SY-300 ParamGuide

Parameter Guide / Sound List
02
Contents
Getting Ready . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Setting the SY-300s Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
BLENDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Input Settings When Connecting a Bass. . . . . . . . . . . . . . . . . . . . . 3
MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
SYNTH/FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
INPUT SENS (SYSTEM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
OSC1/OSC2/OSC3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Oscillator Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
EXP ASSIGN HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
WAVE/PITCH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
GLOBAL EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
FILTER/AMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
SEQUENCER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
QUICK KNOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
LAYER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
PATCH EXTENT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Holding OSC13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
LOCK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
FX1/FX2/FX3/FX4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
LCD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Editing the Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
AUTO OFF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
CHORUS (CHO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
FACTORY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
COMPRESSOR (CMP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
CTL/EXP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
DELAY (DLY) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
CTL1CTL5 (ASSIGN16). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
EXP PEDAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
FLANGER (FL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
WAVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
ISOLATOR (ISO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
LIMITER (LIM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
LO-FI (LF). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
OD/DS (OD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
PHASER (PH) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Sound List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Preset Patch List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
REVERB (REV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
ROTARY (ROT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
SLICER (SL). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
SLOW GEAR (SG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
T. WAH (TW) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
TREMOLO (TR). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
UNI-V (UV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
CHORUS+DELAY (C+D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
CHORUS+REVERB (C+R). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
DELAY+REVERB (D+R) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
OSC MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
OUTPUT MIXER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
THRU/RETURN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
SUBOUT (PATCH) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
MAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
INPUT SENS (PATCH) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
WARNING
Avoid extended use at high volume
Use of the unit at high volume for extended periods of time may
cause hearing loss. If you ever experience any hearing loss or
ringing in the ears, you should immediately stop using the unit
and consult a specialized physician.
Intellectual Property Right

Company names and product names appearing in this document are
registered trademarks or trademarks of their respective owners. In this
manual, these names are used because it is the most practical way of
describing the sounds that are simulated using SY-300.
Roland, BOSS, BOSS TONE CENTRAL, and SLICER are either registered
trademarks or trademarks of Roland Corporation in the United States and/
or other countries.
2015 Roland Corporation
Getting Ready
Setting the SY-300s Output
Make the output setting thats appropriate for the device youre
connecting to the MAIN OUTPUT jacks and SUB OUTPUT jacks.
For details, refer to OUTPUT (p. 13).
5. Use the [SELECT] knob or PAGE [K] [J] buttons to access

the third page.
6. Use parameter knob [4] to turn the AMP on.
1. Choose [MENU] 0 SYSTEM 0 OUTPUT.

the first page.
3. Use parameter knob [4] to select the type of equipment

connected to the MAIN OUTPUT jacks and the SUB
OUTPUT jacks.
Parameter
OUTPUT
SELECT
Value
Explanation
Choose this setting if youre using headphones,
LINE
or if the SY-300 is connected to monitor speakers,
(default setting) mixer, or digital recorder.
Choose this setting if the SY-300 is connected to
AMP
the guitar input of a guitar amp.
MEMO
55 The OUTPUT SELECT setting is common to both MAIN OUTPUT
and SUB OUTPUT.
55 The OD/DS effect of FX1FX4 provides an independent amp
simulator AMP ON/OFF (p. 8) function.
Setting example 2
Only the guitar sound is output from the MAIN OUTPUT jacks, and only the
synth sound is output from the SUB OUTPUT jacks.
1. Set SYSTEM OUTPUT SELECT to LINE.

2. Choose [SYNTH/FX]0THRU/RTN.
3. Use parameter knob [4] to increase the DIRECT LEVEL.
Use DIRECT LEVEL to adjust the dry sound of the guitar.
4. In the SYNTH/FX screen, place the SUBOUT icon toward

the OSC side of the OUTPUT MIXER.
Setting example 1
These settings are for using line output and passing only the guitar sound
through the amp simulator, while not passing the synth sound through
the amp simulator.
1. Set SYSTEM OUTPUT SELECT to LINE.

2. Choose [SYNTH/FX]0THRU/RTN.
3. Use parameter knob [4] to increase the DIRECT LEVEL.
5. Select OUTPUT MIXER.
6. Use parameter knob [1] to set the SYNTH LEVEL to 0.
Use DIRECT LEVEL to adjust the dry sound of the guitar.
4. In the SYNTH/FX screen, set any one of FX1FX4 to the

right of THRU/RTN, and set TYPE to OD.
Input Settings When Connecting a Bass

If youre using the SY-300 with a bass, make the following input settings.
1. Choose [MENU]0SYSTEM0INPUT SENS.

the third page.
3. Use parameter knob [4] to turn the BASS on.

* If you want to play only a specific patch with the bass, turn BASS ON as described
in the procedure INPUT SENS (PATCH) (p. 11).
SYNTH/FX
OSC1/OSC2/OSC3
Parameter
Here you can set a variety of parameters such as WAVE/PITCH which

determines the synth waveform and pitch, FILTER which determines the
brightness of the sound, and AMP which determines the volume.
Oscillator Settings
To make oscillator settings, use the [SELECT] knob to select the item that
you want to set, and use the [1][4] knobs to select the value of each
parameter.
MEMO
For details on basic operation , refer to Editing: SYNTH/FX (p. 6) in the
owners manual.
RING
(OSC2, 3 only)
* If WAVEFORM is set to INPUT, the parameters from PITCH through RING

cannot be selected.
*1: Only if PWM is selected as the WAVEFORM.
*2: Only if DETUNE SAW is selected as the WAVEFORM.
*3: Only if NOISE is selected as the WAVEFORM.
FILTER/AMP
These parameters affect the brightness and volume of the sound.
Parameter
Parameter
Value
Explanation
OFF/ON
OFF, ON
Switches the oscillator on/off.
LPF
FILTER TYPE
Selects the waveform that is the basis of the sound.

SIN
R Sine wave
SAW
T Sawtooth wave
TRI
S Triangle wave
PKG
SQR
U Square wave
PWM
V Pulse width
DETUNE
SAW
Two sawtooth waves with slightly different pitches
NOISE
Noise
INPUT
Input signal
Adjusts the pitch.

Adjusts the pitch more finely than the PITCH parameter.
PULSE WIDTH
*1
Specifies the pulse width. You can specify the width of the
square waves top portion (the pulse width) as a percentage
of the waveforms full cycle.
Smaller values produce a narrower pulse, approaching a
square wave (pulse width = 50%). Increasing the value will
increase the width, producing a distinctive sound.
PWM ENV ATTACK

*1
This allows the dynamics of the

input signal to control the PWM
pulse width. Turning the knob in
the positive direction makes the
pulse width release faster. Turning
the knob in the negative direction
makes the pulse width attack
slower.
(Picking)
FILTER SLOPE
Selects the slope (steepness) of

the filter.
Filter Cutoff
Specifies the cutoff frequency.
(Picking)
This allows the dynamics of the input signal to vary the depth
of PWM modulation.
DETUNE *2
This specifies the amount of pitch detuning.
SHARPNESS *3
This specifies the bandwidth

of the noise that is generated.
Higher values produce a stronger
sense of pitch.
OSC13 LEVEL
Adjusts the amp level of OSC13.
OSC13 PAN
Adjusts the left/right pan of OSC13.
Here you can create cyclic change (modulation) in the sound by applying
vibrato (pitch modulation) or tremolo (volume modulation).
Parameter
Value
LFO1/2 OFF/ON
Turns the LFO1/2 on/off.
Frequency
This parameter controls the bend. Assign it if you want to use

the CTL pedal or EXP pedal to control bend.
This is oscillator sync. It generates
a complex waveform by forcibly
OSC 2
resetting OSC2 or OSC3 to
OSC 1
Explanation
Selects the LFO waveform.
LFO1/2
WAVEFORM
PITCH BEND DEPTH Specifies the bend depth.
Example: LPF
Resonance emphasizes the sound in the region of the filter

cutoff frequency.
FILTER RESO
Increasing the resonance setting will increase this emphasis,
producing a distinctive sound that is characteristic of
synthesizers.
Specifies how the filter is controlled by the dynamics of the
input signal. Turning the knob in the positive direction make
FILTER ENV
ATTACK
the filter release faster. Turning the knob in the negative
direction makes the filter attack slower.
Specifies how the filter modulation depth is controlled by the
FILTER ENV DEPTH
dynamics of the input signal.
Specifies how the amp is controlled by the dynamics of the
AMP ENV ATTACK
input signal.
Noise components
Specifies how the pitch is controlled by the dynamics of the

input signal. Turning the knob in the positive direction makes
the pitch release faster. Turning the knob in the negative
direction makes the pitch attack slower.
Specifies the depth to which the dynamics of the input signal
modulate the pitch.
the beginning of its cycle in

synchronization with the OSC1
frequency.
Volume
LFO
PWM ENV DEPTH

*1
SYNC
(OSC2, 3 only)
This type of filter cuts the frequency range that is

above the cutoff frequency, making the sound more
mellow.
This type of filter cuts the frequency range that is
below the cutoff frequency, emphasizing the highfrequency range.
This type of filter passes only the range of frequencies
in the region of the cutoff frequency, cutting the
other frequencies.
This type of filter boosts the range of frequencies in
the region of the cutoff frequency.
Frequency
FINE
PITCH BEND CTL
HPF
BPF
PITCH
PITCH ENV DEPTH
Explanation
BYPASS The filter will not be used.
Here you can make settings related to waveform and pitch.
PITCH ENV ATTACK
Value
Type of filter
WAVE/PITCH
WAVEFORM
Value
Explanation
This is a ring modulator. It
OSC 1
generates a complex waveform
OSC 2
by multiplying OSC1 and OSC2, or
OSC1 and OSC3.
SIN
R Sine wave
SAW UP
T Sawtooth wave
SAW
DOWN
Sawtooth wave (negative polarity)
TRI
S Triangle wave
SQR
U Square wave
RANDOM
Random wave
S&H
W Sample and Hold
LFO1/2 RATE
Determines the speed of the LFO.
LFO1/2 DYNAMIC
DEPTH
LFO1/2 PITCH
DEPTH
Specifies whether the LFO depth is controlled by the dynamics

of the input signal.
Allows the LFO to modulate the pitch, producing a vibrato
effect.
SYNTH/FX
Parameter
LFO1/2 FILTER
DEPTH
LFO1/2 AMP
DEPTH
LFO1/2 PWM
DEPTH
Value
Explanation
Allows the LFO to modulate the FILTER CUTOFF
(cutoff frequency),
Allows the LFO to modulate the AMP level (volume), producing
a tremolo effect.
Only if WAVEFORM is set to PWM, adjusts the depth of PWM
modulation.
Only if DYNAMIC DEPTH is ON, specifies the time until the
LFO1/2 FADE TIME
maximum LFO amplitude is reached.
FX1/FX2/FX3/FX4
You can select a variety of effects for FX1FX4. You are also free to select
the same effect for FX1, FX2, FX3, and FX4.
Editing the Effects

To edit the effect settings, use the [SELECT] knob to select a page in the
display, and use knobs [1][4] to select the value of each parameter.
SEQUENCER
MEMO
This is a step sequencer function that plays up to 16 steps of pitches that

you specify. By specifying the note length and pitch for each step, you can
automatically produce melodies and arpeggios simply by playing a single
note on your guitar.
Parameter
Explanation
If this is on, the same pattern is played as the OSC1
LINK SW (OSC2, 3 only)
sequence.
OFF/ON
Turns the sequence function on/off.
RATE
Specifies the rate at which the sequence pattern repeats.
DEPTH
Adjusts the depth of pitch change.
LOOP LENGTH
Specifies the length (number of steps) that is repeated.
STEP1STEP16
Specify each pitch to be sounded.
* SEQUENCER cannot be used if the WAVE/PITCH parameter WAVEFORM is set to

INPUT. However since a function is provided to link OSC1 to OSC2 and OSC3, the
OSC1 SEQUENCER setting parameters are always displayed.
55 In each edit screen, you can press the [SELECT] knob to turn the
effect on/off.
Parameter
Value
Explanation
OFF/ON
OFF, ON
Turns this effect on/off.
TYPE
Selects the FX type.
Selecting the TYPE

1. Press the [SYNTH/FX] button.
2. Use the [SELECT] knob to choose the effect youre going
to edit.
3. Select the type using the knob [3].
LAYER
The SY-300 lets you individually specify the range of pitches in which
OSC13 produce sound. You can play different sounds in different pitch
ranges.
Parameter
L.FADE
LOWER
UPPER
U.FADE
55 For details on basic operation, refer to Editing: SYNTH/FX (p. 6) in

the owners manual.
Explanation
Specifies the area over which the low range will fade out.
Specifies the lowest note of the range that will sound.
Specifies the highest note of the range that will sound.
Specifies the area over which the high range will fade out.
* LAYER cannot be used if the WAVE/PITCH parameter WAVEFORM is set to

INPUT.
FX1FX4 TYPE
This is a list of the effects that can be selected for FX1FX4.
FX Type
CHORUS (CHO)
CHORUS+DELAY (C+D)
CHORUS+REVERB (C+R)
COMPRESSOR (CMP)
DELAY (DLY)
LOWER
DELAY+REVERB (D+R)
EQ
UPPER
FLANGER (FL)
L.FADE
U.FADE
ISOLATOR (ISO)
LIMITER (LIM)
Holding OSC13
You can use the SY-300s [CTL] switches or a footswitch (sold separately:
FS-5U, FS-6, FS-7) connected to the SY-300s rear panel EXP/CTL 4, 5 jack to
hold the synth sound.
Convenient functions
55 While the play screen is displayed, you can move in units of ten patches by
turning the [SELECT] knob while pressing it.
55 In the OSC13 parameter list screen or edit screen, you can move between
OSC13 by turning the [SELECT] knob while pressing it.
55 In the OSC13 edit screen, you can hold down the [J] button and press the
[K] button to jump to the first page of the next parameter block. You can
also hold down the [K] button and press the [J] button to jump to the first
page of the preceding parameter block.
LO-FI (LF)
OD/DS (OD)
PAN
PHASER (PH)
REVERB (REV)
ROTARY (ROT)
SLICER (SL)
SLOW GEAR (SG)
TOUCH WAH (TW)
TREMOLO (TR)
* FX1FX4 do not have these functions.

UNI-V (UV)
Explanation
In this effect, a slightly detuned sound is added to the
original sound to add depth and breadth.
Combination of CHORUS and DELAY
Combination of CHORUS and REVERB
(Advanced Compressor) You can also use it as a
limiter to suppress only the sound peaks and prevent
distortion.
This effect adds delayed sound to the direct sound,
giving more body to the sound or creating special
effects.
Combination of DELAY and REVERB
This adjusts the tone.
The flanging effect gives a twisting, jet-airplane-like
character to the sound.
An effect that cuts the sound of the specified region.
The limiter attenuates loud input levels to prevent
distortion.
An effect that produces a lo-fi sound.
This effect distorts the sound to create long sustain.
With the volume level of the left and right sides
alternately changing, when playing sound in stereo,
you can get an effect that makes the guitar sound
appear to fly back and forth between the speakers.
By adding varied-phase portions to the direct sound,
the phaser effect gives a whooshing, swirling character
to the sound.
This effect adds reverberation to the sound.
This produces an effect like the sound of a rotary
speaker.
Repeatedly cuts the sound to create a variety of slice
patterns.
This produces a volume-swell effect (violin-like
sound).
A wah effect is produced according to your picking
dynamics.
Tremolo is an effect that creates a cyclic change in
volume.
This models a Uni-Vibe.
Although this resembles a phaser effect, it also
provides a unique undulation that you cant get with a
regular phaser.
SYNTH/FX
CHORUS (CHO)
DELAY (DLY)
In this effect, a slightly detuned sound is added to the original sound to

add depth and breadth.
This effect adds delayed sound to the direct sound, giving more body to
the sound or creating special effects.
Parameter
Parameter
Value
Explanation
Selection for the chorus mode.
MODE
MONO
This chorus effect outputs the same sound from

both L channel and R channel.
STEREO1
This is a stereo chorus effect that adds different

chorus sounds to L channel and R channel.
STEREO2
This stereo chorus uses spatial synthesis, with

the direct sound output in the L channel and
the effect sound output in the R channel.
* If you switch patches with the Type set to either DUAL-S, DUAL-P,
or DUAL- L/R and then begin to play immediately after the
patches change, you may be unable to attain the intended effect
in the first portion of what you perform.
* The stereo effect is cancelled if a monaural effect is connected
after a stereo delay effect.
SINGLE
This is a simple monaural delay.
This delay is specifically for stereo output. This
allows you to obtain the tap delay effect that
divides the delay time, then deliver them to L and
R channels.
Adjust the speed of the chorus effect for the high frequency
range.
* When set to BPM (note value), the value of each parameter
will be set according to the value of the PATCH TEMPO
specified for each patch or the tempo received from the
external device. This makes it easier to achieve effect sound
settings that match the tempo of the song.
RATE
Value
Explanation
This selects which type of delay.
EFFECT LEVEL
DELAY
INPUT
FEEDBACK
* To use it for doubling effect, set the value to 0.
EFFECT LEVEL
Adjusts the volume of the effect sound.
PRE DELAY
Adjusts the time needed for the effect sound to be output

after the direct sound has been output. By setting a longer
pre delay time, you can obtain an effect that sounds like
more than one sound is being played at the same time
(doubling effect).
LOW CUT
This sets the frequency at which the low cut filter begins to
take effect. When FLAT is selected, the low cut filter will have
no effect.
HIGH CUT
This sets the frequency at which the high cut filter begins to
take effect. When FLAT is selected, the high cut filter will
have no effect.
DIRECT LEVEL
Adjusts the volume of the direct sound.
STEREO
DUAL-S
D1
Value
Explanation
OFF/ON
OFF, ON
Turns the effect on/off.
D2
D1: DELAY 1
D2: DELAY 2
This is a delay comprising two delays connected in

parallel. Each delay time can be set in a range from
1 ms to 1000 ms.
D1
DUAL-P
D2
This is a delay with individual settings available for
the left and right channels. Delay 1 goes to the left
channel, Delay 2 to the right.
This is an effect that produces a long sustain by evening out the volume
level of the input signal.
Parameter
The direct sound is output from the left channel,

and the effect sound is output from the right
channel.
This is a delay comprising two different delays
connected in series. Each delay time can be set in a
range from 1 ms to 1000 ms.
TYPE
COMPRESSOR (CMP)
DUAL-L/R
BOSS COMP This models a BOSS CS-3.

Hi-BAND
This is a compressor that adds an even stronger effect

in the high end.
LIGHT
This is a compressor with a light effect.
D-COMP
This models a MXR DynaComp.
ORANGE
This is modeled on the sound of the Dan Armstrong

ORANGE SQUEEZER.
TAPE
FAT
When applied heavily, this compressor effect provides

a fat tone with a boosted midrange.
MOD
MILD
When applied heavily, this compressor effect produces

a sweet tone with the high end cut.
REVERSE
ANALOG
(MODULATE)
SUSTAIN
Adjusts the range (time) over which low-level signals are boosted.
Larger values will result in longer sustain.
COMMON
ATTACK
Adjusts the strength of the picking attack when the strings are
played. Higher values result in sharper attack, creating a more clearly
defined sound.
Parameter
D1
D2
This produces an effect where the sound is played

back in reverse.
This gives a mild analog delay sound. The delay
time can be set within the range of 1 to 2000 ms.
This setting provides the characteristic wavering
sound of the tape echo. The delay time can be set
within the range of 1 to 3400 ms.
This delay adds a pleasant wavering effect to the
sound.
Explanation
Determines the delay time.
EFFECT LEVEL This adjusts the volume.

TONE
DELAY TIME
OUTPUT R
Adjusts the depth of the chorus effect.
DEPTH
TYPE
TAP TIME
OUTPUT L
PAN

TIME
(DELAY TIME)

* If, due to the tempo, the time is longer than the range of
allowable settings, it is then synchronized to a period either
1/2 or 1/4 of that time.
F.BACK
(FEEDBACK)
Sets the amount of delay sound returned to the input. A

higher value will increase the number of the delay repeats.
EFFECT LEVEL
Adjusts the volume of the delay sound.
SYNTH/FX
Parameter
Explanation
HIGH CUT
This sets the frequency at which the high cut filter begins to
take effect. When FLAT is selected, the high cut filter will have
no effect.
DIRECT LEVEL
PAN
Explanation
TAP TIME
Adjusts the delay time of the left channel delay. This setting adjusts
the L channel delay time relative to the R channel delay time
(considered as 100%).
DUAL-S, DUAL-P, DUAL-L/R
Parameter
Explanation
This sets the rate of the flanging effect.
Determines the depth of the flanging effect.
Determines the amount of resonance (feedback). Increasing the
value will emphasize the effect, creating a more unusual sound.
Adjusts the center frequency at which to apply the effect.
Adjusts the diffusion. The diffusion increases as the value
increases.
This sets the frequency at which the low cut filter begins to
take effect. When FLAT is selected, the low cut filter will have
no effect.
Adjusts the volume of the flanger.
DEPTH
RESO
(RESONANCE)
MANUAL
SEPARATION
LOW CUT
Explanation
Adjusts the delay time.
D1: TIME
D2: TIME
The flanging effect gives a twisting, jet-airplane-like character to the

sound.
RATE
Parameter
Parameter
FLANGER (FL)
* When set to BPM (note value), the value of each parameter will
be set according to the value of the PATCH TEMPO specified for
each patch or the tempo received from the external device. This
makes it easier to achieve effect sound settings that match the
tempo of the song.
* If, due to the tempo, the time is longer than the range of
allowable settings, it is then synchronized to a period either 1/2 or
1/4 of that time.
D1: F.BACK
(FEEDBACK) Adjusts the amount of feedback of the DELAY 1 (or DELAY 2). A
higher value will increase the number of the delay repeats.
D2: F.BACK
(FEEDBACK)
D1: HI CUT
(HIGH CUT)
D2: HI CUT
(HIGH CUT)
This sets the frequency at which the high cut filter begins to take
effect. When FLAT is selected, the high cut filter will have no effect.
D1: LEVEL
D2: LEVEL
Adjusts the volume of the DELAY 1 (or DELAY 2).
MODULATE (MOD)
EFFECT LEVEL
DIRECT LEVEL
ISOLATOR (ISO)
An effect that cuts the sound of the specified region.
Parameter
BAND
RATE
DEPTH
BAND LEVEL
Explanation
Select the range (LOW, MID, HIGH) that will be cut.
Adjusts the rate of modulation.
be set according to the value of the PATCH TEMPO specified
for each patch or the tempo received from the external device.
This makes it easier to achieve effect sound settings that match
the tempo of the song.
Adjusts the depth of modulation.
Specifies the amount of cut.
LIMITER (LIM)
The limiter attenuates loud input levels to prevent distortion.
Parameter
Parameter
Explanation
MOD RATE
(MODULATION RATE)
Adjusts the modulation rate of the delay sound.
MOD DEPTH
(MODULATION DEPTH)
Value
Explanation
Selects the limiter type.

TYPE
Adjusts the modulation depth of the delay sound.
BOSS LIMITER
This selects a stereo limiter.
RACK 160D
This models a dbx 160X.
VTG RACK U
This models a UREI 1178.
THRESH
(THRESHOLD)
Adjust this as appropriate for the input signal from your guitar.
When the input signal level exceeds this threshold level, limiting
will be applied.
RATIO
This selects the compression ratio used with signals in excess of

the threshold level.
This adjusts the tone. A parametric type is adopted for the high-middle
and low-middle range.
EFFECT LEVEL
Adjusts the volume.
Parameter
L.GAIN 100 Hz
H.GAIN 10 kHz
LEVEL
ATTACK
Adjusts the strength of the picking attack when the strings are
played. Higher values result in sharper attack, creating a more
clearly defined sound.
RELEASE
Adjusts the release time.
EQ
LO-MID FREQ
LO-MID Q
LO-MID GAIN
HI-MID FREQ
HI-MID Q
HI-MID GAIN
LOW CUT
HIGH CUT
Explanation
Adjusts the tone for the low frequency range.
Adjusts the tone for the high frequency range.
Adjusts the overall volume level of the equalizer.
Specifies the center of the frequency range that will be adjusted
by the LOW-MID GAIN.
Adjusts the width of the area affected by the EQ centered at the
LOW-MID FREQ. Higher values will narrow the area.
Adjusts the middle frequency range tone.
Specifies the center of the frequency range that will be adjusted
by the HIGH-MID GAIN.
Adjusts the width of the area affected by the EQ centered at the
HIGH-MID FREQ. Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
This sets the frequency at which the low cut filter begins to take
effect. When FLAT is selected, the low cut filter will have no
effect.
This sets the frequency at which the high cut filter begins to take
effect. When FLAT is selected, the high cut filter will have no
effect.
LO-FI (LF)
This effect intentionally degrades the sound to create a distinctive
character.
Parameter
Explanation
BIT DEPTH
Specifies the bit depth.
SAMPLE RATE
Specifies the sampling rate.
BALANCE
Adjusts the volume balance between the direct sound and the
effect sound.
SYNTH/FX
OD/DS (OD)
This effect distorts the sound to create long sustain.
Parameter
Explanation
TYPE
Refer to OD/DS TYPE
DRIVE
Adjusts the depth of distortion.
TONE
LEVEL
BOTTOM
Adjusts the tone for the low frequency range. Turning this to the
left (counterclockwise) produces a sound with the low end cut;
turning it to the right boosts the low end in the sound.
DIRECT LEVEL
SOLO OFF/ON
The tone to one suitable for solos.
SOLO LEVEL
Adjusts the volume level when the Solo Sw is ON.
AMP OFF/ON
Switches the amp simulator on and off.
NS OFF/ON
Switches the noise suppressor on/off.

Adjust this parameter as appropriate for the volume of the noise.
If the noise level is high, a higher setting is appropriate. If the
noise level is low, a lower setting is appropriate.
NS THRESH
NS RELEASE
* Setting this higher than necessary may cause no sound to be

produced when the guitar is played at low volume.
Adjusts the time from when the noise suppressor begins to
function until the noise level reaches 0.
OD/DS TYPE
This is a list of distortion types that can be selected for OD/DS.
Type
Explanation
MID BOOST
This is a booster with unique characteristics in the midrange.

Making the connection before the COSM amp produces sound
suitable for solos.
CLEAN BOOST
This not only functions as a booster, but also produces a clean

tone that has punch even when used alone.
TREBLE BOOST
This is a booster that has bright characteristics.
CRUNCH
A lustrous crunch sound with an added element of amp

distortion.
NATURAL OD
This is an overdrive sound that provides distortion with a natural

feeling.
WARM OD
This is a warm overdrive.
FAT DS
A distortion sound with thick distortion.
LEAD DS
Produces a distortion sound with both the smoothness of an

overdrive along with a deep distortion.
METAL DS
This is distortion sound that is ideal for performances of heavy

riffs.
OCT FUZZ
A fuzz sound with rich harmonic content.
BLUES OD
This is a crunch sound of the BOSS BD-2.

This produces distortion that faithfully reproduces the nuances
of picking.
OD-1
This models the sound of the BOSS OD-1.

This produces sweet, mild distortion.
T-SCREAM
This models an Ibanez TS-808.
TURBO OD
This is the high-gain overdrive sound of the BOSS OD-2.
DIST
This gives a basic, traditional distortion sound.
RAT
This models a Proco RAT.
GUV DS
This models a Marshall GUVNOR.
DST+
This models a MXR DISTORTION+.
METAL ZONE
This models the sound of the BOSS MT-2.

It produces a wide range of metal sounds, from old style to slash
metal.
60S FUZZ
This models a FUZZFACE.

It produces a fat fuzz sound.
MUFF FUZZ
This models an Electro-Harmonix Big Muff .
PAN
With the volume level of the left and right sides alternately changing,
when playing sound in stereo, you can get an effect that makes the guitar
sound appear to fly back and forth between the speakers.
Parameter
Value
Explanation
This varies the volume level on the left and
AUTO
right according to the settings for WAVE SHAPE,
RATE, and DEPTH.
MANUAL
Output uses the volume balance set with POS.
Adjusts changes in volume level.
A higher value will steepen waves shape.
Adjusts the frequency (speed) of the change.
TYPE
WAVE SHAPE *1
* When set to BPM (note value), the value of each

parameter will be set according to the value of the
PATCH TEMPO specified for each patch or the tempo
received from the external device. This makes it easier to
achieve effect sound settings that match the tempo of
the song.
Adjusts the depth of the effect.
This adjusts the volume balance between the left and right
channels.
Adjusts the volume.
RATE *1
DEPTH *1
POS
(POSITION) *2
EFFECT LEVEL
*1: Setting available when TYPE is set to AUTO.

*2: Setting available when TYPE is set to MANUAL.
PHASER (PH)
By adding varied-phase portions to the direct sound, the phaser effect
gives a whooshing, swirling character to the sound.
Parameter
TYPE
RATE
DEPTH
RESO
(RESONANCE)
MANUAL
STEP RATE
EFFECT LEVEL
DIRECT LEVEL
Value
Explanation
Selects the number of stages that the phaser effect will use.
This is a four-phase effect. A light phaser effect is
4 STAGE
obtained.
This is an eight-phase effect. It is a popular phaser
8 STAGE
effect.
This is a twelve-phase effect. A deep phase effect
12 STAGE
is obtained.
This is the phaser with two phase shift circuits
BiPHASE
connected in series.
This sets the rate of the phaser effect.
Determines the depth of the phaser effect.
Determines the amount of resonance (feedback). Increasing
the value will emphasize the effect, creating a more unusual
sound.
Adjusts the center frequency of the phaser effect.
This sets the cycle of the step function that changes the rate
and depth. When it is set to a higher value, the change will be
finer. Set this to Off when not using the Step function.
Adjusts the volume of the phaser.
SYNTH/FX
SLICER (SL)
REVERB (REV)
This effect adds reverberation to the sound.
Parameter
Value
Explanation
This selects the reverb type. Various different simulations

of space are offered.
TYPE
This consecutively interrupts the sound to create the impression that a

rhythm backing phrase is being played.
Parameter
Explanation
PATTERN
Select the slice pattern that will be used to cut the sound.
AMBIENC
(AMBIENCE)
Simulates an ambience mic (off-mic,

placed at a distance from the sound
source) used in recording and other
applications. Rather than emphasizing
the reverberation, this reverb is used
to produce a sense of openness and
depth.
ROOM
Simulates the reverberation in a small

room. Provides warm reverberations.
HALL 1
Simulates the reverberation in a

concert hall. Provides clear and
spacious reverberations.
HALL 2
Simulates the reverberation in

a concert hall. Provides mild
reverberations.
Parameter
Explanation
PLATE
Simulates plate reverberation (a reverb

unit that uses the vibration of a metallic
plate). Provides a metallic sound with a
distinct upper range.
SENS
Adjusts the sensitivity. When it is set to a lower value, the effect of

the slow gear can be obtained only with a stronger picking, while
no effect is obtained with a weaker picking. When the value is set
higher, the effect is obtained even with a weak picking.
SPRING
This simulates the sound of a guitar

amps built-in spring reverb.
RISE TIME
Adjusts the time needed for the volume to reach its maximum
from the moment you begin picking.
MOD
(MODULATE)
This reverb adds the wavering sound

found in hall reverb to provide an
extremely pleasant reverb sound.
EFFECT LEVEL
TIME
Adjusts the length (time) of reverberation.
PRE DELAY
Adjusts the time until the reverb sound appears.
EFFECT LEVEL
Adjusts the volume of the reverb sound.
LOW CUT
This sets the frequency at which the low cut filter begins
to take effect. When FLAT is selected, the low cut filter
will have no effect.
HIGH CUT
This sets the frequency at which the high cut filter begins
to take effect. When FLAT is selected, the high cut filter
will have no effect.
DENSITY
Adjust the rate at which the sound will be cut.

RATE
DEPTH

Adjusts the depth of the UNI-V effect.
SLOW GEAR (SG)

This produces a volume-swell effect (violin-like sound).
T. WAH (TW)
A wah effect is produced according to your picking dynamics.
Parameter
Value
Explanation
Selects the wah mode.

LPF
Low pass filter. This creates a wah effect over a wide

frequency range.
Adjusts the density of the reverb sound.
BPF
Band pass filter. This creates a wah effect in a narrow

frequency range.
DIRECT LEVEL
SPRING SENS
(TYPE = SPRING only)
Adjusts the sensitivity of the spring effect. When the

value is set higher, the effect is obtained even with a
weak picking.
Selects the direction in which the filter will change in response

to the input.
ROTARY (ROT)
This produces an effect like the sound of a rotary speaker.
Parameter
Explanation
SPEED SELECT
This parameter changes the simulated speakers rotating speed

(SLOW or FAST).
RATE SLOW
This parameter adjusts the SPEED SELECT of rotation when set

to SLOW.
RATE FAST
MODE
POLAR
DOWN
The frequency of the filter will fall.
UP
The frequency of the filter will rise.
SENS
Adjusts the sensitivity at which the filter will change in the

direction determined by the POLAR setting.
With a setting of 0, the strength of picking will have no effect.
FREQ
Adjusts the center frequency of the Wah effect.
PEAK
Adjusts the way in which the wah effect applies to the area
around the center frequency.
Higher values will produce a stronger tone which emphasizes the
wah effect more. With a value of 50 a standard wah sound will be
produced.
EFFECT LEVEL
This parameter adjusts the SPEED SELECT of rotation when set

to FAST.
DIRECT LEVEL

TREMOLO (TR)
DEPTH
This parameter adjusts the amount of depth in the rotary effect.
RISE TIME
This parameter adjusts the time it takes for the rotation SPEED
SELECT to change when switched from SLOW to FAST.
FALL TIME
This parameter adjusts the time it takes for the rotation SPEED
SELECT to change when switched from FAST to SLOW.
EFFECT LEVEL
Adjusts the volume.
Tremolo is an effect that creates a cyclic change in volume.

Parameter
Explanation
WAVE SHAPE
Adjusts changes in volume level. A higher value will steepen

waves shape.
Adjusts the frequency (speed) of the change.
RATE

DEPTH
Adjusts the depth of the effect.
EFFECT LEVEL
Adjusts the volume.
SYNTH/FX
UNI-V (UV)
This models a Uni-Vibe.
Although this resembles a phaser effect, it also provides a unique
undulation that you cant get with a regular phaser.
Parameter
RATE
DEPTH
EFFECT LEVEL
Explanation
Adjusts the rate of the UNI-V effect.
be set according to the value of the PATCH TEMPO specified
for each patch or the tempo received from the external device.
This makes it easier to achieve effect sound settings that match
the tempo of the song.
Adjusts the depth of the UNI-V effect.
Adjusts the volume.
OSC MIXER
This mixes the OSC signals.
Parameter
Explanation
CH A LEVEL
Adjusts the CH A signal level.
CH B LEVEL
Adjusts the CH B signal level.
BALANCE
Adjusts the balance of CH A and CH B.
CH A PAN
Adjusts the left/right pan of CH A.
CH B PAN
Adjusts the left/right pan of CH B.
CH A
OSC MIXER
CHORUS+DELAY (C+D)
CH B
Combination of CHORUS and DELAY

* The parameters are the same as for CHORUS and DELAY.
CHORUS+REVERB (C+R)
Combination of CHORUS and REVERB
* The parameters are the same as for CHORUS and REVERB.
DELAY+REVERB (D+R)
Combination of DELAY and REVERB
* The parameters are the same as for DELAY and REVERB.
MEMO
OUTPUT MIXER
This mixes the signals from the synth and return.
Parameter
Explanation
SYNTH LEVEL
Adjusts the signal level of the synth sound.
RETURN LEVEL
Adjusts the signal level of the return sound.
BALANCE
Adjusts the balance of the synth sound and return sound.
SYNTH PAN
Adjusts the left/right pan of the synth sound.
RETURN PAN
Adjusts the left/right pan of the return sound.
For CHORUS+DELAY (C+D), CHORUS+REVERB (C+R), and

DELAY+REVERB (D+R), chorus, delay, and reverb cannot be turned on/
off individually. However, you can achieve the same result by assigning
the maximum value and minimum value of the respective EFFECT
LEVEL to the SY-300s [CTL] switches or a footswitch (sold separately:
FS-5U, FS-6, FS-7) connected to the rear panel EXP/CTL 4,5 jack. For
details, refer to CTL/EXP (p. 16).
THRU/RETURN
These settings let you connect an external effect unit between the THRU
jack and RETURN jack.
10
Parameter
Explanation
RETURN LEVEL
Adjusts the signal level from the external FX.
RETURN PHASE
Inverts the phase of the signal from the external FX. Some
external effect units invert the phase.
DIRECT LEVEL
Adjusts the level of the direct sound.
SYNTH/FX
SUBOUT (PATCH)
Here you can connect to your amp or monitor speakers. SUB OUT can be
placed anywhere after OSC13.
Parameter
Explanation
SUBOUT LEVEL
Adjusts the level of the signal that is output from the SUB
OUTPUT jacks.
INPUT SENS (PATCH)

The SY-300 responds to the dynamics of the signal that is sent from your
guitar. Adjust the input signals attack, release, and level while you edit the
sound of the patch.
* With the default settings, the input sensitivity is set to use the system parameter
setting (p. 13).
Settings
1. Press the [SYNTH/FX] button.
The SYNTH/FX screen appears.
2. Select the guitar icon at the left edge.

INPUT SENS
MAIN
Here you can connect to your amp or monitor speakers.
Parameter
Explanation
PATCH LEVEL
Adjusts the level of the signal that is output from the MAIN
OUTPUT jacks.
PATCH TEMPO
Adjusts the tempo.
3. Turn knob [1] to set PATCH/SYSTEM to PATCH.

* If PATCH/SYSTEM is set to SYSTEM, the following parameters
are not shown.
4. Turn the [SELECT] knob to access the second and third

pages.
Play your guitar while you adjust the parameters using the knobs
[1][4].
The graph in the upper part of the screen show the volume distribution
in each frequency region. The low-frequency region is toward the left side
and the high-frequency region is toward the right side.
Parameter
Explanation
PATCH/SYSTEM
Specifies whether to use the input sensitivity

setting specified for the individual patch or the
input sensitivity setting of the system (p. 13).
Adjust the compressor settings if you want to add an attack or to
extend the sustain.
* If COMP SW is off, the ATTACK, SUSTAIN, and LEVEL
settings are ignored.
COMPRESSOR
COMP SW
Turns the compressor on/off.
ATTACK
Adjusts the strength of the picking attack when the

strings are played.
SUSTAIN
Adjusts the range (time) over which decayed

signals are boosted. Larger values will result in
longer sustain.
LEVEL
Adjusts the volume.
SENS
Adjusts the overall input sensitivity.
LOW
Adjusts the sensitivity of the low-frequency region.

Increase this setting if you want to fatten the lowfrequency region. Decrease this setting if you want
to make the low-frequency region clearer.
HIGH
Adjusts the sensitivity of the high-frequency region.

Increase this setting if you want more volume in
the high-frequency region, such as when playing
a solo. Decrease this setting if you want to restrain
the volume in the high-frequency region.
BASS MODE
This setting is appropriate for bass. Turn it on if you

connect a bass.
The range of pitches that can be sounded is A1E6
for OFF and A0E5 for ON.
11
BLENDER
The Blender function lets you shuffle the OSC and FX settings of a patch,
exchanging them with the settings of a different patch. Use parameter
knobs [1][4] to specify the number of the patch with which you want to
exchange settings.
[1]
[2]
[3]
[4]
Parameter
Controller
Explanation
OSC1OSC3
[1][3] knob
Select OSC13 settings from a different patch.
CHAIN
[4] Knob
Select the effect order from a different patch.
SPEED
PAGE [K] [J]

buttons
Change the speed of shuffling.
HISTORY
[SELECT] knob You can step back through the history of the last
(rotate)
100 items.
AUTO
[SELECT] knob
OSC13 and FX settings change randomly.
(push)
MEMO
You can shuffle the settings randomly.
55 Press the [SELECT] knob to start shuffling for a certain interval. You
can use the PAGE [K] [J] buttons to change the speed of shuffling.
55 Press the [SELECT] knob once again to stop shuffling.
55 Rotate the [SELECT] knob to play back the history of up to 100

shuffles.
NOTE
Certain combinations may produce high volume, so use caution.
12
MENU
SYSTEM
Parameter
Here you can make settings for input/output, USB, and MIDI, as well as
assign the functions of the [CTL] switches and the [ON/OFF] switch, and of
an external pedal if connected.
OUTPUT SELECT
INPUT SENS (SYSTEM)

The SY-300 responds to the dynamics of the signal that is sent from your
guitar. Adjust the input signals attack, release, and level while you edit the
sound of the patch.
* If you want to use the settings that are specific to the individual patch, refer to
INPUT SENS (PATCH) (p. 11).
Parameter
Value
Explanation
INPUT SETTING
SET1, SET2,
SET3
You can make three sets of input

sensitivity settings. This parameter
selects which settings are used.
Adjust the compressor settings if you want to add an attack or to

extend the sustain.
COMPRESSOR
MAINOUT FIXED
LEVEL
SUBOUT FIXED
LEVEL
* If COMP SW is off, the ATTACK, SUSTAIN, and LEVEL settings

are ignored.
SUBOUT SYS CTL
COMP SW Turns the compressor on/off.
SUBOUT LEVEL
ATTACK
Adjusts the strength of the picking attack when the

strings are played.
SUSTAIN
Adjusts the range (time) over which decayed signals

are boosted. Larger values will result in longer sustain.
LEVEL
Adjusts the volume.
SENS
Adjusts the overall input sensitivity.
LOW
Adjusts the sensitivity of the low-frequency region.

Increase this setting if you want to fatten the lowfrequency region. Decrease this setting if you want to
make the low-frequency region clearer.
HIGH
Adjusts the sensitivity of the high-frequency region.

Increase this setting if you want more volume in the
high-frequency region, such as when playing a solo.
Decrease this setting if you want to restrain the volume
in the high-frequency region.
BASS MODE
This setting is appropriate for bass. Turn it on if you

connect a bass.
The range of pitches that can be sounded is A1E6 for
OFF and A0E5 for ON.
OUTPUT
Here you can make output settings.
Parameter
OUTPUT LEVEL
MODE
Value
Explanation
This is the MAIN OUT setting when the top panel [ON/OFF]
switch is set to OFF.
All OSC and FX turn off, and only the dry
BYPASS
sound of the guitar input is output to the
MAINOUT
MAIN OUTPUT jacks.
OFFMOD
All OSC turn off. FX and the FX connection
order settings continue to apply. The sound
SYNTH OFF
of an external effect unit connected between
THRU/RETURN is output.
This is the SUB OUT setting when the top panel [ON/OFF]
switch is set to OFF.
MUTE
No sound is output.
All OSC and FX turn off, and only the dry
BYPASS
sound of the guitar input is output to the SUB
SUBOUT OFFMOD
OUTPUT jacks.
The operation of the [ON/OFF] switch is
ignored. All OSC and FX remain on.
ALWAYS ON
* If MAINOUT OFFMOD is set to SYNTH OFF,
the synth sound is not heard from SUBOUT
either.
NOISE FILTER
Cuts hum noise.
Value
Explanation
Selects the type of device that is connected to the MAIN

OUTPUT jacks and SUB OUTPUT jacks.
Choose this setting if youre using
LINE
headphones, or if the SY-300 is connected to a
monitor speakers, mixer, or digital recorder.
Choose this setting if the is connected to the
AMP
guitar input of a guitar amp.
Select the output whose volume is adjusted by the [OUTPUT
LEVEL] knob.
The levels of both the MAIN OUTPUT and SUB
MAIN & SUB
OUTPUT are adjusted simultaneously.
MAIN
Only the level of the MAIN OUTPUT is adjusted.
SUB
Only the level of the SUB OUTPUT is adjusted.
The levels of the MAIN OUTPUT and SUB
OUTPUT cannot be adjusted. This setting
OFF
lets you prevent the volume from being
inadvertently changed while you perform.
Specifies the output level (fixed value) of the MAIN OUTPUT
when OUTPUT LEVEL MODE is set to SUB or OFF.
Specifies the output level (fixed value) of the SUB OUTPUT
when OUTPUT LEVEL MODE is set to MAIN or OFF.
Make this setting if you want the system to control the sub out
setting. The SUB OUT output setting specified for each patch
will be ignored.
Adjusts the SUB OUT level when SUBOUT SYS CTL is on.
Specifies the placement of SUB OUT when SUBOUT SYS CTL
is on. The THRU sound can be output only if SUBOUT SYS CTL
is on.
* The setting can also be made in the SYNTH/FX screen (in the
illustration below, the sound of OSC1 and OSC2 are output
from SUBOUT).
SUBOUT POS
EXP ASSIGN HOLD

Parameter
Explanation
Specifies whether the state of the expression pedal will be (ON)

EXP PEDAL HOLD or will not be (OFF) reflected by the next patch when you switch
patches.
GLOBAL EQ
Here you can adjust the overall tonal character appropriately for different
situations such as when playing at home, in a club, or on stage.
MAIN/SUB
Parameter
Explanation
OFF/ON
L.GAIN 100Hz
Adjusts the tone for the low frequency range.
H.GAIN 10kHz
Adjusts the tone for the high frequency range.
LO-MID FREQ
Specifies the center of the frequency range that will be

adjusted by the LOW-MID GAIN.
LO-MID Q
Adjusts the width of the area affected by the EQ centered at

the LOW-MID FREQ. Higher values will narrow the area.
LO-MID GAIN
HI-MID FREQ
Specifies the center of the frequency range that will be

adjusted by the HIGH-MID GAIN.
HI-MID Q
Adjusts the width of the area affected by the EQ centered at

the HIGH-MID FREQ. Higher values will narrow the area.
HI-MID GAIN
13
MENU
MIDI
Parameter
Value
Here you can make MIDI settings.

PC.OUT
MIDI SETTING
Parameter
Value
RX CHANNEL
This sets the MIDI channel used for receiving MIDI messages.
Explanation
This makes the settings for the channels used for MIDI
information.
OMNI MODE
OFF
Information is received on the channel

specified by the RX.CH setting.
ON
Messages are received on all channels,

regardless of the MIDI channel settings.
TX CHANNEL
This sets the MIDI channel used for transmitting MIDI

messages.
DEVICE ID
This sets the MIDI Device ID used for transmitting and

receiving Exclusive messages.
This setting determines whether patches are switched
according to the Program Change Map settings, or to the
default settings.
MAP SELECT
FIX
This deactivates the Program Change Map.

Switches to the patches according to the
default settings.
PROG
This activates the Program Change Map.

Switches to the patches according to the
Program Change Map.
This setting determines the basis used for synchronizing the

timing for LFOs, RATE of the SEQUENCER, effect modulation
rates, DELAY TIME, and other time-based parameters.
* When you have an external MIDI device connected, the
PATCH TEMPO is then synchronized to the external MIDI
devices tempo, thus disabling the PATCH TEMPO setting.
To enable setting of the PATCH TEMPO, set to INTERNAL.
* When synchronizing performances to the MIDI Clock
signal from an external MIDI device, timing problems in
the performance may occur due to errors in the MIDI Clock.
INTERNAL
Operations are synchronized to the SY-300s

internal Clock.
AUTO
Operations are synchronized to the MIDI

Clock received via MIDI or USB. However,
operations are automatically synchronized
to the SY-300s internal Clock if the SY-300 is
unable to receive the external Clock.
MIDI (AUTO)

Clock received from the MIDI IN connector.
If no clock is being received, the internal
clock is automatically connected.
USB (AUTO)

Clock received from the USB IN. If no clock
is being received, the internal clock is
automatically connected.
SYNC CLOCK
Specifies how data from MIDI IN is sent thru.
MIDI IN THRU
CLOCK OUT
14
Parameter
PC#
Explanation
Specify the program change number that you
want to assign.
This sets the patch number (U01 through P70)
for the corresponding Program Change
number.
Specify the program change number that you
want to assign.
This sets the patch number (U01 through P70)
for the corresponding Program Change
number.
MIDI BULK DUMP

You can use Exclusive messages to provide another SY-300 with identical
settings, and save effect settings on a MIDI sequencer or other device.
MIDI OUT
MIDI IN
1. Choose [MENU] 0 SYSTEM 0 MIDI 0 B.DUMP.

2. Use the parameter knob [1] to specify the areas that will
be transmitted.
Data is sent thru to both MIDI OUT and

USB OUT.
Specifies whether the SY-300s internal clock is output.
Value
BANK#0
PC#1PC#128
U01U99
P01P70
USB/ MIDI
Data is sent thru to both MIDI OUT and

USB OUT.
This sets the controller number when

CTL1CTL5 pedal operation data is output
as Control Change messages.
PATCH
SELECT
USB/ MIDI
CC#1CC#31,
CC#64CC#95
BANK#1
PC#1PC#128
Data is sent thru to USB OUT (it is not

output from MIDI OUT).
Data is sent thru to USB OUT (it is not

output from MIDI OUT).
Control Change messages are not output.
PC#
USB OUT
USB OUT
OFF
U01U99
P01P70
Parameter
Data is sent thru to MIDI OUT (it is not

output from USB OUT).
Program Change messages are

simultaneously output when patches are
switched.
PATCH
Data is sent thru to MIDI OUT (it is not

output from USB OUT).
MIDI OUT
ON
When switching patches using Program Change messages transmitted by

an external MIDI device, you can freely set the correspondence between
Program Change messages received by the SY-300 and the patches to be
switched to in the Program Change Map.
MIDI OUT
Data is not sent thru.
Program Change messages are not output,

even when patches are switched.
P.MAP (MIDI-PROGRAM CHG MAP)
Data is not sent thru.
OFF
OFF
This sets the controller number when operation data from

CTL15 or EXP is output as Control Change messages.
CTL1 OUTCTL5
OUT,
EXP OUT
OFF
Specifies how data from USB IN is sent thru.
USB IN THRU
Explanation
This setting determines whether or not Program Change

messages are output when patches are switched on the
SY-300.
Value
SYSTEM + PATCH
SYSTEM
PATCH
Explanation
System parameters and the contents of
patches U01U99
System parameter settings
The contents of patches U01U99
MENU
USB
QUICK KNOB
Here you can make USB-related settings for when the SY-300 is connected
to a computer via USB.
You can assign the parameters that are controlled by parameter knobs [1]
[4] when a Quick Page (Owners Manual p. 3) is displayed.
Parameter
Parameter
KNOB18 TARGET CATEGORY
KNOB18 TARGET
MAIN MIX LEVEL

SUB MIX LEVEL
OUTPUT LEVEL
ROUTING
MIX OFFMOD
Value
Explanation
Adjusts the volume of the digital audio from USB (computer).
You can control the volume of the MAIN OUTPUT and SUB
OUTPUT individually.
Adjusts the volume of the digital audio signal output to USB
(computer).
Specifies the routing for USB audio.
The digital audio from USB (computer) turns off
OFF
when you turn the [ON/OFF] switch OFF.
The digital audio from USB (computer) remains
ALWAYS ON
on regardless of the [ON/OFF] switch.
Explanation
Select the parameters that are operated by
each knob. Refer to TARGET list (p. 19).
* KNOB14: The knobs of Quick Page 1

* KNOB58: The knobs of Quick Page 2
PATCH EXTENT
About each routing
This lets you restrict the range of patches that can be selected from the
Play screen. You can use this to prevent unwanted patches from being
selected during a live performance.
Routing
Parameter
Value
OFF/ON
MIN
U01U99,
P01P70
Explanation
Use this setting if youre playing guitar while playing back a song
from your computer.
The sound from the computer is not output to the computer.
SUB MIX LEVEL

INPUT
RETURN
MAIN OUTPUT
EFFECT
CHAIN
SUB OUTPUT
OUTPUT LEVEL
USB OUT
Use this setting if youre playing guitar while playing back a song
from your computer.
The sound of the SY-300 and the sound from the computer are
mixed and output to the computer.
USB IN
MIX
MAIN MIX LEVEL
RETURN
MAIN OUTPUT
EFFECT
CHAIN
SUB OUTPUT
OUTPUT LEVEL
USB OUT
The dry sound of the recorded guitar is input to the SY-300 and resynthesized. This is useful when you want to re-edit just the sound.
MAIN MIX LEVEL
RE-SYNTH
USB IN
SUB MIX LEVEL

MAIN OUTPUT
EFFECT
CHAIN
SUB OUTPUT
OUTPUT LEVEL
USB OUT
INPUT
RETURN
USB OUT
OUTPUT LEVEL
INPUT
RETURN
USB IN
LOCK
You can prevent inadvertent operation of the knobs or switches from
changing patches or entering the tuner screen while the play screen is
displayed.
Parameter
Explanation
TUNER LOCK
Prevents the tuner screen from appearing even if switches [I/CTL2]

and [H/CTL3] are pressed simultaneously.
SELECT KNOB
Disables [SELECT] knob operation so that patches will not change.
LOCK
You can adjust the brightness of the display.

Parameter
Explanation
CONTRAST
Adjusts the brightness.
AUTO OFF
The SY-300 can turn off its power automatically. The power will turn
off automatically when 10 hours have passed since you last played or
operated the unit. The display will show a message approximately 15
minutes before the power turns off.
With the factory settings, this function is turned ON (power-off in 10
hours). If you want to have the power remain on all the time, turn it OFF.
Parameter
AUTO OFF
Use this setting if you want the output processed by a plug-in effect
on your DAW to be output to the SY-300s OUTPUT. The SY-300s
output is sent only to the computer.
DIRECT OFF
Specifies the highest value of the selectable range.
LCD
SUB MIX LEVEL

INPUT
Specifies the lowest value of the selectable range.
MAIN MIX LEVEL
USB IN
STANDARD
MAX
Explanation
EFFECT
CHAIN
MAIN MIX LEVEL

SUB MIX LEVEL
Value
Explanation
OFF
The power will not turn off automatically.
ON
The power will turn off automatically when 10 hours

have passed since you last played or operated the unit.
FACTORY RESET
USB OUT (MAIN)
Initializes the SY-300 to its factory-set condition.
USB OUT (SUB)
Parameter
MAIN OUTPUT
SUB OUTPUT
SELECT
Value
Explanation
SYSTEM + PATCH
System parameters and the contents of

patches U01U99
SYSTEM
System parameter settings
PATCH
The contents of patches U01U99
* Initialization cannot be executed while connected to the dedicated software.

* USB audio routing returns to the default STANDARD setting when the power is
turned off.
* The dry sound of the guitar is output for all routings.
15
MENU
CTL/EXP
Parameter
You can control a variety of parameters by using the SY-300s [CTL]

switches, or by connecting an expression pedal (Roland EV-5 etc.: sold
separately) or a footswitch (FS-5U, FS-6, or FS-7: sold separately) to the rear
panel EXP/CTL 4, 5 jack.
CTL 4, 5
CTL1
CTL2
ACT RANGE
MIN
The setting is toggled On (maximum value)

or Off (minimum value) with each press of the
footswitch.
FALL TIME
* If TARGET CATEGORY is CONTROL, TAP, or PATCH, set this to 0.

Specifies the time over which the target changes from maximum to
minimum.
0126

Specifies the curve by which the target changes from minimum to
maximum.
RISE CURVE
SLOW RISE
Value
PATCH DOWN
PATCH UP
CTL3
Explanation
The patch number decrements by one each time
you step on the [I/CTL2] switch.
Use the [I/CTL2] switch as CTL2.
The patch number increments by one each time
you step on the [I/CTL3] switch.
Use the [I/CTL3] switch as CTL3.
FAST RISE
Specifies the curve by which the target changes from maximum to
minimum.
LINEAR
FALL CURVE
SLOW FALL
* If the function of switches [I/CTL2][H/CTL3] is set to CTL2 and CTL3, the tuner
does not start when you press these switches simultaneously. To start the tuner,
press the [K] button in the play screen.
CTL1CTL5 (ASSIGN16)
Up to six functions can be assigned to each of CTL15.
MEMO
The LED of each switch is lit or unlit according to whether the function
assigned to the lowest numbered ASSIGN16 is On or Off.
Parameter
Value
CTL MODE
PATCH, SYSTEM
ASSIGN OFF/
ON
OFF, ON
ASSIGN MODE
PRESET,
MANUAL
Explanation
If this is set to PATCH, different settings can be
made for each patch. If this is set to SYSTEM, the
same settings are shared by all patches.
Switches the function on/off.
Specifies whether one of the preset functions is
selected, or a desired function is selected.
* For more about the preset functions, refer to

Assignment preset list (p. 16).
Settings when ASSIGN MODE is PRESET
OSC13 SW
Switches the OSC13 on and off.
FX14 SW
Switches the FX14 on and off.
OSC13 HOLD,
OSC13 or all OSCs are held.
OSC ALL HOLD
BPM TAP
Press the switch to specify the tempo.
TARGET
CATEGORY
TARGET
This selects the parameter to be changed.

Refer to TARGET list (p. 19).
TARGET MIN
This sets the minimum value for the range in which the parameter
can change. The value differs depending on the parameter assigned
for TARGET parameter.
TARGET MAX
This sets the maximum value for the range in which the parameter
16
TOGGLE
LINEAR
CTL2
PRESET
The normal state is Off (minimum value), with

the switch On (maximum value) only while the
footswitch is depressed.
RISE TIME
ACT RANGE
MAX
If you want to change the function of switches [I/CTL2][H/CTL3] to

CTL2 and CTL3, set the CTL2 and CTL3 DOWN/CTL2 and DOWN/
CTL3 parameters to CTL2 and CTL3.
DOWN/CTL3
MOMENT
You can set the controllable range for target

parameters within the sources operational
range. Target parameters are controlled within
the range set with ACT RANGE MIN and ACT
1127
RANGE MAX. You should normally set ACT
RANGE MIN to 0 and ACT RANGE MAX to 127.
Specifies the time over which the target changes from minimum to
maximum.
CTL3
MEMO
DOWN/CTL2
Explanation
SOURCE
MODE
EXP
Parameter
Value
FAST FALL
Assignment preset list

Value
OSC1 SW
OSC2 SW
OSC3 SW
FX1 SW
FX2 SW
FX3 SW
FX4 SW
OSC1 HOLD
OSC2 HOLD
OSC3 HOLD
OSC ALL HOLD
TAP TEMPO
Explanation
Turns the OSC1 on/off
Turns the FX1 on/off
Holds OSC1
Holds OSC2
Holds OSC3
Holds all OSC13
BPM Tap tempo
* While the synth sound is being held, new synth sounds are not played even if you
play the guitar.
Example setting
Smoothly raises the pitch by four octaves when you press the [CTL
1] pedal
Select the patch whose settings you want to edit, and then make the
following parameter settings.
Parameter
CTL MODE
ASSIGN OFF/ON
ASSIGN MODE
TARGET CATEGORY
TARGET
TARGET MIN
TARGET MAX
SOURCE MODE
ACT RANGE MIN
ACT RANGE MAX
Value
PATCH
ON
MANUAL
OSC1 PITCH
PITCH
-24
+24
TOGGLE
0
127
MENU
Parameter
RISE TIME
FALL TIME
Value
25 (Adjust the time over which the pitch rises four octaves.)
25 (Adjust the time over which the pitch falls four octaves.)
LINEAR (You can select a different curve to modify the way
in which the change occurs.)
LINEAR (You can select a different curve to modify the way
in which the change occurs.)
RISE CURVE
FALL CURVE
CTL MODE
PATCH, SYSTEM
ASSIGN OFF/
ON
TARGET
CATEGORY
TARGET
OFF, ON
WAVEFORM
Selects the waveform.

R Sine wave
SIN
T Sawtooth wave
SAW
S Triangle wave
TRI
Explanation
The parameter specified by TARGET is varied by MIDI control changes.
Here you can assign up to three functions to an expression pedal

connected to the EXP/CTL 4, 5 jack.
Value
Value
MIDI
EXP PEDAL
Parameter
Parameter
Explanation

Parameter
Value
CTL MODE
PATCH, SYSTEM
ASSIGN OFF/
ON
SOURCE
NUMBER
TARGET
CATEGORY
TARGET
OFF, ON
Explanation

TARGET MIN
TARGET MIN
can change. The value differs depending on the parameter
assigned for TARGET parameter.
TARGET MAX
TARGET MAX
MOMENT

TOGGLE

footswitch.
SOURCE
MODE
ACT RANGE
MIN
0126
ACT RANGE
MAX
1127

WAVE
Value
CTL MODE
PATCH, SYSTEM
ASSIGN OFF/
ON
TARGET
CATEGORY
TARGET
OFF, ON
Explanation

TOGGLE

footswitch.
SOURCE MODE
ACT RANGE
MIN
RISE TIME

1127
Specifies the time over which the target changes from minimum
to maximum.
FALL TIME

Specifies the time over which the target changes from maximum
to minimum.
ACT RANGE
MAX
0126

Specifies the curve by which the target changes from minimum to
maximum.
These settings let you use an internal waveform to modify the parameter
specified by TARGET at a fixed rate.
Parameter
MOMENT
LINEAR
RISE CURVE
SLOW RISE

FAST RISE
TARGET MIN
Specifies the curve by which the target changes from maximum to

minimum.
TARGET MAX
LINEAR
MOMENT

TOGGLE

footswitch.
SOURCE MODE
ACT RANGE
MIN
0126
ACT RANGE
MAX
1127
WAVE RATE
Specifies the rate of modulation.
FALL CURVE
SLOW FALL
FAST FALL

17
MENU
About the range of a targets change
About the range of a controllers change
The value of the parameter selected as the target changes within the
range defined by Min and Max, as set on the SY-300.
When using an external footswitch, or other controller that acts as an
on/off switch, Min is selected with Off (CLOSED), and Max is selected
with On (OPEN).
When using an external expression pedal or other controller that
generates a consecutive change in the value, the value of the setting
changes accordingly, within the range set by the minimum and
maximum values. Also, when the target is of an on/off type, the median
value of the received data is used as the dividing line in determining
whether to switch it on or off.
This sets the operational range within which the value of the setting
changes when an expression pedal or other controller that changes
the value consecutively is used as the source. If the controller is moved
outside the operational range, the value does not change, it stops at
minimum or maximum.
MAX
MIN
0
MIN
ON
40
ACT
RANGE
MIN
80
ACT
RANGE
MAX
127
Degree to Which
Expression Pedal Is
Depressed
When the
pedal is fully
advanced
Value
When using the expression pedal:

Allowable Parameter
Settings Range
MAX
When the
pedal is fully
raised
OFF
ON
MAX
MIN
OFF
0
When the pedal is
fully raised
127
When the pedal
is fully advanced
When controlling the On/Off target with the expression pedal:

Value
OFF
0
When the pedal
is fully raised
0
When the
pedal is fully
raised
Degree to Which
Expression Pedal Is
Depressed
40
60
80
127
ACT
Center ACT
When the pedal
RANGE Value RANGE is fully advanced
MIN
MAX
* When using a footswitch or other on/off switching controller as the source,

leave these at ACT RANGE MIN: 0 and ACT RANGE MAX: 127. With certain
settings, the value may not change.
ON
Degree to Which
Expression Pedal
Is Depressed
127
When the pedal is When the pedal is
advanced halfway fully advanced
* The range that can be selected changes according to the target setting.
* When the minimum is set to a higher value than the maximum, the change
in the parameter is reversed.
* The values of settings can change if the target is changed after the minimum
and maximum settings have been made. If youve changed the target, be
sure to recheck the minimum and maximum settings.
18
Allowable Parameter
Settings Range
Allowable Parameter
Settings Range
When using the footswitch:
(Example) With ACT RANGE MIN: 40, ACT RANGE MAX: 80
MENU
TARGET list
CATEGORY
OSC13 WAVE
TARGET
CATEGORY
TYPE
DELAY TIME
TIME
PULSE WIDTH
DEPTH
DELAY F.BACK
F.BACK
PWM ENV ATTACK
LOOP LENGTH
EFFECT LEVEL
PWM ENV DEPTH
STEP1
DELAY EFFECT
LEVEL
DETUNE
STEP2
DELAY HIGH CUT
DIRECT LEVEL
SHARPNESS
STEP3
SYNC (for OSC2 &

OSC3 only)
STEP4
RING (for OSC2 &

OSC3 only)
STEP6
STEP5
OSC13 SEQ
PITCH ENV ATTACK
OSC13 LAYER
PAN
FX14
LFO1 RATE
LFO1 PITCH DEPTH
LFO1 FILTER DEPTH
LFO1 AMP DEPTH
FX14 CHORUS
LFO1 DYNAMIC
DEPTH
LFO2 PWM DEPTH
FX14 CHO+REV
CHORUS
FX14 CHO+DLY
CHORUS
DELAY F.BACK
DELAY EFFECT
LEVEL
CHORUS PRE
DELAY
DELAY HIGH CUT

DELAY DIRECT
LEVEL
CHORUS LOW CUT

CHORUS HIGH CUT
CHORUS EFFECT
LEVEL
DELAY TAP TIME

FX14 DLY+REV
DELAY
DELAY D1: TIME

DELAY D1: F.BACK
MODE
RATE
REVERB TYPE
DELAY D1: LEVEL
DEPTH
REVERB TIME
DELAY D2: TIME
EFFECT LEVEL
REVERB PRE DELAY
DELAY D2: F.BACK
PRE DELAY
REVERB EFFECT
LEVEL
DELAY D2: HI CUT
REVERB LOW CUT
DELAY MOD RATE
REVERB HIGH CUT
DELAY MOD DEPTH
REVERB DENSITY
REVERB TYPE
REVERB DIRECT
LEVEL
REVERB TIME
FX14 CHO+REV
REVERB
CHORUS DEPTH
LFO2 FILTER DEPTH
DELAY TIME
CHORUS DEPTH
CHORUS RATE
LFO2 PITCH DEPTH
DELAY TYPE
CHORUS RATE
CHORUS MODE
LFO2 RATE
MOD DEPTH
CHORUS DIRECT
LEVEL
DIRECT LEVEL
LFO2 WAVEFORM
MOD RATE
CHORUS MODE
FX TYPE
HIGH CUT
LFO1 OFF/ON
D2: LEVEL
DELAY MOD DEPTH
FX OFF/ON
LOW CUT
LFO1 FADE TIME
D2: HI CUT
DELAY MOD RATE
U.FADE
LFO1 OFF/ON
LFO2 AMP DEPTH
UPPER
D2: F.BACK
DELAY D2: LEVEL
L.FADE
LOWER
D2: TIME
DELAY D2: HI CUT
LINK SW (for OSC2

& OSC3 only)
AMP ENV ATTACK
D1: LEVEL
DELAY D2: F.BACK
STEP16
D1: F.BACK
D1: HI CUT
DELAY D1: F.BACK
DELAY D2: TIME
STEP15
FILTER ENV DEPTH
D1: TIME
FX14 DELAY
DELAY D1: LEVEL
STEP14
FILTER ENV ATTACK
DELAY D1: TIME
TAP TIME
DELAY D1: HI CUT
STEP8
STEP13
FILTER RESO
LFO1 PWM DEPTH
STEP7
STEP12
FILTER CUTOFF
LFO1 WAVEFORM
FX14 CHO+DLY
DELAY
STEP11
FILTER SLOPE
LEVEL
DELAY TAP TIME
STEP10
PITCH ENV DEPTH
HIGH CUT
DELAY DIRECT
LEVEL
STEP9
FILTER TYPE
OSC13 LFO2
TARGET
RATE
PITCH BEND CTL
OSC13 LFO1
CATEGORY
WAVEFORM
PITCH BEND DEPTH
OSC13 AMP
TARGET
DELAY TYPE
FINE
OSC13 FILTER
CATEGORY
OFF/ON
PITCH
OSC13 PITCH
TARGET
OSC OFF/ON
LFO2 DYNAMIC
DEPTH
CHORUS LOW CUT
LFO2 FADE TIME
CHORUS DIRECT
LEVEL
CHORUS HIGH CUT
DELAY D2: LEVEL
REVERB PRE DELAY
REVERB SPRING
SENS
CHORUS EFFECT
LEVEL
CHORUS PRE
DELAY
DELAY D1: HI CUT
TYPE
SUSTAIN
FX14 COMP
REVERB EFFECT
LEVEL
FX14 DLY+REV
REVERB
ATTACK
REVERB LOW CUT

REVERB HIGH CUT
REVERB DENSITY
EFFECT LEVEL
REVERB DIRECT
LEVEL
TONE
REVERB SPRING
SENS
L.GAIN 100Hz
H.GAIN 10kHz
LEVEL
LO-MID FREQ
LO-MID Q
FX14 EQ
LO-MID GAIN
HI-MID FREQ
HI-MID Q
HI-MID GAIN
LOW CUT
HIGH CUT
19
MENU
CATEGORY
FX14 FLANGER
TARGET
SELECT *
NUMBER +1
RESO
RATE FAST
NUMBER +2
DEPTH
NUMBER +3
SEPARATION
RISE TIME
NUMBER +4
LOW CUT
FALL TIME
NUMBER +5
EFFECT LEVEL
EFFECT LEVEL
NUMBER +6
DIRECT LEVEL
PATTERN
NUMBER +7
RATE
NUMBER +8
RATE
DEPTH
NUMBER +9
DEPTH
SENS
NUMBER +10
MANUAL
FX14 ROTARY
FX14 SLICER
FX14 SLOW GEAR RISE TIME

EFFECT LEVEL
THRESH
MODE
NUMBER -3
RATIO
POLAR
NUMBER -4
EFFECT LEVEL
SENS
NUMBER -5
FREQ
NUMBER -6
RELEASE
PEAK
NUMBER -7
BIT DEPTH
EFFECT LEVEL
NUMBER -8
SAMPLE RATE
DIRECT LEVEL
NUMBER -9
BALANCE
WAVE SHAPE
NUMBER -10
TYPE
RATE
LEVEL +10
DEPTH
LEVEL +20
TONE
EFFECT LEVEL
LEVEL -10
LEVEL
RATE
LEVEL -20
BOTTOM
FX14 T.WAH
FX14 TREMOLO
FX14 UNI-V
EFFECT LEVEL
SOLO OFF/ON
LEVEL
SOLO LEVEL
TEMPO
NS OFF/ON
RETURN LEVEL
PATCH COM
RETURN PHASE
NS RELEASE
SUBOUT LEVEL
TYPE
OSC ASSIGN
WAVE SHAPE
BALANCE
DEPTH
CH A LEVEL
OSC MIXER
CH B LEVEL
POS
CH B PAN
TYPE
BALANCE
DEPTH
SYNTH LEVEL
OUTPUT MIXER
RESO
STEP RATE
EFFECT LEVEL
DIRECT LEVEL
RETURN PAN
* The following categories cannot be
used for WAVE (p. 17) Nor can they
be selected for QUICK KNOB (p. 15).
OSC1 HOLD
TYPE
OSC2 HOLD
TIME
OSC3 HOLD
PRE DELAY
EFFECT LEVEL
FX14 REVERB
LOW CUT
SYNTH PAN
RETURN LEVEL
MANUAL
OSC ALL HOLD

CONTROL
SEQ ALL OFF/ON

SYNC START *
HIGH CUT
TUNER OFF/ON
DENSITY
SY-300 ON/OFF
DIRECT LEVEL
BLENDR EXEC *
SPRING SENS
BPM TAP
FX1 DELAY TAP
TAP
FX2 DELAY TAP

FX3 DELAY TAP
FX4 DELAY TAP
20
* Explanation of TARGET
TARGET
SYNC START
BLENDER EXEC
SELECT
NUMBER +1-10
CH A PAN
EFFECT LEVEL
RATE
FX14 PHASER
DIRECT LEVEL
NS THRESH
RATE
NUMBER -2
DEPTH
DIRECT LEVEL
AMP OFF/ON
FX14 PAN
NUMBER -1
PATCH *
TYPE
DRIVE
FX14 OD/DS
TARGET
RATE SLOW
ATTACK
FX14 LO-FI
CATEGORY
DEPTH
BAND LEVEL
FX14 LIMITER
TARGET
SPEED SELECT
BAND
FX14 ISOLATOR
CATEGORY
RATE
LEVEL +10-20
Explanation
Sync trigger
for clock
synchronization
Turns the blenders
random shuffle
function on/off
Selects the desired
patch
Increments or
decrements the
patch number.
Adjusts the patch
level
Sound List
Preset Patch List
Patch # Patch Name
Explanation
P01
SY-300 SEQUENCE
A representative sound of the SY-300 using sequenced phrases.
P02
EXTENSIVE PULSE
A spacious synth sound.
P03
FAT SAW BRASS
A heavy synth brass sound.
P04
BIG BASS
A simple bass sound.
P05
LAYERED ORGAN
An organ sound.
P06
Gt+Bs+FluteLAYER
A sound that layers bass on the low register and a flute sound on the high register.
P07
HYPER RHYTHM
Hyper sound that fuses a rhythm sequence pattern with a synth sound.
P08
GR LEAD:CTL1=Oct
A GR-300 lead guitar sound.
P09
BLUES HARP
The sound of a blues harp.
P10
MULTI 5th LEAD
A lead synth sound that adds an octave-higher pitch.
P11
MAN IN MOTION
A synth sound with three step sequencers operating.
P12
LORD PURPLE
A distorted synth sound.
P13
FeedBack CONTROL
Pressing CTL1 produces feedback sound.
P14
MONO ROOT KING
A sound distinctive for its irregular sequence pattern.
P15
SYNC SQUARE LEAD
A lead synth sound using a square wave.
P16
MUSIC MONK
A lo-fi synth sound.
P17
PULSE BELL
A transparent bell sound.
P18
THICK CHORD TONE
A synth sound suitable for playing chords.
P19
SAMPLE & HOLD
A fantasy-like sound using the LFOs SAMPLE & HOLD.
P20
PHASED STRINGS
A synth string sound with a phaser effect applied.
P21
CRAFTWORK
A sound whose pitch changes rhythmically.
P22
TOUCHY AnalogSYN
An analog synth sound.
P23
SOFT SINE WAVE
A simple sine wave sound.
P24
PULSATIN
A heavily modulated synth bass sound.
P25
DIRTY DUB
A synth sound with distinctive distortion and filter movement.
P26
OCEAN BLUE
A modulation sound with a filter applied to the guitar signal.
P27
AN ELEVATION
A sound with gradually rising pitch.
P28
PWM LEAD
A PCM waveform lead synth sound.
P29
DRIPSTONE CAVE
A synth sound whose filter cutoff moves periodically.
P30
ROTARY DRONE
A synth sound with a rotary effect.
P31
PSYCHEDELIC LEAD
A fantasy-like sound with clean guitar and synth sound.
P32
FAT PAD
A thick synth pad sound.
P33
PowerChordHeaven
A sound with good-feeling pitch modulation.
P34
CHURCH ORGAN
A church organ sound.
P35
THROAT CHAKRA
A synth sound with deep reverb.
P36
DROP DAT TRACK
A heavy and dark synth sound.
P37
LANDAUED
A sound in which the synth sound rises gradually.
P38
PRESS CTL1:FILTR
A synth sound in which pressing CTL1 activates the filter.
P39
JAZZ CLEAN PLUS
A sound that layers guitar and synth strings.
P40
WORD OF MOUTH
A sound that sets WAVE TYPE to all inputs, and uses FILTER/LFO to apply modulation.
P41
MixolydianDancE
A strings sound that layers sequence phrases.
P42
MONSTER BASS
A heavy bass synth sound.
P43
MOTION FILTER
A sound that layers a SAW waveform in the lower register and a NOISE waveform in the higher register.
P44
JH REINCARNATED
A rock synth sound that uses a crunch effect to distort the synth sound.
P45
MILD LEAD
A mild lead synth sound.
P46
EXTRAORGANARY
A sound that layers clean guitar and synth.
P47
5th DIMENSION
The layer function is used to sound OSC2 only in the high register.
P48
DARK SQUARE PAD
A dark pad sound.
P49
SEQ & PAD LAYER
A spacious pad sound.
P50
PATs HERITAGE
A sound using two types of delay.
P51
HPF SWEEP w/SEQ
A sound with an alternate space in which two filters are operating simultaneously.
P52
EAT MY NOISE
A noise sound suitable for leads.
P53
SEQ & EXPLOSION
An explosive sound.
P54
FAB FILTER
A bass synth sound with a strong character.
P55
HEAVENLY
A synth sound with a dynamically operating filter.
P56
SINE BELL & SEQ
A sound with a beautiful combination of bell sound and a sequence phrase.
P57
DECELERATED
A synth sound with a mournful tone.
P58
SLICE & SEQUENCE
A synth sound that combines a slice pattern with a sequence phrase.
P59
HOT LEAD -4
A thick lead synth sound.
21
Sound List
Patch # Patch Name
Explanation
P60
BREATHY WHISTLE
A whistle sound.
P61
DANCE CHORDS
A clean synth sound thats suitable for guitar chording.
P62
BIG FOOT!
A bass synth sound that sways violently between left and right.
P63
SLICE A CAKE
A sound that uses the LFO to heavily modulate the FILTER.
P64
LOW WOBBLE
A sound with a cyclically modulated low-frequency range.
P65
MOSUGA
A sound that layers the DETUNE SAW waveform and a noise waveform.
P66
POSTIE ROCK
Use the CTL1 pedal to switch between a dark bass synth sound and a clean sound.
P67
TRASH TALK
A sound reminiscent of a talking modulator.
P68
DYNAMIC LEAD +5
A lead synth sound using a DETUNE SAW waveform.
P69
SORROW LANDS
A synth sound with a rounded tone.
P70
WALL OF SOUND
A sound reminiscent of passing through outer space.
22
Signal Flow
MUTE
T UNER
BYPASS
WAVE
PITCH
FILTER/
AMP
LAYER
LF01/
LF02
SEQUENCER
OSC
MIXER
OSC
ASSIGNER
OSC1
INPUT
INPUT
SENS
F X1
F X2
CH.A
OUTPUT
MIXER
OSC2
F X3
SYNTH
PATCH
LEVEL
CH.B
OSC3
GLOBAL EQ
(MAIN)
OUTPUT
LEVEL
MAIN
OUTPUT
/PHONES
F X4
FIXED
LEVEL
RETURN
THRU
DIRECT
LEVEL
RETURN
RETURN
LEVEL
OUTPUT
LEVEL
SUBOUT
LEVEL
GLOBAL EQ
(SUB)
SUB
OUTPUT
FIXED
LEVEL
* There are up to four FX. FX14 and SUB OUTPUT can be placed
anywhere after OSC13.

SY-300 ParamGuide

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Parameter Guide / Sound List

Input Settings When Connecting a Bass. . . . . . . . . . . . . . . . . . . . . 3

INPUT SENS (SYSTEM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

EXP ASSIGN HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Editing the Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

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5. Use the [SELECT] knob or PAGE [K] [J] buttons to access

6. Use parameter knob [4] to turn the AMP on.

1. Choose [MENU] 0 SYSTEM 0 OUTPUT.

3. Use parameter knob [4] to select the type of equipment

1. Set SYSTEM OUTPUT SELECT to LINE.

4. In the SYNTH/FX screen, place the SUBOUT icon toward

1. Set SYSTEM OUTPUT SELECT to LINE.

3. Use parameter knob [4] to increase the DIRECT LEVEL.

5. Select OUTPUT MIXER.

6. Use parameter knob [1] to set the SYNTH LEVEL to 0.

Use DIRECT LEVEL to adjust the dry sound of the guitar.

4. In the SYNTH/FX screen, set any one of FX1FX4 to the

Input Settings When Connecting a Bass

1. Choose [MENU]0SYSTEM0INPUT SENS.

3. Use parameter knob [4] to turn the BASS on.

Here you can set a variety of parameters such as WAVE/PITCH which

* If WAVEFORM is set to INPUT, the parameters from PITCH through RING

Switches the oscillator on/off.

Selects the waveform that is the basis of the sound.

Two sawtooth waves with slightly different pitches

Adjusts the pitch.

PWM ENV ATTACK

This allows the dynamics of the

Selects the slope (steepness) of

Specifies the cutoff frequency.

This specifies the amount of pitch detuning.

This specifies the bandwidth

Adjusts the amp level of OSC13.

Adjusts the left/right pan of OSC13.

Turns the LFO1/2 on/off.

This parameter controls the bend. Assign it if you want to use

Selects the LFO waveform.

PITCH BEND DEPTH Specifies the bend depth.

Resonance emphasizes the sound in the region of the filter

Specifies how the pitch is controlled by the dynamics of the

the beginning of its cycle in

PWM ENV DEPTH

This type of filter cuts the frequency range that is

PITCH BEND CTL

PITCH ENV DEPTH

BYPASS The filter will not be used.

Here you can make settings related to waveform and pitch.

PITCH ENV ATTACK

Sawtooth wave (negative polarity)

W Sample and Hold

Determines the speed of the LFO.

Specifies whether the LFO depth is controlled by the dynamics

Editing the Effects

This is a step sequencer function that plays up to 16 steps of pitches that

Turns the sequence function on/off.

Specifies the rate at which the sequence pattern repeats.

Adjusts the depth of pitch change.

Specifies the length (number of steps) that is repeated.