USING DEEP EDITING ON THE JOHNSON J-STATION The J Station is simplicity itself to use. The unit powers up with the last used preset active, and the Data rotary encoder beneath the two-digit seven-segment display can be used to select a new preset from either the user or factory set. Presets are active as soon as they are selected, with the amp model display matrix on the right of the control surface illuminating to reflect the current model in use. In the absence of motorised pots, the rotary control positions will initially be meaningless; moving any of the knobs, however, will update that control to its current real position and illuminate the Store button to indicate that you have an unsaved edit. The manual doesn't mention this but if, after recalling a preset, you rotate a control slowly through its full scale you can actually find the point where the Store light goes out (because the control's position matches the stored value) and thus effectively 'null' the controls one at a time to end up with an accurate portrayal of the preset's control positions without using the editing software. Saving is simply a matter of pressing the Store key, selecting the location you want to store the patch in with the Data encoder, and then pressing Store again. The effects are well organised and surprisingly flexible given that a fair degree of multi-functionality has inevitably had to be incorporated into the control interface. Editing is conceptually organised into different levels. The upper level offers quick and immediate access to the single most important parameter of each effect, while the 'Deep Level' editing allows more detailed tweaking (see box below). However, a number of Shift-key or press-and-hold editing functions are also available. For example, you have a dedicated Comp switch to insert the compressor in the chain, which when pressed and held for two seconds allows you to adjust the compression ratio (expressed in arbitrary units, regrettably) via the data knob. Moreover, entering Shift mode before pressing and holding the Comp switch allows access to the compressor's output gain parameter. The Gate button responds similarly: press to bypass the noise gate, press and hold to adjust gating threshold and use Shift to set the attack time. Deep Level editing on the J Station is not exactly friendly, but I'm more inclined to view it as a bonus that the facility is there at all. Pressing and holding Shift takes you into Deep Level mode and transforms the Effect Type and Tap-It keys to cursor buttons, allowing you to scroll through 40 parameters identified only by number — you'll have to keep the manual handy, as there's otherwise no indication of what each number refers to. Having found the parameter you want, you rotate the Data knob to achieve the desired value for the parameter. The entire parameter set can be accessed here, including everything you can get at via higher levels of editing, but the key additions are cabinet type, delay mode and reverb type. Here is a list of the available parameters: • 0: Compressor on/off. • 1: Comp threshold (-50 to 0dB). • 2: Comp ratio (1.1:1 to infinity:1). • 3: Comp output gain (0 to 30dB). • 4: Comp bypass frequency (50Hz to full range). • 5-8: Wah parameters. • 9: Amp model. • 10-14: Gain, Treble, Mid, Bass, Level. • 15: Cabinet type (see box). • 16: Gate on/off. • 17: Gate attack time. • 18: Gate threshold. • 19-25: Effects on/off, type, level, speed/pitch, depth/detune, regeneration, position (pre/post amp model). • 26-31: Delay on/off, type (mono, analogue, stereo, analogue stereo), level, coarse delay time, fine delay time, feedback. • 32-37: Reverb on/off, type (Club, Studio, Bathroom, Plate, Soundstage, Garage, Hall, Church, Arena, 2-spring 7-inch, 2-spring 14-inch, 3-spring 14-inch, Rattle & Boing), level, diffusion, density, decay. • 38: Master level. • 39: Volume pedal. The modulation/pitch-shift effects group has a single switch to step through the seven options on the list and a single rotary control to set the level of the chosen effect. Entering Shift mode repurposes this pot to set the speed of the modulation effects, the degree of detune in the pitch effect or the sensitivity parameter of the Auto-Wah. Deep Level editing allows this group to be deployed before or after the amp modelling stage. The single Delay pot controls this effect's level, or in Shift mode adjusts feedback (regeneration) round the delay line, with an adjacent tap tempo button to set the delay time (up to three seconds). The dedicated Reverb control governs only reverb level, with reverb type, diffusion, density and decay time reserved for Deep Level editing mode. Amp & Cabinet Models AMPLIFIERS • 0: 'J Crunch'. Based on the Johnson Millennium. • 1: 'J Solo'. Based on the Johnson Millennium. • 2: 'J Clean'. Based on the Johnson Millennium. • 3: 'Boutique'. Based on a Matchless DC30. • 4: 'Rectified'. Based on a Mesa/Boogie Dual Rectifier. • 5: 'Brit Stack'. Based on a Marshall JCM900. • 6: 'Brit Combo'. Based on a '63 Class A Vox AC30 Top Boost. • 7: 'Black Face'. Based on a '65 Fender Twin. • 8: 'Boat Back (acoustic)'. If Ovations really sounded like this nobody would ever have used one. • 9: 'Flat Top (acoustic)'. Hmmm... • 10: 'Hot Rod'. Based on a Mesa/Boogie MkIIC. • 11: 'Tweed'. Based on a '57 Fender Deluxe. • 12: 'Blues'. A 'dynamic blues setting', apparently. • 13: 'Fuzz'. A '60s fuzz tone. • 14: 'Modern (bass)'. Based on an SWR. • 15: 'British (bass)'. Based on a Trace Elliot. • 16: 'Rock (bass)'. Based on an Ampeg SVT. • 17: 'More A1'. Based on a Hiwatt Custom 50. • 18: 'More A2'. Based on a '78 Marshall Master Volume. CABINET MODELS • 0: No Cabinet. • 1: 'Brit 4 x 12'. Based on a Marshall 1960A with 75W Celestions. • 2: 'Johnson 412V'. Based on a Johnson 4 x 12 loaded with Vintage 30 Celestions. • 3: 'Fane 4 x 12'. Based on a Hiwatt SE4123 with Fane speakers. • 4: 'Johnson 2 x 12'. Based on a Johnson open-back cab with Vintage 30 Celestions. • 5: 'American 2 x 12'. Based on a Fender Twin. • 6: 'Jennings Blue 2 x 12'. Based on a '63 Vox AC30. • 7: 'Tweed 1 x 12'. Based on a Fender Deluxe. • 8: 'Blonde 2 x 12'. Based on a Fender Bassman. • 9: 'Bass 2 x 10 w/Tweeter'. Based on an SWR 4 x 10 with tweeter. • 10: 'Folded Horn 1 x 18'. Based on an Acoustic 360. • 11: 'Flexi Bass'. Based on an Ampeg Portaflex.