ADVANCED SOUND
ENVIRONMENT PROCESSOR
OPERATION MANUAL
There is a danger of explosion if the battery is not replaced properly. Use only the same type of battery or an
equivalent type as recommended by the manufacturer. Always dispose of the battery according to the
manufacturer's instructions.
Congratulations and thank you for purchasing the ZOOM 9120 Advanced Sound Environment Processor.
The 9120 is a sophisticated effect device with the following features and functions:
*
A total of 22 basic effects. They include the reverb effects of Hall, Room, Plate (each with two
distinct types), as well as Gate and Early Reflection. Also available are Chorus, Delay and
Pitch Shift, plus six other special effects (included in the SFX 1and 2 settings).
*
Exceptional high-quality sound, for professional studio recording applications. The reverb
sound, in particular, rivals the sound of professional units costing many times more, and stands
up well to the exacting sonic demands of digital recording.
*
Extremely intuitive and easy operation. The effect selector dial allows you to instantly choose
the basic effect you want, while three dedicated Data Entry controls let you instantly edit up to
three parameters of the effect at a time. While all efl'ects are of high quality and sophistication,
the number of different parameters has been kept to a minimum for greater ease in editing.
*
Unique and versatile special effects. The 9120 also provides a wide variety of special functions
and effects, including trigger control over the delay and gate reverb, built-in delay time
calculator, "karaoke" effect for filtering out the vocal signal in a music mix, surround
simulation, pedal-controlled pitch bend, MIDI-controlled pitch shift, and others.
*
Extensive MIDI functions. With MIDI, you can switch effect programs and make real-time
changes in the effect parameters from another MIDI device, such as a keyboard or sequencer.
You can also store your original effect programs to a connected MIDI data storage device (or to
another 9120).
Please take the time to read this manual carefully, in order to get the most out of your 9120 and ensure longtime use
and reliability.
Safety Precautions
Keep in mind the following safety tips and precautions for
optimum safe use of the 9120.
Power Requimments
A special AC adapter is designed for use only with the
9120. Make sure to use the included AC adapter (AD0002). Use of another AC adapter can cause malfunctions
or damage.
Make sure to consult with your local ZOOM dealer about
the use of a proper AC adapter or voltage converter when
using the AC adapter in an area (for example, another
country) having a different power supply voltage.
Avoid using your 9120 in environments where it will be
exposed to:
* Temperature extremes
* High humidity or moisture
* Excessive dust or sand
* Excessive vibration or sudden shock
Handling
Since the 9120 is a precision electronic device, avoid
applying excessive force to the switches and keys. Though
the 9120 has been constructed for sturdiness and reliability,
dropping, smashing, or applying too much weight to the
product can cause damage.
Other Precautions
Electn'cal Interference
The 9120 uses digital circuitry that may cause interference
and noise if placed too close to other electrical equipment,
such as TV sets and radios. If such problems occur, move
the 9120 further away from the affected equipment. Also,
use of fluorescent lights or devices with built-in motors in
close proximity to the 9120 may result in malfunctions
and/or degraded performance in the 9 120.
Cleaning
Use a soft, dry cloth to clean the 9120. If necessary, a
slightly damp cloth can also be used. Do not use any
abrasive cleansers, waxes, or solvents (such as paint thinner
or alcohol), since these may dull the finish or damage the
surface.
Malfunctions
If your 9120 does not perform as expected, or malfunctions
occur, first make sure all related, volume controls are at
their minimum to avoid damaging any other equipment,
then disconnect the power and other cables connected to
the 9 120. Contact the shop from which you purchased the
9120 and provide them with the following information:
model name, serial number, description of the problem,
your name, address and telephone number.
Keep this manual in a safe, convenient place for future
reference.
Remodeling
Never open the case of the 9120 or attempt to modify the
product in any way, since this can result in damage.
Connecting Cables and lnput and Output
Jacks
You should always turn off the power before connecting
any cables. Also make sure to disconnect all cables and the
AC adapter before moving the 9 120.
Caution!
The 9120 contains a long-life lithium battery which maintains the effect programs stored to the internal memory
even when the unit is turned off. With normal use, the battery should last for approximately five years. To
avoid possible data loss, contact your local ZOOM dealer five years from the date of purchase and have the
battery replaced by a qualified technician. Do not attempt to replace the battery yourself, since installing an
improper battery could result in an explosion.
Table of Contents
Introduction and Main Features
Safety Precautions
Section I: Names and Functions of the Controls and Terminals
Section 11: Setting Up and Using the 9120
Making Connections and Setting Up the 9120
Using the Effect Programs
Bypassing Effects
Editing an Effect Program
Compare
Storing an Edited Program
Section In: Effects and Their Parameters
An Introduction to Reverberation
Effects and Their Parameters
Hall
Room
Plate
Gate
E/R (Early Reflection)
Chorus
Delay
Delay Time Calculator Utility
Pitch
SFX 1
Karaoke
Surround
Sweep Flanger
SFX 2
Pedal Pitch Shift
MIDI Harmonized Pitch Shift
User Scale Utility
Hold Delay
Section IV: Utility Mode and Program Change Learn
Utility Mode
Program Change Learn
Specifications
MIDI Implementation
MIDI Implementation Chart
Front Panel
r l
(1 ) INPUT dial
(2) Input level indicators
L 0 INPUT
0R
7O U T P U T 1
BALANCE
LEVEL
L*>R
(3) OUTPUT BALANCE dial
(4) OUTPUT LEVEL dial
( 5 ) Program number indicator
(6) Progr a m r 1 A keys
lnput/Output Controls
INPUT dial
For adjusting the level of the input signal. The inside
dial is for adjusting the left (L) channel and the outside
is for the right (R) channel. (When adjusting
separately, hold one dial in place while turning the
other.)
Input level indicators
For monitoring the level of the input signal. When an
input signal is received, the LED lights up in green and
changes in color to amber as the level becomes greater.
When a high level signal capable of causing distortion
is input, the LED at the top lights up in red. (For best
results, adjust the input level so that the LED is usually
in amber.)
OUTPUT BALANCE dial
For adjusting the overall balance of the sound between
direct and effect. At the DIRECT position, the input
sound is heard without processing. At the EFFECT
position, only the processed sound is heard. This
setting is applied globally to all effects.
OUTPUT LEVEL dial
For adjusting the overall output level.
Program/Effect Selection Controls
(5) Program number indicator
Indicates the selected program number (1 - 99).
(6) Program V / A keys
For selecting programs.
(7) Effect selector dial
For selecting effects. The LED indicates the currently
selected effect.
4
(7) Effect selector dial
(8) LCD display
LCD Display and Editing Controls
LCD display
Shows various operating information, such as the
parameter values (up to three digits) and other
messages.
Data Entry controls 1,2 and 3
For adjusting parameter values.
Page key
For advancing through the different display "pages" in
the LCD. (The selected page and number of pages
available is indicated at the bottom left of the LCD.)
Compare key
Used in editing a program, this switches back and forth
between the currently edited values and the values of
the original program, allowing comparison of the
sound. When in the Utility mode, this key is used to
select the previous display page.
UTILITY key
For selecting the functions of the Utility mode (such as
setting the MIDI channel, transferring data, etc.).
EFFECT key
For canceling the effect processing. The LED above
the key lights when the effect is on.
STORE (EXECUTE) key
For storing a program to internal memory. Press the
key twice to store the program to the selected program
number. When the LCD prompts you to confirm an
operation with an "OK?" message, this key functions
as an EXECUTE key to actually perform the operation.
Section I :Names and Functions of the Controls and Terminals
(10) Page key
r
(12) UTILITY key
(13) EFFECT key
(16) TRIGGER key
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C
COMPARE
EXECUTE PRG-CHG
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(9) Data Entry controls 1, 2 and 3
(1 1) Compare key
CONTROL IN
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(14) STORE (EXECUTE) key
(15) CANCEL (PRG-CHG LEARN) key
When in the Utility mode or Store function, this key is
used to cancel the operation and return to normal
operation. When in normal operation, it is used to call
up the Program Change Le& menu.
(1 8) Power switch
1CONTROL IN jack
(17)
1
(15 ) CANCEL (PRG-CHG LEARN) key
External Control
(16) TRIGGER key
For tap-trigger control over certain effect parameters.
(17) CONTROL IN jack
For connection of an external footswitch or foot pedal.
(You should use the optional ZOOM footswitch and
foot pedal for this. )
(18) Power switch
For turning the power to the 9120 on and off.
Rear Panel
(7) DC IN
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(6) LCD contrast dial
(5) MlDl IN, MlDl OUT terminals
L
L
(1) INPUT jacks (UMONO, R)
(2) Input level gain switch
(3) OUTPUT jacks (VMONO, R)
L (4) Output level gain switch
INPUT jacks (L/MONO, R)
For input of the audio signal. If only the L/MONO
input is used, the signal automatically becomes mono.
Input level gain switch
For setting the input level gain to +4 or -20dBm.
OUTPUT jacks (LiMONO, R)
For output of the audio signal.
Output level gain switch
For setting the output level gain to +4 or -20dBm.
Section I :Names and Functions of the Controls and Terminals
(5) MIDI IN, MIDI OUT terminals
For connection to other MIDI devices, such as a
synthesizer or sequencer. These are used for remotely
controlling the 9120 from a synthesizer, or for storing
data of the 9 120 to another device.
(6) LCD contrast dial
For adjusting the display contrast.
(7) DC IN
For connection to the included AD-0002 AC adapter.
5
This section provides a guided tour of the 9120 that takes you step-by-step through the basic functions
and operations of the unit. We recommend that you read through this section while actually operating
the 9 120 in order to better understand the unit and to get accustomed to its various functions.
Making Connections and Setting
Up the 9 120
Connect the AC adapter.
Connect the AC adapter to the 9120, and plug it into the
outlet. Do NOT turn on the power yet.
3. Turn on the power of the devices in the following order:
1) The sound source or sources which are connected to
the 9120.
2) The 9120.
3) The amplifier/speaker or mixer system.
This order is important to prevent speaker damage. To
turn off the equipment, reverse the order of the above
steps.
Now that you've completed all of the connections and
turned on the unit, you will have to match the level
settings of the 9120 to those of the connected sound
source and amplification system.
Connect the sound source and the amplifier/speaker
system to the 9120.
First, connect the output of the sound source (keyboard,
synthesizer, tape recorder, etc.) to the INPUT jack(s) of
the 9120.
Begin by setting the sound source to the optimum
playback level.
Next, connect the OUTPUT jacks of the 9120 to the
amplification system or mixer. When using a mono
signal, connect it to the either of L or R terminal; when
using stereo signals, connect both outputs of the 9120 to
the amplification system.
II
While playing the connected sound source, adjust the
input gain level.
Use the input level gain switches on the rear panel if
necessary to bring an excessively low or high signal into
the proper range, then adjust the level from the front
panel.
Keyboard
Adjust the input level of the 9120 so that the INPUT
LED(s) are lit in amber as much as possible. (In
particular, to prevent distortion, turn down the input if the
red LED is lit too often or continuously.)
Mixer
Adjust the OUTPUT BALANCE control.
If you're using the 9120 as part of an effect send/retum
loop with a mixer, the output balance should be set to
EFFECT. (The direct/effect balance can then be adjusted
on the mixer.) If you're connecting the 9120 directly to
an arnplifier/speaker system, you should adjust the
desired direcveffect balance on the 9120.
Amplifier
Connection Examples 1
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Mixer
Connection Examples 2
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Adjust the level of the amplifierlspeaker system or
mixer.
~ Adjust
~ the~ OUTPUT
~ LEVEL
~ control on the
9120 as well until you come up with the optimum
settings.
Use the output level gain switches on the rear panel if
necessary to bring an excessively low or high signal into
the proper range, then adjust the level from the front
panel.
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Section11: Setting Up and Using the 9120
Using the Effect Programs
Now that you've set up the 9120, try playing with several
of its effects. To do this, simply select a program with
the Program A /V keys.
Keep in mind that the bypass function mutes the
effect processed sound and passes only the direct
sound. Since the OUTPUT BALANCE dial controls
the level of the direct sound, if if is set all the way to
EFFECT, no sound will be ourput.
If you are connecting the 9120 directly between your
sound source and an amplification/speaker system, you
should set the output balance so that the levels of the
direct sound and the effect processed sound are similar.
(1) Program number
I
Editing an Effect Program
(2) LED indicates effect type
The program number in the indicator changes and the
type of effect is indicated by the lit LED of the selector
dial.
To step slowly up or down through the program numbers,
hold down the appropriate key. You can move rapidly
through the numbers by holding down one of the A/V
keys (depending on the desired direction) and then
simultaneously pressing and holding down the other key.
For example, to move rapidly forward through the
program numbers:
(1) While holding down
the Programr key
...
(2) ...press and hold down
the Programr key
Once you've selected a program, play the connected
sound source and hear the processed sound.
Editing with the 9120 is especially easy and intuitive.
Once a program has been selected, several of its
parameters and current values are shown in the LCD, and
can be immediately adjusted. The basic effect can also
be changed. (For more information on specific effects
and their parameters, see section 111, Effects and Their
Parameters.)
First, select the program for editing with the Program
A / V keys.
When editing, you may wish to call up an existing
program that is relatively similar to the effect you intend
to create, and then "tweak" certain parameters on that
program until you get you want. Normally though, it
doesn't matter very much which program you select -- the
basic effect can be easily changed by using the effect
selector dial. Also, you don't need to worry about losing
the original program, since the new edits can later be
saved to any other program number without changing the
settings of the original.
If you wish, select the basic effect with the selector dial.
Use the PAGE key to select the desired parameter page.
Bypassing Effects
The 9120 allows you to bypass, or temporarily cancel, all
effects while playing. This function is useful for
comparing the processed and unprocessed sounds in
editing, or for instantly switching between the two in a
performance or recording.
To do this, simply press the EFFECT key. Each press of
the key switches between effect on and effect off. The
LED above the key lights when the effect is on and goes
out when the effect is off.
LK2)
(1) Currently selected page number
Available pages
Each effect has two or three display pages, each of which
contains up to three different parameters. The number of
available pages is indicated by the page icon in the
bottom left of the LCD, and the currently selected page is
indicated by the number.
LED lights when effect is on.
Section II: Sefling Up and Using the 9 120
7
4. Adjust the parameters in the LCD with the
corresponding Data Entry controls.
The LCD is divided into three basic sections, each of
which shows a different parameter and corresponds to a
different Data Entry control.
Data Entry control
While the 9120 is in the compare condition, the
uther keys and eontrok function as follows:
* Pressing the Program A/V keys, UTILITY key, or
CANCEL key returns to the newly edited program.
* Pressing the PAGE key selects a diflerent page in
the original program and remains in the compare
condition.
Storing an Edited Program
When you adjust a parameter value, the circular meter in
the LCD graphically shows the approximate value (or
how far the dial has been turned) and the number to the
right of it shows the exact value. When a parameter
value has been changed from its original value, a dot in
the center of the graphic meter comes on. This dot
disappears again if the original parameter value is
restored.
(1) Shows approximate value
(2) Appears when parameter is edited
Once you've edited a program to your satisfaction, you'll
want to store that new program to memory so that you
can call it up again when you need it. Remember that
any editing you have done to the parameters so far is
temporary and it will be irretrievably lost if you switch to
editing another program before storing the current one to
memory. To avoid this, make the following a habit: once
you've created a Patch you like, IMMEDIATELY store it
to memory.
The 9120 has space in internal memory for 99 programs.
If you've filled up those 99 spaces and wish to store
more, program data can also be saved via MIDI to a
sequencer or MIDI data storage device (see page 23).
To store your newly edited program:
Compare
l. Press the STORE key.
With the compare function, you can switch between the
newly edited program and the original unedited program,
to hear the results of the changes you make.
l. After you've made a change or changes in the program,
press the COMPARE key.
COMPARE
W
2. Use the Program A/V keys to select the program
number to which you wish to save the new program.
3. The LCD shown in step #l (along with the flashing
program number) prompts you to confirm the
operation. Press the STORE (EXECUTE) key to
execute the operation, or press the CANCEL key to
cancel it and return to the newly edited program and
original program number.
The LED of the original effect flashes along with the
word "Compare" in the LCD. You can now hear the
sound of the original program.
2. Press the COMPARE key again to return
8
When the program is stored, the program which was
previously stored to the destination memory space i s
automatically erased. Make absolutely sure that the
program at the destination can be erased.
Section 11: Seiting Up and Using the 9120
An Introduction to Reverberation
The ZOOM 9 120 sound environment processor specializes in digital simulations of acoustic spaces,
but also extends that capability with powerful parameter controls.
Acoustic simulations using
Reverberation is the acoustic phenomenon which occurs
when sound waves are reflected off surfaces such as the
walls, floors and ceilings of an enclosed space. Since
sound emits from a source in many directions, and
encounters multiple surfaces at various distances and
angles, these can be many reflections of a single instant,
each repeating at slightly or greatly different times and
levels, until they lose energy. These reflected waves
make a sonic "residue" which reinforces the source by
repeating in tiny echoes every moment of sound.
Even when the source has stopped generating the sound,
reverberation will continue to decay for some time-the
period depends on the size of the enclosure and the
materials of which it is made. The 9120 calls this period
of decay reverb time (RevT). The reverb times of
average-sized, medium-surfaced rooms are usually short
(0.3 - 1.4 seconds), concert halls and opera houses
somewhat longer (1.8 - 3.0s), and large empty halls and
churches very long (3.4 - 7.0s).
The ZOOM 9 120 exceeds the focus of acoustic space
modeling by extending parameter controls beyond values
necessary to simulate those spaces. So, for example,
reverb time range extends to a full 10.0 seconds,
allowing you to create unusually spacious environments.
Reverb, then, is no more than a series of multiple echoes,
enhancing sustained sounds with repetitious support, and
at the same time smearing sudden changes in volume like
the transient attacks of a percussion instruments. Most
often, reverberation simply provides an ambient
environment which we take for granted. There is such a
density of reflections in an enclosed space, at so very
many different levels and times, that the resulting
acoustic effect is smooth and natural-so natural, in fact,
that the effect in a small or medium-sized room is most
often completely unnoticeable. For example, the ambient
reverberations resulting from a conversation in a typical
living room would not be perceived unless the room were
to become instantly sound-proofed, upon which the void
of natural ambience would then become uncomfortably
obvious. Or perhaps, because of particular shapes and
surfaces (often found in cheaply constructed meeting
rooms or apartment building hallways), a space has a
strong resonant reverberation at a particular frequency
(known as "standing waves") which can become
annoyingly obvious. The reverb algorithms in the 9120
are designed to be completely free of such resonances.
In standing very close to a person in conversation, you
definitely hear the direct sound of their voice well before
the first of the many reflections. But the further you are
from the source, the less this is true, until the distance is
large enough that you might be receiving all of them at
the same time. The same is true in a concert hall. The
people in the first row receive the direct sound from the
stage before most of the reverberations, whereas those
toward the rear of the hall hear a more equal mixture.
Digital reverb devices can easily delay the beginning of
the reverb effect by a specific amount. This control in
the 9120 is called pre-delay time (PreD). In addition to
simulating acoustic ambience, pre-delay is useful for
allowing the complete attack dynamics of an instrument
to sound in a music mix before becoming smoothed with
reverb.
Reflected sound waves will lose their energy eventually
no matter what the environment. In spaces with hard
reflective surfaces, such as glass or tiled rooms, this
process takes a long time because these surfaces reflect
the energy efficiently so that the waves lose relatively
little each time they bounce off. Conversely, softer
materials, covered with carpet or heavy drapes, absorb
the sounds quicker. In this case, higher frequencies lose
their energy faster than long, low waves. In this way, the
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SectionIII :Effects and and Their Parameters
9
bright reverb reflections decay sooner than the bass
reflections. In the 9120, this effect can be controlled by a
parameter called high damping (HDmp), which rolls off
high frequencies as the signal decays. Hi damping can be
used effectively on a total mix, letting you selectively
apply reverb to the low and mid range sounds of the mix,
while keeping the high frequencies (cymbals, for
example) relatively dry- creating a naturally reverberant,
yet clear and uncluttered sound.
Often, many sound waves first reach a surface- for
example, a flat back wall-at the same time, and reflect a
large part of the sound spectrum uniformly. The sound of
this noticeable echo (and, depending on the shape of the
enclosed space, there may be more than one of them) is
called an early reflection. These reflections often tell our
ears a lot about the physical environment. The 'Hall' and
'Room' reverb effects in the 9120 provide controls for the
delay time (Reff) and strength (RefL) of early reflections.
Density is a measure of sound waves per unit of space.
Small spaces tend to build and lose reverb density fast,
whereas larger ones, like concert halls, gather and diffuse
density more slowly. ZOOM DSP engineers have
designed reverb algorithms accordingly, so that even
before you program any parameters, the basic shape of a
'hall' or 'room' reverb is natural to those simulations. In
the 9120 'halls', density is also a user-controlled parameter
(Dens), which allows you to specify the basic density
level of the reverb (even though that changes dynamically
within the algorithm). A low density setting makes the
reverb sound lighter, more airy, as in the case of a
building with a very high ceiling. In 9120 'rooms', you
can also change the basic shape of the reverb algorithm by
applying the attack parameter (Atck). This parameter
emphasizes the reverb right from the beginning of the
effect, thus (if there is no pre-delay),enhancing the source
material.
Direct
Level
space. Use the size parameter for room size and control
the tonal character with the low and high equalizers
(LoEQ, HiEQ). The HiEQ will simulate damping. Try
building a rehearsal room simulation with the E/R for
your drum machine samples.
Revert, effects using 'Plate'
and 'Gate1
Reverb was first imitated electronically with the use of
metallic springs and plates. Spring reverb was the most
affordable,but was limited by the density of reflections it
could produce as well as an uneven resonant response.
Large plates, with far greater physical mass, achieved by
great density and smooth decay of natural ambient
reflections. Though expensive and cumbersome, plate
technology provided the first 'real' acoustic reverb
simulations, though they lacked precise control of early
reflection effects. Beyond modeling acoustic
environments, the smooth, bright quality of plate
reverberation has become a staple in multi-track
recording, used to enhance many different sounds, from
drum tracks to vocals. The 9120 includes plate reverb
algorithms to emulate this effect. Except for early
reflection values, most of the parameters are the same as
those which control the 'halls' and 'rooms' which the
addition of a low pass filter parameter called Tone. This
parameter allows you to establish a cutoff frequency over
which the reverb will not respond. The range from 0 - 15
establishes an overall tonal quality from dark to bright.
Another popular reverb effect is gated reverb. This
technique shapes the reverb dramatically by sending it
through a noise gate. The noise gate is like a volume
envelope in a synthesizer - it can open and close down
the signal on command. The sound of a snare drum with
lots of reverb which stops abruptly is a well known
example. The 9120 shapes the signal with Hold and
Decay parameters and allows the gate to be triggered
with the sensitivity control (SENS).
Gate Reverb
Delay
Ambient effects using 'E/R1
The 9120 also has an algorithm @/R) designed to create
an early reflection without much reverb decay, such as a
natural echo against a wall outside or a building. In this
case, use pre-delay (PDly) to indicate the distance to the
wall, and tap angle (Angl) to control the direction and
length of the effect decay. However, the E/R effect is
especially useful in creating realistic room environments
which have no obvious reverb 'tails', but indicate ambient
.
Time
Section111 :Effects and and Their Parameters
Effects and Their Parameters
The parameters of all effects of the 9120 and their setting
ranges are described here according to the order of the
display pages. For brevity, repeated listing of the same
parameters of that occur in different effects has been kept
to a minimum. The numbers in circles - @ indicate
the parameters of each page as well as the corresponding
Data Entry controls used to adjust them.
a
Hall
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@ Dens (Reverb density): 0 - 15
Determines the reverberation density. The higher the
value, the more detailed or dense the reverberation
becomes.
@ Re& (Early reflection level): 0 - l00
The Hall effect is used to simulate the ambience of large,
enclosed spaces, such as concert halls, auditoriums and
stadiums. It is effective in making acoustic ensembles
sound larger, enhancing dramatic film soundtrack effects,
and making a huge drum sound.
Determines the level of the early reflection sound.
@ RefT (Early reflection time): 0 - 100 ms
Determines the time lag between the direct sound and the
fist of the early reflections.
Hall features two different types. The parameters on all
pages are the same for both types.
The Room reverb effect simulates the acoustic
characteristics of various types and sizes of rooms, from
subtle ambiences to tiled room reverberation. Room is
especially effective in giving more body to dry sampled
piano sounds, putting "space" around sampled drums,
making vocal chorus and choirs sound thicker and larger
without resorting to electronic chorus, and in general
adding the natural sound of a room environment (i.e.,
large, live studio, or small club) to nearly any dry source.
[ Page 1 l
@ Type (Hall reverb type): Hall 1, Hall 2
This selects the basic type or configuration of the Hall
reverb effect. (The type name is displayed in the spaces
normally taken up by parameters 2 and 3.) Hall 1
provides a warm reverb sound, while Hall 2 provides a
bright sound.
Room features two different types. The parameters on all
pages are the same for both types.
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@ Type (Room reverb type): Room 1, Room 2
@ RevT (Reverb time): 0.3 - 10 seconds
This determine the time it takes for the reverberation to
decay. Increasing this value creates a larger apparent
room size.
aPreD (Pre-delay time): 0 - 100 ms
This selects the basic type or configuration of the Room
reverb effect. Room 1 provides a warm reverb sound,
while Room 2 provides a bright sound.
[ Page 2 l
This determines the pre-delay time, or the time that
elapses between the direct sound and the onset of the
reverb sound.
'
-
@ HDmp (Reverb high damp): 0 15
Determines the degree to which high frequencies are
filtered out of the reverb signal over time. The higher the
value, the more rapidly the high frequencies decay.
a RevT (Reverb time): 0.3 - 10 seconds
@ PreD (Pre-delay time): 0 - 100 ms
@ HDmp (Reverb high damp): 0 - 15
SectionIII :Effects and and Their Parameters
If
aAtck (Attack): 0 - 100
This reinforces the start of the reverberation by adding a
more definite attack.
aRefL (Early reflection level): 0 - 100
@ RefT (Early reflection time): 0 - 100 ms
Plate
The Plate reverb effect simulates the special
characteristics of a plate reverb. This effect is good for
enhancing solo sounds, especially voice and winds, as
well as snare drums in pop music styles. Often it is used
(sparingly) to "fill out" or give body to the sound of a dry
solo instrument before further reverb processing. It also
is effective in making string ensembles sound rich and
lush -- especially in lyrical music passages.
Plate features two different types. The parameters of all
pages are the same for both types.
aType (Plate reverb type): Plat 1, Plat 2
@ Atck (Attack): 0 - 100
aDens (Reverb density): 0 - l5
@ Tone (Reverb tone): 0 - 15
This determines the timbre or tone of the reverb. The
lower the setting, the more the higher frequencies are
filtered out. Unlike the high damp parameter of some of
the other reverb effects, this parameter remains constant
over time.
Gate
This is a special reverb effect that automatically cuts off
the lower level decay sounds of the reverberation,
shaping the reverb dynamically and adding greater punch
and power to the sound. It is especially effective on
drums, such as in making huge snare and kick sounds, as
well as brass stabs and some guitar parts. More so than
the other reverb effects, Gate is used to completely
change the character of a sound, rather than just add
subtle processing. Also, special rhythmic effects can be
created by adjusting the Gate Hold Time to match the
tempo of the music.
The gate of the 9120 incorporates control over gate
opening according to the level of the input signal. The
gate reverb effect of the 9120 has been newly developed
to also provide either MIDI or manual (trigger key)
control over the gate, regardless of the level of the input
signal. (See the explanation on the Control Source
parameter on the next page for more information.)
[ Page 2 l
:...
..".
.........
.....
.................................
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. ..... : .....................
....................
. ... . . ... . ... .. . ... . ..
:
PAGE
:.S.
aRevT (Reverb time): 0.3 - 10 seconds
@ PreD (Pre-delay time): 0 - 100 ms
aHDmp (High damp): 0 - 15
@ RevT (Reverb time): 0.0,0.5 - 10.0 seconds
Determines the reverb time (within the gate effect).
@ Hold (Gate hold time): 0.1 - 2.0 seconds
Determines the length of time the gate is open.
@ Decy (Decay time): 0 - 10
Determines how quickly the gate cuts off the reverb
sound. Lower values result in the reverb being cut off
abruptly, while higher values result in a slower decay in
the reverb.
12
SectionIII :Effects and and Their Parameters
or triggering the gate repeatedly for a sound whose level
is relatively constant.
aPreD (Reverb pre-delay time): 0 - 200
Determines the time lag between the direct sound and the
gate reverb sound.
@ Dens (Reverb density): 0 - 10
In a common studio recording application, a slightly
sloppy bass track could be locked in more tightly to kick
drum by gating the bass and using the drum sound to
trigger the gate (or, if you wish, by manually pressing the
TRIGGER key in time with the drum). Alternately, if the
kick drum is part of a sequencer track, the MIDI note
corresponding to the drum could be made to gate the bass
and lock the two together.
For the above application in which the kick drum
input triggers the gate for the bass, make the
following settings:
I . Route the bass signal to the left channel input, and
the kick drum sound to the right.
2. Set the Reverb Time (RevT; Page I ) to 0.0.
3. Set Tone (Page 2 ) to 10, to make sure the
frequency response of the bass signalflat.
4. Set the Control Source parameter (CTL; Page 3) to
"SigR", so that the right channel is separated
from the lefr and routed to control the gate.
-
@ Tone (Gate reverb tone): 0 10
Page 31
aSens (Gate sensitivity): 1 - 100
Determines the sensitivity of the gate trigger to the input
signal. Higher values allow lower level input signals to
trigger the gate. This parameter has no effect unless the
CTL (Control source) parameter below is set to "Sig LR"
or "SigR".
@ CTL (Control source):
SigLR (Input signal of both L and R channels)
SigR (Input signal of R channel only)
Int.
(TRIGGER key or input from CONTROL IN
jack)
MIDI (MIDI control change message greater than 64)
Note (MIDI note on message)
Determines the control source for the gate trigger. Use "Sig
LR" source when you want the audio source itself to trigger
the gate. For most purposes, this setting should be enough.
The other settings are for more specialized applications,
such as when you want to manually control the gate (by
pressing the TRIGGER key or by pressing a footswitch
connected to the CONTROL IN jack), or for using a
sequencer to automatically trigger the gate via MIDI (either
with a control change message or note on data).
INPUT
Another interesting use of the gate effect and the trigger
feature of the 9120 is to use a CD or other audio sound
source as a kind of "sampled" sound, played from a MIDI
keyboard. First, connect a MIDI keyboard to the 9120
and set the MIDI channels appropriately. Also, connect
the audio outputs of the CD player to the left and right
channel inputs of the 9120. Set the Reverb Time and
Tone parameters as desired. Finally, set the Control
Source Parameter (CTL; Page 3) to "Note". Now, when
you play the CD, the sound will be gated each time you
press a key on the MIDI keyboard.
E/R (Early Reflection)
This reverb effect emphasizes the distinct early
reflections over the reverberant wash. It is useful for
creating a spacious ambience without sacrificing the
clarity and definition of the original sound. Early
Reflection is good for simulating outdoor echo effects,
such as the sound reflections off surrounding buildings,
or the ambience of an open amphitheater or large
auditorium. It is also effective in adding subtle room
"Space" around dry signals (such as digital samples),
enhancing brass parts, and creating special effects such
as reverse reverb.
OUTPUT
@ Size (EIR room size): 0 - 100
Possible applications of these include triggering the gate
at a point not possible with the automatic "Sig" setting,
Section III :Effects and and Their Parameters
Determines the apparent size of the room or plate by
adjusting the duration of the early reflection sound.
13
Q Shpe (E/R shape): -15 - 0 - 15
Determines the attenuation pattern of the early reflection
sound. Negative values produce a reverse reverb effect,
while positive values produce a normal attenuation
pattern.
Type (Chorus type): Chorus, Chor>Rev(DelayChorus-Reverb)
Chorus
This Chorus type splits the signal into eight separate
"voices" and routes them through different modulation
waveforms, before combining the signals to stereo.
8 PreD (Empre-delay time): 0 - 200 ms
@ ModD (Chorus modulation depth): 0 - 100
Determines the depth of the modulation. This effectively
sets how widely the pitch of each voice will be varied.
Higher values result in more intense modulation.
@ Rate (Chorus rate): 1 - 100
Determines the speed of the modulation.
aDens (E/Rdensity): 0 - 10
@ LoEQ (Low frequency equalizer): 0 - 10
Determines the amount of low frequency elements in the
early reflection sound. Higher values boost the low
frequencies.
@ Tone (Chorus tone): -12 - 0 - 12
Determines the timbre or tone of the chorus sound.
Negative values filter out the high frequencies, and
higher values boost the high frequencies.
@ HiEQ (High frequency equalizer): 0 - 10
Determines the amount of high frequency elements in the
early reflection sound. Higher values boost the high
frequencies.
..,..
.............
.. . :..:.
. ... .....:
S...
PAGE
'
""
'
aTapW (Chorus tap width): 0 - 100
Chorus
This is a rich chorus effect with complex modulation
waveforms. Chorus is generally used to take a thin
sound and make it thicker and fatter. It is best applied on
individual instruments rather than an entire mix. It is
effective for making a single instrument sound like an
ensemble, and also for processing acoustic guitar, clean
electric guitar, bass, and keyboard sounds.
Chorus features two different types: a stereo chorus
effect with eight separate voices, and a multi effect
combining delay, chorus and reverb. (The Parameters are
different for each type.)
Adds depth to the overall chorus sound by controlling the
pre-delay time difference among the separate eight
voices.
@ Colr (Chorus color): 0 - 100
Determines the overall timbre of the chorus sound. This
effectively divides the eight voices into two groups
(according to their waveform type) and controls the
balance of the two to create tumbrel variation in the
sound.
ChohRev (Delay-Chorus-Reverb)
This multi effect processes the signal with mono delay,
stereo chorus and stereo reverb effects.
OUTPUT
INPUT
Delay
14
Reverb
SectionI11 :Effects and and Their Parameters
@ ModD (Chorus modulation depth): 0 - 100
@ Rate (Chorus rate): 1 - 100
@ DlyT (Delay time): 0 - 990 ms, 1.00 second
connected to the CONTROL IN jack. (Press the key or
pedal twice; once for the start of the delay time, the other
for the end.) In the mono delay types (Mono Echo and
Ping Pong), this tap delay function can be used from any
page -- 1, 2 or 3. In the stereo delay types, using the tap
delay in Page 1 sets the delay time for both the left and
right channels. Using it in Page 2 sets only the left delay
time, and using it in Page 3 sets only the right delay time.
A built-in time calculator is also provided for calculating
and automatically inputting rhythmically correct delay
times (given a specific tempo).
Determines the delay time @re-chorus).
[ ChonRevIPage 3 ]
@ DMix (Delay mix): 0 - 100
The ZOOM 8050 MIDI Foot ControUer can also be
used for manual '>hying1' or tap control of the
delay time on the 9120. (Also refer to the 8050
manual, page 32, for more details). To properly w e
the 8050 to tup in the delay time on the 9120, set the
8050 to transmit over one of the MIDI control
change numbers l - 31 (excepting 6 or 7) and set rhe
same control change number in Page 2 of the Utility
mode on the 9120 (see page 23).
Determines the level of the delay sound in the effect mix.
a RevT (Reverb time): 0.5 - 10.0 seconds
Determines the reverb time (post chorus).
@ RMix (Reverb mix): 0 - l00
Determines the level of the reverb sound in the effect
mix.
Delay
Delay is used to create echo effects, with discrete, regular
repeats of the sound. Applications of delay include
double-tracking a vocal (making one voice sound like
two), slap-back echo (a very short delay with single
repeat, commonly used on guitar and vocals in
"rockabilly" and old rock 'n' roll styles), as well as
flanging effects (with very short delay times and long
feedback).
Delay can also be used rhythmically; by adjusting the
delay time to match the tempo of the music, the delayed
signal can be made to repeat precisely on the beat. (A
built-in delay time calculator on the 9120 helps in this.)
One interesting application involves using a relatively
long single delay on a solo instrument; playing short
single line melodies can create a kind of call-andresponse effect.
The Delay on the 9120 is a sophisticated effect that
features fours separate modes: simple mono, mono-intostereo, independent two-channel delay, and independent
two-channel with cross feedback. In the mono modes, a
maximum delay time of two seconds can be set.
The delay time can also be manually "played" by
pressing the TRIGGER key or by pressing a footswitch
Section111:Effects and and Their Parameters
@ Type (Delay type): Mono Echo, Ping Pong, Ster 2ch
(Stereo 2-channel), Ster X FB (Stereo cross-feedback)
Determines the type of delay. Four types are available.
The two mono types and two stereo types have different
parameters.
Mono Echo: Simple mono delay
Ping Pong: Mono signal is delayed with repeats
alternating between left and right channels.
Ster 2 ch: Independent two-channel delay.
Ster X FB: Same as "Str", but with cross-feedback delay.
Mono Delay TLpes (Mono Echo, Ping Pong)
[ Mono Delay TypesIPage 2 ]
@ sec (Delay time coarse): 0.0 - 2.0 seconds
Determines the delay time in units of 100ms. (Use this
with Delay time fine below).
ams (Delay time fine): 0 - 99 ms
Used with the coarse time parameter above to finely set
the delay time. (Since the maximum delay time is 2.0
seconds, this parameter cannot be changed when the sec
parameter above is set to 20.)
15
@ FB (Feedback): -98 - 0 - 98
[ Stereo Delay TypeslPage 3 ]
Determines the amount of feedback, or the number of
delayed repeats of the signal. For negative values, the
phase of the feedback signal is reversed.
Reversed phase se#ings are eflective for using Delay
as a fkrnging eflect.
a Rsec (Right channel delay time coarse): 0.0 - 1.0
[ Mono Delay TypeslPage 3 ]
second
@ ms (Right channel delay time fine): 0 - 99 ms
(Since the maximum delay time in the stereo modes is 1.
0 second, this parameter cannot be changed when the
Rsec parameter above is set to 1.0.)
aHCut (High cut): 0 - 15
Determines the tone of delay sound.
@ Hdmp (High damp): 0 - 15
Progressively filters out the high frequencies as the delay
sound repeats over time. The greater the value, the more
rapidly the high frequencies are cut.
@ FB (Right channel feedback): -98 - 0 - 98
Ster 2ch
Feedback
c
Delay
Feedback
Stereo Delay v p e s (Ster 2 ch, Ster X FB)
Ster X FB
[ Stereo Delay TypeslPage 2 ]
Feedback
*
OUTPl
aLsec (Left channel delay time coarse): 0.0 - 1.0 second
Feedback
@ ms (Left channel delay time fiie): 0 - 99 ms
(Since the maximum delay time in the stereo modes is 1.
0 second, this parameter cannot be changed when the
Lsec parameter above is set to 1.0.)
aFB (Left channel feedback): -98 - 0 - 98
I n the stereo cross-feedback type, the FB parameters
in Pages 2 and 3 have a buill-in automutic control to
prevent self-oscillation from occurring when the
value is set too high.
16
Delay Time Calculator Utility
To call up the Delay Time Calculator utility, press the
UTILITY key from either Page 2 or Page 3. This
function lets you automatically calculate and input
rhythmically correct delay times for specified tempo
settings. In other words, if you know the tempo of the
music being played, you can automatically program the
delay time so that the delayed repeats fall precisely on
the beat. To automatically enter the calculated value and
exit the Delay Time Calculator utility, press the STORE
(EXECUTE) key.
SectionIII :Effects and and Their Parameters
Tempo
Note type
Delay time
aBPM (Tempo; beats per minute): 40 - 240 bpm
Determines the tempo
In addition to being able to set the tempo manually here,
you can also have the tempo automatically set by:
...a
MIDI clock signal (receive from a connected
sequencer or rhythm machine).
...tapping the tempo on the TRIGGER key or a switch
connected to the CONTROL IN jack.
...tapping the tempo on a key from a connected MIDI
keyboard.
Pitch
This effect lets you change the pitch of the sound, either
an octave above or below normal pitch. Since the
amount of pitch shift can be set independently for the left
and right channels, three separate pitches (the two
processed ones and the one of the direct sound) can be
heard. This lets you create a natural yet complex chorus
effect in which the left and right sounds are slightly
detuned compared to the direct sound. Other applications
include setting the pitch shift to an octave above or below
(for example. to make a six-string guitar sound like a
twelve-string), or setting the pitch to other intervals (such
as a fourth or a fifth) to create instant harmonies.
The Pitch effect features two different types: a stereo
pitch shift cffcct with independent left/right settings, and
a Pitch-Reverb effects that combines a mono pitch shift
with reverb. u h e parameters are different for each type.)
For more sophisticated pitch shift applications in
which the pitch shift changes according to MIDI
note input, the 9120 also features an "intelligent"
pitch shift function (MIDI Harmonized Pitch Shift)
in the SFX 2 effects. (See page 20)
aNote type:
,) 3-:Eighth note triplet
)---.: Eighth note
J 3 - : Quarter note triplet
J - --. : Quarter note
4---. : Half note
Determines the basic note value. (This parameter value
is shown at the top middle section of the display.)
@ Type (Pitch shift type): Ster Pitc (Stereo pitch Shift),
To use the calculator function:
Stereo Pitch Shift
1. Set the tempo with Data Entry control 1. The range is
from 40 to 240 beats per minute.
Pitc>Rev (Pitch-Reverb)
This type provides independent pitch shift control over
the left and right channels.
[ Stereo Pitch ShiftlPage 2 ]
2. Set the note type with Data Entry control 2. (The
setting is shown at the top middle section of the
display.)
The delay time is automatically calculated and appears at
the top right (third section) of the display.
If the calculated delay time is longer than the maximum
(2.0 seconds for mono, 1.0 second for stereo), the word
"out"appears at the bottom right of the display.
3. To actually enter the calculated delay time, press the
STORE (EXECUTE) key. To cancel the function
without entering the calculated delay time and return
to the original display, press the CANCEL key.
- -
@ PitL (Left channel shift chromatic): -12 0
12
semitones
Determines the number of semitones over which the
pitch is changed. The range is one octave above or
below the input pitch.
@ FinL (Left channel shift fine): -50 - 0 - 50 cents
Determines the fine tuning of the pitch-shifted signal, in
cents (11100 of a semitone).
@ MixL (Left channel shift mix): 0 - 100
Determines the level of the pitch-shifted signal of the left
channel.
-
Sectionill :Effects and and Their Parameters
17
[ Stereo Pitch ShiWPage 3 ]
SFX l
The SFX 1 effect group features three different stereo
effects: Karaoke, Surround, Swp Flng (Sweep Hanger).
The different effects are selected from Page 1, and the
parameters for each effect appear in the following pages.
@ PitR (Right channel shift chromatic): -12 - 0
- 12
t Page 1 l
semitones
Q FinR (Right channel shift fine): -50 - 0 - 50 cents
@ MixR (Right channel shift mix): 0 - 100
Determines the level of the pitch-shifted signal of the
right channel.
Pitch,Reverb
This is a multi effect that provides a single pitch shift
setting (the left and right channels are shifted by the
same amount) with a reverb effect.
@ EFF (Effect type): Kara Oke, Surr ound, Swp Flng
Karaoke
This effectively removes the vocal sound from a stereo
music track, allowing you to sing the vocal part yourself.
The pitch or key of the music can be adjusted up to five
semitones up or down.
Far this to work properly, the output balance serting
should be set to EFFECT.
S
PAGE
Determines the level of the pitch-shifted signal.
[ Pitch>ReverblPage 3 ]
..
. ........... .. ........... .. ...
................
.................
.
l 1-1 1-1
@ Pitc (Shift chromatic): -12 - 0 - 12 semitones
aFine (Shift fine): -50 - 0 - 50 cents
aPMix (Pitch shift mix): 0 - 100
. ..
......
.
........
......
.... .
S.
C
rr
1-1
0VC-(Vocal cancel): 0 - 100
Determines the degree to which the vocal sound is
filtered out of the input signal.
aKey Con (Key control): -5 - 0 - 5 semitones
Determines the number of semitones over which the
pitch of the input signal is changed.
Sumund
@ RevT (Reverb time): 0.5 - 10.0 seconds
@ RMix (Reverb mix): 0 - 100
Determines the level of the reverb signal.
This effect simulates stereo surround processing,
expanding the stereo image and making the sound seem
to jump out of the speakers. The effect features two
modes: one simulates surround processing for a pair of
front speakers only, while the other simulates surround
processing for a pair of rear speakers in a four-speaker
arrangement.
aMode (Surround mode):
Frnt Out (Front Out; two channel; front),
Rear Out (two-channel; rear)
18
SectionIII :Effects and and Their Parameters
Front Out
The Front Out mode processes the stereo input and
outputs it to a two-channel front speaker system. The
effect expands the source sound and makes it seem more
three-dimensional and spacious than conventional stereo
sound
@ Colr (Surround color): 1 - 100
Determines the timbre of the surround sound.
@ DlyT (Delay time): 0 - 100 ms
This control is used to adjust delay time: however, the
time difference set here has the sonic effect of altering
the character of the surround processed sound.
Sweep Flanger
Amplifier
L
L
L
d
J
d
Rear Out
The Rear Out mode applies the surround effects to a
stereo source for use with a pair of rear speakers in a
four-speaker system. In this setup, the source signal is
split, one set of stereo signals going to the 9120 for
processing (and then to the rear channels), and the other
set going unprocessed to a separate amp/speaker system
for the front channels.
In another setup example similar to the one above, two
9120s could be used to create the optimum four-channel
surround system. One 9120 could be used in Front Out
mode to drive a pair of front speakers, while the other is
set to Rear Out mode and drives a pair of rear speakers.
This is a special flanging effect that provides three
different types of modulation waveforms, selectable from
five different modes. With the three-phase LFO
operation and the automatic gradual application of the
effect, Sweep Flanger creates an effect in which the
resonant frequency is continuously swept up or down.
[ Sweep FlangerlPage 2 ]
@ Mode (Sweep flanger mode):
Mono Up: Mono sweep up
Ster Up: Sterm sweep up
Mono Down: Mono sweep down
Stereo Down: Stereo sweep down
Tri LFO: Stereo three-phase flanger
three-phase
M AllonlymodesTrifeaturemode.
the
l-?Y
LFO operation, not
LFO
Sound Source
[ Sweep FlangerlPage 3 ]
Amplifier
L&
Amplifier
@ ModD (Modulation depth): 1 - 100
@ Rate (Hanging rate): 1 - 100
Determines the speed of the modulation.
@ FB (Feedback): 0 - 99
Determines the level of the feedback.
SectionIII :Effects and and Their Parameters
19
[ Pedal Pitch ShifttPage 3 ]
The SFX 2 effect group features three different effects,
especially for use with single instrument sound sources:
Pedal Pitch Shift, MIDI Harmonized Pitch Shift, and
Hold Delay. The different effects are selected from Page
1, and the parameters for each effect appear in the
following pages.
@ Swp Time (Sweep time): 0 - 10
Determines how quickly the pitch change responds to the
control signal (pedal movement). The lower value, the
more rapid response. At the higher values, the pitch
changes more slowly; even using a simple on/off bigger,
such as a footswitch or the front panel TRIGGER key,
changes the pitch continuously, as if a pedal control were
used.
a EFF (Effect type): Pdl-sPitc (Pedal Pitch Shift),
MIDI->HPS (MIDI Harmonized Pitch Shift), Hold
Dely (Hold Delay)
Pedal Pitch Shift
This effect allows you to continuously change the pitch
of the input signal, either by an expression or volume
pedal (connected to the CONTROL IN jack) or via MIDI
(with control change or bender).
MlDl Harmonized Pitch Shift
This is an "intelligent" harmonized pitch shifter that
allows you to change the pitch of the input according to
the notes played from a connected MIDI device.
The pitch shift interval can be set independently for the
left and right channels, letting you create pitches of the
different intervals from the input sound. A User Scale
utility is also provided for manually setting the pitch shift
intervals and storing those settings to user presets.
The MIDI Harmonized Pitch Shift effect responds to
the lnrr note number received. If no MIDi device is
connected or played, the pitch shift interval will be
constant, according to the last note received.
[ Pedal Pitch ShifttPage 2 ]
aPitc (pitch shift max.):
[ MlDl HPStPage 2 ]
- m, -24, -12 - 0 - 12 semitones
Determines the amount of pitch shift for the maximum
control signal received. If this value is set to -12 and a
pedal is used, pressing the pedal all the way down shifts
the pitch an octave down.
The pitch shift effect is dynamic and continuous; in other
words, the pitch changes smoothly as you move the pedal
(or MIDI controller). A setting of infinity (- W) results in
the pitch dropping lower and lower until the sound fades
out, much like the sound of a record being played as the
turntable slows down and stops.
@ CTL (Control source): Pedl, MIDI, Bend
Determines which control source is used to shift the
pitch. Select "MIDI" when you wish to use a MIDI
control change number. (Note: Select the control change
number from page 2 of the Utility mode; see page 23.)
Selecting "Bend" automatically sets the 9120 to respond
to the pitch bender (wheel or lever) on a connected MIDI
keyboard.
20
@Key @ass key):C, d-, d, E-, E, F, G-, G , A-, A, b-, b
Determines the bass key for both the left and right
channels. (The minus symbol in the settings indicates a
flatted note; e.g., "d-" indicates Db.) This also
determines the base key used in the User Scales.
@ IntL (Left channel interval):
-7 : Major 7th down
-6 : 6th down
Sthdown
4thdown
-3: Major3rddown
-3-: Minor 3rd down
-2 : 2nd down
U1: User Scale l
U2: User Scale 2
-2: 2nd up
-5:
-4:
Section111:Effects and and Their farameters
User Scale Utility
-3-: Minor 3rd up
-3 : Major 3rd up
-4: 4thup
-5:
5thup
-6 : 6th up
7 : Major7thup
+4 +4 +3
+4 +3
+4 +4 +3
This function lets you create your own pitch shift interval
settings, for each of the twelve notes in an octave and
independently for the left and right channel intervals.
These settings can then be saved to one of two User
Scales. When you call up one of your User Scales, the
9120 monitors the MIDI note you play and then shifts the
pitch according to the settings in the scale.
+4 +3
+4 +3 +3 +4 +3 +3 +4 +4 +3 +3 +4 +3 +3
To use the User Scale Utility:
1. Press the UTILITY key from Page 2 or Page 3 to call
up the User Scale Utility display.
Example of Harmonized Effect
(Key=C l n t L = 3 )
Determines the interval by which the pitch is shifted for
the left channel. The actual interval also depends on the
MIDI note received . User Scale 1 and 2 are two user
presets that let you store your own pitch shift settings for
future recall.
1. Original note (MIDI)
2. Pitch shin interval for user scale 1
1
(expressed as note name)
3. Pitch shift interval for user scale 2
r
1
\ I /
::,....
--i
m
..
.::. :..:. ....:.;....
.. . .
...S
: * :
The User Scale setting calls up pitch shift intervals
programmed with the User Scale Utility. (To call up the
User Scale utility, press the UTILITY key from Page 2;
for more information refer to the section on the User
Scale utility below.)
@ IntR (Right channel interval): -7, -6, -5, -4, -3, -3-,
-2, U l , U2,-2,-33 -3, -4, -5, -6, -7
Determines the interval by which the pitch is shifted for
the right channel. (See Left Channel Interval parameter
above for details.)
..
. . :....
'-:.
....
..'....':.i
1
I
I
l...
I
4. Numeric equivalent of note
(minus indicates pitch shift down)
2. Use Data Entry control 1 to select the original or MIDI
input note (the MIDI note that is played to shift the
pitch according to the intervals set in the following
parameters). The twelve notes of an octave are
available.
The setting of the Base key in Page 2 of the MIDI
Harmonized Pitch Shift effect determines the first
note of this twelve-note scale. Tf you have
programmed the intervals in the User Scale for one
base key Cfor exampie, C) and later change the base
key for that scale Cfor example, to G), the interwl
sem-ngs will NOT change relative to the new scale.
aWidt (Effect stereo width): 0 - 10
Determines the relative stereo separation of the effect.
The zero setting results in a mono signal.
3. Use Data Entry control 2 to select the pitch shift
interval for the original note set in step #2.
Data Entry control 2 corresponds to User Scale 1 and
Data Entry control 3 corresponds to User Scale 2.
I
I
1. Indicates,User Scale 1
1
2. Indicates User Scale 2
I
I
4. Repeats steps #2 and #3 above until you have set pitch
shift intervals for all twelve notes of User Scale 1.
Follow the same procedure using Data Entry control 3
to set User Scale 2.
SectionIII :Effects and and Their Parameters
21
5. To save the new scale to memory, press the STORE key.
The display will return to the MIDI Harmonized Pitch
Shift pages. To abandon the new settings, press the
CANCEL key.
To use your new User Scale, simply select it with either
Data Enby control 2 or 3 from Page 2 of this effect.
Delay Time Calculator Utility
Pressing the UTILITY key from Page 2 calls up the
Delay Time Calculator utility. The calculated value can
be used as the delay time for the Hold Delay effect. (See
page 16 for more information.)
Hold Delay
This is a mono hold delay effect with a maximum delay
time of two seconds. The delay time can be set manually
or tapped in via the CONTROL IN jack or MIDI.
[ Hold DelayiPage 2 ]
asec (Delay time coarse): ---,0.1 - 2.0 seconds
Determines the delay time in units of 100 ms. Turning
Data Entry control 1 all the way counterclockwise selects
the "no time" setting (---), which automatically sets the
Delay Time Fine parameter below to "Tap".
The Tap setting allows you to set the delay time by
"feel", tapping a signal twice (once for the start of the
delay, the other for the end). The TRIGGER key, a
switch connected to the CONTROL IN jack, or a MIDI
control change message can be used for the tap signal.
(Select the desired tap source from the Control Source
parameter in Page 3 below.)
ams (Delay time fine): 0 - 99 ms
Determines the delay time in single millisecond (ms)
units. When the Delay Time Coarse parameter above is
this parameter is automatically set to "Tap",
set to "---",
allowing you to tap in the delay time.
[ Hold DelayIPage 3 ]
aCTL (Control source):
Int. Trig: TRIGGER key or CONTROL IN on the
front panel
MIDI Trig: MIDI control change message
Determines the tap signal source for setting the delay
time.
22
Section III :Effects and and Their Parameters
Utility Mode
[Page 31 MlDl Bulk Dump
The Utility mode contains miscellaneous global fealures
of the 9120, such as setting of the MIDI channel and
control number, bulk dump operations, and initializing of
parameter data.
Press the UTILITY key to enter the Utility mode, then
use the PAGE (Page >) and COMPARE (Page <) keys to
select the display pages. (The UTILITY key also
functions as the page > key in this mode.) A "U" appears
in reverse display and flashes at the top left of the LCD,
indicating that the Utility mode has been selected.
Note: The Delay Time Calculator and User Scale
utilities also have the flushing "U" indication;
however, these can only be selected from their
related efects and not from the Utility mode.
To exit from the Utility mode at any time, press the
CANCEL key.
Settings: PrG (Single program), ALL (All programs)
This function transmits either a single effect program
all effect programs via MIDI to a MIDI data storage
device, such as a sequencer. Select "PrG" (single
program) or "ALL" (all programs) with Data Entry
control 3, then press the STORE (EXECUTE) key to
actually transmit the data. If you have selected "PrG,"
the current active program data will be sent. Refer also
to the owner's manual of your MIDI device for
information on receiving bulk data with that device.
[Page 41 Loading MlDl Bulk Data
[Page l ] Selecting the MlDl Channel
Settings: ALL (Omni), 1 - 16
This determines the channel over which the 9120
receives MIDI data. Change this with Data Entry control
3. The "ALL" setting corresponds to Omni, which
allows the 9120 to receive data over all MIDI channels
simultaneously.
This function allows you to receive bulk data from a
MIDI data storage device or another 9120. When this
page is selected, the 9120 automatically waits for data to
be received - no keys need be pressed. Once you set the
connected MIDI device to transmit, the program data is
automatically loaded.
[Page 51 Factory Preset Program Recall
[Page 21 Setting the Control Change Number
-
-
Settings: l 5,8 31,64 - 90
Some of the parameters of the 9120 can be controlled
over MIDI by various control change numbers
(depending on the MIDI controller used). This function
determines the control change number that the 9120 will
respond to. Change the setting with Data Entry control
3. Refer also to the owner's manual of your MIDI device
for information on control change numbers and their
corresponding controllers.
The 9120 has a secondary memory system (ROM) for
backup of the 99 factory preset programs. This preset
program call function lets you restore individual factory
preset programs you may have previously erased to
accommodate your own program. Use the ProgramV
keys to select the desired program number, then press the
STORE (EXECUTE) key to call up the Program Store
menu. Press STORE again to execute the operation, or
CANCEL to abort. Make sure that you can erase the
program at the selected number; that data will be
irretrievably lost if it has not been saved beforehand.
- -
Seclion W :Utility Mode and Program Change Learn Function
23
[Page 61 Initialize
Program Change Learn
This function is similar to the factory preset program call
function above, except that it replaces all 99 programs in
internal memory with the factory preset data, and resets
all other parameters to their factory settings.
To use this function:
1. First make sure that you wish to replace the programs
in internal memory; they will be irretrievably lost if
they have not been saved beforehand.
2. From this page, press the STORE key.
Program Change Learn is a convenient function that
registers or memorizes program change numbers
received from a connected MIDI device. This lets you
call up a certain numbered program on the 9120 by
selecting a different numbered program on your MIDI
device. For example, this would come in handy when
you want to have 9120 program number 62 automatically
selected when you select preset number 8 on your
synthesizer. To use this function:
l. Make sure that the MIDI device has been properly
connected to the 9120 and that the MIDI channel
settings for both units have been properly made.
2. Select the desired program on the 9120 with the V/A
keys.
3. Press the PRG-CHG LEARN key then continue
STORE
holding down the key.
4. Select the desired program or preset on your MIDI
device and transmit the program change message.
The display prompts you to confirm the operation. Press
the STORE key again to execute the operation, or press
the CANCEL key to abort and exit from the Utility
mode.
24
Section N :Utility Mode and Program Change Learn Function
Dynamic Range
A/D Conversion
DIA Conversion
20Hzto14SkHz (Effect)
20Hz to 20kHz
(Direct)
90dB
16-bit stereo with 64 time over-sampling
16-bit stereo
Input
Output
2 channels, 1/411,-20/+4dBm
2 channels, 1/4", -20/+4dBm
Program Memory
99 (Programmable)
Number of Effects
22
Hall 1, Hall 2, Room 1, Room 2, Plate 1, Plate 2, Gate, Em, Chorus,
Chorus -.Reverb, Mono Echo, Ping Pong Delay, Stereo 2ch Delay,
Stereo X Feedback Delay, Stereo Pitch, Pitch Reverb, Karaoke,
Surround, Sweep Flanger, Pedal- Pitch,
MIDI HPS, Hold Delay
Frequency Response
+
-.
Control
MIDI INIOUT, CONTROL IN
Power
Dimensions
DC 9V 1A (AC Adaptor AD-0002)
3
3
440 (W) X 272 (D) X 44 (H)mm (19 X 1
X l -inches)
4
4
EIA 19-inch rack 1 Unit
2SKg (5.551bs.)
Weight
SPECIFICATICNS
25
9120
MIDI
IMPLEMENTATION
1. TRANSMITTED DATA
NONE
2, RECOGN I ZED
DATA
1) CHANNEL VOICE MESSAGES
STATUS
SECOND
TH I RD
DESCRIPTION
1001 nnnn
Okkk kkkk
ovvv vvvv
NOTE ON
kkk kkkk : Note Number
vvv vvvv : Note On Velocity
Effect real time control value (See NOTE 1)
1011 nnnn
Occc cccc
ovvv vvvv
CONTROL CHANGE
ccc cccc : Control No.
(1-5,8-31, 64-90)
vvv vvvv : Effect real time control value
(See NOTE 1)
0000 0111
ovvv vvvv
Master Effect Level
vvv vvvv : level
0101 1011
ovvv vvvv
Effect mute
vvv vvvv : mute on/off
1100 nnnn
Oppp pppp
1110 nnnn
NOTE :
nnnn
*
Oxxx xxxx
=
---- ----
ovvv vvvv
(See NOTE 2)
PROGRAM CHANGE
ppp pppp : Program Number
(See NOTE 3 )
PITCH BENDER CHANGE
xxx xxxx will be ignored
vvv vvvv : Effect real time control value
(See NOTE 1)
MIDI channel number ( 0000 - 1111 )
1. Note On,Control Change and Pitch Bender Change messeages are recognized only
when the message and the control numbers are matched with setting on the panel.
NOTE ON : Note number is used to look up the Preset/User scale table for
Pitch shifter in "MIDI->HPSm effect.
NOTE ON message can be used as the control source for gate trigger
in "GATE" effect.
Pitch Bender : In "Pdl->Pitcn',used as the control source to change the pitch
continuously according the data byte value .
2. Effect mute function is always recognized in BASIC channel.
When value vvvvvvv is 0, Effect will be activated.
When value vvvvvvv is 127, Effect will be muted.
3. Relationship between MIDI Program No. and program No. of 9120(on the panel)
is assignable.
MIDI page 1
STATUS
SECOND
TH I RD
DESCR I PT I ON
1011 nnnn
0000 0110
Ovvv vvvv
MSB of DATA ENTRY
vvv vvvv : MSB of parameter value
(LSB of DATA ENTRY wi l l be ignored. )
1011 nnnn
0110 0010
Oppp pppp
LSB of NRPN
ppp pppp : parameter No.
1011 nnnn
0110 0011
Ottt tttt
MSB of NRPN
ttt t t t t : parameter select
NOTE :
1.Assignment of NRPN
Parameter
Effect
Effect
Effect
Effect
Effect
Effect
Effect
Effect
Effect
parameter
parameter
parameter
parameter
parameter
parameter
parameter
parameter
parameter
0
1
2
3
4
5
6
7
8
Effect Category number
Effect Algorithm number
2. Number of Effect parameter depends on Effect Algorithm.
When the incoming NRPN LSB value is out of range, it will be ignored.
3. Relationship between NRPN and Effect parameter is shown in " 4 . Effect
parameter List".
3) SYSTEM COMMON MESSAGE, SYSTEM REAL TIME MESSAGE
STATUS
SECOND
TH I RD
DESCRIPTION
1111 1000
---- ----
---- ----
TIMING CLOCK
-
-
NOTE :
JI MIDI clock is used to determine the tempo measuring the time interval. And the
calculated tempo can be entered as the value of the BPM parameter in "Delay time
calculator utility".
MIDI page 2
3. SYSTEM EXCLUSIVE MESSAGE
A1 l System Exclusive(SysEx) messages are recognized in Bulk Load Menu (UTIL 1TY [p41 )
except Identity Request and Communication Request message.
1) Identity Request
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0111 1110
Universal System Exclusive Non-Real Time Header
Onnn nnnn
Channel
0000 0110
General Informat ion (Sub-ID #l)
0000 0001
Identity Request
1111 0111
EOX
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
(Sub-ID #2)
NOTE :
Recognized only.
*
1. When this message is received on channel No. 7FH, it should be recognized on
any channel. Then, Identity Reply Message will be transmitted on Basic Channel.
(Rule of Universal System Exclusive Message Communication)
MIDI page 3
2) Identity Reply
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0111 1110
Universal System Exclusive Non-Real Time Header
Onnn nnnn
Channel
0000 0110
General Information
0000 0010
Device Identity Reply (Sub-ID #2)
0101 0010
ZOOM ID
0000 0101
DEVICE ID 05H : ZOOM 9120
0000 0000
Reserved
0000 0000
Reserved
0000 0000
Reserved
0011 ssss
1000th digit of Software Revision No.
' 0'
0011 ssss
100th digit of Software Revision No.
'0' - '9'
0011 ssss
10th
digit of Software Revision No.
'0' - T 9'
0011 ssss
lth
digit of Software Revision No.
'0' - '9'
1111 0111
EOX
nnn nnnn : channel OOH-OFH
(See NOTE 1)
(Sub-ID #l)
52H
-
'
9'
NOTE :
* Transmitted when
Identity Request Message is recognized.
Software revision No. is 4-digits ASCII characters.
1. If MlDI channel setting parameter(UT1LITY [pl])is
is set to 1.
"All"
,
basic channel No.
MlDI page 4
3) Communication Request
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
0000 0101
DEVICE ID 05H : ZOOM 9120
0001 0111
FUNCTION ID
l111 0111
EOX
17H : Communication Request
NOTE :
* Recognized only.
When this message is recognized, "Bulk Load menu" will be opened. Then the
"Completed" message will be transmitted.
If "Bulk Load menu" can not be opened, the "Fault" message will be transmitted.
1. When this message is received on channel No. 7FH, it should be recognized on
any channel.
4) Write Request
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
0000 0101
DEVICE ID 05H : ZOOM 9120
0001 0010
FUNCTION ID
12H : Write Request
OPPP PPPP
Program No.
PPP PPPP : 1 - 99
1111 0111
EOX
NOTE :
.
* Recognized only.
When this message is recognized , the Program Data in Edit Buffer will be stored
into Program memory #<Program No. >. Then the "Completed" message will be transmitted.
If write operation is imcompleted, the "Fault" message will be transmitted.
l. When this message is received on channel No. "IFH, i t should be recognized on
any channel.
MIDI page 5
5) Completed
BYTE
DESCRIPTION
pp
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH
0000 0101
DEVICE ID 05H
0001 0100
FUNCTION ID
1111 0111
EOX
:
(See NOTE 1)
ZOOM 9120
14H : Completed
NOTE:
* This message
is transmitted when received Dumps(Program Dump,A1 l Program Dump
and System Data Dump) is processed successfully,Write operation is completed for
Write Request message ,or Communication Request is accepted.
1. If MIDI channel setting parameter(UT1LITY [pl])is
is set to l(00H).
nAll" , basic channel No.
6) Fault
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH
0000 0101
DEVICE ID 05H
0001 1111
FUNCTION ID
1111 0111
EOX
:
(See NOTE 1)
ZOOM 9120
1FH : Fault
NOTE :
* This message
i S transmi tted when received Dumps(Program Dump,A1 l Program Dump
and System Data Dump) is processed unsuccessful ly. Write operation is imcompleted
for Write Request message ,or Communication Request is ignored.
1. If MIDI channel setting parameter(UTIL1TY [pl])is
is set to l(00H).
"All"
,
basic channel No.
MIDI page 6
7) Program Dump
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0101 0010
ZOOMID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
0000 0101
DEVICE ID 05H : ZOOM 9120
0010 0001
FUNCTION ID
ovvv vvvv
Effect Category No.
ovvv vvvv
Effect Algorithm No.
Ovvv vvvv
Effect Parameter 0
ovvv vvvv
Effect Parameter 8
1111 0111
EOX
21H : Program Dump
llbytes
)
- - - - --
NOTE :
* llbytes of Program DATA are;
on transmit : Current setup data in Edit Buffer will be transmitted.
on receive : Received data will be stored into Edit Buffer, and current effect
sound will be changed.
1. When this message is received on channel No. 7FH, i t should be recognized on
any channel.
8) Program Dump Request
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
0000 0101
DEVICE ID 05H : ZOOM 9120
0001 0001
FUNCTION ID
1111 0111
EOX
11H : Program Dump Request
NOTE :
* Recognized only.
1. When this message is received on channel No. 7FH, i t should be recognized on
any channel. Then, Program Dump message will be transmitted on basic Channel.
If MIDI channel setting parameter(UTIL1TY [pl])is "All" , basic channel No.
is set to l(00H).
MIDI page 7
9) All Program Dump
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
0000 0101
DEVICE ID 05H : ZOOM 9120
0010 0010
FUNCTION ID
22H : All Program Dump
ovvv vvvv
Program Data
99 : 1089 bytes
X
Ovvv vvvv
1111 0111
EOX
NOTE :
* Receiving "All Program Dump" is ineffective to the current active setup.
1. When this message is received on channel No. 7FH, i t should be recognized on
any channel.
10) All Program Dump Request
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
0000 0101
DEVICE ID 05H : ZOOM 9120
0001 0011
FUNCTION ID
1111 0111
EOX
13H : All Program Dump Request
NOTE :
I Recognized
only.
1. When this message is received on channel No. 7FH. i t should be recognized on
any channel. Then, All Program Dump message will be transmitted on basic Channel.
If MIDI channel setting parameter(UTIL1TY [pl])is "All", basic channel No. is set
to 1 (00H).
MIDI page 8
11) System Data Dump
BYTE
DESCRIPTION
---
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
0000 0101
DEVICE ID 05H : ZOOM 9120
0010 0011
FUNCTION ID
23H : System Data Dump
ovvv vvvv
System Data 153bytes (See NOTE 2)
Ovvv vvvv
1111 0111
EOX
NOTE :
1. When this message is received on channel No. 7FH, it should be recognized on
any channel.
2. System Data Includes
(1) Active MIDI Control Change number
: Ovvv vvvv(1-5,8-31, 64-90) X lbyte
(2) Program Change Map : Ovvv vvvv(1-99) X 128bytes
(3) User scale setting : OOOv v.vvv(0-24) X 12bytes x2
And transmitted/received in this sequence.
12) System Data Dump Request
BYTE
DESCRIPTION
1111 0000
Exclusive Status
0101 0010
ZOOM ID
52H
Onnn nnnn
Channel
nnn nnnn : channel OOH-OFH or 7FH (See NOTE 1)
0000 0101
DEVICE ID 05H : ZOOM 9120
0001 0110
FUNCTION ID
l111 0111
EOX
16H : System Data Dump Request
NOTE :
t Recognized only.
1, When this message is received on channel No. 7FH. it should be recognized on
any channel. Then, System Data Dump message will be transmitted on basic Channel.
If MIDI channel setting parameter(UTIL1TY [pl])is "All" , basic channel No. is set
to 1 (00H).
MIDI page 9
4. Effect parameter List
1) Relationship of Effect Category and Algorithm
Effect Algorithm
DELAY
I
I
PITCH
2
I
3
;
SFX 1
1
I
1
l
1 i Stereo Delay
0 : Ster Pitc
1 ! Pitc >>Rev
0 Kara Oke
1 i Surround
0 : Pdl->Pitc
1 -T~F/R
1
4
SFX 2
I
l
1
I
I
GATE
PLATE
I
I
1
8
j
ROOM
l
I
I
9
i
HALL
I
1
1 : MIDI->HPS
2 ! Hold Delv
O~~arl~~eflection
0 : Gate Reverb
0 : Plat 1
l : Plat 2
0 j Room 1
I
1 j Room 2
0 j Hall 1
NOTE :
$
#
Effect Category No. is calculated as follows;
[Effect Category No. 1 = [MSB of DATA ENTRY] X 10 / 128
(Omit the figure below the decimal point)
Effect Algorithm No. is calculated as follows;
[Effect Algorithm No.] =
[MSB of DATA ENTRY] X [number of Effect Algorithm in current Category] / 128
(Omit the figure below the decimal point)
MIDI page 10
2) Effect Parameter List
NOTE :
1. Parameters with
"*" on the side of Parm No.
can be edited by SysEx or NRPN.
-
2. The data byte of Effect Parameter 0-8 in Program Dump should be
([Value steps]-l) (except Stereo Delay).
0
3. Parameter DATA value is calculated as follows :
[Parameter DATA value]
[MSB of DATA ENTRY] X [Value steps] / 128
(Omit the figure below the decimal point)
=
4. Transfered/received data values are not always same with the displayed
values.
0 - 0 : Chorus
Parm No.
Parm name
0
Modulation Depth
1
LFO Rate
2
I Tone
I 3 I Tap Width
1
0 - 1 : Chorus >> Reverb
Parm name
Parm No.
Modulation Depth
0
LFO Rate
1
2
I Delay Time
I 3 I Delay Mix
4
Reverb Time
Reverb Mix
5
Delay Feed Back
6*
Reverb Tone
7*
Value steps
101
100
101
1 101
96
101
100
16
I
I
Value steps
100
100
25
101
I
I
1
1 - 0 : Mono Delay
I Value steps
Parm No. I Parm name
I 0 I Type of Effect
1
2
1
sec(De1au time course) 1
21
I
ms (Delay time fine)
100
99
Feed Back
Hi Frequency Cut
1
16
I
16
Hi Frequency Damp
Additional Delay Tap
20
time course
100
~dditionalDelayTap
7
time fine
101
8*
Additional Delay Tap
-
Parm No. 0 "Type of Ef fectw :
When value is "OW, "Mono Echo" is selected.
Value is "l", "Ping Pong".
MIDI page 11
1 - 1 : Stereo Delay
Value steps
Parm name
Type of Effect
L channel sec
(Delay time course)
L channel ms
(Delay time fine)
L channel Feed Back
R channel sec
(Del ay time course)
R channel ms
(Delay time fine)
R channel Feed Back
Additional Delay Tap
time ( x10 ms)
Additional Delay Tap
Parm No.
0
1
2
3
4
5
6
7f
8*
2
11
100
99
11
100
99
101
101
Parm No.0 "Type of Effect" :
When value is "ON, "Ster 2 ch" is selected.
Value is "l", "Ster X FBI.
In SysEx data stream ;
Set the value to " 2 " ,to select the "Ster 2 ch".
Set the value to "3" ,to select the "Ster X FB".
2 - 0 : Stereo Pitch
I Parm
I
No.
1
I Parm name
I Shift
I
2
1 Mix L
I
4
I Shift
I
5
I
!
6*
-
cent R
I Mix R
I Width
0 : Kara Oke
I Parm No. I
0
1
I
3
,
-
I
101
1
cent L
2 - 1 : Pitch >> Reverb
Parm No. I Parm name
0
Pitch shift cromatic
1
Pitch shift cent
2
Pitch shift Mix
3
Reverb Time
4
Reverb Mix
5*
Reverb Tone
3
I Value steps
Parm name
cancel
I Key Control
I Vocal
I
I
101
l
1
101
1
I
I
101
11
l Value
steps
I
I
I
25
101
101
96
101
16
l Value
I
steps
101
11
I
I
1 : Surround
Parm No.
0
1
2
Parm name
Mode select
Color
Delay Time
Value steps
2
L
100
101
MIDI page 12
3 - 2 : Sweep Flanger
Parm No.
I
Parm name
I Mode select
Modulation Depth
LFO Rate
I Feed Back
I
I
;
I
0
1
2
3
I
-> Pitch
Parm name
Pitch shift depth
Control Source
Sweep Time
l Value
1
I
1
steps
5
100
100
100
1
I
4 - 0 : Pedal
Parm No.
0
1
2
4 - 1 : MIDI -> HPS
Parm No.
Parm name
Base
Key
0
1
I L channel Interval
I 2 I R channel Interval
I 3 I Width
I
4
- 2
:
Value steps
27
3
11
Value steps
12
16
16
11
1
I
I
Hold Delay
Parm name
l Value steps 1
sec (Hold time course)
21
100
ms (Hold time fine)
1 Control source
I
2
I
I Pare No. I
0
1
1
2
5 - 0 : Early Reflection
Parm No. ] Parn name
I 0 I Room Size
I 1 I Tap Shape
Pre Delay Time
2
Density
3
Lo Frequency EQ
4
5
Hi Frequency EQ
I Value steps
101
31
101
11
11
11
I
1
6 - 0 : Gate Reverb
MIDI page 1 3
7 - 0 : Plate Reverb 1
7 - 1 : P l a t e Reverb 2
Parm name
Parm No.
0
Reverb Time
Pre Delay Time
1
Hi Frequency Damp
2
1
3
1 Attack
4
Density
5
Reverb Tone
6t
Early Ref Time L ch
7t
Early Ref Time R c h
8*
Early Ref Level
Value steps
58
1
101
16
101
16
16
101
101
101
I
8 - 0 : Room Reverb 1
8 - 1 : Room Reverb 2
Parm No.
Parm name
Reverb Time
Pre Delay Time
Hi Frequency Damp
At tack
Early Ref Level
Early Ref Time
Density
Reverb Tone
Diffusion
0
1
2
3
4
5
6t
?*
8t
9
-
0 : Hall Reverb 1
Parm No.
I
l
l
I
I
0
1
2
3
4
5
I
Parm name
( Reverb Time
I Pre Delay Time
I Hi Frequency Damp
Density
Early Ref Level
I Early Ref Time
Reverb Tone
Attack
1 Diffusion
8*
9 - 1 : Hall Reverb 2
Parm No.
Parm name
0
Reverb Time
1
Pre Delay Time
2
Hi Frequency Damp
3
Density
4
Early Ref Level
5
Early Ref Time
6*
Attack
7*
Reverb Time cross over
I 8 1 I Reverb Time H-Multiply
!
101
16
101
101
101
16
16
16
1 Value
1
I
I
6*
7*
Value steps
58
I
I
steps
58
101
16
16
101
101
16
101
16
1I
I
.
I
I
Value steps
58
101
16
16
101
101
101
28
I
25
I
M I D I page 1 4
[ Effector
9120
Model
Function
.. .
l
MIDI Implementation Chart
Transmitted
Recogn i zed
I
Basic
Default
Channel Changed
Mode
1
l
lI
Date : 05. Oct. 1992
Version : 1 . 0 0
Remarks
Memor i zed
Default
Messages
AI tered
Memorized
Effect Real time control
r e voice
Velocity Note ON
Note OFF
After
Touch
Key' S
Ch' S
Pi teh Bend
Effect Real time control
Control
Effect Real time control
Change
Master Effect Level
NRPN
Effect Mute
ISystem Exclusive
System I Song Pos
I Song Sel
Common I Tune
I
System
I Clock
Real Time I Commands
1
I
Mes- I
sages I
Aux
Local ON/OFF
All Notes OFF
Active Sense
Reset
Notes
*l: For Program 0-127, Memory No.1-99 is selected with Prog No.
Assign table.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 3 : OMNI OFF, MONO
o
X
:
:
Yes
No
M I D I page 15
P
F
PRESET PROGRAM LIST
*
'armeter Setting
1
?el7to &age
'l:Hall 2
B: 8 0 60
P3: 15 12
13
100
Roomi e
Pl: b 1
E: l. l 36
B: 72 l 2
7
0
Bal lroom
H: h
2
P2: 1.5 18
P3:48 40
5
41
Cool V o c a l s
R: Plate 1
P2:Z.z 0
P3:85 9
3
10
Rich Plate
Pl: Plate 2
R: 4 2 2
P3: 64 15
Edit RevT and
the percejved size.
.
W r i e s , lireats, ~f lecticns.. imer spam larges than the lanest Mdings.
kzllent setting for cinmtic effects.
ldds a halo of ~ a l i t ~y i b any
d dnrw mchine pat tern. Use sparingfy for
dience on any dry swre.
Fimiation of a large dmce m with rnnd fla?fs. Gaw' for mmticr
instnm?ntal sixes, excelf m t for solo stsings.
m
1 plate set ling. /&p and Tone cmtml tmality.
p
5
9
p
-
Inmdibly hwtiA11 m lyrical tracks - &ances
iust a tw10 to mllet permion.
pods,
strings, d o i n - a d
Pl: l. l 0. 12 7
P2: 6 10 5
SigLR
P3:60
B o u n c i ng V e r b
Tcdbtle &imm e f f x t tn s m t e n h , a m ~ s t i cguitar, and other plucked or
vi&d m ~ t i jnstrmnts.
c
Acoustic Tile
Pl: Cbm
P2: 25 17
P3: 10
Bass Chorus
p
*
bwi hall s i d a t i m , ptirfect for m y size a m t i c m e d l e .
'l:
h11 l
Ensemble Ha1 l
Major Space
a
-3
50
bnts well on guitar, bass, sme t p e s of drum. Diffenntt i a t a a single
instnuuent in ihe aix.
p
p
-
S a t reverl, W; th donls, nice for voals or choirs.
Choral Voice
Contra Danse
hnls
- m: ~kPong
kb'
R: 0.7 17 0
Pitch
R : -12 4 100
P3: -12 -18 100
0
14
- B:
PI: Ster Pitc
Harmon i um
p
-
p
Permssinn sow& &nix? f r w left to right. Shstaining &S
are inbud n t h
dmnic s t ~ m
mtinn. T h e crfsps distioct imes. Original m2e/, then
left, then ri&t.
Ad& an e x t . pit&, that is 0on1sd ~ i t itseli:
h
an octave Ilu?Imr the iwut
si.gnal.
-
NuAge Solo Fifths
Pl: Pitc>Rev
Pitch P2: 5 0 24
P3:1.6
100
- Pl: Karaoke
Turning Japanese
m 1
R : 14
0
Electric Slide
Provi&s inte~stingp3asiiig effect on hass sa~n&. &lied to a AV?, vxals
will be s ~ ~ m r e s sand
d the hass rill flower.
A spatial mhiner for s t e m nines, bmadms and widms.
Pl: Swp Flng
R: Tri LFO
P3: 16 12 92
l3e p&As edge mothly glides up md donn the stsikgs of the electric guitar,
infirsmn$ the inpclt samd rith plastic pi& on w d mid1 string.
Pl: Pdl>Pitc
Ilse M a l or f m t panel trigger to smd t k m ~ n dg1id&
R : 12
Pedl Adjust the g l ide rat* d t h the Sap Tim.
P3:
6
Octave Sweep
PI: MIDI*
Aeolian Mode
P2:C
3
3
P3:
PI: Hold Dely
R : 2 0 00
P3:
Int
T w o Second Capture
P i a n o Recital
the s a m e sig~alnote a d thm h t h go swiming i n
rewrb. A4imt Mix md Mix to m ~ i c .
H: Sumund
R : Fmt (Xlt
F??: 60
80
Stereoi ze
A&ls a wrfect fifth &W
- Pl: Hall 1
Hall
(.p m octaw.
E m i ~ the
s inpclt sisal in thirds &we i n hammy with t k m l i m s a l e
(a/l rbite keys).
.W up lo m r d a& -a
t a t m secrxld p ~ f o r m c e- just hit the trigge~key
or @l to k i n m p t u ~ .
R : L 4 20
5
R : 6.5 48
P3:15 60
11
36
Cathedral
Hall
Smallhalla
Ha1 l
k g e s t s the s t i r t l spread of a mmt hall., but without the lcnger d w y .
C d for solo i m t m t s or swll instnernt choin OiRe f m c h h o d &m
six& with o t M effects.
Hall
Ex8ggemted d l x t i o n s s~ggestm1tiple effects, 11ke DN wined d t h l a e e
e w b . Adjist Reff to watch m~sict w .
p
p
Sl apback H a l l
Bright Hall
9 74
- B:
PI: Hall 2
Hall
R : 3.0 30
P3: 6 42
100
1
l2
Parameter Setting
Pl: Hall 2
T r i p l e HIt
Hall
P2: 1.2 4
64
P3:2
5
100
5
36
iidgllat~the m ~ n dof distinct ~ r l refIaWbns
y
against hard mlls.
p w i ~ l ym pemmioJ iwrmse
for tom.
P
Far Explosion
Hall
Pl: bll 1
P2: 10.0 97
l
52
Hall
Pl: Hall 1
P2: L 8 100 6
12
P3: 15 2
l &ll W@,a samd that carries itself W&.
High Tower
n: Hall 2
kwrb that livms sustained mrods uith a slight &wing mtim. Sblo lines
'mw a h m i c m i d ~ e .
P
-
-
-
Bowed Room
Hall
2: 8 5 49 15
3: 6 100 100
- Pl: Hall 2
Big Blue
Baroque Chamber
~Hall
P2: 2.2
B: 12
49
20
2
33
Hall
Pl: Hall 1
k0.3 0
P3:O
0
0
14
- Pl:
Inverse Reflections
D r e a m Hall
Hall
Hall
Hall 2
R: 0.3 11 0
P3: 15 100 0
m: Hall 2
P2:2.3
P3:ll
2
23
%e lm demity ~ f l e c t i m sturn a k i d a?w into a not too distmt battle.
lqmn~
and
~
silhy moth. Large, l0114 and clear.
[ghi, cmslninerl, and int inate m.&?signed for Ispsicho/d and g d for
biano or other i n s t f u ~ ~in~ need
~ t s of a mming e f f ~ t .
be S& is m i v e and suggestive of tnvefing badlpards Ihrar,gh itself.
bhs nice on brass, ~ m ~ s i harp,
m . and other i m t m t s .
0
100
7
Large Chamber
Rocrm
Pl: R a n 1
R: 1.7 22
1
Pl: Roan1
0
P3: 64 6
15
100
P
Cold Chamber
Iban P2:3.0
- Pl: Roan1
Dark Room
ibaPn P2: 2 0 24
P3:28 72
12
100
hng n w r b
d w t i e and lots d hgb &wing d i n e m t e this ml
m5iem. Adjust Atck to mlor w c e s~snal.
Pe&m little digital sins like a lunrrim m i c coat - short loops. s w l e
wtifocts, clmmiked p m @ , etc.
P
Ambient Age
Fkxn
PI: Roan 2
P2: 3.0 22
B : 1 2 24
3
67
Bath R o o m
Room
F l : klcal2
P2: 0.4 24
B: 68 18
1
8
Wooden Room
Rwm
Fl: Roan2
P2: 0.9 1
B:18 7
15
100
P
Movie Strings
Roan
!#%W & fivmling, this reve~bM& is perfwt for sjn th alors & exotic
wm~sion. E m ~ i k n raising
t
&vT md I&.
VW dart r e w h tail md bright mp7nse sagest o mall tiled m.Edit
fevT for specific wliations.
- -
Pl: Roan1
P2: 5.5 73
P3: 77 93
10
82
Pl: b
Perfect rewrb to a k e t h w mvie strings of that orchestnl sectim samd hug
and largef tha? life.
2
P2: 3.0 97 0
P3: 100 100 98
A &p rr?veJbespecially Fell slit& tn sxlzpllonesJ &S,
cnnduind instnuavlts.
Piano Reverb 1
PI: RoUJ l
P2: 4.3 48
B: 100 72
15
56
Slmth SIW
m w b that brings out the tones of the piano witbut letting th
simal get cloudd or d d y . A classical m t i c grand pimo s m d .
Piano Reverb 2
H: R w n 1
P2: 2.9 5
F 3 2 0 89
8
56
Mouthpiece
Small B l o o m
Ad& m n sustain to the signal than Piam Recprb l. X i e effect fo/ electric
pimo or -led
piano somiss.
Pl: Roan1
R: 13 52 0
P3: 79 100 67
Rewrb wtch that is &sigm?d for use with vocals or s~nthpds.
H: Roan1
P2: 10.0 47
P3: 25 31
A long RV&
tail in a rnwa that i s m d l e s md js rewstant to getting mrdy.
Good for use m dnm hits tha t n& to ring out m accents.
-
Endless Room
other b/ass a d
7
24
p
-
Rewb for fattming orchestral or synth strihgs, provides a big s m d . M ~ I I
long b y till?, S ( Y I ~goal
& with fast stsing rum or big maj~sticmstalned
pasages.
Lasting Effect
CPnd for
m e h n t ms5 m cnwlete nix. h e r Ikos value to IiRbtm aod OR
the mmd.
Plate
PI: Plate 1
P2: 2.8 12 8
P3: 70 15 2
Percuss iveness
Plate
Pl: Plate 1
P2: 1.1 1 1
P3: 100 12 14
Excellent for Latin perasion traaks. Try using mre @re reverb in the
hian@ and incnosing
Plate
Pl: Plate 1
P2:0.44
0
Adds electmic costing to sioal.
Plate Ambience
Large Plate
Bright Plate
Pl: Plate 2
Plate F 2 3 . 0 0
- P3: 100
12
1
15
clp
C'ery by incmsing Dens and T i e together.
h&, Img and an& - ~ r f e c fir
t turning rpini snares into mmmhle m.
Adjrst RevT to fit m~sic.
*
P
ffect 'armeter Setting
1: Plate 2
P
High Snap
Tunnel
T O M Plate
late
'2: 0.3 0
9: 100 5
1
15
late
l : Plate 2
2: 6.0 12
9: 85 15
15
14
late
'1: Plate 1
2 : 2 3 63 7
9: 100 15 15
Fimlation of a big, eta1 plate, but this me 'S bige. Cim ~ i w taes
y al w
hi1 & a big @twl few!/;b
c
Plate 1
'2: 10.0 94
W and bright dihwrt the md, llke laae caverns, mstnlcted of d l e .
P
Bright Cavern
*
big&t a d to the pint - adds hi@ end &iem dthwt a lw reverb. Rake
%?m
for wse dth hs instmmts.
late
'3:7
1
0
3
&.
P
1: Plate 2
Speedy Gonza l e z
'late
'2: 0.3 86
9: 8
15
Electric Plate
'late
'1: Plate 1
'2: 12 27 7
3: 100 11 15
Clean Plate
q: Plate 2
'late Z: 0.7 66
YJ:50
4
12
15
8
5
Pewb that t& fast m i c a l lines, and m&es thm go faster. L i W up that
traca tbat i s dragging.
Gmt for electric rhjvh~or lead guitar. fat and OJimkj; this mkes for a big
smd and adds sustan to the signal. k m and fmgthms tbe at t x k bile
retainia full i m t .
mm
CO abmd ond pile i t bi.gh m this me, t h reverb rill eat i t !p and still
n
5 with a Ao/1 &?ay. Gwd for single
elm. Kefl m i m t m i v e m
i m t n m t tncks, or mplete @ides.
P
Straight Plate
PI: Plate 1
'late R: 0.3 67 7
P3: 71 14 15
Synthetix
'1 ate
G a t e S n a r e in K i t
Gate
Stnidt ahead plate
SYI(M~.
frills, j h t rev&.
PI: Plate 1
P2: 4 3 100 0
Gat& reveh dfect for snare - djusf the &m mtrof to affect wly t h snar
drue nijile the h l e kit i s playing.
P
Bare Ambience
Designed for c l m electric or a m t i c guitar playing
a lot of reveh sound.
Gate
Boome r
Noise Gate
Gate
- P3:80
P1:O
Gate
- adding space a,ithout
SW
P2: 0
P3:92
0.5010
Wit3out rekerb, this beams a simlc? noise gate ttxpfate T o cleming
10 10 h m i a distorted guitar t m d rith it.
SigtA
Pl: 75
P2: 10
15
l0
IIP
o
P
Percussive Box
EP
16
6
h i l d a smll swce a m d the &mkit
RI
tbo11t ~
i eithma lot of
verh.
Fills wt horn hits rith a crisp horn. Provides subtle a t h i e m for mllet
pemmiw or plucked inrtn~mts.
Brass Stab
Image Machine
Hol low B o d y
Pl: 64 2
P2: 10 8
2
5
& e i a l l y designed for a w l i u t i m SII&as jazz guitar and fntless bass.
Pl: 98
P2: 3
178
4
P ~ V I &an; a i r y x h tness bile retainiog a d i d lor end. kli suited to
m1stic guitar, cclssiel or
s t e l string.
12
10
Ad& d i e m e a d retains clarits A gl&l
Aa ouldmr reterb effect.
Wal l R e v e r b
disappar into the sky.
rev& setting.
Bear the s w d Inuw off neady srll surf=
and
Reverse Reflections
Pl: Cbns
P2: 58 80
Lushness
l2
k m t for lead mnds, B md other oaans, anything in need of mre f i f e fore.
Also wds as a snare fattener, m t m , hatever needc to jw aut of the arid.
Energizer
Pl: Cbns
R: 25 17
P3: 10
Bell C h o r u s
-1
82
H: Cbns
P2: 83
P3: 8
L a s l i e Spit
Solo Flights
A syirf~ngthickening effect r e ~ i n i s m tof the old a m l ~ ~
Chorus
47
l2
26
An effect ~ l mifed
1
to bells & dims S/& as cmtales, gfodenspjel,
triangle, or tufn~lerIw!lls. Alm &S K; tb electric piano and otber
i n s t n m is.
l m r t s rotmy mtion a d a breathp "gill' to the high end. Nice on Ell or,ems,
mal/&ir, flute. Fattens r(nilA
i bogrlassn,
tbidms string p t & s
A m1tiiude of wliwtinns.
Pesigd for solo winds in a qacjms texture. Tmh the D&x to dange
fedhack 3s reli as Ilk! level of the ML.
P
*
*
'araoeter Setting
m
blo m i m , espcially lmg siistained v m l s in ballad s ~tiigs,
t
gmw w y
aae with this avlii effect.
Lyrical Voice
krfecr: with lwnd p e r m i m md smller dnim &id have smll resoators.
Yw wi th tbe cIbn1s s ~tims
t to cmtmiz.
Percussive Slap
big k e m n t , kind of dad, but isolated. A Pl3e to ait f a . l i p snare
ocrulds w e f m the ibsawt.
Basement
D D L 250ms
1: h E c b
2: 0.2 50 42
'3: 1
4
i'aplicity i s tmth. l2is is ynur basic d o twlote.
I : hbrw, E c b
nondula ting flange delay. Cmt for addiizg at tad dem to any mirxl.
djosl sillisecmds to procbce my tmali ties.
'l:
Ping Pang
'2: 0.8 42 96
'3: 2
10
'IOKIYtapering series of repeats kwce Ixwu and forth acms the s t e m imge.
1: b E c b
m
Static Flange
Space E c h o
2: L 6 02
3: 0
Phraseology
&lay p m m for
~ stading me phase on t q of the next.
26
0
Y: km E c b
0.0 oo 72
n:
Resonator
Rhythm Method
PI: Ster 2 ch
R: 0.1 75 -58
P3: 0.3 49 30
PI: Ster X FB
P2: 0.0 55 -48
P3: 0.0 09 98
Wds just
Shimmer
Pi: Ster X FB
R: 0.0 01 98
P3: 0.0 24 98
1 tiny l i t tle flanger i h t i s veu R// h~!~ved.
T i n e y Flange
C h o r u s Re l ease
PI: Ster 2 ch
P2: 0.0 88 -98
P3: 0.3 49 40
The pp~fectantidote to t m i m , reflection and &ease.
vith ~"~iodiic
m s i d pat t m s .
S u b t l e M o t ion
Pl: Ster X FB
P2: 0.0 10 38
P3: 0.0 25 44
lust a hint of d o n ~ scmrl mtiiq, ~ l l e for
d rfien the prcxlumr a d s for
rm?thhg subtle for o sustaining sound.
Pl: Ster X FB
P2: 0.9 0.0 86
P3: 0.9 49 62
V i e n ~ tmveltd,
r
i t f d l m . Rewh with delapd e d , in
~ the tail.
Reverb Trai l er
Soul C h o r d
Pl: Ster Pitc
R: -9 0
40
P3: -5 0
60
12 S t r i n g
PI: Ster Pitc
P2:O
5
92
48
P3: 12 2
W s wha t this i s for? Right - daible the sm-d of m six-string mdstic
k origiml mtes an? also thidemd by detuning.
7r electric. l
P1: Ster Pitc
fijs effect fkwt~esa 22 m t pit& spmd 3m1&the originill m m e note.
For a hmky tmk effect, dmble the fine i m a m t s .
3
hint of spwkle and d i m to the SW&.
p
P2: 0
P3: 0
Stereo Detune
10
12
100
100
-
-
p
A widening and m i n 6
p
Pl: Pitc>Rev
P2: 0
12 72
P3:O.T
92
4n all p i m e mind thickmer with reveh
Room Detune
Euro Chord
Pl: Ster Pitc
P2: 5
11 100
Cegant h a m y czxple~efjzr. Especially nice (M parls, stabs, md strings.
Flangey Verb
Pitch
.V@ t PI td, ck?lcmingof i w t signal thm fed into reveh Provides flmgey
3d1ence effect subtle m w b for use or, f l u t ~aid other defimte instrcpoents.
Sympathetic
Pitch
4 mm d e strings
~
m octave below gently s m d witlioctt ad~mllyking p/&.
For piam, h ? i e s , awthihg that minds good in octew and needs a l i t rle mn
sctivity in the low aod.
-
Rising Flange
-
Pl: Swp Flng
SFX 1 P2: Stereo Up
P3: 44 8 48
Sound Pulsar
S u b t le F l a n g e
SFX l
This hamnic pulsing mtclhlishes a quiet tn~tcertain rhythm in the sound.
PI: Swp Flng
SFX l P2: b b n , h
P3: 15 35 25
Atmosphere
Pl: Sap Flng
P2: S t e m h
Sotrnds .ereat with sustained or pltici%edswnds, the ever rising d rawforn
d e s a buoyant s u s i d effect.
SFX 2
m:
MIDI*
P2:b
R: 10
U2
U1
b k s~btle
~
c h m y effect that l i f t s a mmd gently m ~ ' .
Z E E M (ZlUE107BLANK PROGRAM CHART
No.
I
Effects
Program
I
I
Effects
P2
P1
No.
I
I
Parameter
P3
Comments
I
Program
I
P1
No.
I
Parameter
I
P2
I
P3
l
Comments
Program
Parameter
Effects
P1
No.
P2
Comments
P3
Program
Parameter
Effects
P1
No.
I
Effects
Effects
I
P2
P3
Comments
I
Program
I
I
Parameter
P1
P2
P3
Comments
I
Program
I
Effects
I
Parameter
P1
No.
I
Comments
P3
Program
No.
I
P2
I
Parameter
A
P1
P2
P3
Comments
I
Priiledrn Japaf 9200 5000