshend in the late 60s US tour, these amps offered tons of headroom which
certainly delivered the SPLs The Who loved.
Solo
Dialed in tone ideal for laying down solos for country, rock, jazz, blues and even metal. Add a
bit of delay and reverb and you have the perfect sound for any lick you can come up with.
Metal
A true metal tone for both classic or modern style metal with a chunky bottom end. This
effect is able to achieve a variety of metal tones with the use of the EQ and gain controls.
Bright
Combo
A perfect clean combo amp structure. This amp is bright, yet cleaner than most. Great for jazz,
surf, country, clean rock, and metal.
Chunk
Thicker than a Marshall, the Chunk gives you lots of gain with plenty of low end that doesnt
get in your way.
Clean Tube
This amp provides a very clean tube combo tone with just the right amount of 2nd order
harmonics.
High
Gain
For the rock or hard rock player who requires a lot of distortion as a starting point. This effect
provides a very punchy tone for both rhythm and lead work reminiscent of a well polished
production album.
60
RP360 / RP360 XP
AMP MODELS
Blues
A perfect combination of clarity and grit. The Blues amp cuts through but doesnt get too
muddy as the gain is turned up.
Fuzz
The DigiTech Fuzz tone is based off of the fuzz tone of the late '60s English bands, with our
own twist. Thus making the DigiTech Fuzz ideal for everything from '90s grunge to todays mix
of music.
Spank
A bright and punchy clean sound that can be driven for a bit of edge. At home with funk or any
tone that needs some spanking.
2101
Clean
The DigiTech GSP2101TM has become an iconic preamp/processor for many players over the
years. After years of requests from players, we have brought the sounds back from their glory
days. The 2101 Clean captures the warmth and brightness while being able to drive it hard to
produce a nice warm clean sound with grit.
2101
Saturated
The sound of the GSP2101 preamp provides a mild to over the top gain without getting a
muddy sound. A perfect tone setting for all types of music.
Crunch
The Crunch is just that, a tube head that crunches more than the rest. The Crunch has extra
gain and cuts through. Perfect for both rhythms and solos.
Monster
The DigiTech Monster was created on an operating table in a European castle with one thing
in mind full-on, dimed-out, molten-metal gain. This is the perfect setting for death metal or
the Norwegian sound.
Tweedface
Imagine combining two of the greatest Fender amps into a single beast. Thats what we have
done with the Tweedface. Take the preamp of the classic Tweed DeluxeTM and combine it with
the output stage of the Blackface Twin Reverb and here is the monster you get.
RP360 / RP360 XP
61
AMP MODELS
Black
Bass
What happens when you combine the cleaner input stage of a Blackface and connect it to
the gritty poweramp of a Bassman? You get an experimental amp that works perfect for blues,
rock-a-billy, country, and rock.Youll want to drive this hard.
Stoner
Rock
The Stoner Rock produces tones made famous by So-Cal and dessert bands. The Stoner
Rocks huge, flubby low end and warm high end make you want to use your bridge pickup, turn
your guitars tone knob down, and play Godzilla all night.
DarkMetal
Producing a tight, focused tone, the DarkMetal amp has high gain, yet does not muddy up your
guitars tone perfect if you play intricate metal.
Transistor
The DigiTech Transistor effect emulates the grainy, narrow EQ band sound of a solid state
transistor lo-fi amplifier. Great for use as an effect or to set the mood.
Brown
Sound
The Brown is a hot-rodded Marshall tone of the early 80s made famous by a wild, fingertapping guitarist.
Mosh
This sound was created after the mid '80s NYC and Bay Area tones.You will feel like you are in
the pit while taken a thrashing. Big metal sound with a bit of sizzle.
Dread Acoustic
Awesome dreadnaught acoustic simulation with an articulate top end. Best suited for middle
and neck pickups.
NOTE: Cabinet models are unavailable when this option is selected.
Jumbo Acoustic
When compared to the Dread Acoustic simulation, this effect provides a warmer acoustic
model with more midrange.
NOTE: Cabinet models are unavailable when this option is selected.
62
RP360 / RP360 XP
AMP MODELS
Direct
Passes the direct signal (amp modeling is not applied to the signal). When this option is
selected, cabinet models are still available for selection. Select this option when you want to
use cabinet modeling without amp modeling.
RP360 / RP360 XP
63
Cabinet Modeling
Cabinet modeling is a technology which applies the tone of a selected speaker cabinet to your guitar
signal. The RP includes an assortment of popular vintage and modern cabinet models. Note that
when you select an amp model, the default cabinet model is automatically selected and displayed in
the bottom right-hand corner of the LCD display.You can, however, change the cabinet model after
selecting an amp model to achieve different tones. The following provides a description of each of the
cabinet models available in the RP. Note that there are no parameters available for cabinet models as
they are not required.
CABINET MODELS
1x8: Champ
A bluesmans delight. Wonderful response with a classic tone when matched with its namesake
amp model.
1x12: LuxRev
Provides solid tone which can be combined with any amp for a great rhythm tone.
1x12: AC
British
Similar to the Deluxe cabs with emphasized top end for more bite.
2x12: Bass
Man
Warm dual speaker combo. Great for driving rhythm playing or clean chord comps.
2x12: Twin
The benchmark that many others have tried to imitate. The classic clean tone at its best.
2x12: AC
British
Amazing low end. These were our favorite speakers of the early Vox/Jensen era.
64
RP360 / RP360 XP
CABINET MODELS
2x12: Jazz
Powerful bottom end from a landmark speaker designer. Classic tones from the late 60s.
4x10: Bass
Man
Powerful, throaty, and just plain cool. This cabinet mixed with its matching amp gives you tones
as cool as they come.
4x12: Classic
Great power handling speakers give you the classic Marshall bite and chunk. It takes a lot of
power to break these up.
4x12: Green
This super speaker design provides a voice that is as distinctive as its name. Great match for
the Plexi.
4x12: Fane
Unique warm tone was the perfect balance for the head it is originally paired with.
4x12: Boutique
A rare matchup from the guys at VHT. Great bite that really cuts through.
4x12: V30
This tone is great when used for rock, hard rock and metal. The low end compresses just the
right amount due to the combination of the Celestion Vintage 30s and cabinet volume.
4x12: Recto
The ultimate 4x12 for the heaviest tone. Massive bottom end and punchy midrange.
4x12: Solo
Solos need to cut through the mix without squashing the sound. The Solo cabinet is phrased to
provide a clear tone with maximum distortion to help the guitar cut through.
RP360 / RP360 XP
65
CABINET MODELS
2x12: Bright
A particularly bright but full sounding combo cabinet. Great for clean.
4x12: Metal
The Metal cabinet provides a deeper but tight low-end response. Great with any amp that
needs a little focus.
4x12: Rock
Take a standard 4x12 and add just a little more 600Hz to cut through the mix, the Rock
cabinet not only sounds good for rock but excels at hard rock and gives distorted combos
new life.
4x12: Alternative
The DigiTech Alternative cabinet model is a dirtier cabinet with more sizzle than a standard
4x12 cabinet. Use if you want to drive your tone over the edge.
4x12: Vintage
The Chunk is a thicker cabinet that lends itself to hard rock and solos. This will help any amp
cut through the mix.
4x12: Spank
Need a jangley, funk high end? The Spank is perfect for funk.
2101
Speaker
This speaker compensation is from the GSP2101, which has become a standard in direct
mic'ing for music of all types.
Direct
Passes the direct signal (cabinet modeling is not applied to the signal). Select this option when
you want to use the selected amp model, but want cabinet modeling disabled.
66
RP360 / RP360 XP
Compression
CMP
A compressor is used to increase sustain and beef up your tone. It does this by raising lower level
signals and restricting louder ones. The following provides a description of the compressor models
available in the RP and their associated parameters.
COMPRESSOR MODELS
Main
Squeeze
(DigiTech Compressor)
The DigiTech Main Squeeze compressor compresses high-input signals while boosting lowinput signals, giving you smooth and long sustain without degrading the quality of the original
sound. It also has a control to adjust the tone of the compressed signal.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
LEVEL
ON, BYPASS
0 - 99
SUSTAIN
0 - 99
TONE
0 - 99
ATTACK
0 - 99
Blue
Compressor
The CS-2 compresses high-input signals while boosting low-input signals, giving you smooth
and long sustain without degrading the quality of the original sound.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
LEVEL
ON, BYPASS
0 - 99
SUSTAIN
0 - 99
ATTACK
0 - 99
RP360 / RP360 XP
67
COMPRESSOR MODELS
Red
Compressor
The MXR Dyna Comp will compress the high-input signals and boost the low-input signals
while adding its unique voicing that has become popular with many players for leads, clean
chicken picking, and simple boosts.
Parameters
68
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
OUTPUT
0 - 99
SENSITIVITY
0 - 99
RP360 / RP360 XP
Delay
DLY
Delay is an effect that records a portion of the incoming signal, and then plays it back a short time
later. The recording can repeat just once or several times, depending upon the selected delay model
and settings.
The RPs have a Tap Tempo feature which updates the delay time during a performance by tapping your
foot on a footswitch at the rate of the desired tempo. See Tap Tempo on page 33 for information
on using the Tap Tempo feature.
The following provides a description of the delay models available in the RP and their associated
parameters.
DELAY MODELS
Analog
Delay
The analog delay produces delays that were derived from BBD analog delay chips. The BBD
chips were the first ways to produce delay aside from the costly tape delays. The delay sound
was not hi-fi but was reminiscent of the original signal and quickly became a cornerstone to
modern guitar sounds due to their warm qualities.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
TIME
ON, BYPASS
0 - 5.000 SEC
REPEATS
0 - 99, HOLD
LEVEL
0 - 99
3 QUARTER,
EIGHT, DOT EIGHT,
QUARTER, HALF
TAP DIV
Sets the delay tap divider rate or the note value at which the delay will
occur.
RP360 / RP360 XP
69
DELAY MODELS
DM
Delay
The DM-2 is a classic and standard BBD analog delay that used 4,096 stages of delay.
The frequency response and noise depended upon the delay time. The signal increasingly
deteriorates with each repeat, so as the repeats are turned up, the signal becomes less and less
recognizable and actually becomes more of an effect than a delay.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
REPEATS
ON, BYPASS
0.024 - 0.310 SEC
INTENSITY
0 - 99
ECHO
0 - 99
Digital
Delay
A digital delay can be called a perfect representation of your guitars signal. Desired for their
brilliant qualities, digital delays have virtually no noise and a full frequency response.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
TIME
ON, BYPASS
0 - 5.000 SEC
REPEATS
0 - 99, HOLD
LEVEL
0 - 99
3 QUARTER,
EIGHT, DOT EIGHT,
QUARTER, HALF
TAP DIV
70
DUCKTHRSH
0 - 99
DUCKLEVEL
0 - 99
Sets the delay tap divider rate or the note value at which the delay will
occur.
Adds an additional ducking effect to the delayed signal. This parameter
adjusts the ducking effects threshold. Lower values increase the effect
and higher values decrease the effect.
Adjusts the output level of the ducking effect.
RP360 / RP360 XP
DELAY MODELS
Modulated
Delay
A modulated delay is a digital delay with chorus added to the delays to produce a wider
sounding stereo delay.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
TIME
ON, BYPASS
0.010 - 5.000 SEC
REPEATS
0 - 99, HOLD
DEPTH
0 - 99
LEVEL
0 - 99
3 QUARTER,
EIGHT, DOT EIGHT,
QUARTER, HALF
TAP DIV
Ping
Sets the delay tap divider rate or the note value at which the delay will
occur.
Pong Delay
A ping pong delays repeats jump from side to side and requires a stereo setup to fully hear the
effect.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
TIME
ON, BYPASS
0 - 5.000 SEC
REPEATS
0 - 99, HOLD
LEVEL
0 - 99
3 QUARTER,
EIGHT, DOT EIGHT,
QUARTER, HALF
TAP DIV
DUCKTHRSH
0 - 99
DUCKLEVEL
0 - 99
Sets the delay tap divider rate or the note value at which the delay will
occur.
Adds an additional ducking effect to the delayed signal. This parameter
adjusts the ducking effects threshold. Lower values increase the effect
and higher values decrease the effect.
Adjusts the output level of the ducking effect.
RP360 / RP360 XP
71
DELAY MODELS
Tape
Delay
The tape delay effect produces a warm tone by limiting the frequency response and adding the
distortion that exists in a tape delay.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
TIME
ON, BYPASS
0.010 - 5.000 SEC
REPEATS
0 - 99, HOLD
LEVEL
0 - 99
WOW
0 - 99
FLUTTER
0 - 99
TAP DIV
3 QUARTER,
EIGHT, DOT EIGHT,
QUARTER, HALF
Sets the delay tap divider rate or the note value at which the delay will
occur.
Echo
Flex
(Based on a Maestro EP-2 Tube Echoplex)
The Echoplex is the standard to which all analog delays are judged. The Echoplex was the
first widely used tape delay and had a tone all its own. The Echoplex can be heard on many
rockabilly, surf, country, and rock tracks.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
TIME
ON, BYPASS
0.110 - 0.870 SEC
REPEATS
0 - 99, HOLD
VOLUME
0 - 99
3 QUARTER,
EIGHT, DOT EIGHT,
QUARTER, HALF
TAP DIV
72
Sets the delay tap divider rate or the note value at which the delay will
occur.
RP360 / RP360 XP
DELAY MODELS
Lo
Fi Delay
The Lo Fi delay is an analog delay with a severely limited frequency response, producing an
even grungier delay effect.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
TIME
ON, BYPASS
0 - 5.000 SEC
REPEATS
0 - 99, HOLD
LEVEL
0 - 99
3 QUARTER,
EIGHT, DOT EIGHT,
QUARTER, HALF
TAP DIV
2-Tap
Sets the delay tap divider rate or the note value at which the delay will
occur.
Delay
While most delays are derived from a signal delay with one end tap, the 2-Tap Delay uses a
single delay line, but with two end points that are spaced about at different ratios. Use this
effect to add more of a rhythmic quality to your delays.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
TIME
ON, BYPASS
0 - 5.000 SEC
REPEATS
0 - 99, HOLD
LEVEL
0 - 99
RATIO
0% - 99%
TAP DIV
3 QUARTER,
EIGHT, DOT EIGHT,
QUARTER, HALF
Sets the delay tap divider rate or the note value at which the delay will
occur.
RP360 / RP360 XP
73
Distortion
DST
Distortion and overdrive pedals were designed to give your guitar tone gain before it reaches your
amp. Many heavily distorted pedals such as the DigiTech GrungeTM were designed to provide most
or all of the gain and run through a cleaner amp. Overdrives are great for boosting the gain of your
guitar sound and driving an already distorted amp, giving your total tone more gain and a heavier feel.
Overdrives used with clean amps provide a bluesy tone. The following provides a description of the
distortion models available in the RP and their associated parameters.
DISTORTION MODELS
Screamer
One of the most famous pedals ever created, the TS-9 has stood the test of time and can be
found on nearly every pedal board.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DRIVE
0 - 99
TONE
LEVEL
0 - 99
0 - 99
Eight-Oh-Eight
The predecessor to the famed TS-9, the TS-808 has spawned a whole boutique market around
modifications to this classic design. If you want one of the standards in overdrive, this is it.
Parameters
74
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
OVERDRIVE
0 - 99
TONE
LEVEL
0 - 99
0 - 99
RP360 / RP360 XP
DISTORTION MODELS
TS
Modded
Take a TS-9, add more gain and modify the low end to produce a thicker, bluesier overdrive.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DRIVE
0 - 99
TONE
LEVEL
0 - 99
0 - 99
Supreme
Drive
With a little more gain than the OD-1, the SD-1 will drive any amp into another realm. If you
are just looking for a good classic rock tone, this is it.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DRIVE
0 - 99
TONE
LEVEL
0 - 99
0 - 99
Over
Drive
The OD-1 is perfect for just adding a little gain to your tone no matter what type of amp you
use. To produce a bluesy tone, use it with a clean combo. To drive your stack, crank the gain
and level.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DRIVE
0 - 99
LEVEL
0 - 99
RP360 / RP360 XP
75
DISTORTION MODELS
Who
Do Drive
The Sparkle Drive mixes an 808 tone with a boosted clean tone to form a perfect device to
drive amps.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
GAIN
0 - 99
TONE
0 - 99
CLEAN
0 - 99
VOLUME
0 - 99
Driven
Over
The OD-2 is yet a different flavor of overdrive. The OD-2 is transparent and does not get in
the way when playing single notes or chords.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
GAIN
0 - 99
LEVEL
0 - 99
DOD
250
The DOD 250 is another classic overdrive. With no tone control to get in the way, the 250s
beauty is just its pure overdrive.
Parameters
76
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
GAIN
0 - 99
LEVEL
0 - 99
RP360 / RP360 XP
DISTORTION MODELS
Redline
Not your standard overdrive, the Redline takes overdrive to a place that never existed. The
Redlines circuit overdrives the guitars signal in a way that is not evenly clipped like the way a
tube amp distorts. Add extra gain and a thicker low end and the Redline was born.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
GAIN
0 - 99
LOW
HIGH
LEVEL
0 - 99
0 - 99
0 - 99
Amp
Driver
The Amp Driver distortion is designed to turn a regular distorted amp into a monster. The
Amp Driver not only distorts the guitars signal, but also boosts frequencies around 600Hz. By
emphasizing the frequencies around 600Hz, amps can be driven harder and take on more of a
metal tone. A mean sound is not only determined by how much gain you put in front of your
amp, but also by how hard you drive the amp and with what frequencies the amp is driven
with.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DRIVE
0 - 99
MIDBOOST
LEVEL
0 - 99
0 - 99
RP360 / RP360 XP
77
DISTORTION MODELS
Anxiety
Disorder
Straddling the border of overdrive and distortion, the OCD produces amazing harmonics and
drives any amp into oblivion. The overdrive is thicker than most, yet clear, letting every string
and note come through.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DRIVE
0 - 99
TONE
0 - 99
HP/LP
HP, LP
VOLUME
0 - 99
Rodent
Want gain? Want more gain? The Rat was one of the first pedals to take the gain to another
dimension. The filter control gives the Rat its unique tones and flexibility. It is rumored that
early Bay area thrash bands used it in conjunction with a Marshall JCM800 to achieve their
heavy tones.
Parameters
78
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DIST
0 - 99
FILTER
0 - 99
VOLUME
0 - 99
RP360 / RP360 XP
DISTORTION MODELS
MX
Distortion
A classic pedal due to its simplicity just plug in and go. The Distortion + produces good,
honest distortion, perfect for driving a distorted amp.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DIST
0 - 99
OUTPUT
0 - 99
Orange
Distortion
A truly classic distortion. A nice, common distortion that ranges in tone from rock to mild
metal. Use it to drive a distorted amp!
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DIST
0 - 99
TONE
LEVEL
0 - 99
0 - 99
Grunge
In late 1991 as grunge music hit the radio, this pedal was designed as the DOD FX69 Grunge.
The pedal was designed by a young engineer who played punk music and was released as an
experiment to see what this new type of music was all about. The DOD FX69 Grunge became
a top-seller and continued selling strong for over a decade. The Grunge produces tones from
early famous Seattle sounds to borderline metal.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
GRUNGE
0 - 99
BUTT
FACE
LOUD
0 - 99
0 - 99
0 - 99
RP360 / RP360 XP
79
DISTORTION MODELS
Zone
The Metal Zone will produce nearly any metal tone needed from tight, percussive, Bay area
thrash to deep, detuned grind core.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
GAIN
0 - 99
LOW
MID
MID FREQ
HIGH
LEVEL
0 - 99
0 - 99
0 - 99
0 - 99
0 - 99
Death
Metal
Designed in 1992 to provide death metal musicians with a wall of sound, the DigiTech Death
MetalTM pedal does just that. Whether you play early 90s grindcore or modern death metal, the
Death Metals tone controls give you a multitude of sonic options.
Parameters
80
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
LEVEL
LOW
MID
HIGH
ON, BYPASS
0 - 99
0 - 99
0 - 99
0 - 99
RP360 / RP360 XP
DISTORTION MODELS
Gonkulator
Engineered to meet the needs of many experimental guitarists, the DOD Gonkulator pedal
was a silent hit. The Gonkulator is a combination of a Grunge pedal and a ring modulator that
produces distortion and mixes in a bell-like ringing. The first pedal with a suck knob.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
GUNK
ON, BYPASS
0 - 99
SMEAR
0 - 99
SUCK
HEAVE
0 - 99
0 - 99
8tavia
Designed in 1967, the Octavia was featured on Purple Haze and Fire by Jimi.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
DRIVE
0 - 99
VOLUME
0 - 99
Later
Fuzz
Enhancing the proper frequencies with a pre-emphasis tone circuit, the Fuzzulator produces
distortion that is unique and does not get muddy when the Fuzz is turned up.
Parameters
NAME
OPTIONS OR
RANGE
ON/BYP
ON, BYPASS
FUZZ
TONE
LOOSENESS
VOLUME
DESCRIPTION
RP360 / RP360 XP
81
DISTORTION MODELS
DOD
Classic Fuzz
A part of the original DOD FX family, the Classic Fuzz gained a following for its clearer voicing
as compared to many fuzz pedals.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
FUZZ
0 - 99
TONE
VOLUME
0 - 99
0 - 99
Face
Fuzz
The Dallas Arbiter Fuzz Face surfaced in 1966 and used germanium transistors to get its
unique fuzzy sound and inspired many other fuzz pedals to follow. The Fuzz Face produces
a thick wall of edgy distortion and a very full low end. Perfect for creating 60s or modern
stonerrock tones.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
FUZZ
0 - 99
VOLUME
0 - 99
Big
Pi
A requirement for any alternative player, the Big Muff Pis thick fuzz is unmistakable in grunge,
new wave, and many punk hits.
Parameters
82
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
SUSTAIN
0 - 99
TONE
VOLUME
0 - 99
0 - 99
RP360 / RP360 XP
EQ
EQ
The 3-band semi-parametric EQ is used to further shape your tone and provides low, mid, and highband controls, each with adjustable frequency and bandwidth.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
LOW LEVEL
LOW FREQ
ON, BYPASS
-12 dB to +12 dB
60 Hz - 500 Hz
WIDE, MEDIUM,
NARROW
-12 dB to +12 dB
300 Hz - 4 kHz
WIDE, MEDIUM,
NARROW
-12 dB to +12 dB
2 kHz - 8 kHz
WIDE, MEDIUM,
NARROW
LOW BW
MID LEVEL
MID FREQ
MID BW
HIGH LEVEL
HIGH FREQ
HIGH BW
RP360 / RP360 XP
83
Expression Pedal
E
X
P
Selecting the Expression Pedal icon accesses settings to assign a parameter for expression pedal
control and set the minimum (toe up) and maximum (toe down) control limit values. See Expression
Pedal Control on page 34 for further information on configuring and using the Expression Pedal
built into the RP360XP or an external expression/volume pedal connected to the RP360.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
PARAMETER Varies
SELECT
MIN
Varies
MAX
Varies
Sets the minimum capable value when the expression pedal is in its toe up
position.
Sets the maximum capable value when the expression pedal is in its toe down
position.
LFO
Selecting the LFO icon accesses settings to assign a parameter for LFO control.You can also set the
minimum and maximum range control limits, adjust the speed, and select the waveform type. See
Assigning The LFO on page 36 for further information on configuring and using the LFO for
modulating effect parameters.
Parameters
NAME
OPTIONS OR RANGE
PARAMETER
CONTROLLED
Varies based on selection Selects the parameter you want the LFO to control.
MIN
MAX
SPEED
WAVEFRM
84
DESCRIPTION
RP360 / RP360 XP
Modulation
MOD
The Modulation effect module selects effects such as chorus, flanger, phaser, vibrato/rotary, tremolo,
panner (auto-panner), filters, and pitch shifting. The following sections provide a description of each of
these effect types.
Chorus
Chorus adds a short delay to your signal. The delayed signal is modulated in and out of tune and then
mixed back with the original signal to create a thicker, more interesting sound with minor movement.
The following provides a description of the chorus models available in the RPs and their associated
parameters.
Chorus
A very simple but popular chorus pedal. Its simplistic two knob design makes it easy to use.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
Danish
Chorus
A chorus pedal that was made for guitar but also used by bass and keyboard players as well.
Many keyboardists use it to enhance their Rhoads electric piano sound. The speed knob
controls the speed of the chorus or flanger sweeps. The width knob controls how much
frequency change the effect spans. The intensity controls how much of the effect is used.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
INTENSTY
SPEED
WIDTH
ON, BYPASS
0 - 99
0 - 99
0 - 99
RP360 / RP360 XP
85
Chorus
A warm dual voice chorus with speed, depth, level, and waveform controls.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
0 - 99
TRIANGLE, SINE,
SQUARE
WAVEFORM
Glisten
Chorus
A more simplistic chorus giving you a warm chorus tone like the CE-2 , but adding a 3rd knob
allowing you to adjust the overall level as well.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
0 - 99
Multi
Chorus
DigiTechs famous multi-chorus gets has an incredibly warm chorus tone using 16 voices that
interact with each other in Stereo mode, giving you the most incredible and unique chorus
tone you can imagine.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
0 - 99
TRIANGLE, SINE,
SQUARE
WAVEFORM
86
RP360 / RP360 XP
Doo Chorus
A strikingly vocal chorus pedal with distinct organic tone. It is capable of a wide range of
sounds from a thick analog doubling, to an ultra-lush chorus, and even a Leslie rotating speaker.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
INTENSTY
ON, BYPASS
0 - 99
0 - 99
Clone
Chorus
A very lush, watery chorus which can be heard on hits by bands including Nirvana. This chorus
has a very earthy tone to it and definitely takes your chorus tone to a different place.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
RATE
DEPTH
ON, BYPASS
0 - 99
0 - 99
RP360 / RP360 XP
87
Flanger
A flanger uses the same principles as the chorus effect, but uses a shorter delay time and adds
regeneration (or repeats) to the modulating delay. This results in an exaggerated up and down
sweeping motion to the effect. The following provides a description of the flanger models available in
the RPs and their associated parameters.
DigiTechs own flanger with control of Speed, Depth, Regeneration, and Level.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
0 - 99
REGEN
0 - 99
WAVEFORM
TRIANGLE, SINE,
SQUARE
Triggered
Flanger
The Triggered Flanger allows you to trigger the flanger sweep based on how loud you play. Set
the SENSITIVITY parameter to determine how loud the signal must be to trigger the flanger.
Set the LFO START parameter to determine the frequency at which the flanger sweep will
begin once triggered.
Parameters
88
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
SPEED
ON, BYPASS
0 - 99
0 - 99
SENSITIVITY
0 - 99
LFO START
0 - 99
RP360 / RP360 XP
Flanger
The DigiTech team expanded on the traditional flanger by adding a band pass filter in the
feedback path of the effect. Because of this filter, the Filter Flangers feedback affects only a set
amount of frequencies, thereby generating a different sounding flanger effect.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
REGEN
0 - 99
FREQ
0 - 99
MX
Flanger
A big, rich and organic flanger tone made popular by such people as Eddie Van Halen. The
MXR flanger creates a variety of wild sounds, from a dynamic jet plane or cool space effects,
to short delay, chorus, and vibrato.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
WIDTH
ON, BYPASS
0 - 99
0 - 99
REGEN
0 - 99
MANUAL
0 - 99
EH
Flanger
This flanger has a unique tone, giving it a sort of chorus/flanger mixed tone, making it not as
dry as some of the other flangers (but with a more pronounced sweep). Its easy to use with
only 3 knobs (Color, Range, and Rate), which also makes it a little easier to dial in your tone.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
RATE
RANGE
ON, BYPASS
0 - 99
0 - 99
COLOR
0 - 99
RP360 / RP360 XP
89
Flanger
A super quiet flanger with plenty of headroom. Made popular by its ability to get thick and
juicy tones from using not only the standard knobs, found on most flangers, but also the
Harmonic knob which offers the user a slightly different timbre going from even to odd
harmonics.
Parameters
90
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
ON, BYPASS
0 - 99
ENHANCE
0 - 99
RANGE
0 - 99
MANUAL
HARMONIC
0 - 99
0 - 99
RP360 / RP360 XP
Phaser
A phaser splits the incoming signal, and then changes the phasing of the signal. This signal is then
taken in and out of phase and mixed back in with the original signal. As the phasing changes, different
frequencies get canceled resulting in a warm sort of twisting sound. The following provides a
description of the phaser models available in the RPs and their associated parameters.
Beam
This phaser will give you the standard phaser tone with all the parameters you need for
controlling it.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
0 - 99
REGEN
0 - 99
WAVEFORM
TRIANGLE, SINE,
SQUARE
Triggered
Phaser
The Triggered Phaser allows you to trigger the phaser sweep based on how loud you play. Set
the SENSITIVITY parameter to determine how loud the signal must be to trigger the phaser.
Set the LFO START parameter to determine the frequency at which the phaser sweep will
begin once triggered.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
SPEED
ON, BYPASS
0 - 99
0 - 99
SENSITIVITY
0 - 99
LFO START
0 - 99
RP360 / RP360 XP
91
Phaser
Another industry standard in phase pedals with its own unique tones. It has a simplistic 2 knob
control panel (Intensity and Speed). Along with the Speed control that controls the speed of
the sweep, the Intensity knob selects between four different intensities, defined as preset
waveform patterns. Between the intensity and speed settings, youll find quite a supply of
excellent sounds!
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
ON, BYPASS
0 - 99
INTENSTY
1-4
Stone
Phase
The Small Stones full-bodied, 3-dimensional phasing adds a special swirl to every musical
style. Blues players dig its rapidly rotating speaker effect while Country players use it to add
seasoning to their chicken pickin. Metal-heads and Industrialists dig the Stones jet plane
woosh. Its simplistic 2 knob control panel (Rate and Color) make it easier to dial in a quick
phaser tone that will be just right for you.
Parameters
92
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
RATE
COLOR
ON, BYPASS
0 - 99
BYPASS, ON
RP360 / RP360 XP
Vibrato/Rotary
Vibrato is an effect that modulates the pitch of the incoming signal at an even rate, taking the whole
signal slightly in and out of tune at a steady pace. A Rotary effect emulates a device that included a
spinning horn and woofer. The rotation of these two speakers produced an interesting combination
of the sound panning from side to side. This also produced a slight pitch change due to the speed of
the sound coming towards, and then going away from the listener, known as the Doppler effect. The
following provides a description of the vibrato/rotary models available in the RPs and their associated
parameters.
The Vibrato effect produces varying changes in pitch. This effect can be found on countless surf
and country classics.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
INTENSTY
ON, BYPASS
0 - 99
0 - 99
Rotator
The Rotator effect simulates the Doppler effect and volume fluctuations of a rotary speaker.
This effect is lush and full.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
INTENSTY
ON, BYPASS
0 - 99
0 - 99
DOPPLER
0 - 99
X OVER
0 - 99
RP360 / RP360 XP
93
The Vibro-Pan not only varies pitch, but also incorporates an automatic panner with a vibrato
effect that creates a lush, chorus-like sound. This effect is great for stereo setups.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
INTENSTY
VIBPAN
ON, BYPASS
0 - 99
0 - 99
0 - 99
TRIANGLE, SINE,
SQUARE
WAVEFORM
Uno-Vibe
Based on the Unicord Uni-Vibe pedal , the Uno-Vibe creates a rotary speaker type effect in
tandem with chorus or vibrato, producing a lush, swirling effect.
Parameters
94
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
VOLUME
SPEED
INTENSTY
CHO VIBE
ON, BYPASS
0 - 99
0 - 99
0 - 99
CHORUS,VIBRATO
RP360 / RP360 XP
Tremolo/Panner
The tremolo effect modulates the volume of the signal at an even rate.You may recognize this effect
from vintage guitar combo amps which had built-in tremolo (sometimes incorrectly referred to as
vibrato).
A panner effect modulates the pan control, making the signal jump back and forth between the left and
right speakers. The following provides a description of the tremolo/panner models available in the RPs
and their associated parameters.
This is your standard tremolo effect. Use it to create haunting, eerie effects or add vibe to a
riff. Use the speed, depth, and waveform parameters to create the desired feel.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
TRIANGLE, SINE,
SQUARE
WAVEFORM
Scatter Tremolo
The Scatter Tremolo combines two tremolos that are out of sync, producing an unpredictably
scattered tremolo sound.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
Opto Tremolo
The sound of the Fender Opto Tremolo is as classic as their amps. Both tone shift and volume
effects are produced to create this unique tone.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
INTENSTY
ON, BYPASS
0 - 99
0 - 99
RP360 / RP360 XP
95
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
Panner
This effect pans the sound from side to side. The speed controls how fast the panning occurs
and the depth controls how much of the signal is panned.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
DEPTH
ON, BYPASS
0 - 99
0 - 99
TRIANGLE, SINE,
SQUARE
WAVEFORM
96
RP360 / RP360 XP
Envelope Filter
The envelope filter effect is a dynamic wah effect that alters your sound based upon how hard you
play. The following provides a description of the tremolo/panner models available in the RPs and their
associated parameters.
Filter
An envelope filter is also called an auto-wah for its wah effect. The amount of wah is
dependent upon the output volume of your guitar the harder you play, the more wah you
get. A definite B-Movie soundtrack tone.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SENSITIVTY
ON, BYPASS
0 - 99
RANGE
0 - 99
DOD
Envelope Filter
The DOD FX25 is a classic analog envelope filter that can be found on many funk and
alternative tracks. Used by both guitar and bass players. Try this one clean for a really funky
sound.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SENSITIVTY
ON, BYPASS
0 - 99
RANGE
0 - 99
BLEND
0 - 99
Auto YahTM
An Auto Ya combines the characteristics of a wah and a flanger, creating an almost human
vowel characteristic as if the guitar were saying Yah. The Auto Ya automatically provides this
animation to the sound at an even rate.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
INTENSTY
ON, BYPASS
0 - 99
0 - 99
RANGE
0 - 49
RP360 / RP360 XP
97
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
PEDAL
INTENSITY
ON, BYPASS
0 - 99
0 - 99
RANGE
0 - 49
Synth TalkTM
Another DigiTech first, the Synth Talk makes your guitar appear to speak (creating vowel like
qualities) based upon the dynamics of your playing style.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
ATTACK
0 - 99
RELEASE
0 - 99
VOX
SENSITIVTY
0 - 99
0 - 99
LEFT 99 - LEFT 1,
CENTER, RIGHT 1 RIGHT 99
BALANCE
Step
Adjusts the placement of the wet signal (effect) in the stereo field.
Filter
The Step Filter changes frequency in related patterns much like a sample and hold effect. Its
like an automatic random wah with a square waveform.
Parameters
98
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
SPEED
INTENSTY
ON, BYPASS
0 - 99
0 - 99
RP360 / RP360 XP
Pitch Shift
Pitch shifting can be used to add a pitched signal or harmonies to a riff, or detune your guitar for lush
chordal effects. The following provides a description of the pitch models available in the RPs and their
associated parameters.
The DigiTech Whammy effect provides a dynamic pitch shifting and harmony effect and is
meant to be used in conjunction with an expression pedal. As the pedal is moved, the note
bends either up or down the pitch of the note is dependent upon the option selected for
the AMOUNT parameter.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
1 OCT UP
2 OCT UP
2ND DOWN
REV 2ND
4TH DOWN
1 OCT DN
2 OCT DN
DIVEBOMB
MN3>MAJ3
2ND>MAJ3
3RD->4TH
4TH->5TH
5THOCTUP
H OCT UP
H OCT DN
OCTUP/DN
0 - 99
0 - 99
AMOUNT
MIX
POSITION
Pitch
A pitch shifter copies the incoming signal, then shifts the pitch of the copy to a different note.
The shifted note is then mixed back with the original signal, sounding as if two guitars were
playing different notes.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
MIX
ON, BYPASS
0 - 99
SHIFT
-24 to +24
RP360 / RP360 XP
99
A detuner makes a copy of your incoming signal, makes the copied signal slightly out of tune
from the original, then mixes the two signals together. The result is a lush, doubling type of
effect as if two guitars were playing the same part together.
Parameters
100
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
ON, BYPASS
0 - 99
SHIFT
-24 to +24
RP360 / RP360 XP
Harmony pitch shifting makes a copy of the incoming signal and then changes the pitch of the
copied note to a diatonically correct interval specified by the SHIFT parameter. The Harmony
Pitch Shifter sharpens or flattens the shifted pitch in order to keep the specified interval within
the selected key and scale, creating a true harmony.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
ON, BYPASS
0 - 99
OCT DOWN
7TH DOWN
6TH DOWN
5TH DOWN
4TH DOWN
3RD DOWN
2ND DOWN
2ND UP
3RD UP
4TH UP
5TH UP
6TH UP
7TH UP
OCT UP
KEY E
KEY F
KEY G
KEY G
KEY A
KEY A
KEY B
KEY B
KEY C
KEY D
KEY D
KEY E
MAJOR
MINOR
DORIAN
MIXOLYDIAN
LYDIAN
HARMMINR
SHIFT
KEY
SCALE
Selects the musical key that the Harmony Pitch Shifter will reference
when creating its harmony.
Selects the musical scale that the Harmony Pitch Shifter will reference
when creating its harmony. Choices include: Major, Minor, Dorian,
Mixolydian, Lydian, and Harmonic Minor.
RP360 / RP360 XP
101
Based on the Boss OC-2 Octaver, this pedal adds two signals to your original guitar signal. The
first is one octave below your guitar, and the second is two octaves below your guitar. Each
additional signal has its own volume control.
Parameters
102
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
OCTAVE 1
OCTAVE 2
DRY LEVL
ON, BYPASS
0 - 99
0 - 99
0 - 99
RP360 / RP360 XP
Noise Gating
GAT
A noise gate is used to control the volume of an audio signal. In its most simple form, a noise gate
allows a signal to pass through only when the signal is above a set threshold. When this happens,
the gate is open. If the signal falls below the threshold, no signal is allowed to pass (or the signal
is substantially attenuated) and the gate is closed. The following provides a description of the gate
models available in the RP and their associated parameters.
Gate
This noise gate reduces line noise when the signal level falls below the set threshold.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
THRESHOLD
0 - 99
ATTTENUATE 0 - 99
Sets how much the signal will be attenuated when the gate is
closed. Higher values will apply more attenuation.
ATTACK
0 - 99
RELEASE
0 - 99
Sets how quickly the gate will open when the signal exceeds
threshold. Higher values will open the gate at a slower rate.
Sets how quickly the gate will close when the signal falls below
threshold. Higher values will close the gate at a slower rate.
Swell
This noise gate will also let you set the threshold of the noise floor, but instead of a strict
feel of opening and closing the gate, you get more of an auto volume swell effect, making it a
smoother transition between the open and closed positions.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
ON, BYPASS
SENSITIVITY
0 - 99
ATTTENUATE 0 - 99
Sets how much the signal will be attenuated when the gate is
closed. Higher values will apply more attenuation.
ATTACK
0 - 99
RELEASE
0 - 99
Sets how quickly the gate will open when the signal exceeds
threshold. Higher values will open the gate at a slower rate.
Sets how quickly the gate will close when the signal falls below
threshold. Higher values will close the gate at a slower rate.
RP360 / RP360 XP
103
Reverb
REV
Reverb can be used to thicken your tone, elongate your notes, and create lush sonic soundscapes.
The RPs feature genuine Lexicon reverbs, whose rich, warm reverbs have been heard in countless
songs, soundtracks, and live performances for decades. The following provides a description of the
reverb models available in the RPs and their associated parameters.
Parameters
NAME
OPTIONS OR RANGE
DESCRIPTION
ON/BYP
LEVEL
ON, BYPASS
0 - 99
PREDELAY
0 - 15
DECAY
0 - 99
LIVELINESS
0 - 99
REVERB MODELS
Spring
Reverb
The tone and reaction of the spring reverb is captured! Spring reverbs work by passing the
audio signal through a spring. Spring reverberators are often incorporated into guitar amplifiers
due to their compact construction and low cost. These types of reverbs have a very distinctive
sound and have been used for decades on guitar, vocals, and more. If youre looking for that
surf sound to transport you to the beach, this is the effect to use. Surfs up!
Lexicon Ambience
This reverb creates a small space (think of a small studio recording isolation room) and is full,
warm, and subtle. Use it to thicken and enhance your tone and add depth to you sound.
Lexicon
Studio
This reverb provides a space slightly larger than the Lexicon Ambience effect (think of a
small studio recording space, with just a bit of liveliness). This reverb provides a nice, yet fastdecaying reverb tail. Use it to lengthen your sound and enhance your tone.
Lexicon
Room
This reverb simulates a large, live studio recording space (think of a large, live drum room in a
professional studio). Use it to spice up those fingerpickin ballads.
Lexicon
Hall
The largest of the Lexicon reverbs, the Lexicon Hall reverb produces long-decaying, lush
reverbs with a swirling decay unlike any other reverbs today. Use it to create lush soundscapes
in sparsely-arranged songs or song sections.
104
RP360 / RP360 XP
REVERB MODELS
Vintage
Plate
The EMT 240 Reverb is the reference reverb to which all studio reverbs are compared. Plate
reverbs work like spring reverbs, but pass the audio signal through a plate rather than a spring.
They are known for being bright and blending well with the unprocessed sound. Use it when
you want a bright reverb with plenty of reverb decay and character.
RP360 / RP360 XP
105
Volume
V
O
L
The Volume module adjusts the volume of the signal wherever the Volume icon is placed in the signal
chain. The Volume module can be assigned to the RP360XPs built-in expression pedal (or to an
external expression pedal if using the RP360) to control the volume of your guitar with your foot.
The Volume icon in the Effect Edit menu represents the location in the effects chain where the Volume
module will be adjusted. This is important to note as placing this icon in different locations in the
effects chain will yield different results. For example, placing it before a compressor or gate can cause
some unexpected behavior, since these processing types rely on a predetermined threshold to operate
correctly. Placing the Volume icon in front of a distortion effect will cause the amount of saturation to
decrease as you lower the volume pre-distortion and may not effectively lower noise levels. Another
example would be reverbs and delays. Placing the Volume icon before a reverb or delay effect would
allow the reverb or delay tails to decay naturally. While placing the Volume icon after a reverb or delay
effect would cause the tails of the effect to be attenuated along with signal. Try to think logically about
the effects chain order and experiment with different effect chain positions until the desired results
are achieved. See Reordering Effects on page 21 for information on reordering the effects chain.
Available Parameter
NAME
OPTIONS OR RANGE
DESCRIPTION
VOLUME
0 - 99
Controls the volume of the Volume module. Note that when the
Volume module is assigned for expression pedal control, this
parameter will be overridden when the expression pedal is moved.
106
RP360 / RP360 XP
Wah
W
A
H
Wah is an effect which is controlled by an expression pedal and makes the guitar sound as if its saying
Wah. The following section provides a description of the wah models available in the RP and their
associated parameters. Note that all wah models have the same parameters as shown in the below
table.
Parameters
NAME
OPTIONS OR
RANGE
DESCRIPTION
ON/BYP
LEVEL
PEDAL
ON, BYPASS
-6 dB - +12 dB
0 - 99
MIN
0 - 99
MAX
0 - 99
WAH MODELS
Cry Wah
This wah pedal is the more traditional sounding wah pedal that you have heard in guitar solos
from the '60s to the '80s. This wah sweeps the lower to mid-range frequencies.
Clyde Wah
This wah pedal was the original and was designed to try to emulate the sound of a muted
trumpet. Clyde McCoy was a trumpet player that had asked Vox for a device that could make
an instrument sound like his muted trumpet. This wah has a thinner tone and sweeps more of
the upper end of the audible frequency spectrum.
Full
Range
DigiTechs Full Range Wah sweeps the entire spectrum of audible frequencies, giving you the
most range of tone from the wah pedal.
RP360 / RP360 XP
107
System Requirements
To download Nexus and get the latest information on system requirements, visit the downloads
section at www.digitech.com/en-US/products/rp360 or www.digitech.com/en-US/products/rp360-xp.
108
RP360 / RP360 XP
PRESET LIST
PRESET #
PRESET NAME
PRESET #
PRESET NAME
PRESET #
PRESET NAME
Plexi-Drive
34
Satisfactory
67
70s Bass
Clear Sky
35
PlayYerBass
68
SkinnyFunk
Voxx Delay
36
69
MysteryWhey
Fuzz Royal
37
FuzzyBottom
70
UberBlakhole
Solo Dude
38
Front Phase
71
No One Nos
Brit Force
39
ThroatCoat
72
My Curse
Clean Funk
40
Chimey
73
Juturna
Rumble
41
TouchOPhase
74
Menos El Oso
Hazy
42
Funk 49
75
Carnavas
10
Fazed Out
43
Slayed
76
The West
11
Echo Head
44
NewYearEdge
77
Rooster
12
DC/AC
45
Rocket Skates
78
Visitors
13
Jump Panel
46
BaseManEcho
79
Saltines
14
Slider
47
Arcadium
80
Dustbloom
15
Rock Stack
48
Foxy Gal
81
Phobia
16
Undone
49
Baby Devil
82
Eons
17
Citrus
50
Gilmour
83
WalkTheMoon
18
Legacy
51
Brown Sucrose
84
Huldra
19
U2 Streets
52
La Grange
85
Poor Ophelia
20
Swell
53
De-Loused
86
Buster
21
Mudd Money
54
TremYourOD
87
Tighten Up
22
Sabbath Void
55
A Perfect Oval
88
Harmonics
23
15 IPS D-Lux
56
WhiteKeys
89
Lift Me Up
24
Black Label
57
Rhapsody
90
White Limo
25
BeamMeUp
58
Dover
91
Amsterdam
26
Smashing Muffins
59
Silver Walls
92
Wildfire
27
Airbag
60
Wipe Clean
93
Methenyish
28
The Crowing
61
Lotta Jimmy
94
Luxury
29
Dark Room
62
Stray Kat
95
WoccaWocca
30
Spankers
63
Morning View
96
Whammy Lead
31
DualPetaluma
64
Dist Bass
97
Fretless Gtr
32
Clyde McWah
65
Bass Solo
98
Ethereal
33
Black Stripes
66
Bass Harmonics
99
Best Solo
RP360 / RP360 XP
109
PARAMETER
2
PARAMETER
3
On/Bypass
On/Bypass
On/Bypass
Level
Level
Level
Pedal
Pedal
Pedal
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
On/Bypass
On/Bypass
On/Bypass
Level
Level
Output
Sustain
Sustain
Sensitivity
Tone
Tone
Attack
Attack
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
Screamer
On/Bypass
Drive
Tone
Level
Eight-Oh-Eight
TS Modded
Supreme Drive
Over Drive
Who Do Drive
Driven Over
DOD 250
Redline
Amp Driver
Anxiety Disorder
Rodent
MX Distortion
Orange
Distortion
Grunge
Zone
Death Metal
Gonkulator
8Tavia
Later Fuzz
DOD Classic
Fuzz
Face Fuzz
Big Pi
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
Overdrive
Drive
Drive
Drive
Gain
Gain
Gain
Gain
Drive
Drive
Dist
Dist
Tone
Tone
Tone
Level
Tone
Level
Level
Low
Midboost
Tone
Filter
Output
Level
Level
Level
On/Bypass
Dist
Tone
Level
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
On/Bypass
Grunge
Gain
Level
Gonk
Drive
Fuzz
Butt
Low
Low
Smear
Volume
Tone
Face
Mid
Mid
Suck
Loud
Mid Freq
High
Heave
Looseness
Volume
On/Bypass
Fuzz
Tone
Volume
On/Bypass
On/Bypass
Fuzz
Sustain
Volume
Tone
Volume
MODEL
Cry Wah
Clyde Wah
Full Range
Compressor
MODEL
Main Squeeze
Blue Compressor
Red Compressor
Distortion
MODEL
110
RP360 / RP360 XP
Clean
Volume
High
Level
HP/LP
Volume
Level
PARAMETER
6
PARAMETER
7
High
Level
Volume
Amp
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
On/Bypass
Level
Bass
Mid
Treble
Direct
On/Bypass
Level
On/Bypass
Gain
Amp Level
Bass
Mid
MODEL
PARAMETER
6
Treble
EQ
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
PARAMETER
6
PARAMETER
7
On/Bypass
Low Freq
Low Level
Mid Freq
Mid Level
High Freq
High Level
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
Silencer Gate
On/Bypass
Threshold
Attenuate
Attack
Release
Swell
On/Bypass
Sensitivity
Attenuate
Attack
Release
MODEL
Not Applicable
Gate
MODEL
Volume
MODEL
Not Applicable
PARAMETER
1
Volume
FX
PARAMETER
1
PARAMETER
2
PARAMETER
3
CE Chorus
On/Bypass
Speed
Depth
Danish Chorus
On/Bypass
Intensity
Speed
Width
Pearl Chorus
On/Bypass
Level
Speed
Depth
Glisten Chorus
On/Bypass
Level
Speed
Depth
Multi Chorus
On/Bypass
Level
Speed
Depth
Waveform
On/Bypass
Speed
Intensity
Clone Chorus
On/Bypass
Rate
Depth
Flanger
On/Bypass
Level
Speed
Depth
Regen
Triggered Flanger
On/Bypass
Level
Speed
Sensitivity
LFO Start
Filter Flanger
On/Bypass
Speed
Depth
Regen
Freq
MX Flanger
On/Bypass
Speed
Width
Regen
Manual
EH Flanger
On/Bypass
Rate
Range
Color
AD Flanger
On/Bypass
Speed
Enhance
Range
Manual
Harmonic
Phaser Beam
On/Bypass
Level
Speed
Depth
Regen
Waveform
Triggered Phaser
On/Bypass
Level
Speed
Sensitivity
LFO Start
MX Phaser
On/Bypass
Speed
Intensity
Stone Phase
On/Bypass
Rate
Color
MODEL
PARAMETER
4
PARAMETER
5
PARAMETER
6
Waveform
Waveform
RP360 / RP360 XP
111
FX
MODEL
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
Vibrato
On/Bypass
Speed
Intensity
Rotator
On/Bypass
Speed
Intensity
Doppler
X Over
Vibro-Pan
On/Bypass
Speed
Intensity
Vibpan
Waveform
Uno-Vibe
On/Bypass
Volume
Speed
Intensity
Chorus/
Vibrato
Tremolo
On/Bypass
Speed
Depth
Waveform
Scatter Tremolo
On/Bypass
Speed
Depth
Opto Tremolo
On/Bypass
Speed
Intensity
Bias Tremolo
On/Bypass
Speed
Depth
Panner
On/Bypass
Speed
Depth
Envelope Filter
On/Bypass
Sensitivity
Range
On/Bypass
Sensitivity
Range
Blend
Auto Ya
On/Bypass
Speed
Intensity
Range
Ya Ya
On/Bypass
Pedal
Intensity
Range
Synth Talk
On/Bypass
Attack
Release
Vox
Step Filter
On/Bypass
Speed
Intensity
Whammy
On/Bypass
Amount
Mix
Pitch
On/Bypass
Mix
Shift
Detune
On/Bypass
Level
Shift
Harmony
On/Bypass
Level
Shift
Key
Octaver
On/Bypass
Octave 1
Octave 2
Dry Level
PARAMETER
6
Waveform
Sensitivity
Balance
Position
Scale
Delay
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
PARAMETER
6
Analog Delay
On/Bypass
Repeats
Level
Mult
DM Delay
On/Bypass
Intensity
Echo
Digital Delay
On/Bypass
Repeats
Level
Mult
DuckThrsh
DuckLevel
Modulated Delay
On/Bypass
Repeats
Depth
Level
Mult
On/Bypass
Repeats
Level
Mult
DuckThrsh
DuckLevel
Tape Delay
On/Bypass
Repeats
Level
Wow
Flutter
Mult
Echo Flex
On/Bypass
Repeats
Volume
Mult
Lo Fi Delay
On/Bypass
Repeats
Level
Mult
2-Tap Delay
On/Bypass
Repeats
Level
Ratio
Mult
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
On/Bypass
Reverb
MODEL
Reverb
MODEL
Spring Reverb
112
RP360 / RP360 XP
Reverb
PARAMETER
1
PARAMETER
2
PARAMETER
3
PARAMETER
4
PARAMETER
5
Lexicon
Ambience
On/Bypass
Level
PreDelay
Decay
Liveliness
Lexicon Studio
On/Bypass
Level
PreDelay
Decay
Liveliness
Lexicon Room
On/Bypass
Level
PreDelay
Decay
Liveliness
Lexicon Hall
On/Bypass
Level
PreDelay
Decay
Liveliness
Vintage Plate
On/Bypass
Level
PreDelay
Decay
Liveliness
MODEL
RP360 / RP360 XP
113
SPECIFICATIONS
General Specifications
A/D/A Converter:
Sampling Frequency:
DSP Section:
Simultaneous Effects:
Preset Memory:
Phrase Looper:
Drum Machine:
Digital Connections
Universal Serial Bus (USB):
Type B, supports USB 1.1 Full Speed (12 Mbps Bandwidth USB
2.0 compatible)
RP360 / RP360 XP
RP360 / RP360 XP
115
AutoYa, DigiTech, DOD, Death Metal, Johnson Amplification, Grunge, Lexicon, Multi Chorus, Whammy, and YaYa are trademarks of
Harman International Industries, Inc. Other product names modeled in this product are trademarks of their respective companies that
do not endorse and are not associated or affiliated with DigiTech or Harman International Industries, Inc.They are trademarks of other
manufacturers and were used merely to identify products whose sounds were reviewed in the creation of this product.